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.

I was an avid reader as a child, but never really thought about that as a career. I studied Advertising, Anthropology, and Studio art in college so moved to New York for Advertising. After quickly realizing that was not for me, I found my way to an internship at Penguin Young Readers Group and I fell in love with the whole process of how books were made. From there I worked on all types of books from readers and chapter books, to licensing and IP, to graphic novels and non-fiction, completed my Masters in Publishing at NYU, and worked with some amazing people along the way. I remember reading about Odd Dot when they first launched the imprint and was so impressed with all their innovative ideas. When they were looking for a new Creative Director a previous colleague recommended me to the role and as soon as I met the team I knew it was a place I wanted to be.

It's a tough choice, but these are 5 that I think epitomize Odd Dot's ethos of learning and exploring through play.

Pop-Up Planetarium: This book includes a starwheel in the cover to encourage users to get out and see the stars they are learning about in the book, but also has a pop-up in the back that you can put a light under to shine stars on your ceiling inside. We hired an amazing cut paper artist, Sarah Dennis, as a nod to the paper elements in the book and she really brought all the constellations to life.

Historically we've had a 10 person team with a mix of designers, innovators, editors, and production experts so that we can create about 20-30 books a year. Moving forward Odd Dot will publish a substantially smaller, more tightly curated list of titles, focused on both author-driven brands and select licensing opportunities.

Since I'm reviewing portfolios with book design in mind, style consistency really stands out as someone who would be able to maintain that look for a full project. In addition, something with a unique look and feel that matches the Odd Dot aesthetic also helps portfolios stand out.

Professionalism including answering emails, understanding deadlines, asking questions, giving and receiving feedback...it really is a collaborative experience so the more we can communicate and work together the smoother the process will be and hopefully we can push each other to make the best book possible.

At Odd Dot every project is unique so that creates some interesting challenges from the actual production of the book and creating dummies and mock-ups to help the printers understand the vision and explain what's doable to explaining to sales, marketing, and our customers what the books are. We love getting books in people's hands because we always like to exceed and surprise readers once they start exploring the book.

We have a book coming out next year called Read-and-Play Rocket. It's a board book that's shaped like a rocket with all kinds of wonderful information inside about the history of rockets, how they work, who was involved and more. And then the cover has velcro so it can be fully opened to create a 3D rocket that you can play with. This was a very typical Odd Dot creation as the idea was brought to our weekly brainstorm meeting, then went to our smaller Odd Squad to work out the details. Next we start to work on in-house prototypes, created by our amazing maker Phil Congliaro, so we can start talking to printers to see what is doable as well as present the idea to sales. Once the idea was approved we looked for creators to collaborate with and were so excited when author Bridget Heos and illustrator Sona Avedikian agreed to work with us to bring the project to life.

We're always interested in illustrators who can present non-fiction factual images in a fun, bright, colorful, engaging manner.

I'm especially proud of our Outdoor School series, it was an in-house generated idea, but then we brought together an amazingly talented group of artists, authors, copyeditors, fact-checkers, plus our in-house team to build a full brand that has something for everyone and encourages outside exploration. This was also fully designed during the pandemic so it involved lots of creative pivots in how we work together to get the books completed in a remote setting.

Working with the Odd Dot team to create joyful books for creative minds has been my dream project so we'll see what the future brings.

Outdoor School: This is a series that was inspired by Macmillan's backlist Golden Guide book art. The company still had some of the original art in storage and we were able to get it rescanned and reached out to some of the original artists, including John. D. Dawson, to create a whole new series that encourages kids to open the door and go outside. It was a big project including definitive field guides with metal corners, flexi binding, and a ruler on the back meant to be thrown in your bag for outdoor adventures, to waterproof/tearproof essential guides, to sticker books exploring all different topics. It was a true team effort!

Sticker Jigsaw: This was inspired by the puzzle craze during the pandemic. One of the core elements of Odd Dot's creative process is a weekly brainstorm meeting so this idea came from those discussions on how to make jigsaw puzzles portable while still being engaging all while creating a keepsake of your favorite public domain stories.

Fairy Tale Science came to us as an outside submission but was such an Odd Dot idea we couldn't pass it up. Could Cinderella's glass slipper really hold up a human, or would it really be possible to climb up human hair? This book explores classic fairy tales and tests the stories using real science experiments kids can do at home.

And finally the Antiquarian Sticker Book: Imaginarium. I can't take credit for this one, the first book was conceived as the coolest, biggest, most impressive sticker book you've ever seen. It's hardcover with gold foil and over 200 pages of stickers. Imaginarium was our 3rd in the series and it was such a joy to work with fellow designer and original collage artist Tae Won Yu on this one.