Children's Book Illustrators - A Showcase

Annie White

2011-05-31T16:50:00.001-07:00

What's this illustration for?

This illustration is for a book called Mbobo Tree, written by Glenda Millard and published by Scholastic.

It is about a tree that gives life to its village and a little girl who is found swinging from its branches in a sling made from mattress ticking.

Tiranamba, as she is called never speaks a word until one day the tree is threatened, she finds her voice and her bravery saves the village.

This illustration shows Tiranamba dancing with the villagers who were not troubled by her silence, but believed she would speak when she had something important to say.

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

I start a book by finding a quiet space and reading the text, taking note of the immediate images that spring to mind. They are usually the best ones.

How did you get your start as an illustrator?

My first illustration job was making handmade cards for a local gallery when I was in high school. While I was at art school, I illustrated a series of cards for a commercial card company and worked for a publisher in Queensland.

Who or what has influenced your work?

I have enjoyed reading fabulous children's books like Alice in Wonderland, the Magic Faraway Tree and all the A.A. Milne stories and admired great artists like Daumier, Mucha and Rockwell.

Listening to great music, reading image-making stories and just being out amongst it all influences my work.

What's your favourite media for creating pictures?

I mainly use water colour.

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

Sometimes an idea isn't ready to come straight away, so I move on to another part of the project where ideas have already formed.

What's the worst thing about being a freelancer?

The unpredictability of the workload.

And the best?

Drawing and painting for a living.

Where can we see more of your work?

On my website: www.anniewhite.com

Also www.illustratorsaustralia.com. and www.thestylefile.com.au

Marjory Gardner

2011-05-31T16:42:00.000-07:00

What's this illustration for?

It's one of the full page illustrations for a chapter book I've just done for Rigby/Pearson, called "Going for Keeps" by Paul Collins.

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

This was a commissioned job (as most of mine are) so I start by reading the manuscript, taking notes re character descriptions (or the art brief if there is one), and then doing rough drawings on tracing paper. My finished roughs look pretty well finished (other than shading and colour) so the editor and I both know what the finished drawings will look like. I usually work in silence at this stage, then listen to Radio National and talking books for the fun, colouring-in stage.

What's your favourite media for creating pictures?

I love working in colour (textas then colour pencil), but also love black line. This illustration was done with a black fineliner, then coloured with grey textas.

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

Sometimes I find it really hard to physically draw something (eg vehicles, room interiors, crowd scenes) but it's not "illustrator's block" as such, just frustration borne from the hand not doing what the brain "sees". In that case I'll make a cup of tea or take the dogs for a walk, then come back to it fresh. Without meaning to sound too cynical, there's nothing like the prospect of writing out that invoice when the job's complete, to get the creative juices flowing again!

What's the worst thing about being a freelancer?

Quoting (though I'm getting better at it), cashflow, the fear of running out of work, (and then - occassionally - running out of work!), being disappointed when the print job turns a rainbow into a mudpuddle of colours.

And the best?

Getting paid to do what I love, working my own hours, the thrill of seeing my drawings in print!
http://www.blogger.com/img/blank.gif
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Visit The Style File to see more of Marjory's work - or her website

Shane Nagle

2011-05-18T18:50:00.001-07:00

What's this illustration for?

One of nine signs for an ecologically sustainable exhibition house in Sydney.

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

After asking questions and getting clear what I'm supposed to do with an image, I start sketching. Stuff happens; this leads to that...

How did you get your start as an illustrator?

Copying MAD magazines as a kid - I never got over it. So used to commission myself (after I set up my own Graphic design company), then decided that doing just drawing would be more fun than all the activities peripheral to design. I was right.

Who or what has influenced your work?

Dr Seuss, Maurice Sendak, Crockett Johnson and Chris Riddle.

What's your favourite media for creating pictures?

Pen & ink, and watercolour

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

Exercise or movies.

What's the worst thing about being a freelancer?

That projects come and go - the instability of that.

And the best?

That projects come and go - the instability of that.

What are you working on at the moment?

A signage system, and some image for a mate's website.

Where can we see more of your work?

www.thestylefile.com www.shanenagle.com www.illustratorsaustralia.com

Naomi Mairou

2011-05-18T18:40:00.001-07:00

What's this illustration for?

This picture was from one of the final pages in my first book, 'The Dugong Meadow'. The viewer looks down over the seafloor and a section of boatwreck covered in sleeping stingrays as a dugong swims high in the water column above them. The book had a gently optimistic ending and I thought that the picture imparted a rather peaceful feeling once I'd finished painting it.

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

My subject matter is nearly always a natural environment and the animals who inhabit it, so as I'm fortunate enough to live in one of the most lovely places on the planet I never have to wait long for someone furry, feathered or scaly to do something in front of me that makes me think it should be painted. The last job I did though was for a publisher in the U.S. which entailed doing a host of animals whom I'm not familiar with so I had to spend a lot of time initially scouring books and the internet for photos and information that at least acquainted me with the species. I usually prefer to work from sketches I've made using animal species I know well, so I didn't feel it was a natural way for me to work.

How did you get your start as an illustrator?

After many years of following the advice of well-meaning grownups to find 'secure' employment, and ignoring inclinations I had had since early childhood to follow a creative path, I decided enough was enough and made a conscious decision to pursue what I wanted and see what might happen. I won the Crichton Award for Children's Book Illustration with my first book so it was a huge encouragement to continue.

Who or what has influenced your work?

I am rather drawn to the work of illustrators like Ron Brooks. 'John Brown, Rose and the Midnight Cat' remains probably my favourite picture book, it has been since I was little, partly because of its quiet intimate domestic setting in the company of companion animals and partly also because I shared my own life with a Midnight Cat for nineteen years. This beautiful sombre, reflective cast is also something I like about a lot of Robert Ingpen's work, particularly some of his intuitive later images where studies of animals often form a subtle part of the composition. The colour range of my work is broader now and considerably lighter than it was when I was working in the Top End where I grew up but the close connection I feel with animals and their surroundings is still my major influence.

What's your favourite media for creating pictures?

Before I began to work in narrative art oils were my medium of choice, but the new generation of acrylics have kind of got me hooked. I like the vibrancy of the colours available nowadays and you can work areas for longer periods with the new formulations, much like the oils I started in. I tend to work in thin successive layers and build up a picture surface gradually - acrylics allow me to go through that process more quickly when I have a deadline to meet, so the immediacy of the medium works well for me also when I've got a job on.

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

If I get bogged down I tend to get a bit obsessive and tenacious, sketching out a composition one way and another until it feels right, or is at least something that I can live with until the next time I work on that picture. Tackling it like that seems to work best for me, but I am told it makes me difficult to be around when something is bugging me: it causes quite a bit of consternation in our household and my husband lies low. I was really lucky with my first book - I had the immense luxury of being able to take my time with it and I spent more of my energy on observing subjects as a way of working out little problems and less time obsessing on roughs in the studio.

I also find a good supply of chocolate helps with illustrator's block - don't know why.

What's the worst thing about being a freelancer?

The worst thing is probably that once you decide to embark upon a freelance career which relies upon you having to have some sort of continuity of work in order to eat, you need to really learn how to sell your work and yourself effectively. I'm still a beginner at this so I don't eat very often, but I am hoping that as time goes on the periods between paid jobs will lessen.

And the best?

The response which you probably get from more creators when you ask this particular question than any other is that the best thing is being able to get paid for doing something which you love to do: the same goes for me. Not many people get that particular privilege with their job and after having worked through a number of jobs where your day is simply a means to an end (get your bills paid), to be finally able to do the thing that you adore as a profession is brilliant!. I find the other big bonus for me is being able to set my own hours. I am a night-owl and I get the bulk of my work done when my family is fast asleep down the hall and I have the quiet solitude of my studio for the night.

What are you working on at the moment?

I am working on a commissioned painting at the moment, a pair of cassowaries feeding. It's a nice relaxing kind of job.

Where can we see more of your work?

The Style File is a good place to see samples of my illustrative work. Of course my books are a good place to look, too. Hopefully, soon, I'll also get around to arranging a dedicated website so that people will be able to view work more easily.

Janine Dawson

2011-05-18T18:34:00.001-07:00

What's this illustration for?

This is an illustration I did for the ABC SING! Book back in 2005.For the song "Don't Fence Me In". I just had a ball doing al the illustrations for the SING! Book. The format was right up my alley. Little vignettes of different things and mostly character based, and I could go through all different era's and peoples. It was truly a whole lot of fun. This illustration I love because it gave me a chance to indulge myself in some old cowboy stuff, which I love. You know, those old b & w cowboy pics of the 30's and 40's. Love it!

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

Pretty much. Things seem to work that much better if I do get that flash of inspiration. Then things just flow and roll through me and out through my pencil and onto the paper. It's wonderful and so inspiring and thrilling when you get into that zone. At other times, because I do depend on that flash of inspiration, I just wander about the place, potter, go to the library and see if anything can get the ball rolling for me there. I know the best thing to do is to just sit down and put pencil to paper and just start, with anything, and then eventually things start happening. There's a head space I need to get myself into and once there, it all just starts coming. I love that feeling.

How did you get your start as an illustrator?

My background is in traditional 2D drawn animation. After coming back from spending some time overseas I found the animation industry as I knew it, not very well. It was in the throes of being superseded by computers, so I took a deep breath and made a momentous decision to change fields and try my hand at Children's Book illustration. I'd loved children's books all my life so I took up the old adage, "do what you love". Amazingly, work and opportunities started coming my way. I'd sent out cover letters and sample drawings to various publishers, and then people told me about the ASA, I went to every Children's Book Event I heard of and talked with the illustrators who were all extremely helpful and supportive and in fact I still find that today the people in this industry are so incredibly helpful and supportive.

Who or what has influenced your work?

Definitely George Herriman and his "Krazy Kat" comics of which I am an avid fan! Bill Watterson of "Calvin & Hobbes", Pont, H.M. Bateman, Heath Robinson, George Booth, Saxon, Weber, Norman Lindsay, Michael Leunig, Beatrix Potter, Janet Ahlberg, ...the list goes on, and I've just noticed that most of them are cartoonists. Yes, I think that's where I really resonate the most.

What's your favourite media for creating pictures?

Black & White pen and ink. The line's the thing - the simplest and most direct way of getting across an idea. I love pen and ink. I think there's an art to it that we're losing if we haven't already lost it, maybe it's juts been misplaced. To be bale to get so much character and energy, or not, from a line. Lovely! It makes my heart sing!

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

I most certainly do! There are days when nothing comes! and as noted earlier I am one of those people who do depend on that flash of inspiration to get the ball rolling. Editors are incredibly accommodating people. I dips my lid to them all. To move past a block, I just have to start. Put pen to paper and just start drawing - anything...sometimes I try music to put me in that 'zone', but recently I prefer quiet. Sometime the library or a book store and nosing through children's book. Sometimes I get out some of my favourites looking for inspiration, but it basically just come back to putting that pencil to the page and just starting, even if what you start with isn't very good or satisfying, eventually it'll lead me somewhere.

What's the worst thing about being a freelancer?

Saying yes to every job that comes along for fear of no work down the track, and then suddenly all the jobs you've said 'yes' to, get the go ahead and then you're faced with having to fit them all in somehow. The other thing is people 'dropping by for a cuppa' not understanding that even though you work at home, you are still observing proper work hours. No office Christmas Party.

And the best?

Freedom. Doing what I love. Being available for my daughter while she was growing up. Being able to choose jobs that I feel a connection to. No office Christmas Party.

What are you working on at the moment?

At the moment I'm doing a book about a bushranger that's quite funny and has a bit of a twist at the end. It's called "Capt Blunderbolt" by Ann Martin for Omnibus. Also a lovely story I’m really quite attached to about a very brave hen, called "Delilah's Dream" by Ian Trevaskis, for New Frontier Publishing. A series of 30 readers called "Gumboot Farm Series for Blake. I also do various cartoons about things in daily life, just for my own pleasure and the amusement of my friends...these are great to look back on and sometimes have us all in stitches. I'm also playing with oil paints… a whole new area for me, totally away from line.

Where can we see more of your work?

You can look on my website www.janinedawson.com.au or on the Sobi Style File site www.thestylefile.com

Frank Kennedy

2011-05-18T18:25:00.000-07:00

1.. What's this illustration for?

This illustration is for an article on Dentistry in the CoastKids Illawarra Magazine.

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

I have a sketch book which I try to use often and put in anything that comes to mind, sometimes it's just doodles or scribbles and I build on them. When I am working on a project with a certain theme or direction then I will just brainstorm and think a lot about the subject, maybe look on the internet for information or reference photo's to help the process.

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

Many, many years ago I studied fine art at TAFE, then I later did a cartoon course through the Australian College of Journalism. That's when I first started getting magazine illustration work which then moved into children's chapter books.

4.. Who or what has influenced your work?

Having grown up on a diet of watching animated kids shows and reading comic books and picture books all of which I still do. I think that had a real influence on how I draw the world around me. Also the internet has opened up the artistic world so that you can access other artist work so quickly that you can't not be influenced by many things.

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

The humble lead pencil, then I would ink the image with felt tip marker pens which is then scanned into the computer to be colored using a graphic tablet. I also like to use watercolors.

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

Sometimes but not very often yes I experience illustrators block. When I do I will get out some of my favorite art books or look at some websites or blogs to inspire me to draw something. It can be as simple as seeing a certain theme or use of color that you might want to play around with as well, that can be enough to push you through the block usually.

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

The worst thing about freelancing would be the space of time between jobs.

8.. And the best?

The best thing about freelancing is getting paid to sit and draw things you love to draw. Things you would be drawing in your spare time anyway.

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

I am currently working on some illustrations for the next issue of Coast Illawarra Magazine and they are fun.

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

You can see more of me at my blog here http://frankkennedysillustrations.blogspot.com/ come on over and say Hi.

Dale Newman

2011-05-18T17:52:00.001-07:00

What's this illustration for?

This was a book cover illustration exercise using the much loved story ‘Old Pig’ (written by Margaret Wild, illustrated by Ron Brooks and published by Allen & Unwin 1995). I absolutely love this book. In one image I wanted to capture the poignancy of the story, the tender relationship between Old Pig and Granddaughter, as well as symbolically hint at Old Pig’s impending departure from the world.

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

I jot down words and images that immediately come to me on first reading of a text. Then I work, work, work until I feel I get to the essence of the subject. Self-initiated projects require a longer ‘brewing’ process. I keep a note book for ideas and images that interest me (things that I see, dream or imagine), and after some time I’ll revisit the book and look for connections – either obvious or intuitive - between ideas.

How did you get your start as an illustrator?

I worked for five years in the art room of The Newcastle Herald producing illustrations and other editorial graphics. I also trained in printmaking at uni and I’ve been a practising fine artist for many years and I think this has been invaluable learning.

Who or what has influenced your work?

I’m influenced by everything I see really. I love so many illustrators – Shaun Tan, Ann James, Kerrie Argent, Kim Gamble, Ron Brooks, I’m initially drawn to beautiful draughtsmanship, but it’s the artists’ ability to capture the emotional bones of a story that is most important.

What's your favourite media for creating pictures?

Probably watercolour and pencil. Lithographic crayon is nice too for B&W work. I trained in lithography at Uni and the love of this medium has never left me. Having said that I like turning my hand to any media - I’m starting to create images in Adobe Illustrator.

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

Yes! When I was a carefree artist and musician I would swap between art forms and projects – that really worked. Now I’m a busy parent, I swap between picture making and cleaning yoghurt off the floor! The principle is the same – I do something else and let ideas ‘brew’ in the back of my mind.

What's the worst thing about being a freelancer?

Unpredictable work flow.

And the best?

Doing what I love. In pyjamas.

What are you working on at the moment?

I’m working on an illustration of a stockman for an educational publisher.

Where can we see more of your work?

www.dalenewman.com.au

www.thestylefile.com

Pablo Olivero

2011-05-18T17:41:00.000-07:00

What's this illustration for?

It´s for myself. I like the idea of mixing characters from different stories and make my own stories. This illustration is an example of that.

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

I don´t wait for inspiration, because it comes at inappropriate moments. But sometimes we bump and work together. When she wants.

How did you get your start as an illustrator?

I don´t remember when I started drawing, when I was little I used to do it. Time passed and I started to do it more frequently and seriously, until my hobbie became my job and my way of life.

Who or what has influenced your work?

Many artists have influenced my work and my development as an illustrator. But definitely my favourites ones are Quino, Uderzo and Fontanarrosa.

What's your favourite media for creating pictures?

In the past I used to paint with watercolours, but today I work digitally with Photoshop with a rough or sketch made on paper.

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

Of course I do. If I´m not in a hurry, I go to the cinema or any other distraction. But if I am near a deadline, I work hard no matter what with God´s help.

What's the worst thing about being a freelancer?

Definitely the freedom.

And the best?

Definitely the freedom.

What are you working on at the moment?

I´m working on the illustrations of a story of R. L. Stevenson, called "The Bottle Imp", for Estación Mandioca de Ediciones, Argentina.

Where can we see more of your work?

You can visit my blog at www.elmundodeoli.blogspot.com

Gwyn Perkins

2011-05-18T17:19:00.001-07:00

What's this illustration for?

It's a quick scribble I did for the crew of a racing boat on which I sail Wednesday nights in the summer. More a social sailing get-together than a serious regatta, it's not unusual to have families aboard. Here Zoe, daughter of our headsail trimmer Rowena demonstrates that she'd rather not waste twilight on boating stuff when she's got a book to read.

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

There's no flash. I would have noticed.

Sketches like the above are super quick and drawn instinctively. Other 'more important' jobs often get me nervous and self-doubting so I start slowly, but as confidence and the creative relationship with the publisher grows, things usually speed up.

Planning makes the difference. In a picture book I try to work out how best I can isolate the author's key words by using fun ideas and exaggerated drawings. People remember the unusual. I scribble with a pen until I feel that something's headed in the right direction, saving it by scanning a rough to a layout on my computer, using the page size as a template. I then refine and develop the concept to a deadline.

How did you get your start as an illustrator?

I cross off stuff I'm not interested in doing as I seek artistic challenges. The interesting jobs have led me to learn and discover new techniques, the others caused me to try another fork in the road, so the actual start might have been in a variety of places, over any number of my 60 plus years, but Illustrating Children's books began after I lost my dog just over 3 years back.

For a while I did some gardening near where I live in Sydney's Pittwater and on one hot day from a boring task in a house adjoining a National Park, my old half-blind Luckydog went astray. Five hours later I tracked her down by asking at a nearby Youth Hostel, scribbling a sketch for Michael the manager. This immediately led to Lucky's rescue and me getting a job drawing a series of funny cards which unfortunately not enough international backpackers posted all over the world to make either of us rich or famous. Then another friend, Children's book Illustrator Janine Dawson urged I should submit them to a website for illustrators which I did and was duly contacted by a publisher. It also led to my role as mainsheet trimmer in the aforementioned twilight series. That's Michael in the picture, offering instruction.

Who or what has influenced your work?

Animators, cartoonists, musicians, writers, my wife, my daughter, friends, travel.

For a time I worked as an animator, firstly in some big studios producing American shows, later in my own small one doing funny ads. My favourite jobs were those where I had the opportunity of describing things for children or for adults who understood humour as good as children do. I learned animation's rules to exaggerate, exaggerate and then exaggerate some more, and if it's not funny, don't do it. En route there have been many talented influences, mentors, collaborators who believed similarly and who taught me lessons. To name a few would exclude a hundred.

(It always helps to get positive feed-back from family and friends. Our young God-daughter told me yesterday that a drawing I was working of was "heaps good".)

What's your favourite media for creating pictures?

Pen and ink. My stuff is basically a black and white cartoon with colour by Photoshop. The line is in charge, keep it simple.

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

I can drive myself nuts drawing the same thing for days and hating it more each time. I get upset, cranky, my rubbish bin overflows and there's usually a clock ticking. Then I suddenly realize the problem is in the concept, not the detail and I'll instantly draw something completely different and happily breeze through it. Trouble is I can never see at the time that my schedule would be much more productive if I got up from my desk and went for a walk. I'll definitely try next time.

What's the worst thing about being a freelancer?

Having to negotiate a price for my own work, sometimes.

And the best?

Knowing that the integrity of what I do is main reason for being employed, recommended.

What are you working on at the moment?

A book about a giraffe who thinks his neck is too long. A double page cartoon picture/map for a coffee table book about Pittwater which hopefully in the future will see me doing more pictures that could be framed and sold at a reasonable cost. Some funny impressions about a week in a friend's NSW South Coast holiday house which she'll no doubt hang on the walls for other guests to laugh at. Another cartoon map, this one for the local ferry service, and some pictures to finish, long promised, for friends.

Where can we see more of your work?

Come 'round to my place. Knock on the back door.
or
http://gwyn.com.au/

Claire Richards

2011-05-18T17:13:00.000-07:00

What's this illustration for?

This is the cover Goldilocks and the Three Koalas By Kel Richards. It is part of Scholastic¹s Aussie Gems series.

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

Having ideas is not the problem, it’s choosing which ones are worth working on. I have notebooks of ideas that I flick through when I am stuck.

How did you get your start as an illustrator?

I studied abstract painting at TAFE for 3 years. I developed my style designing quirky cards. My first illustration commission was for Sydney’s Child. I used Photoshop at my local library and exhibited in cafes.

Artists that have influenced your work?

Stephen Michael King, Charles Shultz and Lauren Child.

What's your favourite media for creating pictures?

Watercolour and mixing traditional painting with digital.

What's the worst thing about being a freelancer?

Having to be self disciplined and not let myself spend my days off in the studio.

And the best?

I love the end of the day when there is just that bit of paint left that demands to be experimented with.

What are you working on at the moment?

I am working on big oil paintings and writing stories.

Where can we see more of your work?

My new website www.clairerichards.com.au is bursting with my illustrations and news about my up coming exhibition.

Deanna Molinara

2011-05-18T17:05:00.000-07:00

What's this illustration for?

I'd like to say it's for a book, but I'm actually only drawing a bunch of unrelated things right now to keep busy while I choose the next story. I have been doing lots of black and white lately, so I thought it would be fun to use watercolors again.

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

The images seem to appear in my head at the same time I'm coming up a story. I really admire children's book artists with a strong recognizable style, but my own style seems to fluctuate A LOT with each book, which means those images pop up in color or black and white or with great detail or as simple line drawings, etc., and I just go with it. I'll storyboard the whole thing out really quickly before I begin, and although I'll try some pictures a handful of different ways, almost all of them end up being just like the original storyboard in the end. I suppose it has all already played as a cartoon in my head, and I'm just following it.

How did you get your start as an illustrator?

I wanted to be a children's book writer/illustrator ever since I was a little kid, but in reality I ended up in odd jobs, taking on an assortment of freelance art for extra money. Quite a while back those freelance art jobs brought a chance to illustrate a couple children's books, one of which was never published, and the other was barely released anywhere. This inspired me to try my own book, but I didn't really believe anyone would publish it, so that attempt promptly went under my bed for no one to ever see again---no confidence! Just a few years ago, though, I began a website for my art and ramblings, and I thought it would be fun to post my own illustrated stories in their entirety. No publisher. No child-proofing. Just writing whatever comes into my head without editing it much, even if it was kind of dark or too wordy. I labelled them "Not-For-Children" so that I wouldn't have to worry about the audience, and I posted them. Somehow the books ended up circulating around the internet enough that I got requests for the actual books, which I had to then have printed. Now there are four stories, one illustrated by my husband. More on the way.

Who or what has influenced your work?

My Grandma Val set me up with art supplies and really encouraged my sisters and me to hang out around the table to create things when we were kids. I loved animation, anything from Chuck Jones to Rankin/Bass choppy stop-motion. The children's books we owned were really influential because I remember looking at some of the pictures endlessly, admiring the simple lines that could somehow make an awesome tree or a perfect little Mary Jane shoe. Of all the illustrations, I think Maurice Sendak's "Little Bear" drawings were my favorite. I love all the cross-hatching. And everything Garth Williams drew was so sweet and soft and alive. When I got older and began to watercolor I discovered Arthur Rackham, and I admired his muted colors... I can list a lot of wonderful artists, but I'm not gonna say I actually picked up any skills from anyone! I have a long way to go.

What's your favourite media for creating pictures?

Unfortunately I love to draw with a cheap ballpoint pen on a cheap slick paper, neither of which are meant for long-lasting art. I just love the way the pen flies around on that surface, and I love the tiny lines of the pen. But I do have to then transfer my sketches to a good watercolor paper. I like paper that is already cream or brown, or I paint it a dirty color before I do anything else. I use brown or black inks and watercolors, sometimes with a little bit of markers...People are doing beautiful digital art these days, but I don't think I'll ever jump in because I like having my hands on the materials and making mistakes. I also already spend too much time on the computer for work (computer animation).

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

Definitely. I've stopped drawing for months, even up to a year at times. I never really stop doodling on every free surface, though, and one day the doodle will just spark something again. Sometimes it's someone else's drawing that inspires me, or I get excited by silly things like vintage wallpaper and toys. But if I absolutely can't wait for inspiration to return on its own, I sit down and draw odd shapes that I try to then turn into something recognizable---it almost always gets something started.

What's the worst thing about being a freelancer?

My problem is with commissioned work. Having a price and a deadline on artwork can make me really struggle with it when I'd normally have fun creating it for no reason. It's like someone is watching me work, and I really need to get over it!

And the best?

When I'm inspired there's nothing that makes me happier than writing or drawing. That someone now and then buys something I created is also just crazy and amazing.

What are you working on at the moment?

I have three stories in various stages that I can't decide between. As soon as I commit to one I'll begin the illustrations, which I think will be watercolors with ink, and I'll be posting this story to my website with the others. Until I have that set of illustrations to concentrate on I've just been thinking of a word or a phrase to get a random drawing started, like the one I've included here called, "Let's go!"

Where can we see more of your work?

At my website www.deannamolinaro.com

Samantha Everton

2011-05-18T16:58:00.000-07:00

What's this Photograph for?

I am currently working on an exhibition entitled "Vintage Dolls" this is my key image for the show.

The exhibition explores ‘history, race and culture through magic realism’. I was inspired by the innocent act of children playing dress ups and the way they re-enact adult behaviour, concepts and themes, without preconceptions or judgment’.

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

I never sit down and think..Ok I have to come up with an image today. I am always feeding my mind; I keep a sketchbook with me and continually write and draw ideas (the drawings look like blobs, but mean something to me). I also collect odd bits and pieces that inspire me in a scrapbook, it can be anything from strip of colour, to a leaf, a torn image from a mag. When I need to create an image I go through these sketch and scrapbooks and it all just flows from there.

How did you get your start as Photography?

The inspiration to become a photographer progressed very slowly for me. It took me a long time to find my medium. I was a hairdresser for 8 years, where I created some fantastic artistic visions on unsuspecting customers. I then traveled overseas for 4 years living and working at anything, this is when I really picked up a camera for the first time, and saw life through the lens for the first time. When I returned to Australia I had my first break at a local newspaper where I was offered a photojournalist cadetship, this was fantastic and in essence an extension of my travels. I stayed there for 2 years, learning on my feet but soon felt the urge to style shoots and bring my skills together. I volunteered at a photography studio and had my first taste at staged photography, I was then accepted into RMIT photography and it all just fell together from there. I now divide my time between producing works for exhibiting, styling and shooting book covers and shooting stock library images.

Who or what has influenced your work?

My very first influence came from Jerry Uelsmann. I saw his work when I was a hairdresser and thought WOW!!!, you can do that with photography. It was the first time I realised photography could be more than just an in-camera image. It captured me in every sense. I am currently inspired by theatrically styled photography, such as Gregory Crewdson work.

What's your favourite media for creating pictures?

I create my images using a myriad of techniques and tools. I design my sets with everything from found objects and props to handmade costumes; I then capture using traditional film, and then montage digitally in post-production.

What's the worst thing about being a freelancer?

You are your own boss so the work just never stops.

And the best?

You are your own boss.

What are you working on at the moment?

My latest Exhibition "Vintage Dolls"

Where can we see more of your work?

www.samanthaeverton.com

My Vintage Dolls exhibition runs at Dickerson Gallery, Melbourne - March 4-22 and at the Dickerson Gallery, Sydney - April 1-19.

Dickerson Gallery Melbourne, 40 Oxford St, Collingwood
Dickerson Gallery Sydney 34 Queen St, Woollahra

www.dickersongallery.com.au

Lynne Muir

2011-05-18T16:53:00.001-07:00

1 What’s this illustration for?

It’s from Argonauta Octopus Navigator; a book for middle primary level showing in dramatic form the life cycle of this amazing octopus like creature. Here our heroine has repaired her broken egg case and returns to the turbulent sea beyond the safety of the seacave. These delicate egg cases wash up on our southern ocean beaches every winter and are prized amongst local collectors, myself included.

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

Drawing this pose relied initially on much research from undersea photographs and talking to the scientists who study the animal. Not much is known so I have to imagine various poses and try to get some personality into an animal with not much expression. The inspiration comes as I gradually build up my knowledge and start to plan angles, moods and details in colour and background.

3 How did you get your start as an illustrator?

Direct from college I was recommended by my lecturer for a job restyling African American children to European/Italian children. It was a challenge!- changing skin colour and hair texture as well as facial features; I might as well have started from scratch. From there I worked for a textile company painting realistic flora and fauna onto teatowels. That led to a lifelong love painting Australiana and was great experience for detailed gouache style painting. My first major picture book came many years later, still involving animals. I was also able to incorporate my other love, calligraphy.

4 Who or what has influenced your work?

The whole sweep of art through history is a broad canvas of inspiration but I love in particular the fantasy style of Arthur Rackham, Kit Williams, and the folk artists of Russia, decorative Celtic manuscripts, Persian and medieval illumination. There’s also the whimsy of Istvan Banyai, Ann James, Alison Lester, the detail of Celia Rossers’ banksia paintings, the lush fantasy worlds of Dinotopia…

5 What’s your favourite media for creating pictures?

I mainly use gouache for its ability to build up opaque layers of detail, but watercolour is essential for watery subjects such as Argo. Its fun to spatter paint and allow watercolour to melt and merge into unpredicted effects. Gouache is more controlled. In my calligraphic pieces I love to use Gold leaf and bronze powders, experimenting with distressed effects on the metal foils, then scanning and recolouring in Photoshop.

6 Do you experience Illustrator’s block- if so, what do you do about it?

Usually I try and ‘dream’ my designs before putting pen to paper so I read manuscripts and jot down notes well before I start to sketch them. Much procrastination happens before starting the final piece. I don’t know why; it’s usually so enjoyable and engrossing once you start, entering another total world of your own making. But if and when I have a block I forgive myself and walk away from it for a while.

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

When there’s a drought of work you have to remind yourself that it will come round again. Cold calling on new clients can be hard when you’re not in the mood to self-promote and self promotion even when you do feel like it is a necessary evil. Working out fee quotations, negotiating contracts and chasing payment is hard on your own-that’s where guilds and societies come into their own for emotional and professional support.

8 And the best?

Freedom to work in your own space and time; the variety of work and clientele and the opportunity to work with different creative teams. Never a dull life!

9 What are you working on at the moment?

Several quite different projects

— illustrating with pictures and calligraphic quotations the life and times of a medieval Spanish saint

— illustrating flora and fauna for a book of prayers written by children, influenced by the Australian saint-in-waiting Mary Mackillop

— a range of birthday and Christmas cards for an American company

Where can we see more of your work?

My website www.artscribe.com.au and by googling in my name you will find a variety of work on other people’s websites from government birth certificates to Celtic poetry books.

Peter Campbell

2011-05-18T16:48:00.001-07:00

What's this illustration for?

This illustration is for an article about Scylla from Greek mythology which is to be published by Macmillan Education. She had a spell placed on her which gave her six heads and grew hounds around her middle, obviously not the best outcome for any young woman. This is a mixed media piece mainly combining collage and acrylics.

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

Sometimes there is a flash of inspiration, usually the subject will suggest either a style or technique. With most of the work I do research is the starting point, both for reference and background information. My studio space is literally across the road from the city library so a lot of time is spent looking at reference. I usually like to approach my research fairly laterally as the less direct route can create some interesting possibilities for the illustration.

How did you get your start as an illustrator?

I had studied printmaking before even considering illustration as a career. I was introduced to illustration by a flatmate and friend of his who were working illustrators. Seeing the work they were producing was pretty inspiring, from there I did a short design/illustration course and went out door knocking with a portfolio. In some senses it was probably my naivety which allowed me to approach people with so little training or experience.

Who or what has influenced your work?

It's bit hard to pin down any one thing that has influenced me. An exhibition of Picasso's reduction linocuts that I saw many years ago has had a lasting influence. Illustration and comic art from Raw magazine by Art Speigelman and Francoise Mouly was also a real eye-opener. Edward Gorey's illustrations for their humour and subversiveness are also great. For the job of being an illustrator one of my tutors Geoff Notman was a great influence and introduced me to the possibilities of illustration as a career.

What's your favourite media for creating pictures?

My favourite media is still the linocut, something which is only viable with very few jobs. Ink resist is another technique I enjoy which gives a similar effect but is much quicker to produce. With both of these techniques it is the look of the line-work that I love.

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

Thankfully illustrator's block is something that rarely happens. Looking at books completely away from the subject illustrated can often spark ideas, as can looking at the work of other artists/designers/illustrators/photographers. I have large piles of books and magazines in my studio and I'll sit and read if the ideas aren't coming freely.

What's the worst thing about being a freelancer?

The worst thing about freelancing would be the amount of time you are sometimes given to finish a job. The problem of being at the end of the production line.

And the best?

The best thing is the variety the job offers. No two books or briefs are the same. The huge variety of books I've had to look at for reference over the years means that I'm now great at pub quizzes.

What are you working on at the moment?

At the moment I'm working on some collage illustrations for some school maths books. Although the subject sounds very dry it's been an interesting challenge to produce engaging illustrations for the readers.

Where can we see more of your work?

More of my work is here http://www.creativeshake.com/PeterCampbell

Virginia Gray

2011-05-18T16:38:00.001-07:00

What's this illustration for?

This illustration is for an English curriculum project for young teens. It is an illustration from a book, The Life of Pi & is for Folens Publishing U.K

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

Images generally rush into my head whenever I start a new project, I then put down some rough sketches & work from the best of them.

I illustrate a lot of historical books for children, so often have a lot of research to do to get all the details correct. It is always time well spent because I learn a lot about the subject matter before I begin to draw.

How did you get your start as an illustrator?

I started by being trained as a fashion illustrator & worked in London for many years, but when photos took over from illustrations, I adapted my style to children’s books. I already had quite good figure drawing skills from my fashion work, but all my figures looked about 8 feet tall, so I had to moderate everything from my extravagant fashion style!

Who or what has influenced your work?

I have been inspired by Arthur Rackham for atmosphere & Michael Foreman for his wonderful watercolour style.

Also , as a child I spent many hours looking down a microscope. I found that gave me a sense of looking more closely at everything I observed & it nurtured my visual awareness.

What's your favourite media for creating pictures?

My favourite media is watercolour, inks & pencil.

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

If I get blocked I leave the drawing board & do some displacement activity, i.e go for a walk, play tennis, dig the garden or have a good old whinge to somebody who understands the process. I usually come back refreshed & ready to go again. The flow doesn’t always come immediately & sometimes I take a while to get the feel of a project.

What's the worst thing about being a freelancer?

The worst thing about being a freelancer is the insecurity & not being able to plan too far ahead. I never know what is coming next, but that also has an element of excitement about it, so there is a positive way of looking at it.

Also there is a lot of pressure on occasions to produce your best within a very tight deadline, but I get better with experience.

Lastly, I am my own business manager, so I have to pull lots of strands together to be successful. It can be exhausting!

And the best?

The best thing about being a freelancer is the freedom, working from home, the peace & of course the delight in being able to express myself creatively & earn a reasonable living from it.

I also get pleasure from working on educational books & to know that children may get some positive stimulation from the illustrations.

What are you working on at the moment?

At the moment I’m working on a book about ancient Egypt & a reader for young Nigerian children published by Pearson U.K

Where can we see more of your work?

I am on thestylefile.com

www.graham-cameron-illustration.com

Peter Sheehan

2010-09-28T18:33:00.001-07:00

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

2010-09-28T18:22:00.000-07:00

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

2010-09-28T18:18:00.000-07:00

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

2010-09-28T18:02:00.001-07:00

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

2010-09-28T17:53:00.000-07:00

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

2010-09-28T17:42:00.001-07:00

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

2010-09-28T17:31:00.001-07:00

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

2010-09-28T17:23:00.000-07:00

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

Tina Matthews

2009-12-08T16:52:00.001-08:00

What's this illustration for?

This is from my book Out of the Egg published by Houghton Mifflin in the USA and Walker Books in Australia and NZ. It's the most important page in the book where the little chick comes out of the egg and, just in time, controls her mother's mean impulses and saves the day!

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

I usually come across an idea in my head or my life which I roll around and loosely attach words to. Then I sketch the story in 32 pages and see how much of it can be told in pictures. When the pictures are doing as much of the telling as possible, I work the words more until they seem to me to read just right.

How did you get your start as an illustrator?

I have worked mainly as a designer and puppet maker until now and my start as an illustrator coincides with the publication of my first picture book.

Who or what has influenced your work?

My deepest and most subconscious influences are probably the picture books I was read as a child-- books like Millions of Cats, The Little House, Make Way for Ducklings, Angus and Wagtail Bess, Curious George, This is New York, Madeleine, Barbar and of course Tintin. But more recently I have loved and looked hard at the work of wonderful prints makers like Clare Leighton and Gwen Raverat and at Durer too. Banksy's street stencil art is another great source of inspiration.

What's your favourite media for creating pictures?

I really enjoy the graphic qualities and textures of wood block printing and I love stenciling and collage too. I find pencil drawing is essential for planning books and giving characters life and pen and ink reminds me of so many great children’s book illustrators I can't help trying my hand at it now and then.

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

Not really, but I think it helps to be illustrating your own words and ideas rather than someone else’s.

What's the worst thing about being a freelancer?

Always working on your own.

And the best?

Working where ever and when ever you want.

What are you working on at the moment?

A picture book called Now That it was Later.

Where can we see more of your work?

It’s not easy but there’s a little bit on--

http://www.thestylefile.com/show.php?illustrator_id=182

and some 3 dimensional work on--

www.thinkingfun.com/a01btinamobiles.htm

Adam Nickel

2009-12-08T16:48:00.001-08:00

What's this illustration for?

This is a personal piece, I created this illustration to add artwork to my portfolio that is more children’s book oriented. At this stage much of my portfolio was editorial based and I thought it could do with a little more variety.

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

Its nice to have a flash of inspiration right from the start. But if its not there then I just reference as much as I can until an idea springs to mind. I feel like referencing is very important to creating the best possible artwork.

How did you get your start as an illustrator?

I sent out promotional materials such as postcards, and after sometime I was contacted by Thomson Learning (now called Cengage Learning) to illustrate one of their children’s books created for the educational market.

Who or what has influenced your work?

I get a lot of influence from mid 20th century illustration and animation. Im also influenced by all sorts of things that I see, such as people on the street and I might make a mental note to create a character that looks like them. Even something as simple as seeing a wall and thinking, I like the way those bricks are arranged and think I will incorporate that into my next illustration.

What's your favourite media for creating pictures?

I don’t know if I would say its my favorite, but I work digitally with a drawing tablet for all my illustration. I would like to work more with traditional media but find it too hard to pull myself away from the undo button, and all the flexibility that comes with working digitally.

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

Reference, reference, reference until something I see springs an idea. I find doing something else else just takes my mind off the task at hand.

What's the worst thing about being a freelancer?

Always waiting on that next contract, and often wondering if the Art Director truly is happy with finished art.

And the best?

The feeling working a job position that is special because no amount of education or study can allow you to work in this field. Its about talent and you either have it or you don’t.

What are you working on at the moment?

Various editorial illustrations for Wired magazine.

Where can we see more of your work?

www.kilowattkat.com

Kathy Panton

2009-12-08T16:44:00.001-08:00

What's this illustration for?

This was an experimental personal piece.

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

I have learnt that it's better just to start, no matter how you are feeling. If you wait until all the conditions are right, and the planets are aligned, nothing will happen!

How did you get your start as an illustrator?

My report card in Year 8 said that I was no good at art! But then I only really remember doing coil pots. I chose art in year 11 and just started doing portraits and drawings. Then at the end of year 12 I was accepted in to Graphic Design at uni and did that for a year, but realised it wasn't for me and applied to QCA to do Visual Art that year. I did a degree in Visual Art and Queensland College of Art. Later on I studied at Saint Martins College of Art in London, doing short courses in childrens book illustrating and painting, and shortly after was first published in New Woman Magazine as an illustrator.

Who or what has influenced your work?

Many artists. I would say my first major influence was William Dobell. I remember seeing a portrait of his in person, at about the age of 10, of Dame Mary Gilmore, and it was quite powerful. It both scared and fascinated me. I could barely look at it. I work in the area of caricature also, using the same technique as the illustration pictured here, and it has definitely influenced me.

Other influences would be Illustrator Annuals, Art Magazines, 1950s and 60s style, Chuck Close, Frances Bacon, Mark Ryden, Eddie Guy, Eric Carle, Hundertwasser, Ralph Steadman, Richard Lindner, Jon Scieszka, Lane Smith, Anna Laura Cantone, Shaun Tan, Del Kathryn Barton.

What's your favourite media for creating pictures?

gouache and watercolour collage, and also large scale (2m x 2m) graphite pencil portraits

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

I look at illustration and art books for inspiration, and usually it doesnt take long to get going again. Also its good to to have a change of scenery.

What's the worst thing about being a freelancer?

Not working

And the best?

Doing something you love.

What are you working on at the moment?

I am starting an online business through Etsy.com, and seeing how my originals will sell online.

Where can we see more of your work?

http://www.thestylefile.com/show.php?illustrator_id=163&image_id=635

www.kathypanton.etsy.com

Charlotte Lance

2009-12-08T16:39:00.001-08:00

What's this illustration for?

‘Cat’s got your key’ was for an exhibition that I did at the end of last year.

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

Usually no. Actually most of the time I don’t know what I’m going to draw until I’m drawing. If I am working to a brief I have it vaguely in my mind and I just start and see what my mind can muster. Because of this I end up with some misses and some hits. But when it works the outcome is often a surprise for me. If its not for a brief, say, for an exhibition, then I draw whatever comes out of my pencil. Sometimes its funny and sometimes its crazy and sometimes its very obviously about me and sometimes its a mystery.

Oh and I never start unless I’m holding a pacer. Very important.

How did you get your start as an illustrator?

Pure perseverance, and and the absolute assuredness that there is nothing else I want to do but draw. And draw. If I had to go to work in an office, um, I don’t know what I’d do but I wouldn’t go to work in an office.

Who or what has influenced your work?

Roald Dahl and Quentin Blake. The stories, the imagination, the funny crazy worlds that came to life and the illustrations that not only matched but colored these worlds. I love the simplicity and detail, and I love the warmth.

What's your favourite media for creating pictures?

Pencil, ink and acrylic.

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

Not really but if I do I think I just draw something else, do something else, go somewhere else, then start again. Its not so bad.

What's the worst thing about being a freelancer?

There’s a bit of inconsistency in the workload. At times I have to stay awake past my meager bedtime to meet deadlines, and other times I nervously bite my nails (which is disgusting) in the silence of NO jobs. Sometimes I feel rich! And sometimes I feel like a Charles Dickens character eating gruel with dirt on my face. And also having to be responsible for everything. I call the accounts department about my pay and answer my own call. Boring.

And the best?

Everything else. It's my dream to draw and earn a living.

What are you working on at the moment?

An exhibition.

Where can we see more of your work?

www.charlielance.com

Hung Lin

2009-12-08T16:35:00.001-08:00

What's this illustration for?

This illustration was done as an experiment for a film concept. The image was inspired from my daily walking in Hobart, Tasmania. I am trying to illustrate an outsider living in a world where he is often walking different paths than most people.

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

No, inspiration is everywhere, every single moment. I often need to write these inspirations down in my note book. Sometimes I will take photos just to capture the moment of what I'm thinking, to use as reference for my art.

How did you get your start as an illustrator?

I am still trying to poke around in my head and find myself as an illustrator
I started out doing small characters as an experiment for my assignment at Tafe, and I would often write poems to accompany the images. Often I've illustrated for my own personal expression, to keep myself mentally balanced.

Who or what has influenced your work?

That's a hard question to answer, because there are many artists out there that influence me, but I find most of time, life itself influences me a lot, my past, my family, people's stories, cultures, landscapes and issues.

What's your favourite media for creating pictures?

Ink sketches, and acrylic paints. I still love the smell and touch of inks, although I create a lot of digital illustration now days.

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

Of course, I get scared because it would be like losing one of my life supports. I stop thinking about it and just watch animated films and listen to music for awhile. Then an idea comes along and that's when I know my urge to create has returned.

What's the worst thing about being a freelancer?

Continuing to search for the next payment.

And the best?

The freedom of doing your own projects when you like.

What are you working on at the moment?

I am currently working on my own animation film which is yet to be titled, and also writing a children's novel.

Where can we see more of your work?

http://animatedlstuff.blogspot.com/

Leigh Hobbs

2009-07-20T19:18:00.001-07:00

What's this illustration for?

This illo was for my picture book "HOORAY FOR HORRIBLE HARRIET".

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

All my projects begin with a flash of inspiration where I am
propelled forward in a blaze of ideas. Unfortunately this momentum
never lasts. There is always a point where the plain hard slog of
refining, redrawing, redrafting and filling in the inspirational gaps
has to be faced up to, and dealt with- with patience and much hard
work.

How did you get your start as an illustrator?

The book illustrating aspect of my work began in 1990 when I was
asked to illustrate a book called 'CARO'S CROC CAFE'.

Who or what has influenced your work?

I've always loved drawing and looking at art and art books. The
illustrators who inspired me most as a child were Ludwig Bemelmans and
Ronald Searle. Both these artists crossed artistic boundaries in
both subject matter and technique.

What's your favourite media for creating pictures?

My favourite medium is pen and ink. But I love using paint too.

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

Yes I experience writer's block. I usually force myself to work
through it, though I suspect that if I were able, to just leave the
studio for a day or two might clear things up. But I tend to wrestle
with projects when they are not working.

What's the worst thing about being a freelancer?

The worst thing about being a freelancer sometimes is the
isolation when the work isn't working.

And the best?

The best thing about being a freelancer is the isolation when the
work IS working and you can work without interruption.

What are you working on at the moment?

I am working on a new picture book at the moment called "MR
CHICKEN GOES TO PARIS". It will be released in August this year.

Where can we see more of your work?

You can see more of my work on my website; www.leighhobbs.com

Christina Booth

2009-07-20T19:11:00.000-07:00

1.. What's this illustration for?

This is for my new picture book, Kip. It is due for release in April through Windy Hollow Books. It is the story of a rooster who upsets his city neighbours by crowing at inconvenient times during the day.

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

My head is ‘busy’ most of the time. When I get a manuscript to consider I won’t take it on unless images start to flow the moment I start to read it. For my own stories the words often come first but images start to ‘grow’ not long after I start writing. I like to let the images and ideas grow and mature in my head for a while, tossing around ideas, then I start with large sheets of bond paper and a pencil or ink and rough out images until the right one emerges.

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

I trained as a fine artist, majoring in painting but illustration had always been an interest. I also studied teaching and taught art for a number of years. A familiar path: when I had my first child I immersed myself into picture books again (I loved them as a kid) and decided to have a go. It took 9 years (and the introduction of home computers and the internet) before I had my first ‘gig’. I illustrated a poetry book for Bill Scott (Triple D Books) and then Colin Thiele and Max Fatchen. Picture books were still my passion and goal. I had my own manuscript accepted and that was the beginning. Purinina, A Devil’s Tale was released through Lothian Books in 2007. I have been busy illustrating full time ever since.

4.. Who or what has influenced your work?

I have a number of favourites and many illustrators and artists influence me. I am very inspired by Shaun Tan’s work and also Helen Oxenbury (chalk & cheese I know!!) I love the work of Anton Pieck, a Dutch illustrator and van Gogh and anyone who uses lots of colour and texture.

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

I have been spoilt by being an art teacher so I have had the opportunity to use many mediums. I change them according to the story I’m illustrating. Water colour is predominant as it is so versatile and can be combined with lots of other mediums such as ink, acrylic, charcoal etc. I do love using water soluble ink pencils and wax crayons for their intensity of colour and texture.

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

Not often. Sometimes I worry about getting stuck in a rut, not thinking outside the square so to speak but generally I have to sift through lots of ideas and have to decide which direction to take, this can be difficult if you are indecisive like me!

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

Working alone, I like to bounce ideas off people and illustrators are thin on the ground in my part of the world. However, email can help with that. Managing my time can be an issue, especially with a busy family but it can be a blessing also.

8.. And the best?

Being your own boss, being creative, playing and being paid (occasionally!) for it and being in charge of your own schedule (except for those publishers who think wonderful illustrations can appear overnight!).

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

I am working on a number of projects but have a manuscript about the Australian Desert that I will begin soon. I have a month working in Adelaide (May Gibbs Residency) in March and will start a major illustrating project about a day in the park while I’m there.

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

I am listed on the style file www.stylefile.com, and my website can be visited at www.christinabooth.com and of course you can buy my books and see it there!

Bronwyn Bancroft

2009-07-20T19:08:00.001-07:00

1.. What's this illustration for?

I have a book with Little Hare Books titled Possum and Wattle My First Book of Australian Words. It is an innovative book bringing Aboriginal imagery and text into the mainstream.

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

I always wonder about that flash...I believe all work is delivered by Moments of Inspiration. If it wasn't, I would not keep doing it...

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

I first worked on a book for Diana Kidd. It was all black and white illustrations. And then I got the job doing Oodgeroo Nunukul's book, Stradbroke Dreamtime in 1991/ 1992. A privileged beginning, as both women are outstanding.

4. Who or what has influenced your work?

I have been influenced enormously by my Aboriginal family. All aspects of nature and the environment and a passion for art that started when I was very young have also influenced me.

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

I work in acrylics but Love all mediums.

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

I have never had a block about anything...no time to waste...one life...live
it to its fullest...I love what I do and do what I love - which I consider
to be a privilege.

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

Everthing coming in at once and having to fulfill all the deadlines to the best of my ability.

8.. And the best?

Seeing the finished work...all published and neat and beautiful and having friends and family comment on how much they love it!

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

I am working on My Doctorate in Philosophy, an exhibiton in Mebourne, some overseas exhibitions as well as a series of art workshops in Western Sydney called Artlinks. It's about place and identity. All hectic, but I love it.

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

My Website should be updated for the first time in 4 years soon..... www.bronwynbancroft.com

Rowena Evans

2009-07-20T19:02:00.000-07:00

Children lost in a fairy tale

Ink & watercolour (to a poem by John Malone)

For GROW Under the Southern Cross Anthology

What's this illustration for?

GROW Under the Southern Cross Anthology. I have illustrated a number of poems for this anthology. A story of mine also appears in it.

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

Just starting, putting pencil to paper, is the beginning of inspiration. For an illustration, the text provides the subject matter, but inspiration is more than subject… for me, it can start from working on something, pondering on it, then working again. It is important to be able to see a number of approaches to a picture. Visual ideas can come from anywhere.

How did you get your start as an illustrator?

I had some precocious opportunities when I first left school. Maybe this was a bad thing… I don’t know. Last year I received a mentorship for illustration through the ASA which was a fabulous learning experience.

Who or what has influenced your work?

Many of my relations are/ were artists (family curse?) and as a child I assumed that all adults could draw (even if, like my father, they could only draw sailing ships). I have been influenced by their styles and by the idea that creativity is part of life.

Artists and illustrators I have admired over the years are many. A list may include William Heath Robinson (his black and white work), Quentin Blake, Brian Wildsmith, various Pre-Raphaelites, Matisse, Shirley Hughes, William Robinson, Picasso, David Gentleman, Ronald Searle…

What's your favourite media for creating pictures?

I love the drama of black and white in pen and ink or printmaking media. In colour I either work in ink & watercolour or mix various media.

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

Yes.

To deal with it I think up random “exercises” to get back to fundamentals, take my sketch book for a spin or go to my collection of old sketchbooks and scrap books for ideas.

What's the worst thing about being a freelancer?

Having skill, enthusiasm and ideas in my chosen field while struggling to develop business skills.

And the best?

Self employed? I get on well with the boss.

What are you working on at the moment?

Getting past a nasty case of illustrator’s block.

Where can we see more of your work?

There’s a slideshow of some of my work at:
http://www.myspace.com/peablossomsnowflake

If you send me a friend request on MySpace mentioning PIO I’ll add you and you can see them in more detail.

Jason Atherton

2009-07-20T18:57:00.000-07:00

1.. What's this illustration for?

Character Design for AAMI of an AFL Umpire for one of AAMI`s contest/promos.

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

No, just start with rough thumbnails of an idea, then build the sketches up so they are more refined. Usually complete the pencil image with the lighbox.

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

I starting designing artwork for surf companies.

4.. Who or what has influenced your work?

Artists would be: Ed Benedict, Jim Phillips, Robert Williams, Walt Disney, Ed Big Daddy Roth, Alex Grey, HR Giger, Salvador Dali, Austin Osman Spare, Brian Froud.

Other influences would be music, old Hanna-Barbera cartoons, American trash culture etc..

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

Unfortunately i haven`t painted in quite a while, so i`ll have to go with Adobe Illustrator.

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?

. Dealing with middlemen who think they are above you.
. Dealing with potential clients who expect work done for very little money.
. Ridiculous unrealistic deadlines.
. Working crazy long hours.
. Dealing with time-wasters.

8.. And the best?

. Working from home in my pajamas, having breaks when it suits me.

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

Maybe a new folio. I`m deciding if i even want to continue to work in this industry.

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

www.mutationparlour.com

Susy Boyer

2009-07-20T18:44:00.000-07:00

What's this illustration for?

It’s an illustration from a picture book called The Gobbling Tree written by Mark Carthew and published by New Frontier. ( Released May 1st 2008)

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

Generally I get an idea and a visual picture in my head as I’m reading the text for the first time. It’s an exciting part of the process that I really enjoy.

How did you get your start as an illustrator?

I majored in Illustration at Art College so I had a quite a few illustration pieces in my portfolio. I moved to Sydney and did the rounds of the publishers and ad agencies there. I got my break when I met with Phil Napper who was Creative director at ACP at the time. We hit it off immediately, he liked my work and gave me an illustration job straight away to try me out. I was 21yrs old and so excited. I made sure I did my best work on it which must’ve worked as I ended up working with Phil as a designer and illustrator for the next 15 years.

Who or what has influenced your work?

No one person or thing in particular. I’ve always been inspired by looking at the work of other artists and illustrators. Children’s picture books have been a passion since my college days and I’m in awe of the work done by my favourite illustrators.

What's your favourite media for creating pictures?

At the moment it’s chalk pastels, the rich colours are so edible! But I still love using coloured pencil and watercolour...especially if there is a lot of fine detail in the drawing.

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

YES...it’s so frustrating as it can really mess up a nicely planned work schedule. It usually happens later in the day as I’m a morning person and more creative then, so I’ve learnt not to fight it. If possible I stop and go and hang up washing, do my emails or any other pressing chores. When I come back to the work later it often flows easily again. Another trick is to stop battling on, and browse at some inspiring art or photography and it’s surprising how quickly a fresh idea will come through.

What's the worst thing about being a freelancer?

The insecurity of not having a regular weekly payday to rely on, yet bills that come very regularly! Occasionally the isolation gets to me too...but sometimes I crave it!

And the best?

Being able to work for myself on wonderful jobs with lovely people and having the ability to say no to the jobs and people I don’t want. Not having to commute to work is pretty up there too.

What are you working on at the moment?

A picture book for Ford St Publishing written by Gary Crew. Also some really fun pastel illustrations for a kids yoga DVD.

Where can we see more of your work?

I have a website www.susyboyerart.com and also at the following links...

www.portfolios.com/susyboyer

www.illustratorsaustralia.com/index.php?option=com_content&task=view&id=5&Itemid=55&user_id=787

www.thestylefile.com/show.php?illustrator_id=105

Heather Anderson

2009-07-20T18:37:00.000-07:00

1. What's this illustration for?

This is a page from the third book in a rhyming series I have written called ‘Little Bird’. In this particular book, ‘Busy Little Bird’, the reader is introduced to 3 of Little Bird’s friends. The book is a story about self discipline and making enough time in your life for everything, especially your friends.

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

I’m a graphic designer by trade so I’m used to planning out brochures. I treat the illustration construction in the same way. I work out a pagination, dividing my text equally amongst it, then sketch out rough concepts for each spread. Once I feel I have visually covered the story I go back and fine tune the scale and content of each illustration. Finally I draw each of the elements out in marker pen. I keep drawing the same thing over and over till I’m comfortable with the execution. Some images take more attempts than others. Then I scan each black and white drawing and compose them in a draw programme on my computer, where I create my final artwork.

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

Over the years in the design industry I have had to occasionally draw small illustrations for printed material. The style I use for Little Bird is quite specific in its simplicity. This style was also used as part of a branding project for an Occasion Card company in Singapore last year. Initially I sketched a logo idea for my client. She liked it exactly as it was so we ended up creating a whole series of illustrations to support the seasonal sales of her cards. I was happy with the outcome and had positive feedback about the images from other people, so decided to apply the style to my own books

I have worked with two different illustrators on my other books and they were both wonderfully talented. However in this series, I knew I wanted to be able to create the books quickly and be in full control of the artwork, so it seemed like the perfect solution. I actually created this book and one other in Sydney last November. I stayed in a friend’s house with no internet access. As wonderful and integral to our lives the internet is, I achieved a huge amount of work in its absence. I not only wrote 14 of my series stories but illustrated, scanned in and artworked two complete books, all within the space of a week. I also managed to get out and about and see quite a bit of the city too.

4. Who or what has influenced your work?

Nothing has consciously I have always enjoyed creating illustrations for fun, and in my design role, I had to formulate a method of fast sketching to get across ideas to my team, so I imagine its developed that way.

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

Black fiber tip, broad nib marker pens. It’s all I ever draw with. Colour is either added through scanning in the black and white image and applying through the computer, or I use coloured pantone markers on the original.

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

I can’t say that I have. If draw mostly from my head, but if I’m struggling with, say creating a particular animal, I will use the internet for a photo reference then I usually have no problems with execution. The ideas and compositions, as I mentioned come to me in a quite logical left brain fashion, due to my training in design.

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

I don’t think there IS a worst thing about it. I gave up my full time position as Creative Director in a branding company to freelance and have no regrets at all. I guess if I were digging deeply for something that’s a slight issue, it would be that the arrival of cheques can be unpredictable and sporadic, but they always do come eventually.

8. And the best?

Absolutely the freedom. I love it. I’m also a bit of a night bird, so if I feel inspired at midnight and want to work through the night instead of 9-5, it’s not a problem for anyone.

9. What are you working on at the moment?

In addition to paid work, which involves writing for magazines and brochures (because I can’t pay myself to illustrate yet!), I’m working on the remaining 25 Little Bird books in my series. I have many concepts for the characters in other mediums, such as animation, games, content etc. so I’m continually expanding the series image content and character list.

10. Where can we see more of your work?

You can view a lot of my illustrations at thatcardcompany.com. This is the client I created icon based illustrations for. Also my website, which is under construction at the moment, but should be more active very soon, http://gekkostate.com.sg/. It currently has only one page visible showing my other books; not all illustrated by me. The other place where I have more of my Little Bird illustrations on display in my gallery, is ‘Jacketflap’, the social networking site for those if us in the business of books.

Liz Flaherty

2009-07-20T18:30:00.001-07:00

What's this illustration for?

I painted this for the fun of it. I saw a couple of camel pictures in
some magazines and thought they'd be fun to paint.

Do you have to wait for a flash of inspiration?

Sometimes I get on a bit of a theme with my paintings - such as
Italian landscapes, mermaids or Nepalese markets. I go to art class
each week, so I usually paint whether I feel like it or not.

How did you get started as an illustrator?

At this stage I wouldn't call myself an illustrator at all! I paint
and draw as a hobby. Although as a children's writer, I do harbour
the desire to one day illustrate my own work.

What's your favourite media?

I love pastel best of all. They're soft and fun to use - the colours
are to die for and I love the feel and texture of them - although
they're disgustingly messy. (but that may just be me and how messy I am!)
I've dabbled in watercolour and pen and ink.

What are you working on at the moment?

I've just completed a painting of an Italian scene, with gorgeous old
ochre and sienna coloured buildings for a friend.

Where can we see more of your work?

You'd have to come and look at my walls at home! Other than that, you
could check out my new website that has some examples of paintings
and drawings that I've done over the last year or so.

http://members.dodo.com.au/~flaherty/

Liz Wilks

2009-07-20T18:24:00.000-07:00

What's this illustration for?

This illustration is part of a book about elephants in a Sri Lankan elephant orphanage called ‘Bibile: The Baby Orphan Elephant’ by Teresa Cannon.

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

No, I get lots of reference material and start drawing.

How did you get your start as an illustrator?

I was sick a lot as a child and mum gave me pencils and paper to keep me busy while I lay in bed. After high school I did a diploma in illustration and graphic design, then worked for a daily newspaper for 12 years.

Who or what has influenced your work?

So many people it’s hard to name one. Loved reading picture books to my children when they were little. Now I just like reading them to myself.

What's your favourite media for creating pictures?

Pen and ink on paper, but am happy to try most media.

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

I don’t experience block but if I did I’d do something else for a while, then come back to the illustrating when I feel like it. It always helps to break the task down, if I feel overwhelmed. Then it suddenly seems to get done.

What's the worst thing about being a freelancer?

Promoting myself.

And the best?

Seeing my work in print.

What are you working on at the moment?

Always scribbling new ideas and following up others.

Where can we see more of your work?

Blue Cat Books’ Brave Kids Series and some other books like ‘Bibile: The Baby Orphan Elephant’, and my own junior novel ‘Sara Webb: Disaster Area’ by Hachette Books 2006, where I did the start-of-chapter illustrations.

Bridget Strevens

2009-07-20T18:16:00.000-07:00

What's this illustration for?

Bridget’s Book of Nursery Rhymes compiled and illustrated by me (Bridget Strevens-Marzo) published by Little Hare Books.

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

Never have time to wait! I start by plunging with my inked brush straight into a piece of cheap paper (has to be cheap!) and telling myself I can always throw it away and start again

How did you get your start as an illustrator?

Writing and illustrating a first series of books based on places I knew and on my young son. The books were published in the US and UK . Later after working for a start-up multimedia company I designed my illustrated website way back in the ‘nineties before google. I’d often come up on the first page when someone searched for children’s book illustrator and I got more work illustrating books like Kiss, kiss! By Margaret Wild, thanks to my website. Though I live in France, my website was hosted by a techy friend from Sydney who had just started http://www.planethomepage.com.au/ . He wanted to thank me for being a host to him years before, when he turned up on my doorstep as the friend of a friend in the medieval town north of Paris, France where I live!

Who or what has influenced your work?

So many things – paintings, books – just too many to list!

What's your favourite media for creating pictures?

Brush and ink (or brush-pen) and Photoshop where I can paint directly using a graphic tablet, and play with colour using rough painterly brushes.

What's the worst thing about being a freelancer?

Working nights and days to meet a never-ending series of deadlines.

And the best?

Being able to work days and nights - when you want!

What are you working on at the moment?

Just sent off the illustrators and the cover for a book for Little Hare by David Bedford, called “Daddy Does the Cha, Cha, Cha!” - a real romp of a picture book with lots of dancing dads and kids!

Where can we see more of your work?

On my website

http://www.bridgetstrevens.com

Gaye Chapman

2009-07-20T18:14:00.001-07:00

1. What's this illustration for?

'Little Blue', the first picture book I have both written and illustrated. Published by Little Hare Books in 2008.

2. Do you have to wait for a flash of inspiration?

Inspiration is a 'series of inter-related flickers' rather than one 'flash', though an initial flash may spark them off. The old adage about percentages of inspiration and perspiration holds true. An idea is just that, an idea. In the case of 'Little Blue', the main character and basic storyline arrived fully formed. But, the Little Blue girl herself required months of detailed design, as she had to be constructed in a very specific way for the story end magically.

2. How do you start?

If we are talking about a picture book commission then I start with the story. That may sound obvious, but only deep analysis of the text will drive all successful decisions about illustrations. I then draw up a small storyboard, and enlarge into individual panels that pinned right around my studio walls in a circle. A picture book's construction is like a movie; the storyboard sheets show the movement and internal structure of the book. Every note and idea about each illustration goes onto these sheets.

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

I was a fine art student at the National Art School Wollongong in the late 1970s. A small advertising agency, Creative Ideas, was looking for a student to illustrate part-time; they could not afford to pay a professional. I was deeply offended when the Head of School suggested I might try for it along with a student from the graphic art course. (fine art students look down their noses at graphic art students). But the Head of School tricked me into going, and once I was there I found it very glamorous and wanted the job. I paid my way through art school doing illustration, and ended up working full-time for the same agency after leaving art school. I went on to become a professional Graphic Designer and didn’t illustrate again until I began illustrating for children in 1990 with the NSW Department of Education's 'School Magazine'.

4. Who or what has influenced your work?

I am a professional fine artist and I need money to live. Illustration pays the bills and I like it. This is the major influence on my illustrative work. Creatively, my own childhood influences my illustrative work a lot. I also draw upon obsessions in my painting. I try not to be directly influenced by other peoples work. I admire Arthur Rackham, and the great draftsmanship of the Victorian and traditional children's illustrators of the past. In terms of contemporary illustration, animation is the most exciting genre. Not Walt Disney; but Manga, Anime, Russian, Japanese and experimental animation. I also draw upon inner city graffiti and street art a lot.

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

Mixed water-based media and collage. Not collage cut from magazines, but using my own imagery collaged with found materials.

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

No. I have learnt to override this and work through it. But there are days, and individual jobs I find uninspiring. I try to find something within the text that might spark an idea – an excuse for turning the imagery in a quirky or lateral-thinking way to get me off a boring hook.

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

No money, and the results of not having money. I miss travelling a lot, and not being able to buy the clothes I love. Fashion is my next greatest love to fine art. Also working too long and too often because the office and studio are always there.

8. And the best?

Freedom!! Working in my pyjamas. Rain on the roof, my own music, no "tea-room politics" to deal with, and knowing I'm still working as an artist with my hands in the paint, even when I'm not painting!

9. What are you working on at the moment?

Always a secret.

10. Where can we see more of your work?

Storyopolis Gallery in Studio City LA USA online:
http://www.storyopolis.com/gallery
Select Chapman, Gaye from the Art Gallery/Porfolio/drop box

Marjory Gardener

2009-07-20T17:56:00.000-07:00

What's this illustration for?

It's one of the full page illustrations for a chapter book I've just done for Rigby/Pearson, called "Going for Keeps" by Paul Collins.

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

This was a commissioned job (as most of mine are) so I start by reading the manuscript, taking notes re character descriptions (or the art brief if there is one), and then doing rough drawings on tracing paper. My finished roughs look pretty well finished (other than shading and colour) so the editor and I both know what the finished drawings will look like. I usually work in silence at this stage, then listen to Radio National and talking books for the fun, colouring-in stage.

What's your favourite media for creating pictures?

I love working in colour (textas then colour pencil), but also love black line. This illustration was done with a black fineliner, then coloured with grey textas.

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

Sometimes I find it really hard to physically draw something (eg vehicles, room interiors, crowd scenes) but it's not "illustrator's block" as such, just frustration borne from the hand not doing what the brain "sees". In that case I'll make a cup of tea or take the dogs for a walk, then come back to it fresh. Without meaning to sound too cynical, there's nothing like the prospect of writing out that invoice when the job's complete, to get the creative juices flowing again!

What's the worst thing about being a freelancer?

Quoting (though I'm getting better at it), cashflow, the fear of running out of work, (and then - occassionally - running out of work!), being disappointed when the print job turns a rainbow into a mudpuddle of colours.

And the best?

Getting paid to do what I love, working my own hours, the thrill of seeing my drawings in print!

~~~~~

Visit The Style File to see more of Marjory's work -

www.thestylefile.com/show.php?illustrator_id=77

Sally Heinrich

2009-03-01T15:24:00.000-08:00

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

2009-03-01T15:19:00.001-08:00

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

2009-03-01T15:01:00.000-08:00

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

Tamsin Ainslie

2009-01-29T14:22:00.000-08:00

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

2009-01-15T20:42:00.000-08:00

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

2009-01-15T19:51:00.001-08:00

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

2009-01-15T19:43:00.000-08:00

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

2009-01-15T19:37:00.001-08:00

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

2009-01-15T19:31:00.000-08:00

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

2009-01-15T19:22:00.000-08:00

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

2009-01-04T22:35:00.000-08:00

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

Jacqui Grantford

2008-11-30T21:28:00.000-08:00

What's this illustration for?

This illustration is from the book ‘Squeezy Cuddle Dangly Legs’ written by Peter Whitfield. It’s a picture book about a little girl who refuses to go to bed, and the rituals that the mum has to go through to get her there. Incidentally, the models I used for the illustration are Sophia from New Frontier and Grace, the littlest Whitfield.

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

I usually find that starting can create the flash of inspiration. Starting anything can be what springboards you into a great idea.
How did you get your start as an illustrator?

I started an illustration class at Chisholm College and one of my assignments was to write and illustrate a picture book – which I did.
I then took my book, Various Faerious, to Books Illustrated and Ann James was a fantastic help, pointing me in the right direction. Thanks Ann.

Who or what has influenced your work?

Michelangelo was a big influence on me when I was 10. We went on a family holiday to Italy and I remember being blown away by his work. Great muscle definition. Also Ingres and Renoir (who shares my birthday).
Robert Ingpen’s ‘Encyclopaedia of Things That Never Were’ also inspired me. I decided when I saw it that I’d love to get into illustration.

What's your favourite media for creating pictures?

I love all medias. I go through different phases when a certain media appeals to me more. At the moment it’s oils. Although I would like to get into some etching. It’s something I’ve never done and it sounds like fun.

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

So far no, I haven’t experienced any blocks. I think it’s much easier for an illustrator to thrash ideas around in thumbnail format than writers, and to work through problems. It’s immediate and in front of you. For me at least.

What's the worst thing about being a freelancer?

You have to be careful not to put in too much overtime. It’s easy to keep going if you’re at home. And of course you don’t get paid if you’re sick. Still, happy people rarely get sick, so I guess it all works out in the end.

And the best?

It gives me time to be a mum and to work in my own hours, which is often at 1am in the morning. Love it. And I get to share my work with my family. My kids often come in and work with me which is great.

What are you working on at the moment?

I’m working on a book called ‘Thank You’ Wishes by Kate Wilson. It’s got a similar message to ‘The Secret’ except it’s for kids. And coincidentally, I was reading ‘The secret’ When the MS came my way. Very Twilight Zoney!

Where can we see more of your work?

All good bookstores!
And I’ll keep everybody posted when my work next gets exhibited. Always exciting!

Teresa Culkin-Lawrence

2008-11-18T14:22:00.000-08:00

What's this illustration for?

This illustration was done for a book called The Other Side, written by Sally Morgan and published by the Australian National Museum, Canberra. Authors are invited to look at the museum’s collection and take their inspiration into a children’s story. In this picture, the two main characters, an aboriginal boy and his grandfather have met in the boy’s dream as animals. Alex, as a joey asks his grandfather, a goanna how to get home.

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

I always find words inspiring – just reading the text will start to prompt pictures in my head. It’s the interpretation of those inspirations that can be difficult – as Marjory said last week, ‘getting the hand to do what the mind sees’ is a tricky business.

What's your favourite media for creating pictures?

For the above illustration, I loved using charcoal pencil as it gives me lovely blacks and greys which then contrast dramatically against a white background. When I use colour, I love watercolour and coloured pencil. And lately, I have gone back to etching which I hadn’t done for many years and can’t wait to use that medium in the future.

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

Yes, sometimes all I want to do is go and have a sleep. But I heard a great tip from a writer once who said he sits down to write, telling himself this will be ‘just for an hour’. By the time that hour is finished he said, he is always absorbed in the project. I have tried this many times and it works. It’s a great little trick you can play on yourself!

How did you get your start as an illustrator?

I applied for a full time job as an art director's assistant at a publishing house. During the interview, I mentioned I had an 18 month old daughter and immediately knew I wouldn't get it. But, I did ask if I could be added to the list of freelancers on their files - the art director mentioned that sometimes they would do up to 30 titles and thus needed access to lots of talent. Some months later, I was offered my first book with that publisher. I was so thrilled and so terrified! After that I went to other publishers with my book and my folio. One that I walked into - Macmillan - said they were just wondering who to give their latest Maths Book to - turned out it was me! And then, I was off....

Who or what has influenced your work?

As a child, I loved Edward Ardizzone's illustrations and his work has influenced my thinking about art very much. I don't think I ever actually read his books, just got lost in the pictures. And I remember Angelo being read to me in prep - illustrated by Quentin Blake - and being enthralled by the story and pictures. Sarah Garland - loose and bright and funny, Julie Vivas - the gesture and weight of her figures, Narelle Oliver - her amazing skill as a printmaker and David Frazer - another stunning printmaker are just some of the other artists and illustrators whose work I love and admire.

What's the worst thing about being a freelancer?

Finding the discipline to do the above. And, feeling a bit isolated from others – which makes networking important, especially with things like negotiating for a project.

And the best?

Sometimes actually having a sleep instead of working… But really, creating a book – WOW! What a wonderful thing to be able to do.

Visit The Style File to see more of Teresa’s work

www.thestylefile.com/show.php?illustrator_id=106&image_id=216

or her website at:

www.portfolios.com/TeresaCulkinLawrence

Kevin Burgemeestre

2008-11-09T18:28:00.000-08:00

What's this illustration for?

This cover painting in acrylic was for Antarctic Dad written by Hazel Edwards. It was interesting in that it was the third cover picture and by far the best. In my initial painting I had used pictures from people in the Antarctic cold and their faces were somewhat "scrunched" up. Hazel wanted a more positive look, in accord with her theme of families apart but in touch. The skies were authentic, but perhaps a little optimistic, you would not often have such clear weather. Maybe they were lucky!

The boy in the image is my son Jim.

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

In this instance the idea was clear from the start: people in different places, but together, so I used my background in collage to combine separate images in an informal manner. There is also a cross-over in the colour used for each character. The warm yellows reflect the comfort of home and safety, the cool blues reflect the cold Antarctic. Dad's yellow suit is a tone of the boy's background, the boy's blue jumper reflects the blues of the Antarctic scene; the images are thematically connected. (I really do construct images like that, it reflect my interest in cinema studies).

How did you get your start as an illustrator?

What start would that be? No really, I arrived back in Australia in 1985 with a folio full of images from my study in children's book illustration at the Rietveld Academy in Amsterdam. I also had freelance work. It was enough to make me memorable at the time. I would have drawn anything!

Who or what has influenced your work?

Too easy: Warner Brothers cartoons, Alfred Hitchcock's movies, Henri Toulouse Lautrec, and Pablo Picasso. Also, my mother was a fine art restorer, so I was up close and intimate with paintings from a young age. To see work being restored is to see it naked.

What's your favourite media for creating pictures?

Pretty well the one I'm using at the time. I have a commitment to recycling, so will re-use stock, stick things down and sculpt with discarded packaging. B is for Bravo, my book on Australian aviation had dioramas that were constructed completely from the recycling bin. Only the cardboard is artist's quality and that was discarded at the local framers. A highlight is stealing my son Jim's plasticine to mould an engine block and cylinders for an aircraft engine. (He was finished using it!)

For Antarctic Dad I used recycled A3 paper for the dummies and sketches.

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

I have always found masses of whiskey works well. Otherwise a rapid bike ride is marvelous. There is always a moment of trepidation when beginning, this can be larger or smaller according to the moment. It is important to go back to basics; clean brushes, clear the work surface, go back to researching the illustration, do thumbnail sketches to reduce the stage size and fear factor. If you live near the Gold Coast go surfing. Keep surfing. Go surfing again. I don't live near the Gold Coast.

What's the worst thing about being a freelancer?

I hate working on my own. Your own "head tape" can be very negative at times. It is important to see exhibitions, and experience things like live theatre to fire you up. Interesting movies offer great alternative approaches to visual story telling. Do coffee with friends. Do more coffee with friends. It is important to keep a perspective.

And the best?

I was at home all through my son's primary school time. I took him for injections, made him breakfast, got to know the crèche staff and when he was older, I took him to school every day. It is an unforgettable experience, he is my treasure. I had the same joy with my step-children, I was there when they came home from school and heard about their day.

Jim slept like clock work every day, so I had 3.5 working hours as well as having him.

We would charge around like lunatics in the morning having fun, he would drop like a rock in the arvo, and I would start work. I could hear him sleeping. It was the best of times. What are you working on at the moment?

I have committed the folly of starting an adventure novel. It moves at a cracking pace and is really frightening, and centres around a cautious kid called Tim (timid?). I am also trying to resolve a picture book about the experience of young men and women in the Second World War. It was such a massive era of transformation for Australian families, it set the tone for modern Australia.

Where can we see more of your work?

I make work in many mediums, I have worked as a collage artist, sculptor, freelance writer, even briefly as a freelance motoring journalist. I'm mad about machines and movement. A highlight was testing a Ferrari down Punt Road: the traffic just parted.

We had a Porsche as well, it was a really memorable morning.

I visit lots of schools and do presentations at libraries and TAFE colleges. I am working at getting my website up and I will soon have a gallery of images and writing for free download. The electronic age has been the most profound change we have experienced. Despite ups and downs it is still my dream job. My only frustration is not getting my writing out there at the moment.

I have illustrated two books by Lucy Farmer in a new series about a character called Uncle Eddie who manages a game reserve in Africa. They are produced by Black Dog Books and are due in February 2009. Eddie has to work out how to deal with difficult customers like Hippos, crocodiles and Killer Bees. It was great to draw these amazing creatures (Hippos are NOT cuddly!) and challenging to get the feel of the African setting. Order your copies now!

Shannon Melville

2008-11-06T16:12:00.000-08:00

What's this illustration for?

Illustration Friday topic “Forgotten”.
Do you have to wait for a flash of inspiration - how do you start?
I always have ideas that I want to work on next. Sometimes inspirations comes to me through a simple object like a spice container lid or a bit of twisted metal I find on the ground. I like it when I am in that creative zone to be able to notice the small details in life.

How did you get your start as an illustrator?

I am still getting my work out there, the illustration jobs I have had are mainly illustrated logos, illustrations for educational readers, one off illustrations for signs, banners, maps etc. I also work as a Graphic designer, so some of my clients require illustrative work. I would like to get more into book illustration as I have a childlike imagination at times!

Who or what has influenced your work?

I admire a lot of illustrators work so couldn’t just name a few, however, doing work experience in Year 10 + 12 at Fremantle Children’s Literature Centre allowed me to see the fabulous work on display. I felt inspired because so many children’s illustrators and authors were so passionate about what they did. I loved how they showed their research aswell.

What's your favourite media for creating pictures?

I enjoy working in lots of different media. I have been working more lately in inks, coloured pencils and pastels though. I also like painting with acrylics at times and wouldn’t mind creating some more work with Das Clay. My clients often require vector illustrations, which I do in Adobe Illustrator.

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

Not often, sometimes if I am very stressed or tired I am not in the mood for creating art. I have recently bought some books on face expressions and poses, which I think will help greatly if I get stuck.

What's the worst thing about being a freelancer?

Finding your own work. Trying to balance marketing yourself: sending out flyers, updating your website along with actually doing the work and developing your skills more. Also motivating yourself to keep striving ahead for the next goal.

And the best?

You get to work on a variety of projects. You can choose what you want to take on and what you don’t want to. You get to wear your tracky pants and ugg boots around the house, you get to cuddle your dogs whenever you want, you can sleep in if you have stayed up late working on something, you can draw more, you can create more mess with your art supplies!

Where can we see more of your work?

www.shannonmelville.blogspot.com/
www.lemonzestdesign.com.au/

Sarah Davis

2008-11-05T13:34:00.000-08:00

What's this illustration for?

For "Mending Lucille" by J.R. Poulter, which will be published by Lothian/Hachette in June this year. It's a beautiful story about a little girl coping with the loss of her mother. I absolutely loved illustrating this book - The text is so rich and lyrical and emotionally layered.

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

I don't have time to wait for inspiration! I usually start with a loose brainstorm - scribbling all over the text. I usually start off by writing about my ideas rather than drawing. Sometimes particular characters or images pop into my head fully fledged and I have to sketch them quickly in case they disappear again.

How did you get your start as an illustrator?

I don't have any training or anything - we moved to Sydney 3 years ago, and I had been working as an English/art history teacher, but hadn't really touched a pencil in 10 years. I took a year off work when we moved here to help the kids settle in, and stumbled into a job (through a friend of a friend) storyboarding a feature film. I had 2 weeks to draw 480 frames so it was like illustrator boot camp. But I loved it, and realised that you could conceivably make a living out of it, so decided to give it a go and put together a few samples and started trawling for jobs on freelance websites. The 2006 SCBWI conference and Susanne Gervay's enthusiasm and support gave me a real start though - SCBWI has been invaluable for meeting people and making contacts.

Who or what has influenced your work?

I do a lot of surfing the net looking at other illustrators work and subscribe to some great illustration and art blogs - www.drawn.ca and www.linesandcolors.com are two of the best. http://www.illustrationmundo.com is also a great portal for seeing what other illustrators are up to. I love all the great classic illustrators like Arthur Rackham and Howard Pyle - when I was a kid Maurice Sendak was my favourite. I'm a bit besotted with Shaun Tan's work. I try to read lots of art books and am lucky to have access to the library at Macquarie uni for dipping into random books for inspiration (on everything from the history of botanical illustration to a pictorial "how-to" manual on butchering cows.)

What's your favourite media for creating pictures?

I still haven't worked that out! At the moment I’m usually either using fast-drying oils on paper, or digitally colouring. But I fantasise about having more time to experiment with unusual techniques and combinations of media. The method usually varies depending on the project anyway. I try usually to do book work traditionally and commercial work digitally.

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

Not usually -I just have to keep plugging away. It can get really frustrating when you hit a drawing that doesn't work, but that's usually a good sign that instead of banging your head against a brick wall you should get rid of it and try a completely different approach rather than clinging to the original idea.

What's the worst thing about being a freelancer?

Trying to make myself stop work! It's so tempting to grab every spare moment to sneak into the studio and get just a little bit more done - and working round the kids I end up working ridiculous hours - often till 2-3 a.m - because I haven't had a chance to do much in the day. I'm not sure if being addicted to your job is healthy, but it's definitely fun. It gets a bit busy too - I would also like to make more time to do a bit of painting just for myself.

And the best?

Doing what I love

What are you working on at the moment?

I'm illustrating a series of books for Velopress in the USA, written by an Olympic cyclist, Erin Mirabella. I'm working with New Frontier on a really delightful series called the Music Box series - each story is based around a famous piece of music, and the books come with a CD of the music and the story narrated by Antonia Kidman. I think it's a great idea, and so much fun to do! I'm working on The Dance of the Sugar Plum Fairy at the moment (story by Sue Whiting), and will be doing The Sorcerer’s Apprentice next. I'm also illustrating an English language reader for ILTS. I also have a couple of projects of my own I'm trying to find time for - a couple of picture books/graphic novels I'm writing and daydreaming about, and some animated videos to go with the songs that my lovely partner writes. In my day job, I'm illustrator/Art director for a company called Childhood Champions which produces personalised books for kids in association with sports stars. We've put out books with Tim Cahill (socceroo) and Brett Lee (Australian cricketer), and are taking it international later in the year making books with some great athletes in the UK and USA. Phew. And taking care of 3 kids and a new puppy! Sounds like quite a lot when I write it down.

Where can we see more of your work?

my website: http://www.sarahdavisillustration.com

my blog: http://www.pseudoarmadillo.wordpress.com

Aaron Pocock

2008-11-02T22:00:00.000-08:00

What's this illustration for?

This is the second illustration for the book 'Dewdrop the Little Fairy' by Loretta Nielsen. The story is about a fairy born with only one wing, very sad. but don't despair, all's well by the end of the tale.

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

I've kind of gotten over that hurdle. I do like to respond to inspiration when she calls but I find that just 'doing it' gathers it's own momentum. I've found over the years that the Nike slogan 'just do it' really is the best mantra.

How did you get your start as an illustrator?

By being bold and sending portfolios away, and 'hanging in' there was worth it. I started out in comics and then magazine illustrations, then fine art, then books. now I do just about anything that comes my way. but my heart is in illustrating books, I knew at a very young age that this is what I wanted to do, I think it's important to follow your dreams. Too many people give up.

Who or what has influenced your work?

I'll need a few more pages to answer that one..... My friend david Wyatt was the person who started me on the path... he's probably the top children's book illustrator of his generation... Charles Vess (one of the co-creators of the Stardust movie), Arthur rackham (who isn't?), The Hildebrandt brothers, Alan Lee.... My God, he is an absolute Legend... nobody can hold a paintbrush up to that man! So many others... as long as it speaks to me in some way, I'm open to learning from it..... Mother nature is my muse.

What's your favourite media for creating pictures?

Probably watercolours, but due to time constraints, i work mainly digitally, (Corel Painter and Adobe Photoshop). it really is the fastest way for me to illustrate anything. the enclosed illustration was rendered this way.

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

No. I can hit 'burnout' from time to time, due to an overload of work, but i don't ever get blocked. i was told by someone years ago that if inspiration doesn't come knocking, get out the sketchpad and draw from life.... very wise words.

What's the worst thing about being a freelancer?

Not knowing where the next job will come from.....

And the best?

Getting to do what I want for a living.

What are you working on at the moment?

A wonderful little story about a child's love for her dog.

Where can we see more of your work?

My website is a good place to start: www.pocockart.com