Test scans were not able to reproduce the deep blues. This is my first book that was photographed and not scanned. What technical or printing factors did you take into account with illustrations of the night, with a lot of black and shadows? I went back and forth endlessly to design the shapes as clearly as possible and to fit the animals in that shape in a way that didnвЂ™t seem contrived. But it took me many more versions to refine the shapes. The four different silhouettes and their corresponding animals were already defined in the very first version of the book. Then I started thinking about which animals would fit. I wanted silhouettes that were distinctively different, each focusing on the characteristics of a dragon. How did you create the mistaken dragon silhouettes-did you start with the shape and create a scene to fit the shape or start with the idea and then create a dragon shape for it? The storyline is still exactly the same as the draft, except for the ending, which I changed in a later stage.ДЄnalysing things later, I can see clearly that I unconsciously channelled my love for The Three Robbers, and WeвЂ™re Going on a Bear Hunt in the story! You just never know which new idea is around the corner. After struggling for months, I suddenly had the whole story finished in an hour. This triggered another silhouette, with a big mouth. I put everything aside, and started toying with a big black (digital) brush and drew a black silhouette of a dragon with spikes on his back. I was frustrated that I couldnвЂ™t find a solution for the narrative problems. I worked for months on the story-made ten different versions-but it didnвЂ™t really come together. I just wanted to do something with knights and dragons that was visually interesting, but I didnвЂ™t want to make a generic dragon book. Where did the idea for this book come from? Is it inspired by any other favourite вЂmistaken identityвЂ™ stories? He has a large following as one of BelgiumвЂ™s pre-eminent picture book artists. He illustrates for magazines and newspapers and has released many successful picture books. At the age of 12 he started to draw comics and later trained in graphic design. The EU must make it evident to Central Asian states that strengthening cooperation with the Union offers these countries significant socio-economic benefits which cannot be gained from cooperation with China or Russia.Where Is the Dragon?: Q&A with Leo Timmers In order to address these challenges, and taking into account the influence of Russia and China in the region, the EU should increase the effectiveness of its projects in the fields of education, health care, civil and political freedoms, good governance, justice reform and support for local civil society. The strengthening of authoritarian regimes in Central Asia has led to the growth of social tensions and an increase in the number of possible hotbeds of radicalisation in the region, both of which, in turn, pose direct threats to the EU in matters of security, the influx of migrants and the protection of investments. This policy brief argues that the EU risks negative consequences if it continues to let economic interests prevail over its stated aim of promoting human rights in its relations with Central Asia.

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