Pictures Of Teddy Bears Picnic – I began creating and studying art in elementary school and participated in a specialized art program in middle school and high school. In fact, I went to the “FAME” school behind Lincoln Center (LaGuardia H.S.). He then attended the Art Institute of Chicago, a historic museum school, for his BFA. I feel like I’m always surrounded by creative people.
My career began with newspaper and magazine design in Chicago and Silicon Valley. Then I moved back to NYC to pursue my dream of becoming a book designer. I spent the first half of my book life in adult books, first with indie Avalon and then with Random House Adult. Disney joined the incredible team at Hyperion and transformed into children’s books. While there I became best known for my YA and MG cover designs and also worked on several picture books. I find that picture book editors and artists are the best people to know and be friends with. He later became Associate Art Director at Workman Kids before co-founding RISE with Cecile Kaiser in 2019.
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I mean we’re looking for thoughtful illustrators who want to work on authentic books. A book whose subject matter is somewhat related to one’s life or learning experience. Our books help children (0-5 years) understand and empower the world around them. So we don’t have many “great” books. We tend to hire artists about the everyday world with more realistic proportions. We love art that everyone can appreciate, including the many adults who choose to buy these books and read them to a younger audience. We often hire younger artists, editorial illustrators or artists who have never thought of illustrating for children.
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Write a very long bio that says a lot about yourself and what you’re interested in. I want to know what experiences have shaped you and your work. where did you grow up Are you a child of immigrants? Do you like math, science, food, typography and music? It should all be in your bio.
Almost everything I get from Edel Rodriguez impresses me. I literally can’t imagine anything he comes up with. It’s really impressive. When people are unexpected but great. He is a pro and one of my heroes. I feel really lucky that he made the first RISE list.
If you look at the pages of I AM!: Affirmations for Resilience, you’ll notice that each page has a slight modification of Edel’s first intuition. My friends and family love me! It shouldn’t work, but it does. The child’s body bent like crazy. It captures the sheer joy in a child’s expressions wonderfully. Very smart!
Throughout my career, I have brought my favorite artists of all ages to create. Ascent makes no difference. If you’re great, I’d love to hire you. There are many ways to become great. You can start, but you can already become an outstanding person. My job is to see which projects are suitable for artists.
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Sometimes I hold someone back for years before starting the right project. That’s what happened to Being You artist Andy Passchier. Andy sent me an adult graphic novel proposal at my last job. And I knew Andy was IT. The real deal. A talented, insightful, funny and visually powerful artist. The publisher turned down Andy’s project, but knew they would eventually find a way to work with Andy. When I read Being You: A First Conversation about Gender, I jumped because I knew Andy was the artist and that their project was finally here.
The short answer is a universally felt style. It can be many different things. I would say they should be fearless in their color choices. Pops of color translate very well.
This is my second year as Artistic Director of the Macmillan Children’s Studio. My first job in publishing was as a design intern at Little, Brown Books for Young Readers. I started working there after graduating from the Illustration as Visual Essay MFA program at the School of Visual Arts. At the time I was trying to publish picture books and never thought about a career “on the other side of the table” in the book industry. I was approaching the editor and art director with my portfolio and pile of books. I also invited them to my graduation fair where my thesis was a children’s book. One of the art directors I contacted, Saho Fujii of LBYR, came to the exhibition and gave me great feedback. I was really impressed that the actual art director accepted my invitation and even gave me feedback! A few months later she emailed me about an open internship position at LBYR. I thought it would be really cool to work and learn in the industry I work so hard for. After an interview, I got the job, my first publishing job. I thought it would help me learn all the practical tips from “behind the scenes” and get my book published! But of course, I fell in love with people and got a job at a publishing house. It’s a very collegial environment and everyone has a passion for children’s books. I am surrounded by amazing creators and storytellers! I got to work with illustrators that I admired! I felt like I had found the perfect home. Since then I have not left the field.
Macmillan has 3 pub seasons (Winter, Spring/Summer and Autumn) and each designer usually works on 3-8 titles per season. Since making picture books is a very long process, we are working on 8 to 15 books at a time in various stages.
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I am currently reviewing, color correcting and making final adjustments to a book that will be published later this year (2022). We are preparing an opening call with artists working on the book in 2024 and the 3rd draft of the book due out in mid-to-late 2023.
A large part of my daily schedule is filled with multiple meetings where I review sketches or final drawings with editors or other designers from the various books we are working on together. Communicating with artists is one of my biggest responsibilities in my daily life. We do our best to communicate our thoughts and feedback clearly and openly with illustrators, and to ensure that illustrators are fully included in the discussion. Every illustrator has a different way of communicating and you need to learn what makes you feel comfortable. Some prefer email correspondence and some prefer phone calls. I also make a lot of video calls. Working with different amazing artists is my favorite.
Of course we should create books. Creating a book is also done within a certain period of time. We usually do a preliminary piece to share with the team at various stages, but once the final piece is finished we focus more on the detailed design. We make sure the design meets the feel of the book, enhances the story and art, and brings it all together. Because the cover is often the face of the book, everyone on the team from different departments sees the final cover design and gets feedback.
Since childhood, I have always gravitated towards exciting stories with a tight plot. I still think it’s very important and it’s also how I write and explain. But when it comes to the books I enjoy working on the most, I’m strongly drawn to books that tell stories with a specific cultural setting and element. They often tell universal stories through a specific cultural lens that all readers can relate to. Plus, I can get a glimpse of a culture I didn’t know about. It is fascinating and enlightening. Every time I work on those books, every time I spend a lot of time with them, I feel like my world is expanding little by little.
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You have a special place in my heart. A young black boy’s emotional journey after a police shooting in his neighborhood is a difficult subject, especially for a picture book for very young readers. It was amazing to see Elliott Zetta’s beautifully powerful words come to life with the wonderfully heartfelt illustrations of debut artist Noa Denmon. Noah is new to the world of children’s books, but I love his refined and rich art style. If you are new to the field, this process can be long and tedious at times.
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