Postcrossing Blog

Chrissy Lau is an award-winning, British-born Chinese designer/illustrator based in Sydney, Australia. Her designs are inspired by her Chinese heritage and are instantly recognizable by her signature delicate lines and intricate patterns.

Chrissy took the time to answer Clarisse (aka CStar9)'s questions via email last summer, including sharing her unexpected journey from law school to full-time illustration, the many ways her family and culture influence her work, and why she always begins her drawings on A4 paper. Lunar New Year is just around the corner, so this seems like a nice time to publish her interview here on the blog!

Your recognizable style carries across many different media (stamps, Royal Mint coins, sculpture, labels, murals, books). I learned from another fantastic interview that you’re a self-taught artist. Wow! What was your journey to professional art?

Ever since I can remember, I loved drawing. It had never dawned on me to pursue a creative career, it was just something I did to express myself. I was also very academic. I went to a private high school where they focus on careers such as medicine or law… which is why I graduated with a law degree.

I never became a working barrister; I knew after two weeks of law at uni that I didn’t like it. I carried it on anyway, as I thought it would be a good degree to have! A bit silly, but you feel responsible when you grow up with two parents who left school very young and worked very hard at their Chinese takeaway. They were always very supportive of any decisions I made, but I put that pressure on myself to finish my degree.

Growing up, everyone was so encouraging about my drawings and always told me how creative I was but I never considered it as a career. There was an insane amount of reading to do at uni, so I drew more and more to keep myself sane. After uni I decided to see if I could sell my drawings. I still didn’t have the courage to pursue illustration full-time, so I continued with commissions at night whilst juggling various day jobs.

You took the plunge in 2013 to work as an illustrator full-time. What was your first postal commission?

My first postal commission was Year of the Horse 2014 for Guernsey Post (read more about that philatelic series here).

Since then, I have illustrated each animal zodiac. 2024 will be the Year of the Dragon. The final animal of the series will be the Snake, in 2025—that will be a full zodiac collection of stamps.

In 2021, Australia Post commissioned the Year of the Ox, and I’ve continued with them on an annual Zodiac series.

In general, do you approach stamps differently than other work?

Stamps are really small, so the designs need to be eye-catching and not too detailed for technical/manufacturing reasons. The stamps I create for Guernsey Post and Australia Post are gold embossed (or foiled), so there needs to be enough breathing space between the lines as well as a minimum line weight so that they can be printed correctly.

What’s your personal relationship to paper in general, and to postal mail specifically?

I always sketch on paper. I need something physical to hold and see in order to get started. I like plain A4 printer paper. If the paper is too nice, or if it’s in a nice notebook or sketchbook, I always fear ruining it!

I like sending cards but I’m not fussed about receiving them. My family lives in England (where I’m originally from; I now live in Sydney) so I always like to send letters, photographs, and drawings to them.

Can you give us an example of how your East-meets-West identity manifests in your work?

I take my experience of growing up in England (1984–2007) and Australia (2007+) and mix it with my experience of being British-born Chinese. I have only lived in the Western world, so the inspiration/imagery of Chinese culture is what I’ve seen in England and Australia.

My late father was my biggest inspiration and a fountain of knowledge when it came to learning the deeper meanings and symbolisms of Chinese culture. My dad had an incredible journey climbing over the border from China to Hong Kong when he was 10, to escape poverty. He was a big believer in feng shui and also very superstitious, so we always had long chats about my designs as well as Chinese history and Chinese art. When I create Asian-influenced art, it runs quite deep with meaning and symbolism as I pay homage to my heritage and my dad’s influence, whilst also creating something mesmerising to draw in anyone of any heritage. I grew up in Northern England and pretty much experienced racism on a daily basis, so to create Asian-inspired art means I am sharing my culture/heritage to create more familiarity and less hostility.

The stamps I create are launched from the West, but they are also sold in China and other Asian countries, so before they’re approved, we seek feedback from Chinese stamp experts.

I spend lots of time researching to ensure each object in the illustration represents something meaningful in Chinese/Asian culture. It’s important for me to create beautiful art that is intriguing and enticing and can be enjoyed by the viewer in a way that invites them to find out the deeper meanings behind the art.

The foundation of your artwork seems to be fountain pen and ink. How does that manifest in the digital age?

Before 2018, my art was very detailed and hand drawn: lots of black ink and splashes of red. I really enjoyed the style of block printing, so I liked to emulate that. I also drew a lot of hair with fine lines and lots of patterns. In order to become more commercial, I have had to evolve and inject more colour into the art whilst retaining my signature patterns.

In late 2018, I started to use an iPad to create art. I was very skeptical, but it was recommended to me by Luke Shadbolt who is a very talented photographer and husband to fashion influencer Nicole Warne. I was commissioned by them to do some illustrations for their wedding invitations, and they both said the iPad was a game changer for them. I haven’t looked back since – a small investment but one that has paid dividends.

My old process was hand-drawing sketches, scanning and emailing to the client, and once they were approved, I would outline in fountain pen and rub out the pencil marks. If I didn’t have a firm hold of the paper it would scrunch along with the eraser! I would then scan the outline and email to the client. Once it was approved, I would colour digitally in Photoshop on my laptop (I taught myself how to use Photoshop when I was 12, so years later it came in handy!).

My new digital process cuts out scanning/erasing, which speeds things up a lot. The iPad also allows me to create artwork in vectors (vectors don’t diminish in quality no matter how much you zoom in, as opposed to raster – when you zoom in it gets blurry) on the Adobe Illustrator app. It’s like drawing with a pen and paper, and it cuts out the need to learn Adobe Illustrator’s desktop version with a mouse, which is much trickier.

What element of your job as an artist do you like the most, and why?

I enjoy the challenge of turning a brief of words into visuals. I really enjoy creating art that’s inspired by my Chinese heritage because I can share the art with my children and teach them about their culture.

What do you like least about your work as an artist?

I’m not keen when clients change the brief halfway through as I’ve already completed a lot of research and brainstorming, or they tell you it’s a rush job and then take ages to give their feedback. It’s not that bad really, though as it doesn’t happen that often.

What is something are you proud of, outside of your artwork?

I’m proud that I am a good problem solver. I’m good at teaching myself how to do anything I put my mind to.

In 2010, I was asked by a recruiter if I knew what search engine marketing was and if I’d be interested in a job. I didn’t know what it was, but I learned to analyse data with various formulas and turn it into a report presentation… so I got the job! I did it for three years and I didn’t actually enjoy it, but I’m quite proud that I figured it out.

I am proud of my two sons – and of the fact they can grow up worry-free. I grew up as a translator for my parents (English was their second language), so a lot of responsibility fell on me. I also worked in their Chinese takeaway from a young age; it was just what had to be done. But I am grateful that I learnt lots of skills (using a wok, counting money, preparing food).

To learn more about her Chrissy, check out her website and portfolio. Over the years, she has given several interviews — for instance, about her work for the Sydney Lunar Festival, Guernsey Post, IllustrationX or Collective magazine.

Good news, everyone! Clarisse has a few sets of postmarked FDCs featuring Chrissy’s Lunar New Year stamps to send out to some randomly picked postcrossers! 🎉 To participate, leave a comment below sharing your Chinese zodiac sign or what your plans are for Lunar New Year celebrations (if any)! Come back this time next week to check out the winners, which will be selected randomly.

Jeffrey Brown is a New York Times best-selling cartoonist based in Chicago. He’s written books for all ages, including the Star Wars Adventures book and postcard series that includes Darth Vader and Son, Vader’s Little Princess, and Rey and Pals. So it seemed only natural that we invite him for an interview.

Jeff was kind enough to take time out of his busy schedule to answer some questions from Clarisse (aka CStar9) via email.

Before we get started, what music should people listen to as they read this interview?

My first thought was the “Imperial March” from Star Wars, but I don’t think this interview will be quite so ominous and intimidating, so maybe I’ll say “Make a Picture” from the latest Andrew Bird album, Inside Problems.

Your process starts with a lot of brainstorming. For Rey and Pals, you began with almost 200 initial ideas! How do you know you’re ready to move on to step 2?

The ideas stage of any project is a 24/7 kind of thing. I bring my project brainstorming sketchbook with me everywhere and try to constantly be thinking of ideas and observing the world for anything that might click with a project.

I also dedicate a few hours a day just trying to come up with ideas, which includes reading and watching source material for inspiration.

I know I’m done when I really hit a wall, usually when I have a decent number of ideas – enough to see them making the cut for the final project. I give it a few days and if I don’t come up with more, then I’m ready for the next stage.

Of course, more ideas can still come all the way up until the final art is drawn.

Your work covers a tremendous range of content for all ages, including film. What are some of the elements that define your work across projects? In 5 words or less, what do you hope people take away?

In five words, I hope people take away: feeling and laughing is okay.

I think my work leans toward a slightly expressionist cartooning style. It’s definitely not realistic – I like to draw things that don’t line up quite the way they do in life.

I also always try to have heart and humor, so there’s a warmth, whether it’s autobiographical comics, Star Wars, or middle grade kids’ comics.

Tell us about your studio. What are some of the inspirational elements there?

I have a plush Catbus from My Neighbor Totoro that is always hanging out somewhere. There are lots of Red Wings hockey cards and pucks, a Star Wars card with an Ewoks cartoon animation cell, some fossils and a Neanderthal stone knife, the Dune pop-up book from 1984 (opened to the sandworm scene, of course), my Eisner awards, a Warhammer 40K Space Marine figure…

But the biggest thing is original art. I have pages from favorite artists like Julie Doucet, Geneviève Castree, Moebius, Dave Cooper – and of course some favorite drawings by my two sons. There’s also a drawing my wife made for me for Father’s Day years ago, of my son Oscar… riding the Catbus.

Is there an art medium that you’ve never learned but wish you could?

I like pen and paper the most, and I’ve always liked to work small, so I’m pretty satisfied with my process. Which isn’t to say I’m opposed to trying other materials, but I’m not going to force myself to work differently just because I feel like I should. The right idea would need to come along.

I used to think I’d like to make music, but my family can tell you that I cannot sing.

I once spent a couple months starting to learn how to play bass guitar, and that was enough to show me I should stick to drawing.

What is your relationship to paper broadly, and specifically to postal mail?

I still make all my art with physical materials – pen and paper. I like drawing in sketchbooks, I like the feel of the pen on paper. I use digital sparingly – mostly just for scanning images and maybe correcting minor text mistakes.

I still like getting mail, and I try to write back to everyone who sends me physical mail. Getting mail from kids is the best, because their letters and postcards are like mind collages: beautiful little messes.

When can we expect your next postcard set?

I’m working on a Mandalorian and Grogu book currently, so, fingers crossed that Disney might want a postcard set for that. We’ll see!

You’ve wanted to be a comic book artist since you were in preschool. Who have been your main influencers in comic art? How would you say your work differs from theirs?

There have been so many, from Garfield to Mark Alan Stamaty to John Romita, Jr., to Eddie Campbell, Chris Ware, Joann Sfar, Kate Beaton, John Porcellino.

I think my work tends to be a bit more naive than a lot of the work I like, and it may be hard to see the influence.

Maybe it’s more that I draw on the storytelling qualities of the artists more than any superficial stylistic identifier.

Star Wars was the first movie you ever saw in a cinema, and you’ve remained a big fan of the films. Now you’re also a dad. How do these experiences merge in your Star Wars projects?

Even when I’m working with made-up worlds full of aliens and robots, I always start from a grounded place, something personal and real. Sometimes it’s a specific thing that happened or was said, sometimes it’s capturing the feeling behind what happened. I may write something down right after, but I try to live in the moment and not get ahead of myself thinking about how I might use it later.

But people around me have definitely made comments that I should put something in my books.

One unexpected thing about my Star Wars books was thinking I was writing for adults, only to have kids enjoy them just as much, if not more.

What’s something you are proud of, outside of your art?

I’m proud of my kids, although I read somewhere that parents aren’t supposed to tell their kids they’re proud of them because it ties their sense of self accomplishment to parent approval or something. But I think they’re both great!

What’s next for you?

I’m working on a sequel to my middle grade DC superhero book, Batman and Robin and Howard, and also the Star Wars book I mentioned before – The Mandalorian and Child.

After that, I have a ton of projects I’d like to do. I’m most excited to work on my fantasy adventure epic graphic novel, The Fierce Knight.

To learn more about Jeff and his work, check out his website and Instagram page. Jeff has given a number of interviews, where he talks about being a dad, answers questions from a 5 year old, gives tips for up-and-coming artists, talks about the origins of Rey and Pals, or about his comic memoirs (for grown-ups), about screenwriting… or even gives a live art demo! 😍

And now, for the last giveaway of 2023: Clarisse is going to send 4 postcards by Jeff Brown to 4 randomly picked postcrossers! 🎉 To participate, leave a comment below sharing a Star Wars memory or your favorite character. Come back this time next week to check out the winners!

Clark Little is an award-winning photographer based in Hawai’i. His 2022 book, The Art of Waves, was published as a postcard set in 2023.

In 2007, Clark realized his passion for shore break photography when his wife, Sandy, brought home a photograph of a wave to decorate their bedroom wall. Clark immediately bought a waterproof camera and used his experience as a surfer to begin recording his own perspectives of Hawaiian waves. Since then he has gained international recognition for his photography with magazine features in National Geographic and LIFE, and exhibitions throughout the US and internationally in Canada, Europe, Asia, and South America.

A while ago, Clark took time out from the waves to answer a few questions from Clarisse (aka CStar9), our intrepid reporter!

Your audience for this interview is international, from more than 200 countries. How do you think oceans unite us?

We live on a planet mostly covered by ocean. Water is 70% of earth’s surface, and of that, more than 95% is salt water. The ocean connects us all.

To me, being in the water, especially salt water, feels the most natural of anything to do. I feel alive. I think others can feel that too and have a connection to it on a higher level.

The Art of Waves was recently released as a postcard set. Why postcards? And what is your relationship to snail mail?

I love postcards.

When I first started photography 15 years ago, one of the first things I did was print a series of postcards. The local stores on the North Shore and Starbucks coffee shops let me leave stacks in there. I’d give them away for free. It exposed all of these people to my photography and got the word out. The postcards drove people to my website where I could then sell prints.

When Penguin Random House published my new book, all of us involved really wanted paper products to go with it. We wanted the photos to live outside the pages of a book: a jigsaw puzzle for those who love games and a challenge and who want to get to know an image intimately. Postcards for people who love to collect and put something on their walls, and to share.

Postcards are a chance to spread the images around the world. It’s an incredible format for sharing my photography. For people who don’t want to buy a larger print, postcards are a great way to have a small piece of my artwork. The printing is beautiful – full color! It can be framed and put up on the wall or on the refrigerator with a magnet, and of course mailed and shared with family and friends.

I don’t send too much mail myself, but receiving mail is great. So much fun to go to the mailbox and see what’s in there.

In five words or less, what do you hope your photography conveys about the shore break?

Nature’s power, beauty, and magic.

What does scoping a new photography site look like for you? Do you surf to get a feel for the place, or watch from shore, just dive in with your camera, or something else?

I don’t surf much any longer. Once I got hooked on photography, I stopped surfing. I tried to surf a few times but all I could think about was the great shots I was missing.

So…. no, I don’t surf a new location first. The main thing I do is watch: see how the waves are breaking, how the currents are running. Try to figure out the bottom before I go out.

If there is someone out surfing or doing something in the water, I’ll see how they move around and are affected by the waves. If someone is on the beach, I’ll ask questions.

One thing I have learned, and we are taught from an early age in Hawaii, is to respect nature and its power. Nature always has the last say and makes the big decisions.

And then sometimes you just have to jump in and figure it out as you go. I have been caught in some pretty dicey situations. Like shooting very large waves in hidden valleys with only my assistant around and no cell reception in case I got hurt or sucked out to sea.

Or, shooting directly in front of an active lava flow. The lava was coming onto the beach and I was just a stone throw away shooting waves. I was trying to get a shot of the red hot lava at the end of a tube. I didn’t realize what looked like a sandy beach was actually glass-like shards of fresh lava. After just 15 minutes of getting tossed in the waves I was bleeding everywhere. Just walking on the “beach” to and from the water, I had cuts all over the bottom of my feet. And I didn’t get a good shot, which was just as painful!

Is there a page in the book (or card in the postcard set) that conjures a story for you that you’d like to share?

This postcard photo of a wave breaking on dry sand titled “Last Blast” is one of the most unique perspectives. “Last Blast” is also in my book. This type of shot really caught people’s attention when I was starting out. The most common questions were, “Is it real? What happened to the photographer?"

The average person, or even someone who surfs a lot, couldn’t be in this position getting a photo like this. It’s dangerous and requires perfect timing. It’s a large wave breaking on the dry sand. In another second, it will crash down and send me and my 10-pound camera flying up the beach. Sometimes I am swept up the beach over a hundred feet. Once in a while, I even lose my $10k camera and rig – which I’ve always been able to find and retrieve. With all of the beatings I take, I only get a few really good shots each year. The ratio is really low, but when I get a great shot, it’s worth it all.

These are called “Run and Gun” shots. You can’t swim around in the water in these type of waves – they break right on dry sand. It’s a technique where I run down the beach and throw myself on the sand at the foot of a wave right before it heaves over. I am in the pocket for a few seconds and snap as many shots as I can during the calm before the explosion. I love seeing the grains of sand, the water throwing over in a perfect arch, and some palm trees outside the tube. I never get sick of these shots.

When did you first see yourself as a full-time professional photographer? What would you tell the person you were 20 years ago about this move?

14 years ago – the week I appeared on live TV in the US showing my photography on Good Morning America: that was the transition point. The show was seen by something like 4–5 million people. Things just blew up after that. The week started with a UK newspaper featuring a handful of my shots and ended with this television appearance. My website almost crashed with the volume of sales and emails. It was the first time I thought I could be a professional photographer and make a living from it.

And the momentum kept going, so a few months later I quit my job as a supervisor at a botanical garden in Hawaii. It was a job I held for 17 years and thought I’d be doing it until I retired. I had all of the benefits and steady income. It was a safe path with kids, wife, and a mortgage. Once I jumped into photography full time, things went to the next level.

If I was to go back 20 years ago, I would tell myself, quitting my job was the best decision of my life. I’d also remind myself, don’t hesitate to do something if it feels right. If you have a passion for something and an opportunity presents itself, don’t talk yourself out of it. Go for it… full throttle!

To learn more about Clark and his work, check out his website, where you’ll find out more about his photography but also links to interviews he’s done over the years. And we really recommend watching this Nikon short documentary about Clark, to see him in action in the ocean!

And here comes the traditional giveaway! Clarisse is happy to award four postcrossers with a postcard from this lovely set. For your chance to receive one, comment below to let us know how you feel about the sea: do you live or take holidays by the sea? When was the first time you saw the ocean? And did you ever get knocked over by a wave breaking near the shore?

Carolyn Gavin is a painter, illustrator, and designer based in Toronto, Canada. A flower child of the 1960’s, Carolyn grew up in South Africa, left to travel, and relocated to Canada where she currently lives with her family.

Earlier this year, Clarisse (aka CStar9) connected with Carolyn via webcast to discuss her creative origins, the unexpected path from a pile of wood to an abstract painting, and why most Canadians don’t paint their houses pink.

The 10 cards that represent you in The Flower Box: how were they chosen?

I paint a lot of flowers and florals, so they took what was existing, which is lovely. If my work is picked up and used as-is, that’s a dream. I don’t have to sit down and create something for a job or art director.

You create such an incredible range of work – paintings, textiles, books. What was your journey to get there?

It’s taken a long time. My family is pretty creative. My mom did mono-prints, painting—everything under the sun. As a very young child, I was guided into the direction of painting and creating, including papier-mâché, pen and ink, watercolors, and more. I went on to do graphic design for three years, which launched me into a design career.

Then I traveled, immigrated to Canada, and my brother and I started a family business, Ecojot. First I designed, then illustrated the covers of our new eco-stationery line. Working with recycled materials and bright and fun colors, and making the notebooks locally right in Canada, was innovative at the time.

One thing led to another and I was picked up by an agent, and my work took a turn for the commercial: apparel, bedding, editorial, book covers, book illustrations, and fabrics, etc. Recently I started teaching and doing workshops and retreats. But I’m also trying to focus on my painting! I’ve come full circle. I really just love to paint – that’s what I’d love to do all day.

How do your new ideas for your designs begin?

One thing can lead to another, creatively. A wood pile is my latest obsession. I’ve painted on wood panels for a long time. While I was in Belize, I came across a building site and found this pile of discarded wood. I picked up a bunch of pieces to use and loved the unevenness and roughness of the material. That seemed to dictate the direction of the painting—such a beautiful organic flow and I was so inspired. However, it was at the end of my time in Belize, just the last few days, so I was painting like a fiend all night long, trying to get it all out. And then I had to come home.

Tell us about your studio space.

Right now I’m in my small studio. It’s very bright, but it’s a small space, which kind of translates into small work. Sometimes I work upstairs in a bigger space that has an easel. That’s where I do my larger pieces. In winter I go to my studio in Belize. It’s a lovely get-away, a place for playing and experimenting. It took me about two months there this year to finally get into this new spate of work, which I feel is a nice new direction for me. So, I think each space where I’m at, dictates what I’m doing.

You’ve said your work is strongly influenced by your growing up in South Africa. Can you tell us more?

South Africa is hot, colourful and noisy. I don’t know exactly how that translates into my work, but, I guess… people there aren’t afraid of color and vibrancy in their lives. I now live in Canada and when I first came here, I couldn’t believe how gray and dull the weather is. I think people maybe, as a result, are sort of scared of color and of standing out in that way. That translates into architecture too—they’re scared to paint the house blue or pink. In hot countries, however, it’s different. And so that’s how I grew up – with lots of color and pattern everywhere and a lot of nature around me. I was outside most of the time, immersed in it. It became a part of me. Now, when I go to a new country, it always inspires something new. When I’m here in my studio in Canada, I’m creative, I work, but it’s a bit more forced. When I am away, I might be more inspired. But of course that changes all the time. Tomorrow, I might feel very inspired.

Your work can be very intricate, especially with botanical forms. What does research look like for you?

I don’t really call it research. But if I am looking at something that needs more information, I probably go find it. You know, just on the Internet.

With the wood in Belize, I asked them, what kind of wood is it? (It’s Emery wood.) Where does it come from? What do they use it for? So I’m not just painting on a simple piece of wood. I like to know the background of something, especially if it’s found or discarded by someone.

How do you know when a piece is finished?

That is a difficult question, especially when you’re doing abstract. You can go on forever. That is something I’m learning along the way. I can’t stop learning about how to paint. It never ends!

When it’s finished is when I guess I just feel that sense of, Stop! You’re going to overdo it! And then you step back. When you come back the next day, you may add a little line here, a little bit of color there, but that’s basically when it’s done for me.

Since we’re talking to an audience who loves paper mail and especially postcards, can you tell us about your relationship to paper? And to snail-mail?

I love paper. I mean, every kind of paper. I love thick, textured paper, and Japanese paper, and handmade paper. I go to a mill in Montreal sometimes in the summer, and I pick up the most amazing handmade papers, all from 100% rag recycled from t-shirts. It’s the only mill I know of that still does this kind of stuff on a very artisanal basis.

I don’t ever write a letter anymore to anybody. But I used to, and I used to love getting mail in return, so I do love the whole notion. It’s a beautiful thing.

What’s a type of media that you’d love to learn?

I’ve been trying to work bigger, but that of course depends on the space that I have at the moment. I want to do monoprints, and cyanotypes. And work with big oil pastels.

You teach a lot of workshops and retreats. What’s your teaching philosophy?

I love to impart my energy and some of my experience to other people and give them joy, and to teach them how to make their own joy. I think art is so meditative and therapeutic. When I’m painting, I kind of lose myself in the painting and go somewhere else. And that is very joyful.

Art is a very creative process that gives people a way to cope with stress in their life. Musicians do it – everybody in the arts world does it. It’s not a new thing. But if I can help others do it in my own small way, I think that’s important.

What are you working on now?

A Joni Mitchell quote: “Love must be the birds in spring. Only lovers hear them sing.” It’s from one of her songs; she is a poet!

I love type and words, and I love to illustrate around them. This is where my graphic design background comes into play. I can put elements together on a page and they work. Well, not always! But, anyway, here’s another one. This is from a book: “The birds are singing.” I painted the type first and then the birds and flowers around it. It all works together in terms of shapes and balance.

To learn more about Carolyn, check out her website and Instagram page. There’s also a studio tour and a fun art demo to paint along!

And now, for the traditional giveaway: Clarisse is planning to send 4 postcards from the Flower Box set to 4 randomly picked postcrossers! 🎉 To participate, leave a comment below sharing a flower that is special to you, and come back this time next week to check out the winners!

Inge Löök is a Finnish illustrator and gardener who is perhaps best known for her “merry aunties” character postcards – an enduring favorite of postcrossers. She was previously featured on the blog over 10 years ago, and was kind enough to make time for an email interview with Clarisse (aka CStar9), for her series of conversations with illustrators and postcard makers. Enjoy!

Please tell us about your studio.

The place where I do my drawings is not very large; a table, a chair and the rest does not require much space. I prefer an enclosed small space where my thoughts stay together and do not wander away into other spaces. The house where I live is also small and the purpose of the house is solely to live in it. The nature outside is eternal and if I start to feel cramped I only need to open the door.

You take special care to create postcard sets of your art. Why postcards?

The old-fashioned way of sending letters and postcards is beautiful. You get to hold and touch the same paper the sender has touched. It is a gift and a thoughtfulness that requires planning in a completely different way than electronic messages.

For new ideas, what is the first step to getting an idea from your head to the page?

I do not use sketchbooks but I tend to use the back side of used photocopy sheets. Today I mainly draw postcards and if I get an idea I quickly note it down on any piece of paper with a few lines only so that I later remember how I envisage the theme for a new post card. An idea can emerge at any time, even in the middle of the night, and if so, in the morning I must swiftly note it to not forget it.

Please tell us a bit more about the origins of the Aunties characters in your art.

My closest neighbor lives around 30 meters from me in a house as small as mine. We think along the same lines and are in daily contact. She is actually one of the aunties in my illustrations, and I am the other one. In fact, we’ve played out most of what happens in my illustrations of the aunties. We’ve had wine in a tree, cakes under the table, and what we haven’t done, we wish we could do. This includes sitting high up in a clock tower with dangling legs. We are old now but know exactly how it felt when we were small and searched for messages in bottles.

Nature seems to be almost its own character in your work. We are treated to many detailed scenes that are infused with such attention and care – gardens, forests, fields, barns. How does a sense of place inform your art?

Nature is everything. I’m interested in the little and the small. I often sit with a magnifying glass and study the details of, for instance, flowers or a feather. As I see it, the big and the large then is space which offers fantasy experiences because we are unable to go there. I’ve got equipment for bird watching, and it is not only birds I look at, but the environment as a whole.

What is on the horizon for your art this year?

I’ve always had a hard time planning the future. The future has never really existed, but rather, it has merely appeared, which means that I have then had to face it as it appears.

To learn more Inge Löök and her work, visit her website or check out her Instagram.

If you’ve made it all the way here to the last bit, here’s a little bonus: Clarisse has 4 Inge Löök postcards to send to 4 postcrossers. To participate in this mini-giveaway, leave a comment below and let us know what adventures you imagine yourself on with your best friend, that would be worthy of being featured on a postcard! 😊 Check back this time next week for the winners!