Having grown up in Canada, Christmas in Australia is a truly unique experience. It’s summertime, with people wishing for clear skies and 40°C heat for Christmas day, perfect weather for the beach and a barbeque. There are baubles and Christmas lights strung in leafy green trees and Santa has traded his big white-trimmed red coat for a singlet and thongs (or, for you non-Australians, a sleeveless top and flip flops).
So imagine my surprise when searching for Christmas cards I could only find the usual selection of snow-capped hills, evergreen trees, reindeer, and snowmen. Not content with my findings, I decided to create my own set of cards featuring some of the native flora and fauna of Australia, in the hopes of conveying how extraordinary a Christmas Down Under can be.
Individual card: $6.00 AUD Set of 6 cards : $27.00 AUD 105 x 148 mm Blank inside Each card comes with a coordinated envelope and is sealed in a plastic sleeve. Designed and printed in Australia on 100% recycled paper.
An Australian White Christmas (featuring Sulphur-crested Cockatoos)
Dingo Sledding (featuring Dingoes)
Christmas Echidna (featuring an Echidna)
Jellyfish Lights (featuring Box Jellyfish)
Great Expectations (featuring a Quokka)
Blending in with the Baubles (featuring a Koala)
Sand Angel (featuring a Little Penguin)
Spot the Quoll (featuring a Spotted-tail Quoll)
A Holly Jolly Christmas (featuring a Tawny Frogmouth)
A Carolling We Go (featuring Frill-necked Lizards)
WORLDS WITHIN A WORLD refers to when I began writing and illustrating while staying in Durham, North Carolina. My most vivid memory of the place is taking a walk in the suburb I was staying in. There weren’t any footpaths so I had to walk on the edge of the road in the shadows of the tall pine trees lining both sides. There was little traffic so it almost felt as though I was completely cut off from the rest of the world. There was only the changing colours of the sky framed between the tree tops to indicate the passing of time. It was in that space that I’d reminisce about moments in past places and imagine adventures in new lands.
CITY OF EXTREMES is how I describe Melbourne, Australia. For me, it's where I've sweated through the highest summer temperatures and had the cold winter air seep and settle into my bones. It's where I've met the most wonderful people, but also some of the ghastliest. It's where I've experienced the absolute best and worst moments of my life thus far. This illustration features the beautiful stained glass pattern of the late Leonard French, that spans the Great Hall of the National Gallery of Victoria in Melbourne.
ROVER AND ME was inspired by the Mars rover and how it's always nice to work, play, or just hang out with a friend.
THE BISON ARE BACKcelebrates the reintroduction of plains bison into Banff National Park. Having disappeared from the landscape more than a century ago, Parks Canada is hoping to re-establish a thriving wild herd in the next five years. Here's wishing them success!
WHITE NOISE was created for a mathematics lecturer, this design celebrates teachers and mentors and their wondrous abilities to help students build their knowledge. And yes, the title is a cheeky take on how this can sometimes turn into information overload.
IS IT OR ISN'T? takes a cue from René Magritte's The Treachery of Images, this was a print I made for a lacrosse player.
FRIEND OR FOE - Facing our fears or discovering our fears are unfounded?
MAKE A WISH features some Australian flora: broad leaved lilly pilly, billy button flowers, dandelion fluff, dawson river weeper, golden wattle, grasstree, grevillea orange marmalade flowers, midgen berry, moonlight delight waxflowers, notched bush pea, red flowering gum, and winters light lilly pilly
Friend or Foe
Make a Wish
How I Make a Picture Book (Infographic)
For anyone who's wondered how I create a picture book, here is a quick summary of my process:
It begins with a story idea. The story takes shape through numerous drafts of text and storyboard sketches. These are improved time after time with research into factual information, finding image references for my drawings, and input from friends. I am very fortunate to have an amazing group of editors to review each draft - Chrissy, Athena, and Rob. They challenge my story-lines and debate my word choices, all the while helping me keep my voice and style but making it better with each rewrite. For example, Simone in France had 8 drafts.
Once I am happy with the story, I begin the final illustrations. This is where the story starts to become a book. Storyboard sketches are redrawn at a larger size and with greater detail. These drawings are inked, scanned, cleaned up, and vectorised using Adobe Photoshop and Illustrator. Turning the ink drawings into digital files makes it easier for me to cut and paste in small amendments. I find it easier to draw by hand versus drawing by computer and have redrawn full illustrations two or three times to correct bigger mistakes.
When I'm satisfied with the digital image, I print the illustration out on watercolour paper. Using image references, I pick and choose colours for each element of the illustration. I mix and blend different watercolour pencils (from a set of 72) on scrap paper until I reach a desired effect and record each colour combination. I can now apply colour to the final illustration. If any colour mishaps occur, I will either reprint the illustration to start again, or reprint sections of the illustration to recolour and paste in using Photoshop. Simone in France has 28 illustrations but I probably completed closer to 40.
When all 28 illustrations are complete, they are scanned, cleaned up, and sized in Photoshop. I then import the illustrations into InDesign and format them with the text. Sometimes the text doesn't fit quite right in the illustration and I have to go back and do a redraw of part, or all, of an illustration. When the formatting is done, I share the file with my editors for a final proofread. With their approval, I assign a new ISBN and add a barcode to the cover. For the French versions, I mail a hard copy of the book to Mathieu, my French translator, who then sends me a brilliant translation in keeping with the spirit of the story.
The final file is sent to a local print company to print and bind hard copies of the book. I receive a mock-up of the book to okay before printing the final product. This usually take 2 weeks. Once I have the books in hand, I visit local bookstores to see if they will stock copies on their shelves.
And that is how I make a picture book.
LOVE IS IN THE AIR showcases the distinctive pink and grey plumage of galahs. Their colouring and patterns allude to the beauty of love. This print is dedicated to the wonderful Alexandra and Mathieu.
CHEERS! was a commissioned work that asks the question: who doesn't like a wombat in lederhosen?
HOW DO YOU LIKE YOUR COFFEE? - A piece for a friend's opening of a Melbourne-style cafe in Tokyo.
SURVIVE AND THRIVE was a commissioned anniversary piece featuring the hardy Atlantic Puffin, making adverse but beautiful conditions home, to celebrate the success of a growing firm.
WHAT WILL I DO NOW...? was a series of quick sketches that I was asked to turn into a card design to help mark the ends and beginnings that dot our career paths.
Love is in the Air (featuring Galahs)
How Do You Like Your Coffee?
Survive and Thrive (featuring Atlantic Puffins)
What Will I Do Now...?
From the picture books Christophe's Crumbs and Simone in Australia, here are Christophe and Simone featured in their own greeting card designs.
CHRISTOPHE'S AUSTRALIAN BURGER
This was a card design for Alexandra Maytraud and Mathieu Lafabrie, the wonderful people who translated Christophe's Crumbs into French.
The design commemorates the last time we caught up in Melbourne and they were introduced to the Australian burger.
Featuring Christophe from Christophe's Crumbs, here he is enjoying an Australian burger. Sandwiched between two burger buns are a beef patty, lettuce, beetroot, tomato, mushrooms, bacon, cheese, onions, pineapple, and an egg. Bon appétit!
CHRISTOPHE'S CHOC RIPPLE CAKE
This card design is for our friends in France to thank them for their wonderful hospitality. While staying with some friends, we introduced them to Choc Ripple Cake, an Australian version of tiramisu.
Here is Christophe from Christophe's Crumbs making and enjoying a Choc Ripple Cake: - a 250g package of choc ripple biscuits - 500mL thickened cream - 1 tsp caster sugar - 1 tsp vanilla essence - coffee - chocolate shavings or cocoa Beat the cream, sugar, and vanilla essence together until it forms stiff peaks. Spread a thick layer of cream onto a flat plate. Quickly dip both sides of a biscuit into the coffee, trying not to get it too soggy, and stand it upright in the cream. Alternate between biscuits and cream until you have a nice long log. Cover the log with the rest of the cream and sprinkle the chocolate shavings or cocoa on top. Leave in the refrigerate for at least 6 hrs. Cut the cake on a diagonal to get the stripped pattern in each slice. Bon appétit!
A DAY AT THE BEACH
Featuring Simone from the picture book, Simone in Australia, here she is enjoying a day at the beach and adhering to that iconic Australian sun protection campaign from Cancer Council Victoria: Slip on a shirt (or a dress in this case), Slop on some sunscreen, and Slap on a hat.
Christophe's Australian Burger image 1 (featuring Christophe from Christophe's Crumbs)