The illustration children’s are vital to the work of artists, offering a platform to showcase their creativity and storytelling abilities. There are various kinds of book illustrations, each significant in the life of a book. These include full cover illustrations in color for fiction titles, monochrome illustrations throughout the text or chapter header art for younger titles, and full-color artwork throughout for picture books. Each type plays a crucial role in engaging young readers and enhancing their reading experience.
How Does a Publishing House Find the Right Illustrator?
The process of finding the right illustrator for a children’s book involves several steps. Ben Hughes, the deputy art director at Puffin, explains that his role involves “finding the appropriate style for a particular title/author/genre and book – whether it be fiction, picture book, non-fiction.” This requires a keen eye for detail and a deep understanding of both the story and the market.
When searching for something specific or new, Ben and his team often browse through social media platforms like Instagram and Twitter, as well as sites like Behance. They also attend degree shows and exhibitions to discover fresh talent. This diverse approach helps them identify unique styles and emerging artists who can bring a new perspective to their projects.
Building a Portfolio: Essential Tips for Aspiring Illustrators
Aspiring illustrators should be equipped with a portfolio of work that showcases their skills and style. Ben emphasizes the importance of regularly updating the portfolio with recent work. If an illustrator is new to the industry and hasn’t yet been commissioned for any work, Ben advises creating self-initiated covers – personal interpretations of a series or a classic work. This approach allows illustrators to demonstrate their range and creativity, which can be appealing to publishers.
Illustrator Nadia Shireen suggests that a portfolio should only contain work the artist feels proud of. “Include stuff that reflects what you really enjoy drawing, don’t try to copy styles or illustration trends too slavishly,” she advises. While it’s natural to be influenced by other artists, Nadia emphasizes the importance of showcasing one’s natural inclinations and unique style. This authenticity helps illustrators secure projects that they will enjoy and excel in.
Furthermore, Nadia highlights the importance of diversity in a portfolio. “Make sure you’re not including too much of the same thing, and remember what publishers will really want to see examples of.” Publishers and agents like to see that an illustrator can draw children and characters in action. Black-and-white pieces are valuable for those interested in middle grade or older fiction, and showing characters in dynamic situations rather than static poses can be very beneficial.
Collaboration Between Art Departments and Illustrators
The relationship between an art department and an illustrator is collaborative. When an illustrator is chosen for a project, it’s because their style fits the vision the art department has set, and there’s an inherent trust in their abilities.
For the book “Charlie Changes Into a Chicken,” Ben loved Sarah Horne’s interpretation immediately. “The Charlie she created was just perfect; I don’t think we even changed him,” he says. Ben provided pieces of text and rough descriptions, explaining that when the character Charlie gets worried, he transforms into an animal but has no control over what animal he changes into. Sarah uniquely added elements of Charlie to the animals, such as giving the bug the same hairstyle and matching the snake’s pattern to Charlie’s jumper. This creativity and attention to detail exemplify the kind of collaboration that brings a character to life.
Can You Make a Living as a Book Illustrator?
Becoming a successful book illustrator takes time and persistence. According to artist agent Jodie Hodges, “With books, it’s likely to take several years before you have a livable income – based on doing a few books a year, and illustrators should know it’s typically a two-year lead time between signing and a project coming out.” While illustrators do receive royalties, it can take some time for these to start coming in.
Transparency is crucial at every stage of the process. At the concept stage, publishers may ask illustrators to do sample work, which should be paid. Nadia mentions, “If they are a major publisher, and you’re a serious contender, that shouldn’t be an issue.” Ben adds that samples are usually requested for large projects where the publishing team is unsure about which artist to approach. “We will always offer a small fee for the work – but have to be careful in doing so as it eats out of a limited art budget.”
Illustrator Sarah Horne underscores the importance of persistence, “If you keep going for long enough, put in the hours, there’s a day that sort of sneaks up on you… Suddenly work is regular, it’s fulfilling creatively, you are making a living from it, and there is recognition of your skill and hard graft.” She notes that much of the outward success is the result of what happens beneath the surface. “Practice as an illustrator is always evolving, times change, and tastes change… I think it’s creatively healthy to be looking at what’s next, experimenting, and honing what you know to do.”
Developing Your Unique Visual Language
Illustrator Danny suggests that focusing on developing your own visual language is crucial. “If you can focus on developing your own visual language, it will be authentic and hopefully resonate with others.”
Now that you know what it takes to be a book illustrator, it’s essential to continually refine your portfolio and understand how to get an illustration agent. These steps are vital for anyone looking to establish themselves in the competitive world of children’s book illustration.
For more detailed guidance on perfecting your portfolio and navigating the industry, visit Craft 2 Publish and explore our range of services designed to support and elevate illustrators at every stage of their career.
