Who or what made you want to become an illustrator?

Who or what made you want to become an illustrator?

I was the child who was always drawing. I drew at school, at home, at breakfast time, and every spare moment in between. Drawing wasn't a hobby I picked up later in life; it was simply what I loved to do.

I also spent a lot of time looking through books. I still remember sitting in the supermarket book aisle, happily flicking through picture books and studying the illustrations while my family continued shopping. I was fascinated by the artwork, the characters, and the worlds artists could create on a page.

As I grew older, that love of drawing never really left me. While I enjoyed reading and discovering new stories, it was always the illustrations that captured my attention first. Becoming a children's book illustrator felt like a natural way to combine those two lifelong interests: drawing and books.

Today, I still approach every project with the same excitement I felt as a child opening a beautifully illustrated book for the first time.

Where do you currently live and where did you grow up?

Where do you currently live and where did you grow up?

I currently live in the UK with my husband and our two children, but I grew up in France and remain deeply attached to both cultures.

Having roots in both countries has influenced my work in many ways, from my love of illustrated classics and traditional storytelling to my appreciation for beautiful landscapes, architecture, and atmosphere. I enjoy drawing inspiration from both British and French culture and feel fortunate that illustration allows me to work with authors, publishers, and organisations from around the world.

One of my favourite aspects of being an illustrator is the opportunity to collaborate internationally and help bring stories to life for readers across different countries and cultures.

Was creativity part of your childhood?

My parents played a huge role in nurturing my creativity. They always encouraged my love of drawing and made sure I had plenty of paper, pencils, and freedom to create. Whether I was drawing at the kitchen table, on the floor, or filling page after page with sketches, they never treated it as a phase or a distraction. They genuinely celebrated it.

Looking back, I realise how important that encouragement was. Having people who believed in my passion gave me the confidence to keep developing it as I grew older. Drawing became such a natural part of my daily life that I never really stopped.

I feel very fortunate to have grown up in an environment where creativity was welcomed and supported, and that early encouragement continues to influence the way I approach my work today.

What was your first commission as a professional illustrator?

My first commission was a children's book series about a little puppy who is found and adopted by a loving family. The stories followed her adventures alongside the family's children, and it remains a project that is very special to me.

It feels like a lifetime ago now, and if I were illustrating those books today, I would undoubtedly approach many things differently. Like most creatives, I've grown a great deal since then.

What makes the project so meaningful, however, isn't just the artwork itself. It was the first time someone placed their trust in me as an illustrator and believed that I could help bring their story to life. That experience gave me the confidence to pursue illustration professionally and showed me what was possible.

Looking back, I feel a great deal of affection for those books. They represent the beginning of my journey as a children's book illustrator, and I suspect they will always hold a special place in my heart.

How many times do you tend to draw a character until you are happy with it?

How many times do you draw a character before you feel you've found them?

The honest answer is: as many times as it takes.

I often describe character design as looking for someone who is already waiting at the tip of my pencil. My job is simply to keep sketching until I find them. Sometimes that happens very quickly, and sometimes it takes several days of drawing, stepping away, and coming back with fresh eyes.

What I've learned over the years is that there comes a moment when a character simply feels right. Their personality begins to emerge, their expressions make sense, and they start to feel less like a drawing and more like someone who belongs in the story.

Interestingly, when I present several character options to a client, there is usually one design that I secretly feel is the right one. More often than not, the author chooses that same character. I always find that fascinating.

Character design can feel surprisingly intuitive. While there is plenty of thought and craftsmanship involved, there is also a sense of discovery. Rather than forcing a character into existence, I feel as though I am uncovering someone who was already waiting to be found.

Which project has been most instrumental in developing your personal style?

Which projects were the most instrumental in defining your style?

Interestingly, I don't think it was a client project at all.

The biggest developments in my style happened when I made time for personal work. When you're working with clients, you're naturally balancing their vision, their audience, and the needs of the project. Personal work gives you the freedom to explore what genuinely excites you as an artist.

Whenever I've taken time away from commissioned projects to draw purely for myself, I've noticed my work evolve significantly. Those are often the moments when I discover new techniques, refine my visual language, and gain a clearer understanding of what I want my illustrations to feel like.

Looking back, many of the qualities that define my work today, the warmth, atmosphere, use of light, and love of timeless stories, were developed through personal projects rather than client briefs. In many ways, personal work has been the greatest teacher in shaping my artistic style.

Talk us through the process of creating one of your latest illustrations or books.

Talk us through the process of creating one of your latest illustrated books.

Every project begins with a conversation. Before I put pencil to paper, I like to spend time understanding the author's vision for the story, the characters, and the atmosphere they want to create. The more I can understand what they have in mind, the better I can bring that vision to life.

From there, I move into character design. Finding the right character is one of the most important stages of the process, as it helps establish the visual identity of the entire book. Once the characters have been approved, I begin sketching the page layouts and illustrations.

Throughout the sketching phase, I share my progress through a dedicated online platform where the author or client can view updates as they happen and leave feedback directly on the artwork. This allows us to collaborate closely and make adjustments early in the process. I encourage feedback at this stage and offer unlimited revisions to ensure we're building the strongest possible foundation for the book.

Once the sketches are approved, I move into the colouring stage. This is often my favourite part of the process, as the characters and environments begin to come to life through light, colour, and atmosphere. The client continues to receive regular updates, and we work together to refine the illustrations until they are completely happy with the result.

Alongside the artwork itself, I also prepare the page layouts, text placement, and print-ready files as the project develops. Before final delivery, I like to review the book as a whole, often printing a mock-up version to check pacing, page turns, and the overall reading experience. Viewing a book in physical form often reveals small details that can easily be missed on a screen.

The final stage involves a thorough review and any remaining refinements. By the time the book is complete, my goal is for the author to feel confident that every page has been carefully considered and that the finished book truly reflects the story they set out to tell.

How long does it take on average for you to finish a spread, from initial sketch to final colour?

It varies depending on the complexity of the scene, the number of characters involved, and where the illustration sits within the overall book, but a typical spread will often take several days to complete from initial sketch to final colour.

The process begins with rough sketches and composition, followed by revisions and feedback before moving into the final artwork. Once the drawing has been approved, I focus on colour, lighting, atmosphere, and the small details that help bring the scene to life.

While the painting stage is often the most visible part of the process, a great deal of time is also spent thinking, planning, and refining. Some illustrations come together very quickly, while others require more experimentation before everything feels right.

My priority is never speed for its own sake. It's making sure that every illustration serves the story and feels fully realised before moving on to the next page.

Share your favourite piece of artwork from your portfolio and walk us through its creation.

At the moment, my favourite piece is The Little Prince and the Rose.

Part of the reason is that the story itself means a great deal to me. I grew up with The Little Prince, and my mother used to read it to us before bedtime. She had a wonderful reading voice, and I still associate the book with those childhood moments of wonder, comfort, and imagination.

I created this illustration during a Christmas break, purely for myself. While I was drawing, I listened to the audiobook and found myself rediscovering just how poetic and unique the story is. There is an innocence to it that feels incredibly rare. It speaks with the simplicity of a child while exploring ideas that stay with you long into adulthood.

When creating my interpretation of the Little Prince, I wanted to capture that sense of wonder and delicacy. I imagined his golden hair drifting weightlessly through the stars and tried to create a feeling of quiet magic, gentleness, and curiosity. I wanted him to feel small against the vastness of the universe, yet completely at home within it.

Personal projects often allow me to explore the themes and atmosphere that inspire me most, and this piece feels very close to my heart. It combines many of the things I love in illustration: light, imagination, classic literature, and the enduring sense of wonder that great children's books can create.

Which area of children’s publishing excites you the most?

What area of children's publishing excites you the most?

I have always been especially drawn to stories that feel timeless.

If I had to choose, I would say illustrated classics, faith-inspired books, and Christmas stories are the areas of children's publishing that excite me most. These are the books I naturally gravitate towards as both a reader and an illustrator.

I love stories that carry a sense of wonder, warmth, and imagination, whether that's through a beloved classic, a beautifully told Bible story, or a Christmas tale that becomes part of a family's traditions. There is something special about books that are revisited year after year and passed from one generation to the next.

As an illustrator, I enjoy creating artwork that supports that feeling through atmosphere, light, and memorable characters. These kinds of projects allow me to combine many of the things I love most: beautiful storytelling, meaningful themes, and artwork that invites readers to return to the page again and again.

Have you visited any schools to speak or hold workshops?

Do you visit schools and hold workshops?

Yes, absolutely.

I regularly take part in World Book Day events and enjoy sharing my experience as a children's book illustrator with young readers and aspiring artists. I am available for school visits, illustration workshops, creative clubs, and author-illustrator events.

My sessions can be tailored to different age groups and may include live drawing demonstrations, character design activities, behind-the-scenes insights into creating children's books, and interactive illustration workshops.

I am available for bookings in Worcestershire, Surrey, London, and Kent, and I'm always happy to discuss opportunities in other locations where possible.

If you are interested in arranging a school visit or workshop, please feel free to get in touch.