Stephen Axelsen PIO issue 276 Feb 2010

What's this illustration for?

Ode to a Sausage, by Paul Waterhouse - The School Magazine, Touchdown 3, 2002 I loved the opportunity to draw the young Queen Elizabeth by a suburban backyard brick bbq.  

Do you have to wait for a flash of inspiration - how do you start?

No, no flash necessary. I read the text and make loose pencil lines. The inspiration required is in the text, hopefully. If not, inspiration is comes from the text as I imagine it should have been written.  

How did you get your start as an illustrator?

Dumb luck. When I was still at uni (social sciences) I earned money house painting. One job was for a publisher of cricket and fishing books who thought he would like to do a children’s book. On the strength of a portfolio of scraps I illustrated a book, without contract or advance. It was never published but I lugged it around to other publishers until Angus and Robertson let me do some Blinky Bills. Never did become a social scientist.  

Who or what has influenced your work?

English illustrators. Arthur Rackham then Ronald Searle and later Quentin Blake  

What's your favourite media for creating pictures?

Pen & ink & watercolour, and more recently Photoshop with the Wacom tablet.  

Do you experience illustrator's block - if so, what do you do about it?

No, but if I did I’d dig a hole in the garden or build a curvy brick wall.  

What’s the worst thing about being a freelancer? And the best?

Best is working in pyjamas, sometimes all day, and napping at will. Worst is the absence of benefits and too much time spent alone. Need more friends and benefits, or friends with benefits.  

What are you working on at the moment?

A couple of readers and a Nibble. Nothing big but I’m poking away at some stories of my own.  

Where can we see more of your work?

www.stephenaxelsen.net A brand new site is coming any minute now. Ignore the old blue one if it’s still there. Yuk.

Daniel Atkinson PIO issue 275 Jan 2010

What's this illustration for?

This illustration was for a book I completed earlier last year. The book is titled “The Red Suitcase.” It is available through Oxford University Press.  

Do you have to wait for a flash of inspiration - how do you start?

Normally deadlines do afford me the luxury to wait for inspiration. The challenge of a new brief is usually enough to excite me and fire my imagination. If I am struggling to come up with a concept I normally do a bit of brainstorming and some word association exercises.  

How did you get your start as an illustrator?

I got my first illustration brief immediately after I graduated from a Graphic Design course I completed a few years ago. My lecturer at the time was offered a brief but was too busy to do it so he introduced me to the client and helped me secure my first professional commission. The brief was to create a logo and mascot for a storage company.  

Who or what has influenced your work?

A huge number of artist and illustrators have influenced me over the years. Some of these artists include Norman Crew, Jim Henson, Shaun Tan, Doug Chang, Tim Burton, Goya, Jeff Sotto, James Jean, Francisco Herrera, Mike Mignola, Giuseppe Archumboldo, Stephane Tartelin, Daniel Falconer and Nathan Fox.  

What's your favourite media for creating pictures?

I enjoy using many different mediums. When time allows I use a wide range of combinations, including acrylic, oils, pencil, water colour, ink and gouache. Due to time restraints I generally producing most of my commercial work digitally.  

Do you experience illustrator's block - if so, what do you do about it?

If I am struggling to come up with a good concept for an illustration, I normally do a bit of brain storming and word association exercises. If that does not provide me with an idea I like, then I normally go to the dictionary and double check I understand the definition of the key words or phrases in the brief. This sometimes can help me clarify what needs to be communicated and then an idea flows from that. Failing all this I go into my back yard and feed my chooks and watch then scratch around for a while.  

What's the worst thing about being a freelancer?

The lack of financial security and at times the isolation.  

And the best?

Working for an interesting, wide range of clients. I really enjoy the way each commission is so different to the last in this line of work!  

What are you working on at the moment?

I am in the process of negotiating a job that may involve me creating some concept designs for a graphic novel. I also working on the layout and content of a digital magazine that is emailed to Illustrator Australia members every quarter.  

Where can we see more of your work?

You can see more of my work at www.danielatkinson.com.au http://danielatkinson.blogspot.com http://www.illustratorsaustralia.com/index.php?option=com_content&task=view&id=5&Itemid=55&user_id=6781

Anne Shenfield PIO issue 273 Dec 2009

What's this illustration for?

It’s a picture of a dog being sent to outer space from my children’s book Scribble Sunset, which was published by Hachette in 2008.  

Do you have to wait for a flash of inspiration?

I try to approach whatever it is I’m working on, by not consciously forcing things into place, but trying to be more like a child at play. I try to trust this process and believe that solutions present themselves, but sometimes it requires a fair degree of patience.  

How did you get your start as an illustrator?

I worked as an animator for a long time though I always wanted to write and illustrate books. It hasn’t been easy making the transition, but I was very lucky to be supported by an ASA mentorship with Sally Rippin, who was remarkably generous and supportive.  

Who or what has influenced your work?

I love Antoine St Exupery’sThe Little Prince, I find myself returning to it every so often. I also love Maira Kalman’s books and Candian animator Caroline Leaf; as well as lots of contemporary poets and authors.  

What's your favourite media for creating pictures?

I really love how luminous watercolours can be.  

Do you experience illustrator's block - if so, what do you do about it?

Yes I think it’s part of the process, but sometimes it feels insurmountable. There’s not much I do other than wait it out, and try to trust that it’s a necessary evil… alternatively walking my dog sometimes helps.  

What's the worst thing about being a freelancer?

The uncertainty.  

And the best?

I like the illusion that I’m in control of what I’m doing.  

What are you working on at the moment?

I’m writing and illustrating a verse novel.  

Where can we see more of your work?

One of my films is on The Bold, the Brave and the Best, a dvd of Australian animation. I have a few poems on http://www.collectedworks-poetryideas.blogspot.com . I hope to do something about my appalling lack of website sometime soon, but in the meantime here is a link http://www.thestylefile.com/show.php?illustrator_id=189

Nina Rycroft PIO issue 272 Dec 2009

What's this illustration for?

This is the Zebra illustrations for my latest book BALLROOM BONANZA, released in October. BALLROOM BONANZA is an animal alphabet, hunt-and-find picture book, depicting animals competing at Blackpool’s Ballroom Dance festival. The story celebrates my families musical Blackpool heritage, as my children’s great grandfather was the legendary Tommy Jones, bandmaster and musician at Blackpool’s Empress and Tower Ballroom from 1947 until 1978.  

Do you have to wait for a flash of inspiration - how do you start?

When I read a story that I connect with, images immediately flow; my problem is getting these images down on paper in whatever way I can, as quickly as I can. The first few weeks working on any book is always unsettling because of this transition from thought to form.  

How did you get your start as an illustrator?

I came up with an idea for a story and relentlessly knocked on doors until someone answered.  

Who or what has influenced your work?

The underlying characteristic of my illustration work is gesture. I am inspired by illustrators who can playfully capture honest emotional expression using character interaction; Shirley Hughes, Jill Barton, Emily Gravett, Helen Oxenbury  

What's your favourite media for creating pictures?

A simple led pencil. I enjoy the months of playing and creating before I have to tackle the final artwork with (hopefully) the same amount of ease and playfulness.  

Do you experience illustrator's block - if so, what do you do about it?

Rarely, But if I do, I like to give myself (and the illustration) time to work things out. I usually slip myself back into everyday life; walking the dog, shopping, cleaning, picking up kids from school, I usually get that flash of well needed inspiration when I least expect it...never underestimate cleaning the loo!  

What's the worst thing about being a freelancer?

The isolation.  

And the best?

The isolation.  

What are you working on at the moment?

I’m smack bang in the middle of two books. I’ve just finished illustrating Margret Wild’s NO MORE KISSES (Little Hare) and I’m about to start work on NOW I’M BIGGER (Working Title Press). NOW I’M BIGGER is sitting, face down next to me, I was hoping for a few days off...but I can’t resist, I think I’m just going to have to brace myself for the few unsettled weeks that lie ahead.  

Where can we see more of your work?

My website www.ninarycroft.com To view my BALLROOM BONANZA interview http://www.youtube.com/watch?v=TJlB-KWRNVM To view BALLROOM BONANZA front cover illustration demo http://www.youtube.com/watch?v=MSytsQFZoKU

Deb Gilmartin PIO issue 271 Dec 2009

What's this illustration for? 

This illustration (Neighbours) was both for myself and formed part of an exhibition called Feline Groovy. Illustrations done in this style are what I call "The Wonkies". The Wonkies are paintings that hopefully get the viewer to make up their own story about them. Each "English" based Wonkie features cats or the reference to them, they are always set at night and you never see a human being in them. Neighbours came about as a comment on the fact that these days we all keep in touch via the media but we are really on our own cold little islands. So who do we really know?

Do you have to wait for a flash of inspiration - how do you start? 

I usually like to start with a weird idea that just pops into my head. Sometimes they start as a simple idea of putting an ice-cream van in a street scene and then the van takes on a life of its own. I draw lots of possible scenes and the ones that connect with something inside of me just start to grow. I also find that I play around with the composition in a thumbnail. Then, if I am on the right track, it all starts to fall into place. My enjoyment of the sense of the slightly absurd (English upbringing) and also the slightly sinister side of life appeals to me when I am working on a Wonkie.

How did you get your start as an illustrator?

I was the artist in residence for Australian Aerospace based at Oakey in Qld in 2006/07. While there my job was to record and document (in the form of a visual diary) the introduction of the new Tiger Armed Reconnaissance helicopter. This resulted in an exhibition called Tigers, Rotors & Blokes. Some of this work was displayed at the 2007 Avalon Air show and while there I met the Editor of Contact Magazine, a military magazine. This resulted in some of my work from the helicopters being published. Other work that I had done on the Lighthorse was used to illustrate an article on the Lighthorse Charge at Beersheba. So far, that is all the work I have had published but I am looking for the opportunity to illustrate a children’s book as this is really where my heart lies.

Who or what has influenced your work? 

Many, Graham Oakley, Shaun Tan, Christopher Wormell, Alexis Deacon, Quentin Blake, Charles Keeping too many to name.

What's your favourite media for creating pictures? 

Depends upon the style. I will use all media except for textiles & oils.

Do you experience illustrator's block - if so, what do you do about it? 

Yes I do. I keep working even if its a rubbish picture or painting. A good friend suggested that I just try and work through the process even if the results are bad and eventually the block seems to go away. Another trick I use is to go for a long walk and do something completely different like chat with my cats. They usually tell me what to do.

What's the worst thing about being a freelancer? 

Trying to get work

And the best? 

As I am very new to this I can't really say but being published was so very exciting, like selling your first painting. Being able to let my imagination fly.

What are you working on at the moment? 

I am working on a wonkie picture book that involves a cat and a long and dangerous journey through the night.

Where can we see more of your work? 

You can see more of my work at www.debgilmartin.com

Rosalie Street PIO issue 270 Dec 2009

What's this illustration for?

This is one of my favourite illustrations; I did it almost a decade ago when I was starting out. It gained a lot of positive feedback, which gave me the confidence to start creating my own children’s picture book. I produced lots of shadow pictures but kept hitting a brick wall with the story line and words. I got frustrated and put it aside, life has kept me preoccupied the past five years and I never got back to it. I dug out my Shadow folder the other day, it’s back on the boil and the ideas are brewing. I hope to finish it soon as it’s been waiting in the shadows for too long.

Do you have to wait for a flash of inspiration – how do you start? 

If it’s a personal project I need that initial flash of inspiration to plant the seed. If it’s a commissioned job I begin by brainstorming and researching. I collect as many relevant images as I can find. I always make scrapbooks, take photo’s and sketch, and Google the internet for reference material. If you surround yourself with inspiration you will be inspired.

How did you get your start as an illustrator? 

I started out studying fashion and theatre design, and costume illustration was my best subject. Once I made the decision to become a professional illustrator I began building up my folio and getting as much feedback as I could. I think I will be forever building on my folio and experimenting in my search for an ideal individual style.

Who or what has influenced your work? 

When I was a small child I loved the works of Beatrix Potter, Dr Suess, E.H. Shepard, Quentin Blake, Dick Bruna and Jan Pienkowski; and my favourite story was ‘Little Black Sambo’. Presently I adore the works of Ana Juan, Shaun Tan, Ron Brooks, Armin Greder, Lisbeth Zwerger, Chris Riddle and Amanda Upton. My mentor has been Ann James.

What's your favourite media for creating pictures? 

When I’m working on the rough I draw on paper, then I scan the rough into Photoshop where I can play around with it. I have a nice big Wacom tablet to draw with, it’s so much faster than redrawing and rubbing out on paper, and you don’t end up with a bin full of wasted paper. Once I am satisfied with the rough I print it out, put it on the light box and trace it. For the final illustration I tend to use acrylic paint and aquarelle pencil on Arches smooth 300g water colour paper. Many of my illustrations are touched up or completed in Photoshop.

Do you experience illustrator's block - if so, what do you do about it?

Usually if I get artists block it’s because I’m tired or stressed, or I haven’t given my mind enough breathing space. To unblock I take the dog for a walk or go for a swim.

What's the worst thing about being a freelancer? 

I think you need to be incredibly motivated and self disciplined to be a successful freelancer. Working from home can be distracting. I am forever cleaning the house before I commence work. My husband reminds me to take time off, otherwise I just sneak in and work every chance I get and the weeks blur into one.

And the best? 

I like the freedom of working from home. I can put my family first and keep life well balanced. What I do for work is also what I enjoy doing in my spare time; it’s not a job I will ever retire from and often it doesn’t feel like work at all.

What are you working on at the moment? 

I’ve written a children’s picture book based on the Black Saturday bush fires, and it’s almost ready to send off to a publisher (fingers crossed). I also have a deadline looming for Copeland Publishing: Melbourne’s Child Magazine.

Where can we see more of your work? 

You can view my website on www.rosaliestreet.com And you will find me on www.thestylefile.com and www.overallpicture.com

Owen Swan PIO issue 269 Nov 2009

What's this illustration for?

From Hide & Seek by Irini Savvides, through Scholastic Press.  

Do you have to wait for a flash of inspiration - how do you start?

I start by doodling and just do that for ages til I'm lost in thought, and eventually something usable might emerge from what's essentially an abstract mess. Flashes of inspiration usually happen when I'm on a train or somewhere so I try scribbling them down & see if they spark later.  

How did you get your start as an illustrator?

Mark Macleod offered me a text & basically that was that, I'd met Margaret Hamilton at an art show and she mentioned my stuff to Mark . Ann James putting me on the Style File helped immeasurably and Ana Vivas has encouraged me non-stop since day one, we both met through mutual friend Jenny Gorman at Megalong Books in Leura (wonderful kids books section if you're ever up that way).  

Who or what has influenced your work?

The work of Maurice Sendak and Michael Foreman can cast a spell over me. It's always brilliant seeing other artists' work you can identify with - I really like Edward Gorey and that goya-ish nursery rhyme Paula Rego stuff for instance.  

What's your favourite media for creating pictures?

I used to photocopy heaps and actually cut and paste using scissors & glue & liquid paper - it was a pretty messy time-consuming process compared to photoshop, but was more fun & spontaneous in a lot of ways. Mostly I use pencils & watercolour for finished work; I really love pen & ink but the way I use it takes forever.  

Do you experience illustrator's block - if so, what do you do about it?

I suppose you've got to be in the right mood, it's futile trying to force anything. But I research ideas by looking anywhere & everywhere - movies are good, sometimes a still from a movie provides me with a setting, you can endlessly plow through old art books for ideas, steal poses from sculptures, or a particular hat from an etching; most props are lying round the house.  

What's the worst thing about being a freelancer?

I truthfully can't think of much I don't like about freelancing, I feel very suited to it. You're stuck on your own a lot so it can be a bit hermitic & you have to invent a schedule and then try sticking to it, which can be tricky. And the best? Listening to music round the clock.  

What are you working on at the moment?

A new picture book for Scholastic Press due out August 2010.  

Where can we see more of your work? My website is www.owenswan.com - it's about 3 years out-of-date though!