Sally Heinrich

1.. What's this illustration for?


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


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


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


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


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


4.. Who or what has influenced your work?


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


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


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


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


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


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


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


8.. And the best?


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


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


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


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


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

Katie Stewart

What's this illustration for?

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

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

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

How did you get your start as an illustrator?

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

Who or what has influenced your work?

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

What's your favourite media for creating pictures?

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

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

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

What's the worst thing about being a freelancer?

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


And the best?

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

What are you working on at the moment?

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

Where can we see more of your work?

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

Anna Walker

What's this illustration for?

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

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

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

How did you get your start as an illustrator?

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

Who or what has influenced your work?

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

What's your favourite media for creating pictures?

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

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

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

What's the worst thing about being a freelancer?

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

And the best?

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

What are you working on at the moment?

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

Where can we see more of your work?

www.annawalker.com.au

www.thestylefile.com

www.miggytree.com.au

Tamsin Ainslie

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

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

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

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/