Mal Chambers PIO issue 295 June 2010

What’s this illustration for?

This is a personal piece. I saw some great black and white street art which had loads of attitude and fun. So I thought why not leave the colour out for a change? I started doodling and the kids machines became more and more absurd and the kid’s faces became more and more earnest which gave me a bit of a laugh. Since then I’ve put in some background colour and textures, but the characters stayed close to the original feel that I wanted.

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

Once I understand the brief I map out the basics of how the book/project works then I just start playing around with the pencil. Making a character look right is the fun bit, I just scribble until I get a look that makes me smile and then that helps lead me through the project. Little bits of inspiration happen all the way through the project.

How did you get your start as an illustrator?

I studied at art college then I started my career as a junior visualiser. I moved into art direction, but I’ve always done bits and pieces of illustration. However at one point myself and a friend wrote and illustrated a kids book. It didn’t really eventuate but I realised that the illustrations could form the basis for an illustration portfolio. I took this around several publishers and started getting work.

Who or what has influenced your work?

I guess the sample that I’ve chosen is atypical in that it has a bit of a paste up graffiti sort of feel (I think). Usually though I think my favourite influences have been mid 20th century, jazz influenced design and illustration. But the things that appeal to me are always changing.

What’s your favourite media for creating pictures?

I always start with an old fashioned pencil drawing but I love scanning it in and getting to work on the Mac.  It gives you so much scope to experiment, layer things, compare different approaches. Also if there is anything out there better than the command Z function then I haven’t seen it.

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

I don’t think so. If I think I’m not getting anywhere, I try persevering for a bit, to see if I can get around it. Anyway if it’s still not working, then that lack of enjoyment will show in the work. So it’s usually a good idea to take some time out. Maybe go for a run. Have a banana sandwich. Have a look through some reference material. Or all three but preferably not at once.

But ultimately I don’t really believe in being “blocked” I just think there are some times you can do the job better than others.

What’s the worst thing about being a freelancer?

Working alone. You go a bit stir crazy after a while.

And the best?

Whenever you’ve done a project you know that your answer is unique. And I always feel that I’m learning and improving. Honest.

What are you working on at the moment?

A load of illustrations for a legal textbook. Also I’m doing some oil painting but that’s more for my own enjoyment.

Where can we see more of your work?

This is a long old link but here goes:

http://www.illustratorsaustralia.com/portfolios/mal_chambers

Mal now has a website - http://www.malchambers.com/index.html

Natalie Brockett PIO issue 293 June 2010

What's this illustration for?

These two illustrations are both personal pieces. Inspired by Japanese scroll paintings and memories of childhood, they are two in an ongoing series of illustrations in which I am exploring the magic, innocence and fragility of youth through little moments in time depicted very simply using basic media and techniques. I hope to publish them as a small book one day.

Illustrating children’s books has always interested me and this little collection is my fix for now.

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

Often I don’t know how the final image will look but I have an idea or a feeling in mind. I start with different elements that reflect these and then let my instincts guide me. I always let the work sleep and mature for a while to see if it stands the test of time before I fine tune things. 

How did you get your start as an illustrator?

When I relocated to Tokyo in late 2008 I decided wholeheartedly to use the opportunity to devote myself to illustrating seriously with the intention of one day turning it into a viable and successful business for myself alongside my graphic design work.

At the outset it was all about experimentation and finding my feet really. I bought a stack of new materials and mountains of paper and just threw myself into it day and night. I knew I could draw but I needed to really put time into playing with different media, not just those that I felt immediately comfortable with.

At the same time I designed and built my website and trickled stuff onto that as I continued to experiment. And I am still experimenting!

Who or what has influenced your work?

I have an eclectic and long list of artistic influences.

My immediate inspiration can come from anywhere and it is very circumstantial in many ways. It changes depending on where I am in life, my mood, my surroundings and what I’m working on at any given time. Often my best ideas come from the simplest things, like people in the street, music, nature, dreams and past experiences.

In addition, beyond my personal day-to day experience, my history with Japan and my love for all things Japanese is perhaps my greatest inspiration. I aspire to creating images that reflect the beauty, simplicity and sincerity ever-present in Japanese design and create.

What's your favourite media for creating pictures?

All hands-on traditional media excites me - pencil, pen & ink, gouache  & watercolour, crayon and collage. I love experimenting with all of them in my work. I don’t limit myself to one medium.

If I had to name a definitive favourite however, it would probably be pencil.

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

Of course! Generally if I brainstorm and doodle long enough the light bulb comes on. If it doesn’t I work on something else, just relax looking at creative and inspiring material such as books, magazines or websites or get out of the house and take a walk and let the subconscious go to work. 

What's the worst thing about being a freelancer?

Working alone when you are a ‘people’ person.

And the best?

The flexibility to work where and when you feel most creative and inspired, not when the clock dictates or the office limits.

What are you working on at the moment?

Currently my design work includes two corporate identities, a website and a poster. My illustration work includes a commissioned portrait and another commercial packaging assignment in addition to my ongoing personal projects  - Tokyo 365: 365 moments of Tokyo style, pieces for my next exhibition, some self-promotional items and other random illustrations.

Where can we see more of your work?

My personal website is www.natayan.com. My portfolio is also featured on the Illustrator’s Australia website, www.illustratorsaustralia.com.

In addition, some of my work is available for download from www.digitalbloom.com and www.machiukeru.jp.

Frank Candiloro PIO issue 292 May 2010

What's this illustration for?

This is concept art for a 10 second animation that I did for a music documentary. It's meant to introduce the band Aleks and the Ramps, and it's inspired by the black and white cartoons of the Golden Age of Animation.

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

I generally start by focusing on one element of an illustration and developing that - drawing different designs and concepts for that element, and that forms the basis for the rest of the illustration. In particular, I spend a lot of time designing and working on a character, and the rest of the illustration - background, surroundings, linework, color etc, is based around how it fits that one character.

How did you get your start as an illustrator?

I used to be a stop-motion animator at the Victorian College of the Arts under the Animation course, and it was there that I discovered the joys of 2D animation. I was intrigued by it and keen to discover more, so I decided to develop my drawing skills, studying anatomy and developing a distinctive style so I could create a 2D animated short film. Eventually I liked drawing well enough that I decided to pursue illustration as part of my career as well as animation.

Who or what has influenced your work?

My work has been mainly influenced by comics from the 1930s, 40s and 50s, for their simplicity, emphasis on telling a clear, distinct story and their ability to capture a character's personality by how they're designed. They also utilise a thick-and-thin linework which I try to embody in my own style. My favourite artists from that period are Dick Sprang, CC Beck, Jack Cole, Chester Gould, Will Eisner, Carmine Infantino, Milton Caniff, Winsor McCay, among many others. I also like the simple, geometric designs that were used in the Fleischer and Disney cartoons of the 30s. 

What's your favourite media for creating pictures?

My work is mostly digital, using Adobe Illustrator. My main joy comes from drawing the initial pencil drawings, as I'm able to fully flesh out and sketch the main concept of an illustration and see how it works, but I also like being able to control the linework in Adobe Illustrator, adjusting the vector points to achieve the perfect, thick-and-thin line for any illustration. 

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

Not a huge amount, but sometimes it helps to just start drawing something, anything, even if you're unsure of what you want. Eventually, you find something which you can use, and the rest of the illustration results from that. 

What's the worst thing about being a freelancer?

Sometimes it can be hard to find the motivation to complete a job on certain days, depending on one's mood and state of being. It takes a lot of organisation and self-discipline to get things done. 

And the best?

Being your own boss, able to work in comfortable surroundings, amongst people and things that continually inspire and motivate you to work. Being able to devote yourself to create unique and interesting characters and situations is a big plus.

What are you working on at the moment?

At the moment I'm doing animation for a music video for Melbourne rock band Hail Hemi, and I'm also working on a bi-weekly web comic "The Adventures of White Wolf!", which is a tribute to the comic strips of the 40s and 50s that I've mentioned above, as well as a thoughtful analysis on living with mental illness. I also plan to make a new animated 2D film in the next couple of months. 

Where can we see more of your work?

You can check out my art, animations and everything else at my website: http://www.frankcandiloro.com . You can also see The Adventures of White Wolf every two weeks at this address: 

www.webcomicsnation.com/frankenmation/whitewolf/series.php

Letitia Buchan PIO issue 291 May 2010

What's this illustration for?

This illustration is for a fashion company called Australian Horizons, it’s their promo card celebrating the launch of the new Summer 2010 Ranges.

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

I start from searching a folder of images I collect as I see things I love, created a colour theme and just started drawing and taking photos. I wanted it to be busy and tactile, but ended up only keeping the one animal and working with that theme digitally.

How did you get your start as an illustrator?

I started as a graphic designer, then freelanced as an illustrator, I was found through my website, and my first commissioned illustration job was for The Australian Magazine. In the last couple of years my style has developed into a stronger style than it was to begin with.

Who or what has influenced your work?

Other illustrators and designers that I find perusing bookshops, blogs, music stores, signs and lettering on buildings, architecture, music, anything that gives me a feeling or an idea for an illustration.

What's your favourite media for creating pictures?

I love a sharpie and some paper, or a black fineliner. All my illustrations begin like that then I work using Illustrator to add some depth and colours.

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

Research, research, research... Go for a walk, do some retail therapy or go to the local bookstore, do things to get your mind directly off the subject but something that will still inspire.

What's the worst thing about being a freelancer?

Inconsistency in jobs.

And the best?

I love the variety of work, and the dynamics of the client/ illustrator relationship. Some clients are so trusting and I love that. I also love to draw, and to be paid is a bonus!

What are you working on at the moment?

I am currently working on an illustrated wedding invitation for a couple getting married in Ibiza, which is great fun, and some illustrations and branding for a new high end accessories label about to launch end of March. I also have an editorial illustration to 
complete for the West Australian Sunday Times Magazine.

Where can we see more of your work?

www.letitiabuchan.com

Dee Texidor PIO issue 290 May 2010

What are these illustrations for? 

10 Yellow Bananas  by Helen Ross. Released 2010.  A fun pre school picture book with funny fruit characters.

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

Images pop into my head all the time. I have to scribble them down in a thumbnail before they quickly disappear again. Most of my art comes from somewhere inside my head. I’m not a realist, more of an imaginary illustrator.

How did you get your start as an illustrator?

Whilst working as a graphic designer I made contacts and did some pro bono work, as well as in-house illustration.  Now as a freelancer, I contact potential and existing clients on a regular basis through my website, work samples and letters in PDFs;  usually by email. I’m always looking at the imprint pages of books and magazines for new publishers, as well as online. Next year I plan to do a part time course on interactive digital media. I’m aiming to turn my character designs into animations for the web and the like.

Who or what has influenced your work?

Whatever mood strikes me at the time and what I’m ‘looking’ at. I surf the net a lot and am inspired by the multitude of female artists and crafts women globally. I‘m really interested in low brow art, street art, animation, and craft right now. Other artists work I love: Shaun Tan, Colin Thompson (gobsmacking imagination in his stories), Stephen Micheal King, Quentin Blake, Lauren Child, Dee Huxley, Pablo Bernasconi, Gris Grimley, Mo Willems, David Roberts, Nathan Jurevicius, Ward Jenkins, Shag, Judy Nadin (brilliant caricaturist and now children’s book illustrator), so many more ... Oh, and Charlie & Lola art.

What’s your favourite media for creating pictures?

A piece of paper, a black pen, coffee and a comfy chair.

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

Yes I do, not often thank goodness. I leave it for a few days, but am thinking about it constantly, so an idea will pop in there when I’m not trying too hard.

What’s the worst thing about being a freelancer?

There is either little work or work all at once. Lack of royalty offers as opposed to flat fees which is fast becoming the norm. Waiting for the accounts departments of my clients to finally pay me.

And the best?

Flexibility and personal expression. Variety of commissions keep my work life really interesting and so much fun. I am grateful every day for being able to manage a small income from work I adore.

What are you working on at the moment?

I've recently launched a picture book ‘A Simply Spectacular Hat’ by Libby Gleeson. It’s part of an educational kit for the SunSmart campaign with The Cancer Council of NSW. I’m playing with digital art, a collagé style influenced by Lauren Child with a twist of my style of course! I'm now working on merchandise to accompany the book.

Where can we see more of your work?

www.deetexidor.com Dee Texidor

Anne Spudvilas PIO issue 289 May 2010

1.  What's this illustration for?

This is a detail of the cover for The Peasant Prince, a picture book version of Mao's Last Dancer by Li Cunxin, published by penguin. It is done in ink and watercolour on rice paper in traditional Chinese brushpainting technique.

2.. Do you have to wait for a flash of inspiration - how do you start?
My beginnings are in the text, I illustrate other people's texts so  as I’m reading  ideas start to form, visual ideas that I quickly jot down in tiny, very rough thumbnail sketches.

3.. How did you get your start as an illustrator?
I got to know popular writer Isobelle Carmody through a mutual friend, and she asked me to do a cover for her young adult novel The Gathering, in about 1990.  Penguin used it and I was encouraged to send my work out to various publishers. More work followed.

4.. Who or what has influenced your work?
I'm inspired by the work of many people. Painters like Gustav Klimt, Whistler, contemporary Australian painters.  Illustrators that I love include Lizbeth Zwerger, Shaun Tan's versatility and imagination, Roland Harvey's beautifully delicate watercolour work, Leigh Hobbs' wonderful pen lines.   My work is always influenced by what I see around me every day.


5.. What's your favourite media for creating pictures?
My favourite medium at the moment is charcoal, I’m really enjoying working in black and white.  but i also love oil paints, and printmaking techniques - etching and monoprints.

6.. Do you experience illustrator's block - if so, what do you do about it?
YES!!  I'm in the middle of it as i write.  Nothing can be done about it, you just have to keep working as well as you can. Sooner or later, new things happen, you have to be ready for it. This is only the second time it's happened in my life - it's totally unpredictable.

7.. What's the worst thing about being a freelancer?
Never being able to look ahead and know how much money you're going to make.  It’s difficult to make plans – you have to always have faith that the work will come.

8.. And the best?
Being able to stay in bed and work if I want to, the early morning is a great time for me to catch up on things with my laptop and a coffee propped up on lots of pillows.
And it's so good to have time to do what I want when i want to.  No set hours.

9.. What are you working on at the moment?
I'm concentrating on getting the work I've done already onto my website in an online shop.   Also working up an idea for a picture book of my own, either wordless or written and illustrated by me.

10.. Where can we see more of your work?www.annespudvilas.com  - something else to do, update the website!

Lisa Coutts PIO issue 288 May 2010

What's this illustration for?

This is a personal piece. I was testing out a new pastel medium on paper, but using coloured pencils. The image was inspired by the memory of me not being able to do cartwheels and handstands at school when everyone else seemed to be so good at them. It's called "I can't do handstands". I was very happy with how the pencils worked on the pastel medium too.

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

It all depends on what I'm working on. Sometimes it is literally flash of inspiration, or even something I've dreamt about. When that happens I excitedly start scribbling my ideas. Other times I might be doodling with no particular direction in my sketch book and something evolves from that. It may even become a flash of inspiration. If it's project with a brief, I make sure I read it carefully, read the manuscript (if it's a book of course!) do some research and start drawing. I love it when I start with the blank page and the character comes to life, even beyond what's described in the story.


How did you get your start as an illustrator?

I was studying Graphic design with a plan to become an illustrator, so I answered all my assignments in a very illustrative way. I also had a great lecturer who was also an illustrator who gave me a lot of encouragement. When I was in fourth year, a friend was a designer at an educational publisher and thought my style would be perfect for a text book she was working on, so commissioned me for the cover. After Uni I created a eye catching mail out which attracted some interest and I toted my folio all over Melbourne. Fortunately work started coming in...that was the hard old days before the internet!

Who or what has influenced your work?

Lots of things come and go with influencing and inspiring me, but I would have to say the picture books I had as a kid. My Aunty used to search high and low for special books to give me, and I still have some of those today. I also would say Peanuts. I loved the subtle melancholy of the kids. Some of the feelings and moods were very strong in the strips - very sensitively observed. Snoopy was my least favourite.

What's your favourite media for creating pictures?

I use acrylic, dry pastels, and coloured pencils - not together. I like blending and creating a soft texture and I also love to scribble. These mediums allow me to do that best - especially the latter two.

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

Indeed I do. I have just come out of a big chunk of it. I try to go out, look at new things and not necessarily artistic things. Just a stroll in an unfamiliar part of my neighbourhood is good for the soul. I try to look and draw things a bit differently; experiment...just to climb out of the rut. Looking at books, magazines, films also helps. Inspiration can spring from anywhere if you let it.

What's the worst thing about being a freelancer?

Not always having a nice regular wage and having to do accounts. I'm really not good with numbers.

And the best?

The freedom to work whenever I want and having my cat at work with me. Also the opportunity to take my work in different directions.

What are you working on at the moment?
A book about a scary old lady who is actually a mermaid, a book about a girl who is turning into a frog and a collection of works for an exhibition in May.

Where can we see more of your work?

Well, I have a new website in development, but you can find me here
www.illustratorsaustralia.com
www.thestylefile.com.au
www.redbubble.com
www.syarthouse.com.au

Marc McBride PIO 287 April 2010

What's this illustration for?

This is an Ak-baba from Deltora book of Monsters
Do you have to wait for a flash of inspiration - how do you start?

I’ve been drawing for such a long time I don’t need inspiration to start. But I have recently tried to write another story, my last attempt was a book called World of Monsters, and I really need to feel inspired to write anything. I’ve found it can often come when colouring in a particularly large and boring area!
How did you get your start as an illustrator?

I was drawing as a hobby, while working in advertising, for a friends magazine called Revelation. Lucky for me I got to illustrate a story by Paul Collins who asked me to illustrate a book series he was editing for Harper Collins.
Who or what has influenced your work?

I was completely obsessed with the Swiss artist H R Giger, who I discovered after watching the movie Alien, he was the set designer. Giger used an airbrush which inspired me to get one.
What's your favourite media for creating pictures?

Although I still use an airbrush I really don’t enjoy using it; the compressor is noisy, paint fumes suffocating and the needle always gets blocked! I really enjoy pencil drawing which I colour in with paint brushes and acrylic paint before using the dreaded airbrush at the end.
Do you experience illustrator's block - if so, what do you do about it?

I do about ten different drawings before colouring in, which takes the longest. Most of the first few drawings aren’t very good so I keep going until I find one I like, so I guess I keep drawing to over-come illustrator block.
What's the worst thing about being a freelancer?

Definitely working in a lonely studio by yourself.
And the best?

Working in your studio by yourself and not having anyone complaining about your choice in music.
What are you working on at the moment?

I’m trying to write a story but it’s getting pretty weird and I doubt it will ever see the light of day.
Where can we see more of your work?

Probably on the Deltora Quest covers and picture books are the easiest to find. Many of my other picture books are hard to find.

Marc now has a website -  http://www.marcmcbride.com/

Louise Pfanner PIO issue 286 April 2010

What’s this illustration for?

                                          

This was in my first book, Louise Builds a House, published over twenty years ago. The artwork was about to go to the printers, but my editor decided to change the original pic, so I did this in under an hour, and couriered it to her. The text for this page says "and a drawbridge to draw fish on". I've always liked the play on words, although the drawing and painting is very simplistic I think it works in this book.  

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

     

I think of things for years and years, and I write them down in notebooks. Although I have the ideas for two books when I was in emergency wards with acute asthma (which is weird now I think of it.)

How did you get your start as an illustrator?   

                                                                                                       

I studied Graphic Design in the hope of becoming an illustrator. After I graduated I did children's fabric design, and I also did magazine illustrations. The idea for my first book was from a project I did in Graphic Design- designing the perfect art school.

Who or what has influenced your work?

I have always read a lot. I think reading is the key to being an illustrator- one needs to really extend the text, not just decorate it. I like the work of Herge, and Jean de Brunhoff, Pat Hutchins and Janet Ahlberg, to name just a few. 

What's your favourite media for creating pictures? 

Black ink outlines (I still use Rapidographs) and watercolour paint (Old Holland is my favourite)

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

No, I think it's always hard work.

What's the worst thing about being a freelancer?

Being alone.

And the best?

Being alone

What are you working on at the moment?

Not a book at the moment, but several commissions and a commercial project.

Where can we see more of your work?  

www.papernation.com.au

David Miller PIO issue 285 April 2010

1. What’s this illustration for?

This is a little machine called SMALL. He is one of the characters in my book BIG AND ME. In the book Small tells what happens to him and his partner BIG when Big goes a bit wobbly.

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

Usually something triggers an idea for a book. It might be something someone says. It might be something I see. The book Big and Me was inspired by a conversation I had with my cousin Kaye who is a doctor. We were talking about a family we both know where the father has a sickness in his head which sometimes causes him to do strange things. This can be hard for his children. Kaye said to me “David, you should do a book that would help children like them understand what is happening and what they should do.” I thought I could make a book about two machines that would do that. And I did. And it does.

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

I studied art at Swinburne in Melbourne, worked as an art Director in advertising agencies had my own design and illustration studio then wrote and illustrated my first book.

4. Who or what has influenced your work? 

My father was a sculptor and a calligrapher, he was a big influence.

My first employer, Lance Stirling introduced me to paper sculpture.

Maurice Sendak, Charles M. Schulz, James Thurber, John Tenniel, and many others continue to inspire me.

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

Paper sculpture.

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

Well sometimes it can be hard to get started. The best thing to do I have found is to pick up a pen and just draw. Anything. Sometimes I might go for a ride on my bike or walk a bit.

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

I spend a lot of time by my self, that’s okay, but I do find I am talking to myself sometimes.

8. And the best?

It is just so good to be able to work where and when I want to and to be doing the sort of work I want to.

9. What are you working on at the moment?

Hmm, I’m not sure I should tell you as I have really just begun. Promise you won’t tell anyone? You sure? Okay, It is a dinosaur book. Not a book about dinosaurs but a story about what happened to a little dinosaur. Now don’t forget your promise.

10. Where can we see more of your work?

In books of course;

Boo to a goose, What’s for lunch, Carousel, Just like you and me, Over the hill and around the bend with Granny and Bert and me, Ringle Tingle Tiger, Snap went Chester, Refugees, Where there’s smoke, The secret life of Hedley Wheelspin, Lofty’s mission, Big and me, and soon Rufus The numbat.

 And at www.thestylefile.com/

 And www.bookedout.com.au

Gus Gordon PIO issue 284 April 2010

What's this illustration for?  

This illustration is for my latest picture book ‘Wendy’ which came out last September with Penguin

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

I wish I had the time to wait for inspiration to happen. Do people actually do this??? Is it always ‘flash’ like in appearance or can it come along just sort of lumpy? These days, I just have to get on with it and hope that the ideas keep coming. I find I work better under pressure for some reason, even though this isn’t always an enjoyable experience.

How did you get your start as an illustrator?

I started out as a Cartoonist around 15 years ago but moved across to children’s books when the cartooning market dried up somewhat after the recession. I illustrated my first book in 1996 and realised, very quickly, that this was where I wanted to be.

Who or what has influenced your work? 

Geez, so many people. Illustrators like Jean-Jacques Sempe, Sara Fanelli, Oliver Jeffers, Eric Carle, Arthur Rackham, Kevin Waldron, Neal Layton, Delphine Durand and Quentin Blake. Cartoonists George Booth, William Steig, Bill Watterson and Charles Adams. Writers like Roald Dahl, J.R.R. Tolkien, Jon Scieska & John Yeoman. I tend to be drawn to line-work and nonsensical, humourous folk.

What's your favourite media for creating pictures?

Probably watercolour but I’m always playing around with whatever’s lying about the place – crayons, charcoal, colour pencils, acrylics, cardboard. I love collage and spend a good deal of time collecting interesting papers and textures.

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

Yes, I do. Coffee helps. So does moving water. If I have time I walk down to the beach or jump in the shower. The shower is the best place to come up with ideas. Consequently, they are normally long showers. I really ought to get a scuba diving pad and pencil.

What's the worst thing about being a freelancer?

Not having the quality time to spend on your own projects whether it’s writing, drawing or painting.

And the best?

Getting lost in a book or the process. The best days are when it’s all clicking and you have no idea what time it is. Solving creative problems can be enormously satisfying too.

What are you working on at the moment?

I just finished ‘My Aussie Dad’ by Yvonne Morrison, a picture book for Scholastic. Just sent off the roughs for ‘Haggis McGregor and the Night of the Skull Moon by Jen Storer for Penguin. Working on a book with James Roy for UQP and writing the framework for a book series for Penguin. My next picture book is coming along somewhere in there too! Not sure where exactly.

Where can we see more of your work?

My website has been slowly forming over here: http://www.gusgordon.com/