Peter Sheehan

What's this illustration for?



This illustration is for a short story entitled Staring Contest, written by Lyn Stoelwinder that is to be published in The School Magazine - Orbit - #1 2009. The story is about two siblings determined to win a staring contest despite an alien invasion.



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


I start by reading the text carefully with an eye for any image that will capture the essence of the story. In particular I look for the story as revealed on that particular page, not the story as a whole. I find the best stories have twists to them and when a story requires two illustrations I love emphasising these surprises in my drawings.



How did you get your start as an illustrator?


I was very fortunate to have Aart Van Ewijk as my art teacher for a few weeks in high school. He retired soon after I arrived at the school but we remained friends for many years. Aart was an illustrator on The School Magazine and he introduced me to the then editor, Kath Hawk. That was in 1982 and I have contributed illustrations to the magazine ever since.



Who or what has influenced your work?


The art and techniques of animation have influenced the way I illustrate. I was a layout artist with Hanna Barbera for many years animating classics like Scooby Doo and Top Cat. Drawing for eight or ten hours a day for seven years gave me a good understanding of perspective and the importance of capturing movement in drawing. Also, I studied acting for many years and this I suspect has given me the impetus to try and inject some of the intensity, heightened emotion, psychological intrigue, humour and parodox one finds in great drama into my drawings .



What's your favourite media for creating pictures?



Currently I'm playing with PhotoShop, but nothing beats a sharp pencil. So I still sketch everything by hand on paper, scan these drawings then play around with the colours in the digital environment.



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


I don't really know what illustrator's block is. If it's those times when I feel like making myself a cuppa tea, I experience it once or twice a day but, having said that, these 'blocks' usually only lasts as long as it take to boil water. More often than not I will make the cuppa and return to my work only to become so immediately engrossed in it that I forget to drink the tea!



What's the worst thing about being a freelancer?


The solitude.



And the best?


The solitude.



What are you working on at the moment?


I currently have three picture book proposal with publishers, so, while I am waiting to hear back from them, I am busy illustrating the latest School Magazine. Also I'm creating a storyboard/animatics for animated television series called Nanoboy and Dogstar and I'm illustrating an article for the Walkley Magazine which is a magazine for, by and about Australian journalists.



Where can we see more of your work?


The Australian National Maritime Museum has a few of my drawings in their collection. I had one of my paintings hung in the Blake Prize 2008 (last year). Creating the cartoons and illustrations for the Fair Dinkum Histories, written by Jackie French, has been a great job over the past few years. You should be able to find these and all the other books I have illustrated in most good libraries. Also I have some drawings on my website; www.petersheehan.com

Kim Flemming

What's this illustration for?



This is the opening illustration for a children’s book entitled '‘Surprise!” published by Miscellaneous Press. It was a lot of fun to illustrate, but I can’t tell you much about it or it would ruin the surprise!

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


Often images spark in my head as I’m reading a text for the first time, and I find those to be the most potent, but mostly I just start. Start sketching, start researching, start something, and some sort of idea will usually come to the forefront.

How did you get your start as an illustrator?



Even though I’ve been painting all my life, I only really got into illustration about 4 years ago. I got a folio together and took it around to publishers, then waited for the phone to ring. Luckily, it did. I started out doing educational work and still do some of that, but am moving more into the trade market (very) slowly but surely.

Who or what has influenced your work?


I love looking at artist blogs and am heavily influenced by my peers. What I am drawn to seems to change often but I think parts of each seep gently into my own work. Current favourites are Anna Walker, Amandine Piu, Natascha Rosenberg. I think also having lived in a few different countries and an obsession for travel is a big influence too.



What's your favourite media for creating pictures?



At the moment I use watercolours and collage of different papers – japanese patterns or old books mostly, I love the different textured effects. I sometimes throw in some acrylics and ink for good measure too.

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


Not so much (she says knocking on wooden desk) - I tend to do a lot of sketching first to come up with at least one decent idea, and if I’m really stuck I will ask someone else’s opinion (I am lucky enough to have a critique group, and a husband) and usually another perspective will send me on my way again.



What's the worst thing about being a freelancer?



Doing your taxes. And the isolating nature of working from home. At times I can go a bit stir crazy!

And the best?


You can choose your own hours, do things like grocery shopping during the day when everyone else is at work, and the commute from bed to studio is very easy. Being able to pick and choose your projects is great too.

What are you working on at the moment?


I’m working on a four book series for Five Mile Press which is all about being healthy, due out later this year.



Where can we see more of your work?

blog: http://lil-kim.blogspot.com/
website: http://www.kimflemingillustration.com/

Shane McGowan

1. What’s this illustration for?


This is an image taken from the picture book The Robot’s Pet by Nigel Gray which was released last year by Koala Books. It’s a quirky tale of friendship and belonging. I had fun developing the main character especially.

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

Flashes of inspiration often come along in the middle of the night laying in bed pondering. I usually have a few ideas for stories in my head and just need the time to lay them down like a storyboard, that’s the really hard bit for me
and takes ages usually. If I’m illustrating someone else’s text then I usually have to read and re-read the words a few times over until I get a handle on the visual direction I want to take.

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

After I finished a Graphics course in the early 80s I hauled my portfolio round to countless agencies, magazines and publishers. No-one was willing to give me a job but I think Penguin was the first to commission me for a cover. Other freelance work followed and before I knew it I had a career going. After three years of working fairly consistently here in Melbourne I moved to London, where I stayed for nearly twenty years.

4. Who or what has influenced your work?

I get influenced by my childhood an awful lot. Old episodes of Bewitched, Japanese tin toys, 60’s racing cars, Hanna Barbera cartoons and growing up in suburban Melbourne. Also things my daughter says and does are hugely influential in my work...my first book was all about her.

5. What’s your favourite Media for creating pictures?

I have worked digitally for the last eight years or so. I love my Wacom Tablet and Photoshop. Before that I had many mediums-scraperboard, gouache, oils, coloured pencil. One day I plan to go back to painting-famous last words.

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

Yes, sometimes. If I have a pressing deadline then I just knuckle down and hope for the best....otherwise I go for a run, surf the net, read a book or tear my hair out and scream.

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

The constant threat of poverty.

8. And the best?

Being your own boss. Setting goals and making a living doing something you love.

9. What are you working on at the moment?

I have three editorial/publishing commissions to get done this week. I’ve just finished illustrating a book by Lee Fox for Allen And Unwin. I have a couple of ideas for new books that I’m developing and need to get cracking on and also a pretty exciting project that’s been on the back burner for what seems like for ever.

10. Where can we see more of your work?

My website is probably a good place to start.

www.shanemcgworld.com

Michelle Dybing

1. What's this illustration for?



It was a personal piece I submitted to Illustration Friday (the word for that week was ‘grow’). It’s still a favourite of mine - I can see aspects of my children’s personalities within the faces behind the sunflowers.


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



No flashes of inspiration for me - I have to think and plan. I will often look around for stimulation, maybe to an old drawing or a photo. My husband and children are good sources of ideas also. I brainstorm through sketches. When I’m happy with the sketches I will scan them into Illustrator and work on them digitally.


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



I remember just deciding one day that illustrating was something I wanted to do. So I set some goals, got some advice, took a few short courses and over a couple of years built up a portfolio. I joined Illustration Friday and submitted every week. I started a blog to post my work. There were many jobs done for ‘love’ before I was asked to illustrate my first book. It was all good experience; last year my persistence paid off and I was commissioned for another book, some magazine illustrations and a number of other small projects.


4. Who or what has influenced your work?



My mother used to paint beautiful houses and cottages in watercolor so I think I got the art bug from her. Now I find I am always collecting ideas and filing them away. I visit libraries regularly, collect old books, take photos and notes and visit art blogs. There is so much knowledge and expertise available to us now via the internet.



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



My work is mainly digital. I use Adobe Illustrator for most of my illustrations. I am starting to experiment more with fabrics, textures and the inclusion of hand-drawn (non-digital) images.



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



Yes I do - when it happens I clean my desk. Getting rid of the clutter and mess helps me to refocus and start again.



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



The challenge of finding work or having work find me, although this is not a big problem as I’m only doing this part-time. My work as a teacher is something that I also enjoy but illustrating provides a creative outlet for me.



8. And the best?



Being able to fit something I love into an already busy schedule and being able to work from home.





9. What are you working on at the moment?



I have submitted some illustrations to Image Zoo where they will be available for purchase. I have started experimenting with animations and I am looking forward to seeing what exciting projects the year will bring. I would love the opportunity to work on some more book/magazine projects this year.




10. Where can we see more of your work?



My blog continues innovativeillustration.com, although I don’t post as often as I used to. I’ve got some illustrations on the Illustrators Australia website and Image Zoo.

Danielle McDonald

What's this illustration for?



This is one of the illustrations I created for a book called "I'm glad you're my Grandma" written by Cathy Phelan and published in 2008 by Black Dog Books. This was a 6 book series designed to be interactive, with pages to be coloured in, or written on to personalise each book.



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



I usually start brainstorming with words before I even start drawing. I ask myself lots of questions about the outcome I am trying to achieve and try to think of as many different and varied solutions as I can. This is usually a pretty frenzied process where I just open my mind to ideas, and it usually results in messy pages that only I can decipher. Then I usually pick 2 or 3 approaches that I want to explore and the sketching process begins!



How did you get your start as an illustrator?



Pure persistence! I studied Graphic Design at University and majored in Illustration. I spent many years trying to get that so called "foot in the door" before eventually deciding I'd just have to work for myself. I handmade and sold my own kids products at local markets for years before finding a toy company who were willing to pay me money to design nursery toys for them!



This opened up the opportunity to develop children's décor ranges and eventually allowed me to move into apparel. This varied background has lead me into illustrating books and developing my own unique style that can be adapted to so many industries!



Who or what has influenced your work?



I have always had a passion for animation and as a kid I was a huge fan of the Warner Bros cartoons. I love their flat, solid use of colour and the expressions of the characters that barely need words to communicate their personalities and emotions. Jim Henson and Roald Dahl also inspire me for their incredible story telling skills and wonderful characters.



What's your favourite media for creating pictures?



These days I tend to create most of my artwork on the computer, but I always draw and sketch my ideas on paper first, and then scan them into the computer as a base to build on. I do miss some of the traditional hand created techniques that I was trained in and hope that I can get back to some of this style of work this year.



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



Sometimes. I usually get stuck into some research through either looking at photographic references of the animals and creatures I am trying to create, or I explore other peoples work to see how they have found solutions to similar briefs.



What's the worst thing about being a freelancer?



Money management of course! You never quite know when you will get paid, or if you're charging enough, or too much, or how much to put aside for tax purposes, and superannuation. Then there's all the legal jargon to decipher in contracts, and book keeping, and…….it just doesn't end!



And the best?



Never having that "knot" in the pit of your stomach about going to "work" the next morning. When you love what you do it's never really "work"!





What are you working on at the moment?



I currently work full time as Product Developer for a well know Australian company, but just can't resist opportunities to continue my work in other industries through my freelance work.



At the moment I am working on the illustrations for 2 of the "Go Girl" book series for Hardie Grant Egmont, as well as a cover design for their "Zac Power" series.



Where can we see more of your work?



I have a blog where I share my thoughts and ideas at: www.reddogandjude.blogspot.com , and I am featured on the illustrators website: www.thestylefile.com. If you live in Australia and are familiar with my work you may even recognise some of my products out in stores.

Caroline Magerl

What's this illustration for?



This illustration is titled 'Fiona and Minou'. It is part of my pile of ideas and drawings for stories I have yet to finish writing.



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



Can't wait! Initial enthusiasm carries you through most times, and also a good lie down on the couch.



How did you get your start as an illustrator?



I started out as a cartoonist, something I still enjoy doing. There was work in educational publishing, but eventually I got the job of illustrating Libby Hathorn's picture book, Grandma's Shoes.



Who or what has influenced your work?



The books my Gran sent from East Germany when I was small had a great effect on me. The illustrators were German or Russian, and the mood evoked in the books were unlike anything else I had seen. I still have those books, and still buy picture books now.



What's your favourite media for creating pictures?



I love to fool around with different things, but watercolour and pen and ink are still my favourite.



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



Again, enthusiasm, finding a way to relate is my rescue if I experience doubt or trouble of any sort. I have had times when the work seems not to flow, but it isn't the work, it is peripheral anxiety. Life, basically.



What's the worst thing about being a freelancer?



The worst thing about doing this work has been financial uncertainty, but as I have survived thus far, I probably should not gripe about that anymore. No other gripes.



And the best?



The best thing is the fun of doing the work, the people you meet and the life it gives you. I have travelled to the UK and the States all on the pretext that it is for work. As soon as I get an email from Somewhere Else I get a bubble over my head with a picture of me in a plane.



What are you working on at the moment?



I am working on a picture for the ABC Book of Christmas at the moment, among other things. I have enjoyed the process of learning printmaking recently, and paint most of the year.



Where can we see more of your work?



More work can be seen on www.cmagerl.com.au as well as in the galleries listed on the site.

Shana James

1. What's this illustration for?


This image is titled Depth and I did it as part of a series of collographs for an exhibition I had entitled Interplay the full exhibition can be viewed on my website www.shanajames.com



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


I tend to think in a visual way, so when I read a piece of text I usually see a picture straight away or several pictures but that’s only the beginning. I then scribble my idea out and see how it can be improved usually the composition needs some work - would the scene look better from a different point of view: up close, down low, from above? I just scribble and brainstorm in my sketch book and the right picture seems to present itself. Sometimes things just seem right from the beginning and sometimes a lot of work occurs before they feel right. It’s a process that I'm now very comfortable with. I also keep a sketch book of ideas, scribbles really, in a way my life is a narrative which I illustrate aspects of.



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


My background is in visual arts, I went to art school and have been working as a visual artist for 18 years, exhibiting in galleries, having exhibitions, selling artwork etc. Truth be known I have never actually illustrated a book, so I am hoping this article might help me actually help me get my start as an illustrator. Although in past incarnations I have designed images for greeting cards, invitations and illustrated for graphic designers. Also the children's author Meg Mckinlay used one of my images on the homepage of her website. I hope your readers don't think I'm a phoney... I was invited to be here....really I was.



4. Who or what has influenced your work?


Things that happen to me or members of my family influence me. A line of text or a lyric from a song. Being in a different environment usually inspires me, like going on holidays or being in a different landscape. I have always loved the work of Chagall and I also love the Pre-Raphaelites. Whenever I see narrative artwork with a strong emotional content I am drawn to it - I love Shaun Tan’s work and I also
really enjoyed the black and white drawings by Ann James (no relation)in the children's novel Audrey Goes To Town. The other influence is old wood-block illustrations.



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


When I paint it has to be oils, the rich creamy consistency is so addictive and it’s easy to change things which I really like so I can let the image evolve. I also love printmaking linocut and collograph are my favourites. Collograph involves making a collaged printing plate and then printing intaglio - like an etching.



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


If I get stuck I sit quietly and go though old sketch books I have continuously kept a visual diary since my second year of art school until now, that’s 20 years worth, (gee am I that old?) Anyway usually one of my old pictures jumps out and that forms the starting point.



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


Not having enough paid work at times.



8. And the best?


Choosing your own hours, choosing your own projects, doing something you love. Also I'm quite happy to have a deadline and a project with an external source, so if I don't have one I make my own.



9. What are you working on at the moment?


I am working on a series of oil paintings that illustrate different aspects of human nature.



10. Where can we see more of your work?


I have images on the www.thestylefile.com and I also have my own website www.shanajames.com . If you want to see real actual work in WA you can see some of my work at Gunyulgup Galleries, located in the Margaret River wine region. In Melbourne I have work at PG the Printmaker Gallery.

Kirsten Reed

What's this illustration for?



This is part of a series I am working on, essentially doodles, but I am endeavouring to allow them to spring to life from the page, and also to let the writing around them to influence the tone of the image(s), and make them appear larger, like billboards.


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



I just start drawing, and it frees up the creative process; stories and ideas emerge from there.


How did you get your start as an illustrator?



I have been drawing since earliest memory. I compulsively doodled on any available surface, which frequently exasperated my mother, and prompted her to keep me supplied with sketchbooks.



Who or what has influenced your work?



I have very eclectic taste. I like art with its own style and integrity; that could be anything from children's picture books to graphic novels to paintings. My love of a good story definitely influences my work, as do dreams, imagination, and the random collection of stored images I believe everyone assembles in the course of living and observing.



What's your favourite media for creating pictures?



I switch around between a variety of media, but I always return to trusty pen and pencil.



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



If I have a problem, it's usually too many competing ideas. I start doodling, and the strongest ideas tend to emerge of their own accord.



What's the worst thing about being a freelancer?



Waiting for work to come to me-- I can be shy, and a poor networker.



And the best?



The endless possibilities, and variety of projects and collaborators.


What are you working on at the moment?



I am working on an upcoming exhibition of paintings of animals and abstract landscapes. I work part time in animal shelter, and animals feature in my work a lot. I'm also putting the finishing touches on my first novel, The Ice Age, due for publication this year with Text Publishing (alas, no pictures, but I am working on cover design ideas). I continually build on the 'doodle' series pictured here.



Where can we see more of your work?



I have an artist's representative who sells my paintings: www.lorrainepilgrim.com



I also have a page on the ASA's Stylefile website: www.thestylefile.com/show.php?illustrator_id=187



I donate designs to animal welfare causes, such as this one: http://www.cafepress.com/pbrcstore/4765730