KidLit Connection: Getting to Know Author-Illustrator, Angela Quezada Padron

A banner with white background featuring colorful illustrations of a girl with wings over the water, an older couple smiling, green hills, a blue house with fence, instruments, and palm trees. Text read: Angela Quezada Padron. Author/Illustrator. Children's Books. Fiction. Nonfiction. Educational.
A headshot of Angela Quezada Padron. She has long brown hair, brown eyes and is smiling while wearing a pink and purple floral blouse. There are palm trees and a city in the background.

Welcome to the latest KidLit Connection interview! I’m so pleased to introduce Angela Quezada Padron, an author and illustrator of children’s books, including picture books, board books, and novels. Her debut author-illustrated picture book, AS THE SEAS RISE: Nicole Hernández Hammer and the Fight for Climate Justice (Atheneum Books for Young Readers) just released this June! She’ll share more about this book in the interview.

Angela writes and illustrates both fiction and nonfiction stories. Her nonfiction work celebrates people in the Latino community who have made a difference in the world and within their community. Angela has worked as a freelance writer, illustrator, fine artist, and curriculum designer for educational publishers. She is a lover of nature, music, and sports. When she’s not writing, drawing, and painting, you can find Angela creating music, collecting seashells, and enjoying the natural world.

An Interview with Children’s Book Author and Illustrator, Angela Quezada Padron

First, we’d love to hear more about you as an illustrator and author. Can you tell us more about you and your work as a creator of books for kids?

Thank you so much for this opportunity to interview with you and share about myself. I write and illustrate fiction and nonfiction children’s books, mainly picture books but also board books and novels. In 2007, I started an illustration master’s program through the Academy of Art University in San Francisco, and I graduated with my MFA in 2011. In 2012, I illustrated a few books for McGraw Hill, an educational publisher. Then in 2014 I was hired for two books—THE HERO IN YOU by Ellis Paul (Albert Whitman & Co.) and MY BODY BELONGS TO ME by Jill Starishevsky (Free Spirit Publishing). I was also a semi-finalist in the Tomie de Paola contest through SCBWI in 2014, and I was offered the chance to illustrate a story called FIREFIGHTER MOM in Cricket Magazine in 2016. I felt like I was on a roll! Then things died down and I didn’t have any luck until 2021 when Atheneum Books picked up my first author/illustrator book, AS THE SEAS RISE. Since then, I’ve had some other illustration projects with educational publishers, and sold three other books due out between 2025-2027.

An illustration of a kitchen scene. Two older women cook on a stove to the left. Two younger children cook at a countertop to the right. One of them looks concerned about what's inside the pot she's opening. Art by Angela Quezada Padron.

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

A photo of Angela Quezada Padron as a little girl, smiling and holding up a picture she drew.

I’ve actually been creating books since I was little. My mom saved many of my “books” that I wrote and illustrated as early as four-years-old. Most of the books were about her when she was pregnant with my younger brother, me meeting Santa Claus, or Snoopy. I also saved my stories from my seventh-grade creative writing class. I didn’t realize, though, that this could be a legitimate path for me until I began teaching in my mid-20’s. Working in schools exposes you to more children’s books. As I read more books, I became more interested in studying about the authors and illustrators and how they got their books published. Some time in my early 30’s, I came up with a story idea but wasn’t sure how to format it or where to even get eyes on it to try and publish it. 

I joined the Society of Children’s Book Writers and Illustrators (SCBWI) in 2004, and I’ve been on this path ever since. I joined a critique group, of which I am still a part of (shoutout to the Aventura Critique Group in Florida)! My writing friends and critique partners have helped me so much with telling me what works and what doesn’t in each of my stories. They’ve shown me how to strengthen my work and tighten my word choices. Without them, there is no doubt I would never have been published. 

A book cover for AS THE SEAS RISE: NICOLE HERNANDEZ HAMMER AND THE FIGHT FOR CLIMATE JUSTICE by Angela Quezada Pdron. An illustration of a woman with long dark hair, wearing glasses and a white button-down shirt. She is surrounded by different children working together to build a diorama. Behind them is the ocean.

Your most recent book, AS THE SEAS RISE: NICOLE HERNÁNDEZ HAMMER AND THE FIGHT FOR CLIMATE JUSTICE (Atheneum Books for Young Readers) just came out in June—congrats! This is a powerful, lyrical biography about a Latina environmental scientist and climate activist who has worked for climate justice in vulnerable communities.  Can you tell us more about this story and what inspired you to write and illustrate it?

Thank you so much! It truly was an honor to create this book about Nicole. After attending a 2020 SCBWI online conference about nonfiction children’s books, I became interested in writing a children’s book biography about a Latina figure who was involved in science in some way. After doing some searching online, I came across an article about Nicole Hernández Hammer where it stated that she was invited by First Lady Michelle Obama to attend the State of the Union address in 2015. Nicole was recognized due to her work advocating for climate justice in communities of color and educating others about how climate change was affecting the health of people in Latino communities. That inspired me to learn even more about her, as well as about sea level rise and climate justice. I wouldn’t call myself an advocate for climate change or justice, however I am conscious about how I’m contributing to climate change and climate justice and always looking for ways to support, adjust my ways and beliefs if needed, and learning what actions I can take to make this world better. 

A spread from the book AS THE SEAS RISE by Angela Quezada Padron

When I was writing the book, I found her on LinkedIn and took a chance to message her and said: ‘Hi, I have this story. I would love to interview you.’ And she said, ‘Sure.’ So we set up a time on Zoom and we chatted. I wanted to verify things that I had read. She gave me other insight, too, that had not been in any articles. I told her I would share this story with her once I had finished writing it, which I did. Within two or three months I got an offer from Atheneum (Books for Young Readers). I kept Nicole in the loop the entire time. I paid her a consultation fee, to consult throughout the book. We stayed in contact throughout the entire creation of the book, which obviously lends more credibility to the book.

Angela painting for AS THE SEAS RISE

When working on AS THE SEAS RISE, what was one of your favorite parts of the project?

I really enjoyed my conversations with Nicole and learning about her life. Throughout the process, she sent me photos of her and her family to use as references for the illustrations. She also taught me a lot of the correct terminology to use when speaking about climate justice (for example, we shouldn’t say we want to “help” frontline communities but rather “partner with” frontline communities so they can get the services and support they need to stay resilient against climate change). 

What was one of your biggest challenges when working on AS THE SEAS RISE?

A nonfiction 48-page biography is probably one of the hardest books to make, especially as my author/illustrator debut. Most books are 32 pages, with fictional stories you can make up the characters and places, and you have more freedom to stylize the characters and backgrounds. With biographies, you have to be as accurate as possible with the facts and the depiction of the person. And, when the person is still alive and you’re communicating with them, you want to be EXTRA exact to do them proud. I had the pressure on myself to try to make it as perfect and accurate as possible.

In addition, my father was ailing and passed away in 2021, right in the middle of me working on the final text. Then I was dealing with some health issues in the spring of 2022 that affected me finishing the art. But I pushed through it and got it done!

From reference photo, to line drawing, to finished color page from the book AS THE SEAS RISE.

We’d love to hear more about how you work! What sort of process and tools do you use to create both your illustrations and writing?

In the past, including for AS THE SEAS RISE, I would do most of the illustrations by hand using pencil. First, I do a lot of research and find photos that will inspire some or all parts of a drawing. Sometimes it’s the right background or object I needed, and sometimes it’s just a pose I needed. I often look at videos and then take screenshots while videos are playing because that allows you to capture a person in action rather than a posed shot. For the cover of SEAS, I saw a Twitter post about kids making models of their communities protected for climate change. Nicole and I thought that would be a good theme for the cover, and the editor agreed!

A series of thumbnail sketch line drawings by Angela Quezada Padron.
Thumbnail sketches from AS THE SEAS RISE

After I had my ideas, I would draw thumbnail sketches to get a sense of layout and how to paginate the text. Then I did more refined thumbnails. Once I had the layouts decided, each part of an illustration was drawn by hand on vellum using Prismacolor Col-erase pencils. I find vellum to be a beautifully smooth surface that doesn’t smear, and the col-erase pencils have a nice texture as well as don’t smear like regular pencils. I would scan them into my computer, clean them up and adjust as needed. Once the editor saw the sketches and gave feedback, I made necessary adjustments and then drew the final outlines.

Then I would print all of the parts – people, objects, backgrounds – onto several pieces of BFK Rives paper which is mainly used for printmaking. It’s thick, doesn’t really warp and can hold a lot of layers of paint and coloring. Plus it has a nice texture to it. I would tape the paper down onto wooden boards and then color in the drawings with gouache, watercolor, pastel and/or colored pencil. After that, I would scan all the painted papers back into Photoshop, put each part on its own layer (meaning, the people and objects would be placed on individual layers in Photoshop) and then add in my original sketches as overlays to make sure the lines were clean. I would then finish in Photoshop to clean up, resize, and change color of any part if need be. 

From AS THE SEAS RISE:
A scanned in drawing, background painting, and painted figures before they are assembled together digitally.

However, after doing a 48-page picture book like SEAS in this style, I realized that I need to work digitally more to save time and to save my aging hands from tiring out! So, now I tend to draw parts by hand still on vellum, scan them in and then redraw over them in Photoshop or Procreate. I do a combination of coloring digitally and scanning in painting or textured paper to fill in the illustrations like digital collage. Some of my work on my website was created with digital collage in this manner, and some were done by drawing and coloring by hand, then scanning in and putting them together digitally.

A peek into Angela Quezada Padron’s creative workspaces

You have three other books you’re currently working on which will be out in the future. Can you tell us more about them?

I would love to! FROM THE FIELDS TO THE FIGHT: HOW JESSICA GOVEA THORBOURNE ORGANIZED FOR JUSTICE comes out with Atheneum Books in 2026. Jessica worked with Cesar Chavez during the grape boycott to fight for equal rights for farm workers and labor unions. That is being illustrated by the talented Sol Salinas. The next book, AN ISLAND CALLED HOME (Eerdman’s Books, 2026) is a fictional story about a girl who visits her father’s home country for the first time and learns about her extended family and her bilingual and bicultural heritage. It’s based on my life with my father who is from the Dominican Republic, and I will be illustrating that one. Lastly, LUCIA’S GOALS (Lee & Low), which is being illustrated by Christina Barragan-Forshay, is about a girl who wants to play soccer but battles through sexism, racism, and inequality to make her dream come true. The publication date is not finalized yet but should be out in the next couple of years. 

Some people might wonder why an illustrator wouldn’t illustrate all their books. The truth is my style doesn’t always fit with the stories I write, and I don’t want to be limited to only pursuing books that I could best illustrate. 

What is your greatest wish for your work as an illustrator and author?

What a great question. I focus on the stories that have an emotional tie-in that will allow readers to connect to the story in some way. I think about how a particular story will inspire and impact kids and encourage them to read more. For example, I hope books like SEAS and FIELDS inspire kids to take action against injustice, while LUCIA can show what perseverance is, and ISLAND can show readers another culture or family situation they may never have known about. Some of my other stories I hope to publish will just make kids laugh or entertain them and others may warm their hearts. In the end, I create the stories because I love to and want to share my ideas and creations with the world. But to me, it’s most important that the kids enjoy reading them and connect with the stories. Otherwise, there’s no point in doing them at all. 

Is there something you would like to tell aspiring children’s book illustrators and authors who hope to be published someday?

Definitely look into organizations like SCBWI to learn about the industry and connect with others. Do your research before submitting to agents and editors to make sure your style and goals match with theirs. Write and illustrate what you love, not what the trends say you should do. Illustrate in the style and medium YOU want to, not in the style others tell you you should. BUT, always be open to feedback and suggestions. Find other creators to connect with so you get that honest feedback and encouragement. Most importantly, never give up. It can take years to get your first book deal or project and when you do, all the hard work will have been worth it!

I also want to acknowledge Giuseppe Castellano from The Illustration Department. A few years ago, I was feeling like my work wasn’t good enough and doubting myself. I signed up for a portfolio review and mentorship with Giuseppe, whose advice and encouragement were essential to help me rebuild my portfolio and come up with ideas for the compositions for AS THE SEAS RISE. Publishing really is a collaborative effort!

Learn More About Angela Quezada Padron

To learn more about Angela Quezada Padron and to see more of her work, follow her on social media and visit these links:

Angela is represented by Sera Rivers at Speilburg Literary.

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

KidLit Connection: Getting to Know Illustrator, Acamy Schleikorn

Two children play in a living room with a space ship made out of a cardboard box. A playful illustration by Acamy Schleikorn.
Illustration by Acamy Schleikorn
Illustrator and author, Acamy Schleikorn smiles in an outdoor garden backdrop. Academy is a Black woman with glasses, hair in locs, and in this photo wears a floral blouse.

The latest KidLit Connection interview is here! And I’m so excited to celebrate a very happy book birthday with illustrator, Acamy Schleikorn! This past week, Acamy celebrated the release of her debut book, NOT MY CAT, written by Stacy Patton, published by Simon & Schuster for Young Readers. Acamy is an illustrator and writer from Las Vegas who creates stories and art that celebrate diversity and joy in the Black community. Her illustrations have a focus on family, friendship, joy, and imagination with a unique and playful style, using digital tools with a textural, traditional feel.

In this interview, Acamy shares more about her process, what inspires her, and more about her new book and upcoming projects. I’ve had the pleasure of working with Acamy as a critique partner in the past and it’s been a joy to see her grow and bloom in her picture book career. I can’t wait for you to learn more and read her new book!

An Interview with Children’s Book Illustrator and Author, Acamy Schleikorn

Can you tell us more about yourself? What do you love about illustrating books and what inspires you and your art?

For those that don’t know, my name is pronounced uh-kay-me and I absolutely love my name! I’m a wife and mom. When I’m not illustrating, I’m spending time with my family, practicing piano, or baking anything sourdough. My favorite thing about illustrating picture books is that I get to include snippets of my own world into my art. I love expressing myself in that way. The very things that make me who I am can be seen sprinkled throughout a lot of my art. For example, I love laughing, so you’ll see a lot of joy and heartwarming scenes depicted in my art. I think it’s awesome because we can never have too much joy in our lives, right?! It’s truly my favorite thing to illustrate. Honestly, all kinds of things inspire me like nature, my family and other art. I like reminding myself that there is inspiration all around me if I take the time to notice it. 

How did you get your start illustrating picture books? We’d love to know more about the path you took to get here.

Before I was an illustrator, I was a hand lettering artist that focused on weddings. I’d hand letter wedding welcome signs, seating charts, table cards, and all kinds of other things. It was cool, but it became repetitive for me, and I just wasn’t fulfilled. Once I discovered the world of picture books, it was a wrap. I was hooked and in love. I have a heart for children, so this was a perfect way for me to do something that would impact them in a positive way. I posted a lot of my artwork on social media when I was just starting out. My agent actually found me using the #PortfolioDay hashtag on Twitter. It was truly a blessing, because I didn’t even realize I had that kind of potential at the time. My agent is awesome, because she is able to draw out the gold in me that I didn’t know was there. When my agent emailed me about an inquiry she received for me to illustrate NOT MY CAT for the first time, I was shocked! The amazing journey I was on became so much more real!

Your debut picture book, NOT MY CAT (written by Stacey Patton and published by Simon & Schuster), is a funny story about Staceypants who says she doesn’t want a cat, but somehow finds herself with a cat who chooses to adopt her. Can you tell us more about this book?

The book cover for NOT MY CAT by Stacy Patton and illustrated by Aacamy Schleikorn. A Black woman with locs sits on a sidewalk with a grey cat leading up to a yellow house.

Absolutely! The thing I love about NOT MY CAT is that it is based on real events that happened between Stacey Patton (AKA Staceypants in the story) and the cat who “wasn’t hers”. This made me feel as though I was putting a new lens on reality with my illustrations as opposed to creating my own world. There’s definitely a greater level of care that goes into projects like this because you want to represent the things that happened both accurately and creatively. The publisher sent me several images of Stacey with her cat, so I took it upon myself to bring some of that to life. The cat yoga scene in the book is based off of a real photo! So fun!

What were your favorite parts about working on NOT MY CAT? Was there anything you found challenging with this project?

I actually enjoyed so much about working on this book! But if I had to narrow it down, I’d say I loved the fact that the main character had locs and crazy pants! I also have locs, so it was a connection point to the author for me. And drawing crazy pants… well, that’s just fun! I was really able to let my creativity shine and come up with different patterns and colors that I could only dream of having on my pants. 

The challenging thing about this project is that… believe it or not, I had never really illustrated a cat before this! It’s one thing drawing a cat, but it’s another thing drawing the same cat in different poses and making sure it’s consistent throughout. Sometimes the body would be too long or wouldn’t be hairy enough in some scenes. So it was basically trial and error for me to figure out what worked best. I actually love these types of challenges, though! You say yes and figure out the details along the way!

Two pages from NOT MY CAT. On the left a woman does yoga on a porch with her cat. On the right, the same woman lies on a blanket outside with her cat. Illustrated by Acamy Schleikorn.
A spread from the book NOT MY CAT, by Stacy Patton and illustrated by Acamy Schleikorn

You also have another book you illustrated coming out at the end of the year called I’M ALWAYS LOVING YOU (written by Kathy Wolff). Can you tell us more about illustrating this book?

Of course! This book is so personal to me. Once I read the manuscript, it was an immediate yes to illustrate this book. As a mother myself, I could relate to every single word (well almost, because there is a line about coffee in there, and I am definitely not a coffee person at all, haha). For the illustrations, I decided on following three different family units throughout the story. I wanted to be as inclusive as I could because all families are different. The first family is a family of four that consists of a mother, father, son, and daughter. The second family is a single father with his daughter, and the third family is a grandmother with her grandson. I cycle through each of these families throughout the pages to show how love expresses itself in different ways. Some of the scenes have a bit of humor that I believe many parents/caregivers can relate to while other scenes are very sweet. I poured my heart out onto those pages!

How would you compare illustrating your first book to your second book? How were the experiences different or similar?

I loved both experiences, but they were very different! For NOT MY CAT, since it was based on a true story about the author, there were certain qualities about the main character, the cat, and the surrounding environment that I needed to make sure I incorporated into the art. So I had a little bit of art direction with that one, but it wasn’t so much that it was overbearing. I was still able to pour myself into the art like I usually do. I really enjoyed it!

For I’M ALWAYS LOVING YOU, it was more of a free for all! I was able to simply read the manuscript and illustrate whatever I wanted to. That felt like a lot of freedom compared to my first book and allowed me to incorporate even more qualities from my life into the story. For example, one of the family units shown in the book… is a direct reflection of my own family! I was very intentional about every little detail and finding ways to tell a separate story from the manuscript itself.

A wooden desk with an iPad and MacBook on top with a black chair and some white filing drawers below.

We’d love to know more about how you work and make your art. Can you share more about your creative process and tools?

All of my illustrations are created digitally using an app on my iPad Pro called Procreate. It’s a powerhouse! My favorite thing about it is the ease of working anywhere. If I want to work at my desk, cool! If I want to work on the couch, also cool! It’s convenient because I don’t have to worry about cleaning up any art supplies; I can easily grab my iPad and go! I recently just built my own desk out of butcher block, and I absolutely love it. I’ve fallen asleep way too many times on my bed while “working” on my iPad, so this will be helpful. It’s way easier to focus at my desk!

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

Honestly, my biggest hope for my work is that children will be able to see themselves in my art. I am a firm believer that representation in picture books is so important. I didn’t see enough of myself growing up and I want to ensure that children today have a bunch of options! And as a Black woman, I want to be able to connect to Black girls specifically. That’s also why I love drawing natural hairstyles! I want to remind them that however their hair grows out of their hair is perfect and beautiful! Another one of my dreams is to have my author-illustrator debut! I don’t yet have a polished story for my agent to start querying yet, but I’ve been trying to work toward that.

What is something you’d like to share with other illustrators wanting to break into this industry?

Be yourself! Your art should be a reflection of you and have a unique voice. If you are weird, show that in your art! If you love drawing food or astronauts, make sure those specific things can be found in your portfolio! And don’t include anything you aren’t 100% happy with or anything you don’t enjoy drawing. Always keep working on your craft and asking the right people for feedback! Be okay with making mistakes and creating art you aren’t proud of. It’s all a part of the process, and sometimes you have to crawl through the mud to find some gold.

Learn More About illustrator and author Acamy Schleikorn

An illustration of a young Black girl with vitiligo and her hair in bantu knots, wearing a red jumper. Art by Acamy Schleikorn.

To learn more about Acamy,  see more of her work, and follow her on social media, check out these links:

Acamy is represented for children’s books by Claire Morance at Painted Words.

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

KidLit Connection: Getting to Know Author-Illustrator, Julia Mills

An illustration self-portrait of author-illustrator Julia Mills. Julia wears a handmade hat, has pink hair, wears pink glasses, a hoodie, and is shown painting at a desk with watercolors and a cup of tea.

Welcome to the first KidLit Connection interview of 2024! I’m so pleased to have been able to talk with Julia Mills, an illustrator and author of picture books with fun animal protagonists, a warm heart, and a touch of whimsy. Julia’s debut picture book I AM STUCK, published by Clarion Books, came out in September of 2023. This adorable story about a turtle who is stuck on their back shows readers and their grown-ups how a friend can help in a difficult situation just by being there for them.

Julia’s illustrations are playful and colorful with a soft simplicity perfect for storytelling. She loves creating books with animals characters because of the joy she finds from researching more about each critter. When she’s not writing and illustrating books for kids, Julia is a school art teacher, mom, and knitter. She lives with her family near the shores of New Jersey.

An Interview with Julia Mills

A chipmunk lounges on their back in a hammock while holding a book under big green leaves. A ladybug peaks from a rock in the corner. Art by Julia Mills.

We’d love to know more about you and your work as a creator of books for kids. What inspires you and what do you love about writing and illustrating picture books?

I think my biggest inspiration is that I vividly remember what it is like to be a kid. I remember the magic of playing with toys all day. I remember the joy of painting whatever I wanted to paint just because painting is fun. 

How did you get your start creating picture books? We’d love to know more about your path to being a published author and illustrator. 

I wanted to be an illustrator and an art teacher when I was four years old. I ended up studying illustration in college but soon thereafter veered down the path of fine art. I studied in a atelier and then got an MFA in visual art. After all that school I realized that illustration was what I really wanted to do. By that point I had two small children so I was reading a lot of picture books. I took a workshop at the Highlights Foundation which really opened my eyes up to the publishing industry. From there I joined SCBWI and started building my portfolio and making connections with other illustrators.  I was simultaneously going back to school to become a certified art teacher! In 2020 I realized that if I wanted something to illustrate I should write it. I AM STUCK was my second dummy, and when I finished it I knew it was the one that would get published. I pitched it during a Twitter event which is how I ended up working with my agent, Rebecca Sherman. She sold I AM STUCK to Clarion and it was published in September of 2023. I’m now working on my second book for Clarion which is set to be released in Winter of ’25. 

Your debut picture book, I AM STUCK (Clarion Books), is an adorable story about a turtle who gets stuck on their back and the variety of critters they meet along the way (some more helpful than others). Can you tell us more about this story and how it came to be?

A stark white background with black hand drawn text that reads, "I am STUCK". The U in "STUCK" is a turtle upside down on their back. Book cover by Julia Mills.

This story actually started with Tara Lazar’s Storystorm!  This is an event where you try to brainstorm an idea for a picture book every day in January. Well I got to the last day and I couldn’t come up with anything. So I wrote “stuck” on the page. In the letter “u” I saw …TURTLE! I immediately started writing (and checking to make sure that book didn’t already exist). I knew that I wanted to explore how hard it is to feel stuck. This was winter of 2021, and at that time many of us were feeling stuck. I wanted to create a story that honored that feeling but also opened the door to getting “unstuck”.

What was your favorite part about working on I AM STUCK? And what was something you found challenging during this project?

My favorite part about working on I AM STUCK was experimenting with techniques to make Turtle’s shell.  I knew I wanted a simple design but I also wanted to echo turtle shells in nature. I ended up layers dark green over bright yellow paint and then sprinkling it with coarse salt. I probably painted that shell 15 times to get it just right! I still love the combination of randomness and structure. The most challenging part of this book was probably the page where Turtle almost rolls over. I actually did this page first because I knew if I could draw him perfectly 18 times I would be set for the rest of the book! I ended up drawing it like animation, layering paper over each previous layer.  I also had a model of Turtle I made with air dry clay to help me visualize how his body would move. I’m really proud of that spread.

A test spread from I AM STUCK where Julia experimented with positions and coloring.

You seem to really love animals! Can you talk more about your connection to animals and nature in your work?

A white squirrel holds an acorn among some autumn leaves. Art by Julia Mills.

I never set out to be an author who wrote about animals, but here I am! I like using elements of how animals act into the personalities of my characters. I knew that I AM STUCK would feature a turtle, but when it came to the secondary character I pretty quickly settled on a possum. I think possums are really cute but a lot of people don’t like them. So I wanted some good press for possums! Right now I’m working on a book that features a raccoon.  I guess I better write one about a skunk to complete the “trash panda” trifecta! Growing up my Mom always told me a lot about the natural world. I learned about names of plants, behaviors of bugs and how to spot birds from a very young age.  I hope that the children who read my books become curious about the animals and seek out more knowledge about the natural world.

Shop talk time! We’d love to hear more about how you work. Can you share more about your creative process and tools?

The best way I could describe my work is traditional materials with digital collage. I like to use lots of different materials but mainly I use black colored pencil and watercolor. After I create my watercolors I scan them and put them in Photoshop. From there I clean the watercolors  (remove the paper usually) and add other elements like digital drawing, layers of pastel or even children’s paint sticks! I tend to choose my materials based on the story. I AM STUCK has a very simple, graphic look because I wanted Turtle to really pop on the page. My next book has more natural elements, including a lot of grass that I’m creating by layering watercolor, colored pencil and digital drawing. 

A Black man holds his smiling daughter up to look at a butterfly on a red flower in a garden. Art by Julia Mills.

What other types of work have you done that relate to your work as an artist and author?

To start off I’m an elementary art teacher. I get a lot of art inspiration by playing with different art materials that I present to my students. I also get writing inspiration from my interactions with my students. Being a teacher reminds me that kids are the reason I write. I want to write books that they will be excited to read. Prior to being a teacher I created a lot of “traditional” art like landscape and portrait paintings. While I enjoyed working on my skills, that kind of art never brought me the joy that illustration brings me. To me there is no higher art compliment than a child telling me they love my book. 

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

Honestly I just want to keep making books and reading them to kids. I absolutely love school visits and hope to do more of them. I just hope to keep creating stories that make kids laugh and make them think. 

What is something you’d like to share with your readers?

I think honoring your creativity can be so hard. We often feel like we need to do BIG things to be artists and creators. But sometimes being creative means scribbling on a sticky note. Sometimes it means letting yourself write or draw something terrible. So dear readers, if you feel like the mountains are too big to climb, don’t be afraid to study some pebbles. Who knows where they might lead you?

A possum sticks their tongue out in the snow, wearing a blue and purple snow suit. Art by Julia Mills.

Learn More About Julia Mills

To learn more about Julia Mills, her art, books, and latest projects, be sure to check out her website and follow her on social media:

Visit Julia’s book page on her website to find out more about how to order your own copy of I AM STUCK!

Julia is represented for children’s books by Rebecca Sherman at Writers House.

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

Victoria’s 2024 Birthday Fundraiser & Art Raffle for The Highlights Foundation

Six flat stones sit on top of pebbles. Each stone contains a carved word. The stones read, "open your soul and learn happiness". Photo from the Word Garden at The Highlights Foundation, taken by Victoria K. Chapman.
Highlights Foundation Logo

In early March I’ll have taken another turn around the sun, which means it’s time for my annual birthday fundraiser! This year, I’m asking you to help me celebrate my birthday by donating to an organization close to my heart—The Highlights Foundation. The Highlights Foundation’s mission is to “to positively impact children by amplifying the voices of storytellers who inform, educate, and inspire children to become their best selves”. They help creators of stories and art for kids get to the next level and grow.

How the Fundraiser Works

I’ve set up three ways to donate—use whatever works best for you!

  1. Donate through the Facebook fundraiser page
  2. Donate through the Instagram fundraiser page (viewable in the Instagram app)
  3. Donate directly through the Highlights Foundation Website

For everyone who donates at least $10, you can be entered into a raffle to win one of my art prints and an art greeting card! I’ll pick 2 winners once the fundraiser ends. 

Here’s how to get entered:

  1. Make your donation of $10 or more
  2. Save or take a screenshot of your donation receipt
  3. Share this fundraiser with friends and family through email or social media for an extra entry!
  4. Fill out this Google form to let me know you donated, share your receipt, and let me know if you shared this fundraiser
  5. NOTE: The fundraiser ends after March 16, 2024!

Once the fundraiser has ended, I’ll pick two winners and reach out via email to let you know if you’re a winner! You can pick your choice of certain prints. I’ll ask for your address so I can mail you your print and card.

NOTE: You don’t have to enter the raffle. You can just donate too. But, if you’d like to enter the raffle, please follow the steps above so I can include you.

More About My Experience with Highlights and Why I Want to Support Them

You all know Highlights for Children magazine, right? Well, the Highlights Foundation is those same amazing people, but from the side of working with the people who actually make stories for kids. Highlights has been an inspiring and life-changing place for me. I first visited the Highlights Foundation retreat center in Pennsylvania in 2022 for their illustration summer camp. If I can, I plan to return every year. The experience was that great!

At Highlights, I was able to connect with other authors and illustrators and industry professionals, work on improving my craft through critiques and workshops, and find the encouragement and inspiration I needed to keep going. Creating books for children isn’t just sunshine and rainbows. It’s a long, grueling process, with a lot of rejection and work before your stories even make it out into the world. Having a supportive community at a place like Highlights has been so transformational for me.

I would love to raise money for Highlights to give other creators the opportunity to go there. Highlights has some amazing scholarship opportunities for those who can’t afford to go on their own, and for those from underrepresented groups. Helping storytellers from all sorts of backgrounds get their stories into the world is so important for our children and families. And being able to go to Highlights is an amazing way to help make that happen for these creators.

Whatever you can donate, I appreciate it! And if you can’t, sharing is amazing too!  Thanks for making my birthday awesome by donating and sharing this fundraiser!

Scenes from my first trip to The Highlights Foundation in 2023.

KidLit Connection: Getting to Know Illustrator Heather Brockman Lee

An illustration of different children of all shapes, sizes, and colors holding hands. One child at the front is reading a book. Art by Heather Brockman Lee.
Illustrator Heather Brockman Lee smiling for the camera in front of a bookcase.
Heather Brockman Lee

I’m delighted to bring you another KidLit Connection interview with an illustrator I adore. This month, I chatted with Heather Brockman Lee, a picture book illustrator (and soon-to-be author/illustrator) and licensing illustrator. Heather’s work is whimsical and soft, inspired by nature and magic. She has three books she’s illustrated that are on the shelves for you to enjoy now (check them out on her website), and two more on the way this coming year! Plus, more in the works. In the interview, we chatted more about those books.

Heather has been the winner of multiple awards, including the portfolio showcase award from SCBWI in 2021. She is also a mentor through the Michelle Begley Mentorship Program as part of the Rocky Mountain chapter of SCBWI. Heather lives in Colorado with her family and when she’s not painting in her studio enjoys spending time outdoors and keeping active. Not surprisingly, she is a lover of books and animals.

I’m so happy to share this interview, as Heather had some great insights and fun behind-the-scenes peaks at her work and process. I hope you enjoy hearing from Heather as much as I did!

An Interview with Children’s Book Illustrator, Heather Brockman Lee

A fairy sits inside a plant pot and flowers grow from their head. The flowers are yellow, orange, and green. The fairy wears a red jumpsuit and has grey/brown wings. The pot is a terracotta pot shown in a cut cross-section. Art by Heather Brockman Lee.


First, we’d love to hear more about you and your work as an illustrator. Can you tell us more about yourself as an artist of books for kids?

Yes! And thank you so much for having me. Books and art have always played a huge role in my life, and I feel so lucky to be building a career making books. When I am not working on a book that is under contract, I am usually painting and sketching for projects to send to my agent that will hopefully become future books. I also love to experiment and push myself with personal work, constantly trying to improve. I am very fortunate to know a lot of other illustrators and I love sharing work with them and talking art. My favorite pieces to make are ones that hold a little magic, and I try to include that feeling in realistic scenes also. 

How did you first start creating art for children’s books? What led you to this particular career? 

I graduated college with a BA in Fine Art, and I had some really cool jobs but they mostly centered around doing art for spaces that required wealth to create. This makes sense, because it is usually expensive to have custom textiles or stained glass made. But I wanted to make work that was more meaningful and accessible. I have always loved books and story so being an illustrator is a perfect fit, but it took me a long time to get started because I really didn’t know how a person got work in publishing. Finally about 7 years ago I literally just googled “how to illustrate children’s books” and that took me to the SCBWI website, which lead to me learning so much about the industry, and meeting my critique group, who have all been formative to my career. 

A fairy peers out from behind some plants, watching a woman pouring tea from a pink polk-a-dot tea pot in a garden. The woman stands at a block iron table and chair on a blue brick patio. There is a small house in the background. The art is whimsical and colorful in greens and blues. Illustration by Heather Brockman Lee.

Shop talk! Can you tell us more about how you work as an illustrator? What are the different ways you approach your pieces and various tools you use to create them?

This might be my favorite subject to talk about! I love working with traditional materials and doing a lot of experimentation combining different techniques and media to get the exact look I am going for. When I start working on a new book project, I think a lot about the medium I want to use to best express the mood of that book. The mediums I use the most are gouache, watercolor and colored pencil on a variety of papers meant for watercolor or mixed media. My current favorite is Arches 300 lb hot press- which is pricey but so worth it (and I can paint on both sides!) I also really love using textured papers and ephemera in my images. While the bulk of the work is done traditionally, I also use procreate on my iPad for sketching, and photoshop to edit or create digital collage from my scans. 

"When You Love a Book" book cover by Heather Brockman Lee. Book text by Kaz Windness. An illustration of a child opening a book with all kinds of objects popping out, including a train, a dog house, a boat, spaghetti, a mouse with a cookie, Little Red Riding Hood, birds, and a moon.
The new cover for “When You Love a Book”

I’m so excited for your next book that’s set to come out in May of 2024, WHEN YOU LOVE A BOOK, written by Kaz Windness (who I interviewed last year) and published by Penguin Random House! This is an extra special collaboration because you and Kaz are also critique partners. Can you tell us more about this book?

Yes we are so excited about this book! Obviously most people that go into publishing do it out of a love for books so it will be no surprise that books have meant so much to both of us throughout our lives. We have had conversations about books being friends to us when we really needed them, and when Kaz wrote the manuscript she asked if I would consider illustrating it. Of course Kaz herself is a very skilled and talented illustrator, but she felt that her style might lean a little too edgy for the project, and she also wanted the experience of being on the writing side only. I loved the manuscript and agreed immediately! We like to say it is a book about friends being books made by friends who make books.  The book itself is a beautiful tribute to classic stories that shaped so many of our childhoods, and that many of us continue to pass down to our own children and grandchildren. 

Since you personally know the author of WHEN YOU LOVE A BOOK, how was your experience illustrating this book different from other books? Was there a more direct collaboration than other projects? Or did you still work primarily with the art director without author feedback?

As you mentioned, Kaz and I are in a critique group together, so we are very used to giving and receiving feedback on projects. While we were getting the book ready for submission, we treated it as we do all book dummies in the critique group. She had great feedback on the sketches, as did our other critique partners, but was very careful to respond to my ideas as opposed to telling me how she would illustrate it. As a fellow illustrator, I really admire her restraint! I think a collaboration like this really needs to have a mutual trust and respect in the other’s skillset which fortunately we have. Once the book sold, the publisher treated us as they would any author and illustrator, with separate contracts, and my interaction was mostly with the Art Director Sophie Erb (who is wonderful to work with!) 

What were your favorite parts about illustrating WHEN YOU LOVE A BOOK? In contrast, what was something you found challenging about the project?

My favorite part was collecting and using old library cards signed by children and collaged throughout the book. I found most of them on Etsy or Ebay, and just loved feeling that connection to generations of readers. I didn’t want to cut up the actual cards, so I scanned and printed them on a rice paper meant for printmaking. This allowed me to use my favorite sections more than once, and the thinner paper was easier to work with for cutting and gluing. 

The most challenging part by far was trying to live up to my own expectations for the illustrations. I think most artists can never totally satisfy ourselves. I am really proud of this book though and I hope people will enjoy reading and looking at it as much as I did painting it.

The publishing announcement for the book City of Jasmine. Text reads: Luana Kay Horry at HarperCollins has bought world rights in a three-book preempt, The City of Jasmine by debut author Nadine Presley (1.), illustrated by Heather Brockman Lee. In this picture book, a Syrian girl holds on to the beauty of her hometown infused with the sweet scent of jasmine. While the world carves ruins into her memories, she stands up: Damascus is no pile of rubble. Publication is slated for winter 2025; Allison Remcheck at Stimola Literary Studio represented the author, and Deborah Warren at East West Agency represented the illustrator.
Publishing announcement for “City of Jasmine”

You also have some other projects in the works, including another book you’re illustrating and your debut book as an author and illustrator. Can you tell us more about them?

Yes! Right now I am working on art for City of Jasmine, by Nadine Presley. She is a debut author (with more books on the way) and has written a beautiful book honoring her beloved city of Damascus. I am working closely with her and our publishing team at Harper Collins to bring her vision to life. This is another example of a less than common setup, as this is such a personal story for Nadine we all want her to be very involved in the creation of the art. It is scheduled to release in winter of 2025.

I am also working on my debut as an author/illustrator, about a little girl and her umbrella that helps her feel safe and secure, which will come out the following year, also with Harper Collins. 

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

My biggest hope is for longevity and to make a positive impact on the children who read the books. I love this job so much and never get tired of painting and stories. I want the books I work on to reach children and readers who will enjoy them, and hopefully some will even love them. I think stories are the foundation of our shared humanity and can bring people together in unique ways. 

A little boy holding an umbrella walks a tiny dog on a leash, A taller man with a white beard in a yellow suit holds many leashes with a menagerie of animals behind him. The animals include a horse, a cow, a dog, a pig, a turkey, and a goat. A watercolor illustration by Heather Brockman Lee.

If you could share something with aspiring picture book illustrators, what would you tell them?

I think this advice is given a lot, because it is still true. Don’t try to be like everyone else, don’t just copy the most successful or popular trends. Really dig deep and look inward to figure out what you want to say to the world, and how to say it. Most paths to becoming a picture book illustrator are long and challenging, so it’s really important to be making work that you love and is authentic to you—because you will need to make a lot of it. 

Check Out Heather Brockman Lee’s Books

Heather has three books out NOW for you and your family to enjoy! Plus, you can pre-order When You Love a Book to get it as soon as it hits shelves in 2024.

You can also ask your local library to order the books for you and your whole community to enjoy!

A Poem Grows Inside You. Story by Katey Howes. Pictures by Heather Brockman Lee.
Hattie Hates Hugs. Words by Sarah Hovorka. Illustrated by Heather Brockman Lee.
She is Mama. Words by Mackenzie Porter. Illustrated by Heather Brockman Lee.
Heather Brockman Lee’s current books available now.

See More From Heather Brockman Lee

A fairy looks over her shoulder as she wears a fancy red and green coat of flowers. The fairy's wings are translucent yellow with peach spots. Art by Heather Brockman Lee.


To learn more about Heather Brockman Lee, see more of her work, and stay up-to-date on the latest about her projects, visit her website and social media pages:

Heather is represented for children’s books 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.

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, 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.

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.

10 Things to Consider at a Highlights Foundation Workshop

Stones on the ground that read, "the happy twist in spirit may open small inspiration" in the Word Garden at The Highlights Foundation. Poem and photo by Victoria K. Chapman.
A short poem created in the “Word Garden” at The Highlights Foundation

Earlier in July, I went away for almost a week to stay at The Highlights Foundation at The Barn at Boyds Mills in Pennsylvania. I attended the Summer Camp in Illustration intensive in order to grow my craft, learn from others, and make new connections in the children’s illustration field. Being there physically gave me the chance to really be immersed in the work and connect in a way I couldn’t if it was online from home. After two and a half years of everything online thanks to the pandemic, this was a welcomed change.

After my six days at The Highlights Foundation, I found myself struggling to succinctly and clearly describe my experience there. It was such a mind-opening and spirit-lifting time, it’s hard to put into words. Knowing that everyone’s experience is different, I’m speaking from my own perspective. And since my head is still buzzing with so many things I could say about my trip, I narrowed down to this list that I hope you find helpful.

Ten Things to Consider When Attending an In-Person Highlights Foundation Workshop:

  1. Be open to experience. Don’t arrive with a specific expectation. Arrive with your mind and spirit open to receive whatever it is that happens. I couldn’t predict how my week would go. And it was so much better than I might have guessed.

  2. Arrive hungry. Because they feed you three meals a day and snacks in between. And it’s not just any old food. It’s amazing, local, fresh, and different every day. If you have a special diet, don’t worry—they’ve got you covered. I’m a vegetarian and I had one of the best culinary experiences I’ve had in a while.

  3. Be social. I know not everyone has an easy time with being social among strangers. But, believe me—people at Highlights who attend a workshop with you will not be strangers for long. Connecting with other kidlit illustrators and author/illustrators was one of the best parts of my trip. It made the experience so much more worthwhile. I had the pleasure of getting to know not only my fellow participants, but also the teaching faculty, and the staff. They were all amazing people and I’m so glad I got to spend time with them.

  4. Give yourself time. Time to rest. Time to process. Time to be alone if you need it. I had the privilege of being able to add a personal retreat day to the beginning and end of my trip in order to let myself settle in and decompress. It was a great decision and if you have the ability to do so, I really recommend it. It allowed for some more quiet time, but also some more intimate time with the handful of others who stayed extra time. And if you can’t do that, make sure to give yourself time during the day or evening to take a break alone somewhere, especially if you’re an introvert like me. There are plenty of great places to do that.

  5. Take advantage of the outdoor spaces. The Barn at Boyds Mills is full of outdoor trails and places to sit. Be sure to visit the brook and sit down to enjoy the sound of the babbling water. Take a hike up one of the trails if you’re able to (but be sure to put on bug spray to avoid the ticks and flies). Or just enjoy time at one of the outdoor tables to quietly sketch or write. And if there’s a fire in the evening outside at the Barn, enjoy the time to sit by it and chat with others. Fireside times with fellow illustrators were some of my favorite moments.

  6. Document your time there. You’ll want to take notes, you’ll want to draw, you’ll want to write. There’s a lot of information to take in. Make sure you have your favorite ways to take down and process information with you. I brought both a writing notebook and several sketchbooks and I ended up with notes and sketches in both. I’m glad I have them to refer back to. I also took photos to remember some of the spaces and people I spent time with. Looking back at them makes me smile.

  7. Be present and in the moment. While you’re documenting your time there, also remember to be present and in-the-moment. It’s easy to jump ahead in your mind to what you’ll do when you get home. But, it’s also an experience you’ll really want to savor. It goes by quickly! Enjoy each moment while it’s happening.

  8. Unplug and disconnect. From your regular life that is. It’s okay to check in with the family, especially when you have kids. But, be mindful of how often you’re checking your phone, email, or social media. Fortunately, the cellular service at Boyds Mills is pretty spotty and the wifi can be touch and go depending on where you’re standing. That can be frustrating if you’re doing research online. But, for the most part, it wasn’t a huge issue for me, and it allowed me to remember to unplug for a while and focus on the workshop and the people.

  9. Be open to feedback. For many of these workshops, there is a critique or mentor component to it. One of the most helpful things you can do for yourself is to be open to the feedback you receive. It doesn’t mean you have to use all of the feedback if you don’t agree with it. But, at least listen. And thank the people who took the time to look at your work with you. They are there for the love of children’s books just like you are.

  10. Exchange information with colleagues. You’re going to meet people there and you’re probably going to want to stay in touch. Be sure to ask others for their information, such as social media handles and email addresses. To make it easy to share your information, you could bring business cards or postcards with the info you want to share. I was so glad I brought my business cards with me so people could find me later.

And the biggest piece of advice I can give for a Highlights Foundation workshop trip is that the experience will be what you make it. People I know who have gone before have told me there’s a magic to the space that they haven’t found in other places. I found that to be true myself. But, being open to experience and present in the moment made the trip even more pleasant and remarkable. I hope you’ll find the same is true for you.

One of the amazing breakfasts I had at Highlights.
A quiet place to sit by the brook.
Appetizers by the brook with friends. Selfie by Mallory Grigg.
Isabel Roxas presenting at the Illustration Intensive
The front of The Barn where much of the action takes place.
I enjoyed sketching in the morning with a cup of tea outdoors.

You can learn more about The Highlights Foundation and their work at https://www.highlightsfoundation.org