Creative Review - The Illustration Issue

 spreads from the 'Someone to Watch Over You' feature

February's issue of Creative Review is an Illustration Special!
Our Senior Agent Victoria Pearce took part in a round table discussion along with three other Illustrator's agents resulting in a five page article entitled “Someone To Watch Over You". Covering topics such as the state of the industry, how illustrators can develop their career and what agents look for in new talent, the pages also show work from Judith Van Den Hoek, Jacqueline Bissett and Chrissy Lau.  Chris Gilleard & Nuno DaCosta are also mentioned in the feature. See the Creative Review blog for more...

In Conversation with Harry Lyon-Smith

Director of Illustration Ltd Harry Lyon-Smith gives an interview to the SAA Hub News providing an insight into one of the most successful illustration agencies...


Please give a short summary of your company history and provide a bit of information about yourself and how you got into the business?

The agency was started in 1929 by a lady by the name of Katherine Boland, and it was called the Katherine Boland Studio. She ran it with her sister until 1970 when John Havergal bought it on their retirement. He changed the name to The Garden Studio, reflecting its location in Covent Garden, London. 15 years later after various experiments into publishing and greetings cards, John found that it was the agency part that was most enjoyable and rewarding.

It’s in 1985 that I found myself delivering portfolios to him as a motorcycle courier aged 20. I was paying off some college debts, and found myself quite regularly at John’s door. An acquaintance evolved, which developed into a friendship and a job offer to join him as a trainee agent. (Train me he did, his professionalism and duty to our artists being very much alive in the agency 30 years on.) A decade or so later he invited me to be a junior partner, and a few years after that he retired and we made arrangements for the business to carry on.


inside the office on Albert Embankment

How would you describe your day-to-day role as an illustrators’ agent? (i.e. finding work, finding new clients, serving regular clients, managing accounts, scheduling artists time)

The agency has evolved into a more plural operation than the 1 man band it once was and it is what we do as a team that answers this question. On the coal face, so to speak, there are 10 agents dotted around the globe who manage enquiries and jobs. Three are involved in the financial side of the operation, four handle marketing and promotion, and a further three vitally work with our artists and the agent team, keeping the portfolios looking great, managing new artists submissions and talent scouting.

The Team!

What are the commercial advantages for artists represented by your agency? 
Immediately anyone joins us, and their work is live on our site, they have a large international audience of commissioners. We have an expanding number of agents in new developing territories, and work comes in from all corners of the world. Our website has been around from very early days in the history of the web, and it has enabled us to keep principle positions on the google rankings.

We are a large agency by most measures and with that comes advantages. Such as the scale and range of the illustrators that we represent for the clients seeking top flight creative geniuses…it is rare that we can’t offer an option that is either bang on, or pretty damn close, or perhaps an exciting alternative that takes their creative to new places. This rewards the agency with loyal and regular customers enjoying very friendly, consistent and professional service from our artists and the agent team.

We have developed a payment system that gets everyone paid either all or a portion of the fees quite soon after invoice. 


Artists represented by Illustration Ltd

What other benefits can an artist gain from being represented by you? (i.e. Negotiating contracts, rights and usage licenses, support, time to work)

Our management systems ensures that as soon as a job is confirmed, the paper work is done and emailed to the artist and the client, with all the licences, fees, terms, deadlines etc clearly set out. The jobs are monitored and managed on a unique and efficient software, that we have been evolving for 2 decades. It connects to all the agents and gives us extraordinary flexibility to keep on top of jobs and help deliver clients top jobs, whilst alleviating pressure from the artists.

Furthermore, all the billing is automatically done when the job is finished, and a strict payment collection process is instigated….we hardly have artists chasing us for monies nowadays. If they do need the fee before it has been paid, we have an option that pays immediately if they wish.



What are the benefits of networking within the wider artistic community? (i.e. SAA Members, AOI & ProAction, events )

There are many good agents looking after the best interests of artists that they represent, and we admire them for their qualities…often with professional jealousies, that sharpens us up. However there are other agents that one hears who do not adhere to the standards that we have always held. The great thing about the SAA is that we know that the other members behave as per the constitution, and that is professional and fair. There are other agents who do as well, and we would like them to join the SAA to help develop our industry into a more influential and recognised barer of professional influence and practice.




Scrapbook Live event 
Exhibition by 21 Illustrators from Illustration Ltd 
London’s Griffin Gallery

How do you help your artists develop their portfolio and market?

Every Wednesday morning the team gathers and we review about a dozen or so of our artists portfolios, the jobs they have done, the marketing and promotion that we are doing, along with future plans. After this we have a good discussion with the artists, going through all the points raised, and sending a written report of it all. This we do 4 times a year with every artist on a formal setting, and of course a great deal more less formally in the throws of day to day business. Additionally we have regular meet ups, that we call ‘Face to faces”, that can either be in the office, by video conference or with a glass in hand…depending on location etc. It is all about enjoying spooling the artist’s and teams’ experiences that spark ideas and approaches that have client doors flying open. 

Illustration TV

What do you consider is the main role and responsibilities of the illustrators you represent to help you to build their career? (i.e. Flexibility, punctual with deadlines, importance of personal work to help develop an artist’s visual language etc)

A static portfolio will sooner or latter begin to fail any artist. We have seen this countless times and is probably without exception. So a continuously evolving portfolio has to be part of the essence of any illustrator’s career. Otherwise it is all about being a professional, delivering beyond expectation and utterly charming to work with. If you need any help with the last point (and we all do) read 'How to Win Friends and Influence People' by Dale Carnegie. Cheesey in title, but there is a reason it has been the top selling self help book for over 100 years. Everyone joining us in the office has to read it…it is law in our shop.

This interview can also be read on the SAA HUB News site.

Zero2Illo Live Review

 







Written by Victoria Pearce

Saturday 5th October saw the second annual Zero2Illo Live, a conference held this year at Nottingham Contemporary Gallery.  Zero2Illo is the brainchild of graphic designer & illustrator Jonathan Woodward built as a supportive, active community of creative professionals to share their knowledge and experience.

I was flattered to be asked to be a speaker again, following the success of last year’s event. This time I was asked to review the portfolio/websites of three freelance illustrators live in front of the audience, offering advice on the selected illustrators work, style & website design.

Leading fashion illustrator & AOI Board member, Jacqueline Bissett, whom we have had the enormous pleasure of representing for 6 years, opened the event with her Keynote Speech. The event theme was how to build a long term sustainable career, so Jacqueline was well qualified to share her experiences, insights, advice & tips gained over the 27 years she has been freelancing. Jacqueline’s childhood was spent designing clothes for her Sindy Doll whilst listening to Blondie; this passion for drawing led her to Bourneville College of Art where she studied Fashion Design and then to Epsom where she gained a degree in Fashion Promotion. Here she learned that it was possible to make a profession from fashion illustration. With her mind focused on this path Jacqueline never looked back, her clients now include Giorgio Beverley Hills, Givenchy, Selfridges, Kurt Geiger, Thomas Sabo, Ted Baker, Moet & Chandon and Tatler magazine. Passionate in her delivery, Jacqueline recommended regular life drawing & stressed the commitment, hard work & tenacity that are necessary for success in such a competitive industry.

Keynote speech by Jacqueline Bissett

Next up was the “Strategic Planning for your Life, Career & Business’ talk by business strategist Lea Woodard. This took the form of a workshop with illustrator Joy Gosney to demonstrate the benefit of creating an OGSM, a one-page plan covering Objectives, Goals, and Strategy & Measures. Lea also recommended that illustrators differentiate between themselves & their creative output, that viewing their work as a business would help them become more objective in their planning.

Following lunch, it was my turn! I reviewed graphic designer & illustrator Fiona Gowen’s portfolio who creates illustrations for museums & public bodies. I felt she was covering a good range of subject matter from maps, architecture, animals & machinery and recommended she optimise this on her homepage, as it felt a bit tucked away in sub-portfolios & knowing how busy agents & clients are, I was concerned that it could potentially be getting lost. Secondly, illustrator Helen Nowell’s sophisticated, witty portraits of world leaders & dynamic sports personalities stood out to me, but similarly to Fiona they felt lost in her website sub-navigation. I’ve learned that there are 7 seconds to catch a client’s attention, so unless your website homepage has strong, immediate visual impact; you risk them passing you over. Finally, Milly Jackson’s portfolio ticked all the boxes in terms of visual feast. She has created pretty much a one page website which makes the viewer’s job easy. Her strong work is all upfront & confidently represents her talents in fashion illustration. I felt she could expand upon her men’s illustration, which is an under-represented area and therefore could create opportunity. Also to develop more full-length fashion figures which many commissioners will want to see.

Victoria Pearce

The next session entitled “Smarter Marketing for Illustrators” panel included illustrator & entrepreneur Alex Mathers, Jacqueline Bissett & Ross Macrae MD of Bikini Lists & sponsor of the event. Tips were shared on how to target & focus marketing activity on core clients and suggested techniques.

Alex Mathers, Jacqueline Bissett, Ross McCrae and Jonathan Woodward

Amy Taylor, spectacularly managed to make Accountancy & Tax, a subject often considered quite dry by creative types, into an interactive session with quirky props that actually succeeded in learning about the rules of tax deductibles fun!

The final speaker of the day was Claire Cheung, who is a digital platform designer with Esquire Weekly & previously at Wired. The session entitled “Animating your work – how to get started” Claire spoke of the opportunities for illustrators on digital platforms & encouraged them in terms of platforms, software & preparations.

The event was attended by emerging & established talent & so many I spoke with reported how inspirational & useful they had found it, to quote our illustrator & animator Tim Bradford:  
"I am now an illustrator with a plan! A business plan to be precise. The fantastic Zero2illo event has shown me how to get the most out of my career. With a new focus on exactly what my goals are and how to realise them, I just feel sorry for any Illustrators who missed it!"

And from Montana Forbes:  
"It really was quite exceptional and fun! The energy, spirit and genuine support provided by the organization was highly inspirational. I certainly would attend another event like this and wish there were a few more, throughout the year and in various locations. The presentations and speakers where in-depth, insightful and most importantly relevant to various forms of illustration and career stages. This in my opinion would be a vital resource for aspiring and professional illustrators alike. It’s a shame there won’t be another of its kind next year but I do hope it somehow garners enough fuel to continue, with all the success it deserves."

I was so pleased to meet our agency’s most recent recruit, James Grover – who had attended last year and as a result approached us for representation. Our entire agenting team share my enthusiasm for his highly decorative style, he already has some great clients under his belt including Zizzi Restaurant, so here’s hoping that we will enjoy future successes in partnership.

A huge thank you to Jonathan & Lea for their hard work in organizing such a positive event & I sincerely hope there will be future collaboration opportunities together.

Jacqueline Bissett and Victoria Pearce

Victoria Pearce.

Have you seen our new website?

After months of redesigning and thinking of how we can help you make your selection better, we are very excited to launch our new website.

A sharpened design so you can fly around many of the worlds' finest illustrators and then, when some work catches your eye, dive straight into their artwork in hi res, downloading portfolios, making collections, sending them to colleagues and tracking past jobs.

MyIllustration becomes YOUR website

It becomes YOUR website at MyIllustration, so please sign up. (btw, if you struggled with registering before fear not, we have learned our lesson and now it works properly).

There is more information on the artists and their work, including many video interviews. And we, their privileged agents, reveal all (well some) on the Meet The Team page.

Don't miss the testimonials that have had us all blushing, sent in by clients and artists alike.

There are other new handy features that will reveal themselves to you after a quick poke around, and we'd love to highlight a page that explains how every single one of our clients helps us to plant 1 Million Trees over the next 5 years.

The Sunday Times Magazine's Nude Feature

Published at the end 2012, The Sunday Times Magazine included an interesting feature on the fundamentals of drawing. Going back to the 'ancient artistic discipline' of life drawing involving artists such as our own Michael Frith, Emma Sergeant, Gerald Scarfe and organiser AA Gill, the article talks of the need to study the human form and to draw not only what you see but what you feel. AA Gill says ‘Artists who don’t practise the craft of their art, or who hand it to someone else, are missing out on what is right at the heart, the great joy of making anything. You shouldn’t just be a director of art.’ I’m sure most of you will agree.

The Clothes Show Live

Fashion illustrator Nuno Da Costa will be a guest at a Seminar on Fashion Illustration at The Clothes Show Live. Along with chairpersons Caryn Franklin (fashion expert of The Clothes Show) and Stephanie Finnan (of the Fashion Careers Clinic), Nuno will be on the panel answering questions about his genre of illustration. The talks will take place on 7th, 10th and 11th December 2012, for more information and to book tickets go here.

Crafty Types

Lettering artist Ruth Rowland will be giving a talk about her work on the evening of 13th November at St. Bride Library. Tickets are available from the library website and will 'help to fund this important resource for future generations'

"Join us at St Bride Library for an evening celebrating the craft of the letter. From considerations of language and the design process, to spontaneous mark-making and precision, leading practitioners Catherine Dixon, Si Scott, Ruth Rowland and Sam Winston will explore the subject through their own working practices."

Worth a visit if you're in the area:  St Bride Library, Bride Lane, Fleet Street, London EC4Y 8EE.

ILLUSTRATORS: Don't be stung by your agent...

Senior agent Victoria Pearce has written an Opinion Piece for Computer Arts Issue no.207; now published and on the shelves. She has created a very interesting article to help illustrators find the right agent, what to look out for and how to 'avoid the sharks!' Go buy a copy...

Hannah Davies Exhibition

To see and buy some original artwork and limited edition prints by Hannah Davies; expert of all decorative and detailed, make your way to her exhibition at Oak Studio. It opens on 30th October to 11th November at Oak Studio, 8 Perrins Court, Hampstead, London NW3 1QS.

Affordable Art Fair

Liam O'Farrell is exhibiting a number of artworks at this year’s Affordable Art Fair in Battersea, London. "The Affordable Art Fair is returning to London this Autumn, with a feast of contemporary art from £40 – £4,000. With Battersea Park with over 100 galleries, finding the perfect artwork has never been simpler or more fun'.
You can find Liam at Habasco, Stand F2, from Thursday 25th October to Sunday 28th at Battersea Evolution, Battersea Park, London SW11 4NJ.

Good Old Drawing (G.O.D.)

'A hundred Illustrators, Artists and Cartoonists who believe in Drawing', a book put together by John Holder and Philip Hodgkinson will be out on November 5th 2012. Quite simply a celebration of putting pencil to paper!

Illustration on Facebook

We are now posting our most recent news and illustrator facts daily on our new Facebook page. Please come over and 'Like' us to receive our latest posts...

zero2illo LIVE

Our very own Senior Agent Victoria Pearce will be a guest speaker at the zero2illo Live event taking place in Nottingham on 10th November. An inaugural conference for UK illustrators, the theme for this year is "Opportunities and Inspiration" – set to explore 'just how many opportunities still exist for illustrators to earn a living, despite the erosion of and changes in the more traditional industries in which illustration has previously had a strong foothold.' Other speakers include illustrators; Rod Hunt and Kate Hindley, aswell as Creative Manager at Igloo Books; Nicky Lander. Tickets are on sale now from the zero2illo website.

SECRETS TO SUCCESS: ILLUSTRATION AND CHILDREN’S BOOKS INDUSTRY EVENT

SATURDAY 23rd JUNE 
VENUE: Toynbee Studios Theatre, Arts Admin Lecture Theatre, 28 Commercial Street, London, E1 6A. Time: 10.00 - 17.30

Secrets to Success is an intensive one-day event held at Toynbee Studios Theatre that gives artists the opportunity to learn all the essential information needed for working in children’s book illustration today. Presentations, case studies and talks are given by a wide range of experts with specialist knowledge including career talks by prolific illustrator Tony Ross, best known for the Horrid Henry series, Alex T Smith, who was shortlisted for this year’s Waterstone’s Children’s Book Prize, and Booktrust best new illustrators 2011 Chris Haughton and Claudia Boldt.

Topics include Deirdre McDermott, Editor and Art Director at Walker Books who talks about what agents look for in a potential illustrator and what they want to see from submissions; Philippa Milnes Smith, Managing Director of LAW Agency, discusses how to work with designers and art directors, whilst consultant Fig Taylor explains what’s needed in the portfolio of a children’s book illustrator.

The event, organised by the Association of Illustrators (AOI), is open to illustration students and working illustrators at different stages of their professional career as well as anyone with a lively curiosity about the industry.

Non Members £55

SCBWI Members £45

AOI Members £40

Non Member Students (Please send proof of status) £35

AOI Member Students £30

How to Book: Securely online at www.theaoi.com/events, or call 020 7324 7224 to pay by credit or debit card

Further details on AOI membership and activities available from: www.aoi.com

For further information , please contact: Paul Smith, press@theaoi.com phone: 020 7613 4328

Notes to editors : The Association of Illustrators (AOI) is a non-profit trade association with a membership that includes freelance illustrators, agents, clients, students and colleges. Established in 1973, it is the leading body to represent illustrators in the UK and campaigns for illustrators’ rights, continually working to increase the professional standing of illustrators, commercially and artistically. The AOI works to improve contract content and contracting practice extended to illustrators by commissioners. It publishes a quarterly magazine, VAROOM! and produces the annual ‘Images’ competition and touring exhibition, now in its 36th year, which celebrates the best in contemporary British illustration.

Association of Illustrators, 2nd Floor, Back Building, 150 Curtain Rd, London EC2A 3AT

Varoom 18 Launch and Event at The Foyles Gallery

PRESS RELEASE May 2012

ILLUSTRATION, ENTERTAINMENT AND THE AGE OF DISTRACTION PANEL EVENT AND LAUNCH OF VAROOM! MAGAZINE ISSUE 18 : THE ENTERTAINMENT ISSUE

AT THE FOYLES GALLERY ON THURSDAY 14th JUNE

VENUE: The Foyles Gallery, Third Floor, 113 – 119 Charing Cross Rd London, WC2H 0EB

TIME: 18.30

In an era of social networking, texting and ‘always-on’ smartphone culture, the way we access and consume our entertainment is rapidly evolving. To coincide with the launch of Varoom issue 18: The Entertainment Issue at Foyles Gallery in London on 14th June, three distinguished panellists from different areas of the industry will discuss illustration work, that in the age of ‘fast food’ media has taken the idea of entertainment in bold new directions. The debate is chaired by Varoom’s editor, John O’Reilly.

The panellists are:
Emma Hayley - publisher

Emma is Director of SelfMadeHero, a new independent publishing company specialising in original graphic novels, who aims “to create a publishing house relevant in the 21st century, developing new inspirational concepts and publishing across multi-platforms.”

SelfMadeHero’s latest books include a version of Freud’s classic case study, The Wolf Man, and When David Lost His Voice, a personal account of a family dealing with a father’s battle with cancer.

Grant Orchard - filmmaker

Grant is the director of animated short film ‘Morning Stroll’ which received both Oscar and BAFTA nominations, and won the Jury Prize at Sundance. This hugely successful interpretation of a story in a collection edited by Paul Auster about a chicken going for a walk, was entirely self-funded by Studio AKA, an animated production company whose clients include Guinness, BBC, and Lloyds TSB.

Adam Simpson - illustrator

With its five different covers representing each of the Best Film nominees, the BAFTA Film Awards 2011 brochure is now a highly desirable and collectible item. Adam who created the iconic images talks about the project’s intense deadlines and how to slow down and encapsulate a movie into a still, single image.

Admission is free, but pre-booking required. For further information and bookings, please email: events@foyles.co.uk

Varoom! is the award-winning, quarterly magazine which celebrates the cultural, political and social ideas in contemporary illustration from around the world.

Varoom! 18 is available from selected book shops and can be purchased online from: www.varoom-mag.com

If you have any press enquiries and image requests, please contact:

Paul Smith - press@theaoi.com tel: 020 7613 4328

Note for editors:
The Association of Illustrators (AOI) is a non-profit trade association with a membership that includes freelance illustrators, agents, clients, students and colleges. Established in 1973, it is the only organisation to represent illustrators and campaign for their rights in the UK and has successfully increased the reputation of illustration as a profession as well as improved the commercial and ethical conditions of employment. It produces the annual ‘Images’ prize and touring exhibition, now in its 36th year, which celebrates the best in contemporary British illustration. www.theaoi.com

Association of Illustrators, 2nd Floor, Back Building, 150 Curtain Rd, London EC2A 3AT

Bec Winnel at the Semi Permanent Creative Conference

Talking of her work and inspirations, Bec Winnel is a guest speaker at the Semi Permanent Creative Conference in Sydney on the 10th and 11th of May 2012.  Bec says of her work:

 "If I couldn’t create art, I think I would curl up and die. I have always loved creating and sharing artwork. Image making is my therapy and life fuel!

I’m a self taught artist from a young age. My first exhibitions were in Nan’s kitchen on her fridge. My art practice has changed from a young girl, from drawing realistic horses over and over, to exploring digital art whilst studying graphic design, then back to traditional techniques for my work as a represented commercial illustrator, advocate with Element Eden and my personal fine art work. I’ve been exhibiting in group shows for the past five years with the aim to finally have a solo show.

My personal work, portraits of feminine beauty, has predominantly been created using pastel and colour pencil, this year I am exploring oil painting alongside by previous techniques.

2012 is my first year as a full time artist. Up until now I was creating my art and commercial illustrations part time whilst working as a full time graphic designer. 2012 has also brought about a change of scenery. Originally a country girl, moved to Melbourne for five years and have now made a new home in the Alpine Valley region of Victoria, where I can focus solely on my art and be surrounded and inspired by nature and the simple things in life.

Through my art, I hope to evoke a sensual connection to my subjects while creating an affection for classic beauty, nature and nostalgia."

For more information on the event go to the Semi Permanent Event website.

Scrapbook Notebook 5

We are very excited by the arrival of issue 5 in our Scrapbook notebook series.  The cover art is by Ian Murray.  A great article by Garrick Webster on four of our illustrators inspired by Victorian artists and thanks to Geoff Cox and Rohan Eason  for permission to reproduce an extract from "Anna and the Juniper Dog".

Keith Robinson on Childrens Books

Keith Robinson recently gave a talk at a literature event, on a subject he knows much about; creating childrens books and the challenge of telling a story in 500 words/32 pages. And on how pictures have to do more than just repeat the text, but to compliment it and add meaning. Following is an extract from his talk:

Because picture books are for children, there’s a temptation to think of them as simple and therefore easy to do. But telling a good story in about 12 spreads and 500 words is a challenging business. A picture book is really a long story told short and as such it’s not simple, but it does need to be economical.

Economy of storytelling is achieved by the interplay of words and pictures. There are three crucial elements to a picture book: The text, the illustrations and crucially the connection between the two. It is this relationship that conveys much of the meaning and it’s important to understand that the words and pictures should compliment each other, presenting different narrative elements, not simply repeating each other’s content.

For example, you don’t need to write ‘It was raining so Mary put on her wellies and raincoat.’ All of that can be shown in a picture. But if underneath that picture you write, ‘Mary was excited’  then in three words you’ve conveyed a great deal about Mary’s attitude to the rain and by implication, what kind of little girly she is: adventurous, outdoorsy, not afraid of a bit of rain. Neither the words nor the pictures alone would have told you this.

But visual storytelling needn’t be limited to filling in the narrative gaps left by the text. Pictures can work in more sophisticated ways as well. There may be a subtext, conveyed entirely visually. An illustration can give the reader a different point of view from the character and can tell us something that the character doesn’t know.

For example, in Simon Bartram’s ‘Man on the Moon’ there’s a running joke that Bob (the Man on the Moon), doesn’t believe in aliens, but we can see them hidden in every picture.

The other special quality of picture books is that they’re made up of sequential images. As one picture follows the next, each page-turn becomes a ‘reveal’ – a moment of expectation or dramatic tension.

In my story, ‘Penny and the Pirates’ the buried treasure doesn’t quite turn out as expected. Here’s the spread where the treasure is discovered.

And here’s the page-turn.

Hergé said that once he worked out a Tintin story, the hardest part was arranging the panels so that each page ended with a cliffhanger. There’s a great video of Hergé explaining his process here.

The illustrations also effect the pace and rhythm of the story. This can be done by varying the size, colour palette and composition of the images, both in relationship to each other and in the context of the book as a whole. An exciting action scene might use full-bleed illustrations, with bold composition and bright colours. Quieter moments might require a more muted palette and white space around the pictures.  

Maurice Sendak’s classic ‘Where the Wild Things Are’ uses visual pacing to great effect. The book can be read on one level as the story of a little boy having a tantrum. Max’s journey to the land of the Wild Things and his ‘Wild Rumpus’ with them, can be seen as a metaphor for his growing rage. The size of the images reinforces this. They begin fairly small on one page and get bigger on each subsequent page, first filling a single spread, then growing across the double spread, until we reach the Wild Rumpus at the centre of the book, where the words have disappeared entirely and the rumpus is played out across three double page spreads, full of visual energy.

There are many ways to play with words and pictures. Here are a few more examples from my ‘Penny the Postie’ books.

The text can be part of the image. In this example, turning the text into a sound effect was more economical than describing what happened when the dragon burped.

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Speech bubbles are a great way of giving a character a unique voice. Here, the hand-drawn script becomes visual shorthand for a pirate accent.

 

Comic strip panels can show time passing or compress a sequence of actions.

Here the reader has to turn the book through ninety degrees, which coupled with the sequential illustration, emphasises the fall.

Children’s books are often about simple things but that does not mean that they are simple. Reading sequential images and understanding the relationship between words and pictures is a complex skill that children acquire before they can read for themselves. The challenge of making a picture book is to unlock the special magic that happens when text and image work together.