Stephen Axelsen PIO issue 276 Feb 2010

What's this illustration for?

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

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

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

How did you get your start as an illustrator?

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

Who or what has influenced your work?

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

What's your favourite media for creating pictures?

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

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

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

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

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

What are you working on at the moment?

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

Where can we see more of your work?

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

Daniel Atkinson PIO issue 275 Jan 2010

What's this illustration for?

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

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

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

How did you get your start as an illustrator?

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

Who or what has influenced your work?

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

What's your favourite media for creating pictures?

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

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

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

What's the worst thing about being a freelancer?

The lack of financial security and at times the isolation.  

And the best?

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

What are you working on at the moment?

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

Where can we see more of your work?

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

Anne Shenfield PIO issue 273 Dec 2009

What's this illustration for?

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

Do you have to wait for a flash of inspiration?

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

How did you get your start as an illustrator?

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

Who or what has influenced your work?

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

What's your favourite media for creating pictures?

I really love how luminous watercolours can be.  

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

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

What's the worst thing about being a freelancer?

The uncertainty.  

And the best?

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

What are you working on at the moment?

I’m writing and illustrating a verse novel.  

Where can we see more of your work?

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

Nina Rycroft PIO issue 272 Dec 2009

What's this illustration for?

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

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

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

How did you get your start as an illustrator?

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

Who or what has influenced your work?

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

What's your favourite media for creating pictures?

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

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

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

What's the worst thing about being a freelancer?

The isolation.  

And the best?

The isolation.  

What are you working on at the moment?

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

Where can we see more of your work?

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

Deb Gilmartin PIO issue 271 Dec 2009

What's this illustration for? 

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

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

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

How did you get your start as an illustrator?

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

Who or what has influenced your work? 

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

What's your favourite media for creating pictures? 

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

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

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

What's the worst thing about being a freelancer? 

Trying to get work

And the best? 

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

What are you working on at the moment? 

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

Where can we see more of your work? 

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

Rosalie Street PIO issue 270 Dec 2009

What's this illustration for?

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

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

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

How did you get your start as an illustrator? 

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

Who or what has influenced your work? 

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

What's your favourite media for creating pictures? 

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

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

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

What's the worst thing about being a freelancer? 

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

And the best? 

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

What are you working on at the moment? 

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

Where can we see more of your work? 

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

Owen Swan PIO issue 269 Nov 2009

What's this illustration for?

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

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

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

How did you get your start as an illustrator?

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

Who or what has influenced your work?

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

What's your favourite media for creating pictures?

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

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

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

What's the worst thing about being a freelancer?

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

What are you working on at the moment?

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

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

Doris Unger PIO issue 268 Nov 2009

What's this illustration for?

For myself, to keep myself sane.  

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

For my own work yes, but often I have to work at it! If it is a commission I go to the library and surround myself with related research and inspirational images, that often does the trick. The painting/illustration above is entitled 'Plastic Python' which is part of a series of works inspired by a friend who had an exotic belly dancing act complete with a live python, and my adventures as a cleaner. Sometimes I get all these ideas for pictures as I vacuum or wash the dishes or something very ordinary like clearing my desk.  

How did you get your start as an illustrator?

I've been drawing and colouring in since I was in kindy and have continued ever since. My very first chance to get into print was when I worked on a community newspaper in the 80's and I got to do a regular cartoon called 'Pinkie the Bandicoot.' I did printmaking at Art School which got me on to posters, then exhibited my own paintings and now I am focused on books and illustrated narratives.
 
Who or what has influenced your work?

My mum got me started by keeping me well supplied with art materials when I was a kid. Many things have influenced my work, life around me, other artists work like George Herriman's cartoon strip 'Krazy Kat' greatly impressed me, I love the surreal design and quirky poetry. Elizabeth Zwerger and her beautiful water colours are also inspirational, medieval illuminated manuscripts, also film animation and books of course. I am also inspired by word play/ puns.  

What's your favourite media for creating pictures?

Can't beat lead pencil and paper, ink outline with water colour and gouache, and perhaps a little digital tweaking. I also paint with oils on linen but haven't done that much of late.  

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

Yes. Watch a film or go for a walk. Doodling around with ideas and a pencil in hand always helps. Sweep the floor. Clear my desk.  

What's the worst thing about being a freelancer?

Spending ages on a quote and then not getting the job, or massively under quoting.  

And the best?

Realising the job you quoted and didn't get wasn't really your cup of tea and allowed you to get the job of your dreams.  

What are you working on at the moment?

I'm working on illustrating 2 stories of my own which I have also written. I have discovered just how hard it is to do both and have developed a new admiration for those who succeed.  

Where can we see more of your work?

I am currently working on my own website but you can see examples on the Australian Illustrators Website www.thestylefile.com/show.php?illustrator_id=35? I have illustrated a book which has just been released called 'Zahara's Rose', written by Libby Hathorn, examples are on the book website http://ipoz.biz/Titles/ZR.htm?

Heath McKenzie PIO issue 267 Nov 2009

What's this illustration for?

An ABC of Pirates - quite a big job with much experimentation and fine tuning to be done! It was quite a journey getting it completed, but I'm very happy with the results.  

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

With projects such as this - some ideas pop straight into your head, others need to be dragged out and can continue to change shape right through to the colouring stage! I start wherever I need too! Sometimes it's sketching characters and getting their look down, otherwise it's just jumping in and scribbling things out until something that feels right appears!  

How did you get your start as an illustrator?

I met illustrator Ann James at a Uni lecture, she mentioned her gallery Books Illustrated and the folio appraisals that can be booked there. From there it was down to compiling a folio and knocking on doors to show my wares!  

Who or what has influenced your work?

Jamie Hewlett, Lauren Child, Animation concept art, many many movies, lots of music and my life to date!
 
What's your favourite media for creating pictures?

Computer - all freehand on drawing tablet, but computer nevertheless!  

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

Quite often! Sometimes I try and battle it out which often results in me roaming aimlessly online, staring into space or pacing about the house getting generally frustrated! Sometimes it's best to just do anything else and come back a little later!  

What's the worst thing about being a freelancer?

Learning the many things no one tells you! All sorts of mysterious things about payment schemes, royalties, rates and conditions, various bits of technical slang about file types and sizes - and more!  

And the best?

The bit where it's pretty much just you, sitting at home (in my case) able to draw away happily!  

What are you working on at the moment?

Pausing for breath after the Pirate adventure just completed, advertising logos, book covers and chapter book illustrations are all waiting in the meantime to be attended to.
 
Where can we see more of your work? www.heathmck.com

Rebecca Wheeler PIO issue 266 Nov 2009

What's this illustration for?

This illustration is for a children’s book Im working on. It’s just a brainstorming illustration at this stage. I find I write better stories once I’ve played with the characters a bit through illustrations such as this one. The story isn't complete yet.

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

I normally get ideas for illustrations when I'm half way through a sculpture, or inspiration for a sculpture when Im half way through a painting. I also tend to get inspiration for illustrations/ sculpture and paintings when its 2am in the morning and I am trying to sleep. I sleep with a journal next to my bed now. My studio has space for making, drawing, painting, sewing and illustrating, so I can move between projects easily. I start an illustration normally with words. For this illustration I wrote down things like "look at the textures in nature", "use crazy almost clashing colours", "lots of stuff going on", "monster playground", "slide, skate, swing" etc. Then I will scribble down ideas for characters and poses, often looking at pictures of animals as starting points for character designs......but sometimes I'll get a character design from the shape of a puddle or a mark on the windscreen.  

How did you get your start as an illustrator?

I have always been drawn to illustration and animation. Well past when I should have grown out of reading children’s books I was still hiring them from the library. Same with kid’s animations, I still hire them from the video store. At art school illustration was pooh, poohed as a lesser form of creativity, so I never showed anyone my character designs or children’s book ideas. Then after a break from art school I found an illustration course at NMIT in Melbourne. I felt like I "came out of the closet" as a secret illustrator and got exposure to many illustrators, learnt techniques and generally got a lot of creative support.  

Who or what has influenced your work?

So many things have influenced my work. I recently found a box of old toys I had from when I was a kid. A lot of them were from Europe and made from painted wood. I looked at the colours of them and realised my colour palette is almost identical. I must have subconsciously been influenced by the toys I had when growing up. As far as naming artists: Edward Gorey, Maurice Sendak, Sauerkids, Jon Pylypchuk, Marc Boutavant to name a few. Australian illustrator such as Leigh Hobbs, Marc Mcbride, Dean Gorissen, Ned Culic, Shaun Tan and Neil Curtis have inspired me.....not so much stylistically, but to see established illustrators continually developing and progressing in their careers has influenced me to "keep on truckin".  

What's your favourite media for creating pictures?

I like digital mediums when working on character designs. I like acrylic paint on wood for certain effects. I like oils when I have the time to watch them dry. I also like pen and ink on occasion.  

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

I don’t experience illustrators block (touch wood). I do sometimes need a break from one project and so I'll work on another. I guess that’s why I have so many projects on the go. Sometimes if Im on a roll with one project and I have to stop (for one reason or another) I can find it hard to get back in the groove, but there’s nothing a cup of tea can’t fix.

What's the worst thing about being a freelancer?

It can be hard to plan ahead. It will be when you are about to go on holiday that a big job will come in.  

And the best?

Not being stuck in peek hour traffic.  

What are you working on at the moment?

I am developing a series of children’s books that I am looking to get published. I am looking at studying animation and basic robotics in 2010 and I am working on hand making wooden pepper grinders (an ongoing series of work called Totally Totem) Where can we see more of your work? www.beckwheeler.com

John Veeken PIO issue 265 Nov 2009

What's this illustration for?

A newly released book called "Machino Supremo! - poems about machines" written by Janeen Brian and Mark Carthew, published by Celapene Press.  

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

Inspiration comes very quickly if the text instantly grabs me.

How did you get your start as an illustrator?

From a young age I have always enjoyed drawing. My real break came when I met the amazing Donna Rawlins, who happened to live around the corner from me in Melbourne. She guided me through the process of building a folio and introduced me to some publishers/editors. I am eternally grateful to her.  

Who or what has influenced your work?

I was born in Holland and have always had a fascination with dutch and flemish artists such as Bruegel, Van Gogh, Pieck, and Escher. I am also inspired by Dürer, Doré, Sendak and Quentin Blake.  

What's your favourite media for creating pictures?

I love integrating hand drawn sketches with digital media and am constantly trying to find the perfect balance between gesture and finish.  

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

I only experience block when I am given a brief which is prescriptive ie tells me what to draw. Luckily, this is very rare.  

What's the worst thing about being a freelancer?

Loneliness And the best? Freedom  

What are you working on at the moment?

"Café Kidz" - a set of high quality children's activity packs available in cafés Where can we see more of your work? www.thestylefile.com www.johnveeken.com

Allison Langton PIO issue 264 Oct 2009

1.This was part of an Illustration for a 3 page article discussing financial management. It was published in Australian House & Garden Magazine (July 2009). The article was written by Pam Walkley, Editor-in-Chief of Money magazine.

2. When I'm given an Illustration/design brief, I generally start by procrastinating. All of a sudden I am compelled to clean the house, do the washing, clip the cats claws. I tell myself this is natural and just my brains way of figuring out how to accomplish the brief whilst I'm engaged in some boring repetitive task. I then have to force myself in front of my desk to begin. I don't know why I make it so hard. Once I start, I enjoy the process immensely.

3. I'm actually a Textile Designer and I am most comfortable designing prints for fabrics. Illustration is a lovely sideline. I got a break when asked by Madison magazine to Illustrate a 6 page horoscope special back in 2006. Since then, I've had lot's of little Illustration jobs for magazines. I also Illustrate the garden plans, maps and other little bits each month for Australian House & Garden magazine.

4. Being a Textile Designer, I am heavily influenced by print and pattern on various surfaces. Iconic Textile Designers such as Florence Broadhurst and Marimekko inspire, as well as modern day pattern designers such as Lotta Anderson and Petra Boase. My favourite aussie Illustrators include Kat Macleod, Tamsin Ainslie and Marcela Restrepo to name a few. But most of all I'm inspired by reading the stories behind the artist/designer/creative, what's going in their head and how they get it out onto the page.

5. I use Illustrator and Photoshop for the majority of my designs/Illustrations. But I will always start with a pencil drawing that I have scanned in to use as a template. It's so easy to move things around on the computer, add motifs or take them away, change colours etc. Though sometimes I really need to get the paints and collage materials out and get my hands inky.

6. I do experience blocks sometimes. The first type is usually when beginning a project that I'm not quite sure of the direction to take. In this instance I've learnt just to work through it. The more work you churn out the more inspiration usually follows. The other type of block occurs when I've churned out the work and it's still not happening. This is when I need to leave my desk and go for a walk, see a movie or meet a friend for hot chocolate.

7. For me, the worst thing about being a freelancer is dealing with the business side of things. I've never been any good at that. And marketing myself, I find this extremely difficult and tend to put it off. It's unfortunate and something I know I have to address.

8. The best thing is the ability to work my own hours. If the sun is out and I don't have a pressing deadline, I can take a walk, hang out with my little nephew or visit a gallery. Inspiration doesn't occur between the hours of 9-5. Or at least I can't make it work that way.

9. Today I am working on Illustrating the garden plan of a lovely Sydney plot for Australian House & Garden magazine as well as a water colour for their flower of the month section. These beautiful gardens always inspire me and perhaps one day I will grow more than a pot of parsley.

10. You can see more of my work by visiting www.allisonlangton.com.au or www.bigprintlittle.com

Debbie Mourtzios PIO issue 263 Oct 2009

What’s this illustration for?

Footy show Fitzroy nursery exhibition in September. Mono print titled Saturday morning football.  

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

Client based work comes with a brief then it’s a matter of negotiation on image content. Exhibiting artwork inspirations for me come from, my immediate experiences, and environment.  

How did you get started as an illustrator?

Always drew. Natural progression to be here. Did graduate with a diploma in design way back when computers were a bit of excitement in the distance. We spent about 9 hours a week drawing at RMIT so you either loved it or moved on.  

Who or what has influenced your work?

Illustrators like Robert Cunningham and Milton Glaser during RMIT days, people like Daumier, Barbra Kruger, Paula Rego and Ricky Swallow as the years roll on. Debbie.  

What’s your favorite media for creating pictures?

The favorite part is not the media, because that is determined by the emotive quality represented in the image. So soft can be water colour, strong can be gouache or lino prints, texture can be cut or torn paper.  

Do you experience illustrators block?

Sometimes, but its just a matter of looking at the problem from a different angle. Illustration is about problem solving, whether its media or composition.  

What’s the worst thing of being an freelancer?

Keeping contacts current and networking.  

And the best? The best is drawing and coming up with ideas!  

What are you working on at the moment?

Currently working on 2 pieces of work for the annual footy exhibition at the Fitzroy Nursery and writing and researching my first children’s book .  

Where can we see more of your work? www.thestylefile.com The Australian print workshop – Gertrude st. Fitzroy Monash Medical Center. A. R .C- Hazard online magazine Also google me!

Sue Degennaro PIO issue 262 Oct 2009

What's this illustration for?

Nothing really. It’s just this family of rabbits that keep coming to visit. I’m always drawing them. There is even a dad that looks like my grade 5 school teacher.... I think they are great but most publishers think they are a bit too scary....  

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

I start with a pencil and a rubber and let me tell you my rubber gets a real work out. It puts that girl from flash dance to shame. With me it’s all about just turning up to my desk and just scratching away. Its the only way it happens. Inspiration often follows behind.  

How did you get your start as an illustrator?

I went to art school 20 years ago.... I dropped out just cause I’m a bit like that. Short attention span but i’ve always kept a journal .. Always. Scribbling and writing... scribbling and writing for years Two years ago I got a mentorship with the ASA. I wrote and illustrated my own picture book which will be published by scholastic next year. I also became a part of the style file and really it’s been non stop from there.  

Who or what has influenced your work?

Out the front of my house is a bus stop. It’s been an endless source of inspiration, what with general chit chat, transistor radios, skivvies and old men hair do's. What more could I ask for.  

What's your favourite media for creating pictures?

No favourites. Infact anything goes. Due to my short attention span I like to change mediums each time i work. It’s the mistakes that happen when I try a new medium that I love so much. I also love my local art supply shop, so really any excuse to buy a new felt tip pen from Tokyo is enough of a reason for me.  

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

No time for that old luxury. At the moment it’s all about just getting something on the page. I have children need i say anymore....  

What's the worst thing about being a freelancer?

Not getting a chance to bitch about your boss behind their back in the tea room. And the best? Working late into the night.  

What are you working on at the moment?

Horse sculptures made from sticks and plastic bags a series of art workshops at Art Play in Melbourne. A picture book with Allen and Unwin and a picture book with ABC.  

Where can we see more of your work?

I would love to say at The Ian Potter in federation square but that would be lying. So try the style file instead. And your local bookshop should have a copy of a book I illustrated, written by Tony Wilson called

Sally Rippin PIO issue 261 Oct 2009

What's this illustration for?

This illustration is for a new book I have coming out this October. It is called ‘Mannie And The Long Brave Day’ and it is written by Martine Murray, who is not only one of my favourite authors but also a very close friend. ‘Mannie’ is based on Martine’s young daughter. This is the second last page, just before they turn the lights out to go to sleep.  

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

As the character is based on a real little girl, I started by taking lots of photographs of Mannie then did lots of drawings from these photographs, distilling them down into what I hope is more the ‘essence of Mannie’ rather than a realistic representation. Then, it was a matter of finding the right style and materials to best reflect the tone and mood of the story. After playing around with many styles and colour schemes, I eventually decided that charcoal pencil and watercolours in a muted palette were the way to go.  

How did you get your start as an illustrator?

I began as Fine Artist, studying first in Melbourne then moving to China for three years where I studied traditional Chinese painting. I only switched to illustration when I became pregnant with my first child as it seemed a more manageable way to make a living from my art while I was bringing up small children than hauling great canvasses up and down Flinders Lane. I have also always written stories, so picture books were an obvious way to combine those two things.  

Who or what has influenced your work?

Oh, so many wonderful illustrators: Ann James, Bob Graham, Armin Greder, Ezra Jack Keats, Tony Ross, Quentin Blake, I could go on and on!  

What's your favourite media for creating pictures?

Anything at all. I like to experiment with new materials every time I start a new book.  

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

Just keep working and constantly trying out new angles and approaches. I rarely feel blocked but I often carry ideas around for months or even years to let them ripen.

What's the worst thing about being a freelancer?

Irregular money and no holidays. You NEVER stop thinking about your work.  

And the best? 

 Everything else: the freedom, being home when the kids get home, working anywhere and any time, but most importantly making a living from something I am passionate about!  

What are you working on at the moment?

I’m always working on several things at one time. Currently it is a YA novel, an early reader series, a picture book and a short animation. I also teach one day a week at RMIT. I know, crazy isn’t it? I wish I could slow down but I find it hard to let any opportunity pass me by!  

Where can we see more of your work?

www.sallyrippin.com (I will update my website soon, I promise. If I could only find some free time...)