by Ester de Boer
Children's picture book illustrator. I also drink copious amounts of tea, and eat chocolate.
Do you want a writer's group activity with a difference? An activity that will stretch you in ways you wouldn't believe? Then you may want to try this interesting, and fun activity that will have you painting, and then writing with music.
Recently I ran a weekend art workshop in Canberra in which I used a synesthetic (Synesthesia) approach to teaching the elements of drawing through responding to sound.
Since our little writers’ huddle is on the artsy side I thought I would adapt it to the art of the written word.
We warmed up with some basic drawing and painting exercises and experiments, and I scattered a variety of art materials all over the table for us to choose from, and yes it was merry chaos!
Those of you who know a bit about art history would be familiar with Kandinsky. He was a Russian painter who is credited as having produced some of the first truly abstract paintings. One of the inspirations for the way he painted was an amazing ability called synaesthesia: Kandinsky could actually hear the colours he painted with!
It’s an enviable gift for any artist, but I think we all have a bit of it, and it comes out in our everyday expressions, for example “Feeling blue”, “black humour”, “green with envy” or “white noise” for the colours. Or how about texture, with expressions like “gravelly” or “velvety” to describe a voice?
I selected four different pieces of music, each with very different mood, texture, variations of dynamic and pitch, and we responded to each piece visually, describing the sounds into visual representations.
After sharing our artworks, I replayed the four pieces. This time, we responded both to the music and our visual representations through any kind of short, free-form writing.
Just as music and art have texture, rhythm, pitch/tone and tempo, so does writing. What was very interesting was how writing in direct response to music actually influenced our individual writing styles.
(To make this work properly, it’s important not to be given information about the music, use music with recognisable words or be able to see any video clips as they can obviously influence the outcome. The only recognisable piece is Flight of the Bumblebee, but I am happy to say that none of us drew a beehive!)
Stomp break dance with me
Boom! BANG! explode collide
Whiiiirl… BANG! fly……. land
c-runch—lift, glide… drop
Dancing. Joyful carousing.
Off to the markets.
Full of life. Laughter.
Slowly the day ends.
The sun sets into the horizon.
Ready for a new day.
Silken smoke drifts through the lattice, twists and writhes in the perfumed air… Its phantom fingers reach across the empty room and,
As we touch, it grasps, encircles around like cords,
Impossible to unbind.
Sadness. Love is lost.
All is lost.
There is no hope.
All is gone.
The voices all tell me
it is all gone.
But is it really?
I’m more determined to
live for life, for life
Each day slips by.
How will we live it?
Lose a day?
Gain some life?
Like a leaf blowing in the wind
blown by the storms of life?
Or rising like an eagle
to fly far above
Upon the pond, plipipipipop!
Spit! Spat! Raindrops drip-drop... dripipipipip!
Making puddles that splip and splap!
Drip. Drip. Pelting helter skelter.
Ssssshht-t BEEP Spaceport 9 canyouhearmeoverandout BEEP… ssshhhhht -t-t cracklesshhhhhtt-t-t-t. . … . . … .no noise. . . . U N K N O W N w h i t e r o u n d m e s s a g e .. . . number 9 receiving…. re ceiving… . re ceding. . .. . re ce d i n g … into the white round void that is s i I e n c e… silent .. sssilent over-over-over-over and out.
A cold fist in my belly.
Fear traces its icy fingers down my back.
It says, ‘I will get you!’
Safe? Am I?
This thing is pursuing me.
Will I get away…this time?
Long arms reach for me.
The thing I feared the most.
Megan's Two Cents
I found this a fascinating exercise to do. I was amazed at who much the music influenced what we painted, and not only what we wrote, but the language, the tempo, even the theme.
Let me know if you give this a try and how you go.
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I recently had the privilege of meeting Leigh at a recent visit not far from where I live. He was on his whirl wind tour of the various schools and libraries across Australia, as well as overseas. He delighted the audience with his tales of being an art teacher, and pursuing children’s book illustration, as well as other artistic pursuits.
Today, I welcome Leigh to my blog.
You’ve been asked this a lot, but how did you get started in illustrating and writing your own books?
Around 1992, when I’d been illustrating other people’s stories for a couple of years, I began to lose interest. Primarily because I felt disengaged from the characters I was being asked to illustrate. Then an editor suggested that I create my own character which turned out to be Old Tom. He’d been hanging round and taking shape in my head subconsciously for a while. Originally, he looked like a gangster but I toned him down a tad, without making him look too goody – two – shoes. Naughty rather than nasty. Four publishers rejected Old Tom before an eagle-eyed editor at Penguin nabbed him.
You say your stories are character driven. Who are they inspired by?
I don’t think my characters are inspired by any person or ‘persons’ in particular. They’re a mixture of characters who I’ve met, or taught, even aspects of my family. There’s a bit of me in each one I suspect.
How do you road test any new characters you create?
I showed a couple to my mother earlier on. She was appalled, particularly when it came to Mr Chicken. I knew at that point I was on to something. I have an aversion to ‘cute’. I’m simply not interested in cute books, not that I pay too much attention to children’s books in any case. However, I admit I am a bit of a romantic at heart, hence the underlying good heartedness of my characters and the relationships between them…. or most of them. I never road test characters with kids. Every kid is different and ultimately a writer or artist needs to rely on their instincts. Well I do anyway.
I had the privilege to attend one of your talks at my local library in Gippsland. During your talk, you said that you write from the heart. Does what come out ever surprise you? If yes, can you give an example?
Yes. I’ve surprised myself on a few occasions. The first time was when, about twenty years ago I was asked to give a lecture to fine art and graphic art students at my old art school (Caulfield Tech. now Monash University) I’d only written a couple of books at that point and some students asked me to select a few pages and read them from my first book ‘Old Tom’. My voice cracked at a certain spot and I realised that I’d strayed into autobiography. The students picked it up as well.
Your illustrations are so loose and immediate. What do you do to create that effect?
It’s just how I draw. The drawings evolve on the page. I work hard to make it look effortless. I feel I’ve failed if a drawing looks laboured. I’ve always had better eyes than talent. Which means I’m nowhere near as good as I wish I were. My limitations all too often stare back at me from the page.
That can be a healthy thing for an artist. To keep striving for ones own idea of perfection even though you know it’s all too often unattainable. My primal goal when drawing is to get to the essence of the subject, be it a character or a building.
How long does it take you to complete an illustration?
It varies. Sometimes a drawing works straight off and it looks fresh and spontaneous and it’s done. However, there’s usually a spoil sport part or illustration where I have to battle to get it right….and then disguise the considerable effort along the way. Then it might take a day or days to finish. Often in this case I rip it up and start again, in a sort of frenzy because by then the deadline is looming.
I noticed in your books that you include well known buildings in the illustrations. I’m aware that you have a passionate interest in architecture and history. How important is it for illustrators to create from the heart?
I’ve no idea what’s in anyone else’s head, I just know that the enjoyment and satisfaction I get from creating these books comes from creating a genuine sense of place. An authentic sense of the atmosphere in London, Paris, or Rome.
You are working on your art in its various forms all the time. How do you feed your creativity?
I read a lot. Books about architecture, History, Baroque, Georgian, Tudor. English or German architecture interests me most. I read history books often. Biographies too. At the moment, I’m reading David Marr’s biography of Patrick White. As well as a history of London. I travel quite a bit too. I’ve been to London over thirty times.
Horrible Harriet has been made into a stage show. How did that come about?
I was approached by the producers who were, in consultation with me, offered the stage rights by my publishers. I had some input but stepped back after a point. I have learnt not to get too emotionally involved in the translation into other mediums of my books or characters.
What is it like to see your work interpreted in that way?
Unnerving and strange. My ‘children’ have left home. It’s ultimately flattering in spite of a degree of anxiety I inevitably feel.
I’ve watched a lot of interviews of you. Some show you going into schools and talking to the kids, engaging with them, and the students totally engrossed in every word, especially when it comes to the drawing segment where you show them how to draw Old Tom. What do you like most about school visits?
I enjoy engaging kids, especially when I sense that they are loosening up and creating for the pleasure of it. It’s satisfying too when kids who may not be used to drawing or writing creatively end up being completely engaged.
You are the Australian Children’s Laureate for 2016/2017. What does that mean for you?
It’s been a great honour and is and has been a wonderful experience.
What would you like to see change in the schools of Australia, and why?
Every school needs a Library and school Librarian. Misguided schools are, or have already done away with their school Library. I’ve heard dreadful stories about Librarians retiring or being put in excess and the school library, carefully built up over many years completely emptied with books thrown out or delivered to op shops. Libraries, good ones are carefully calibrated to the needs of the students and teachers at the particular school. They are more than just books. And I’d like to see art and music as a ‘definite’ on the primary school curriculum.
What’s next for you?
Mr Chicken’s next adventure: ‘Mr Chicken all over Australia’
Would you tell us ‘Three Fun Facts’ about yourself?
Well, here’s just one…. I’m allergic to cats.
Australian Children’s Laureate 2016-2017
“Leigh Hobbs, best-selling author of more than 20 books, including the iconic Old Tom, Mr Chicken Goes to Paris and Horrible Harriet is the Australian Children's Laureate for 2016 – 2017.
His subversive humour has delighted children for more than two decades.
Leigh Hobbs was born in Melbourne, grew up in Bairnsdale and has lived and worked in Sydney, Sale and London. He is an artist who works across a wide range of mediums, as well as writing and illustrating his children's books.
Many of his cartoons have appeared in the Melbourne Age newspaper. He is best known, though, for his children's books featuring his characters Old Tom, Horrible Harriet and Fiona the Pig and Mr Chicken, as well as the Freaks and their teachers in 4F for Freaks and Freaks Ahoy.
Old Tom has been adapted into an extremely popular TV series. Leigh has three times been shortlisted for the CBCA Picture Book of the Year Award (for Mr Chicken Goes to Paris, Horrible Harriet and Old Tom's Holiday) and his books have won every major children’s choice award in Australia. Leigh’s books are published by Allen & Unwin.” Quote from Children's Laureate website.
You can find more information about Leigh Hobbs on his website, about his role as the 2016-2017 Children's Laureate here, and his books and toys (you can buy Horrible Harriet, and Mr Chicken soft toys) through Allen and Unwin.
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Fear can hold you back from so many things, but especially from following your dreams and becoming all who you were meant to be. How can you face those fears and move forward in your life?
‘I would love to write and illustrate my own picture books.’ This was something that I said to myself a number of years ago when my kids were small. I don’t know what it is but so many authors and illustrators discover/rediscover a love of picture books when they are reading them to children. Either their own children or someone else’s.
For me, I always wrote but never called myself a writer until recently. I always drew, but never progressed beyond feeling that my pictures were terrible. The thing is, they were not good, but I could not break through that ugly stage to get them to be any better. So I stagnated in both my writing and my drawing.
Four years ago I had a breakthrough with my writing. I started taking courses and investing in my passion for writing and telling stories. I still drew and painted but never seriously. It couldn't get any better than I was, and I couldn’t get past it, especially when it came to drawing people. I compared myself to others. I listened to the little voice, the critic on my shoulder, who had said I’d never be good enough; I’d never measure up so why bother?
I compared myself to others and listened to the voice, the inner critic on my shoulder, who said, 'You'll never be good enough. Why bother?'
Why bother indeed? Because, like with my writing, I couldn’t leave it alone; I had to pick up a pen and draw. I had to try to capture a moment, tell a story. It was a part of me as far back as I can remember. That feeling was always there but never acknowledged. My father, Pop and Nan were all artists.
Though I did not have much to do with my Pop, and my Nan died when I was a baby, their art was always around, inspiring me that maybe someday I could do the same. My parents separated and later divorced when I was 13. And, as my father was violent, we had to go into hiding. Though in years later I did meet up with my dad and have a small amount to do with him, it was not a lot and he no longer was doing any art. He has since passed away.
My big breakthrough with both my art and my writing (which I thought I was all good with) came when I picked up a copy of, The Artists Way by Julia Cameron at the beginning of this year. It was first published in 1992 and, as Ali Stewart has so aptly put it in her recent blog post, Three Important Insights from The Artists Way, ‘with umpteen reprints, several spinoffs, and numerous nips, tucks, and facelifts, the perennial title continues to unstick stuck creatives.’ It has certainly unstuck me.
I first heard Valerie Khoo on the podcast, So You Want to be a Writer, talk about the book, The Artists Way at the beginning of the year. Next thing she was going on ‘artist dates, learning the mysterious rope art formally known as macramé, Japanese Book Binding, and going to musicals. This opened a new world to her, and she seemed so much happier. Then, I read a blog post that mentioned The Artists Way, and the same week walked into a second-hand store, and there, in a stack of books lay The Artists Way. Its spine was highlighted to me and my gaze immediately drawn to it. Curious about the fuss, and figuring God had his hand in this somehow, I took it home and began my journey of healing, acceptance, and discovering a sense of play.
So, what was it that unstuck me and helped me overcome my fears? A lot of hard work and commitment for the full 12 weeks of The Artists Way program, and committed to stretching and challenging myself ever since, that’s what. Each week of The Artists Way program, especially at the beginning, you have to work through questions and activities to find what is keeping you stuck. I was amazed how the very act of WRITING an experience down and seeing it black and white could unblock something within. Do it! It will amaze, shock, and surprise you.
For me, it was a combination of having my classmates laugh at my stories. I was a shy kid with very poor self-esteem. Looking back now I can see that my stories were funny. At high school, I would write stories straight out of left field and have a totally different take on the assignment. This also caused my classmates to burst into laughter and for me to wish I could just sink into the floor and disappear.
My art was different. I had one great art teacher for three terms in year eight. But, the rest of the time my art teachers were interested in Abstract Art which I hated. I wanted to learn to draw and paint nature, people, and animals. As I said at the beginning, I couldn’t get past the ‘yuk’ stage. I didn’t know how.
About five years ago I got hold of Drawing on the Right Side of the Brain by Betty Edwards. This was my first breakthrough. Going through the exercises and then trying to draw later I was amazed at the difference. As you can see below, there is a remarkable distinction between the two drawings.
However, I still stagnated — until this year and The Artists Way.
In The Artists Way there is a section of affirmations. One spoke to me and has made one of the biggest impacts. I can nurture my artist. Up to this point, because I felt my artwork was no good, I didn’t need to invest time and/or money on courses or good materials. Oh. My. Goodness. The change that happened when I gave myself permission to invest in good quality paints, paint brushes, paper, liners, as well as online courses was incredible.
So, what did I do after The Artists Way?
I drew. I painted. I continued to take myself on Artists Dates. I spoke with illustrators like Giuseppe Poli and Katrin Dreiling and picked their brains. You can read what they told me here and here. With Giuseppe’s encouragement, I joined the 52 Week Facebook Illustration Challenge and started putting up my work online, not just in that group but everywhere on my social media pages.
My illustrations aren’t great. But, the very act of having to come up with a new piece every week is a wonderful discipline. These were my Artist Dates as well as going to the art store for art supplies. And I can see the improvement already. I often sit in amazement of what I just completed. I also signed up with Skillshare and started taking Nina Rycroft’s illustration courses, as well as any other courses that I felt could help me learn how to use the different mediums.
For me, putting up my art on public display is about conquering my fear of not being good enough and feeling afraid of never measuring up. I have changed my thinking. I no longer compare myself to my friend Ester, who is an amazing artist, and an incredible illustrator. Nor do I compare me to anyone else. I am me. I look at the world differently to anyone else. I am discovering my own style. And, most of all, I am having fun. I experiment all the time. I now compare myself to myself and how far I have come in such a short time.
And do you know what has surprised me the most? This release, this freedom I have found in my art has found its way into my writing. I play with words. I have fun with them. I have fun in my stories. I especially noticed this in the Sci-fi/fantasy novel I just finished. I had an absolutely thrilling time writing the last part of my novel. Each time I sat down I felt exhilarated.
As for my art, I have signed up to take Nina Rycroft’s illustration Masterclass e-course. And my friend Ester is taking it with me. We’ll be doing it together. How cool is that?
So, what about you? What can you do to become all that you can be and start understanding your fears, overcome those that hold your back?
Valerie Khoo is now getting commissions for her rope art AND her artworks. Katrin Dreiling has just had her first book come out. It’s written by Michelle Worthington and illustrated by her. It's called, The World's Worst Pirate.
As for me, people are liking my illustrations and watching my journey. One day, I will realise my dream and write and illustrate my own picture book.
You can find out more about Julia Cameron and her book: The Artists Way
Betty Edwards has a website. Find out more here and read her book and do the exercises. It’s amazing.
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Michelle Worthington is an international award winning children's author. She released her first children's picture book in November 2011. Since then she has released ten picture books, two within the last six months. Michelle is also the founder of Share Your Story Australia.
Persistent and tenacious , Michelle joined me for a chat about overcoming rejection, what’s her ‘why’ and how that impacts all she does, and how now she is available to help and mentor aspiring, and emerging authors .
Megan: Can you give me a brief overview of you journey to publication of that first book in 2011?
Michelle: Goodness me, that seems like a million years ago. After ten years of trying, I had all but given up on my dream of getting my picture book published. I had made every mistake, got a contract that was cancelled during the GFC and not had any clue there were people out there that could have helped me.
It was timing that got me my first contract in the end. I found a local publisher who had just finished an Australian animal book when I emailed my manuscript and were looking to use the same illustrator. Timing and luck, I'm not sure how much talent had to do with it, but I hope a little bit too!
Megan: I'm pretty sure talent had a lot to do with it. So much has happened since then. What publishing experiences have you had over the years since? What publishing experiences have you had over the years?
Michelle: I have had the absolute pleasure to work with some amazing publishers and illustrators and learned so much along the way. I'm still learning. I think you always do as a creative in such a dynamic industry. I love working as part of a team so the publication process suits me, both traditionally and independent. I am mostly traditionally published, except for The Pink Pirate.
That makes me what they call a hybrid. I really don't like that term. It shouldn't matter what pathway to publication you take, as long as you have something to say that makes a difference.
Megan: That's so true. Do you think that it is because for a long time self-publishing had a bad name because of a lot of not well made books were put out? Though that has changed so much now. These days you often can't tell traditionally published books from many of the self-published books
Michelle: I think so, but times are changing. Opinions are taking longer to change but the focus has to be on quality and author branding, no matter what publishing channel you choose.
Megan: You have had your share of rejection letters and emails. What have you learnt from those experiences?
Michelle: Over 300 to date. It showed me how passionate I was about doing this. Each rejection was an opportunity to learn and improve my writing or figure out what sort of writer I wanted to be. I still get down about rejections, especially when I really thought my story would be a good fit for that publisher, but it won't stop me. My motto is, "not this story, not them, not now" and move on.
Megan: And that is the key to the whole journey in the end, isn't Michelle? Digging deep and discovering and articulating your 'why.' And your passion for what you believe comes out in everything you do too.
Michelle: Absolutely, if you don't know your why, stop right now and figure it out for two reasons. to keep you going when times get tough and to make your life so much easier when it comes to marketing and promotion, a very tricky element of being an author.
It’s easier to market your why than yourself. I don't like talking about myself, but I can talk about my books until the cows come home. I think a lot of authors miss the point when it comes to marketing, especially via social media.
Megan: That is so true. One of the first things I did before I set up my website, and my Facebook pages was to articulate my why. This helps steer every conversation, and everything I get involved in. It has certainly helped me avoid some nasty virtual reefs.
Speaking about being able to talk about your books... as authors, we often put aspects of ourselves in our characters who we write about. What character do you identify with the most out of all the books you’ve read, and those you’ve written?
Michelle: Of the books I have read, I am Anne of Green Gables, Laura Wilder, Silky from the Far Away Tree and a hobbit, but the only book I have ever written with myself as the character was Hootie the Cutie. It was the trickiest book to write. All my books have elements of my upbringing, my beliefs, and my experiences in them. That is what children connect with, authentic stories.
Megan: I love Hootie the Cutie. One of my fav's.
You’ve mentioned a couple of times about you as an author having something to say, and finding a way to say it. How important is it for us to share our stories with the wider community?
Michelle: It is how we have passed down knowledge from generation to generation from the beginning of time. It is what makes us human, the ability to share stories with each other in order to teach, inspire and create. Everyone has a story to tell, and sometimes you have to show real bravery to tell it.
Megan: Telling stories is a wonderful way to communicate a message, to pass on a story that happened long ago, or yesterday. All sorts of things. You’ve recently started Share Your Story. Can you explain what it is, and how it came to be, and why you started it?
Michelle: It started out of my desire to help aspiring authors have an easier journey to publication than I did. There is so much amazing talent in Australia right now and so many stories that can inspire change for the better in our community.
But with the publishing industry becoming more and more daunting, I wanted to create a tribe of new writers and experienced authors who could work together to bring a new voice to the Australian arts scene. We are not a writers group. We are an organisation aiming to educate, inspire and empower writers to publish their stories and grow their author business. My goal is for authors to outgrow us and come back as guest speakers and mentors.
Megan: Wow! That is amazing. I love your heart Michelle. And you are right. It is daunting these days. I find it difficult in that, for someone unpublished like myself, I hear so many conflicting bits of advice. It is wonderful you have someone, like yourself, being willing to show and to guide aspiring and emerging authors, to help them grow their brand, their business, and to grow as a writer too.
You’ve been so giving of your time today. Thank you so much. Are there any final words you have for any emerging authors that are looking to get published?
Michelle: If you know in your heart that your story matters, never give up. I'm always here to help if you need me. My email inbox is always open.
I think that about wraps it up. Thank you so much for today. I've thoroughly enjoyed our chat.
Michelle: Thanks for having me.
3 fun facts about Michelle:
I love wearing old socks
I'm allergic to dust
My next husband will be Jamie from Outlander, that's why my current husband won't let me go to Scotland
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In the second in my series of conversations with authors and illustrators, I am pleased to welcome illustrator, Katrin Dreiling.
Megan: Hi, Katrin. I just wanted to say that I am so pleased to have found you on social media. I think I first saw your illustrations on Facebook. I love your quirky, fun style. And I am rapt to have met you in person at KidLitVic2017 this year too.
Katrin: Oh, wow thank you Megan I'm very happy I have met you personally and online, too. It's always fantastic to meet the people behind their profile pics in real life...
Megan: So true. So, maybe we should start at the beginning, as that is always a good place to start.
Has art always been an influence in your life? If so, in what way?
Katrin: It certainly has. Since I was really little I would always draw or craft things. I have always been very interested in music, too. Not so much making music myself but listening to it and trying to understand the musician's mind and his/her work.
Megan: I have been reading your blog. In your first post, Eins, you shared briefly about your childhood and teen years. Would you share just a little bit with me, and what has helped you overcome your fears of following your dreams?
Katrin: My teens and even twenties were marked by emotional and some physical abuse by my parents and sibling and they pretty much had planned out what was accepted for me to do and what not. Even regarding my job choice. I broke free from most of that when I moved out, and later on moved to South Africa for three months to help teaching English at an orphanage.
The wounds of such abuse last for a life time, though. To various degrees. I also stepped away from that past in a big way when I met my husband who helped me become 'myself' again. But it still took me a long time to come back to art because in my mind I still listened to what my parents wanted.
Megan: I can understand that, especially the emotional and psychological abuse. It can take a lifetime to change your thinking, and is certainly a work in progress. What would you say was the catalyst, the reason that you turned to art again as an adult?
Katrin: So, it was always there but very much in the background. My children then brought me back to it and my husband encouraged me to keep going.
Megan: It is wonderful that you have had the support of your husband. It is so important to have a cheer squad cheering you on and encouraging you. I read on your blog that you were a teacher. What made you give up teaching and go into illustration?
Katrin: It's really tricky to pinpoint a moment when that happened. I think I stopped putting more effort into building up my teaching career and increased working on my art simultaneously. It was a gradual process. I guess I could feel how much illustrating fulfilled me and that my work steadily improved... it was going somewhere and that encouraged me to keep going. At some point, I actually had three jobs - mum, teacher and illustrator and one thing had to go.
Megan: Woah! That sounds full on.
Katrin: Interestingly enough the money that I earned as a teacher versus the complete lack thereof in illustrating didn't stop me. It's an import message to my children, too, I think. My husband had the same idea unfortunately. Just around the same time when I stopped working actively as a teacher, he quit his job as a university professor and founded a tech startup. It's going well and somewhere, but in the middle of it all we sometimes look at each other and think we are completely nuts—with three children, a dog and a mortgage.
Katrin: We still like to think that we inspire our children… even if finances are tight sometimes.
Megan: I don't think that there is anything wrong with that. In fact, it might teach them something about what it takes to follow your dreams, do what you are good at, and what fulfills you.
So, at some point you decided to go into illustration. What was the first thing you did?
Katrin: Do you mean career step wise or the kind of illustration I focused on first?
Megan: Good point. They are both different. Let's take your second question as I was going to ask you about the style of illustration you do. I love it. How did that come about? And did it come about before you decided to make illustration your career?
Katrin: I'm glad you like it Megan, thank you.
So, I've always had this thing that I would 'outline' things I drew first with a black pen. It's still how I work mostly. I use ink fine liners for outlining and then I fill it with any kind of paint or even (digitally) with paper collages.
When I was young, art teachers at school, or especially an 'artsy' friend of mine back then tried to convince me it looked 'wrong' and that in reality things are not outlined like that.
They only made me more stubborn I think.
I admire everyone who can draw things realistically so that it looks like a copy. But it's not for me. If I wanted that I would use a camera. I'm interested in the things one cannot see and that tickle a child's imagination. The results are often wonky and quirky but I'm working on this idea and hope that it will be obvious to see and get better every day.
Megan: I'm with you on that point. Realism is amazing, and I also admire people who can do that. But, I'm the same mind when it comes to illustration. I like how you say that you are, 'Interested in the things one cannot see, and that tickle a child's imagination.' Beautiful. Okay, I've said this a few times, but I do like your style. It makes me feel like I don't have to be perfect and realistic in developing my own style. I can make things a little wonky, a bit different. You have inspired me.
Katrin: Yay! (Cheering Minion)
Megan: So, what was the first step you took in making illustration your career?
Katrin: First, I've created a picture book 'on the side' while still teaching. It's called 'How to get a fat fairy flying' and I self-published it. I think the 'true' moment of making it a career, though, was stepping into the 'public' with my work - posting it on Facebook and joining the Brisbane Illustrators Group. Both set a machinery of things into motion. You meet people and hear and learn things and everything just 'grows'.
Megan: That's true. It's not something you can do alone.
'I'm interested in the things one cannot see and that tickle a child's imagination.' Katrin Dreiling
Katrin: Then I started going to conferences. I did the CYA competition and won second place in 2015....I think? (I'm so bad with dates and numbers).
Megan: Wow! Congrats on the win. Conferences are great for connecting with others. You have illustrated a book written by Michelle Worthington, The World's Worst Pirate. Can you tell me how that came about?
Katrin: I met Kathy Creamer and later on her husband Peter on Facebook. They run Little Pink Dog Books and Kathy approached me about submissions for their brand new publishing business. They were also my first ever clients who bought an original art piece from me and I really appreciate all their support and that they believed in my work from an early stage on.
Megan: That is so wonderful. Your experience really shows the importance of getting to know others in the industry and getting your work out there.
Is there anything else that you'd like to add? What advice do you have for an emerging illustrator, such as myself?
Katrin: I think the most important thing is that your illustrations 'tell' something that goes beyond just the visual. Have a message. The rest will follow
(I hope this made sense...)
Megan: Can you elaborate? Do you mean that each illustration tells a story?
Katrin: Ideally illustrations in a picture book don't just show what's in the text but tell their own little tale. They also carry an emotion and atmosphere that adds to the story told. At least that's the kind of illustrations I always go back to when I look at picture books.
Megan:That is what I have learnt too. Thank you so much for your time today, Katrin. I think that about wraps it up.
Katrin: It was a pleasure Megan Thank you for the opportunity to talk about my work!
Three Fun Facts about Katrin:
1. I'm scared of birds. If they swoop me or come too close to my head it sets off a ridiculous presentation of running, screaming, and arm-waving...
2. I can't get enough of watching Golden Retriever puppy videos.
3. I love to recycle art supplies and use the tiniest scrap of leftover paper for my work.
If you want to find out more about Katrin, or would like to follow her on social media, head over to her website. www,katrindreiling.com
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Guest blogger Pamela Ueckerman
Pamela Ueckerman grew up as much in Avonlea, Middle Earth and Narnia as she did in England. She also had a love affair with Spike Milligan’s limericks. She now lives in Melbourne and is the mother of two boys. Pamela teaches creative dance and writes stories that are infused with the magic of childhood.
After six months of looking forward to Kidlit Vic 2017, I almost didn’t make it as one of my children fell sick the day before. The stress! But, make it I did and oh my, it didn’t disappoint. Being in the same building with so many talented and caring authors, illustrators, editors and publishers for a whole day was incredibly inspirational.
The networking was priceless and the panels very informative. The 15-minute one-on-one assessment that I booked was worth every dollar and every minute of stress trying to decide what to submit. I didn’t book myself into any of the workshops this year as I wanted to attend the panels, but I intend to next year.
If you missed out on a ticket, do get yourself one next year as nothing can compare with being there. But, for those that did miss out and would love a taste of what we learned, here are some of the most interesting points that I took away from the panels.
Forgive me for this being quite author-focussed, it’s what I do, and remember that these are the views of a small selection of publishers and editors; in some cases, it’s one person’s opinion.
I highly recommend to all aspiring and emerging authors and illustrators to book a ticket to next year’s event and fully immerse yourself in it.
You can find more out about Pamela over on her website: www.ueckerman.net
For more coverage and different perspectives:
From an organiser's perspective: The KidLitVic 2017- Meet the Publishers Conference Wrap-Up by Nicky Johnson
Tania McCartney gives her view of KidLit, along with what she is up too on her blog, Works-in-progress, KidLitVic and Crystal Kite!
Romi Sharp reflects on her experiences on her blog, KidLitVic2017 Reflections
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Are you overwhelmed by fear? Is fear stealing your joy? How can you overcome fear? Please check out my video as I share my heart, my experience with living in fear, and how I have broken free, and am now enjoying my life.
I am not a counselor. If you need expert help, get it, please.
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What do zombies and I have in common? Sounds like a start of a bad joke doesn’t it? Or maybe a good joke, depending on your point of view. I've recently been inspired by Adam Wallace's book, 'Zombie Inspiration.' Once I could get past the gross stuff (you know, the rotting skin, mushy brains, and the gross jokes), I understood what Adam learned going through a zombie apocalypse. Why did I read Zombie Inspiration?
I've had a major fatigue flare in recent months (along with two pain flares from the end of November 2016 to end of February 2017) to the point that I was so exhausted I was having blackouts. (Fibromyalgia is throwing me something new). My doctor advised me to cut my hours at work from 12.5 hours a week to 8 and to take it easy. Well it's worked. No more blackouts. I still feel like a zombie, well, more like how I would normally perceive them; groaning, moaning, not capable of much.
How I've been inspired
I read a review about Zombie Inspiration and it prompted me to pick up Zombie Inspiration and the book turned everything I knew about zombies on their head. Here is what I learnt about zombies.
Who'd have thought that you could learn so much from zombie's? According to Adam, ‘Zombies have a really bad reputation, but I knew that under the rotting skin, the mushy brain, and the desire to bite my face off, zombies are AWESOME! It's true! Zombies aren't just grunty-groany face-biters - I mean, they are that, but they're so much more as well! See, zombies do these amazing things we can learn from to make ourselves amazing too, like setting goals, focusing, working really, really hard and more.’
'See, zombies do these amazing things we can learn from to make ourselves amazing too, like setting goals, focusing,working really, really hard and more.’ Adam Wallace
At the moment, I feel like a zombie much of the time. My brain is often in a fog, dulled by pain, medication, and lack of sleep. However, I have a goal. I want to write. I want to share my stories. So, groaning, shuffling forward, my eyes ever fixed on my goal, I move forward. Nothing, not even utter exhaustion, or pain, will keep me from my goal. I sleep. I wake and keep going, one groaning step after the other. Instead of groaning 'brains,' mine is, 'Write story,' 'Write blog post,' 'Write!'
On my blog you will find:
You can find more about me, and read my children's stories at Creative Kids Tales
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