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A showcase of Australian Children's Book Illustrators who have appeared in the Industry Newsletter PASS IT ON
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Please describe your chosen illustration
It’s for a poem called 'As A Matter Of Fantasy', and is a collage assembled from scraps and cuttings from magazines, newspapers etc. It’s supposed to describe a topsy-turvy world in which grass is blue, clouds are yellow, and the sun is square. It was created (if I can remember) over a period of a few days.
When did you know you had a talent for illustration?
I used to draw and make art a lot when I was young, although I wasn't always satisfied with what I produced. I was designated 'the artist' of the family. This eventually led to an interest in painting, and, when I decided to write children's poems, a decision to illustrate them myself.
Have you ever studied your craft at an institution of any sort?
I studied fine art at college in Dublin (Ireland), majoring in painting. After three years I got the equivalent of a degree and did the artist-in-a-garret thing for some years after that. The time in college was very important; I would've be a different sort of artist without that experience.
Regarding workshops, I've given one so far! I have been known to give the occasional reading (usually for youngsters) at festivals etc over the last few years though, involving plenty of audience participation, art appreciation, and some odd questions.
What computer programmes do you use?
Most of my visual work would be without computer assistance, except for the odd bit of touching up. When it comes to the layout of the books I've used InDesign, and lots of help from a more technical-minded friend.
Have you illustrated any books?
I've written, illustrated and published two books of poetry for youngsters, with a third on the way. My favourite in visual terms is probably Psychosilly, which came out in 2011. It has a little more polish in it' production than the first one. I can take six months, a year, or more to complete the illustrations for a given book. As I'm self-published I don't usually have a strict deadline.
Who is your favourite Australian children’s book illustrator and why?
I'm not too familiar with the Australian children's book world to be honest, but somebody recently likened a painting of mine (posted online) to Sidney Nolan. As sources of influence you could do worse.
What’s your website or blog address (if you have one)?
Would you like to tell us anything else about yourself and/or your work?
My books are an attempt to do something fresh and innovative with the children's book format, and appeal to adults as well as children. I'm hoping to publish my next one in 2014; rock-themed poetry written with teenagers in mind. Watch this space.
Please describe your chosen illustration
I used acrylic paints for this illustration. I love acrylics for so many reasons. They dry fast, the colours are vibrant and what you see is what you get, generally. Once an illustration is printed, you don’t want any surprises ie. Too light, too dark, streaks that you hadn’t noticed in your artwork. With acrylics, I find that the finished print is very close to the actual artwork. Most of the time.
This illustration is for a book that I’m working on about a little girl, Rose and her toy rabbit, Poppy. In many ways the relationship between them is akin to a mother and her child. Poppy is like a typical toddler.
When did you know you had a talent for illustration?
I’ve loved drawing for as long as I can remember. When I was little, there were Disney cards in the bread packets. I would collect them and copy the characters. I used to make books out of stiff paper and glue in the cards and my drawings. I would spend hours working on these books. I also made posters of the characters and they were hanging all over our house. I still have some of my old drawings but sadly the books, to my mother’s chagrin, (and mine), got thrown out with the newspapers one week, many, many years ago.
I don’t actually know if I have a talent for drawing although my grade 3 teacher told my parents that I was artistic at a parent/teacher interview after I did a collage of a rubbish tip. Honestly, it was just rubbish. Little bits of paper and polystyrene shapes. I remember I had great fun doing it and didn’t think that much of it. If only it could always be that easy.
Have you ever studied your craft at an institution of any sort?
I was determined to have a career in art. When it came to studying, I wanted to do something that I could hopefully earn a living from. “Commercial Art” sounded so exciting to me. By the time I got to study it, it had become, “Graphic Design” and later, “Communication Design.” It was great in that I developed some skills and met some fantastic people, who to this day, 28 years later, are still my dearest friends, but it really didn’t satisfy my illustration needs. After I finished the diploma, I went overseas and worked as a freelance illustrator in Holland for 8 years. That was a great time of my life. I was doing what I really loved and getting paid for it.
Have you illustrated any books?
By the time I returned to Australia in 1996, I had 2 young children and it was then that my love of children’s books really took off. In 1999 my first book, Baby Bear goes to the Zoo was published. After 14 books, this one is still my favourite. It turned out exactly the way I wanted it to. I wrote it for my then 2 year old daughter.
I have written and illustrated 8 books and illustrated a further 6. Of course I prefer to do both, but illustrating someone else’s work also has its pros. It has a certain detachment, perhaps making it easier to be freer creatively. Generally there is no contact with the author but recently I had the pleasure of illustrating Tania Cox’s stories, What makes my Mum Happy and My Dad and Me. I had met Tania many years ago at a writer’s retreat when we had both just finished our first book. For a while we kept in contact. As happens when you have children and just life in general, we lost touch so it was great to reconnect through her books and we did correspond during the process.
Deadlines are a necessary evil. I don’t know if, for me that they are the major factor in interfering with my creativity. I think as an illustrator, you are constantly wondering if what you are doing is going to please the people it's intended for.
I have been teaching short courses in Children’s Book Illustration at CAE (Council of Adult Education) since 2001 and short courses in Writing and Illustrating a Children’s Picture Book and Illustration Styles and Techniques at RMIT since 2003. I also teach Drawing at RMIT in Foundation Studies, Art Design and Architecture.
Who is your favourite Australian children’s book illustrator and why?
Bob Graham would have to be my favourite illustrator. His illustrations tell you so much about his characters and there is such an understatement to his words.
What’s your website or blog address (if you have one)?
Please describe your chosen illustration
~What medium did you use? This was created with watercolours and ink, simple!
~How long did it take? A few hours, with a bit of design thinking and brainstorming before.
~What is it for? It is for a card company, Nuovo.
When did you know you had a talent for illustration?
~How old were you? I have always tinkered with illustration, encouraged by a mum who would sprawl arts and crafts materials on a big table most days for us.
~How did you know? I remember that age old question, “what do you want to be when you grow up?” when I was 12. I was sure I wanted to be a children’s book illustrator – this got swayed over the years (always illustrating, but not always pursuing the dream!), but I am back on track 20 years later. I’m now working as a freelancer with lots and lots of projects on… creating portraits for families, working on some book projects, creating illustrations for a card company, creating work for markets and retail - mainly when my one year old is sleeping during the day and at night!
Have you ever studied your craft at an institution of any sort?
I’ve mainly studied elements of communications and ideas through tertiary studies (Mass Communications degree, and Award School). I have since been upping my drawing skills through short courses in design and painting. I think I have gained a lot of practical skills and understanding of the children’s book industry through working in publishing houses for the last 10 years or so.
What computer programmes do you use?
I love working with Photoshop, Illustrator and inDesign although I mainly create work with pen, watercolours and paper first, doing the final tinkering stages on the computer.
Have you illustrated any books?
I have completed several book projects directly with authors self-publishing.
~How are you usually commissioned? What is the process?
Some books have been commissioned after they have stumbled upon my work online, others through contacts and friends.
~Do you have contact with the authors?
As they are self-published, constantly, which has been a pleasure as they have been so lovely to work with.
~On average, how long does a picture book take to illustrate?
A few months.
~Is it difficult working to deadlines? Does it interfere with your creativity?
I think deadlines (and most limitations) are great as they force you to work creatively to solve the problems (whether it be deadlines, materials, subject or otherwise).
Who is your favourite Australian children’s book illustrator and why?
Anna Walker. Not only is her work absolutely beautiful, she is a kind and generous illustrator who shares her experience and knowledge with others.
What’s your website or blog address (if you have one)?
Would you like to tell us anything else about yourself and/or your work?
The industry is full of amazing people and work, constantly inspiring me to continue learning and creating. I’d like to plug the work of Illustrators Australia (http://www.illustratorsaustralia.com/) for any illustrators out there (or authors/publishers) – they do great work for our industry and represent a whole lot of Australian talent.
Please describe your chosen illustration
Moondancer
This piece is light hearted and abstract, giving the sense of vibrant movement in the pose of the central character. The time and environment is hinted at through light and shadow. I enjoy this piece for its sense of innocence and fun.
~ What medium did you use?
Graphite and lead pencil with charcoal highlights.
~ How long did it take?
The initial planning and sketch of the concept took about twenty minutes to capture the essence of what I was after then the first draft was another half hour, with several hours of tightening, darkening and adjustment. I also spent an hour playing with the image on paintshop.pro© and photoshop© with the intention of tightening the image further. This was such a simple image it did not take very long to reach a stage I was happy with.
~ What is it for?
When did you know you had a talent for illustration?
~How old were you?
As a child. Every piece of paper I have ever had under my hands has been decorated with doodles of varying levels of complexity and every course I studied generated caricatures of participants as a memory aid. In recent years I discovered a moderate talent in portraiture which I am polishing.
~ How did you know?
Because drawing gives me a sense of peace and the illustrations I do are enjoyed by others beyond my own enjoyment. My portraits are recognizable as the people I am reproducing.
~ Did someone encourage you?
Me, my children and the feedback from others who have received my art work.
Have you ever studied your craft at an institution of any sort?
~Which institution?
I have studied short courses including illustration with Lorette Boekstra, through Deakin Uni Warrnambool, and Mixed Media with Glen Morgan, and Ballarat University.
I was discouraged by teachers in my youth, told there was no work for artists and I would never make any money and I should stick to cooking, although they did steal my work and senior year portfolio and I was discouraged by family with a push to find ‘real work’. I went on to earn my living for two years from painting wall murals and small commissioned works on guitar cases and furniture as well as canvas. I am often commissioned by school students for specified art work and I use my skills in working with troubled and disadvantage kids especially disabled students. I have also worked on a number of community projects involving art. I also access many valuable youtube videos and online learning opportunities.
~Would you recommend it to upcoming artists/illustrators?
Definitely yes! I would recommend study to budding artists, with people who will encourage their talents and hone their skills. I also tell them to practice, practice, practice, and keep on practicing and I tell young people not to listen to anyone who tells them there is no niche (job/career/money) in art.
~Do you run courses or workshops yourself?
Yes. I am predominantly self-taught and have gone on to teach others (adults and teenagers) in basic art classes in the use of acrylic paint, gouache and drawing medium. I am very good at encouraging others to find their own talents.
What computer programmes do you use?
My art is still hand drawn or hand painted and I have not yet embraced electronic drawing medium although I am interested in gaining more skills in this area. I recently purchased a smart pen so I can doodle directly onto my computer. I know I am a dinosaur but I am an eager dinosaur. J I am learning to use my smart pen, paint©, photoshop© and illustrator© which shouldn’t take me too long. I occasionally use a drawing tablet.
Have you illustrated any books?
~How many books?
I have art work in five upcoming anthologies and two already published.
~Do you have a favourite?
I have enjoyed providing art for all the anthologies. They range through fairytales- new and twists on the classics, superhero girls, holiday stories, dark circus stories, horror with a collection based on the work of Clive Barker, fishing tales and a three volume collection based on bracelet charms. The variety is what excites me and I simply love to create.
~How are you usually commissioned? What is the process?
Word of mouth through social networking pages and face to face.
~Do you have contact with the authors?
For anthologies I usually have contact with the editor/publisher and I do have the opportunity to read other authors stories to get an idea of the art work to offer.
~On average, how long does a picture book take to illustrate?
My art works can take from five minutes to several hours on average or even days. From concept to finished work may take me up to six or seven hours depending on the complexity. If I am working on something with detailed backgrounds rather than a wash, this time may stretch. I expect to spend much more time on a story without text because the drawings need to tell the story and will take much more time than that in which the art work enhances and supports the text. I expect to take six months to illustrate my own picture books.
~Is it difficult working to deadlines? Does it interfere with your creativity?
Not particularly.
Who is your favourite Australian children’s book illustrator and why?
Jeannie Baker. I love her story through art and the use of environmental detritus for her collages. I love Roland Harvey because his work is humorous and light and I find Mem Fox quite delightful with whimsical and beautiful people and animals. I aspire to the skill of Graeme Base I adore the detail and richness of his illustrations however my own humble artistry is of a different bent. I can dream.
What’s your website or blog address (if you have one)?
I am in the process of having a website built. Watch this space, well not this space exactly but a space TBA. I currently house (inadequately) scanned copies of my anthology art on Facebook. [email protected] I have just processed requests for an author/illustrator page with goodreads and amazon.
Would you like to tell us anything else about yourself and/or your work?
When I paint or draw the rest of the world disappears for a while. I love looking for images that can be transformed into something else. I doodle a lot because I need to. I like to create things. My writing is a way to allow my imagination to create stories in such a fashion that I can pass on a part of the incredible worlds going on in my brain and my art lets me make physical representations of emotions and thoughts. I work fast and I work from my own imagination and experience. I do like to research photography for posture and line, sometimes for facial features. In portraits I like to sketch the subject but also work from photographs. Line drawings are quick and light and a simple pleasure both creatively and visually. Apart from being a writer and illustrator I am also a mother, foster mother, trade teacher, chef, disability worker and theatre props maker and occasional seamstress plus I have 55 children. Well sort of, I actually have five young people in my core family unit with a further two or three or five who come and go and I have cared for more than 55 young people in out of home care. I currently work in a secondary college supporting troubled kids and students with disabilities with curriculum delivery and life skills. I am finally pursuing my passion with writing and drawing after being sidetracked by life. My absolute favourite books are picture books, followed by fairy tales myths and legends.
A good picture book should last a lifetime and be passed on as a treasure.
Cecilia Clark
Please describe your chosen illustration
This is my absolute favourite illustration from my new book, “Matilda Saves Santa”. Funnily, it was actually the first picture I completed when working on the book. It shows Matilda meeting Rudolph for the first time and I love the contrast in their size. This one took about three hours to finish, and was mainly done with watercolours. I also used some coloured pencil and chalk pastel on the top, and finished it off with some black liner pen. At the moment I’m having a bit of fun playing with mixed media – the book I am working on at the moment is a mish mash of pencils, pastels, watercolours, liners, gouache and even textas!
When did you know you had a talent for illustration?
I have always known that I love to draw – and I have proof! My family has footage of me as an 18 month old baby playing with textas, oblivious to whatever else that was going on. I guess applying my love of it to illustration was just a natural progression, which was helped along by a very encouraging high school art teacher who had connections to the publishing industry.
Have you ever studied your craft at an institution of any sort?
The only institution I have formally studied art at was at high school, to the HSC level. Otherwise I have been happy to teach myself through playing and experimentation. It’s almost more fun that way – no-one to tell you what you can and can’t do!
What computer programmes do you use?
I’d call myself a “traditional media” illustrator but I’ve played with Adobe Illustrator and Photoshop before. Learning how to use them properly is definitely on my to-do list.
Have you illustrated any books?
I’ve illustrated 3 books as of now and am working on a fourth (the first I’ve written too!). I know it’s a bit of a cliché, but I really couldn’t pick a favourite. It’s like picking a favourite friend, I become way too fond of my characters! However, I do love my first book, Yellow Dress Day.
All of my projects thus far have been commissioned by a publishing company. I receive an email proposing the book, and after a bit of back-and-forth negotiating ideas, I will get a contract in the mail. From there it’s pretty easy – I simply draw! The most important tool in communicating throughout this process is email. I email my publishers, the authors and media personnel. When I did Yellow Dress Day, I didn’t even meet the author until a while after it was finished. I have to make sure to check my inbox regularly or else suffer a good hour of reading through my messages. In the meantime, I of course have to coordinate getting the pictures actually done. It’s so variable as to how long each illustration takes that this can be a real challenge. This is made even harder by having to juggle university study and a part-time job. I have to admit I have been caught out on deadlines more than once but I think I’m learning in the process. I guess it’s all a part of growing up (I’m still a kid at heart).
Who is your favourite Australian children’s book illustrator and why?
Since I was little I have absolutely adored Alison Lester. I remember spending hours pouring over the detail in her illustrations and being engrossed by the personality she developed in each of her characters. Her work shows that a simple story can become so much more by detailed pictures. I have always admired her work and have seen her as a role-model and source of inspiration. But then again, Shaun Tan, Stephen Michael King and Bob Graeme are all also incredible.
What’s your website or blog address (if you have one)?
I have no website or blog as of yet… but hopefully I will make one soon in the future! Watch this space…
Would you like to tell us anything else about yourself and/or your work?
I like to work in mixed media – the book I am working on at the moment has ended up containing watercolour, pencils, pastels, liner pens and markers. Needless to say my work station is MESSY.
I have to admit that illustration is the most fun work I have ever done. I have my things set up in an attic, which is nice and peaceful from the rest of my house. My cat also climbs up the ladder to sit with me, and I can do it in my pyjamas if I’m feeling lazy.
Most importantly, I’d love the readers to take a look at Yellow Dress Day by myself and Michelle Worthington. Part of the proceeds go to the International Rhett Syndrome foundation, a very worthy cause.
Please describe your chosen illustration
~What medium did you use?
I started with black paper and used grey and white conte, kind of drawing ‘backwards’.
~How long did it take?
A couple of hours.
~What is it for?
Tread Carefully is an etching and collage I created this year. It's for an exhibition I was part of with a Geelong group called The Friday Printmakers.
When did you know you had a talent for illustration?
~How old were you?
I remember being in primary school and being praised for my drawing skills, even being asked to do a chalk drawing on the blackboard! In those days, I used to say I wanted to be a ‘commercial artist’.
~How did you know? Did someone encourage you?
Teachers, family and friends all encouraged me. In High School, I used to make comics for my girlfriend who loved the Bay City Rollers (anyone remember them?). I would make up stories and insert her into their lives with my drawing and writing skills. My friend loved these and I loved getting the laughs.
Have you ever studied your craft at an institution of any sort?
~Which institution?
Yes, at many times and stages. RMIT for Textile Design, Short course in Illustration at Swinburne, Diploma of Visual Art at Brougham School of Art, Geelong and for writing, a BA at Monash University.
~How long was the course?
All were about 3 years, but I stretched some out and didn’t finish Textile Design.
~How affordable was the course?
Well, in the 80s they were virtually free. At Brougham, I paid a lot for each subject, around $700 each.
~Would you recommend it to upcoming artists/illustrators?
Yes, it is so important to have a group of artists to bounce off and meet with. It can be an isolating and lonely vocation without peers.
~Do you run courses or workshops yourself?
Yes I have, mostly in printmaking.
What computer programmes do you use?
~Can you recommend any?
I use Photoshop in a very rudimentary way when I create paintings. I like how it manipulates photos I’ve taken and I paint from there.
Have you illustrated any books?
~How many books?
I’ve done around 100 books over the last 25 years; lots of educational titles and a few trade ones. The latest were a series of baby board books I wrote and illustrated called Eyes, Ears, Nose and Mouth, published by Brimax.
~Do you have a favourite?
That series is my favourite.
~How are you usually commissioned? What is the process?
I am usually contacted by the publisher via my website or the ASA Style File. Sometimes I have made calls to a publisher which has led to work.
~Do you have contact with the authors?
Not often. Sometimes through the publisher I might get a message from an author.
~On average, how long does a picture book take to illustrate?
A few weeks to do the roughs and the same for the final art, particularly educational titles, which always seem to be required in a hurry.
~Is it difficult working to deadlines? Does it interfere with your creativity?
No I find it concentrates my creativity. If I didn’t have deadlines, I may not get anything done.
Who is your favourite Australian children’s book illustrator and why?
Hmmm, a tricky question. I love Tom Jellett’s work. I think I read that he studied with Craig Smith whose work I love too. Just love the freshness and look of spontaneity the work captures.
What’s your website or blog address (if you have one)?
Would you like to tell us anything else about yourself and/or your work?
While I love book illustration, I have moved more into the area of fine art these days. I have done quite a lot of painting and printmaking these past few years as it allows me to expand in subject matter and medium. Perhaps one day, I’ll be able to incorporate these mediums into a children’s book…
Please describe your chosen illustration:
The drawing I chose to talk about is very recent one, I suppose I chose it because at the moment it is a favourite. I often go through stages of loving a piece and then hating it, so let’s talk about one I like thats probably the safest bet :)
This piece is called "Spring Beauty", sometimes I have great ideas for names and sometimes it’s just the obvious choice that comes to mind, which is very much the case with this one. It’s a lovely bright artwork and as I drew it during that beautiful time that is spring she ended up with her name. This one is also a commission, but unlike most commissions I pretty much had free reign to create what I liked. I did have a few guidelines but aside from that I had the pleasure of letting my creative side take over. I really enjoyed working on this piece, the colours and subject are very uplifting and one can’t help but feel a little whimsical when looking at it :)
My medium has changed and varied over the years, and at the moment I enjoy using a mixture of copic markers, prismacolor markers and artliner pens. I even sometimes add a little white charcoal if needed and every so often my prismacolor pencils are used. Although it has only been really the past 2 maybe 3 years that I have preferred my markers, before that it was only my pencils and some black marker. But it’s funny how we evolve as artists, always learning and trying new things :)
When did you know you had a talent for illustration:
This is a question I get asked A LOT and the funny thing is I think just about every artist asked this question may answer it in a very similar way. When I was a little girl it was all I wanted to do, no matter what new fad came in or whatever new toy I was given it didn’t take too long before I was looking for my pencil and paper again. I still have memories of sitting next to my Nan drawing her requests as she knitted - she was my biggest fan :)
It’s just something I have always enjoyed, although I had a period of time when I put my pencil away. Mainly during the years I had my babies, lack of energy mostly played a part in that....lol
Have you every studied your craft:
Yes and no, I did do a tafe fine arts course when I first left school. But abstracts and photography where never my thing. And I really felt my style was hampered. I know some people who thoroughly enjoy courses and the like but I think it was mainly my style and medium which didn’t fit in. I think perhaps it wasn’t the right course for me. I think I would best describe myself as self taught :)
What computer programmes do you use:
I use Adobe Photoshop once I have finished an artwork, but I only use it to clean and resize my images.....lol. I would love to get more in depth with photoshop as I know it is a fabulous tool. Maybe one day !!
Have you illustrated any books:
Not yet, but I absolutely would love too. All of my work is commissions and licensing at this stage. However I did some work for a very fun live show which was based on the tale of "Sleeping Beauty" I did numerous illustrations depicting various scenes within the story which were then very cleverly turned into an animated film for the show. I enjoyed working on that immensely. I am hoping to one day start illustrating books, I just need to find out what is the best way to go about landing that first illustration job :)
I think the beauty of already being a commissioned and licensed artist is that deadlines are already a part of the territory, I think the key is to ensure you prepare yourself and give yourself the time required to finish your work on time. Im not much for leaving things to the last minute, in fact I tend to finish ahead of schedule a lot of the time....lol
Most single artworks for me can take anywhere from 1 day to a week to complete depending on detail and size. I do have a bad habit of working into the wee hours thought :)
Who is your favourite Australian children’s book illustrator and why:
This is a question which is just so easy for me to answer, without any hesitation it is May Gibbs. What’s not to love really :)
Again I am taken back to my childhood where my obsession for drawing began and right there with it is May Gibbs. I still remember getting my very own copy of "Snugglepot and Cuddlepie” from the school book club, in fact I still have it. I absolutely adored that book and could be found gazing at those magical and adorable illustrations for hours on end. So much so that my dad came home one day with that giant 2 book compendium which has all of her books in one and then another book about her. I was in heaven.....lol. Again I still have it and I won’t ever part with it, her illustrations inspired me so much as a child. And even now I love looking at her work, those wonderful scenes full of detail and character :)
What is your website:
I am currently working on a website, but until then I am easily found on my artpage at facebook. I am forever updating and sharing there so I guess if you want to see all my latest artworks that is the place to go :)
https://www.facebook.com/ArtByReganKubecek?ref=hl
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)?
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.
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)?
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.
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:
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.
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?
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.
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?
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!
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)?
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.
- What's this illustration for?
The illustration is for the cover art of Oliver's Egg.
- Do you have to wait for a flash of inspiration - how do you start?
Inspiration always starts with the word pictures in the text.
- How did you get your start as an illustrator?
A friend who was a year ahead of me at art school took my folio around to various advertising agencies & after a 4 yr course at RMIT found myself walking straight into employment in one of the said agencies!
- Who or what has influenced your work?
The fashion illustrators of the day in London and New York.
- What's your favourite media for creating pictures?
Mixed media for my book illustrations.
- Do you experience illustrator's block - if so, what do you do about it?
That is rare thank goodness, but I usually down pencils and go off and do something' totally else ' or get the vacuum cleaner out!
- What's the worst thing about being a freelancer?
Constantly being aware of income.
- And the best?
To sit at my drawing board 'colouring in ' and listening to audio books, nothing is more wonderful!
- What are you working on at the moment?
I am working on a portrait commission [which I do quite a bit of]
- Where can we see more of your work?
In libraries and on ASA Style File at the moment.
What's this illustration for?
This is an illustration I did for Flame Stands Waiting, a picture book written by Corinne Fenton, published by Black Dog Books.
Do you have to wait for a flash of inspiration - how do you start?
Well inspiration does strike, and it’s really great when it happens. I find myself drawing much faster with better images better produced. Unfortunately you can’t always count on being inspired, sometimes a deadline will be looming or a project may have lost some of the appeal it once had and i find myself having to rely on discipline and self motivation.
Usually the beginning of a project is the most inspiring time for me. Which is great because the beginning is when you need to produce all your concepts. I usually start by reading the source material or the brief, and then sketching out anything that comes to mind. Sometimes i think of an artist i love that does work in a similar vein to the brief i am working on and i will spend some time going through thier body of work for inspiration.
How did you get your start as an illustrator?
Well the first project I’d ever done was a book cover. The publisher had seen some of my student work and contacted me about doing some work for them. As is always the case, the work lead to more work, which has lead to more work again. I think getting the initial exposure as an artist is the hardest part, once you have a bit of work out there then its much easier to get more work.
Who or what has influenced your work?
There are so many artists that I love and who influence me that it would take many pages to list them all. Like most everybody I am influenced by my life, by movies that I love, comics that i read and my goals as an artist.
What's your favourite media for creating pictures?
That is a tough question. My favourite media for finishing a brief is definitely digital. I can experiment much more boldly, I can sketch and paint much more quickly and I can deliver work to clients much more easily.
However the most satisfaction that I feel is definitely when I have finished a traditional oil or acrylic painting. When I can sit back and look at it right in front of me. I can hold it and smell the paint. There is something really satisfying about that.
Do you experience illustrator's block - if so, what do you do about it?
Sometimes a job is very hard to get into. Even if I have some really potent ideas, sometimes my hands don’t want to co-operate and my sketches just come out looking pretty bad.
The trick for me is not to get too precious. Not to start heavily doubting myself and convincing myself that I’ve somehow LOST the ability to draw. it’s important to recognize when i am having trouble, so i can tell myself to just 'draw through' the block. Eventually my sketches will start to improve and i can get back on track.
I read somewhere that every artist has a thousand poor drawings inside them and the sooner you get them out, the better. I think of that sometimes when I am not feeling like my work is the best.
What's the worst thing about being a freelancer?
The worst thing is not knowing what will be happening down the track. Right now I am completely flushed with work. It’s great; I have one project after the other to do. but what about January next year? I have absolutely no idea what I will be doing then, I don’t even know if people will still be giving me work. That is easily the worst part. Who knows how things will ebb and flow in the future. That uncertainty that you get as a freelancer can be scary.
And the best?
There are a few things that are really awesome about being a freelance artist. I can set my own hours, if i feel like doing work at 4am i can. Working from a home studio is also really great, I don’t have to worry about my workspace messiness offending any other employees, I can listen to music as loud as I want, that sort of thing. It’s a sense of freedom, of being my own boss.
The very best part of being an artist is getting paid to draw. I remember finishing a piece of work, it was a giant T-rex skeleton being ridden by a medieval warrior. I remember finishing that and sitting back and thinking, I cannot believe someone is paying me to do this!
What are you working on at the moment?
At the moment i am working on a batch of book covers and a whole mess of black and white interior illustrations for various publishers. The most exciting thing I am working on is a proposal for a graphic novel. A writer friend of mine named Earl Leonard approached me with a really amazing idea and we are putting together a package to pitch to publishers, it is just a lot of fun to be working on.
Where can we see more of your work?
What’s this illustration for?
Our new book “Ned Kelly and the Green Sash”. I have a favourite piece in every book and this is mine from Ned. Henry Miller once said, “Paint as you like and die happy”. The composition, colour and subject matter of this piece sums it all up for me.
Who or what has influenced your work?
I especially love this Illustration because it’s influenced by all the great artists who I admire. First off, Sidney Nolan was my constant muse when creating Ned. We can see Ned floating between a Marc Chagall painting or perhaps reclining as in Henri Rousseau’s The Sleeping Gypsy. The palette of Henri Matisse is prevalent as is the flatness of colour by Paul Gauguin.
Do you have to wait for a flash of inspiration - how do you start?
I have a highly visual imagination when I read a story. What I’ve learnt over the years is to sketch my first impulse, but then explore how many different ways I could draw the same scene. At the recent Bologna Children’s Book Fair, I was asked to illustrate in public while the author of my next book read the story aloud. I had to create a page plan live while attendees stopped to watch. Talk about inspiration and pressure!
How did you get your start as an illustrator?
Luckily, my high school art teacher thought I was completely hopeless when he couldn’t teach me perspective, so he left me alone. My school wasn't progressive enough to recognize primitive painting as a legitimate art form. Later on I moved to the small Caribbean island of Montserrat where I began my career as a painter. My good friend on the island was an aspiring journalist named Shona Martyn who had a column in the weekly paper, The Montserrat Times. She interviewed me and asked what I’d like to do next. The power of the spoken word because I said, I would love to write and illustrate a children’s book. I wrote a story entitled “My Little Island” and went to see 20 publishers over the course of a year. Macmillan, who had a successful Caribbean division, eventually published the book in England and the West Indies. The following year HarperCollins released it in USA. The book is still in print twenty-seven years later and Shona Martyn went on to her own success.
What’s your favourite media for creating pictures?
I’m loyal to Windsor and Newton gouache on Arches paper for illustration. I can get a range of depth from flat opaqueness of colour to a wash. They dry really fast, come in any colour and they’re non-toxic, important as my cat likes to drink my paint water. If I’m painting for an exhibition, I tend to work very large in oils.
Do you experience illustrator's block - if so, what do you do about it?
I love illustrators’ block. I go shopping and play with my friends and after a few days I feel so guilty, that I just need to get back to work.
What’s the worst thing about being a freelancer?
Zero zip nada nothing. I feel blessed and appreciate every moment.
And the best?
Taking a break when I want and picking projects I adore.
What are you working on at the moment?
I’m currently creating the preliminary art for “The Drummer Boy of John John” that will be published by Lee and Low in the US. The book is inspired by Winston "Spree" Simon; at the age of seven he was a drummer in a steelpan group called the John John band. He made ‘noise’ and began playing melodies on empty biscuit containers during Carnival celebrations. The proud villagers of John John, Trinidad believe that he was the first person to play the steel drum.
What's this illustration for?
This is the cover image and text for “Plato”. I’ve included this because I am really quite pleased with the energy, movement and colours, and of course because I am very very proud of my daughter Cassandra’s contribution of hand written type. Plato here has a childlike quality, an exhuberance that really appeals to me, making this one of my favourite illustrations in the book.
Do you have to wait for a flash of inspiration - how do you start?
To an extent. I find that whilst waiting for inspiration, it really helps to sketch. Plato and Zanzibar evolved through several sketchbooks and scraps of paper. The inspiration element kicks in when you stand back and survey these, and it suddenly comes together. No amount of just sitting and thinking will get you there. I find I need to “think” with my hand.
How did you get your start as an illustrator?
I used to co-write and co0illustrate a comic strip in the student newspaper at uni with a very good friend called Mark Sexton. After graduation, we continued publishing the series as “Bug & Stump”, which ran for nine issues. Illustration work began to appear as a direct result of this. As for illustrating as such, I can’t remember not drawing. I have always been a scribbler.
Who or what has influenced your work?
I’ve a comic history, so needless to say that the entire genre has influenced my style. This is by means the only influence. Children’s book illustrators as diverse as Maurice Sendak, Shelagh McNicholas, Kerry Argent have all made an impression on me.
What's your favourite media for creating pictures?
I’m a mixed media kinda guy. I spend a lot of time in front of a computer during the day (full time graphic designer) and as such am very comfortable with Photoshop. In terms of actual real world drawing, I’m most at home with pencils.
Do you experience illustrator's block - if so, what do you do about it?
Ooooohh yes! It’s horrible! There are times when nothing works, no ideas come, and days when every line is wrong, and I just can’t draw anything! When this happens, I’ll step away for a bit, maybe read a book or take my girls to the park or do some other work. But I’ll return and persevere, and usually my hand and brain start talking to each other again.
What's the worst thing about being a freelancer?
Deadlines are usually very tight. I’m often up at 4am working on an illustration, and unfortunately at that time of night everything takes twice as long. That and doing business stuff like invoicing and bill collecting (blech!).
And the best?
I draw and get paid for it! How cool is that?
What are you working on at the moment?
I’m fleshing out a children’s book concept which I hope to take to a publisher. It’s based on a bedtime story I made up on the spot for my daughters. I’d rather not go into too much detail, except to say that my girls got a real kick out of it.
Where can we see more of your work?
I’m a member of Illustrators Australia and my profile includes some of my work www.illustratorsaustralia.com . In the real world out there, I have recently done the design and illustration for the Antipodes Festival (Londsdale St Festival, Melbourne).
What's this illustration for?
This illustration was for the front page of my website. I wanted to highlight cartoon character creation, but at the same time show that I could draw a wide range of different objects in a more detailed style. I also wanted a mix of black and white and colour art to show I was capable of both.
Do you have to wait for a flash of inspiration - how do you start?
In this case I just felt like drawing a “mad scientists” laboratory. I searched through my comics and art books and the internet sketching rough ideas like Frankenstein’s monster, Igor, giant body vats, candles, chemicals, shackles, etc... I then created some cartoon animals for it and the rest developed from there.
How did you get your start as an illustrator?
It was all thanks to Peta Burns, a Brisbane based Graphic Designer. She suggested it and spent a lot of time helping me to set up a portfolio, mail out a great looking resume and also introduced me to people in the advertising industry.
Who or what has influenced your work?
My main influences have been comic book artists and cartoonists. I grew up reading my Dad’s shelves of comic books in the toilet, Calvin and Hobbes, Peanuts, Giles, BC and more. Albert Uderzo’s Asterix was also a big part of my childhood. I grew to love graphic novels and cartoons. Simon Bisley, Frank Cho, Preston Blair, Chris Wahl, Geoff Darrow, Paul Kidby, Burne Hogarth, Mike Mignola, David Pope, Shaun Tan and many, many others have all had a great influence on me.
What's your favourite media for creating pictures?
Photoshop. These days I usually draw straight on the computer using a Wacom graphics tablet. If I am ever stuck with how to do something there are always tutorials on the internet.
Do you experience illustrator's block - if so, what do you do about it?
Yes, but I overcome it by looking at the work of other artists. Usually it depresses me for a short time, seeing how brilliant they are, but then I put on some good music, have a cup of coffee and I’m inspired to draw again.
What's the worst thing about being a freelancer?
Periods of no work at all, followed closely by having to complete three or more jobs at once. But it’s not that bad. If I have no paid work I get the time to draw for myself, or friends.
And the best?
The range of different subjects and styles. Always having new problems to solve and the challenge this gives my drawing skills. I am constantly learning and improving.
What are you working on at the moment?
I have just finished some illustrations for a history book, now I’m working on some T-shirt designs and my webcomic.
Where can we see more of your work?
- What's this illustration for?
This illustration is for a book called Mbobo Tree, written by Glenda Millard and published by Scholastic.
It is about a tree that gives life to its village and a little girl who is found swinging from its branches in a sling made from mattress ticking.
Tiranamba, as she is called never speaks a word until one day the tree is threatened, she finds her voice and her bravery saves the village.
This illustration shows Tiranamba dancing with the villagers who were not troubled by her silence, but believed she would speak when she had something important to say.
- Do you have to wait for a flash of inspiration - how do you start?
I start a book by finding a quiet space and reading the text, taking note of the immediate images that spring to mind. They are usually the best ones.
- How did you get your start as an illustrator?
My first illustration job was making handmade cards for a local gallery when I was in high school. While I was at art school, I illustrated a series of cards for a commercial card company and worked for a publisher in Queensland.
- Who or what has influenced your work?
I have enjoyed reading fabulous children's books like Alice in Wonderland, the Magic Faraway Tree and all the A.A. Milne stories and admired great artists like Daumier, Mucha and Rockwell.
Listening to great music, reading image-making stories and just being out amongst it all influences my work.
- What's your favourite media for creating pictures?
I mainly use water colour.
- Do you experience illustrator's block - if so, what do you do about it?
Sometimes an idea isn't ready to come straight away, so I move on to another part of the project where ideas have already formed.
- What's the worst thing about being a freelancer?
The unpredictability of the workload.
- And the best?
Drawing and painting for a living.
- Where can we see more of your work?
What's this illustration for?
The current purpose of this recent painting is to convince me that I can produce good work. It also serves to remind me that (my) good work requires a significant parcel of time.
Do you have to wait for a flash of inspiration - how do you start?
I collect reference images to collage loose compositions that I then I paint. The picture evolves as the painting process and mark making inspire original ideas.
How did you get your start as an illustrator?
I studied Graphic Design after finishing school and have since worked as a Designer/Illustrator. I began painting during the early 90's economic recession when there wasn't a lot of paid work available. My pictures suit a story and so attract Publishers and Writers.
Who or what has influenced your work?
I am very attracted to theatrical themes and the accompanying elements of costume and light. I am inspired by the images created through circus theatre and I often reference companies like Lunar Circus, Bizerkus, Cirque Du Soleil, Contemporary Clowning Projects and Circus Oz.
What's your favourite media for creating pictures?
I am totally addicted to Oil Paint.
Do you experience illustrator's block - if so, what do you do about it?
'Creative block' crippled 2009 for me and I eventually cancelled my annual exhibition. I travelled to New York City and spent a few weeks visiting galleries looking for a single work to move and inspire me. I didn't find it! Back in the studio I am now trying to implement the play/work ethic and not think of the deadline. I realise I am engaged in some kind of creative transition, a crisis of sorts and this year I've decided it's interesting...
What's the worst thing about being a freelancer?
In my experience there is no worse thing about being a freelancer, I count myself lucky.
And the best?
Generally speaking, my time is my own.
What are you working on at the moment?
An exhibition of paintings scheduled for October 20 at Jackman Gallery in Melbourne 2010
Where can we see more of your work?
What's this illustration for?
This is a personal piece. I like to observe people when I'm out and about, and this was one particular person that really sparked my interest. He was a street evangelist, and I was drawn to what I saw as a contradiction between his charming and gentle face, and the message of "fire and brimstone" and "eternal punishment" that is often somewhere in the message. I didn't have my sketchbook on me at the time, but I felt my later sketches from memory captured something of this man's character. I needed something to practice my digital painting, so I decided to finish it off digitally as you see here.
Do you have to wait for a flash of inspiration - how do you start?
Sometimes inspiration comes in a flash, but I don't wait for it. For commissioned projects my process usually involves looking at lots of photos, and researching my subject. Then I'll put away the reference, and do lots of quick sketches trying to combine the research with something personal. It might only be a really quick squiggle, but eventually something will jump out at me. At that point I'll flesh it out into something more concrete, and then start refining it.
How did you get your start as an illustrator?
It's been gradual. I couldn't pick out one project as being my big break. It's been a succession of progressively bigger projects, beginning with stuff that didn't seem like it would ever lead anywhere. I wouldn't say work is stable yet, but there is definite progress, and I'm optimistic.
Who or what has influenced your work?
In terms of subject matter, Ronald Searle helped open my eyes to the everyday. I really admire his ability to distill ordinary people, things, and places to their essence. I also enjoy some fantasy. Hayao Miyazaki is wonderful at portraying the fantasies of childhood. In terms of technique, my list of influences would include too long a list of artists to print here. I'm also not sure that I have a distinct style, so it's hard to say what has influenced me.
What's your favourite media for creating pictures?
For colour work, I'm most comfortable with digital painting programs like Gimp but I always start with paper and a pen or pencil. The computer is very forgiving, it allows me to make drastic changes, and then go back if I don't like it. With the computer I can work in a non-linear fashion. The computer also gives me a lot more control over colour. I can quickly bring the whole piece into a unifed colour and value relationship. This is a lot harder with traditional media. You kind of have to get it right first go, and work very methodically to an established process.
Do you experience illustrator's block - if so, what do you do about it?
For commissions, generally no, since there is no time to get stuck. You just keep pushing and a solution turns up. Deadlines are kind of good in this way, you are forced to finish things even if the solution is not "ideal". But for personal work, I certainly get block from time to time. I think the best way to overcome that is just to relax and enjoy drawing, look at lot of other people's work, or just do something completely unrelated to art for a while.
What's the worst thing about being a freelancer?
At this stage I'd say the uncertainty. But I think ultimately, once you're established freelancing can be more stable and secure than working at a studio for an employer. That's what I've heard anyway, and I'm hoping it's the case.
And the best?
Being able to work to my own schedule is of course nice, but I think the variety of projects is the best aspect of freelancing. It gives you the opportunity to really find your niche, and experiment a lot. I'm discovering that things I thought I would like to do, are not as much fun as some other things I never expected to do.
What are you working on at the moment?
I'm working with a long term client developing a cartoon series. This involves mostly character concept art, but I've also done storyboarding on this project.
Where can we see more of your work?
What's this illustration for?
Three people who spent time at Fabrica (the United Colors of Benetton's communication research centre) based in Treviso, Italy, came back to Australia and were inspired to start http://australiaproject.com. Each participant was asked to make a visual statement about the Australian culture. I wrote this text to accompany the image;
The size of new Australian houses is four times bigger than those in Europe. There is a waiting list for locally built V8 cars. Australian children are among the most obese in the world. Meanwhile the effects of rampant consumption are starting to manifest in global warming and unstable weather patterns. The question has to be asked; when will we start moderating our consumptive cultural tendencies?
Do you have to wait for a flash of inspiration - how do you start?
Well, nearly all of my work is for editorial publishing, so there is a text to work from in most cases. Some times there is a brief synopsis of the article if it is still being written. The intro and conclusions are the best place to start; they usually have the essence of the story in there somewhere. Writers use metaphors liberally so theses are always worth considering for a visual interpretation.
How did you get your start as an illustrator?
I realised at an early age that this is what I do. I studied in New Zealand at a very intensive course, and have freelanced almost from the time of graduation.
Who or what has influenced your work?
Influences change over time. At present I am loving the strong colours and simple but beautifully designed images of 30s and 40s advertising posters.
What's your favourite media for creating pictures?
After years struggling with an airbrush I now have grown to love Photoshop. I always do preparatory drawings and scan them as a template. The computer is the rendering tool and all the design and planning is pencil on paper.
Do you experience illustrator's block - if so, what do you do about it?
It's more I have days when I just can't draw. I ride to the beach and back. Then I re read the words and see what happens.
What's the worst thing about being a freelancer?
Can't think of anything.
And the best?
Being able to say no to some jobs. Being able to steer your career to some extent. Being able to ride to the beach if you can't draw that day. Being the master of your own destiny. being able to draw pictures for a living, and lets face it that can usually only happen as a freelancer.
What are you working on at the moment?
Small filler illos for readers Digest, an ongoing commission. A full page illo for the Federal reserve bank magazine in the US. On going work for Screen Australia. A cover for the NSW Law Journal. A children's book.
Where can we see more of your work?
- What's this illustration for?
This illustration was for a charity exhibition to support The Bone Marrow Institute fundraiser for children & adults with leukaemia & other cancers.
- Do you have to wait for a flash of inspiration - how do you start?
No, I don't wait for a flash of inspiration, but I am always thinking of new ideas (even in the middle of the night ) & sometimes if I feel emotionally moved by an event, then I will express it in an artwork. In 2003, my linocut print `The Faceless Women of Afghanistan' was a finalist in The Blake Prize & selected to tour nationally.
- How did you get your start as an illustrator?
I have been an artist for over 30 years, exhibiting in Australia & overseas & have had several solo exhibitions & won awards. However, in 1998, I was asked to do the cover for a Poetry & Prose book & I thoroughly enjoyed the challenge & felt that my work was suited to the book form. Having always loved children's books & their illustrations, I look forward to the opportunity to work in this area.
- Who or what has influenced your work?
My work has been influenced by my environment, living on a farm in regional NSW & by several outback camping trips to the Northern Territory. The techniques of Japanese woodcut printmakers, such as Shiko Munakata, continue to inspire me. I have an eclectic taste for all art forms, appreciating creativity, texture & form. I never stop learning !
- What's your favourite media for creating pictures?
My favourite media for creating pictures is linocut or woodblock printmaking, but I also love watercolour & gouache.
- Do you experience illustrator's block - if so, what do you do about it?
I only experience illustrator's block if I am not in the right frame of mind or if too tired. If so, I take a break, visit a gallery or bookshop & switch off & try to think laterally.
- What's the worst thing about being a freelancer?
The worst thing about being a freelancer is having the ideas & enthusiasm & waiting to be discovered.
- And the best?
The best is the solitude, being able to absorb myself in creative pursuit - pure bliss.
- What are you working on at the moment?
I am working on several woodcuts for a group exhibition in Japan in 2010.
- Where can we see more of your work?
What's this illustration for?
This illustration is I guess for my son Oscar- because the boy in it looks a bit like him(or looked like him-he’s grown a bit in 6 months- but also Oscar doesn't have the hat- has a red winter sleeping bag thing that’s a bit like the wizardy coat he has there in the picture). It was during one of those periods where I try to generate a lot of ideas and base drawings/thumbnails for images.
It’s yet to be coloured, but I quite like it as black and white.
Do you have to wait for a flash of inspiration - how do you start?
I find if I starve my brain of distraction, it starts generating ideas (because it then has to generate its own entertainment).
For me growing things from the idea is crucial. Generally if I plan to do my own work /ideas- I'll spend a half day looking at art books and reference books, anatomy- basically art cramming trying to memorize/remind myself of all the details to pay attention to when i draw a particular thing (mind you I don't know what at this stage so I try to cover anything that interests me). Then I put everything away and start. Often putting on evocative music is good at the start to get fired up.
How did you get your start as an illustrator?
I'm pretty much self taught. (I grew up in Townsville where a coconut with a sunset painted on it was regarded as art.)
I was given a book when I was 6 called "The Complete book of Drawing and Painting" by Hugh Laidman-that guy could really draw and looking at it now I can see how the drawing in that one book affected me (even to my taste in women I suspect). I suppose other childhood influences would be Asterix, Richard Scarry, Brian Wildsmith and Ronald Searle, Jules Feiffer- but I'm not sure how much of that manifests itself.
Who or what has influenced your work?
In terms of artists I admire there are many, including the usual ones you might suspect (Klimt,Schiele, Ingres, Mucha, Singer Sargent, Rackham, Rockwell) but also slightly more modern people like Yoshitaka Amano, Brom ,Katsuya Terada and Juan Gimenez for example. I also quite like Shaun Tan and Ashley wood as Australian creative role models, and James Jean as a foreign one.
What's your favourite media for creating pictures?
For ideas a pencil or a ballpoint is fine. I tend to use my Cintiq tablet and photoshop. Initially when I bought the Cintiq I stopped drawing with pencil because I couldn't bear the thought of an expensive piece of equipment lying idle,- that’s worn off now and I'm back using a ballpoint pen of all things (when not doing 'work' work )
Do you experience illustrator's block - if so, what do you do about it?
Actually I find certain restrictions/limitations imposed force you to think creatively to find a solution, and help you narrow the solution space as it were. The problem tends to be more how to stage it or fit it on a page.
Bike riding is good because of the stimulation of exercise and the lack of mental stimulation- so your mind can wander (except of course those bits where trying not to be killed by traffic has your attention.)
I've cut and pasted some notes to myself at the end (originally for a talk).
What's the worst thing about being a freelancer?
Isolation, plus I've recently found that illustration is not actually regarded as art but as a trade - like a plumber or a house painter, except clearly there is a financial and work hours gulf between the illustration 'trade' and the plumbers.
I guess for me after years for working "for the man" it’s a slower than expected process of finding out where myself and my work ought to be.
And the best?
At this early stage,- being at home to see my kids first years- I know now that I missed quite a bit of the first year and a half of our first child when I was working in computer games. Creatively and long term art career wise I think it’s the only way to go.
What are you working on at the moment?
Primarily on a series called "Little Mates" for Scholastic, (but also some personal projects, and refurbishing my website and blog, working on t-shirts....the list goes on. On the "to do list" was a plan of entering the Waterhouse prize this year and using work for that for a book on Australian Dinosaurs...we'll see).
I'm currently looking for new projects and work though.
Where can we see more of your work?
I'm listed on the Style File and Illustrators Australia, and the American SCWBI (but not on the Australian).
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