Like most people in our wonderful industry, I've always been a bookworm. My route in started when the opportunity arose to work Saturdays doing editorial for the Gardening list at DK, which I grabbed with both hands. After about six months, I left my PA role to join the team full-time. From there, I moved to the Jackets team, writing copy for children's and adult titles and ensuring cover art hit key sales deadlines, before transitioning permanently into Children's publishing, where I've been ever since.

I was given the Ted Smart DK Animal Encyclopedia for my birthday when I was little and became completely obsessed with it. That exact book is still in print and sits on the list I look after today, which is a real full circle moment. I'm unbelievably lucky to publish across such a wide spectrum; from baby board books and illustrated non-fiction to gift titles, middle-grade, and YA fiction on our DK flip list. I was lucky enough to always be taken to the library and be gifted books, and I was constantly reading or listening to audio tapes. While I don't think any single book defined my path, that childhood exposure is why we strive at DK to offer immense variety. You never know which book will be the one for a young reader.

It evolved very naturally. We had already begun branching into gift titles, preschool, and picture books with a non-fiction heart, exploring new formats and identifying market gaps beyond purely photographic layouts.

While at the Bologna Children's Book Fair, I met with Jenny at Nurnberg, Cornelia Funke's agent. She mentioned a brilliant new manuscript Cornelia had submitted, and I tried my luck by asking to read it. Once I read it, the hard work began because we needed to show Jenny and Cornelia how a middle-grade fiction title could thrive on a DK list; a list that historically focused only on non-fiction. They put their trust in us, and we published The Green Kingdom in March 2025. After securing UK and Commonwealth rights, we acquired US rights as well, and it became an instant New York Times bestseller. Arabella Stein joined us in January 2024, and together we rolled up our sleeves to build the DK flip imprint from the ground up.

Wildly different! In a single hour, I might be evaluating the fluffiness of a bunny's tail on a board book, refining the mechanical pop-up of a novelty title, discussing jacket design for a YA trilogy, and jumping into an auction for an outstanding debut non-fiction pitch. Balancing such a broad range of formats, creators, and genres is fast-paced, but that dynamic energy is where the best ideas are born. We have an extraordinary team of editors and designers who flex seamlessly across different book styles so I am very lucky to be part of that team.

It was equal parts daunting and thrilling! Moving at full speed, you rarely get a moment to catch your breath. It wasn't until Bologna, when we celebrated DK flip's first anniversary, that I paused to reflect on what the entire team had accomplished. That was a deeply rewarding moment.

We simply look for exceptional storytelling. Beyond reviewing submissions, Arabella and I spend a lot of time discussing the exact stories we wish existed and reaching out directly to creators we admire, Elodie Harper being a fantastic example. The core identity of DK flip is publishing the best book you haven't read yet. Every author, illustrator, and title earns its spot by bringing something distinct and memorable to a child's bookshelf.

The transition was wonderfully natural. Coming from a non-fiction background, our design and editorial teams are hyper-focused on visual appeal, print finishes, and paper quality. Rather than imposing a single DK flip look, our approach is entirely author and illustrator led, ensuring the visual execution feels tailored to each unique narrative.

Tractors in Space actually landed on my desk as a non-fiction proposal from Ross. But the sheer playfulness of the premise made it clear it needed to be an energetic, story-led picture book. What made the pairing work was the balance of Ross's snappy, humorous rhythm with Alex's vivid, character-driven artwork. In picture book pairings, we look for art that doesn't just mirror the text, but actively adds a second layer of storytelling and comedy.

With subject specialists, the starting point is often deep authority; taking complex expertise and translating it into accessible, fascinating hooks for kids. With household names, the magic lies in authentic motivation: why is this specific person passionate about sharing this message with children? Whether it's Rose Ayling-Ellis championing inclusivity or Dr Fern Riddell reframing history, the narrative must stem from genuine heart.

Fern has a brilliant ability to blow the dust off history and present it as vivid, human drama. We wanted to challenge the traditional, polished narrative of royal history and show young readers the rebellious, chaotic, and unconventional figures who actually shaped the past. It felt essential to publish because it encourages kids to critically question history rather than just memorise facts.

Preschool is where a child's relationship with books begins. Commissioning for this age group is a tactile, sensory experience - you are thinking about physical formats, lift-the-flaps, textures, and read-aloud rhythms. Unlike older fiction, where the story unfolds in the reader's imagination, preschool books rely entirely on immediate visual interaction and shared bonding between parent and child.

I look for artwork that tells a story entirely on its own - where a character's posture or a background detail reveals something extra. A distinct, memorable visual voice always stands out over generic trends and often we'll save illustrators we just LOVE but don't quite have the right home or manuscript or subject for yet.

It works both ways! Sometimes a manuscript immediately calls for a precise visual style, like high-energy graphic lines or soft, painterly textures. Other times, like I said above, we keep portfolios on file for months waiting for the right manuscript to match an illustrator's unique style. We often create mock-up spreads to test how an illustrator's world integrates with the author's text before making a final decision.

Collaborating with Melissa Castrillon on The Green Kingdom was unforgettable. Translating Cornelia Funke's lush world into delicate, magical jacket and inside illustrations required delicate balance. Seeing Melissa's artwork bring the subtle details of that world to life was magical for the entire editorial team.

The overwhelming industry support validated our belief that there was room for DK to bring its distinct production value and passion to fiction. It gave us the confidence to expand our scope - reaching further into YA, exploring bold cross-genre debuts, and continuing to take ambitious creative risks.

International appeal is in DK's DNA, but with fiction, story must always come first. We look for universal themes, friendship, courage, mystery, and wonder, that resonate across cultures. If a story is genuinely compelling, international partners naturally want to bring it to their territories and the way we design spreads will never change. You can always take a spread out of a non-fiction book and be able to read it as a standalone and that will also appeal to all markets and all children as it's universal. All editors are also trained in editing and working with a designer to leave space for translation - it's probably the most repeated phrase in meetings.

Showcase variety in your portfolio, but stay true to your signature style. Include examples of sequential storytelling, varied character expressions, and diverse backgrounds. Don't try to fit a perceived style just because you think it's trendy or of the moment - we want to see your unique artistic identity and how it can elevate our titles.

I am hugely excited for readers to discover The Sign of the Raven by Pippa Dunn. It's a gripping, atmospheric adventure that pulls you in from the very first page and showcases DK flip's bold storytelling direction. The worlds that Pippa has created are completely unforgettable - once you dip into it you don't want to come out of it.

If I am totally honest - I love listening to audio books and podcasts while I am walking the dog. I'm a big fan of visiting art galleries, going to the theatre when I can and watching film adaptations to see what's trending and what's working and actually what's not. I'm currently reading a mix of cosy crime and a historical which I am loving plus some middle-grade debuts! But also a cheeky doom scroll is always helpful to see new palettes, ideas, and new book reels...

My morning starts with catching up on emails - I wish I could say something fun and cosmopolitan here, but I can't. I literally check my emails. This is followed by editorial and cover-design meetings where we review artwork and layouts. Afternoons are spent pitch-planning, chatting with literary agents, negotiating acquisitions, or brainstorming new concepts with the team. When I switch off, you might catch me doing a cheeky Super Cuties Colouring Book as the new Highland Cow edition just dropped... or is that just a shameless plug...?

I found this really hard to answer because I'm really proud of many moments, authors, illustrators and signings on this list. But today I think I'll choose holding the very first finished hardback of The Green Kingdom. Seeing years of strategy, cross-team dedication, and creative collaboration physically realised as DK's debut fiction title is a moment I'll treasure forever. 

What I love most about children's publishing is that as an industry we are driving culture. The way a children's book looks and the message it sends captures a moment in time. I started with Penguin Workshop in 2014 as a designer, promoted to Art Director in 2018, and VP and Executive Art Director in 2025. I've seen a lot of growth and change in our imprint. The only thing that hasn't changed in that time is the drive to make the best possible books that we can. Penguin Workshop is always asking what's next, what's more inclusive, what hasn't been done yet.

From a young age I can remember being fascinated with design. I grew up in NYC, and I remember being in the car staring out the window noticing the lettering of the store signs. In elementary school I designed layouts on my bedroom walls with photos I clipped from magazines and ads from the 1960s that I bought from vintage shops. Many hours spent drawing led my mom to point me in the direction of graphic design and then on to art school. One of my first jobs was designing home video packaging for an art house film distributor. Later this led to another job doing the same thing but this time it included children's content. I fell in love with children's art house animation. As I looked to the future, my next natural career progression was children's publishing. I may have taken the long way here, but I feel like I found a home at Penguin Workshop.

Tinker is exciting to me because it evolved from a genuine joy of picking our favorite creators and manuscripts to publish. Steph Stilwell's book is a prime example of what we want these books to be. Her art is adorable, well considered, and tons of fun to read. What excites me most about this imprint is that because we are always going to be looking for what's next, we're not locked into a super specific style except that it should be fun, bright, colorful, and engaging.

When I'm browsing portfolios, what stops me in my tracks is consistency, volume, and versatility — an artist who can do characters as well as scenery. When I see a portfolio with a ton of consistently stunning art, it gives me confidence that they will take the manuscript and run with it and deliver a beautiful book.

If an artist is confident that they can work in multiple styles, I would love to see that. Sectioning their website so it's clear that each style is equally well executed is key. You don't want it to look like one of your styles is a hobby. Aside from that, websites do not have to be fancy. In fact, the simpler the better. I would also like to see a full Instagram page. I love finding work that isn't on their website to add to the pitch deck. I also like to hear about an artist's personal story in their bio. It really helps to connect artists to the right manuscript.

Demelsa Haughton is a rare and incredible talent. Tori Amos is a magical writer and delivered equally descriptive art notes. In Demelsa's hands, the story was taken to another realm. She makes every inch of the page feel like you have been transported. Every inch of the characters, from fingernails to shoes, and the most minor details in the settings, such as the shape of the window frames, are considered. These all work together to pull you into a place where you truly believe that a pink piano can fly.

The Who HQ series is near and dear to my heart. It is the first book series I worked on when I started as a book designer. Because this is a long-running series, it's easy to give a brief with examples of past books to point to and say, "Match that!" The art direction we give cover illustrators is first and foremost that the bobblehead is the star of the show, then working in the details and scenery around it. For the interior, which is 1-color line art, we typically use a classic American illustration style, but over the years I have started to mix it up and look at more loose or cartoony-leaning styles. As long as the artist is good at likenesses and imagined historic or non-fiction scenes, I'm willing to consider them.

The Little Engine That Could 90th Anniversary Edition does carry an enormous legacy, and we really wanted to get it right. When we were brainstorming big names to do this version, Dan Santat's name came up and I was like, "Yes! That's the artist! He's going to nail it!" He was given artistic license, but he had to stay true to the basic character descriptions. The only tricky part was the expression on Little Engine. She has to look confident and resolute but adorable. There was a lot of back and forth on the subtle tilt of the eyebrows, but we got there. I am so proud of how this book turned out and how well it continues to sell.

I think there seems to be a little more interest in art that looks like it's done by hand, and this includes digital artwork. I think people want to see the brush strokes whether they are by a physical or a digital brush; the little imperfections show that it was human-made. I'm seeing a lot of creators posting their process as proof their art was made by them. That said, I also work with a lot of licensed brands that must look polished and modern, so there is still plenty of room for all styles of art.

I'd love to see more realism for picture books that look modern but not stylized. It seems like there aren't a lot of new artists who are interested in that style and how it would translate into something fresh and not what we've seen before.

From Workshop, I'm really excited about Jessica Hische's third picture book in the Tomorrow I'll Be series, called Tomorrow I'll Be Happy. Her inventive hand lettering once again takes center stage, and I think it's her best one yet!

The one piece of advice that I would give an illustrator serious about building a sustainable career in children's books is to stay ready, so you don't have to get ready. Keep drawing, keep getting better, and keep adapting. Right now, adapting means making sure your website and Instagram are updated, and your contact information is easy to find. In the future, that could mean something entirely different. It's important to stay on top of where and how Art Directors are finding artists.

From Rise, Joshua David Stein and Christopher Silas Neal have teamed up for a brilliant picture book called The Middle. The storytelling in both the words and the pictures and the questions it asks are equal parts simple, complex, and joyful. 

For Tinker, everyone needs to pick up a copy of The Big Book of Fun Fanciful First Words by Suzy Ultman. It is jam-packed with Suzy's whimsical objects, letters with personality, and tons of color. She is working in a new colored-pencil style for this book that I just love!

I loved drawing, painting, collage, photography, and always admired art as a kid. But more than anything I came to realize I enjoyed composing things, whether that was through the lens of a camera or arranging the furniture in my bedroom. The principles of composition are shared between all types of art. The enjoyment I got by making decisions about what would go where eventually led me into design. 
 

When I started going to school for design, I hadn't settled on what area to focus on. At the same time I entered design school, I became a part-time bookseller in a children's department so I was staring at books all day and it reminded me how much books meant to me a kid. When I encountered Penguin during an intern fair at my college, I made a connection. I was able to get hired as a part-design assistant instead of an intern and I've been part of the same team ever since!
 

The biggest change is that I am frequently collaborating with a junior design member of my team. In that position, I'm trying to help another designer realize their own vision as opposed to my own. 

Emails, meetings, meetings, lunch break, meetings, meetings, emails, design. I'm only exaggerating a little! But those meetings are important, it takes a lot of discussion to unify the direction of a book. 

In a picture book, you zone in on every detail on every page. There are so few pages that every moment seems big. In a graphic novel, you have to take a step back and look at the long view. Asking questions like: Is this clear? How does this flow? There is a lot more letting go and having the artist feel it out and only stepping in occasionally.  
 

What actually stands out to me when you list these artists like this is how different each one of them works. This is something I love about the picture book process, every book is unique in how it comes together. That customized approach keeps me feeling creative and inspired because I can't just sit back and do things the same way I've done before. 

Typically I look for consistency in line work/color/etc. Having a few different styles is OK, but for newer illustrators it can make me pause because honing a style takes time. I also always advise illustrators to have some pieces that feature the same character because most picture books feature sequential storytelling with recurring cast.
 

Editors are our collaborators, they bring the project to us and then trust in us to help them shape and elevate it. For our team, it is an incredibly collaborative process with a lot of discussion (all those meetings I mentioned above!) and once sketches starts coming in the art director and designer take the lead in communicating with the illustrator. 
 

I'm lucky enough to be working at Viking Books for Young Readers which is the home to beloved books like Madeline and Corduroy which I too loved and I get to be part of a direct legacy of those books. 
 

I've loved comics for as long as I remember, they have always been part of my reading. So I find it exciting to be part of that unique medium and also help introduce it to kids and colleagues. 

Denise Cronin (art director at Viking Books for Young Readers at the time) hired me as a design assistant and I truly grew up while working for her. She was a patient and thoughtful art director who wanted me to feel ownership and pride in a book design. I worked with her for more than 15 years until she retired. 
 

Be open to feedback. The book publishing process is a collaborative one between an editor, designer/art director, and the artist. My feedback is about helping an illustrator communicate their ideas in the strongest way possible. 
 

I'll mention two. The first is a picture book by Lenny Wen called Sister Scribbles. It will be coming out on August 25 and features a rivalry between two sisters who are artists. The way Lenny plays with the depiction of the girls' drawings and of self-doubt that artists feel is spectacular.

And I must mention an upcoming graphic novel The Girl Who Loved Monsters which is hitting shelves on July 28. This is exactly what I enjoy in comics, it is a little bit scary, a little bit funny, and features a great cast, witty dialogue, and dynamic art. 

AW: The biggest inspirations are our two children, aged six and three. We spend a lot of time reading to them and were motivated to publish books that they would want to read again and again. We’re big fans of Japanese children’s publishing. It has a real creative freedom that we love.

SV: Huge numbers of people are reading Japanese fiction in translation and Manga is a massive global industry now. We hope that the children’s market will similarly look towards Japan for its beautiful picture books.

AW: It’s been quite natural really. Sam was a brand and marketing person in publishing for many years and has a really good sense of publishing as a business. I am an illustrator and a great lover of illustration and so was always going to take the creative lead! There’s crossover of course – we’ve both taken on the role of editor for different titles. 

SV: First and foremost, we make books that we think children will love. We’re not too concerned about the ‘right’ way of doing things, either! 

AW: I think a lot of it is down to curating the list and publishing illustrators we feel inspired by. 

SV: You just know! As a husband-and-wife team, we have a really clear sense of each other’s taste.

AW: If we both love something, it’s right for Do Re Mi!

SV: We have a brilliant editorial director, Fiona Scoble, who brings a huge amount of picture book and fiction experience. She has a deep understanding of storytelling and can tell just what a book needs to make it sing. Polya Plavinskaia is our head of design. She was previously art director of Samokat in Moscow and has wonderful taste in illustrators and a real boldness to her approach. We also work with some brilliant and very experienced freelancers and partners for things like production, foreign rights and sales.

SV: I could describe one, but it might not bear any resemblance to any of the others. Each project is totally unique! Some start with an illustrator we love, and we discuss ideas with them. Sometimes we develop an idea in-house and find the right team for the job. Sometimes we start with the text. Whatever the approach, there’s lots of creative collaboration involved.

SV: The greatest challenge I think has been around building our network of partners when we don’t yet have any books to show. Distribution, warehousing, sales teams in different territories, foreign rights sales – these all need establishing if a business is to sustain itself properly. It’s been really rewarding to start getting positive feedback from bookshops and on social media.

AW: We don’t see these two things as being in conflict. Making interesting books that children want to read is a very commercial idea!

AW: The most important things to us when choosing illustrators is a unique creative voice and child-friendliness. When book shopping for my own children, I became bored with the same illustration styles being represented again and again. So we like to make more daring choices when choosing illustrators. But we don’t want to be so artsy as to alienate the child reader. It’s equally important to us to appeal to children and to for the illustrations to be easily readable. Luckily, there are so many wonderful and exciting illustration out there that bridge that gap!

AW: I’m really excited about How to Be a Cat, written by Sam and illustrated by Yoshiko Hada. It’s a board book about a boy mimicking a cat. We’re really inspired by play in general and often watch our kids for ideas. Yoshiko Hada is a Japanese artist with a lovely expressive style who perfectly captured the spirit of the story.   

AW: As a small independent publisher, we’re happy that we can take more risks with new illustrators and also have the capacity to work with them closely on each project.

SV: There’s lots of variation in our days at the moment. Splitting our time between creating books and running the business is sometimes challenging but fun, in its way!

AW: Each stage of the publishing process is very creative, from considering the overall shape of our list, through editing and making production decisions.

SV: Our launch list is largely made up of board books and picture books, but we’re really thrilled to have signed up a couple of books for slightly older readers for later in the year. More anon!

AW: When developing your portfolio, lean into what makes your work unique! 

I started my career in the television industry, designing artwork for set graphics and styling. However, my passion soon drew me to publishing, where I saw a unique challenge in visually translating narrative. I began as a designer at a small independent publisher. Then, I moved to an educational publisher before joining Pan Macmillan.

My initial focus at Pan Macmillan was on children's illustrated books. This role significantly developed my skills in art direction and commissioning, particularly for middle-grade titles, and more recently, graphic novels and romantasy. I was attracted to Pan Macmillan by the impressive heritage of its children's list and its forward-thinking approach to contemporary publishing. As Art Director, I now oversee the entire breadth of the list, ranging from debut fiction to complex non-fiction and poetry.

The fundamental goal of book cover design is always to create a connection, but the execution varies significantly. Fiction, especially Middle-Grade and YA must immediately signal the genre and create emotional resonance while staying authentic to the author's voice, aiming to entice the reader and hint at the story's core without giving everything away. In contrast, poetry is typically more conceptual and subtle. Design elements are focused on reflecting mood and rhythm, and the imagery of the cover is often less literal. Finally, non-fiction, particularly illustrated, requires the most informational and structural design thinking; here, the cover and interior design must prioritise clarity, hierarchy, and a strong sense of visual storytelling to make complex, factual content digestible, engaging, and highly navigable.

Our visual identity is defined by a blend of contemporary charm and enduring quality. I’d like to think we are characterised by our dedication to commissioning illustrators with distinctive, yet immediately recognisable styles. We deliberately try to avoid fleeting, trend-driven aesthetics, instead championing talent we believe will have lasting appeal. Rather than adhering to a single house style, we serve as a platform for a variety of artistic voices. What unites them is a shared commitment to originality and craft, which ensures every book we produce is both unique and collectible.

Beyond obvious technical skill, I look for three main qualities: a unique personal voice which isn’t derivative of current trends. The ability to interpret the narrative and brief intelligently rather than literally. And the capacity to collaborate, take direction, and meet tight deadlines while maintaining the integrity of their work.

The first thing is probably curation. I personally prefer a tightly edited portfolio that showcases 10-15 of what they consider their best and most versatile pieces, rather than 50 average ones. Clarity is key: their style should be instantly apparent. Secondly, I look for varied applications of their work that shows range within their signature style. Finally, I appreciate a profile that indicates they have a good understanding of the commercial needs of publishing, perhaps by including examples suitable for different age groups or genres.

One of the most rewarding projects was A Nursery Rhyme for Every Night of the Year by Allie Esiri. Although I have had a successful, established illustrator collaboration for over a decade, I decided to explore a new partnership for this particular title, given its nursery rhyme focus.

It’s a constant negotiation. We start with the commercial imperative: Who is the target audience? What are the market signals (colour, typography styles, imagery) for this genre? Once we understand these, we then aim to question and progress them creatively. The cover should function as a strong piece of commercial signposting while also being artistically distinct. For instance, we might use what’s considered a recognisable genre typeface but pair it with an unexpected illustrative colour palette or composition to ensure it stands out amongst the competition.

Visual storytelling is essential for transforming non-fiction from a simple informational resource into a truly immersive experience. For younger audiences, illustrations do more than just complement the text; they often serve as the most accessible carriers of key information.

Illustrations need to simplify complex facts while simultaneously adding personality and humour to keep readers engaged. Our aim is to structure spreads as scenes on a continuous journey, ensuring a logical flow that guides the reader, making the processing of factual content both beautiful and effortless.

What excites me most is the growing global diversity in illustrative talent and styles being commissioned. This is creating a richer, more inventive visual world for all ages. It introduces fresh perspectives and moves beyond the narrow, traditional view of what 'children's illustration' should be.

It’s pretty simple – trust, clear communication and mutual respect. Providing comprehensive briefs that clearly articulate the creative vision, as well as the more boring stuff like technical specifications, and the budget / timeline upfront. Providing constructive feedback (and offering solutions where appropriate) over criticism strengthens the relationship with the illustrator as a co-creator and fosters mutual respect.

A typical day is a mix of strategic meetings, managerial duties and practical tasks. I might spend the morning reviewing a project's cover concepts or initial sketches, followed by a priorities planning meeting to discuss the next 12 months of our lists and finally a catch-up with a colleague in the art department.

Collaboration with editorial is constant and begins at acquisition. Design can contribute to market feedback on proposed manuscripts or suggest potential illustrators before a contract is signed. Throughout a project's life cycle, we maintain a strong partnership, collaborating in weekly cover meetings to ensure the visual interpretation aligns perfectly with the text and the overall project strategy, from initial concept right through to print.

I’ve always been quite influenced by mid-century European design, for example, someone like Bruno Munari and his bold use of colour. In terms of Children’s illustration, it may sound like a cliché but Quentin Blake and the warmth and energy of his work continues to be an inspiration. I also love the work of Isabelle Arsenault, and her beautiful use of texture and narrative depth.

I admire the commitment all of these artists show to simplicity, clear communication, and the idea that the best design should be deeply considered but look effortless.

I'm thrilled that one of our designers has commissioned Ellen Porteus to work on a new upper middle grade cosy crime series. Ellen is an established artist known for her vibrant, maximalist style, but she’s a relatively new voice to children's publishing, and I am excited to see how her collaboration with the designer will elevate this fantastic project.

I think illustration is probably set to become more central to storytelling, moving away from a peripheral role. In fiction, I imagine a stronger focus on integrated design elements that build atmosphere and drive narrative pace, effectively bridging the gap between traditional middle-grade books and graphic novels. In terms of poetry, I wonder if we’ll see increasingly sophisticated design approaches that can engage diverse, multi-generational audiences. Ultimately, illustration will bear more of the emotional and narrative weight as visual literacy continues to develop. Something I am more aware of at the moment is the impact of evolving AI technology. I believe it’s important now more than ever for the creative community to come together and support each other.

Research the Publishers list and identify how you might creatively contribute. Be professional and persistent. Have a clear, easy-to-navigate platform for showcasing your work, respond promptly, meet deadlines, and present your work clearly. But above all be proud of your distinctive style and own what is uniquely yours. If you celebrate this, chances are others will champion it too.

For the first time, I commissioned Emily Faccini, a fantastic illustrator perhaps best known for her amazing map-making. Working with Emily was, in all my years, one of my favourite and most joyous projects. She was incredibly generous, always keen to understand and expand on the brief. We would often FaceTime, and I loved being transported into her magical world as she created. I highly valued our discussions, where we both contributed, challenged, and encouraged each other to reconsider every detail. It was an incredible treat.

I’m from the northwest of Ireland and I moved to London in 2008 to do an MA in publishing. While studying, I was very keen to work in children’s publishing. I have always worked with children and spent my summers as a nanny; I also worked part time in a nursery throughout university. As it turns out, reading stories aloud is a vital part of editing picture books, so this is something I absolutely fine-tuned throughout those years! I always enjoy the performative aspect of picture book storytelling and how you must really love the words you’re reading to make the most of the read-aloud experience for children. Editing to achieve that result, to create words that sing off the page … that’s so satisfying. I think that is why I was drawn to picture books.

I did an internship as a publicity assistant and spent about six weeks proofreading e-books for Hodder & Stoughton (and, I’m afraid, either falling asleep at my desk a lot, or crying over Jojo Moyes books…) before I joined Walker Books in 2009 – it was my first ‘real’ job, and I pretty much knew … nothing. But I was bright-eyed and ready to learn so I spent the first few years listening very carefully, writing everything down, absorbing all the activity around me and replying to a LOT of unsolicited manuscripts! It was an excellent initiation into learning what makes a good picture book story (and what really does not). Though, I remember my boss at the time, Lucy, telling me my rejection letters were too nice as people kept sending me back more stories, ha! 

Over the years, I have had incredible mentors including David Lloyd – the original editor of Where’s Wally? and We’re Going on a Bear Hunt – and, today, the picture book publisher Deirdre McDermott. I have learnt all the many ways to craft a story, to nudge a narrative forward, to hone in on the essential message. Through making many, many books myself I have learnt about form, structure, rhythm … all the essential ingredients that go into making a picture book good and inform how you write or help direct your thinking into the right shape.

I progressed in my role from editorial assistant and I’m very happy to be the Editorial Director since 2022, and to keep a hold of the values that were instilled in me as a wee baby editor!

My editorial vision is one I have inherited, and it’s one I hold onto steadfastly and nurture with the more junior members of the team: prioritising great storytelling and the craft of picture book making. We don’t follow picture book trends and I think this is reflected in the very original (and now very successful) author-illustrator talent the team has discovered over the years: Chris Haughton, Jarvis, Natalia Shaloshvili, Daisy Hirst, Flavia Z. Drago, Steve McCarthy, Chloe Savage, Forest Xiao – to name but a few.

Walker Books was founded by a man called Sebastian Walker and he was unusual in that he began his company with two other people: an Editor and an Art Director. He did this because he instinctively understood that an equal, creative democracy between the editor – who looks after the story in the words – and the art director – who looks after the story in the pictures – would result in beautiful, desirable books that both looked and sounded good.

Within our picture book team, we have an almost equal number of editors and designers, and we work together very collegiately and collaboratively – our voices are equal, and this has always been the way that Deirdre McDermott, who is also an art director as well as the publisher, has functioned the team. It does mean that the editors get this beautiful grounding in reading imagery and assessing art and the designers are very editorial, too – and I respect and love their editorial thoughts. We talk through each stage of the book together and at tricky points – a cover that is hard to resolve, for example – the team will band together to come up with solutions.

One of the things I most admire about Deirdre (and I admire SO many things!) is her strength of vision. We sometimes disagree, I might try and hurry something along, but she will hold onto it and in almost every case … having a little patience makes a book better. Time and space can often transform something; a better solution will present itself. She reminds me to stop and THINK!

It was a really wild experience. It’s almost like it never happened because it was probably the most intense week of my life, a kind of fever dream. I didn’t sleep hardly at all, and I was thrust into all kinds of public speaking situations several times a day – speaking about bookmaking to teachers and children and to influencers and aspiring bookmakers and publishers. I travelled with Jarvis and he definitely helped me not to lose my mind from exhaustion a few times, ha.

 

I actually run this Instagram! I set it up many years ago and run it with the help of our Editorial Assistant, Bonita, and senior editor, Alice, who posts the takeovers and cover reveals – between us, we keep it going. I like to think of it as a bit of a cultural archive and a way to keep a hold of all the work we do, the people we collaborate with and, most especially, to celebrate the creative process behind the books. Because things like the choosing of cover effects and studying test proofs and finessing handlettering – it’s exciting to see and I think it not only makes the books FEEL more valuable but it values the work that goes into a book. I didn’t want it to feel like we are selling the books, but rather, I suppose, selling the WAY we make books and to show the enthusiasm, love and care that goes into every title. And the fun we have doing it, too. After all, we ARE making books for CHILDREN! It’s important to tap into your silliness.

With picture books being such a visual medium, I wanted to create a space where we can showcase our artists and really lead with the imagery. I think, too, it makes the authors and illustrators feel attended to as it really helps give their books a great platform.

It is a question I am asked a lot. I would say, for me, I can see that a lot of people create stories that they think that a publisher or editor wants to see. In my opinion, I have found that a story that comes from your truest identity will create a real response in your reader – in me! Really think hard about what you want your book to say. What do you want it to do? What do you want people to feel when they read it? What do you want people to take away with them – what will be the lasting images, the lasting text?

If you want to be more specific, I would say: an authentic storytelling voice, stories with humour and heart; something child-centric; a little musicality in the language…

And even more specific: it helps when I receive submissions to see that the author or illustrator has really considered our list – they have looked at what we do and have thought about how the story would fit in with our list. And, in a broader sense, it’s good to think about how your book fits in the marketplace.

Katie Clapham has a REALLY great authorial voice – so many grown-ups writing as children sound like … adults pretending to be children. But she inhabits the voice of a child so authentically and it’s what drew me to this text straightaway. It is brimming over with character! And you really want to be best pals with the child at the centre of the book.

How could I choose?! It’s not VERY recent, but if I had to select just one… Making Can Bears Ski? with Raymond Antrobus and Polly Dunbar, which published in 2021, was a particularly unique bookmaking experience and one I value more and more with time. 

I met Raymond on a train home after a literature festival. I'd seen him read his adult poetry the day before and was really in awe of his performance. (You can find picture book writers in many different places!) We had a little chat and then we started a creative conversation that went on for a few years before we published Can Bears Ski?. 

Can Bears Ski? was Raymond’s first picture book and it needed time to grow; he needed to figure out what he wanted to say. In the end, what he wanted to say was what he had hoped someone would have said to him as a child discovering and managing deafness and navigating a world beyond sound. We paired Raymond up with Polly Dunbar, a Walker favourite. It couldn't have been anyone else making the pictures for this book - she is such a sensitive and intelligent book maker who is also partially deaf. She and Raymond both wear hearing aids. It felt like a dream to bring them together. 

This book means a lot because I could immediately see, looking at all the very strong emotional responses on social media and in reviews that this book, for a lot of people, was like they were being HEARD for the first time. Finally, someone had written their experience and understood what the world is like when you're not a part of the hearing world. When you experience sound differently. When you constantly mishear. When being alone, with your thoughts brings relief and you don’t have to try for a moment to strain, to struggle, to be included. I could see the power of two brilliant bookmakers, creating from a place of authenticity and pure feeling. That was a lovely feeling.

Can Bears Ski? went on to be featured on the national news, was in a Cornation Street plotline on deafness and it became the first book to be read in British Sign Language on TV and it is also now a stage play. 

A Walker book comes from a communion of an editor and a designer, of an author and an illustrator. It is not just about plonking a picture onto every page but about balancing the words and the images and both the positive and negative space visually on the page. It’s about SPACE – both real and imaginary. The weight and size and consideration of the type can do so much to enhance a storytelling experience and direct the reader’s eye. Every corner of the page – even if there is white space – has been tended to with consideration and care. The details, the details. *Chef’s kiss!*

I do think that teamwork is also very important, as well. The conversations that we have in our picture book department are incredibly valuable and our combined wisdom, and the way in which everyone is welcome to share their knowledge at the table, means that the books become loved by everyone, in a way. 

Walker’s heritage is a huge driving force behind our work, and it is a highly prized and valuable part of our list. Good stories made and crafted with care and attention will always be fashionable and books like Owl Babies, Farmer Duck, We’re going on a Bear Hunt and Guess How Much I Love You will always be wanted and needed; they are a testament to that ethos. We’ve seen books like Oh Dear, Look What I’ve got! absolutely storm the hardback picture book charts this autumn and it shows that people really want the comfort and the safety of trusted heritage bookmakers like Michael Rosen and Helen Oxenbury. We must always protect that.

But we must also build on this story heritage, too – extend it, in a way – and so we are also investing in and growing new storytellers who are already making lasting impressions in the picture book world: Chris Haughton, Briony May Smith, Emma Yarlett, Jarvis, Lucy Fleming, Flavia Z Drago, Philip Ardagh & Ben Mantle and their Sunny Town Bunnies series. We call these bookmakers our ‘New Heritage’.

What we look for is a strong voice and we are led by bookmakers who can write and illustrate books with heart and authenticity, who deliver fresh takes on universal experiences of childhood; books that readers want to keep with them as they navigate through their early years. We love collaborating with deeply original authors like Raymond Antrobus, Sarah Crossan, Eva Wong Nava, Sean Taylor, Jackie Kay, Philip Ardagh, Maggie O’Farrell, Joseph Coelho, Ross Montgomery, Laura Mucha, Eoin Colfer…

In terms of the editorial team and how we work – I’ve always been taught to enable my authors and illustrators as best I can, afford them plenty of time, and write them beautiful emails and letters! Good communication skills are so important. The more creative and collaborative this relationship can be, the more inspiring the whole conversation (and your whole job!) can become. In that space, we are both learning from each other. That’s proper picture book making and that’s where the real inspiring stuff happens. 

I like to think I bring good taste, too, in helping curate the list – taste that has been refined over many years of working under such experienced and skilled picture book authors and illustrators, designers and editors. Taste absolutely ensures high standards of writing, originality and quality in the picture books we make. There is a feeling when something embodies a Walker book and it’s difficult to say what it is but I guess knowing what it is MAKES it feel walker, ha. (If that makes sense!)

I learnt that so much of the storytelling experience is individually cultural and where we have a history for making very young picture book stories with authors and illustrators like Lucy Cousins, Chris Haughton and Helen Oxenbury, story book making in China veers closer to the older age range, and therefore the narratives structurally are often more complex than we would publish here. They also like their picture books to have a strong ‘message’ and for the narratives to be educational so that parents feel like they are investing in something valuable for their children.

What I especially loved the enthusiasm of the book industry over there and how open and willing everyone was to learn about how we made picture books here in the UK.

Helen Oxenbury writes that you can never be too much on the side of the child and Katie absolutely connects with the feeling of being a scared new kid and being the child who wants to make them feel good. She was easily able to transport herself into those moments. So few authors can do that! What a gift. She is such an exciting author.

Also, it is very FUNNY but full of heart, so it had all the feels for me.

I think this book reinforces a lot do what I’ve already said which is that we want to make books for children, that will connect with children, that feel authentic and VITAL.

Importantly, we build our list – we work to ensure every book brings something different. We assess what books have done well, and why. We look for opportunities to grow series.  This kind of list building comes from lots of combined experience and it’s how we can ensure NEW backlist who will themselves become the books that people turn to time and time again in the future. Chris Haughton is, already, a perennial picture book favourite and his books have become a very trusted go-to buy for small children.

I’m not sure if there is a specific theme or approach but, fundamentally, our picture book rule no 1 is … can a small child read it, without even understanding the words? Can they tell the story from the images? (Even if it is a different story to what is in the words!) If they can, you are onto a winner as it means everything is well balanced and clear. 

Truthfully, making books in a difficult financial climate is always a gamble, and we don’t always get it 100% right internationally. Of course, the books you think will be a commercial success globally sometimes do not succeed and you can often be surprised by the ones that do!

Foreign publishers tend to come to Walker Books for our storytelling and for the high quality of words and pictures, so we continue to focus on that. General feedback is that concept books are something they can do themselves in-house, so we are less keen on them right now, unless it is something very new or groundbreaking. We've seen a real plethora of social emotional picture books in the wake of the pandemic, so publishers are now trying to steer a bit away from books that are specifically focused in managing emotions or developing strategies for social situations.

Some of most successful international books are character-led and have a gorgeous sense of a world in them – these books lend themselves well to series and for the many ways you can expand that world and foreign publishers are definitely attracted to that.

That is a good question, and I think stepping into my role as a book-buying parent certainly offers me perspective.

Consumers are definitely returning to cosy, familiar books and immersive miniature worlds. Jill Barklem, the author of Brambly Hedge, made sure every detail was right in her books – ensuring each flower had the correct number of petals and everything the mice did was plausible for their environment; making such a haven for little children to immerse themselves in. People are really returning, and craving, this trustworthy and welcoming space on the picture book page!

Lucy Fleming and Briony May Smith’s books do so well for us across the world (they are published into over 20+ languages) because they are, similarly, art-rich books set very much in nature with meticulous attention paid to the environment. They create worlds that feel real, safe and comforting to readers of all ages. The world is so stressful – it’s absolutely anxiety-inducing to even glance at the news – and so we want and need these sorts of books! I love them.

I am also really excited and invigorated by rule breakers like Steve McCarthy and Júlia Sardà who are making longer form picture books and who are also tackling themes and ideas that are so outside the usual realm of picture book making. Working with them both is just immense … their books are challenging but in a deeply satisfying way and kids (and adults!) really lose themselves in the stories.

I think these cinematic kinds of books are a very exciting picture book development.

EVERY day is different. Isn’t that great? I go into our Vauxhall office two days a week and I love going in, I find it very invigorating. This past Tuesday, for example, this is what the shape of the day looked like: we had an editorial meeting in the morning and we looked at picture book submissions, went over the picture books schedules right up until the end of 2028 and discussed Bologna book fair titles. I also checked physical proofs; looked at cover designs for a new Flavia Z. Drago book with Anne-Louise, Flavia’s art director; I proofread the text for a new Lucy Fleming book; I copyedited a new picture book from Chris Priestly and Mariachiara di Giorgio; I helped troubleshoot an acquisition costing with an editor on my team; I debated the title for a new book from Chloe Savage.

Over lunch, an art director on our team just had his first baby and so we had a LOT of baby talk! I also sat with the Senior Editor, Alice, and designer, Bianca, and looked at layouts for a brand-new debut author-illustrator book they are working on. (It’s insanely adorable, you’re going to love it.) We usually have authors and illustrators come in on Tuesday or Thursdays, which we enjoy a lot! In the past few weeks, we’ve had Erika Meza, Richard Jones, Jenny Lovlie, Chris Haughton, Emma Yarlett, Jackie Kay, Briony May Smith and a few other secret names...

I think I am most excited at the beginning of a book’s development, when the stories are still very much this LIVE thing being shaped and moulded. Collaborating with an author or authorial illustrator to come up with creative solutions for editorial problems is when I feel most creatively engaged. I met with Sean Taylor last week and we had SUCH a great meeting editing together reading out loud and making notes on the sketches for his new book (about a worm and a chicken!). When the text is just right, it has a kind of magic to it! And that magic is what attracts great artists to the list and makes everyone feel excited to make the book.

In practical, real-life terms – keep your portfolio up to date. Make sure your portfolio shows a mixture of children and animals (if you can!). Show that you can do characters as well as scenes – so don’t just have your characters in static poses, have them express emotion and feel real on the page, have them engage with other characters or set them in a scene. Try and tell little stories in an image. Picture books run the whole gauntlet of emotion and it’s good to see that you are up to that challenge.

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!