I was always a big reader growing up, and my hometown of Cheltenham, with its annual Literature Festival, sparked my fascination with the world of books. I became eager to learn more about publishing, so I volunteered at the festival and completed several internships during my late teens and while at university. Goldsmiths, University of London, was an inspiring place that further fuelled my passion for literature. The lecturers there – particularly Michael Simpson, Charlotte Scott, and Russ McDonald – were incredible. Their insight and enthusiasm for literature deepened my understanding and gave me the confidence to pursue a career in the arts.

After finishing my master’s degree in Bristol, I found there were very few publishing opportunities outside London. However, I was fortunate to secure my first editorial role with Parragon Books as an editorial assistant in their licensing department, working with major brands like Disney, Marvel, and Nickelodeon. During my time there, I worked closely with Karl Tall on design and Samantha Rigby on editorial, both of whom taught me so much. Their mentorship and expertise shaped my approach to book production and publishing, helping me understand the importance of collaboration between design, content, and production. The role was incredibly diverse – one day I could be working on an activity book for Frozen, and the next, planning a picture book for a new Pixar movie. It was a truly creative and collaborative environment that set the foundation for my career.

Since then, I’ve transitioned into working primarily on illustrated books, from non-fiction to picture books, which continues to be a hugely rewarding aspect of my career. Working with Denise Johnstone-Burt at Walker Books, a mentor I deeply admire, was an incredible experience. She encouraged me to push myself creatively and professionally, helping me to take on more responsibility and develop my editorial and design skills further. Her guidance has had a lasting impact on my approach to publishing, and I will be eternally grateful for her support in shaping my career trajectory.

One of the most memorable projects I’ve worked on recently is Beautiful: A Celebration of Evolution, a stunning natural history book by artist William Spring. Will’s hyper-realistic watercolour illustrations are breathtaking, and his dedication to showcasing the beauty of the natural world really shines through in the project. What made the collaboration even more special was that, during the production process, Will began losing sight in one of his eyes. His personal journey added a poignant depth to the book, as he shared not only his love for the natural world but also his reflections on the fragility of life. This book is a true labour of love, and being part of it has been eye-opening for me – especially in understanding the future of illustrated books, where we’re striving to preserve traditional art forms while adapting to new market demands.

Collaboration is at the heart of everything I do in publishing. I believe the best books emerge when everyone involved – designers, illustrators, and editors – works together to create something truly special. For example, this year I’ve had the pleasure of working with award-winning artist Emma Carlisle on her picture book A Home is a Nest. This beautiful book explores the concept of "home" through nature’s lens, drawing parallels between how animals care for their young and how humans care for their families. The project was incredibly rewarding, as Emma’s illustrations perfectly captured the warmth and intimacy of the theme. It’s a book made for sharing – whether reading aloud at bedtime or gifting to new parents – and working with Emma was a deeply inspiring experience as an artist who is so passionate about expressing the emotions of the story.

Beyond picture books, I also have the privilege of overseeing visually extraordinary non-fiction projects. One such book I’m particularly proud of is Money, which presents the history of money in a completely fresh way. Written by Alex Woolf and illustrated by Nick Taylor, Money takes young readers on a journey from ancient bartering to cryptocurrency and contactless payments. What makes it unique is its presentation – combining posters, comic strips, timelines, and newspaper articles to make a complex subject both accessible and visually striking. The collaboration between Alex, Nick, and the team was inspiring, as we worked together to ensure the book was not only educational but also captivating for readers aged 9+. It’s been incredibly rewarding to help bring this ambitious, fun, and engaging project to life.

In 2023, Big Picture Press celebrated its 10-year anniversary since the publication of Maps by Aleksandra and Daniel Mizieliński and Animalium by Katie Scott in the imprint’s debut year. Big Picture Press has made a lasting impact on the children’s non-fiction market, continuously reinvigorating it with a captivating range of illustrated titles.

This year, we expand the best-selling Welcome to the Museum series, which has sold over 2 million copies worldwide, by publishing its tenth title, Insectarium. This exciting new book brings together specialists like bee ecology expert Dave Goulson and award-winning British illustrator Emily Carter, in partnership with the Royal Entomological Society. Not only is it a visually stunning book, but it also addresses the critical issue of insect conservation, making it a must-have for nature lovers.

In addition, Big Picture Press is proud to publish picture book author-illustrator Emma Carlisle, whose What Do You See When You Look at a Tree? was shortlisted for the prestigious Waterstone’s Book Prize. Emma's work brings a unique blend of artistry and storytelling, and this particular book has captivated readers with its gentle exploration of nature, encouraging children to see the world through a fresh, reflective lens. Emma's exceptional talent and ability to create evocative, meaningful books make her an important part of our publishing success.

When browsing an artist's portfolio, I always look for authenticity. A portfolio should reflect an artist’s personality, interests, and the type of work they want to do in the future. It’s tempting to create work based on what you think people want, but I believe the best collaborations happen when both the artist and the publisher align on vision and style. For example, when reviewing portfolios, I look for unique perspectives – whether it's a bold new approach to classic subjects like dinosaurs or a fresh take on natural history. I also appreciate when artists push traditional boundaries, especially in non-fiction, which is something I strive for in my own editorial work. Ultimately, it's about finding artists who are passionate about their craft and who are excited about bringing their ideas to life in collaboration.

Time and money are often the biggest pressures in publishing, as in life. We always strive for high production values and artistic excellence, but we must also work within the realities of budget and timelines. Creating beautifully illustrated books is a delicate balancing act, and it’s critical that we consider not just the visual appeal of a book, but also how it will resonate with readers. A well-crafted book is not just visually captivating – it should also feel special in hand. We consider everything, from alternative formats to unique cover finishes, in order to ensure the final product stands out. Working with production teams and co-editors to meet target prices and build successful print runs adds another layer of complexity, but it’s all part of creating internationally renowned books that readers will cherish for years to come.

Today’s political climate has made us much more mindful of the stories we publish, particularly in terms of inclusivity and representation. We aim to ensure that our books reflect the diverse world in which we live, and that they encourage empathy, understanding, and critical thinking. It’s a time when books can play a vital role in shaping the way young readers understand the world, and we’re committed to telling stories that reflect the current challenges and conversations around social justice, climate change, and equality. At the same time, we also look to create books that offer escape, comfort, and hope, providing readers with a balanced perspective.

One example is Art of Protest, a thought-provoking exploration of protest art by activist and lecturer De Nichols. From Keith Haring to Extinction Rebellion, the civil rights movement to Black Lives Matter, the book examines how revolutions are expressed through words and images. It invites readers to analyse how design – colour, symbolism, typography, and technique – plays a vital role in communication, while also offering tips and activities to inspire readers to create their own protest art. Illustrated by a talented group of young artists from around the world, including Diana Dagadita, Olivia Twist, Molly Mendoza, Raul Oprea, and Diego Becas, Art of Protest is both an inspiring look at historical movements and a call to action for future activists and creators. It’s a perfect example of how Big Picture Press is using books to spark conversation and inspire change in today’s political climate.

I’m always drawn to timeless topics and themes – subjects that have stood the test of time and continue to capture children’s imaginations but presented in fresh and unique ways. Classic themes like dinosaurs, space exploration, animals, and mythology are perennial favourites, but the challenge is to present them in a way that feels new and exciting.

We’re also looking to expand into more highly illustrated adult books, as I believe there’s a growing market for design-conscious books among millennials. At Big Picture Press, we’ve been developing illustrated adult titles as part of our strategy to broaden our reach. For example, we published Tales Beyond the Stars: A Collection of Classic Science Fiction Stories this year, which blends sci-fi with stunning illustrations by comic book artist Evangeline Gallagher. This taps into the growing interest in science fiction and connects with readers in a way that’s visually captivating and intellectually stimulating.

I’m also keen to develop graphic novels and artist-led projects for both children and adults. Currently, I’m working on a new graphic novel with debut author-illustrator Elin Manon. This exciting project explores the creation of the Earth and the importance of conservation, bringing these big themes to life in an engaging and visually dynamic way. It’s a fantastic opportunity to work with a new talent and to explore how graphic storytelling can make complex topics both accessible and visually captivating.

I know this might sound a bit cliché, but my family has been my greatest inspiration. My mum, in particular, has always been my rock. She’s the one who helped me foster my love of books from a young age, helping me with my reading and spelling, and gave me the resilience to continue pursuing my dreams even when things got tough. Her favourite phrase, “Everything happens for a reason,” is one that’s always stuck with me. It might be a bit of a platitude, but it’s also a reminder to stay positive and have faith in yourself, even when things don’t go according to plan. Publishing is a creative and emotional field and having that kind of unwavering support makes all the difference.

Growing up, my parents always made time to read with me, despite their demanding jobs in the NHS. We read Roald Dahl together, with Fantastic Mr. Fox and Danny the Champion of the World being particular favourites. But one of the most meaningful books from my childhood was Can't You Sleep, Little Bear? by Martin Waddell and Barbara Firth. My dad would read it to me at bedtime, and I remember insisting that he never skip a word. Funnily enough, years later, I worked at Walker Books, where Can't You Sleep, Little Bear? was first published! My older brother, a philosopher at heart who is a talented writer and artist, also introduced me to authors like Tolkien, Poe, and Mary Shelley, which sparked my love of fantasy and horror. He often called me “Frankenstein’s monster,” which, I guess, was a fitting nickname for someone who spent a lot of time devouring books and imagining other worlds.

I was a Studio Art major at Middlebury College but have also always loved writing. A year after graduating, I returned to school to study Graphic Design at California College of the Arts (CCA). I knew very little about Graphic Design, but I knew that I wanted to work in the space where both words and images came together. My Type 4 class was a book design class, and it was the first time I truly experienced how my varied interests—design, writing, visual composition, storytelling, reading, learning—could all converge in one discipline.

After graduating from CCA, I worked at Elixir Design, a design studio in San Francisco where my main role was Art Director of the catalog for the newly launched company, Athleta. I then moved to New York where I worked at Tsang Seymour Design, a studio primarily focused on design for museums and galleries. After two years in New York, I returned to San Francisco and joined Chen Design where I was fortunate to design several book projects for Chronicle Books. When an opportunity for an Associate Design Director position became available at Chronicle, I applied and have been working at Chronicle—first in the Lifestyle group and then in Children’s—ever since.

I directly manage an average of 6–8 projects a season, two seasons a year, in addition to overseeing the Children’s Design team. Children’s books can take a while to create, so any of the designers on our team could be simultaneously working across three or four seasons of projects, at various stages of development. It’s a testament to the work we do and the respect for the individual story of each project that our books feel both distinctly Chronicle and one-of-a-kind.

Chronicle publishes a wide range of Children’s publishing—from board books to picture books, chapter books to middle-grade fiction, nonfiction to graphic novels, as well as non-book formats such as games and decks. As for illustration style, there is no singular Chronicle style. Rather, we partner with illustrators who bring their unique vision and perspective to the story. A commitment to their craft, collaborative spirit, and distinctive point of view are all hallmarks of the illustrators with whom we work.

For illustrators looking for portfolio advice, I recommend highlighting work that reflects the kinds of projects you’re interested in pursuing. And though other art directors might disagree with me, it’s okay to share multiple styles. I appreciate seeing any of the styles in which an illustrator enjoys working, including personal art and sketchbooks. Having insight into the art that illustrators choose to create on their own time, as well as work that reflects their process and interests, can be very helpful when selecting an illustrator for a particular project. You never know when your summer of sketching 100 dogs might translate into the perfect pup-centric picture book.

Often the author and illustrator for a picture book are different people, but occasionally the creator is both. Such is the case for Books Make Good Friends, written and illustrated by Jane Mount.

With manuscript in hand, the team determined the best trim size, page count, and production effects—in this case, gold foil on the title—and began the sketch and layout development. The sketch phase of any picture book involves several rounds of reviews and revisions, with an eye on consistency and alignment with the text, as well as overall pacing and composition. For this book, given the many references to real books, our review also included a fact check for accuracy. Once final sketches were approved, Jane finalized the art which was then placed into layouts along with final, designed text. We reviewed color proofs of these layouts, adjusted, and reviewed again until color was approved for print. At the same time, we reviewed multiple rounds of layouts, revising text and art as needed, until both Jane and the Chronicle team approved the final layouts. A highlight of the process was spotting all the details in the art—new details emerged with every read—and the personal touches Jane incorporated into both words and art (including Lotti’s Friend-Making Cookies recipe on the back endpapers).

I’m not exaggerating when I say that each and every book I’ve worked on has included at least one composition that has surprised and delighted me, moved me to tears, or prompted a tipping of my hat to the illustrator. On occasion, the art accomplishes all three.

A few examples: the use of color and medium to perfectly embody the joy and discovery of looking closely in Shawn Harris’s Have You Ever Seen a Flower?

I Wish You More, written by Amy Krouse Rosenthal and illustrated by Tom Lichtenheld, is a classic Chronicle book that continues to be a bestseller year after year, appealing to readers of all ages with its warmth and emotional connection. Press Here, written and illustrated by Hervé Tullet, is also a perennial favorite, inspiring readers to play, engage, and imagine through an elegant interaction with painted dots and a book that becomes much more than a gathering of pages. 

It's impossible to pick one most compelling projects - each project is compelling in its own right. But I can share an example of one book that exemplifies the innovation and collaboration inherent in Chronicle's publishing: Big and Small and In-Between, written by Carter Higgins and illustrated by Daniel Miyares. 

The team wanted to create an interactive book, one that is both an experience and a special object. From the 3-piece case to Daniel's paper-engineered section openers and grand-finale fold-out, the art and text—typeset in a custom font based on Daniel's handwriting—invite the reader into a simultaneously intimate and vast celebration of all of life's moments. The bookmaking process involved rounds of sketches, videos, mockups, discussions, and close collaboration between the creators and the Chronicle team and resulted in a keepsake-worthy book that evokes wonder and discovery, with you, the reader, “in the middle of it all.

Be true to yourself. Learn from others with regard to tools and craft but be confident in your own vision. Noone else can tell a story exactly as you can.

That said, publishing is a highly collaborative endeavor. Be open to suggestions while also sharing your perspective. Invite and participate in dialogue. Also, communication is key, especially with regard to delivery dates and possible challenges during the art development process. Your creative team is there to support and guide you through those challenges, but they won’t be able to help—and keep the project on track— if you don’t communicate.

The moment I accepted a job offer with Chronicle Books, way back in 2007. I knew that decision would be lifechanging and that I’d found my design home. I’m inspired every day by my teammates and creative partners and by the publishing and connections we create. 

I’ve been fortunate to learn from amazing teachers and leaders throughout school and my career, from my publishing peers and creative partners, from students and from readers who continue to find joy and comfort in books. I’ve been a professional designer for 27 years but continue to learn each and every day. There is so much yet to know.

Over the years, I often think of one of my favorite teachers at CCA, Jack Ford. He was a printmaking teacher at the school, and I can picture him clearly: mustache, Hawaiian print shirt, flip flops, a SPAM trucker hat perched on his head, a record on the print studio turntable and a fresh batch of habanero popcorn waiting to be shared. I took several classes with Jack but remember one day, in particular, in lithography. After Jack walked us through the basics of the printmaking process, he summarized it with the words, “Love your stone and your stone will love you.” I received these words as an invitation to slow down, focus, be patient and attentive with the process, an investment that would be returned tenfold in the final work. Although publishing doesn’t require coaxing stories from a stone, the attention to process and to the voice that wants to be heard, is one and the same.

The humor, warmth, and energy of Lian Cho’s Oh No, the Aunts Are Here and Laura Park’s Unstoppable, both written by Adam Rex.

Brendan Wenzel’s Two Together, the moment when Cat and Dog, after traveling side-by-side and experiencing the world in two very different ways, truly see each other.

For recent bestsellers, the Construction Site series has resonated far and wide, both the picture books and board books. We’re excited for the return of the Construction Site crew this Fall with both the Construction Site: Garbage Crew to the Rescue! picture book, written by Sherri Duskey Rinker and illustrated by AG Ford, and Construction Site: A Thankful Night board book, written by Sherri Duskey Rinker and illustrated by Helen Morgan.

Growing up, I could always be found with a book or a pencil in my hand. I wrote and illustrated my own stories and devoured the YA section at my local Borders. When it came time to decide on colleges, my guidance counselor wisely suggested I look into graphic design. This seemed to encompass all the things I loved, an intersection of words and images. Before this, I never thought that there were people whose job it was to make books!

I studied Communication Design at Carnegie Mellon University, and was lucky enough to land an internship in the design department at HarperCollins Children’s Books between my junior and senior year. I began working there full time after graduation as assistant to the creative director, and grew from there. After 5 years at Harper and 1 year at Quirk Books in Philadelphia, I returned to NY to work at Macmillan  at Children’s Book Group as a Senior Designer, then Associate Art Director, and finally Art Director!

In my current role, I am responsible for the cover and interior design of middle grade and young adult fiction and nonfiction. This includes reading manuscripts, coming up with ideas for the cover, artist research, presenting cover concepts to multiple stakeholders, hiring and art directing artists, and creating print-ready jackets and cases. I also create the book interiors, choosing fonts and layout and adding art when necessary. As an art director, I have my own list of titles and also oversee two designers and their lists as well. 

A big part of the job that I didn’t necessarily anticipate when I got started was the importance of communication. I liaison with many different departments and have to be able to express what can be complex ideas in meetings and in writing over email.

The best part about book design is that every day and every book is different! Each project has it’s own voice and I love getting to work with so many different artists, authors, editors, and collaborators.

It’s so hard to choose! I’d have to say Dumplin’ by Julie Murphy, A Face for Picasso by Ariel Henley, A Tempest of Tea by Hafsah Faizal, The Ones We’re Meant to Find by Joan He, and Eagle Drums by Rainey Hopson

Every book presents different challenges, but one that comes to mind is The Ones We’re Meant to Find by Joan He. The story tackles things like sisterhood, climate change, and a dystopian future, which can be difficult to visualize. And the read is so good that I wanted to make sure the cover did it justice! I started out with some photographics directions, then some that were more type-driven, before we ultimately went with an illustrated approach. There were a lot of comps on the cutting room floor, but I Iove where we landed!

Design works closely with Sales to make sure that the covers we’re creating are a good fit for the market and our target audience. We hold meetings with Sales and Marketing to share the different stages of a cover, from sketches to final art, to make sure they will appeal to the readers we’re hoping to reach. We each bring an area of expertise so that we can create the strongest final product!

I’m working on a new middle grade right now with Vanessa Flores and the cover sketches she sent in had so much action and personality! I love that her characters always feel so genuine and spunky. The art has wowed me at every stage and I can’t wait to share the final cover soon. 

I love getting to work with so many talented illustrations, some of whom I’m already a fan of!! The cover of Sawkill Girls was based on a Ruben Ireland print I had hanging in my living room for years. The cover art for Dumplin’ was inspired by an artist promo I received in the mail. I discovered Liliana Rasmussen, artist for A Tall Dark Trouble, at a local art fair and knew I wanted to find a cover project for her. 

Working in kids’ books is a unique joy. I am always working on a wide range of projects, from a spooky middle grade to a touching memoir to a sweet YA love story. This gives lots of opportunity to work with new artists and new imagery that keeps things interesting (and inspiring)!

The best advice I can give is to fill your portfolio with the type of work you want to be hired for, whether that is a certain subject matter or age range. I want to hire artists for work they are excited about and that we can all feel confident in! I would also encourage artists to include a bio and a bit about themselves. Finally, make sure you include an active email so I can contact you about working together :)

An art director once emphasized to me the importance of maintaining relationships. Publishing can be an insulated industry, and it’s always valuable to maintain connections as you often reconnect with old colleagues and friends. I would also encourage those that are interested in breaking in to reach out to the people who worked on books you love! Building these relationships is important to help make publishing more transparent and accessible to new talent. 

A few years ago I visited my old high school to talk to the art classes about cover design. After I shared a bit about what I do and some of the books I’d worked on, one of the students came up to say that a book I’d designed was her favorite, and how excited she was to meet me. It’s always exciting to see the work we do out in the world, and that is made even more special when it connects with readers!

From as young as I can remember, I LOVED picture books. But more so for the visual aspect – getting lost in the world they create and the detail on the spreads. One of my earliest memories was reading the Lion and the Mouse in reception class at school. I was obsessed with the illustrations and I drew my own version of the cover. That day when I came home from school, I told my Mum that when I was older I wanted to “make” picture books. I feel so incredibly lucky that my journey has led me to where I am today.

After a very arty and creative childhood, I went on to study a degree in Illustration at the University of Cumbria. Both the Illustration and Graphic Design courses ran alongside each other, so we had the opportunity to dabble in both. It was when I got to second year that I realised graphic design was my true calling. I particularly recall doing a book cover project that I absolutely LOVED! In 2015, Scholastic came across some of my work at a degree show I was attending in London. I jumped at the chance to send them my portfolio, not really knowing what would come of it, and I was ecstatic to get an interview for their Junior Designer position. After a second interview and a one-word design challenge, I got the job and started at Scholastic in 2016 – I have been thanking my lucky stars ever since! I hit the ground running and with an abundance of unicorn, rainbow poo, dancing dogs and celebrity books under my belt, two promotions and a baby(!) later, I landed the role as Design Manager for Illustrated Books in January of this year. As well as continuing to work on the fiction and non-fiction list, part of my role now means I get to work very closely with the Picture Book team and oversee many of our fantastic titles, scouting out new illustration talent and collaborating with the team, to create new and exciting ideas. My almost two-year old has now become somewhat of a book guinea pig and I can’t wait for him to grow up with the books that I have been part of creating. (Yes, I was ‘that mum’ who sent my child to nursery dressed as a character of one of the books I designed for World Book Day… and I will do it again!)
 

Dogs Don’t Dance is a fabulous picture book that published in February this year, written by Strictly and CBeebies Toddler Club star, Gemma Atkinson. We were in search of a commercial illustrator who could capture lovely humour and interaction, particularly in their animal characters. I came across Lisa Hunt, who is agented by Susan Penny at the Bright Agency, and instantly thought she could be a perfect match! We asked Lisa to do a sample of the two main characters Dusty and Dave – two dachshund siblings who couldn’t be more opposite.

When we shared Lisa’s cheeky characters, there was no doubt from the reaction in house that she was the artist for the job. I supplied Lisa with a layout of the book and a loose artwork brief for each spread, asking Lisa to have fun with it and insert humour where she saw fit. And boy, did she deliver… Not only was Lisa super fast in sending us the rough artwork, but it was also fabulous! So many ‘ooh’s’ and ‘aahh’s’ came from that design meeting, (which is always lovely!). We of course had some comments and suggestions along the way, but nothing was too much trouble for Lisa and we both had SUCH fun bringing this book to life.

This question is a very hard one as I have collaborated on so many amazing books. But if I had to narrow it down, I would have to say, Lightning Girl by Alesha Dixon, Omari McQueen’s Best Bites Cook Book and the Stephen & Anita Mangan series. There are so many more I could name, but these three will always stand out for me.

When I first started, I had the opportunity of working with Alesha Dixon on her debut children’s book, Lightning Girl. This was one of the first high profile fiction series that I worked on, and although it was a little daunting at first, with so much promise expected from the package, I absolutely loved working on these books. Creating the Lightning Girl branding and collaborating with Steve Simpson and James Lancett to bring the vision to life was amazing. Alesha Dixon and Katy Birchall were the perfect pairing and SO lovely to work with, which made it all the more rewarding. The Lightning Girl series has remained one of our best-sellers and I’m extremely proud that I was part of its creation!

Omari McQueen’s Best Bites Cookbook was a special project for me. I came across an article about Omari whilst travelling into work one day on the tube. I instantly thought, ‘we need to work with this young chef!’. As a bit of a foodie myself, the prospect of proposing the idea of a cookbook with Omari was very exciting! The team got on board, and we invited Omari and his family into our office to pitch him our idea (I like to think the vegan cupcakes I baked for the pitch sealed the deal!). The seed of that idea led to us creating a fabulous vegan cookbook for kids called Omari McQueen’s Best Bites. Omari and his family were amazing, and Omari’s positive attitude proved that if you’re determined to put your mind to something, you can make your dreams come true. He really is an inspiration, and I am so glad that I came across him that day on the tube.

The Mangan’s books are one of my more recent projects, with The Day I Fell Down The Toilet which published in April this year. Stephen and Anita are a fabulous brother and sister duo and together create such exciting, inspiring, and hilarious books. I’ve had the pleasure of working closely with Anita on four of these books and each time has been a joy, even with our super tight, if not slightly stressful deadlines! Anita’s artwork is so quirky and full of humour and warmth – you never quite know what she is going to send in next and then bam, you have an ogre doing the chicken dance! Being part of the process in bringing these wacky ideas and characters to life will always remain one of my highlights.

Squirrel from the best-selling Leaf Thief series by Alice Hemming. Illustrator, Nicola Slater (member of Childrensillustrators.com) captures his humour PERFECTLY! Just look at these examples of Squirrel… need I say more?

It is totally dependent on the project, audience and market we’re aiming for. We publish such a vast array of subject matters and stories for different audiences, cultures and ages, so we’re always on the hunt for different styles of illustration. If I had to pinpoint a style, I would say that for the majority of my titles to date, I’ve been in search of more commercial styles with a bright colour palette and endearing characters full of personality and humour. The characters are crucial in bringing the book to life – especially in picture books; so it’s vital to find an illustrator who can carry the feel of the book and immerse themselves in the story. You can always tell when an illustrator is having fun with their work as it shows in their art and makes for a successful book.

I have a particular love for patterned and decorative illustration, especially anything linked to animals – being a mum to a Husky and two Bengal cats, I am a bit of a crazy animal lady! So whenever I come across an artist that catches my eye, I keep them in my back pocket ready to put forward for the next beautiful non-fiction or novelty project. We’ve also been known to create projects to pair specifically with illustrators that really stand out to us – we love to collaborate!
 

I think the proudest moment in any book designer’s career, is the moment you see one of your books in a book shop and watch a child pick it up. Nothing can beat it and it means more than anything knowing that something you have helped to create has made its way into the hands of a budding reader. I know how much I valued my favourite books as a kid, and young Aimee would be so proud that I’m now part of creating that for kids today.

I also have to give a mention to the time that I was featured on a book cover with my cat – that was a real win for the crazy cat lady in me!

Scholastic Children’s books have published some absolute gold over the years – being the largest publisher of children’s books in the world means we’re home to a huge range of best-sellers from picture books all the way up to YA. One of our most recognized is probably the Hunger Games series by Suzanne Collins which as I’m sure you know, has made its way onto the big screen! We’re also home to many of Julia Donaldson and Axel Scheffler’s picture books, such as Stick Man and Zog, in the fabulous Alison Green Books imprint. And Liz Pichon’s Tom Gates is one of our all-time best-sellers having sold a whopping 16.5 million copies in 47 different languages. I was once involved in a World Record attempt for the largest disco dance at a primary school in celebration of the release of Tom Gates Epic Adventure. Liz Pichon herself was there, and we managed to secure the World Record!

Without a doubt, this has to be The Day I Got Trapped in My Brain by Amy Hubberman. It’s a beautiful story about 11 year old Frankie Finkleton who finds herself dealing with grief in the most imaginative and heart-warming way. Frankie lives with a world inside her head called Thoughtopolis, full of weird-and-wonderful places and creatures, and together with her brother, Fred, and dog, Blue, they encounter all kinds of wild adventures. Until one day, Frankie gets trapped, and has to uncover a secret hidden deep within her if she is to get back to the Real World. I won’t say anymore, as I don’t want to give anything away. I was the designer on this book and so I had the pleasure of reading the manuscript whilst placing in all of the art and watching it come to life. I was HOOKED and I very literally could not stop reading. I think for most of the last third of the book, I was reading through tears. Granted, it probably didn’t help that I was pregnant at the time (!) but the emotion and message that Amy gets across in her writing, paired with the super sweet and hilarious illustrations by Katie Kear, is just so touching and downright genius. I highly recommend giving this book a read – but be warned, you need to have your tissues at the ready!

As well as The Lion and the Mouse, The Rainbow Fish, was another of my favourites growing up. So much so, when it was time to pick another book from the shelf at school, I would scramble to search out that sparkly fish scale. Again, it was more of the visual that appealed to me… I loved the holofoil finish (probably where I get my expensive foil taste from now!), and I just loved getting lost in the underwater scenes. Something about all of the lovely blue and pastel textures was dreamy.

I have to give the adorable Owl Babies a mention, as it was another of my staple books growing up. Like I said, I am and always have been a ‘crazy animal lady’ and I’m a sucker for a cute baby animal. Those gorgeous fluffy feathers – who could resist! I have actually just had the pleasure of working on a beautiful book called Unicorn Babies which took me right back to my childhood of reading Owl Babies. Unicorn Babies written by Lucy Rowland and illustrated by Tilia Rand-Bell is due to publish next year and we’re super excited!

These days, I love beautiful, gifty, pattern books – the chunky ones that are a real coffee table head turner. One that I have always admired for its lovely large format, beautiful typography and gorgeous textured illustration style is the Animalium book. Again, the animal theme creeping in!

My Creative Director, Andrew Biscomb has without a doubt been my biggest supporter since day one. He has taught me so much over the years, not just in the world of publishing and children’s books, but also about life itself. His knowledge and advice is invaluable, and I can categorically say that I would not be the person I am today without him. I am so incredibly grateful that I have been able to work with Andrew for the best part of a decade and soak up all of his design greatness. Our team really is like a little family and that is all thanks to Andrew.

I also have to give a mention to the hugely talented, Sean Williams. Sean was appointed as my line manager when I first joined Scholastic as a young junior designer. He took me under his wing and shared all of his tips and tricks in the world of book design. I will be forever grateful to Sean for giving me such an amazing start to my career and giving me the confidence to believe in myself.