The computer is a tool, just like pencil or charcoal, allowing illustrators to manipulate images from their sketchbooks.

Go out and find a copy of 'The Shrinking Of Treehorn' and its sequel, 'Treehorn's Treasure.' Written by Florence Parry Heide and illustrated by the great Edward Gorey, master of the gothic and the macabre, these books are small masterpieces.

In the digital future, texts will be annotated visually, animated and illustrated like never before. The austere 'prayer book' paper that permitted the space for Shepard's illustrations to Pepys' diaries is now being recreated in the digital era.

I'm calling myself 'The Doodler,' and with the simple addition of a small burglar's mask, I achieve utter anonymity.

I'm interested in illustration in all its forms. Not only in books for children but in posters, prints and performance as a way of drawing people into books and stories.

I'm not a painter by any stretch of the imagination; I'm a dyed-in-the-wool traditional illustrator, and I begin with black and white. If I need colour, I add it over the top. There's a calligraphic element to it... it's about the texture of lines on the page.

The 'Chronicles of Narnia' have been favourites of mine since my childhood when I misread 'Aslan' as 'Alsatian' and was struck by the genius of naming a lion after a dog!

I want to show how much fun you can have drawing... parents and children can draw together as a wonderful shared activity.

I want to bring drawing back to the basics, make it about the pleasure that it can afford and remove the notion that it's some kind of precious or difficult activity. It's another way of telling a story.

I want to put the joy of creativity, of drawing every day, of having a go and being surprised at what one can achieve with just a pencil and an idea at the heart of my term as laureate. I want to make sure people have fun whilst addressing fundamental issues I care about passionately.