Tell us a bit about your professional background and how you came to your current role as Art Director at Macmillan Children’s Book Group.

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!

Could you describe your role as book designer and give an overview of what a typical day can involve?

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.

You've art directed many award-winning YA book covers. Could you select 5 of your favourites to share with our audience?

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

What's been the most challenging book cover design you've worked on?

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!

Describe the relationship the design team has with the sales department and how much influence they have on the art direction process.

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!

Walk us through your last 'wow' moment upon receiving an artist's sketches for the first time.

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. 

Designing covers for a range of ages and genres must keep things really interesting. Tell us about some of the most memorable collaborations you've had with illustrators.

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)!

What should members of Childrensillustrators.com looking to appeal to Macmillan include (and avoid) in their portfolio?

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 :)

Who has given you the best advice throughout your career?

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. 

Can you share the best response you've received from a reader?

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!