Yesterday I was looking for stuff on the internet and without even noticing I ended up on the
Childrensillustrators.com website.
I knew this website before but since I'm not a member I've never really looked into it.
But yesterday I came across the Interview section of the website, which collects lots of interviews done to people in the children's books industry.
I was so interested and willing to know more about Art directors and publishers' opinions that I read ALL the interviews available.
Then, I started to take notes of the advice and tips they were giving specifically for illustrators.
So I decided to publish here the summary of all these interviews with the answers I found the most interesting from a children's illustrator's point of view.
It's a bit long, I know... but it totally worthy it
If you want, you can find the full interviews on
childrensillustrators.com
Enjoy!:D
What general advice would you give an illustrator looking to improve their children's portfolio - what should they include/not include?
First and foremost unique characters with a variety of emotions – children, adults, animals. Some example of environment, either indoor or outdoor. Unusual perspectives. A range of color samples and palettes and black and white work. Give yourself an assignment each day and share it with others. These days blogs (such as those featured on Childrensillustrators.com) are a wonderful way for art directors to get a sense of an illustrators range, working style, and personality. Most importantly, imbue your work with what drives you – illuminate your passions. Don’t draw a preconceived notion of what you think children’s book art looks like.
Kristen Nobles - Art Director, Candlewick Press
What elements should an illustrator include in their portfolio to attract your attention and what should they avoid?
I think they should share their best work. As long as their work is good, I'll be attracted to their portfolio. Also, showing that you can illustrate girls and boys of all ages is always helpful. And that you can create the same character in various positions, poses, and expressions is always encouraging.
What (if anything) would make you not want to work with a particular illustrator?
Inflexibility would have to be my biggest pet peeve. Creating a book is a collaborative process, and there needs to be room for back and forth to allow for many ideas to take root. We ask an artist to illustrate one of our books because we think they are talented and trust them to break down a story and create a visual narrative, but they also have to trust our input as well. If they are not open to this, then it becomes a frustrating experience. Fortunately those situations are few and far between.
Aside from their obvious talent, what personal qualities do you look for when choosing an illustrator to work with?
I look for an illustrator who will be a true collaborator. Someone who will add a whole new dimension to a manuscript, who will make the book theirs - take a project and run with it. I also prefer to work with artists who respect deadlines and can communicate well.
Helen Robinson - Art Director, Front Street
Describe the moment when you offered a new artist their very first commission and provided the first step into the world of children's books.
Amy Husband's artwork is without doubt the most imaginative unsolicited submission that I've had through the post. The submission itself was a large personalised envelope that opened out into a letter, where she brilliantly combined her colourful and quirky style in the lettering and surrounding illustration. I rang her soon after and we arranged a date when we could both meet in person. Looking through her portfolio, she pulled out yet more letters - light, funny hand-lettered notes that she had sent while away at university, turning what seemed like mundane daily occurrences into funny, illustrated anecdotes. An idea grew from here and developed into the first book in the 'Dear...' series - book covers that open out like envelopes to reveal a series of letters in portrait format. I think we were both as excited as each other at the commission and couldn't wait to get started!
Sarah Andrews -
Art Director,
Meadowside Children's Books
How should a great dummy book be presented?
If the potential of the book is great, then frankly the dummy doesn’t need to be especially amazing. I would be impressed by a black and white sketch dummy (that wasn't too fancy or finished), one sample piece of finished art, and a sheet or two or really well developed character studies for the folks in the story. That last item is something you don’t see so often, but it really does make an enormous difference in getting an understanding of what an illustrator’s potential might be.
Ben Norland
- Executive Art Director,
Walker Books
What qualities are required to be a successful children's illustrator?
The most important quality is, obviously, the ability to draw, very well...Other advice I would give is:
- Make sure you can do the basics before even thinking about using computers or mixing stuff up.
- Always carry a sketch book and draw from life as much as possible.
- Read the brief properly!
- Turn down jobs that you don’t gel with.
- Collaborate, listen, take art direction and remember your audience.
- Meet deadlines.
Anna Billson - Art Director, Penguin Children's Books
What qualities - both professional and personal - do you look for when selecting an illustrator for a project?
First and foremost I look for an illustration style that is perfect for a text, and an illustrator who loves the story as much as we do. The illustrations need to assist the text and bring it to life.
An illustrator needs to be able to take direction positively. Working with an artist who is receptive to art direction often results in ideas being bounced around and challenged, resulting in a book that everyone is really happy with. It’s all about creating the best books we can.
It is vital that the illustrator can work to a schedule, so time keeping is important, but that is one of the many reasons illustrators have agents.
Katie Bennett - Art Director, Egmont UK Ltd
What 3 pieces of advice would you give childrensillustrators.com members reading this interview?
Advice? Cripes.
1 - Make submissions of art samples and ideas memorable and to the point. You’d be amazed at how many tattered old photocopies I get sent. It sounds awful to say, but keep email intros short and let your images do the talking, at least at first.
2 - If you want an agent, have an agent, if you don’t, then don’t.
3 - Stick to your guns. Do the work you believe in.
Mike Jolley -
Art Director
, Templar Publishing
From an illustration point-of-view, what key ingredients make a great children's book?
No doubt, a strong character who emotionally connects with the reader is one of the key ingredients. Taking that character and creating a believable world with your pictures is also important. Once you create that visual world, there are still many questions to ask yourself. How do you pace the story? What do you choose to include in each picture? Sometimes what you don't show is as important as what you do show.
Ideally, you want the reader to connect with your pictures and be transported to another place. A great picture book unlocks the reader’s imagination and can have many different layers to it. A good one invites the reader to revisit it over and over again.
Patti Ann Harris -
Senior Art Director
Little, Brown Books for Young Readers
What (if anything) would make you not want to work with a particular illustrator?
Inflexibility would have to be my biggest pet peeve. Creating a book is a collaborative process, and there needs to be room for back and forth to allow for many ideas to take root. We ask an artist to illustrate one of our books because we think they are talented and trust them to break down a story and create a visual narrative, but they also have to trust our input as well. If they are not open to this, then it becomes a frustrating experience. Fortunately those situations are few and far between.
Lily Malcom - Art Director, Dial Books for Young Readers
Aside from their obvious talent, what personal qualities do you look for when choosing an illustrator to work with?
Artistic talent combined with thoughtfulness, sensitivity and creative problem solving--that may be what I look for in everybody I know.
Joann Hill - Art Director, Clarion Books / Houghton Mifflin
Aside from their obvious talent, what personal qualities do you look for when choosing an illustrator to work with?
I look for an illustrator who will be a true collaborator. Someone who will add a whole new dimension to a manuscript, who will make the book theirs - take a project and run with it. I also prefer to work with artists who respect deadlines and can communicate well.
Helen Robinson - Art Director, Front Street
What (if anything) would make you not want to work with a particular illustrator?
I find the main thing that puts me off an illustrator is when they believe their work is perfect in every way. In particular, if an illustrator feels that the designer and editor are just there to as an obstacle between them, and their public and treats them accordingly, then this tends not to be a happy relationship. There are only a few people who fall in to this category though. The other main problem which all designers dread, is an illustrator who either delivers terribly late or even not at all – especially if they ignore your calls and e-mails, so that you have no idea what the problem is or when to expect the work. In both cases though, word gets around the business and artists like this can often end up on the bottom of everyone’s list.
Tim Rose - Art Director, Orchard Books
What three key pieces of advice would you offer to unpublished illustrators reading this interview?
When looking who to approach with your portfolio, do your homework go to book shops and see where you would fit in and target your publishing house accordingly. Be selective with what you put in your portfolio - don't take too much. When you arrange your meeting, ask the designer what would they like to see and tailor your portfolio.
Do listen to what you are being advised, if the majority of people are giving you the same feedback, then you should probably take it on board.
Have a promo sheet or card to give away even just photocopies, but again don't have too much.
There isn't a magic formula for a successful book, otherwise we would have a Gruffallo success every time. The market is always changing, there are different vogues with illustration as well as different publishing houses, having different looks. If you work hard find your niche and keep to deadlines and are realistic as to what you can do, then with talent, and that is important too - you can be successful!
Aside from their obvious talent, what personal qualities do you look for when choosing an illustrator to work with?
Good communication skills, we need to be involved if there are problems or concerns you have with your project. I need artists to follow the guidelines for preparation of artwork and if there are changes to do then a willingness to take on these comments - there are valid reasons why we ask for corrections, it isn't just on a whim. We might have got negative customer feedback and if we don't take action we don't get your books into the shops.
Anne Glenn - Art Director, Macmillan
What three key pieces of advice would you offer to unpublished illustrators reading this interview?
Apart from trusting your instincts and continuing to make art they way you feel you should, the best advice I can give an artist is to do your homework before approaching publishers for work. That way you are best equipped to take your work to the right place for the best chance of success.
Research the marketplace to see where your work fits in and where you would want to be as a published illustrator. Local bookstores, independents and chains, Costco, Walmart, Sam's Club--anywhere books are sold are sources of information for you. Try to get a handle on what's different about their title mix what they seem to emphasize, what they display. Pay attention to subject, format and price, and which publishers are strongly represented. Once you understand the differences between among these markets you can tailor your portfolio to reflect your best work for each. Then you can target the appropriate publisher to solicit work. This doesn't mean you must sell out and do what has been already done, but be informed about how you see yourself in the established world. If you see yourself as a maverick, then sell yourself that way!
Research publishers using their websites or The Literary Market Place as a reference resource for each publisher's title mix and submission guidelines. Try to understand the differences among publishers, and determine which are most appropriate for your goals. Talk to librarians, they are a wonderful and rich repository of information on publishing. You can get reccomendations, news of the best books, new and old, in the genres you are most interested in. They may also have insights that will help you distinguish one publisher from another. It is important to know your competition as well as find your inspiration, and sometimes these two go hand-in-hand. .
Be aware of your strengths and prepare a portfolio that highlights your best work and your true interests. Get feedback on your work from professional organizations such as SCBWI, instructors, fellow artists. Tailor your portfolio to the work you wish to pursue If you want to do picture books show characterization and sequential, narrative images. Pay attention to the level of sophistication of your work and if it is suitable to the format you are pursuing. If you want to do jackets or editorial illustration, show single strong pieces that are conceptual or stylized or portraiture.
Aside from their obvious talent, what personal qualities do you look for when choosing an illustrator to work with?
In determining if an artist is suitable for a particular project I consider several qualities: I first look for a strong personal response from the artist to the text. If they ³get² it on a gut level, I know they will bring to it something unique and inspired. Artists usually let me know right away what images come to mind, what they can relate to, or how they want to deal with crucial parts of the story. This ia a good gauge of their interest and enthusiasm.
Second, I consider how communicative they are, how responsive and flexible they will be to feedback and the ebb and flow of a project. One doesn't always know exactly how a project will develop and when a lot of involvement from the author or an editor is a certainty, that must be factored in. If the attitude remains open and collaborative throughout there is always less friction. Having said that, I often encourage artists to follow their vision with only an occasional reality check. Afterall, that is why they were chosen in the first place.
Last, I always expect the artist to be dependable, accessible and realistic in the way they plan and manage their time so deadlines can be met. When I know scheduling is a continuing problem for a particular artist, it can eliminate them from serious consideration. We can't risk losing the investment of time, the planned publication date which is part of the acquiring strategy, and the ire of an author that would result.
Martha Rago - Executive Art Director, HarperCollins Children's Books
