Gwynneth Jones PIO issue 471 Jan 2014

Please describe your chosen illustration

This illustration is called The Deep Black Sea and it is done with ink. I did this for an art show recently, after another illustration wasn’t working out, and it was bought by a couple for their baby’s room.

When did you know you had a talent for illustration?

I have always been artistic, I remember being asked to help to paint the scenery for a play in primary school, and in high school my math’s books were always sketchbooks!

Have you ever studied your craft at an institution of any sort?

I left school and went to TAFE for an Art Certificate when I was 15 for two years, and then later studied Plant and Wildlife illustration at Newcastle University for three years. This is now called Natural History Illustration. I also have studied desktop publishing at TAFE as well. Those courses were a great foundation for my skills, but your development comes from years of practice, experimentation and dud drawings.

What computer programmes do you use?

The only program I dabble with is Photoshop Touch on my tablet, but only to try different directions for a picture when I am unsure where it is going. Sometimes I do life drawing on this program which is quite nice. My drawings I produce are all hand made, and I’m hoping that will become trendy again soon!

Have you illustrated any books?

No, I haven’t illustrated books yet.

Who is your favourite Australian children’s book illustrator and why?

There is too many admire to have one favourite…I have always been fascinated with Jeannie Bakers work because of the amazing detail, and I like Shaun Tan’s because its great and I heard him speak about his work at a conference about his processes and insights, which was fabulous. I like the work of many!

What’s your website or blog address (if you have one)?

I have a facebook page at http://www.facebook.com/gwynnejonesillustrator

Would you like to tell us anything else about yourself and/or your work?

I am a full time artist at present and sell my works at markets and through art exhibitions and do commissions on request. I now am putting my illustrations on to clay pieces as well. I am a member of Hunter Arts Network and SCBWI.

Glen Singleton PIO issue 472 Jan 2014

Please describe your chosen illustration

This illustration was from Father Koala’s Fables I illustrated way back in the 90’s. The second book in the series of Father Koala picture books I illustrated for Scholastic Australia..This illustration has always been one of my favourites. Old Father Koala (written by Kel Richards) tells his selection of rhymes ,fairy tales and fables throughout the series.

~What medium did you use?

I used pen and ink and watercolour

~How long did it take?

It’s a bit of a way back now.  But it would have taken 2-3 hours to pencil (After having done the thumbnail roughs for the whole book first)… another 2 or 3 to ink in...then 2 or 3 days to colour.

~What is it for?

The opening page for Father Koala’s Fables (Scholastic)

When did you know you had a talent for illustration? ~How old were you?

Probably in my teens. Though I could always draw from a young age. I used to spend lots of time on weekends drawing and hammering away at things with an old Rapidiograph pen my Dad gave me ,labouring to get things just right. (still do) Lots of cross hatching . Not sure why I chose such a laborious technique to try mastering at the time. I think I had seen some old etchings somewhere in a book perhaps…and I had the pens and Indian ink to do it with.. I recall having a fascination for drawing complicated elaborate contraptions and cars and hot rods for years and persisted until I got the wheels in the right perspective and all of the ellipses correct. It enabled me to cheat the freehand curves without plotting them in Geometrical Drawing and Perspective at High School!   I had drawing pads full of intricate pen and ink drawings that I still have buried away somewhere.

~How did you know? Did someone encourage you?

My parents always encouraged me to draw …as both of my parents were artistic in lots of ways. My Dad especially always used his pretty vivid imagination to embellish the Beatrix Potter stories we had as kids I remember. Like the Tales of Peter Rabbit.. Perhaps this is why most of the animals I draw wear clothes!. I don’t seem to have the slightest problem tossing a shirt and pair of long pants on a koala….with a hat for good measure. He used to draw me lots of things in little notebooks expanding on the stories he’d read.. But do remember asking him could he draw me something…and  him saying on lots of occasions to try drawing it myself…Maybe he just didn’t feel like drawing at the time…or perhaps he just wanted me to learn to draw. Suppose all that practice paid off.

Have you ever studied your craft at an institution of any sort?

I only made up my mind to enrol at Queensland College of Art in the last few days of Grade 12 at High School in 1976.  I studied Animation and Illustration there from 1977-1979 graduating with a Diploma of Art (Vis. Com). That cartoon drawing carried across into the picture books I’ve illustrated.

~How long was the course?

Three years –from 1977 -1979

~How affordable was the course?

Back in the Stone Age the course was basically free apart from your art materials, your lunch …and a $30 office admin fee.

~Would you recommend it to upcoming artists/illustrators?

If the course was still around …and for free I think everyone would enrol!

~Do you run courses or workshops yourself?

No

What computer programmes do you use?

~Can you recommend any?

Most of my illustrations are still  hand drawn but occasionally use PhotoShop to fiddle with and adjust or drop in mechanical colour etc. But other than scanning and emailing artwork…it’s all ‘non-digital’ for me. It still works just fine!

Have you illustrated any books?

~How many books?

A few.

FATHER KOALA’S NURSERY RHYMES-Kel Richards

FATHER KOALA’S FABLES- Kel Richards

FATHER KOALA’S FAIRY TALES- Kel Richards

THE GOLDEN KANGAROO- Garrison Valentine/ John Williamson

JOHN WILLIAMSON’S CHRISTMAS IN AUSTRALIA- John Williamson

CINDY ELLA- Tom Champion

THE LAMINGTON MAN- Kel Richards

AND KANGAROO PLAYED HIS DIDGERIDOO- Nigel Gray

SANTA KOALA- Colin Buchanan

TWELVE DAYS OF AUSSIE CHRISTMAS – Colin Buchanan

1001 COOL JOKES (Series) Freaky Facts- Magic- Science Experiments- –Hinkler Books

ALL ABOARD THE NUTMOBILE- Macadamia House –Em Horsfield

THE HARVEST RACE- Macadamia House –Em Horsfield

SANTA’S MAGIC BEARD- Macadamia House-Em Horsfield

~Do you have a favourite?

I like them all. But THE LAMINGTON MAN (Scholastic) always stands out. I love the cover.

~How are you usually commissioned? What is the process?

The editor from the publishers contacts me to ask if I would be interested in illustrating  a new book. Then they send the manuscript by email to read over and have a think about it.

~Do you have contact with the authors?

Some of them. John Williamson ..Nigel Gray and Tom Champion. All on Facebook these days mainly. But some I’ve never met (or even spoken to.) But then…I’ve never met any of the editors either. They are just voices on a phone.

~On average, how long does a picture book take to illustrate?

8 to 10 weeks or so roughly.So waay longer than what it’s worth to draw.

~Is it difficult working to deadlines?

Deadlines aren’t a real worry. It’s more trying to get it all done in a little time as possible. Always trying to draw them up to a standard…Not down to a price.

~Does it interfere with your creativity?

No..Not really. I used to draw a lot of illustrations for advertising agencies back when illustration was popular… so got used to drawing it..fast. They always wanted everything yesterday.

Who is your favourite Australian children’s book illustrator and why?

I like Kerry Argent’s work… and the late great Greg Rogers. Not just because we all work(ed) within a few km’s of each other either coincidently…or that Greg and I both went off together to investigate illustrating children’s books at a weekend workshop put on by Scholastic in the early 90’s…But I do like the beautiful work they produce(d)

What’s your website or blog address (if you have one)?

My website address is www.glensingleton.com

Would you like to tell us anything else about yourself and/or your work?

I cant think of anything better than sitting at my drawing board in my own little world…preferably on a rainy cold ‘English weather sort of day’…listening to music on my internet radio stations from some part of the world ..illustrating children’s books. I’d draw them til the cows come home. It’s wonderful to be paid for something you love doing. Great to do a hobby for a job ….unfortunately it only pays like a hobby a lot of the time! But then we were warned way back at that weekend seminar in the 90’s that we may need to draw them for the love of it. That’s what I do.

Liz McGrath PIO issue 473 Jan 2014

Please describe your chosen illustration

This illustration was done for a great government program called Streets Ahead which encouraged children to feel safe in their neighbourhoods and take to the streets. My task was to invent a lively streetscape with children using active transport to get around. It was used on a kit, magnets & large signs, and then adapted for badges and colouring in pages. I used waterfast markers, watercolours and Coptic markers, my favourite combination at the moment. It was fun to do and whipped up in a couple of days.

When did you know you had a talent for illustration?

I’ve always drawn, on piles of scrap paper as a child, and daily now with my own children and in my various work projects. I really loved art at school and became an art teacher. Friends and family have always been very encouraging, and as a parent I’ve loved drawing and creating with, and for, my children and others.

Have you ever studied your craft at an institution of any sort?

Way back in the 80s (when tertiary education was free!) I completed a 4 year B.Ed in Art & Craft at MCAE (now Melb Uni) and have since worked as an art teacher in Victoria and London. I’ve also worked as a graphic designer. While my four kids were young I stuck to freelance design and illustration from home, but now that they’re all at school I juggle my freelance projects with some great community art projects. This year I’ve been working with young parents and their pre-schoolers, students with disabilities, and children attending a local theatre. It feels great to be out and about working with others and sharing ideas.

What computer programmes do you use?

I use InDesign for layout, and occasionally basic Photoshop to fiddle with my drawings. I’d love to try using a tablet.

Have you illustrated any books?

Most of my freelance work over the past decade has been for government or health organisations, illustrating publications and resources with health, community or environmental messages. These clients seem to find me via word of mouth, and I’m very comfortable working with a brief and to a deadline.

I’ve illustrated marine creatures for identification resources, multicultural songbooks for children, manuals on women’s health topics, booklets on everything from sleep disorders to mental health, a boardgame, maps and even colouring in pages for the local paper. I live on the coast, and a fun activity book titled Kids at the Coast that I illustrated for Barwon Coast has just won the Victorian Coastal Education 2013 Award for Excellence.

For most of this year I’ve also been working on a lovely children’s picture book called Happy Pants which is to be released by Wombat Books next year. It’s Heather Gallagher’s poignant story of a child whose mum is struggling with post natal depression. Heather approached me directly, I was delighted to be able to work closely with her on that project.

Who is your favourite Australian children’s book illustrator and why?

Elizabeth Honey’s fresh and funny illustrations are some of my favourites, and I envy her beautiful confident linework. I think Freya Blackwood has a gorgeous delicate touch and her illustrations are exquisite. English illustrator Nick Sharratt’s work always catches my eye and makes me smile, and I love Emma Chichester Clarke’s eye for colour.

What’s your website or blog address (if you have one)?

I have a website:

www.lizmcgrath.com.au

Would you like to tell us anything else about yourself and/or your work?

I’m always on the lookout for a fun new project, and enjoy being busy and challenged.

Amanda Francey PIO issue 474 Jan 2014

Please describe your chosen illustration

This illustration was for a picture book called Jonathan! and was created using a mix of pencil, watercolour and digital. I really enjoy the process of mixing traditional with digital – the creative possibilities are endless.

After deciding which household items Jonathan could use to make his spontaneous lion costume, I spent a few hours sketching roughs. My daughter helped me out by doing some very scary lion poses, but she wasn't keen on wearing a dirty mop on her head (I can't imagine why), so I had to draw that part from my imagination. The final pencil outline and colour took about 10 hours to complete.

When did you know you had a talent for illustration?

I always loved to draw and was encouraged to do so from a young age. My dad spent most of his working life drawing and cutting intricate screen printing stencils by hand. He was also a comic strip artist for The Australian and The Sunday Mail many years ago. My mum loved to make things and ran a small art and craft shop. So there were plenty of art materials lying around.

As far as knowing if I had any talent, I didn't really pay attention until my older brother sketched a really cool lion and my sibling competitiveness kicked in. I considered him to be an excellent drawer and it took a few years of practising and comparing lions, but I do believe mine was just as good by the time I was ten. Which was probably the age he was when he drew it. I guess my talent wasn't 'officially' recognised until I won a book week picture book competition in upper primary school.

Have you ever studied your craft at an institution of any sort?

I studied Commercial Art at the Queensland College of Art, Griffith University. This two year practical course served me well at the time, but has become extinct along with paste-up art, bromide cameras and small boxy Macs with black and white screens. My favourite class was illustration because my teacher had amazing talent. Her tough marking and unreasonable deadlines brought out the best in me too.

For creatives pursuing employment in graphic design, I would definitely recommend Queensland College of Art as a starting point. For illustrators, I believe money's better spent on picture book workshops, a good drawing class and art supplies to practise with. To add some digital to the mix, there are digital media courses available through local TAFE and design colleges. I have also found YouTube useful for tips and tutorials from digital and traditional artists.

What computer programs do you use?

I mainly use Photoshop and Illustrator because I know them really well from many years of working in graphic design. The cool thing with Photoshop is you can make custom paint brushes from scanning in your own traditional paint strokes. I make brushes and textures out of pencil, paint, watercolour washes, tea stains, sponge blobs, fabric and occasionally I'll sacrifice someone's toothbrush for a nice paint splatter effect. I tend to scan in all my hand drawn and painted bits to give my final digital illustration a more traditional feel. Illustrator is great for smooth vector graphics and text effects. I tend to use Illustrator for designing and drawing logos and cartoony style illustrations.

Have you illustrated any books?

Yes, the illustration above is from my very first picture book Jonathan! written by Peter Carnavas (due for release early 2014).

It's been an honour to illustrate one of Peter's books and to work with New Frontier Publishing. The storyboard, roughs and final art were checked and approved by the publisher and author on completion of each stage. I found the whole process ran smoothly and everyone was lovely to work with.

The illustration timeframe was about eight months and I managed to complete it within that time. Deadlines are a good motivational push for me. I tend to plan backwards from the deadline date and mark on my calendar mini deadlines for each stage of the project. If I didn't have a deadline to work with, I'd probably still be fussing around with the first page illustration today. For me, the hardest part of being an illustrator is knowing when to move on to the next illustration.

Who is your favourite Australian children's book illustrator and why?

This is a tough one because I have so many favourite illustrators. I really do admire the work of Ann James. She has such a diverse style and cleverly illustrates to suit each story. I love, It's a Miroocool! written by Christine Harris. Ann's illustrations give a true impression of Australia's harsh outback and her drawings of Audrey are natural, free flowing and endearing.

What's your website or blog address?

Illustration portfolio: www.amandafrancey.com.au 

Art blog: www.amaloustudio.blogspot.com.au

Facebook: www.facebook.com/amaloustudio

Would you like to tell us anything else about yourself and/or your work?

Many teachers have crossed my path while growing up. I was fortunate having an artist father who taught me most of what I know. A retired neighbour taught me how to paint in oils, a friend's mother showed me the path to illustration and design. I had bosses, fellow students and colleagues that I also considered to be my teachers along the way. I believe teachers have a habit of showing up when you're open to learning. I will always consider myself a student and I hope I can give back to the art world by being a teacher in some way too.

Dolores Costello PIO issue 475 Feb 2014

Please describe your chosen illustration

It’s a girl that I drew in my sketchbook and that I felt had too much character to just leave in there. So I made a book about her.

~What medium did you use?

Computer (photoshop)

~How long did it take?

I am not sure about three days maybe? I tweaked it several times.

It can take anything from a day to a week for me to finish an illustration.

~What is it for?

A college exercise

When did you know you had a talent for illustration?

I am not sure if I ever knew. And is there really such thing as talent?

I always had a big love for drawing and felt a huge need to draw. It was something that came very naturally to me.

I remember kids stopping at my desk and watching while I drew. So I knew quite early that my work was interesting to others.

~How old were you?

The first time someone stopped and looked at what I drew I think I was about 9. But I have been drawing for as long as I can remember.

~How did you know? Did someone encourage you?

I don’t think anybody had to encourage me to draw. I always drew and scribbled, my teacher got mad at me  because I used to draw in the margins of history and maths books.

Have you ever studied your craft at an institution of any sort?

I went to art school from age 15-18. Gymnasium here in Sweden, I think it’s similar to grammar school.

Right now I am studying Graphic design and Illustration at the Open College of the Arts.

What computer programmes do you use?

I use illustrator and photoshop and have started a bit with Artrage.

~Can you recommend any?

I think Artrage is really interesting and makes your drawings look really neat but my favourite is still Photoshop because I’ve gotten used to it.

Have you illustrated any books?

Not yet. But soon I hope. I have one publisher that might have a project for me next year.

I have illustrated my own stories for my kids before and for an assignment on my College course.

Right now I am illustrating a short story about a girl and her cat for an American magazine.

~Is it difficult working to deadlines? Does it interfere with your creativity?

No, I prefer deadlines because it helps me plan my work.

Do you have a website?

www.dolorescostello.se and my email for that is hello@dolorescostello.se

http://www.cbishowcase.blogspot.com.au/

Andrew Plant PIO issue 476 Feb 2014

Please describe your chosen illustration

This picture is of the Adelaide Cemetery in Villers-Bretonneux, in the Somme region of France. I based it on several photographs I took there, plus a sketch on the spot. I painted it in my apartment in Paris, where I lived for a few months in 2011 with an amazing view across the road to the golden dome of Les Invalides. It was done with acrylics in one day – I was on a roll! It’s one of 75 paintings I did for my book The Poppy, which is to be released in March 2014. Obviously, it’s a picture book, with a few hundred words, but it is principally the pictures that tell the story. I ended up removing 6 of the paintings from the final layout, about a week’s work. Oddly enough, it didn’t cause any angst – the book was much better without them. A whole book is the same as one illustration – knowing what to leave in and what to leave out can make all the difference.

When did you know you had a talent for illustration?

I was drawing 30 page comic books when I was 10 or 11, and dinosaur ‘books’ when I was 8. I always drew and wrote as a kid. I wasn’t really one for kicking the footy on the weekend – in fact I don’t ever recall doing it! The person who really gave me a shove was my HSC art teacher, David Williams. He took one look at my work and said that his art was nothing like mine, so he couldn’t help me – I’d have to work things out for myself. Of course, he actually was right there advising and guiding the whole time, but he made me really believe that I had it in me, and that all I had to do was find it myself. It gave me a huge boost of self-confidence at the same time as scaring the hell out of me!

Have you ever studied your craft at an institution of any sort?

Apart from HSC Art, and the normal school art classes up to Year 10, I never studied art. Everything after school was self-taught. There’s a lot to be said for going it alone – no danger of picking up a tutor’s style. But it can be slow. These days in particular, I think a course of some sort would be important for an illustrator just starting out, if only to learn a bit about the industry. It’s much tougher out there now than when I started out.

What computer programmes do you use?

I don’t do anything on computer at all, and I’ve never been asked to. The predicted demise of hand-rendered art never eventuated, except for things like maps, graphs etc, which are faster and better on a computer. Black and white seems to have also gone as colour printing is now relatively so cheap. Since computer art is so ubiquitous, and Photoshop lets anyone with half-decent art skills create good looking work, hand-rendered seems to have become more in demand, possibly because it isn’t something everyone can do.

Have you illustrated any books?

I’ve illustrated about 70 books, and lots of magazine articles and other odds and ends. I think Could a Tyrannosaurus play Table Tennis? is probably my favourite. It was the first major picture book that I wrote as well as illustrated. Like The Poppy, it wasn’t commissioned, but just an idea I liked and wanted to explore.

For commissioned work, it usually just starts with an email and me saying yes! It’s rare that I’ve turned down an offer, though it has happened. Then the manuscript is sent, and if I still think I’d enjoy doing it, I start doodles, then roughs, and hopefully something the editors like emerges.

It’s rare that I meet the authors; In fact, it’s only happened once, but we worked really well together and it was great fun to be with another creator. She was amazingly generous with letting me do my own thing, or maybe my vision just happened to match hers – her writing is visually vivid.

I’ve met a few of my editors, but many are just email addresses, and occasionally a voice on the end of the phone.

The time to do a book varies from a few weeks to several months. The Poppy was done over two and a half years, including planning and research and pauses whilst doing things that paid the bills.

Unless they are ridiculous, I like deadlines. I need a bit of pressure to stop me doodling and getting distracted, and just get on with it.

Who is your favourite Australian children’s book illustrator and why?

Shaun Tan is my favourite Australian illustrator; I probably don’t have to explain why. If I had to pin it down to one thing, I would say imagination – his is unique, coupled with fantastic skill.

What’s your website or blog address (if you have one)?

My website is www.andrewplant.com I don’t have a blog – I don’t think I’m really all that interesting. And I’m afraid from what I’ve read, neither are most people who have blogs! There are some outstanding exceptions amongst illustrators that I’ve found, but honestly, if you’re half decent at your job, who has the time to keep up a running commentary of their life? I’d rather be out doing something new, than writing about something I’ve already done.

Would you like to tell us anything else about yourself and/or your work?

New illustrators should bear in mind that very few of us ‘oldies’ get all our income from illustrating. I also do murals, and set design and construction and scenic painting. School and library visits to talk about a book often brings in more than sales of the book itself. Murals and sets are just really big illustrations, I guess, and working on an 8 x 20 metre picture instead of an 8 x 20 cm one is very liberating, except for the sore arms and neck! But I wouldn’t change it for anything!

Ben Sanders PIO issue 477 Feb 2014

Please describe your chosen illustration

I’ve chosen a sentimental favourite to talk about. It’s a little illustration that has been taken from “I’ve an Uncle Ivan”. In the book a new character is introduced on each page. This particular character, Buck, get’s his gut stuck inside his truck. I’ve pared back the colour to just blue and black (in the book he’s in full colour) and given it a block print feel. It’s not so much the imperfect ink overlapping on the wood texture, but more the comedy in the picture. I do feel sorry that his belly is making it hard for him to exit the vehicle, but want to laugh at him too. He gets the biggest laugh when I read the book to children.

When did you know you had a talent for illustration?

Not until I was about 10 or 11 years old actually. My father gave me a sketch book, which I filled with animal cartoons and caricatures of friends and family. My dad was impressed enough to submit some of my drawings to a local publisher who was looking for someone to illustrate a series of stickers. I got the job, I was freelancing at 12 years of age! Back in the 1980’s child labour laws were probably largely ignored, so I kept them as a client throughout my teenage years. I got loads of encouragement and guidance from my parents who are both talented in the creative arts.

Have you ever studied your craft at an institution of any sort?

Well, I’m a graphic designer by trade, having earned a degree at the University of Ballarat. The year after graduating I enrolled in the most intensive advertising course imaginable – AWARD (Australasian Writers and Art Directors) School, and the follow up course Super Group, where the top six students are mentored by industry giants. Apart from these I haven’t actually completed any formal art courses. These courses aren’t for illustrators but they influenced and informed my work in significant ways.

I was a sessional university lecturer for a couple of years, and since the release of “I’ve an Uncle Ivan” I have conducted some drawing workshops for kids.

What computer programs do you use?

The adobe creative suite is a necessity really, as I use Photoshop for the last few touches of an illustration. But I also use CorelDraw for it’s superior vector editing. Nothing beats pencil and paper though for concept sketches and roughs.

Have you illustrated any books?

Yes, I wrote and illustrated “I’ve an Uncle Ivan”. It was released in April 2013 and has already been shortlisted for the UK’s Association of Illustrators (AOI) awards. I have a second children’s book called “You could wear that Hat!”, which is due for release mid-2014. It’s a different look and tone to the first book and will appeal to a slightly different audience. It’s all about career paths, and getting kids thinking about the possibilities. I’m working on it with Thames & Hudson right now. On a completely different note, I have illustrated a lavish Vietnamese cookbook that will be launched in the next few months. I was commissioned for this one, but I’m most interested in getting the stories that I’ve written for children published by the right publishers.

Also, I was lucky enough to illustrate the cover for the 2014 Good Food Guide.

~Do you have a favourite?

To be honest my favourite book is the one that I’m working on. I enjoy the creative process of writing and illustrating that I get absorbed in the current book. So at the moment it’s “You could wear that Hat!”.

~Is it difficult working to deadlines? Does it interfere with your creativity?

It might sound a bit strange, but I love deadlines. It’s a good motivator, and it gives me a definite place to tie-up the job. When I work on my own stories it’s hard to know when to finish. I find myself working, and reworking illustrations. It’s good to stop before it’s overworked!

Who is your favourite Australian children’s book illustrator and why?

It’s hard not to choose Andrew Joiner. In the bookstore I’m always attracted to his well-considered compositions, lavish brush strokes and expressive characters. If there comes a time when I’m not willing or able to illustrate my own books, I want Andrew to do them. Genius!

What’s your website or blog address (if you have one)?

www.bensanders.com.au

www.bensillustrations.blogspot.com.au

Would you like to tell us anything else about yourself and/or your work?

Well, I’m off to live in Bolivia for a couple of years. I’m going to be working on an illustration project voluntarily. I’ll still be freelancing for my clients from over there. I’m hoping to come back to Australia with a fresh perspective and some new ideas.