TOURING EXHIBITION

Part 1Information for teachers

EDUCATION RESOURCEFOR YEARS PREP–10

MAJOR SPONSOR This exhibition is supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia.

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ContentsUsing this resource 3

About the exhibition 4

Visiting the exhibition 5

Educational themes 51. The art of Australian picture books today 62. Telling stories through pictures 73. Picture book collaboration 84. The life of an illustrator 9

Exhibition book list 10

Shaun Tan, illustration from Tales From Outer Suburbia, Allen & Unwin, 2008, acrylic, coloured pencil and gouache on paper, courtesy of the artist

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Using this resourceThis education resource has been designed to complement the State Library of Victoria touring exhibition Look! the art of Australian picture books today. It was originally designed to align with the Victorian Essential Learning Standards (VELS) to complement the exhibition at the State Library of Victoria, but has now been adapted to suit more general educational outcomes. Teachers will easily make the links to other state curricula and the new Australian Curriculum, and the resource can readily be used to enhance students’ experience of attending the exhibition or to support independent units of work on picture books and visual literacy.

The resource is divided into two parts, available as downloadable PDFs on the exhibition’s web pages at http://www.slv.vic.gov.au/look. The two parts are:

Part 1: Information for teachers (this document)This part contains background information for teachers:

• information about the exhibition and the tour schedule, including venues, dates, contact information etc (p. 4)

• how to book and prepare for a visit to the exhibition

• four key educational themes (p. 5)

• a comprehensive exhibition book list (pp. 10–11).

Part 2: Classroom activities & resourcesThis part contains practical classroom resources:

• short activity ideas (p. 5) which can be used as stand-alone activities or in conjunction with the more detailed activities

• 12 classroom activities (pp. 6–31) providing detailed lesson plans for Years Prep–10

• resource sheets for students and teachers (pp. 32–41) to be used during the relevant activities

• a list of other resources (pp. 42–43), including useful books and websites.

All web links in this resource have been included in an online account which is freely available for teachers to access, at www.delicious.com/lookeducation.

Using the kit without the exhibitionA visit to the exhibition is highly recommended. However, if you are unable to visit, or if you wish to use this resource beyond the life of the exhibition, the activities and materials can be used independently.

In place of an exhibition visit, students can also learn fromthe exhibition’s website at http://www.slv.vic.gov.au/look.

Freya Blackwood, illustration from Amy & Louis, text by Libby Gleeson, Scholastic Press, 2006, watercolour on paper, courtesy of the artist (detail)

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About the exhibitionLook! The art of Australian picture books today explores the real and imagined worlds of children as revealed in the art of contemporary Australian children’s book illustration. The exhibition aims to present the everyday life of the child through glimpses into the social, emotional, domestic and imagined worlds of childhood. It also highlights the diversity of illustration styles and artworks produced by some of Australia’s most accomplished children’s book illustrators. Illustrators featured in the exhibition include Terry Denton, Anna Walker, Graeme Base, Roland Harvey and Shaun Tan, to name just a few.

Sketches, drafts, mock-ups and finished artwork are on display, revealing some of the creative processes behind this visual mode of storytelling.

For more information, visit http://www.slv.vic.gov.au/look.

The exhibition is touring to six venues in four states from December 2011 to April 2013, as shown in the table below:

Venue Dates Opening hours & charges (if any)

Address & contact details

State Library of Queensland

3 Dec 2011 – 4 March 2012

Daily, 10am–5pmFree entryClosed 25 & 26 December and 1 January

Stanley Place, South Brisbane, QLD(SLQ Gallery, Level 2)Phone: 07 3842 9892Email: learningparticipation@slq.qld.gov.auWeb: slq.qld.gov.au

Canberra Museum and Gallery

24 March 2012 – 10 June 2012

Mon–Fri, 10am–5pm;Sat–Sun, 12–5pm (12–4pm June–Aug)Free entry

Cnr London Circuit & City Square, Canberra, ACT Phone: 02 6207 3968Email: cmag@act.gov.au Web: museumsandgalleries.act.gov.au

Hazelhurst Regional Gallery & Arts Centre

30 June 2012 – 5 Aug 2012

Daily, 10am–5pmFree entry

782 Kingsway, Gymea, NSW Phone: 02 8536 5700Email: hazelhurst@ssc.nsw.gov.auWeb: sutherlandshire.nsw.gov.au/arts_entertainment/hazelhurst

Tweed River Art Gallery

17 Aug 2012 – 30 Sep 2012

Wed–Sun, 10am–5pmFree entry

2 Mistral Road (Cnr Tweed Valley Way) Murwillumbah South, NSWPhone: 02 6670 2790Email: tweedart@tweed.nsw.gov.auWeb: tweed.nsw.gov.au/artgallery

Maitland Regional Art Gallery

13 Oct 2012 – 2 Dec 2012

Tues–Sun, 10am–5pm (closed public hols)Free entry

230 High Street, Maitland, NSWPhone: 02 4934 9859Email: artgallery@maitland.nsw.gov.auWeb: mrag.org.au

Mornington Peninsula Regional Gallery

27 Feb 2013 – 21 April 2013

Tues–Sun, 10am–5pmGallery entry: adults $4, concession & NGV members $2,children under 5 free

Civic Reserve, Dunns Road, Mornington, VICPhone: 03 5975 4395Email: mprg@mornpen.vic.gov.auWeb: mprg.mornpen.vic.gov.au

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Exhibition themesThe Look! exhibition is presented in six themed sections, following a child’s development and experience as they enjoy the safety of home, develop their independence and begin to explore the world beyond. These themes are referred to in a number of the learning activities and can be incorporated into pre-visit activities you may present in your classroom.

HOME The first world we explore and the people who love us

PLAY Real and imaginary worlds of play and friends

HOLIDAYS Adventures at the beach, on the road and farther afield

WILD THINGS Strange and familiar creatures prowling through landscapes

IMAGINE A WORLD Visions of other worlds found only in stories

NIGHT A time for rest and reflection, sleep and dreams

Visiting the exhibitionLook! The art of Australian picture books today is a rich exhibition that will work well as part of a study of picture books and illustration or as a stand-alone exhibition experience for your students.

Planning your visit To arrange for your students to visit the exhibition, contact the exhibition venue closest to you to find out about its school programs and to check booking arrangements. You can visit the venue’s website directly (see table on page 4) or go to http://www.slv.vic.gov.au/look to find links to the tour venues.

Preparing for your visitThe educational themes (pages 6–9) are designed to help teachers gain a better understanding of some key aspects of the Look! exhibition, and to assist you with preparing and planning for your visit. A number of the classroom activities and resources can be used to prepare students for a visit to the exhibition.

Educational themesThe four key educational themes relating to the exhibition are: the art of Australian picture books today, telling stories through pictures, picture book collaboration and the life of an illustrator.

The theme descriptions on the next four pages are designed to give teachers (and older students) some useful background information about the exhibition and the inspiration behind it. The key questions can be used to stimulate discussion in the classroom.

From top:

Elaine Russell, illustration from The Shack that Dad Built, Little Hare Books, 2004, acrylic on paper, courtesy of the artist (detail)

Freya Blackwood, illustration from Amy & Louis, text by Libby Gleeson, Scholastic Press, 2006, watercolour on paper, courtesy of the artist (detail)

Bob Graham, illustration from Greetings from Sandy Beach, Lothian, Hachette Australia, 1990, colour pencil (detail)

Ron Brooks, illustration from Fox, text by Margaret Wild, Allen & Unwin, 2000, mixed media on paper, Peter Williams Collection (detail)

Graeme Base, illustration from Enigma, Viking, 2008, coloured ink and watercolour on paper, State Library of Victoria (detail)

Jan Ormerod, illustration from Lizzie Nonsense, Little Hare Books, 2004, watercolour on paper, courtesy of the artist (detail)

David Miller, illustration from Snap! Went Chester, text by Tania Cox, Hachette Australia, 2003, paper sculpture, courtesy of Woodleigh School (detail)

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The art of Australian picture books todayTheme 1

Look! The art of Australian picture books today presents original artwork from children’s picture books published in Australia over the last ten years. Contemporary books were chosen to highlight the diversity, creativity, and variety of subject, materials and approach involved in making picture books, and to include books that children may currently be reading. Not all the books are still in print, but others have been reprinted many times, some in special anniversary editions.

A key aim of the exhibition has been to show the diversity and creative vitality of the medium. The exhibition also shows the artworks in various stages of development, giving the viewer insights into how a picture book is created. Developmental work in the exhibition includes photographs from Google Images that Graeme Base used to inspire illustrations in Enigma, and a miniature concertina dummy book which Terry Denton used in the design stage of Big Red Hen and the Little Lost Egg.

Questions on the walls will spark children’s curiosity and encourage them to think not only about the beautiful finished artworks but also about the creative journey that has brought the artworks to this stage.

One of the challenges of presenting the exhibition was the sheer volume of available work. The exhibition features 112 artworks by 46 illustrators, encompassing the range of children’s books, from those for very young children to those with more complex themes.

Through the six key themes, the exhibition explores the development of the child as they leave the safety of home, develop their independence and begin to explore the world beyond.

• In Home we see images of family, different homes and traditions, new life and the first tentative steps in the world.

• Play takes us bounding and bouncing into real and imaginary worlds of play, school and friends.

• Illustrations of beaches, long car trips to exciting places and even adventures further afield take the audience on an exploration of childhood rites of passage in Holidays.

• In Wild Things, strange and familiar animals prowl through the illustrations in habitats both real and imagined, evoking the world of the child’s growing imagination.

• The weird and the wonderful, visions of the future and tales from other worlds all find a place in Imagine a World.

• Finally, Night is a place for rest and reflection, quiet contemplation and dreams of what’s to come.

Questions to guide learningFor teachers:• How might the exhibition themes fit into the planned

curriculum at your school?

• What are the advantages and disadvantages of categorising books and illustrations by theme?

For the classroom:• Who are your favourite Australian authors from the past

ten years? Look at the exhibition book list and see if any of them are featured in the exhibition.

• Why does the exhibition feature the developmental work of illustrators, and what can you learn from this?

• What are some of the ways an exhibition designed for children would differ from an exhibition for adults?

Terry Denton, illustration from Big Red Hen and the Little Lost Egg, text by Margaret Wild, Viking, 2008, watercolour on paper, courtesy of the artist (detail)

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Telling stories through picturesTheme 2

Picture books are excellent vehicles for teaching. They appeal to a wide audience and many combine seemingly simple text with complex illustrations and multi-layered narratives. As we grow older we gain the special privilege of exploring a picture book with two different perspectives; our own and that of a younger child. Children’s book publisher Ros Price explains:

The best children’s books are about the complex business of being human. They may seem to be about rats and pigs and rabbits and koalas and all manner of unlikely adventures, but they’re not really. They’re about people. They are about Life with a capital ‘L’. They are concerned with the transmission of human values to a group of readers and listeners who are at a crucial stage of discovering how the world works and how they might live.

In practice picture books are strong on story and they’re subtle on metaphor. They’re simple and direct in their telling (the author’s voice is intimate and personal), and complex and insinuating in their meaning.

They focus on the particular as a means of understanding the abstract – as children do. They are exploratory (as children are). They’re preoccupied with rights and wrongs – as children are – without being moralistic. They delight in the idiosyncratic – as children do. They’re clear-sighted and truthful. They’re optimistic. Above all they are playfully serious – or seriously playful.

(Ros Price, ‘Women’s Book Review 1990–1991’, in Creative Connections: Writing, Illustrating and Publishing Children’s

Books in Australia, papers of the Canberra Children’s Book Council, seminars 1987–1993)

Too often, the focus of picture-book studies is mainly on the story that is told through words and the themes and ideas that flow from the written narrative. This resource encourages teachers and students to also examine the stories being told through the pictures. At a time when ‘visual literacy’ is gaining ever more currency, picture books offer an opportunity for students at all levels to understand and make meaning from the marriage of words and pictures.

Using picture books for rich tasks in the classroom has not always been in favour. Some educators consider pictures can be counterproductive in the teaching of reading. Another argument is that the addition of pictures to a story can limit the imagination of the child reader. In more recent times however, it has been widely accepted that picture books provide a unique reading experience for students of all ages.

In picture books for early-years readers, illustrations are mostly used to clarify the meaning of the text. Consider alphabet books such as Bronwyn Bancroft’s Possum and Wattle, or those with very limited text such as Alison Lester’s Crashing and Splashing. However, the vast majority of picture books have illustrations that add meaning and complexity or even entirely subvert the original meaning of the text. Think about the multi-layered narrative played out in Beneath the Surface by Gary Crew and illustrated by Steven Woolman, or the added meaning in the illustrations in The Boy and the Toy by Sonya Hartnett and illustrated by Lucia Masciullo. Illustrators often point out that they see little or no point in illustrating what has already been told in words.

Illustrations in picture books offer vast possibilities for exploring and learning, such as the puzzles and codes in Graeme Base’s Enigma, the heart-wrenching final image twist in Libby Hathorn’s Way Home, and the entire narratives conveyed through the illustrations of wordless books such as Stephen Michael King’s Leaf or Shaun Tan’s The Arrival.

Questions to guide learningFor teachers:• What are the picture books you most enjoy reading

aloud in the classroom?

• How are picture books incorporated into your school curriculum?

For the classroom:• What are your most memorable picture books from

before you started school? What about since you have been at school?

• Who do you think picture books are created for?

• What topics do you think are suitable for picture books?

• What illustrations or illustrators have made a significant impact on you?

• Discuss any picture books you know of in which the illustrations significantly add to or change the meaning of the words.

Robert Ingpen AM, illustration from Alice’s Adventures in Wonderland, text by Lewis Carroll, Walker Books Australia, 2009, pencil and watercolour on paper, courtesy of the artist

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Picture book collaborationTheme 3

There are many different types of collaborative relationship between authors and illustrators, but most of them fall into three general categories of collaboration:

• single picture-book creator (author-illustrator)

• author and illustrator working as a team

• author and illustrator working separately

There are examples of each of these forms within the works exhibited. Graeme Base, Gaye Chapman, Elaine Russell and Leigh Hobbs are just some of the author-illustrators showcased. Sometimes their books begin with an image: Leigh Hobbs did a few sketches in a ‘crummy little notebook’ during a trip to Paris, which eventually became Mr Chicken Goes to Paris. Sometimes their books will start with an idea: Graeme Base wanted a story that focused on the relationship between a grandfather and grandson when he set about creating Enigma.

In wordless picture books, the illustrator is also the single creator. Shaun Tan’s The Arrival and Gregory Roger’s A Midsummer Knight are among the examples in the exhibition. Each of these picture books shows a different way in which a story, even a very complex story, can be told through pictures: in single images, in comic style or in the style of a film strip.

In some cases, an author and an illustrator will develop a partnership and work collaboratively towards the final picture book. Ron Brooks and Margaret Wild did this while working on Fox. Wild’s text was already written, when Brooks came across both a word and a phrase that seemed to challenge or limit his capacity to illustrate these parts of the book. What followed was a vast amount of correspondence between Brooks, Wild and the publishers on possible variations for the text. Ultimately the text was changed to incorporate the differing views – an example of collaboration in action!

In many cases, the author and the illustrator work completely independently, not even having contact until the final stages of book production. In these cases the author submits their story to a publisher and the publisher finds an illustrator they believe suits the text. The illustrator then has time and space to work on their illustrations, submitting dummy books or proofs to the publisher and sometimes the author for approval.

Many illustrators point out the importance of creating illustrations that are not just images of the text. Libby Gleeson says:

The words and the pictures have to share the story, each working in their own way to create a single narrative. (Libby Gleeson, Making Picture Books, Scholastic Press, 2003, p. 34)

Illustrator Anna Walker comments: I enjoy telling a visual story that adds another layer to the text. I have been fortunate with the lovely authors I have worked with, as they have given me freedom to interpret the text in my own way. (Anna Walker, interview with Kate Mildenhall, 2010)

Illustrators create a world for the characters, setting and action, often adding many layers to the existing story.

Questions to guide learningFor teachers:• How might you use examples of author/illustrator

collaboration for teaching and learning activities about teamwork in the classroom?

For the classroom:• Is the job of the author or the illustrator more important?

Justify your opinion.

• Which type of collaboration would you prefer if you were an author or an illustrator, and why?

• How can words and pictures ‘share the story’?

Anna Walker, illustration from Froggy Green, Puffin Books, 2008, acrylic on paper, courtesy of the artist

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The life of an illustratorTheme 4

Each illustrator has a unique story, although they share a common goal. Their uniqueness exists in the way they go about their work, the materials they use, the style that inspires them and the finished product.

Freya Blackwood loves having her characters ‘live with’ her for a moment. She sees the creation of her illustrations as a ‘challenge’ and a problem to solve. With so many elements to consider in an illustration; content, medium, line, colour, texture, composition and perspective – it is easy to see how each project becomes a problem-solving exercise.

Anna Walker is another illustrator who connects strongly with her characters:

Book illustration for me requires empathy for the characters in the stories. I live the world of my characters when I am with them- if they are lost I feel sad for them, and if they are happy I find myself smiling (Anna Walker, interview with Kate Mildenhall, 2010)

Walker uses a variety of materials in her illustrations which she creates in a shared studio space where she can discuss ideas and seek feedback from others. She describes her work area as ‘like a tidy bower bird’s nest’ where she can have her ‘treasures’ nearby. Walker works with ink, conte, fabric and acrylic paint and also enjoys making and sewing things, so she collects buttons, beads, balls of wool and second hand papers and books. She sometimes even knits the characters for her books! Living in the world of her books is just one of Walker’s favourite things about her job:

My favourite things about being an illustrator are spending my days drawing and painting, living part time in an imaginary world, capturing the joyful everyday moments of children on paper.

In a recent presentation at the State Library of Victoria, Terry Denton described his illustrating process; ‘I just turn on the tap and the stuff comes out’. His process is based on intuition and instinct and he feels that working any other way could ‘block’ the creative process. For Denton, the process of illustrating a new book might take up to seven months: three months to work out the ideas and three or four months to draw. At the other end of the scale, Shaun Tan spent five years completing The Arrival!

The background stories of illustrators are often available on their websites, on publishers’ sites or in their books. These stories provide valuable insights into the multitude of ways in which illustrators create, and can be an inspiration for teachers and students alike.

The exhibition website at http://www.slv.vic.gov.au/look features 10 short videos of the exhibition’s illustrators talking about their work. These videos are also screened in the exhibition.

Questions to guide learningFor the classroom:• How does learning about the making of a picture book

change how you read it?

• Find out about how one of your favourite illustrators works.

• Is being an illustrator a hard or easy job, in your opinion? Why?

• Why do you think some illustrators connect so strongly with their characters?

Freya Blackwood, illustration from Her Mother’s Face, text by Roddy Doyle, Arthur A Levine, Scholastic Inc, 2008, watercolour on paper, courtesy of the artist (detail)

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Exhibition book list The following books are featured in the Look! exhibition. They are listed here under the relevant exhibition themes.

Home Roddy Doyle, illustrated by Freya Blackwood, Her Mother’s Face, Arthur A Levine Books, Scholastic Inc, 2008

Rachel Flynn, illustrated by Craig Smith, My Sister and Me, Puffin Books, 2009

Roland Harvey, To the Top End, Allen & Unwin, 2009

Kim Kane, illustrated by Lucia Masciullo, Family Forest, Hardie Grant Egmont, 2010

Sally Rippin, illustrated by Ann James, Go Baby Go, Allen & Unwin, 2008

Elaine Russell, The Shack that Dad built, Little Hare Books, 2004

Lisa Shanahan, illustrated by Wayne Harris, Gordon’s got a Snookie, Allen & Unwin, 2002

Jane Tanner, Love from Grandma, Viking, 2010

Bruce Whatley, The Watchmaker Who Saved Christmas, Random House Australia, 2006

Margaret Wild, illustrated by Ron Brooks, Old Pig, Allen & Unwin, 1995

Margaret Wild, illustrated by Terry Denton, Big Red Hen and the Little Lost Egg, Viking, 2008

Margaret Wild, illustrated by Ann James, Lucy Goosey, Little Hare Books, 2007

PlayGary Crew, illustrated by Steven Woolman, Beneath the Surface, Hachette Australia, 2004

Simon French, illustrated by Donna Rawlins, What Will You be?, Allen & Unwin, 2007

Beth Raisner Glass & Susan Lubner, illustrated by Bruce Whatley, Noises at Night, Omnibus Books for Scholastic Australia, 2005

Libby Gleeson, illustrated by Frey Blackwood, Amy & Louis, Scholastic Press for Scholastic Australia, 2006

Jane Godwin, illustrated by Anna Walker, Little Cat and the Big Red Bus, Viking, 2008

Andy Griffiths, illustrated by Terry Denton, The Bad Book, Pan Australia, 2004

Sonya Hartnett, illustrated by Lucia Masciullo, The Boy and the Toy, Penguin Books Australia, 2010

Scott Hatcher, illustrated by Mark Jackson & Heather Potter, Not Like Georgie, Walker Books Australia, 2008

Stephen Michael King, Leaf, Scholastic Press for Scholastic Australia, 2008

Alison Lester, Crashing and Splashing, Allen & Unwin, 1997

Janet McLean, illustrated by Andrew McLean, Make it I’m the Mother, Allen & Unwin, 2000

Emma Quay, illustrated by Anna Walker, Let’s Play House, Scholastic Press for Scholastic Australia, 2009

Sally Rippin, Speak Chinese, Fang Fang, Omnibus Books for Scholastic Australia, 1996

Jane Tanner, Just Jack, Penguin Books Australia, 2008

Jane Tanner, Playmates, Penguin Books Australia, 2002

Anna Walker, Froggy Green, Puffin Books, 2008

Margaret Wild, illustrated by Freya Blackwood, Harry and Hopper, Scholastic Press for Scholastic Australia, 2009

Margaret Wild, illustrated by Anne Spudvilas, Jenny Angel, Puffin, 1999

HolidaysBob Graham, Greetings from Sandy Beach, Lothian, Hachette Australia, 1996

Leigh Hobbs, Old Tom’s Holiday, Little Hare Books, 2002

Elizabeth Honey, Not a Nibble, Allen & Unwin, 1997

Sofie Laguna, illustrated by Andrew McLean, On Our Way to the Beach, Omnibus Books for Scholastic Australia, 2004

Alison Lester, Are We There Yet?, Viking, 2004

John Nicholson, Animal Architects, Allen & Unwin, 2003

Leonie Norrington, illustrated by Dee Huxley, You and Me: Our Place, Working Title Press, 2007

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Wild ThingsMark Austin, illustrated by David Miller, Ringle Tingle Tiger, Lothian, 2002

Bronwyn Bancroft, Possum & Wattle, Little Hare Books, 2008

Tania Cox, illustrated by David Miller, Snap! Went Chester, Hachette Australia, 2003

Jackie French, illustrated by Bruce Whatley, Diary of a Wombat, Angus & Robertson, HarperCollins Australia, 2002

Andy Griffiths, illustrated by Terry Denton, What Bumosaur is That?, Pan Australia, 2007

Robin Lovell, illustrated by David Miller, Where There’s Smoke, Lothian, Hachette Australia, 2005

Rachel Tonkin, Leaf Litter, Angus & Robertson, HarperCollins Australia, 2006

John Winch, Run Hare Run, Little Hare Books, 2005

Margaret Wild, illustrated by Ron Brooks, Fox, Allen & Unwin, 2000

Imagine a worldGraeme Base, Enigma, Viking, 2008

Jackie French, illustrated by Sue deGennaro, The Tomorrow Book, HarperCollins Australia, 2010

Armin Greder, The City, Allen & Unwin, 2010

Armin Greder, The Island, Allen & Unwin, 2007

Leigh Hobbs, Mr Chicken goes to Paris, Allen & Unwin, 2009

John Marsden, illustrated by Shaun Tan, The Rabbits, Lothian, Hachette Australia, 1998

Glenda Millard, illustrated by Rebecca Cool, Isabella’s Garden, Walker Books Australia, 2009

Lewis Carroll, illustrated by Robert Ingpen, Alice in Wonderland, Walker Books Australia, 2010

Gaye Chapman, Little Blue, Little Hare Books, 2008

Tohby Riddle, Nobody Owns the Moon, Viking, 2008

Gregory Rogers, Midsummer Knight, Allen & Unwin, 2006

Rosie Smith, illustrated by Bruce Whatley, Alpha Quest, Scholastic Press for Scholastic Australia, 1994

Ruth Starke, illustrated by Greg Holfeld, Captain Congo and the Maharajas Monkey, Working Title Press, 2009

Shaun Tan, Tales from Outer Suburbia, Allen & Unwin, 2008

Shaun Tan, The Arrival, Lothian, Hachette Australia, 2006

NightNike Bourke, illustrated by Stella Danalis, What the Sky Knows, University of Queensland Press, 2005

Warren Brim & Anna Eglitis, Creatures of the Rainforest, Magabala Books, 2005

Isobelle Carmody, illustrated by Anne Spudvilas, Night School, Penguin Books Australia, 2010

Bob Graham, April Underhill, Tooth Fairy, Walker Books, 2010

Mark Greenwood, illustrated by Frane Lessac, Ned Kelly and the Green Sash, Walker Books Australia, 2010

Libby Hathorn, illustrated by Gregory Rogers, Way Home, Random House Australia, 1994

Elizabeth Honey, I’m Still Awake Still, Allen & Unwin, 2008

Helen Manos, illustrated by Julie Vivas, Samsara Dog, Working Title Press, 2006

Rosemary Milne, illustrated by Andrew McLean, There’s a Goat in my Coat, Allen & Unwin, 2010

Jan Ormerod, Lizzie Nonsense, Little Hare Books, 2004