For the last interview of 2025, I'm pleased to present my chat with Polish illustrator Aleksandra Szmidt about The Koala and the Little Tree, written by Alissa Malnati. I hope you enjoy!
About the book:
After a wildfire destroys their home, a brave koala and a little tree are on a mission to bring back the magic of their beloved land.
They journey through the ashes, working together to survive and restore their world to its former glory, only to discover that the real magic is their love for their habitat and one another.
Check out the endpapers:
Let's talk Aleksandra Szmidt!
LTPB: How did you become the illustrator of The Koala and the Little Tree? What were the first images that popped into your mind when you saw Alissa Malnati’s text?
AS: The publisher reached out first and said that Alissa was interested in having me illustrate the book, but she wanted to make sure our visions aligned, so we had a long conversation about my job, the story, its tone, and the kind of feeling she wanted readers to experience. By the end of that conversation, I knew we shared the same vision: something gentle, meaningful, and full of heart.
It was also around the time I was shifting my portfolio from digital work to a more traditional, painterly style, using watercolor, gouache, and textures that feel more like fine art. That was exactly what Alissa was hoping for: a book that felt artistic yet accessible, something that could be appreciated by both children and adults.
When I first read the text, I knew it would be a challenge but also a wonderful exploration: to keep the book artistic but still warm and readable. I immediately pictured the quiet connection between the koala and the tree, and a color palette that slowly shifts from darkness into some kind of hope. I wasn’t sure exactly what that would look like yet, but I wanted the art to carry that emotional transition: gentle, but powerful.
LTPB: What did you find most difficult in creating this book? What did you find most rewarding?
AS: The most difficult and the most rewarding part were actually the same. I knew this book needed to feel artistic, and Alissa gave me incredible creative freedom; she simply said to do what felt right. That kind of trust is a dream for any illustrator, but also a little intimidating! I’ve illustrated more than 40 books, but this was the first time I felt like I could use my full voice.
I’ve always had a natural pull toward darker, more emotional tones in my work. Early in my career, I was often told to make my illustrations brighter and more colourful to fit the picture book market. But for this story, I wanted to stay true to my instincts and to let the mood and emotion lead the visuals.
The first set of illustrations ended up being quite dark and atmospheric, and I wasn’t sure how that would be received. To my surprise, Alissa and the publisher loved it. That felt incredibly meaningful, not because it proved anything, but because it reminded me that authenticity connects. The story touches on loss and hope, and I wanted the artwork to honour that depth in an honest way.
LTPB: What is the first thing you do when you receive a new project? How do you make a conscious effort to tailor your illustration style to each new manuscript?
AS: When I receive a new manuscript, I always start by reading it and if I’m lucky, the illustrations already start appearing in my head. I try to sense the atmosphere of the story first: how it feels, what kind of light it has, and what emotion lives inside it.
Usually, I do a few rounds of sketches for the client to approve before going further. But for The Koala and the Little Tree, I started painting in ink right away. I knew it might create more work later, but I felt that beginning this way would make the art feel freer.
I let each story influence how my style shows up. I don’t think I have one instantly recognisable style. Part of me would love that someday! But I’ve realised I naturally shift depending on the manuscript. As my agent Christine once told me, maybe an illustrator’s style isn’t just about the medium, but about how we see the world. And that’s something I try to remember every time I start a new book.
LTPB: What did you use to create the illustrations in this book? Is this your preferred medium? How does your process change from book to book?
AS: For The Koala and the Little Tree, I worked mostly with ink and some watercolor, adding digital adjustments at the end. I wanted the textures to feel organic and a little imperfect, like nature itself.
It was actually my first time illustrating almost a full book in ink. I chose it because of its unpredictability, it felt like the right medium to capture the energy and uncontrollable nature of fire. I love traditional materials because they have their own personality; they surprise me. Ink especially has this wonderful wildness.
My process changes from book to book, depending on what the story needs. Some stories feel quiet and call for soft colours and delicate lines; others need bolder shapes and brighter tones. I try to let each story guide me.
LTPB: What are you working on now? Anything you can show us?
AS: Lately, I’ve made a conscious effort to slow down and focus on the work that truly matters to me. I’ve written and illustrated a very special book that’s currently on submission with my agent, Dan. It means a lot to me personally, and I’m keeping my fingers crossed for good news soon! Besides that, I’m preparing for my first solo art exhibition here in New Zealand, which will take place next year, and I’ve just launched my Print Club this December: a small monthly mail full of art and gentle magic sent straight from my studio.
Even though I’m focusing more on my own projects, I’m always happy to illustrate stories that truly resonate with me; the ones that carry heart, emotion, and a quiet sense of hope.
LTPB: If you got the chance to write your own picture book autobiography, who (dead or alive!) would you want to illustrate it, and why?
AS: I would choose Jan Marcin Szancer. I grew up with his illustrations, and they’ve always stayed in my imagination. There’s something truly magical about the way he captured atmosphere; his worlds felt both grand and intimate at the same time.
If he illustrated my story, I imagine it would be a bit dreamy, a bit nostalgic. His work carries that beautiful balance between wonder and melancholy, which is something I always hope to
achieve in my own art too.
A million thanks to Aleksandra for taking time to answer some questions! The Koala and the Little Tree published in October from Little Steps Publishing!
Special thanks to Aleksandra and Little Steps for use of these images!
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