Learning & Resources Art Blog

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KidLit Connection: Getting to Know Author-Illustrator, Sarah LuAnn Perkins

A spread from the picture book, On a Rainy Day, by Sarah LuAnn Perkins
A black and white self-portrait linocut style illustration of artist, Sarah LuAnn Perkins.
A self-portrait by Sarah LuAnn Perkins

It’s time for another KidLit Connection interview, and I’m so happy to share this month’s author-illustrator. Sarah LuAnn Perkins is a traditional linocut and digital illustrator and author of children’s books. Her debut picture book, On a Rainy Day (published by Viking Children’s Books/Penguin Young Readers), which was inspired by the sounds of rain storms while caring for her own child, came out in March of 2022. Sarah LuAnn’s art style is unique for today’s picture books, but resembles that of classic printmakers through her use of linocut block printing and digital illustration that is inspired by it. 

In this interview, Sarah LuAnn discusses how she got started in illustration, what inspired her current style of art, and more about how her book was made. Plus, we’ll hear a little bit about a work-in-progress and some inspiration for pre-published and aspiring book creators. Thank you to Sarah LuAnn for joining us!

An interview with artist, illustrator, and author, Sarah LuAnn Perkins

"Tea Party", a color illustration of animals wearing clothes having tea together. Art by Sarah LuAnn Perkins.

We’d love to know more about you and your work as an illustrator and author. What brings you inspiration and what are some of the things you love most about making books for kids?

I’m inspired by all kinds of things! There is inspiration for stories all over the place, even just the sounds you hear on a rainy day. I love books and stories and think they’re a great way to learn and connect and explore ideas. 

I love making books for kids because it helps me to look at things more closely, or in different ways than I’m used to. I try to remember what it was like to learn or experience something for the first time and create from that space. 

How did you get your start creating children’s books? Was there anything in particular that lead you to pursue it?

Ever since I was little, I wanted to be an “artist” when I grew up, though my idea of what that would involve looked mostly like on painting canvases in a sunlit studio. I also always loved reading, and devoured novels in all my spare moments… and then of course I would make fanart based on them. Books and Art, Art and Books, those were always my two favorite things. However, it wasn’t until I was looking at college major options that I fully realized that Illustration was an option, and the perfect combination of those two interests. It seems obvious in retrospect, its funny it took me that long to get here! But ever since I did arrive at illustration, I haven’t looked back. 

Your debut picture book, ON A RAINY DAY (Viking Children’s Books, Penguin Young Readers), creates a fun look at the sounds and activities that can happen when the weather suddenly changes. Can you tell us more about this book and how it came to be?

The illustrated book cover for On a Rainy Day by Sarah LuAnn Perkins. A child and her father jump in puddles outside after a rainstorm.

ON A RAINY DAY took years to make–from January 2017 to publication in March 2022. There were lots of ups and downs along the way, but I’ll try to stick to the important/interesting bits:

I first got the idea for this book in January of 2017. I was participating in the Storystorm challenge, where participants come up with a picture book idea for every day of January. My baby was napping and I was appreciating the sounds I could hear through the window in my mostly-silent house and I thought, what if I could use sounds to tell a story? I had many other ideas already listed, but I was more excited by this one than any of the others. I was so excited about it that I wrote a rough draft that night. 

It went through many more drafts after that, of course, and I took many breaks–I had my first baby in 2016 and my second in 2018, so I was consumed in parenting for months at a time and then I would find some time to work and make some edits, only to set it aside for a few more months again. Having little kids made working harder in some ways, but was helpful in others–watching my husband playing with our daughter directly informed the father/daughter relationship I decided to center the story on. 

Finally, in early 2019 I felt like I had a dummy book polished enough to query agents. I signed with my agent, Adria Goetz, a few months later, and she had suggestions for even more edits which I got to work on. I took the partially edited dummy to the Rutgers One-on-One conference in NJ. There I met with an art director from Viking Books, Kate Renner, who loved the book and the edits I had started making to it, so once I had the edits finished Viking was on the top of our list of imprints to send it to. After a couple rounds of “revise and resubmit” (which also took months to complete… are you sensing a theme here?) Meriam Metoui from Viking made an offer for it–her first offer as an editor–in August 2020. 

And then of course there was more revision, finishing the art, editing the art, finishing touches such as hand drawn text and endpapers… until, finally it was a real printed book I could hold in my hands and share with book lovers, just over 5 years after I wrote the first draft. 

Thumbnail sketches for the picture book, On a Rainy Day, by Sarah LuAnn Perkins. Rectangles show small versions of the book layout to inform how the final book might look.
Sarah LuAnn’s thumbnail sketches for On a Rainy Day before final art and layout.

What was your favorite part about creating ON A RAINY DAY? And what was something you found particularly challenging while working on this project?

A final sketch for the cover of On a Rainy Day
before the color version was created.

Ooh, this is really hard to choose! I do have to say, it was very satisfying to be at the point where all of the major text/sketch edits were done, and I just got to dive into completing the art. All of the difficult decisions were made, so I got to lose myself in the part of the process I have the most experience and confidence in. The biggest challenge was sticking with my story long enough to get it to that point!

The style of your work is inspired a lot by linocut and woodcut printmaking. Can you share more about your art processes and how you work?

In college I experimented a lot with different styles of illustration, especially in my campus job illustrating online courses. For every course I was assigned to illustrate I would think of a different style to use, related to the course subject if possible. I was assigned to illustrate a history course and I thought that a linocut-inspired style (done digitally) would have a old-timey feel that would fit with the subject matter. I had a lot of fun illustrating that course, but moved on to different illustration styles for other projects afterward and didn’t think much about it. 

After graduation, I was working on putting together a portfolio that I could feel confident putting in front of art directors. I looked back over all the projects I had done while working on my illustration degree and remembered how much fun I had making linocut-inspired illustrations and decided to try that again for fun. I studied actual printmakers so I could get the look just right.

A black and white linocut print of Rapunzel dragging her hair in a wagon, shown with the inked linoleum cut, roller, and cutting tools. Art by Sarah LuAnn Perkins.
The process of a linocut with Sarah LuAnn’s Rapunzel art.

A linocut is created by carving around a design on a linoleum block. The pieces of the design that will be printed are left while the places where you don’t want ink are carved away. Ink is then rolled over the top and paper pressed on top of it to make your print. It is similar to a stamp, but larger. The carving process results in a texture and line quality that is distinctive. 

I made a “digital linocut’ and loved it, so I tried it again. And again. And Again. I perfected my process to the point where I’ve had actual printmakers assume my digital work is an actual hand-carved print.  I found I really loved the subtractive process, the bold shapes, and the interesting textures that resulted, so what I originally assumed was just a fun style experiment quickly filled my entire portfolio because the process and resulting illustrations were so satisfying to me.

After filling my portfolio with digital imitation-linocuts, I was gifted a small printing press from a local artist and finally had the excuse I needed to carve prints for real! Now I jump between digital and traditional printmaking, but my style in both is basically the same. 

A black and white illustration of a bonsai tree with somebody reading a book while lying on a branch. Art by Sarah LuAnn Perkins.
A drawn and partially cut linoleum block by Sarah LuAnn Perkins.
A close-up of a cut linoleum block by Sarah LuAnn Perkins.
A print of a bonsai tree with somebody reading a book while lying on a branch. The print is hung by clips on a line to dry after printing. Art by Sarah LuAnn Perkins.
Sarah LuAnn’s process for creating a linocut print. From the digital sketch, drawing on the block, to cutting, then inking and printing.

You also have a new graphic novel you’ve been working on. Can you tell us more about that project?

Its still in the early stages, but I’m really excited about this story! Its about a house-cleaning robot who is not too pleased when its family adopts a cat. It has definitely been a challenge to shift from thinking in picture book terms to graphic novel terms, since the scale of the story and the way it is told is partially the same but also different in significant ways. 

The Lonely Dragon. A page from a graphic-novel style spread created by Sarah LuAnn Perkins. A dragon laments that they are lonely, but can't stop being greedy.

What are some of the big differences you’ve found between working on a graphic novel versus working on a picture book?

With a picture book, I can hold the whole story in my head at once. Creating a written outline never seemed entirely necessary because the story was short enough that I could hold the outline in my head. 

With a graphic novel, I’m finding that if I just try writing without having a full idea of where the story is going I get completely stuck. I thought I didn’t need outlines, but it turns out I actually did have outlines for my picture book projects, I just didn’t write them down. Once I realized this and wrote out an outline for my story things started working. 

What other types of work have you done as an illustrator that relates to your work as a book creator?

My first job after college was working for Cricut making art for die-cutting machines. It taught me to keep my files organized and understandable for other people who might have to use them further along in the process. Working as a team and seeing myself as just one contributor to a project created by a group was a great skill to learn. Even though as an author-illustrator more of the process lands on me, keeping that mindset not only helps me work with my agent, editor, art director, etc, but it also helps me make things easier for myself down the line in the project. 

A linocut inspired image of a mermaid trapped inside a fish bowl vase, looking out into the world. Art by Sarah LuAnn Perkins.

What is your greatest wish for your work as a children’s book creator?

Grandiose as it sounds, I want to change people through my stories. It feels really bold to say that, but as someone for whom reading books lead to important and life-changing realizations, I think its entirely possible. Books were and still are instrumental in teaching me to think for myself, understand other diverse experiences, and feel validated in my own experiences. My dream is to make books and stories that can do that for other people.

What is something you’d like to tell aspiring picture book illustrators and author/illustrators?

Give yourself the time and space to experiment, to find the creative approach that gets you excited and feels like you. Figure out who you’re creating for and don’t worry about pleasing anyone else–no book is for “everybody”. Find people who will cheer for you and get what you’re trying to do, and who you can also cheer for. Breaks are not only ok, but necessary. 

Learn more about Sarah LuAnn and her work:

To learn more about Sarah LuAnn Perkins and follow her latest projects, connect with her online through her website and social media:

Sarah LuAnn is represented for children’s books by Adria Goetz at KT Literary.

Are you a published or soon-to-be published illustrator or author/illustrator who loves creating books about nature, animals, or the environment? I’d love to chat with you for a KidLit Connection interview! Send me a message.

KidLit Connection: Getting to Know Author-Illustrator, Rebekah Lowell

A watercolor illustration of a variety of North American songbirds flying through a field. Art by Rebekah Lowell.
A spread from Rebekah Lowell’s debut picture book, Catching Flight

I’m thrilled to share this month’s KidLit Connection interviewee! Rebekah Lowell is an author/illustrator of children’s books from Maine whose work has a focus on nature and how our own lives connect with the natural world. She writes and illustrates both picture books and middle grade. Her debut book, The Road to After (2022, Nancy Paulsen Books) is a middle grade novel in verse about learning to survive and thrive after fleeing abuse and how nature can be a source of healing. And just this year, Rebekah’s debut picture book, Catching Flight: Soaring on the Wings of Birds (2023, Doubleday Books for Young Readers) was released! We’ll talk more about this beautifully illustrated book in the interview.

Author/illustrator, Rebekah Lowell in a field of wildflowers, looking down and holding a wide-brimmed hat.

Rebekah is an amazingly kind soul full of compassion and empathy for fellow humans and our beautiful Earth. She earned her bachelors in Fine Arts at Rhode Island School of Design in 2004 and later completed her masters in Children’s Literature and Illustration at Hollins University in Virginia. When not working on books for children, Rebekah practices and teaches nature journaling, is a Maine duck stamp artist, and a surface pattern designer. She also rescues monarch butterflies from hay fields and raises them to release. Among all that, she is a mom and homeschools two daughters.

I had the pleasure of meeting Rebekah in-person for the first time at the New England SCBWI conference this April and I attended her session about storyboarding picture books. I was so happy when she agreed to be interviewed for this blog! Thank you, Rebekah for sharing more about you, your artist story, and your insights with us.

An Interview with Author-Illustrator, Rebekah Lowell

We’d love to hear more about you as an illustrator and author. What inspires you and your art and what things do you most love about your job as a creator of books for kids?

Rebekah Lowell working on pond studies in her nature journal

I’ve been making art since I was a kid, so doing anything else never really occurred to me—unless it had something to do with plants or nature. I think I had considered horticulture at one point, but if I had done that, I would have painted every flower I grew anyways, so I don’t figure my time would have been spent much differently. I love making books for kids because I get to continue exploring the world and following my curiosity to share with others. It feels like by sharing what I am passionate about I’m bringing young readers closer to nature through words and pictures. I love the format of a book because it’s a story you can hold, it’s tangible, it’s precious, it means something. 

How did you start illustrating and writing for children’s books? What inspired you to pursue this type of work?

I started creating books for kids in 2004. I made my very first picture book dummy in a class called Picture and Word taught by Judy-Sue Goodwin-Sturges at RISD and I was hooked. And yes, my first picture book idea was about a bird. I always knew I wanted to make art forever, but it was during that class I realized I wanted a career in children’s literature.  

Your most recently published picture book, CATCHING FLIGHT is a beautifully illustrated poem about hope, highlighting different species of native birds. Could you tell us more about this book?

Book cover for Catching Flight by Rebekah Lowell. A variety of wild birds fly through a blue sky.
Catching Flight: Soaring on the Wings of Birds

Thank you! Yes, CATCHING FLIGHT, came into this world in a way that wasn’t conventional for me. I shared an illustration on Twitter of a feather with birds flying out of it and my now editor, Frances Gilbert, messaged me asking if I had a book to go along with that project. I immediately wrote her a poem and sent her a photo of the handwritten scribbles and she asked if I could type it up and send it to her. She and I had met at Hollins in 2014 and had relationship prior to her seeing my artwork, so her message wasn’t the first time she had seen my work. We both already knew each other. But it’s proof that you should keep making art and keep showing your work because you never know what will happen.  

When I wrote the words for CATCHING FLIGHT, I wanted to capture a feeling of freedom and lightness. We were in a hard time, during the pandemic, and we were all experiencing a global hardship together. I wanted to bring a message of hope to the world through a picture book. Birds felt like the natural solution to a problem. They always make me feel better. 

What was your favorite part about working on CATCHING FLIGHT? Additionally, what was one of your greatest challenges working on this project?

A stack of Catching Flight books by Rebekah Lowell on a table with a pair of bird-watching binoculars on top.
Copies of Rebekah Lowell’s debut picture book, Catching Flight

One of my favorite parts was getting to work with both Frances Gilbert and Nicole de las Heras, who I had previously met in person at Hollins. They are both amazing humans and wonderful people to work with. 

One of my biggest challenges was making sure I was drawing the feathers correctly. I watched webinars with Liz Clayton Fuller, looked at art by Jane Kim of InkDwell and refered to books by John Muir Laws and of course, Sibley Field Guides to be sure I was drawing the feathers accurately. 

Nature seems to be a huge inspiration for your stories and art. Could you tell us more about how nature inspires your work and what role it has in both your art and your life?

I am a better person inside and out if I spend enough time outside. What is enough? At least some time where I’m not talking, and I’m present, and I’m noticing what is around me outside. I like to listen to birds, look at plants growing and notice the changes that happen in my yard and seasonally in the natural world. If I don’t get to do that, I start feeling lost, overwhelmed, and unsettled. One of my favorite things to do is nature journal outside. Nature is a never-ending source of inspiration, and one idea can lead to the next. My problem is not having enough ideas, it’s having too many ideas. 

We’d love to hear about your process as a kids’ book creator and how you work as an author and artist. Could you share more about that?

Rebekah Lowell's nature journaling materials by the water. Brushes, watercolors, and a journal.
Rebekah’s nature journaling setup for watercolor painting outdoors

My process is observe, create, revise (if it’s a book project), and revise again. 

If it’s a nature journal spread, I don’t revise, but I draw and paint with intention and observation. 

I use traditional materials such as watercolor, acrylagouahce, colored pencil, pencil, graphite dust, acrylics, oils and more. Book work is mostly water based and commissions or duck stamps are often in oils. 

Going back to books, I often write first, then sketch starting with blank paper, and just get a few ideas out, but I always use thumbnails for the early ideas of a picture book, and then those get bigger as I refine my sketches. 

I use Photoshop right now to create my PDF dummies, but I am transitioning to using InDesign for picture book dummies next. 

In terms of middle grade books, it’s always many rounds of revision before we start final art. I usually do some sketches though that don’t make their way into the final book, but it’s because the sketches help me get a feel for the story and they inform the words. It’s a constant back and forth between picture and word. 

Do you have other book projects you’re working on that you can tell us more about?

I have a picture book on submission right now with several others in my back pocket. 

I’m also working on edits for another illustrated middle grade novel in verse. 

What other types of work have you done as an illustrator that relate to your work as a nature artist and kid lit illustrator?

Rebekah Lowell's monarch butterfly surface pattern drawn in a book and printed on fabric.
Rebekah Lowell’s monarch butterfly pattern design on fabric

In addition to the Nature Journaling that I mentioned, I have an online shop with notecards, stickers, pins, prints, and more. I’m also a surface pattern designer and my first fabric collection, featuring monarchs, will release this fall with PBS Fabrics. I hope to offer more with surface pattern design in the future. I would love for my work to be on journals, wallpaper, kids clothing, towels and more. 

I’m also a five-time Maine Duck Stamp artist and this year’s Maine Common Ground Fair artist. 

What is your biggest hope for your work as a children’s book creator?

The Newbery, and the Caldecott, and a movie. There I said it. 

But on another note, I hope that my work as a creator helps connect others to nature because we need to care about nature so that we care about protecting it. We absolutely need to protect nature. 

What is something you’d like to tell aspiring picture book illustrators and author/illustrators?

This is a very long game. Make the work because you love making the work. Create from your heart and others will feel it. Be willing to fail. Don’t be afraid of rejection. Be willing to succeed too. I think sometimes we can be afraid of success and not even realize it. We want it, but we are also afraid of it. In making this work, we learn more about ourselves, so no matter the outcome the journey is worthwhile. 

Learn More about Rebekah Lowell

To learn more about Rebekah Lowell and keep up with her latest art and events, check out her website and social media:

Rebekah is represented by Paige Terlip at Andrea Brown Literary Agency.

A nature sketchbook pond study in watercolors of cattails and water by Rebekah Lowell.

Are you a published or soon-to-be published illustrator or author/illustrator who loves creating books about nature, animals, or the environment? I’d love to chat with you for a KidLit Connection interview! Send me a message.

An Artist’s Toolbox: Art Reference & Research

Many times through my life, I’ve heard this myth about artists: A true artist doesn’t need to look at pictures to help them draw—they can draw anything right from their own imagination. But, contrary to this tall-tale, reference images and research are wonderful assets for most artists, especially illustrators. And really, how many people actually have a photographic memory? Very few, if any.

Think about art schools. Life drawing is a basic foundation class most artists take. And what do they draw from? A live model—not just their imaginations. Artists don’t draw or paint in a void. Reference images and research are key tools to keep in your artist’s toolbox.

Collecting Reference Photos

Like many artists, you may first have an idea about something you want to draw or paint, and perhaps you’ll scribble a few rough sketches and jot down some notes to flesh it out. But, once you’ve got an idea, you need to develop it into a cohesive composition, whether it’s a one-off piece of art or part of a larger project, like a picture book or gallery series. This is when I turn to reference photos.

Reference photos are images you may find or take yourself to help you with accuracy in your drawing or painting. I usually use a mix of images found and images I’ve taken myself, depending on what I’m able to find and what my specific subject is. Once I have an idea of what the elements of my piece will be, I’ll start collecting reference images that help me accurately portray those elements. 

Final art of a woman floating underwater with moon jellyfish. Next to the final image, two reference photos taken for the piece: one photo of moon jellies at the Mystic Aquarium. The other photo is the artist posing herself with lines to help with perspective.
Final art of “Falling, Floating, Free”, next to two reference photos taken by me. Moon jellies at the Mystic Aquarium and me posing myself with lines to help me figure out perspective.

Taking Your Own Reference Photos

If part of my piece includes something I know I can find locally, I’ll go out and take some photos myself. Or if it involves a person in a specific pose, I’ll often pose myself or one of my family members to make sure I’m drawing that pose accurately. Sometimes, I’ll even use my dog as a reference (dogs are some of my favorite characters to add to a visual story). If a stranger were to look through some of the photos on my phone, they’d either think I’m a very interesting person, or downright crazy. Don’t worry though—it’s just reference photos.

A pencil drawing of a girl running next to a photo of the artist's daughter running used as reference.
A pencil drawing for a picture book dummy and one of several reference photos of my daughter running taken from the ground.

Drawing From Live Reference

Another option for reference images is drawing from a live reference. You can have a friend or family member hold a pose for you while you draw. Or, go to a zoo to draw the animals you’re hoping to capture. You could even sit in your back yard to observe the birds or flowers. 

Often it’s easiest for most artists to take photos of live references, so you still have that image to use back in the studio. But, sitting and enjoying the slow-down time of drawing a live reference can be a lovely experience in itself. I’m lucky to have places like the EcoTarium and New England Botanic Gardens at Tower Hill near me which I visit to find inspiration and references. 

I recommend exploring local opportunities near you that can provide some surprisingly wonderful reference opportunities. Here are some resources to help you find great places near you.

A sketchbook with ferns drawn in pen in front of ferns in the woods. Image by Victoria K. Chapman.
A sketchbook drawing done from live reference in the woods of a species of wood fern while at New England Botanic Garden at Tower Hill

Collecting Found Images

For some subjects, it’s not always easy to go out and take or draw from live references. As nice as it would be to hop on a plane and travel to Hawaii to take reference photos of volcanoes, it’s usually not realistic, unless you live there. That’s when the internet comes in handy.

I don’t condone the stealing of other people’s images by any means, but looking at photos and other images for inspiration and to get a sense of what something looks like can be very helpful. As long as, in the end, your final piece of art isn’t a direct copy of somebody else’s work. Found reference photos are a means of practicing and finding inspiration, not plagiarism. Don’t steal the images—practice and learn from them, but then create your own composition from what you’ve found in your own style.

A northern saw-whet owl in a pine tree. Royalty-free photo by Chris Tolman via Pixabay.
"Happy Owlidays"! Three illustrated saw-whet owls wearing winter scarves on a tree branch.
An example of a reference photo used to help me learn what northern saw-whet owls look like, next to the final piece of original art. This photo is a royalty-free photo from Pixaby taken by Chris Tolman.

Keep it Legal!

If you love a particular pose or way of lighting a figure that you want to borrow to use in your art, there are ways you can legally do so without violating copyright laws. There are a number of royalty-free reference photo websites out there that won’t step on any photographer’s toes, and can also support them and their art. Some are completely free, but it may be harder to search those and they may not always have what you want. Others have a nominal fee to give you access and you support photographers and their art through that. Artists supporting artists. Its’ a win-win. 

Alternately, you can also reach out directly to a photographer and ask them for permission. Just make sure you get a clear “yes” and what their terms and restrictions are.

Here are a few pay reference photo websites:

And here are some free reference photo websites: 

IMPORTANT: Always be sure to check out the terms for use. Some photographers require attribution if you directly use their work. Others require you pay an additional fee if it’s something you’ll be selling commercially.

Lisa Clough from Lachri Fine Art also has this great video about using reference photos legally that you can check out:

Doing the Research

Often times, I’ll realize I simply need more information before I can finalize part of my composition. I started to draw a child lying in a field of flowers, but realized I wasn’t sure which flowers actually bloom at the same time. Sure, many people wouldn’t notice if you drew a spring daffodil blooming at the same time as fall mums (unless they’re like me), but you might feel better knowing that your piece doesn’t contain gross inaccuracies.

Places to do the research

There are a lot of ways to research your subject matter, a classic place to do so being your local library. Books are an excellent resource if you can find a book about your subject. Libraries also have access to newspapers, magazines, and sometimes videos, microfiche, and photo slides. Libraries are an important local resource for so many reasons.

There is also, of course, the internet. But, you also need to be careful that your searches make use of reliable resources. Here are some of my favorite reliable sources of information for my nature research:

A lot of reputable newspapers, magazines, and education organizations have websites with free information. Just be careful of where you find your information and double-check it against other sources.

Watercolor and colored pencil illustration by Victoria K. Chapman. A smiling Black child lies in the grass among dandelions, asters, and clover with a ladybug on their shirt.
For this image, I did some research to make sure dandelions, white clovers, and asters all bloom around the same time.

An example of why to do the research:

Perhaps you are drawing an echidna, a curious egg-laying mammal from down under as part of a non-fiction book you’re working on. It’s helpful to also find out where the echidna lives, its general size, its behavioral characteristics, and what its habitat looks like. If you draw an echidna in a New England forest, it’s going to seem awfully out of place. They’re actually from Australia, Tasmania, and New Guinea. Or if, for example, you draw an echidna next to a horse, but you draw them the same size, it’s also going to look rather odd. Echidnas are closer to the size of a large house cat.

A rough sketch of an echidna next to a horse, roughly the same size. The text reads, "Yeah, we're confused too..."
A rough sketch of a horse-sized echidna next to a horse. Or…maybe it’s a tiny horse? We’re all confused here.

Doing the research will save you a lot of headache later when you find you included some innocent, but terribly inaccurate detail. It may be a little extra work, but I personally find it to be one of the most interesting parts of my job as an illustrator. And if you do have the opportunity to go on-location to do research for a piece of art, do it! That is, if you enjoy traveling and learning. I sure do.

Reference is Your Friend

Reference images and research are amazing tools that can help your art not only be more accurate, but more interesting as well. Research can help with precision, but it can also help with inspiration. And what artist doesn’t like feeling inspired? I love looking at photos, going out into the world to see new things, and spend time really looking at the amazing things around me. Plus, learning something new in the process can bring a whole other level of joy to your work.

Just remember that it’s okay to learn from other artist’ images, but stay away from plagiarism. Learn and practice, and then create something new and original that’s yours. If you want to copy another image, make sure to do so legally. And most of all, enjoy the time spent really looking at the world around you. This Earth is an amazing gift and there is so much to see!

Do you have other resources relevant to reference images and research that you’d like to share? Leave a comment here.

Do you have an art-related topic you’d like to hear about from me on this blog? Let me know!

KidLit Connection: Getting to Know Illustrator, Luciana Navarro Powell

Light Speaks written by Christine Layton, illustrated by Luciana Navarro Powell/Tilbury House 2023. A whimsical illustration of a child holding two fireflies in their hands while another catches fireflies in a jar.

I’m so excited to introduce the first KidLit Connection illustrator of 2023! Luciana Navarro Powell is a multimedia artist originally from Brazil and living in the beautiful Pacific Northwest of Washington. Her illustrations vary from colorful and fun to mysterious and moody. Luciana’s versatility in mediums and style has resulted in more than a dozen books and many magazine illustrations as well. Her love of the outdoors and observations from nature and the places she’s lived inspire her engaging compositions and color palette. Her illustrations bring to life so many great stories for kids.

Illustrator, Luciana Navarro Powell, smiling with her books in the background.

Luciana has a background in product design and graphic design, but began her full-time venture into illustration in 2001. Her most recently published book, Happy Birthday, Belly Button (written by Kalli Dakos) just released this week! So, happy book birthday to her! And she has another amazing book, Light Speaks (written by Christine Layton) releasing in April this year as well, available for pre-order. Plus, Two Measly Spots (written by Elaine Gast Fawcett and Sue Schwartzman) was also released earlier this year by independent publisher UpSpot Publishing! Luciana has been very busy with so many book projects. To learn more about all of Luciana’s books and upcoming releases, visit her website at www.lucianaillustration.com.

Be sure to read to the end to find out how you can get a signed art print from Luciana!

An Interview with Luciana Navarro Powell, Picture Book Illustrator

We’d love to know more about you as an illustrator. What inspires you and your art and what do you love about your job creating books for kids?

Thank you so much for having me in your blog! I loved drawing as a kid, and when I was 10 my parents enrolled me in a painting class with a local famous painter in the city I grew up in Brazil. I always enjoyed looking at art, loved Art History classes, but never thought about it as a career. A lot of things inspire me, I look at the world through my pair of illustrator glasses. What color would I use to paint the leaves on that tree, How would I illustrate the sun rays filtering through the tree branches, what shade of blue would I use to paint that tree shadow—that is my brain when I’m outside going for a walk. Absolutely everything is an illustration subject to me.

How did you start making art for picture books? What inspired you to pursue this type of work?

I started taking freelance jobs in illustration when I still lived in Brazil. When I was still in college—I majored in Industrial Design—I connected with an editor that worked with master and doctorate students at the University I studied. She edited their thesis, usually from Humanities majors, and made them into books. I designed the covers and sometimes illustrated interior pages. That led me to illustrate a series of educational materials she edited for a governmental institution that supported agricultural communities, and I really enjoyed doing illustrations for children. From then on illustration for kids publications became my focus.

Book cover art for Happy Birthday, Belly Button and Light Speaks, illustrations by Luciana Navarro Powell. Text reads, "Pre-Order Available"!

Happy book birthday this month to HAPPY BIRTHDAY, BELLY BUTTON! Your newest book, written by Kalli Dakos, and published by Amicus Ink, is now available and I’m so excited! Can you tell us more about this book?

Thank you! Kalli Dakos is the author and she is a veteran poet for children with many books published, and reading specialist. The book is about a joyful child who celebrates being one year older, calling out body parts from head to toe that have grown since their last birthday. It’s fun and exuberant and a great read aloud with toddlers and preschoolers, to celebrate a birthday of just the wonderment of growing up!

For this book I used soft pastels, mostly white backgrounds and a bright palette to convey the energy and joyful moments for that kid’s special day.

"Happy Birthday, Belly Button" written by Kalli Dakos, illustrated by Luciana Navarro Powell/Amicus Ink 2023. A small child runs through a hallway with a comb stuck in their hair, as a cat hides behind a plant.

You also have another book coming out later this spring, LIGHT SPEAKS, written by Christine Layton, and published by Tilbury House. I’m so excited about the art for this—it looks gorgeous! Would you tell us more about it?

Thank you! For Light Speaks I went almost the opposite direction, visually. Because the book is about light, a lot of the pages are dark—either night time or in the darkness of the universe with contrasting bright galaxies. The text by Christine Layton is beautiful—even though it’s nonfiction, it’s sparse and lyrical, and I approached it with a slightly less finished look and bolder composition to try to convey the different aspects of light through the book.

"Light Speaks" written by Christine Layton, illustrated by Luciana Navarro Powell/Tilbury House 2023. A colorful and whimsical illustration of the Big Bang explosion, with stars and galaxies flying off into space.

What was your favorite part about illustrating these two books? Additionally, what was one of your greatest challenges working on them?

I love how completely different they are! Happy Birthday, Belly Button is playful and festive, a romp, with a delicious silliness to it. Light Speaks has a touch of mystery, almost—how light manifests in different ways, from the grandiosity of the Big Bang to the small tragedy of the baby turtles being led the wrong way by artificial light. The challenge for Happy Birthday was how to make the story about different body parts into something cohesive—so I created the second layer narrative of the child getting ready for the guests that show up at the party. That is the beauty of the Picture Book, the alchemy of text and pictures. 

A similar challenge was tackled in Light Speaks—I weaved a second narrative of the children in the seaside town. They walk at night, catching fire flies with their family and head to the bonfire party at the beach in the end.

Process images, including sketches and partially finished pieces from Happy Birthday, Belly Button. Art by Luciana Navarro Powell.
A peek at the process of creating Happy Birthday, Belly Button

We’d love to hear about your process for creating picture book art. Could you share more about your mediums and how you work?

For each book I use a slightly different approach. I always start sketching on paper. I create some parts of the art using analog methods, and everything gets scanned and comes together digitally in Photoshop. For Happy Birthday, Belly Button I wanted to convey a lightness and energy to that rambunctious child. I used pan pastels, color pencils and watercolors, as well as some acrylic for heavier brush strokes. 

For Light Speaks I used stencils and acrylic paints, creating some swatches of color and textured that I scanned and later composed on Photoshop. I also used some real light to illustrate! The stars were created by perforating a paper bag and photographing tiny spots of real sunlight inside—check the photo! The Big Bang light explosion is a real light reflection on walls, using some crystal pieces. It was super fun to play with real light to create art for this book about Light.

Process images of creating Light Speaks, including sketches, photographs, and partially finished illustrations. Art by Luciana Navarro Powell.
A peek at the process of creating Light Speaks

Could you tell us more about how nature inspires your work and what role it has in your art?

As I mentioned, I walk in the world wearing my Illustrator Glasses—I see everything as if I was going to illustrate it for a book: colors, shapes, peoples faces. I also LOVE plein air painting. My favorite thing to do with my family is adventuring outdoors. I often bring my watercolors and paint where we are! I have painted in a few National Parks, you can see some of my paintings in the Personal Work link on my website!

"Two Measly Spots" written by Elaine Gast Fawcett and Sue Schartzman/illustrated by Luciana Navarro Powell/UpSpot Publishing 2023. A whimsically illustrated ladybug flies into a colorful landscape of mountains, trees, a river, and waterfall.

You also have other book projects you’ve been working on. Can you tell us more about them?

I am currently working on illustration for textbooks, and also a series of 4 board books that I’m preparing for my agent to start pitching to editors. Keep your fingers crossed for me!

What is your greatest hope for your work as a kids’ book illustrator?

My hope is that my illustrations help kids to get lost in the books they are reading—feeding their imaginations as they read, and after. When that happens, there is a good chance that this kid will become a lifelong inquisitive, curious, critical thinker reader—and consequently a better citizen and steward of this planet.

"Happy Birthday, Belly Button" written by Kalli Dakos, illustrated by Luciana Navarro Powell/Amicus Ink 2023. A whimsical illustration of a child moving about and playing a drum excitedly.

Learn More About Luciana

To learn and see more from Luciana Navarro Powell, visit her on her website and social media.

Review Luciana’s Books and Get an Art Print!

Luciana is offering a special promotion to anyone (US residents only) who purchases and reviews online any of her books. Follow her on social media (Twitter or Instagram) and DM her proof of purchase and screen shot of review (either Amazon, GoodReads, Indiebound, or all) and she will mail you 1 signed, 6×8″ fine-art paper print of any page you choose from the book you purchased/reviewed. 

Luciana is represented by Deborah Warren at East West Literary Agency.

Are you a published or soon-to-be published illustrator or author/illustrator who loves creating books about nature, animals, or the environment? I’d love to chat with you for a KidLit Connection interview! Send me a message.

Donate & Win Art!—Victoria’s 2023 Birthday Fundraiser for Mass Audubon

Artist Victoria K. Chapman holds up her art print and smiles. The text reads: Donate & Win Art! Through 3/20. Victoria's Birthday Celebrate. Benefits Mass Audubon. www.weyakindesigns.com

It’s that time of year again, where I’ve made another trip around the sun and turn another year older. My birthday is in early March and this year I’m celebrating by raising money for Mass Audubon (https://www.massaudubon.org). This wonderful conservation organization does great work preserving wild places in Massachusetts for all to enjoy and educating the people of Massachusetts about wildlife, nature, and conservation. I’m asking YOU to help me celebrate by donating! And in return, I’ll enter you in a raffle to win your choice of some art prints featuring my illustrations.

How Does The Fundraiser and Raffle Work?

  • Donate to the Facebook fundraiser for Mass Audubon.
  • Your name will be included in the raffle.
  • The fundraiser runs from now through March 20th, 2023.
  • I will pick winners on March 21st, 2023 and post it on the fundraiser or email you.
  • If you win, I’ll need you to contact me with your art print choice and mailing address so I know where to send your print.
Donate on Facebook

IMPORTANT: You cannot be entered if you donate privately. I need to be able to see your name to enter you in the raffle. Please make your donation publicly if you wish to be entered into the art raffle!

Can I Donate Outside of Facebook?

Yes! If you’d like to enter but don’t want to use Facebook, you can donate directly to Mass Audubon here: https://www.massaudubon.org

  • In order to be entered in the raffle, you MUST email me a screen shot of your donation receipt.
  • Please email me with the screen shot and your name at weyakin@weyakindesigns.com.
  • Please title your email: BIRTHDAY FUNDRAISER DONATION
Donate Directly to Mass Audubon

Don’t forget to email me your receipt so I can enter you in the raffle!

Which Art Can I Win?

I’ll pick TWO (2) winners for this birthday raffle! If you win, you can pick ONE (1) of your choice of the following art prints:

I can’t wait to see how much we can raise together for Mass Audubon! Thank you for sharing in the joy and spirit of nature with me for my birthday!

KidLit Connection: Getting to Know Illustrator, Marie Hermansson

An older man and child work together to plant a seedling in a garden bed in an urban community garden. In the background, another group of people water some kale plants. Illustrated by Marie Hermansson.

I’m so excited for the fifth interview in the KidLit Connection series, where I interview illustrators and author/illustrators who create amazing art for kids. This series has a focus on illustrators who share the magic of the imagination and spirit of nature with children and their grownups.

A portrait of illustrator, Marie Hermansson.
Marie Hermansson,
Children’s Book Illustrator

This month, I had the great pleasure of hearing from children’s book illustrator Marie Hermansson. Marie is a multi-talented artist with an eye for design and color. With a background in garden design and landscape architecture, Marie’s illustrations for kids bring out the magic of nature and the outside world. This is especially evident in her latest book, Listen to the Language of the Trees (written by Tera Kelley, published by Sourcebooks Kids, 2022). We’ll hear more from Marie about the process of creating this amazing STEM themed nature book in the interview, plus more about her upcoming books and other art projects.

Marie lives with her family in North Carolina, including her two children (ages 9 and 7) who lovingly help her out with critiques. When she’s not working on books for kids or other art, she finds curiosity and inspiration in the natural world by going for hikes and gardening. I really loved hearing from Marie about what inspires her, about her projects and process, and more. I hope you do too!

An Interview with Marie Hermansson, Children’s Book Illustrator

We’d love to know more about you as an illustrator. What inspires you and your art and what do you love about your job as a KidLit illustrator?

A man, a child, and a dog walk through the woods near a pond with mountains in the background. Birds, squirrels, and deer look at them from behind the trees and bushes. A whimsical illustration by Marie Hermansson.

Thanks so much for having me here Victoria. Nature is my big inspiration, that’s pretty broad I know! Specifically, I love diverse environments, habitats, landscapes, oceanscapes and the flora and fauna found in those places. Children with their innate curiosity and love of nature are always an inspiration. I love how lighting and color set moods in an illustration. I am drawn to abstract fine art landscape painting and I think that I tend to create a bit of a fine art look for my landscape work in my KidLit illustration. In fact, I am always looking for ways to loosen up my art. With landscapes I can do that with more confidence but I am still trying to loosen up in how I draw my characters and creatures. It’s ever evolving!

Being a KidLit illustrator was (and still is!) my dream job. It wasn’t something that I set out to do, I found my way to it organically. Illustrating really lights me up and I feel like I am drawing and smiling at my computer the whole time like a crazy person. When I am drawing I think about the readers, the children who will be looking at the illustrations and hoping that they will bring them some joy. Maybe something in the drawing will be a talking point for them and their parent, caretaker or teacher. Maybe it will inspire them in some way. I know how much my own children love looking at and reading picture books so I hope that my books will bring that kind of happiness to other kids too.

How did you start making art for kids’ books? What inspired you to pursue this type of work?

As I mentioned above, my KidLit career developed naturally over time and wasn’t really planned. About 6 years ago I began illustrating on a daily basis. At the time I was having fun making greeting cards for my Etsy shop without any serious thought of making a career out of it. After a couple of months on Etsy I was contacted by the company that publishes all of the greeting cards for Trader Joe’s. They wanted to license artwork from me for a greeting card. This was a pivotal point for my illustration work for two reasons. First, I didn’t even know about art licensing and second, someone actually liked my art enough to pay me money to use it! It was such a confidence boost and I began to take my illustration work more seriously.

I started to get more clients for surface design but I realized as my style developed that I was illustrating in a way that lended itself to picture books. Telling a story visually was something that I was drawn to. I signed up for a picture book course, Skillshare, bought some books and began to learn more about picture book illustration and publishing. After about 6 months I had gained enough confidence to start looking for an agent. Soon thereafter I was approached by my first agency and started making my first picture book. I now am with a new agency and continuing to develop my career and making more picture books.

Your most recently published book LISTEN TO THE LANGUAGE OF THE TREES: A STORY OF HOW FORESTS COMMUNICATE UNDERGROUND (written by Tera Kelley, published by Sourcebooks Kids) is a beautiful STEM book with scientific facts about trees. Can you tell us more about this book?

Listen to the Language of the Trees was such a joy to work on and I am grateful that I was chosen to illustrate it. It was my first book project so I learned a lot about the process of making a picture book as well as working with a team at a publishing house. I did a ton of research on the topic and learned a great deal in the process.

The forest in the story is an old growth Douglas fir forest. These forests stretch from Oregon all the way into Canada. There are certain types of animals that live there, some of which you see in the book. The story is actually fiction but is teaching a nonfiction topic. It talks about how trees communicate with one another underground through a network, “the wood wide web” of fungi—helping and supporting each other as a community much like people do. It is an amazing story and I hope that people who read this book will think about forests and trees in different way, to respect them, to want to protect them and understand their importance. It’s not just the trees that make up the forest community but, all of the plants and animals that live there as well.

An early sketch idea for the cover of Listen to the Language of the Trees. Trees curve and flank the title. Illustrated by Marie Hermansson.
An early sketch idea for the cover of Listen to the Language of the Trees. An aerial view of trees in a circle around the title. Illustrated by Marie Hermansson.
An early sketch idea for the cover of Listen to the Language of the Trees. Tree roots growing underground, surrounding the title. Illustrated by Marie Hermansson.
The final color cover for Listen to the Language of the Trees. Colorful tree roots grown underground and surround the title. Illustrated by Marie Hermansson.
The three sketch ideas presented for the cover of Listen to the Language of the Trees, and the final cover art.

What was your favorite part about illustrating LISTEN TO THE LANGUAGE OF THE TREES? Additionally, what was one of your greatest challenges working on this book?

I realized how much I enjoy drawing forests and natural environments in general when I illustrated this book. There was an ah-ha moment when I thought to myself…this might be my thing! Drawing the animals was the challenge. I hadn’t drawn tons of animals previously, so it was just a matter of deciding how I wanted to draw them, how I wanted to stylized them, how much I wanted to stylize them. So they took longer to figure out. I understood that with more experience drawing animals, it would become less of a challenge over time, so I leaned in.

A double page spread of dummy book sketches from the book, Listen to the Language of the Trees. Lightening strikes across the sky and hits a tree. On the lower panel, animals scatter across the forest floor. Illustrated by Marie Hermansson.
A dummy sketch from the book, Listen to the Language of the Trees

Could you tell us more about how nature inspires your work and what role it has in your art?

An illustration of sharks underwater, seagulls overhead, and a fishing boat on the water. Illustrated by Marie Hermansson.

Just a simple thing as a walk in the woods has always been such a visceral experience for me. I have always noticed everything and been curious about it all, even as an adult. The dichotomy of the natural world is intriguing. On the surface it appears to be so simple, but in reality it’s infinitely complex and everything is connected. I think that the reason there are so many environmental problems today is that people have neglected to see and understand that complexity.

When I create illustrations for nature-oriented kids books I research quite a lot about that particular place or habitat or species. It’s a continuous education. There’s so much to learn and be inspired by. In a way, illustrating is my way of better understanding the world around me. I hope that the children looking at my illustrations can be inspired and learn from it as well.

We’d love to hear about your process as a picture book illustrator and how you work as an artist. Could you share more about that?

Process for me is ever-evolving. Different books require different processes.

Generally though, my process begins by reading and understanding the manuscript.  What is the author saying and is there anything to read between the lines? If so, how might I show that visually? Next, reviewing the art direction, and making sure that I’m clear on what it is that they are looking for. I’ll start sketching thumbnails, really small and mainly lines of movement and shapes thinking about how the readers eyes will flow across the page. I am always looking for ways to create interesting layouts and perspectives.

During all of this I am also conducting my research. I feel like I’m doing that the entire time through the process. I’ll sketch out characters until I arrive at something I like. Then, I’ll do a more refined sketch on paper and scan that into the computer to begin to put together the sketch files I will send to the art director and team. 

I love moving to color, which is a whole other bag of worms. 🙂 Deciding on color is its own process. Then, there’s deciding on which brushes I want to use to create textures. I have favorites, but Kyle makes it hard on me because he’s always creating new brush packs that I can’t resist! I love discovering new brushes and playing with the textures they can create. The possibilities are endless, but the time in my schedule is not so I have to show some self restraint.

You also have four book projects all coming out in 2024 (WOW)! Can you tell us more about those projects?

Yes! I would love to tell you about them! First, another picture book with Sourcebook Kids (I love them). It’s titled The Reindeer Remainders by Katey Howes. The book teaches math concepts, emotional navigation, and forest life all in a school day. It’s really a fun story and I am having a good time illustrating it. I’m working on the color finals as we speak!

The next book is I Am A Thundercloud by Leah Moser, published by Running Press Kids.  This is a book that aims to teach children about how to self-regulate a storm of big feelings. I’m thrilled to be working on this book because my son and I read a lot of books on this topic. It’s a new topic for me to illustrate, emotional landscapes, but I have enjoyed the challenge. Can’t wait for you all to read it!

The other two books are part of the Lucy Calkins nonfiction reader series for Heinemann a division of Houghton Mifflin Harcourt. Both of these book are about the ocean. The first one is following the life journey of green sea turtle and discusses the habitat of the Great Barrier Reef. These books are really great because they also address the issues that these animals and their habitats face due to climate change. I love that these topics are being discussed in a reader series and I am really proud to be a part of this particular book project.

What other work have you done as an illustrator that relates to your work as a nature artist?

An illustration of 8 different children playing on and around a treehouse, tire swing, and rope swing. A playful dog tugs on the rope swing. Illustrated by Marie Hermansson.

A lot of the greeting card work I did before starting to work in children’s publishing had nature themes. Although, I have previously done some larger canvas paintings before for personal projects. I studied garden design/landscape architecture in college, so I was designing planting plans like butterfly gardens, rain gardens, pollinator gardens and native plants that would attract and provide a habitat for local wildlife. It involved a lot of sketching and working in the digital programs that I use now to create my illustration work.

What is your biggest dream for your work as a kids’ book illustrator?

It’s such a dream come true to already be making children’s books, and I am so grateful to be doing it. I really want to continue to work on well-written, beautiful and inspiring books for children, to have projects coming in on a regular, consistent basis. I would love to work with a well known author and I have a bucket list of all the publishers I want to work with.

What is something you’d like to tell aspiring picture book illustrators?

There are so many things! Unfortunately, there is no magic formula. What works for one person won’t necessarily work for another. Developing your career is a process much like the one you use to create your art. It takes research, planning, effort and time. Research is really key. Read about the publishing industry, learn who all the publishers are, read interviews with agents, art directors and editors about what they are looking for in an illustrator, what type of illustrations are they interested in seeing? 

Being an illustrator is different from being an artist. With illustration you are hired to illustrate what the publisher is wanting. If you are interested in illustrating a certain topic, look at as many picture books as you can that are about that topic. It’s good to be aware of what is already existing and learn from it. Learn from people who are doing what you want to do. Take courses, look up instructional YouTube videos to get a handle on the art fundamentals, read illustration blogs and join the social media community of illustrators and watch process videos. There are so many helpers out there! People who have so much experience and are sharing what they know for you to learn from. Keep at it!!

A red squirrel holds a blue paintbrush by a piece of painted paper, which reads: "Rep'd by Caryn Wiseman. Andrea Brown Literary Agency". Illustrated by Marie Hermansson.

See More from Marie Hermansson

To learn and see more from Marie Hermansson, visit her website and social media pages:

Marie is represented by Caryn Wiseman at Andrea Brown Literary.

Are you a published or soon-to-be published illustrator or author/illustrator who loves creating books about nature, animals, or the environment? I’d love to chat with you for a KidLit Connection interview! Send me a message.

10 Picture Book Gifts to Give for the Holidays

Whether you celebrate Christmas, Chanukah, Kwanzaa, Yule, Three Kings Day, or any of the many holidays that happen this time of year, there’s often the opportunity to share gifts with loved ones. And children are some of our favorite people to share gifts with. One of my favorite gifts to share is books (of course)! So, for this month’s post, I’ve chosen 10 picture books to look for to give as holiday gifts. And these books are special, because I know or have met at least one of the people involved in creating each of these books. I can vouch that these are some amazing people who’s work you’ll definitely want to check out!

Swim, Jim! by Kaz Windness

Swim, Jim! book cover. A cartoon crocodile wears pool floats and snorkel mask while dipping his toe into the swamp water.

Jim can’t swim! A favorite in our house, this book follows a young crocodile named Jim on his journey to figure out how to swim in a way that works for him. A sweet story about conquering fears and the love of family, Swim Jim is full of colorful illustrations and fun text that kids will love reading again and again. Kaz even includes fun facts about crocodiles in the back of the book.

I had the pleasure of chatting with Kaz in one of my KidLit Connection interviews this past summer. If you missed it, check it out! Learn more about Kaz and her work on her website: http://www.windnessbooks.com

Purchase Swim, Jim! online through Bookshop.org. Or ask your local book retailer if they have it or can order it for you.

Buy Swim Jim! Online

How to Say Hello to a Worm, A First Guide to Outside by Kari Percival

How to Say Hello to a Worm, A First Guide to Outside. Book cover by Kari Percival.

I absolutely adore this book! Kari Percival takes young readers through the process of growing various fruits and vegetables in a garden. Written for preschoolers, the text is simple, but informative, and the illustrations are colorful and fun. Speaking from personal experience, this book is engaging and interactive—my four-year-old loves it! And I’m excited to share a book written and illustrated by a fellow New Englander.

I had a wonderful chat with Kari in my KidLit Connection blog interview with her. If you missed it, be sure to check it out. To learn more about Kari and her work, visit her website: https://karipercival.com

Purchase How to Say Hello to a Worm, A First Guide to Outside on Bookshop.org. Or ask your local book retailer if they have it or can order it.

Buy How to Say Hello to a Worm Online

Moonsong by Denise Gallagher

Moonsong book cover by Denise Gallagher.

Fulki’s village lost its moon and Fulki wants to help. She befriends a tiger and creates beautiful music. But, befriending wild animals and making music are forbidden in her village. Can Fulki and her tiger friend help save their moon despite their forbidden friendship? Moonsong is a beautifully illustrated book with a folktale feel. Denise Gallagher creates a magical world of color and song with this story that is sure to delight readers both young and old.

I was so happy to chat with Denise for one of my KidLit Connection interviews recently. If you missed it, please check it out to hear more from her. You can also learn more about Denise and her work on her website: https://www.denisegallagher.com

You can buy Moonsong online at Bookshop.org. Or ask your local bookstore if they can get you a copy!

Buy Moonsong Online

Small But Mighty, Why Earth’s Tiny Creatures Matter by Kendra Brown, illustrated by Catarina Oliveira

The illustrated book cover for Small But Mighty. A small ant holds up the book text and is surrounded by large leaves.

From the smallest frog to little millipedes, creatures of the earth all have important jobs, even if they are small. Small But Might, Why Earth’s Tiny Creatures Matter was written by Kendra Brown, and illustrated by Catarina Oliveira. With fascinating information about all kinds of little critters and colorfully fun illustrations, young kids with a mind for science will love this book! Catarina even has activity sheets to go with the book that are available for download on her website.

I was so pleased to have Catarina as my very first KidLit Connection guest. If you missed that interview, go check it out. To learn more about Catarina and her illustration work, visit her website: https://www.catarinaoliveirastudio.com

You can buy Small But Mighty, Why Earth’s Tiny Creatures Matter online at Bookshop.org. Or check with your local bookstore.

Buy Small But Mighty Online

BLOB by Anne Appert

BLOB book cover by Anne Appert.

Blob can be whatever they want to be—a giraffe, cotton candy, or even an octopus. Blob is a being of indeterminate kind. But, after the narrator continuously calls them “Bob”, Blob starts to question who and what they really are. Written and illustrated by non-binary author/illustrator Anne Appert, BLOB is an adorably silly, but also important story about being yourself. 

Anne Appert is a fellow author/illustrator who I’ve had the pleasure of knowing online through community events like #KidLitArt chat on Twitter and SCBWI. I hope to meet them in-person someday soon. And I feel so lucky that we have a signed copy of Blob! You can find out more about Anne and their work on their website: https://www.anneappert.com

You can order your very own signed copy of BLOB through Words Bookstore online.

Buy a Signed Copy of BLOB Online

You can also find BLOB online at Bookshop.org. Or ask your local bookseller!

Charlotte and the Quiet Place by Deborah Sosin, illustrated by Sara Gómez Woolley

Charlotte and the Quiet Place book cover by Deborah Sosin and Sara Gómez Woolley.

Charlotte lives in a noisy home, in a noisy city, where she goes to a noisy school. There is so much noise, she just can’t seem to find a quiet place. Until she chases her dog Otto in the park when he gets loose, and then discovers the feel of her own breath. Charlotte realizes her quiet place is within herself. Written by Deborah Sosin, and illustrated by my talented friend, Sara Gómez Woolley, Charlotte and the Quiet Place became a fast favorite in our house. 

I had the pleasure of meeting and spending time with Sara Gómez Woolley at The Highlights Foundation this past summer where she was a resident artist. Sara is a professor of illustration, comic artist, and book illustrator. You can learn more about her and her work on her website: http://www.sarawoolley.com

Purchase a copy of Charlotte and the Quiet Place online from Parallax Press. Or ask your local bookseller if they can get you a copy!

Buy Charlotte and the Quiet Place Online

My Sister, Daisy by Adria Karlsson, illustrated by Linus Curci 

My Sister, Daisy book cover by Adria Karlsson and Linus Curci.

My Sister, Daisy is a beautiful family story of acceptance and love told from the eyes of an older brother, written by Adria Karlsson and illustrated by Linus Curci. He is so excited to have a little sibling and they do everything together. But, when his sibling goes to kindergarten, things change. His sibling tells him she is a girl and wants to be called Daisy. This beautifully written book is based on a true family story and handles a sensitive subject with care and compassion.

I was so fortunate to meet Adria Karlsson during my trip to The Highlights Foundation this past summer. We had chatted online and were so excited to meet each other in-person for the first time. Adria is an amazing human with a huge heart and a beautiful family. You can find out more about them online at: https://www.adriakarlsson.com

You can buy a copy of My Sister, Daisy online from Bookshop.org. Or ask your local bookseller if they carry it or can order it!

Buy My Sister, Daisy Online

Rafa Counts on Papá by Joe Cepeda

Rafa Counts on Papá book cover by Joe Cepeda.

Rafa and his Papá love to count, measure, and weigh. They use all the tools they can to quantify the things around them, from the marbles in a jar, to the height of their jumbo sandwich. But, there’s one thing that Rafa and Papá can’t measure—their love for one another. This beautiful book, illustrated and written by Joe Cepeda, is perfect for kids who love to count and measure, or for kids who love their dad.

I am so fortunate to have met and spent time with Joe Cepeda during the illustration summer camp at The Highlights Foundation this past summer. Joe was my illustration mentor for the week and gave me some great advice and shared some wonderful stories. I even came home with a signed copy of Rafa Counts on Papá! To learn more about Joe and his work, visit his website: https://www.joecepeda.com

You can buy Rafa Counts on Papá online from Bookshop.org. Or ask your local bookstore!

Buy Rafa Counts on Papá Online

Road Trip! A Whiskers Hollow Adventure by Steve Light

Bear’s car needs a new headlight, so the friends of Whiskers Hollow take a road trip together to Elephant’s junk yard. With Rabbit, Mouse, and Donkey, the four friends encounter adventure and mishaps along the way. Beautifully illustrated and written by Steve Light, the characters of Road Trip! are full of charm that you and your young reader will be sure to love! I count us lucky to have our very own Steve signed copy.

This summer, I met Steve Light when he was a faculty member at the Highlights Foundation during the illustration summer camp I attended. Steve is a warm, friendly, and a super fun person to learn from. I had so much fun trying out new pen and ink techniques with him! To learn more about Steve and his work, visit his website: https://www.stevelightart.com

You can buy Road Trip! online from Bookshop.org. Or ask your local bookseller!

Buy Road Trip! Online

The Turtle Ship by Helena Ku Rhee, illustrated by Colleen Kong-Savage

The Turtle Ship book cover by Helena Ku Rhee and Colleen Kong-Savage.

A long time ago in Korea, Sun-sin played with his pet turtle and dreamed of traveling the world. But, as a poor villager, that dream seemed impossible. Until the King’s court announced a contest to design a new battleship to defend the land. The winner would travel with the royal Navy. Sun-sin got to work designing and after many failed attempts found inspiration in his pet turtle. Written by Helena Ku Rhee and illustrated by Colleen Kong-Savage, The Turtle Ship is beautifully illustrated story that was loosely based on the real Admiral Yi Sun-sin and his Turtle Ship. Colleen’s paper collage creates a colorfully unique visual journey for young readers to enjoy.

During the summer camp in illustration at The Highlights Foundation, I met Colleen Kong-Savage as a fellow participant. When I saw her collage work, I fell in love with it! Colleen is a lovely human who I feel so lucky to have spent time with. To learn more about Colleen and her work, visit her website: https://ckongsavage.com

You can order a copy of The Turtle Ship online at Bookshop.org. Or ask your local book shop!

Buy The Turtle Ship Online

Whether you gift one of these books or one of the thousands of amazing picture books in the world, you’ll be giving something truly special when you share a story with a child. Supporting local book stores directly or through websites like Bookshop.org also helps the local families and economy around you. What a beautiful gift it is for everyone!

KidLit Connection: Getting to Know Author-Illustrator, Denise Gallagher


Denise Gallagher, author/illustrator of
Moonsong

I’m so excited for another KidLit Connection interview! This month, I had the pleasure of interviewing illustrator, author, and designer Denise Gallagher. Denise creates colorful illustrations with a folkloric style that tell stories through imagination, animals, and nature. Her love for animals and folktales really shine in her latest picture book, Moonsong (Little Press, 2021), where a young girl named Fulki befriends a tiger in order to save her village’s moon. Denise’s illustration style is truly unique, inspired by rare and endangered animals, folklore and mythology, and the natural world around her.

Denise lives in Lafayette, Louisiana, where she finds much of her inspiration for her art. She’s also the Illustrator Coordinator for the Louisiana/Mississippi chapter of the Society of Children’s Book Writers and Illustrators. Her work has received numerous awards both for illustration and design. Denise hopes to inspire young readers and their grown-ups to find a love for art and literature through books and stories.

It was such a joy to hear from Denise. I hope you enjoy her insights and find inspiration in her words and her work.

An Interview with Denise Gallagher

First, I’d like to say thank you to Victoria for inviting me to be a part of her blog series. It’s an honor to share with you some of what I’ve learned along the way to becoming an author and illustrator of children’s books. So, thanks, Victoria!

Thanks, Denise! We’d love to know more about you as an artist and writer. What inspires you and your art and what do you love about your job as a KidLit illustrator and author?

Denise holding her copy of
The Sorcerer’s Apprenctice,
illustrated by Tomi Ungerrer

I’ve always loved art and literature. From a young age I’d lose myself in picture books— imagining living in a little house illustrated by Garth Williams, or exploring the sorcerer’s castle as illustrated by Tomi Ungerer. Inspired, I’d while away afternoons drawing, drawing, drawing and writing as well. As an adult I hold the belief that picture books are a child’s first introduction to art and literature. The illustrations of Maurice Sendak, the stories of Kate DiCamillo — this is art! The type of art that inspires me to create. My heart is full knowing that I now am an author and illustrator of children’s literature and I hope that my stories and pictures resonate as art and inspire children and their parents as well. 


How did you start working in children’s literature? What inspired you to pursue this type of work?
After graduating with a degree in art, which included creating a fictional children’s bookstore called Platypus Planet as my senior thesis, I went to work as an art director at an ad agency. After many years, I made the scary leap of starting my own business focusing on illustration. Part of my plan was to finally pursue my dream of illustrating for children. This meant getting serious about it. I joined the Society of Children’s Book Writers and Illustrators (SCBWI) and attended my first conference. I won the portfolio showcase and took this as a good sign. But while there I also realized that there was SO MUCH to learn about the business of writing and illustrating for children! I set about learning as much as I could. I joined a critique group. I gave myself illustration assignments. Then I decided to write my own picture book in order to practice the art of emotion, character and story in illustration.

Your latest book MOONSONG is a colorful story with a folktale feel. What inspired this story? Please tell us more about it!
“Moonsong” actually started as a practice picture book. My first draft was titled “Claire de Loup” and was about a girl and a wolf in the forest. After many critiques, queries and workshops, “Claire de Loup” became “Moonsong,” the story of a girl and a tiger in the jungle. I love folktales. The language and story twists fascinate me. So I set about writing my own. “Moonsong” tells the story of a little girl named Fulki — a little girl a bit like me. She does her chores and her schoolwork, but has a rebellious streak. She challenges the status quo. She befriends a tiger and shares with him the things that she loves. And in the end, her ability to see the best in everyone, upends the old traditions and helps restore her village’s moon. 

A sketch from a spread from Denise' Gallagher's book, MOONSONG. A pencil sketch of a little girl talking with the people in her village.
A sketch of a spread from MOONSONG
A full-color spread from Denise Gallgher's book, MOONSONG. A little girl talks with the people of her village.
The final art of a spread from MOONSONG.


What was your favorite part about creating MOONSONG? In addition, what was one of your greatest challenges of the creation process?
My favorite part about creating “Moonsong” was also the greatest challenge. This was the lightbulb moment where I completely changed everything I’d already created and my manuscript became what it is now. I’d had little luck querying the story as “Claire de Loup.” I think the idea of a girl and a wolf in the woods just got lost in the shuffle. Then, I attended a workshop led by Leslie Helakoski, an author, illustrator and Highlights Foundation instructor. Leslie encouraged the workshop attendees to shake up our stale manuscripts and see them from a different point of view. I got right to work and reimagined my story. By imagining a new setting, revised characters and a bolder color palette, I got excited about my story all over again. I scrapped everything I’d done, rewrote the story and created fresh new illustrations. This time it worked and “Moonsong” became a published picture book!

An early concept sketch by Denise Gallagher. A girl hugs a wolf.
An early concept sketch of Claire de Loup.
A pencil sketch of Fulki from Denise Gallagher's book, MOONSONG. A little girl drawn in a folkloric style.
A pencil sketch of Fulki.
A full-color illustration from Denise Gallagher's book, MOONSONG. A little girl looks up at a large tiger.
A final color image of Fulki and the tiger.


Could you tell us more about how nature plays into your work and what role it has in your stories?
I LOVE animals. I love stories about them, videos of them, pictures of them. I love discovering an animal I’d never heard of — the more unique the better. Some of my favorites are the pink fairy armadillo and the pangolin. (Look them up!) I’m also concerned about our planet and the welfare of animals. I’ve mourned the loss of the ivory billed woodpecker (which was last seen in my home of Louisiana), the Tasmanian tiger and others. I hint at these themes in my writing, hoping to help children to understand the world and their place in it. Animals also play a big role in folktales and folklore. To me, that’s a perfect blend of storytelling.

You’ve also done illustration for children’s magazines in addition to books. Can you tell us about the differences and similarities between illustrating for magazines versus books?
The illustrations I’ve created for magazines have been to accompany short retellings of folktales. These typically include a large introductory illustration and a two or three smaller illustrations. I love the challenge of telling a complete story with just a few images. I also love researching the origins of the stories in order to include accurate details in my illustrations. These projects also tend to happen more quickly, so it’s fun to be able to share them with my audience. The publication of a book is a much longer process. It takes over a year at least and I’m really bad at keeping secrets!

Denise with her newest middle
grade novel manuscript

You also have some other projects in the works. We’d love to hear about them! Could you tell us more about what you’re working on?
As an illustrator, I also create magazine covers, festival posters and packaging. These are all fun projects that keep me busy in between books and allow me to work in different illustrative and graphic design styles. I am also currently querying a partially-illustrated middle grade novel. I never dreamed that I’d write a novel. But after finishing “Moonsong” I had an idea for a story that just demanded to be longer! I was inspired to write by my son who is a violinist. The manuscript is complete and I’m working on some color images and spot illustrations. I’m really happy about the story and I simply cannot wait for you all to read it!

What is your biggest dream for your work as a creator of art and stories for kids?

Maurice Sendak, one of the children’s artists that I most admire, worked in musical theater. My biggest dream is to also one day see one of my stories adapted as a musical theater production. I’m inspired by music and it plays a large part in my work. Both of my picture books use alliteration, onomatopoeia, and whimsical language to tell different musical stories. My novel is a magical tale about a young violinist in search of the truth about his past. Music fills me with so much emotion that to see one of my works musically grow beyond the page would be a dream come true.

A pink carousel with a horse and three dogs jumping around it, illustrated by Denise Gallagher.

What is something you’d like to tell aspiring picture book authors/illustrators?
One thing that is important for aspiring picture book authors and illustrators to realize is that getting a picture book published is NOT easy. It can be rewarding and exciting, but there is a LOT of work that goes into it and the process can take a long time. I’d recommend for anyone just starting out to do your homework. Join SCBWI and go to conferences. There are often local events for authors and illustrators that non-members can attend. Find and attend a critique group. Listen to what the group participants say about other work as well as your own. Follow authors, agents and publishers on social media, especially those whose work you admire. Social media is a great place to hear about the ins and outs of publishing. Publishing is a business, though, so be professional. Read. Read. Read! Especially current picture books. Spend a day at the library and take note of what grabs your attention. But most of all, put in the hard work. Take it slowly and don’t be afraid to fail, then get up and start fresh. Publishing really is a learning process and there is a lot to learn! Good luck on your journey!

See more from Denise Gallagher

You can see more from Denise Gallagher by visiting her website and social media pages:

An illustration of a smiling book holding a cupcake and saying, "Thank you"! Created by Denise Gallagher.

Are you a published or soon-to-be published children’s illustrator or author/illustrator who’s interested in being interviewed as part of the KidLit Connection series? If your work has a focus on nature, the environment, animals, or mindfulness, I’d love to chat with you! You can get in touch with me using the contact form on my site.

An Artist’s Toolbox: Exploring Watercolor Brands

A bunch of different watercolor paints in both pan and tube form, spread out on a table.

There are a lot of materials for artists to choose from in the world. How do you settle on one medium, let alone specific brands of that medium? One of my favorite ways is to explore and play with mediums, especially my favorite—watercolors. Every year, my family will find various art supplies that I probably don’t need but want to try on my holiday gift list. And sometimes they surprise me too!

I fell in love with watercolors early on when I was a kid, and even more so when I discovered watercolors outside of the standard kids’ paints. My first set of “real” watercolors was gifted to me by my parents—an extensive full-pan set of the Winsor & Newton Cotman paints (their student-grade line). It was my go-to set for many years, which I added on to with liquid tube colors here and there. When I could afford it later on, I upgraded to their professional line, which offers more vibrant and longer-lasting pigment, though with an extra price tag. I was a Winsor & Newton gal for many years.

But, like many artists, I like to play and try out new things. I love it when other people introduce me to new materials to try. One year, my brother-in-law and sister-in-law gave me several tubes of M. Graham and Co. honey-based watercolors. As stocking stuffers, my husband gave me several Daniel Smith gemstone pigment watercolors from their PrimaTek line. I gifted myself some handmade pan watercolors from Artistic Isle after watching the amazing illustrator Stephanie Law create breathtaking shimmering pieces with them. I just had to try those out. I’ve purchased a tube of this or a tube of that when I’m looking for a particular pigment. I’ve built up a nice collection of watercolors that I like to mix and match. But, I’m always looking for other things to try.

To give you a sense of just a handful of the watercolor brands out there, I wrote a little bit about my experience with four different brands: Winsor & Newton, Daniel Smith, M. Graham & Co., and Artistic Isle.

Winsor & Newton

Winsor & Newton art company logo.

Winsor & Newton is a standard in the art world because their products are reliable and high-quality in both student-grade to professional. They have a variety of styles and colors to choose from and they’re relatively easy to find. You can find both liquid tube style and pan style in both the student and professional grade. Beginners find Winsor & Newton nice to start with because they have a lot of sets with a variety of basic colors that make it so you don’t have to think too hard about what colors you need to get. And the Cotman student line is a lot more affordable. But, professionals will also find their choice of over 100 colors for their needs with a vibrancy that’s consistent and mixes well.

What I like about them:

A sample card of Winsor & Newton watercolors, including the colors, Winsor Green, Alizarin Crimson, Burnt Sienna, and Winsor Violet.
Winsor & Newton Sample Card

Winsor & Newton has a consistent quality and range of colors to choose from—108 colors in their professional line to be exact. When I buy a tube of Winsor & Newton, I know what I’m getting and I know it’s easy to find at most art stores. I also appreciate that many of their colors come in more than one size. So, if I want just a little bit of one color, I can get a smaller 5ml tube. If I know I’m going to use a lot of a certain color, I can get the larger 14ml tube. 

They also have cadmium-based colors in real cadmium (brighter color) or cadmium hues (not as bright, but overall safer and nice for student classroom situations). It’s nice to have choices. They also have a lot of mediums to use with watercolors to change up how the paint acts and what you can do with it, which can be fun to explore. I particularly love their iridescent medium.

Daniel Smith

Daniel Smith art company watercolor logo.

Daniel Smith also has a wide range of watercolors to choose from, including several specialty lines. I have the most experience with the PrimaTek gemstone pigments, but I also have tried out the Extra Fine line of paints. One quality that Daniel Smith watercolors are known for is the granulation. Granulation is when the pigment separates in water, forming clumps of deeper color in some areas, which creates some of the interesting textures watercolor is known for. If you’re an artist who likes to play with texture and variations in pigment, granulation is something you’ll want.

What I like about them:

A sample card of Daniel Smith watercolors, including Primatek Amethyst, Primatek Amazonite, Primatek Burnt Bronzite, and Extra Fine Sap Green.
Daniel Smith Sample Card

One thing I like about Daniel Smith is the consistency of quality. When you buy Daniel Smith, you know it’s high-quality and will last a long time. The Extra Fine line has a nice range of colors, which as mentioned before, granulate really nicely. This is great if you want texture and a natural flow to your color.

I really enjoy Daniel Smith’s PrimaTek line in particular. PrimaTek watercolors are made with actual gemstone pigments, including things like amethyst, bronzite, amazonite, sodalite, and garnet. Because they use actual gemstones in the pigment, many of them have a slight shimmer to them, which is a fun bonus. But, the color is also more of a muted and soft tone. Sometimes, that’s what you’re going for, so it’s nice for projects that have a softer color palette.

M. Graham & Co.

M. Graham & Co. art company logo.

M. Graham & Co. uses a different approach for their paint production than some of the other art supply companies. One unique quality of their watercolors is that they use blackberry honey as a main ingredient. This creates a different consistency in the paint than standard watercolors both in how it spreads on the page and how it sits in your pan. This paint always remains tacky, even when exposed to air. This can be great if you prefer working with watercolors while they’re soft out of the tube. But, not so great if you want it to dry to pack it up, for example, in a travel pan. 

What I like about them:

A sample card of M. Graham & Co. watercolors, including the colors, Cobalt Teal, Hansa Yellow, Permanent Green, and Quinacridone Rose.
M. Graham & Co. Sample Card

One of the things I really appreciate about M. Graham & Co. is that they use ingredients from nature as part of their commitment to preserving the environment. They also adhere to eco-friendly practices when running their business, including purchasing carbon off-sets and using renewable energy options. This is a big win for me as a consumer, knowing I’m buying from a company that cares about the Earth!

I also enjoy how M. Graham & Co.’s watercolors flow on the page. Because of the use of honey, the color spreads on the page in a very quick and smooth manner. It makes it really great for creating large washes, because it spreads so well before it dries. Their colors are also super vibrant and bright. If you want colors that pop off the page, you’ll find them in these paints. One of my favorite colors is their cobalt teal, because it’s a fantastic sky blue for children’s book illustrations that spreads on the page easily.

Artistic Isle

Artistic Isle art company logo.

Artist Isle is a different kind of art supply company than the others listed here. They are a family business, run by just a small handful of people. And unlike larger art supply operations, their paints are usually limited edition. This can be both a great thing and a not-so-great thing. You know that the colors you’re getting are unique in the way that only hand-made paint can be. But, if you fall in love with a color, chances are, if you run out, you won’t find it again. Artist Isle’s watercolor paints only come in pan style, so if you prefer tubes, you’re out of luck. That said, the unique quality may make you want to try them out anyway.

What I like about them:

A sample card of watercolors by Artistic Isle, including the colors Griffin, Oceanic, Sunset Glow, and an unknown color that lost its label that is a navy blue color.
Artistic Isle Sample Card

One of the watercolor products Artist Isle is known for is their metallic and shimmery paints. They create colors that have a lovely fairy-like shimmer and shine that adds a really magical touch to original art. They also make some colors that have two tones depending on which way the piece is facing. This can be really fun for original art in-person, but perhaps less-so for reproduced art. They do have regular watercolors that aren’t metallic or shimmery as well, and those colors are also wonderful to work with.

I love that you can find colors they create by hand that nobody else has. I just wish I could get my favorites again if I run out! As a bonus, they often give you a freebie pan when you order a certain amount and a lovely hand-written note. If you enjoy process videos, they also have some interesting reels on Instagram of the process of making their paints. I also love that their pans come with magnets adhered to the bottom so they easily fit into their watercolor tins, which makes it easy to arrange them how you want and take them with you.

I hope you found this review of watercolors helpful. No matter what brand of paint you try, it’s always fun to explore and play. As professionals, sometimes we can forget about the art of play, but it’s also one of the most important parts of our creative process. If you want to break out of a creative rut, maybe try something new just for fun!

KitLit Connection: Getting to Know Author-Illustrator, Kaz Windness

A spread from Kaz Windess’ latest release, Swim, Jim!
Author-illustrator Kaz Windess smiles for a portrait with pink hair and a hot pink animal print shirt.
Kaz Windness

I’m so excited to introduce the next illustrator in the KidLit Connection series! Kaz Windness is an author and illustrator of picture books that use both humor and heart to help kids embrace their own unique qualities. Kaz often uses animal characters to explore emotion and challenging situations that kids might encounter. Her most recently published book Swim, Jim! (Simon & Schuster/Paula Wiseman Books) features a crocodile who is afraid of the water and the creative ways he figures out how to conquer his fears. The fun and colorful illustrations and relatable story make this a favorite for many kids, including my own. Kaz is proudly queer and autistic and also uses her stories to advocate for autistic kids or anyone who might be a little bit different.

Kaz lives in Colorado with her family and graduated from the Rocky Mountain College of Art and Design (RMCAD) in 2002. She is a mentor and advocate for illustrators, having volunteered for the Rocky Mountain chapter of SCBWI for many years. She is also a professor of illustration at RMCAD.

In this interview, Kaz tells us about what inspires her, how she hopes to help kids through her work, shares a bit about her process, and about her new books coming out next year. Thank you, Kaz for sharing more about you and your wonderful work as an author and illustrator!

An Interview with Kaz Windness

Early Swim, Jim! concept art on Twitter

We’d love to know more about you as an author and illustrator. Could you tell us about what inspires you and what you love about being a kidlit book creator?

It might be easier to tell you what doesn’t inspire me! I get inspiration from just about everything. I’ve always had an inquisitive and curious mind. I love drawing animals, so you’ll see animals in most of my work. All my characters are me in some way, so I’m always examining my childhood, my struggles, and my joy through my characters. 

“Swim, Jim!” is about my fear of the water. I love that telling my stories can help kids face their own fears and also know they are not alone. 

How did you first get into creating children’s book? What made you want to pursue this type of art?

I’ve wanted to be a children’s book author and illustrator since very early childhood. Even before I could write, I was telling stories with my drawings. 

My mom read to me and my younger brother every day and even used illustrations cut from Scholastic Book Fair purchases to decorate our apartment. 

I especially fell in love with “Where the Wild Things Are” by Maurice Sendak and I wanted to be like him when I grew up. (I’m still working on the Caldecott and the beard.) 

My four-year-old son absolutely loves your latest published book that you wrote and illustrated, SWIM, JIM! Can you tell us a little more about the book and what inspired you to write it?

That makes my heart so happy! Hello to your son! 

I had a bad swimming lesson experience when I was your son’s age, and never learned how to swim. When I saw a Miami Herald new article about a real crocodile swimming across a channel using a pool noodle, I immediately saw myself in that little crocodile and drew the first picture of Jim. I showed the drawing to my agent, and he said to write the story, so I did!

Swim, Jim! book cover. A cartoon crocodile wears pool floats and snorkel mask while dipping his toe into the swamp water.
Swim, Jim! Book Cover
A screen shot of a Miami Herald article about a crocodile swimming with a pool noodle.
The Miami Herald article about a crocodile with a pool noodle.
Swim, Jim! book cover and inspiration. Click to view full size.

What was your favorite part about creating SWIM, JIM? And what was one of your greatest challenges in the process?

My favorite part is the fart joke. PLURP! 

This was my first experience working with an editor and art director, so there were multiple learning curves. My team was WONDERFUL, but the anxiety about messing things up kept me up many nights.

One of the challenges I didn’t expect was struggling to get the color green to reproduce well. There is something called the “pea soup effect” where green likes to turn into mud when printed. I spent a lot of time fighting with green—color correcting, adding flecks of other colors to make sure it was rich and vibrant. As Kermit aptly said, “It’s not easy being green!” A book about swamps and crocodiles is full of green, but I’m beyond happy with the results.

A peek into the process of creating Swim, Jim! Thumbnails, dummy sketch, and final art. Click to view larger.

You also have two new books coming out next year, which is very exciting! Could you tell us more about those books and what they’re all about?

Sure! Thank you for asking!

WORM AND CATERPILLAR (Simon Spotlight/Jan 2023) is about a friendship that is tested when Caterpillar goes through a BIG change and Worm learns to accept Butterfly. It’s a Level 1 reader in graphic novel format, but I think that means the book will stay off the radar of groups that want to suppress the important message of acceptance.

A preview page from Worm and Caterpillar

BITSY BAT, SCHOOL STAR (Simon & Schuster/Paula Wiseman Books/Summer 2023) is a “Bat to School” autism acceptance book starring a little bat whose world is turned upside down when she tries to fit in at a school for nocturnal animals. She’s the only flier and the only student who hangs from her toes, and tries to hide her differences but learns to celebrate her specialness and helps her classmates do the same.  

I’m autistic and so is my oldest child, so this book has special meaning to me and I’m so grateful to my editor, Catherine Laudone, for taking a chance on the book and me, too!

You obviously have a love for animals, which is wonderful! What is your favorite animal to draw and why?

BATS! I love drawing bats. I also love drawing pugs and I’m secretly working on a book that will give me the opportunity to draw lots and lots of pugs.

Kaz with a young reader fan of Swim, Jim!

What is your biggest hope for your work as a creator of books for kids?

Having a positive impact on children and giving them the safe space to explore big feelings and have a good laugh in the process has always been my goal. My career hope is to keep on having the opportunity to create meaningful books for young readers.

What is something you’d like to tell aspiring picture book authors/illustrators?

Quit if you can! 😉 But if you can’t, your persistence will pay off. Keep going. 

Get the feedback. Take the classes. Network. 

I’d like to plug Cuddlefish Academy here if that’s okay. If you’re struggling to break into children’s publishing and want to take your illustration and storytelling skills to the next level, our advanced kidlit online illustration school is designed specifically for you. All of our instructors are successful children’s book authors and illustrators and college art professors. We are launching VERY soon and specialize in personalized feedback and coaching. https://linktr.ee/cuddlefishacademy

And feel free to stay in touch with me on all your favorite social media sites here: https://linktr.ee/KazWindness
My portfolio website is here: www.WindnessBooks.com

Are you a published or soon-to-be published illustrator or author/illustrator who loves creating books about nature, animals, or the environment? I’d love to chat with you for a KidLit Connection interview! Send me a message.