Cirrus@Austlit

In response to Lawn's questions regarding her artistic vision, innovative techniques and interest in natural Australian history, Oliver says her work is created through the 'intriguing relationship between words and pictures' and how 'they work either together or against each other as different points of view in a narrative' (4). Lawn asks Oliver about her 'vision and vocation' which, through her strong artistic style and celebratory designs of Australian indigenous animals, produces texts that are a 'melding of non-fiction and fiction' (5). Oliver says she has been fascinated by indigenous adaptations of Australian native animals since early childhood and this interest developed further when she studied biology. With her first picture book, Leaf Tail she wanted to introduce young readers to 'some of the less-well-known Australian creatures' but 'did not want to write a straight information book' (5). Instead, she wanted to explore the creative potential of the adaptive features to be found among many creatures - design, shape, texture and pattern - in terms of storytelling and 'problem-solution scenarios' (5). Oliver has also produced picture books about imaginary and mythological creatures, for example, Mermaids Most Amazing, The Very Blue Thingamajig, and Dancing the Boom-cha-cha Boogie, however, it is mainly through her natural history picture books that she aims to capture the diversity of Australia's natural landscapes and 'instil postive feelings about these places in young Australian readers' (6). In this sense, her work is driven by the belief that 'a personal feeling and knowledge of the landscape is critical to developing a desire to preserve that landscape' (6).

Tohby Riddle says his early career as a cartoonist at The Good Weekend was instrumental in developing his 'a habit for looking for ideas and generating them through different ways of thinking' (8). An 'art school graduate with an interest in architecture' city-scapes, buildings, and alleys form a common link in his work, a fascination Riddle says, 'began from the age of twelve or thirteen, when we moved closer to the city from a fairly bushy area north of Sydney Harbour' (9). Roy points out that Riddle's work conveys 'a certain lightness and joy' that makes his urban landscapes 'light and myterious' rather than'dark and unnerving' which Riddle arrtibutes to his love of cities eventually developing into an interest in 'the archetypal metropolis' (9-10). Riddle says, "I want my cities to appear as places where so many things are going on at once rather than some type of dystopian nightmare...reality is ambiguous and random and chaotic, and if you can just get a nice authentic slice of that into a book, then it bears repreated readings, repeated discussions about the possibilities of the meanings...' (10).

In her review of the latest collaborative effort from Libby Gleeson and Freya Blackwood, Clancy & Millie and the Very Fine House, Allen says the 'limited color palette' and 'spare text' creates a 'thoughtful composition' that heightens the emotional impact of the story. Clancy has moved from a 'cosy weatherboard cottage' to a mutili-level mansion in a canyon of concrete dwellings' and despite his parent's enthusiasim for their new home, "It's the best house...It's a very fine dwelling', he feels very lost and lonely (20). Allen points out, how Clancy's vulnerability is accentuated and exaggerated and it is the depiction of his emotions that 'provide the catylyst for the satisfying resolution' (20). With his new neighbour Millie, he constructs a towering cardboard house, to which Millie remarks, 'It's the best house. It's a very fine dwelling' (20). Allen concludes that the story will 'undoubtedly strike a chord with many young children who have shared this experience and for its genuine and honest depiction' (20).