Do you have hands? Excellent. That's a good start. Can you hold a pencil? Great. If you have a sketchbook, open it and start by making a line, a mark, wherever. Doodle.
I would like to say to children, 'Don't stop drawing. Don't tell yourself you can't draw.' Everyone can draw. If you make a mark on a page, you can draw.
I think stories can grow out of the visual. It can be an engine for literacy.
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!
Lose your inhibitions about drawing and just do it.
The computer is a tool, just like pencil or charcoal, allowing illustrators to manipulate images from their sketchbooks.
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.
As a child, I copied Tenniel's illustrations from 'Alice's Adventures in Wonderland' obsessively, particularly his drawing of the white rabbit in waistcoat and frockcoat, umbrella tucked under one arm and a fob watch in paw, a look of suppressed panic in his eye.
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.
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.
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.
My sketchbook is not sacrosanct, and my children would draw on one page while I drew on the other. It was something we shared.
When I left art school and went in search of work, visiting publishers and showing them my drawings and illustrations, I was met with a polite and sometimes enthusiastic response but no commissions.
I don't feel uncomfortable in forbidding institutions, and work with, say, prisons or psychiatric institutions could be one of the things that evolve out of the Laureateship.
As the Kindle's dread grip on digital publishing is challenged by tablet computers and Android smartphones, with their bright screens and high resolution, the need for illustration is growing.
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.
Roald Dahl worked with other illustrators, but it was only when he teamed up with Quentin Blake that the chemistry began to fizz. Quentin Blake is Britain's greatest living illustrator and has that special talent all the great illustrators have, of unobtrusive brilliance.
No politician would ever comment on a cartoon unless it was to show what a great sense of humour they have, that they can laugh at themselves.
I want to show how much fun you can have drawing... parents and children can draw together as a wonderful shared activity.
Anyone can look through my sketchbooks as long as they don't have a background in psychiatric medicine.