Tamsin Ainslie

What's this Illustration for?

This is a section of the illustration for 'Lavender's Blue' included in the 'ABC Book of Lullabies' published Oct 08

Do you have to wait for a flash of inspiration?

Not really, I generally read the manuscript several times and do heaps of working drawings - very rough, I then develop those into storyboards & roughs and work from there. Ideas happen and develop as I draw. Sometimes I do have a 'flash of inspiration' - but usually it will be for something totally irrelevant to what I am working on at the time - but those pieces of work are often strong and starting points for other projects.

Who or what has influenced my work?

My mother is an artist and my grandmother was an illustrator. I always wanted to be an illustrator from an early age. I was always encouraged to draw everything around me.

I am inspired by many artists, illustrators and designers. Paul Rand, Paul Klee, David Hockney, Lizbeth Zwerger come to mind.

What is your favorite media for creating pictures?

If I have to pick a favorite, I love to draw! with a pencil, I love line. But then I like to create with all sorts - pencil, paint, paper, collage, ink, brushes, wood, old book pages & the computer.

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

I do sometimes find it hard to get going. Occasionally my drawing just doesn't seem to work! I find dropping everything and leaving it for a while the best and work on something completely different, like some printmaking, or go for a swim.

What's the worst thing about being a freelancer?

Not having enough time to do everything (self promotion, book keeping, emailing, the actual work, website maintenance, washing, school run, cleaning, cooking...)

–there just never seems to be enough hours in the day!

Not being able to leave my work sometimes as it is just there all the time, sometimes I think it would be nice to be able to leave work at work...

And the best?

Earning a living doing exactly what I love!

Setting my own hours, being able to spend quality time with the family, working all night if I want to or really early, being able to take a Wednesday off if I wanted and work on a Sunday, swimming mid morning, going to all my daughter's school concerts and talks and assembly's without it being a problem, being able to be with my children when they are on holiday. Being able to work in my paint splattered shirt and a pair of bikini bottoms if I really wanted to... the list goes on!

What are you working on at the moment?

At the moment I am working on several books including 'Sustainable Baby' written by Debbie Hodgson, for the ABC, 'Little Dog' written by Katrina Germein, for Scholastic, 'Can We lick The Spoon Yet? written by Carol Goess for Working Title Press, and a few other projects including editorial illustration for Notebook magazine and a board game for the Readers Digest.

Where can we see more of your work?

I am represented by Margaret Connelly: http://margaretconnolly.com/

my own website: http://www.ainsliebeard.com.au/

and my illustration blog: http://tamainslie.blogspot.com/

Shaun Tan

1. What's this illustration for?


This is an illustration for a very short story (less than a page long), featured in the book 'Tales from Outer Suburbia', one of fifteen such illustrated stories. This one is about a strange rite performed by neighbourhood dogs after the death of an unknown pet, although the illustration actually inspired the story rather than the other way around.

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

It can be either, but usually I can't afford to wait around, I will start researching a subject of interest. I am also in the habit of recording interesting ideas in a sketchbook, when they occur, so I can use them later, when they don't!

3. How did you get your start as an illustrator?

Fairly gradually, working on small, largely non-paying projects. My first illustrations were for small-press semi-professional science fiction magazines with modest circulations. Not many people may have seen the work, but those who did were very interested in it, and many went on to recommend me to larger publishers.

4. Who or what has influenced your work?

That's such an enormous question, it's almost impossible to answer. But in summary, I think growing up in Perth had a big influence - the landscape and solitude of that city; the encouragement of family and friends, and an interest in science fiction and fantasy, mixed with an equal interest in 'fine arts', so I more or less studied at uni to be an art historian or critic. I have an equal interest in 'high art' and 'popular culture', which are more intermixed these days, which is a good thing.

5. What's your favourite media for creating pictures?

Either simple pencil, as in the above image, or oils. Oil painting is slow enough for me, and is quite a forgiving medium, as I tend to change my mind a lot.

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

Yes, frequently: I just go and do some other kind of activity. Either that, or research, and look at how other artists might have solved similar problems.

7. What's the worst thing about being a freelancer?

Mostly dealing with clients who are difficult, or change their mind, or are part of a committee that does not have great acumen when it comes to visual art. I feel much of my success has been due to careful negotiation, and good communication, when it comes to working with new people. More and more I've worked towards focusing on my own projects so that I can have greater creative control, and be less answerable to others.

8. And the best?

The freedom to do the above, and to work at a level I am happy with, and manage my time effectively. Being a freelancer has also taught me to be more entrepreneurial, to work in many different areas too, not just book illustration or painting.

9. What are you working on at the moment?

A short animated film, an adaptation of my picture book 'The Lost Thing', which is a fascinating process. My role is as a lead designer and director, working with experienced animators.

10. Where can we see more of your work?


On my website, www.shauntan.net , which has plenty of examples of all kinds of painting and illustration projects. I'd also look out for the Pixar film 'WALL.E' which I produced a small amount of design work for.


Cheers!

Shaun tan

Tohby Riddle

What's this illustration for?

It’s the opening illustration for my new picture book Nobody Owns the Moon (published by Penguin)

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

I can’t always afford to wait – so I have be on the lookout for ideas and solutions. This illustration, however, was sparked by the words that go with it: the opening sentence of the book. What I like about it is that it turned a plainly worded fact about foxes into children’s literature. It provided a character and the beginning of a story. The rest of the book was written after this illustration was conceived.

How did you get your start as an illustrator?

Doing any job I could get – often for university publications. My first book job came about after I wrote a picture book text, because I thought I’d have a better chance of illustrating a picture book if I’d written it too.

Who or what has influenced your work?

I've no doubt the content of my work is a product of who I am and my life experiences and observations - but that might take some unravelling to define accurately (perhaps by a professional!) Otherwise, my work is influenced by many other artforms: film, poetry, prose, painting, architecture and especially music. To me, the lasting feature of an artform is its emotional quality and I like how music achieves this pungently and meaningfully, without having to be too literal or rational – just moving and memorable. Good qualities for art, I think. As for other artists, it's often the thinking behind their art that influences me – by offering fresh approaches to image-making.

What's your favourite media for creating pictures?

Well, for this book I took a mixed-media approach of "anything goes – if it works". So when constructing a scene, each individual subject in the scene was done in the medium that seemed to suit it (pen, pencil, ink, watercolour, acrylic, stamps, different papers, photographs and more). Then it was all combined as collage, like things seem to be in reality, itself – our environment could be seen as mixed-media.

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

Without meaning to sound like an athlete, I find I need to be in the "zone", to do my best work. A kind of meditative state where I’m just doing – where I’m not thinking too much nor second-guessing my judgement. If I’m not in that state I can struggle and get bogged down or stuck. That’s when physical exercise helps – for me, a long walk – or simply switching my mind to another creative problem as a kind of circuit-breaker.

What's the worst thing about being a freelancer?

Well, potentially freelancers have a good deal of freedom – so the worst things are also the best things – the things you could find yourself craving if you were tied to a job that wasn’t giving you much satisfaction and taking up a lot of your time and energy. These things being the freedom to choose what you will do and when – and being your own boss. But you also have to be your own manager, accounts department, employee, publicist, gofer etc. …

And the best?

The best thing is to reach a stage where you can do your own thing and be financially viable.

What are you working on at the moment?

I’m working on a range of things from a YA novel to a series books for the very young, but there’s also an idea mysteriously hovering for a future picture book, which I just can’t quite pin down yet. So I keep pondering this in spare moments.

Where can we see more of your work?

At present the best – and most convenient – place is my website:
www.tohby.com

Peter Carnavas

What's this illustration for?

This is a page from my picture book, Jessica’s Box, published by New Frontier. It’s the tale of a young girl’s attempts to make friends by impressing other children with material possessions, presented in her cardboard box each day. This particular page is a moment of consolation between father and daughter, after a failed attempt.

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

I spend a lot of time thinking about my characters when I should be doing other things. That thinking time is very important for me, then once I start scribbling in my sketchbook, it doesn’t take too long. I just keep drawing until the pictures start to resemble the pictures in my head.

How did you get your start as an illustrator?

Jessica’s Box is my start. I completed a course with Virginia Lowe’s Create a Kids’ Book, then sent my mock-up to New Frontier and the book was published. I’ve done a few things related to my job as a teacher – murals, cartooning classes. I hope to illustrate on a more permanent basis one day.

Who or what has influenced your work?

I spend a lot of time studying my favourite illustrators, many of them Australian. Favourites include Freya Blackwood, Stephen Michael King, Armin Greder, Greg Rogers, Shaun Tan, Peter H Reynolds, Quentin Blake.

What's your favourite media for creating pictures?

I like using ink and watercolour, though I’m interested in trying variations on this. Jessica’s Box was illustrated using a black pencil outline and watercolour. I still love using led pencil for a lot of things.

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

I’m rarely stuck. I enjoy it too much. If I begin to stumble, I may refer back to other illustrators’ work to see how they may have overcome a problem, or just walk to the beach.

What are you working on at the moment?

I’m finishing off my next picture book, Sarah’s Heavy Heart, also being published by New Frontier. It will be out next April.

Where can we see more of your work?

I have a blog which I have only recently added to after six months of neglect. http://scribblypete.blogspot.com/

Rae Dale

1. What's this illustration for?

A picture book about tap dancing and life's unexpected sting.

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

No need to wait the words always get me going and if some thing
needs reference even more fun.

3. How did you get your start as an illustrator?

I have always been a drawer and I went to Swinburne art school
some how things continued on from there.

4. Who or what has influenced your work?

I am not sure who has but I appreciate lots of illustrators and
artists work past and present.

5. What is your favourite media for creating pictures ?

Dip pen and ink , gouache on Arches HP.

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

No.

7. What's the worst thing about being a freelancer?

Irregular payments and no work.

8. And the best?

The work is always interesting.

9. What are you working on at the moment?

A picture book I have written.

10. Where can we see more of your work?

On the Australian Society of Authors style file www.asauthors.org and at www.illustratorsaustralia.com and maybe your local/school library.

Peter Allert

What's this illustration for?

This illustration was for a friend of mind who requested I draw her mother’s sixteen-year-old cat that had passed away last year. Capturing the personality of such a close family member certainly put the pressure on. I understand her mother was very please with the result.

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

Sometimes if I have an idea or subject I would like to work on I think about it for a while, forming it slowly in my mind. Then when I’m ready to start I’ll have a good idea of what I want and trying to achieve. Flashes of inspiration can come at this time and ideas can grow as you work on them.

On other occasions if someone has an idea of what they want I’ll try my best to deliver it. I’ll complete some basic layouts first and then start creating. The above illustration started by looking at a series of photos and then choosing the best angle and mood. I don’t think about colour much until I’m in the thick of it.

How did you get your start as an illustrator?


Just started to draw subjects I was interested in when I was young, experimenting with lines and shapes. I got into a lot of trouble at high school for drawing instead of focussing on my work. I left it for a long time and over the last couple of years focussed on building my skills again and a portfolio. I’m very pleased I started again.

Who or what has influenced your work?

There are so many things in this world that have influenced me, nature, people, different ideas about life and especially other artwork. I particularly go to other exhibitions and see what other artists are doing. I also keep up to date with the latest art magazines and book displaying different techniques. Understanding how other artists have approached a particular subject and what they used to create their piece.

If I had to say one person in the last couple of years who has influenced me I would have to say Shaun Tan, a genius on so many levels. If you illustrate, paint, or write, you would not do yourself a disservice by looking up his work.

What's your favourite media for creating pictures?

A trusty HB and water colour pencils. I’m experimenting with paints at the moment but I like the detail and control of a sharp pencil. I also use quality water colour paper.

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

Yes I do. I wash dishes, iron, sweep the leaves, and generally avoid my workspace. That said, I just start and before I know it I am in the zone and the hours fly by. I don’t know if this works for everyone but I have music playing the background, it tends to keep one part of my brain busy while the other works.

What's the worst thing about being a freelancer?

The worst thing for me would be not reaching a client’s expectations and at the same time a certain personal quality of work I like to achieve in myself.

And the best?

It challenges me and forces me to do better. Also, the feeling I get when other people are please by my work. Like most artists I want my work to touch people in some way.

What are you working on at the moment?

I’m keeping myself busy with some personal projects at the moment but always willing to look at new subjects and ideas.

Where can we see more of your work?


I have recently set up a website www.peterallert.com.au , hope you enjoy.

Clara Smith

What is this illustration for?

This illustration was for Illustration Friday "Pretend". The little girl in the diving helmet is Lula, a reoccurring character in lots of my paintings. She's very cheeky.

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

No but everything comes out a lot easier when there is a flash. Gotta love the flash! Otherwise there is loads of doodling time. My kitchen bench is constantly covered with scraps of paper with little drawings on them.

How did you get your start as an illustrator?

I started out with theatrical design making renderings for costumes. I have been painting professionally for ten years but most of that was gallery work in the USA. The "illustrator" hat is a new one for me. I have started on some freelance websites and have mostly done more commercial illustrations so far.

Who or what has influenced your work?

Otto Dix is by far my very favorite painter, ever. I tend to like to darker cartoonists/illustrators like Roman Dirge, Gris Grimly and Charles Addams.

What's your favourite media for creating pictures?

I like to use lots of different media. I most frequently use watercolor but also use a lot of collage. I love the different textures and patterns that can be achieved with collage. I have tried to learn more techniques on the computer but alas, I am a bit technically challenged at times. I find it much less frustrating to do things the old fashion way by getting my finger dirty.

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

I wouldn't say "block" but occasional frustration when I am having trouble getting exactly what I see in my head to appear on the paper. That is where the obsessive doodling comes in.

What's the worst thing about being a freelancer?

Figuring out the yucky money side of it all. How much am I worth? Am I asking too much? Too little? I am no financier for sure but I love everything else about freelancing. Except maybe the mess I make in my house.

And the best?

Working in my pajamas and being able to take a break to make cupcakes. Yay pajamas and cupcakes!

What are you working on at the moment?

Cupcakes, oh wait no...a children's book.

Where can we see more of your work?

My blog www.cbdoodle.com

Katherine Battersby

1. What's this illustration for?

This is a double page spread from a picture book I wrote and illustrated aimed at children up to 3 years of age. I have only recently finished it, so am currently submitting it.

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

I tend to suffer from an overflow of ideas, so I certainly never need to ‘wait’. Often I’ll wake up with a very clear image in my head of a character that demands to get down on paper. Because I both write and illustrate, they tend to inform each other, so while I’m sketching people and places the story often unfolds (and visa versa).

3. How did you get your start as an illustrator?

I’m still very much starting out. I have contributed illustrations to the Society of Children’s Book Writers and Illustrators, and have taken on private commissions. However I would love to get into creating books – picture books, covers and overall book design. I am currently completing a bachelor of Visual Communication Design in furthering my illustration goals.

4. Who or what has influenced your work?

Identifying influences is like trying to identify each individual gene that makes me the person I am! But for the sake of diplomacy, a few of the illustrators that inspire me and inform my work are Shaun Tan, Oliver Jeffers, Anne Spudvilas, Stephen Michael King and Tina Burke.

5. What's your favourite media for creating pictures?

Wow, that’s another hard one! I vary the mediums I use significantly depending on the text, as I write both serious and funny stories. For more serious texts, I tend to work with many layers, using a combination of sketching, collage, acrylics, photography and digital art. For my more playful texts, I use ink and either water-colour or collage.

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

Luckily for me, because I both write and illustrate, if I start to feel ‘stuck’ with one, I just move to the other. The only times I ever experience a block is if I try to begin a project too early, and haven’t let the idea grow enough in my head first. I tend to trust in my subconscious to solve any tricky problems, and find a long walk / drive usually does the trick – or sleeping on it (although try convincing a loved one that you are actually ‘working’ when heading off for a nap!).

7. What's the worst thing about being a freelancer?

Trying to independently build and sustain a career. The sense of isolation. A lack of external feedback encouraging you and letting you know you’re improving.

8. And the best?

Flexibility. Being able to run with my own ideas and creative energy. Knowing that I have found what drives me as a person and being able to pursue it.

9. What are you working on at the moment?

I am currently developing the illustrations for a picture book for slightly older readers, editing a middle-grade fantasy novel, and writing / illustrating an adventurous early chapter book text.

10. Where can we see more of your work?

Feel free to visit me on my website. I am always happy to receive e-mails – the people in this industry are so delightful!

www.katherinebattersby.com