Sally Heinrich

1.. What's this illustration for?


This illustration was done as an entry for the Waterhouse Natural History Art prize - www.thewaterhouse.com.au - an annual competition hosted by the South Australian Museum. Ther winners were announced on August first and it was highly commended. It is about 100x 85cms.


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


No problems with inspiration - the problem is finding the time to execute all the ideas I have - never enough hours in each day! In this case I had been a finalist for the last two years with lino prints, and this year decided to use the technique that I have used for illustrating many of my books. In my latest picture book The Most Beautiful Lantern one double page spread had a jungle scene, which led indirectly to a twin commission for the Singapore Zoo and Singapore Night Safari. The large illustration for the Zoo has been used as a mural in the Zoo shop, on buses, bags, cups and many other items of merchandising. When I was thinking about what to do for the Waterhouse this year I decided to do an Australian version of that.


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


I did a Bachelor of Design majoring in illustration at SA Uni, and have been working as a freelance illustrator ever since, although now spend about half my time writing and half illustrating.


4.. Who or what has influenced your work?


Many many influences – so many wonderful illustrators – Wayne Anderson, Maurice Sendak, Ron Brooks particularly when I was starting out. My time traveling and living in India and South-East Asia has been a huge influence on the directions that both my life and work has taken.


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


This illustration was done using watercolour with graphite pencil over the top. It’s time consuming and drives me crazy at times but I love it. The best bit is when I’m doing the shading and the three dimensional images begin to emerge out of the flat paper – that’s always a bit exciting. I also work with lino prints – I love the process of carving especially, and in pen and ink with watercolour.


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


It is always a little difficult starting off a new big project, and I usually spend at least a day procrastinating, but eventually just have to force myself to sit and start drawing. I have big blank sheets of paper in front of me and start of by doodling until my ideas start taking shape. Once I’ve begun, I tend to get quite obsessive, and often have to be physically dragged away from my desk.


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


Definitely the irregularity of income – I sometimes fantasize about a weekly pay cheque.


8.. And the best?


Spending my days doing what I love. There are some days when I am so immersed in what I am doing that time seems to simply evaporate – the kids are home from school and I have had no sense of the day passing.


9.. What are you working on at the moment?


The next in a series of information/activity books that I have done for Curriculum Corporation, Key Into India, which is exciting and making me want to go there again, my third novel, and a series of greeting cards – (and a few other things)


10.. Where can we see more of your work?


My website - www.sallyheinrich.com and on the style file.

Katie Stewart

What's this illustration for?

It was the illustration of the last page of ‘The Big Red Bucket’ by Karen Treanor (Quenda Books) which was published in 2006 – my first chance at colour illustrations. The book is one in a series called Scoot, Scoot, Bandicoot – stories about Bounce and Pounce, two baby bandicoots who get into all sorts of mischief. The books raise awareness of bandicoots in the wild.

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

Generally I work with the author and try to achieve what they want. I enjoy being allowed to do whatever I’m inspired to do too, but you have to be flexible. Sometimes, of course, the words just make an illustration ‘appear’ in my head. That’s a good feeling.

How did you get your start as an illustrator?

I had my first break when I saw an ad for someone to do illustrations for a series of school maths books. After that I was busy teaching and raising a family and my illustration work got put aside. Then, a few years ago, my local Arts Society heard of someone wanting an illustrator for the books about bandicoots. I’d just had a mini exhibition of pastel drawings, which included one of a numbat, so they suggested me.

Who or what has influenced your work?

I was brought up on Beatrix Potter and learned to draw by copying her pictures, so I suppose she’d be the greatest influence. I’ve always drawn animals, simply because I love them. But I love doing cartoon type illustrations too.

What's your favourite media for creating pictures?

I’ve always loved pastels, but find them too fiddly for book illustrations, so I use watercolour washes and coloured pencil on paper that I can scan on my own scanner. The results are soft and I like the effect. I also enjoy doing black and white sketches and colouring them on the computer for a much brighter effect, but I’m still learning to do that properly.

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

I wouldn’t call it illustrator’s block, but there are definitely times when I just don’t feel like drawing. If I’m lucky they don’t coincide with an illustrating job with a deadline! I’m trying to break into writing at the moment too, so if I run out of inspiration for one, I just turn to the other. It’s a lovely balance.

What's the worst thing about being a freelancer?

You can’t make plans as a freelancer. You may get a book, you may not. So I can’t depend on it for income. Fortunately, I have a part-time job as a school library assistant, which I love, and I occasionally sell some of my writing. But it would be nice to get more illustrating work.


And the best?

As a freelancer I can work closer with the writer and be more confident that what I’m doing is what they want. As a writer I know I have very definite ideas about what I think the illustrations for a story I’ve written should be (one day I may even get around to doing them), so it’s good if they’re happy with what they’re getting.

What are you working on at the moment?

I’m just about to start work on another of Karen Treanor’s books in the ‘Scoot Scoot Bandicoot Series’.

Where can we see more of your work?

My website – http://www.katiewstewart.com/

Anna Walker

What's this illustration for?

My first very own children’s book, only put on book shelves this week.

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

I have three young children and only have 1 or 2 days a week to work, so there is no waiting, just hopping into it.

How did you get your start as an illustrator?

I trained as a graphic designer and then freelanced as a commercial illustrator for almost 15 years, in editorial, cards and packaging. I have always wanted to illustrate children’s picture books. I think the biggest help was going to a workshop with children’s book writers and illustrators in Sydney (two years ago). With lots of encouragement I sent some of my stories to some publishers and to my delight I am now seeing my illustrations in books.

Who or what has influenced your work?

Olive, Joseph and Sam (my children), illustrators like Delphine Durand, artists like Camilla Engman, Japanese toys, printmaking and sewing.

What's your favourite media for creating pictures?

Acrylic paint, ink, sometimes collage, and lately conte pencil

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

Not sure about block but before any project I do a lot of research, look at books, collect reference, look at craft blogs, and lots of drawing!

What's the worst thing about being a freelancer?

Its tricky sometimes getting the balance right, not taking on so much that it affects time for the children.

And the best?

Freedom, independence, the joy of drawing and painting, going to the studio in Abbotsford shared with other illustrators and designers and take-away coffee!

What are you working on at the moment?

I am doing illustrations for a beautiful story, "Little Cat and the Big Red Bus" by Jane Godwin (to be released in November by Penguin)

Where can we see more of your work?

www.annawalker.com.au

www.thestylefile.com

www.miggytree.com.au