In this two-part interview, we bring together two creative voices on the autism spectrum. Tania, a young Autistic aspiring illustrator and author, sits down with illustrator Ella Brissenden following the release of Michael Theo’s new book "Edward's Astonishing Animals" which Ella illustrated.
Ella shares the story behind the project and how her neurodivergence shapes the way she works, creates and connects with others. Together, they explore themes of identity, representation and the strengths that come with thinking differently, offering a personal and honest look at creativity through an autistic lens.
This is Part 2 of our two-part interview with Ella Brissenden. Missed the first instalment?
Were there any parts of Edward's story that felt particularly relatable to you?
I mean, I think it's such a relatable story for a lot of kids on the spectrum. Not really feeling like you fit in anywhere, trying to figure out how to fit in at school and trying to understand what other people's behaviours mean. And also, having a special interest that you're so worried that other people don't think is cool. But also I think the other part of the story that I found relatable is that, like Edward does in the book, eventually you do find your people. In my experience, though it can definitely take a while, you do eventually find the friends that want to go on the zoo trips with you and who want to talk about dinosaurs all day. I think it's a really heartwarming story in that sense.
What does authentic representation mean to you?
For me, authentic representation is all about autistic people living a life that feels really representative of them and the things that they love, and not feeling like they have to hide or change. It’s showing up in whatever capacity you can, and building a supportive community around you that just wants to be involved in that.
How do you think publishers and the creative industries can create more opportunities for autistic writers and illustrators?
I think this book is a really wonderful example of pairing an Autistic author with an Autistic illustrator so that the books that are published about autism are fully representative in all senses. I think it's so important that when we champion Autistic stories, that we do it in every capacity possible. And also making sure that there are equal access opportunities for people on the spectrum to take on opportunities in creative industries with the support that they need to make it happen. Whether that's more flexible deadlines, more space and more time, or whatever support someone might need to be able to make projects like this come to life. Because I think it's really important that projects like this one exist! It’s so important for a young Autistic kid to look at a book they love and think that they could not only write one like this one day, but that they could also illustrate it. That’s why it’s so important to champion accessibility, diversity and inclusion on all sides of the book publishing process for people with disabilities more broadly.
When did you first realise you wanted to become an illustrator?
You could probably say that drawing is my special interest. I've been drawing before I could read. So it was never really a conscious decision, it's just like always been a part of who I am. I'm very, very lucky to have had opportunities come my way, which means that I get to draw everyday as a huge part of my career, which is fun and incredible. But it was never a decision, you know, it just is a part of my identity. If I wasn't doing paid opportunities, I'd be drawing anyway.
Were there any books or artists that inspired you when you were younger?
I remember loving illustrators such as Alison Lester (Magic Beach), Julie Vivas (Possum Magic), Eric Carle (The Very Hungry Caterpillar), and Maurice Sendak (Where The Wild Things Are). Some of my favourite children's book illustrators today are Sophie Beer (who writes and illustrates wonderful books championing disability and inclusion), Anna Walker (I love her book SNAP! Especially), Marc Majewski (who makes the most beautiful hand-painted picture books), and Oliver Jeffers (who combines digital and hand-made techniques so beautifully, his book What We'll Build is so lovely)
There's so many talented illustrators out there. I mean, I think for me, I just love art in all capacity. And I just think all illustrators are so incredible. And having done a kid's book now, the appreciation that I have for the process is so beyond what I had before taking on this project. So to anyone who makes a kid's book, you're a hero in my eyes, to be honest, because there's so much work that goes into this.
Do you have anything next on the agenda after this book? Like any exhibitions or like other books that you're illustrating?
Nothing concrete in the works yet, but I've always got a few little projects on the go. A kid's book is so much work, so I definitely think that there's a bit of creative burnout happening at the moment. So I'm just trying to be really gentle with myself and just let it happen when it happens, and not force anything. I'm enjoying doing a bit of art for myself and for exhibitions at the moment as well, which has been fun. But maybe another kids book this year, we'll see what happens!
Yeah, it's totally fair that you should take a break. I saw the photos of the blisters that you got on your fingers.
It's so full on making a kid's book. I had no idea, I think, going into this, how much work it was going to be. But it's so joyful. Like it's so fun. But it is a huge amount of work and I have so much respect for children's book illustrators after this. To do more than one a year would be so exhausting. Hats off to those that do!
How long did the book take to do from start to finish? Was it like a year?
Oh, it was less than a year, which is a bit crazy. It was sped up a little bit, this project. Probably about eight months, I would say, from start to finish. But it's broken up into stages. So you do several sketching stages at the start, there’s lots of drafting before you get to the final artwork. It's a very drawn out process with lots of steps to it. The editors, publisher, and the author will all make suggestions and request changes in the early stages, so you're just constantly revising the artwork before you even get to the painting part. Yeah, it takes ages.
I loved seeing the combination of traditional and digital mediums that you used in the book. It was really cool. Do you often use mixed mediums in your work?
I do. Yeah, definitely for things like children's books because I really like it to have that sort of handmade feel. But obviously when you're doing children's books and there's so much editing, you have to be a bit careful about when you start officially committing paint to paper. Because once you do that, it's very hard to go back if something changes down the line. So I tend to do a combination of digital and traditional mediums, which gives me a little bit more freedom and a bit more flexibility down the line while also still keeping that handmade feel. I want people to pick up my artwork and feel like someone made it with their own two hands. That's so important to me.
I handmade a lot of the fonts that we used in the illustrations for the book as well. Anywhere that you look in the illustrations themselves where anything is written is a font that I made by hand. I drew up the whole alphabet with watercolour paints, and then used an online program to turn it into a font that I could use digitally. I think little stuff like that makes children’s books really special.
To create a handmade feel, I also used a bunch of really cheap crayons to add texture over the top of things. And then at the very end, I did the final finishing touches on my iPad.
Thank you Ella for your time, it was lovely talking to you!
I'm glad we got to catch up! It was fun!
_________________________________________________
From EDWARD’S ASTONISHING ANIMALS by Michael Theo and Ella Brissenden
Text copyright © Michael Theo, 2026.
Illustrations copyright © Ella Brissenden, 2026.
First published by Scholastic Press, a division of Scholastic Australia Pty Limited, 2026.
The moral rights of Michael Theo and Ella Brissenden have been asserted.
Reproduced by permission of Scholastic Australia Pty Limited.
