1. How did you become an Illustrator?

   I graduated with my BFA in illustration from KCAD in 2010. Upon graduating, I did gallery shows, artist markets, and volunteering events. Through those, I was able to meet designers and art directors. It took a while for everything to get off the ground. At first I was doing every job that came my way - including set building, window displays, and ice sculpture design. Each job has taught me something new and I've worked my way through galleries, editorial jobs, animation jobs, and have landed happily in the publishing world.
   In regards to school, I often get asked if college is imperative. In this day when so many resources, tutorials, and classes are offered online, I don't think it's technically necessary, but I will say that I wouldn't trade my experience for anything. Going to school means taking a good 3-4 years to completely immerse yourself in an atmosphere where creativity surrounds you. Learning from teachers in person, to me, is much more rewarding than online. So if school is not an option for you - you're in luck! It does not mean you can't be an illustrator. But if you do go to college for Illustration, my thought and hope is that you wouldn't regret it. 
2. What's the hardest thing to draw? 

Horses for sure. They have such distinct and impossible shapes, and such long legs. 

3. How did you get an agent? 

After graduation, I applied to many agents and was met with no response. (Looking back, my work was not suited for commercial work, since I was doing a lot of gallery work.) After months of looking, I decided to focus my attention on my portfolio and to make work I wanted to be hired for. I was contacted shortly after by an editorial agency who saw my work online, and was with them for two years. I am now signed on with Nicole at Tugeau2 Illustration Agency which focuses on children’s publishing. She had been given my name 4-5 years ago, and it took me that long to make a strong enough body of work for publishing.  

4. What does an agent do and does everyone need one? 

This depends on the type of agent you have, but I prefer an agent who is also a mentor. My agent handles all negotiations for contracts, including rights, fees, timelines, legalities, etc. She also helps keep jobs balanced so my workflow is manageable. She attends conferences and meets with publishers as well to share her illustrators' work and submits book proposals. In other words, she's a life saver to me. Does everyone need one? No. If you can do the business yourself, you can go that route. Also, not all agents are the same, so you'll want to find one you really connect with. 

5. How do you find an illustration style? 

I haven't found it or it keeps changing - always a little out of reach. For me, it’s been a slow and steady process with small epiphanies throughout the progression. My advice on style - don’t stress it, steal it, or force it. Just play around with your work and find what you like making. Creating a huge amount of work helps - once you're done, you can step back and see the similarities. Your style will evolve to suit YOU. 

6. How do you build the best portfolio?

When building my portfolio to share with clients, I had to narrow down the industry I wanted to be working in. At the time I began illustrating, my focus was on editorial work, so I created faux jobs for myself to test my ability. I found articles, sketched ideas, and took those ideas to final. Once I was done, I had 5-10 pieces of editorial work to share. Similar to other industries, I think creating 5-10 (or more depending on industry) pieces is a good beginning goal, and once you start creating more, you can edit out old pieces and keep updating your site/portfolio. Once you stand back and marvel at your ten pieces, it's likely you'll see a common thread or 'style'. 

7. What inspires your work? 

Ordinary, everyday events, people, places. These observations shift in perspective, becoming magical bits of potential. It’s rare for me to concoct a story that doesn’t have grounding in real life. Once I filter the piece of inspiration, I start painting and by the time I’m done, usually the story and the character have morphed so much that it doesn’t seem set in real life at all. 

8. What does a typical day look like? 

I wake early around 5:30 am, put on coffee and start working by 7 am. I head to my studio, The Warren, which I share with 9 other artists. My creative brain is most active in the early hours so I use that time to paint, sketch, draw, or play with materials. I take a lunch break at noon and walk my dog Mori. If I don't have too much drawing to do, I use the afternoons to catch up on emails and business stuff. I end around 5 pm or so and spend my night cooking, working out, reading, and exploring. Finding a consistent work routine has literally done wonders for the amount of work I get done. 

9. What materials do you use? 

For paint, I use Holbein Acryla Gouache, and sometimes Windsor & Newton Designer's Gouache. Colored pencils are also a favorite of mine, and I use Prismacolor Premier pencils or Faber-Castell Polychromos. The Prismacolors tend to be a tad waxier and softer, where the Faber-Castells have a harder lead. You can also find actual hard-leaded colored pencils (like Verithins) to add variation in your mark making. Aside from those main materials, I also use Caran d'Ache Neocolor II Crayons (so creamy!!), pan pastels, graphite, sometimes cut paper, and more recently I've been doing a lot of preliminary work on Procreate on the IPad. For digital brushes, I just play around with the default set - nothing fancy. 

10. What's a typical process for an illustration job? 

No two projects are ever really alike, but they can follow the same basic framework. Generally, the client will reach out to me and give me basic details about the potential project. Either they will give me their budget, or I will have to come up with a quote depending on factors like, time, size, complexity, rights, etc. I will send them a quote which outlines the basic project, and once that quote is signed, the client is responsible for a 30% deposit. Once that is initiated, I will send them a Letter of Agreement, which is the actual contract. It will outlines details such as rights, timeline, deliverables, legalities, etc. Once that is signed, I begin by providing two to three black and white sketches. Those are emailed to the art director, and they will choose one, usually with a couple of edits. The sketch phase might go through a couple rounds of revisions. After I hear "good to go to final!" I create the final work, scan it, and put the file together in Photoshop. This might include cropping, cleaning, resizing. Most art directors will request a certain file type. The work is then emailed to the client, along with an invoice for the project. My invoices are Net 30, meaning they have thirty days to pay me (or else!) I will say picture books are a whole other beast, hence why I love my agent.  

Helpful Resources!

Graphic Artist's Guild Handbook: Pricing and Ethical Guidelines
Children's Picturebooks: The Art of Visual Storytelling by Martin Salisbury (one of my faves!)
Illustrating Children's Books by Martin Salisbury  
Art, Inc. by Lisa Congdon


New York Times Facebook LIVE Event
How to Make Friends With A Ghost - All The Wonders with Matthew Winner
Staying Inspired as an Artist - 88 Cups of Tea with Yin Chang
Navigating Creative Burnout - Dabblers Vs. Doers with Dan Blank
The Infinite and Unanswerable, Interview - Wow X Wow with Tim Maclean
How To Make Friends With A Ghost - Design of the Picture Book with Carter Higgins
Lets Talk Picture Books - Interview with Mel Schuit
Seven Impossible Things Before Breakfast - Interview with Jules Danielson


1. How often do you ship items? 

Though I will typically ship items sooner, please allow 5-7 business days for your item to ship. Since I am a one woman business, I only ship items once a week - on Fridays. 

2. Why can't you ship large framed original art outside of the US? 

Shipping glass is not easy domestically, much less overseas. If you are interested in large framed artwork and live outside of the US, please email me and we can talk about purchasing the artwork unframed. 

3. What items do you sell? 

In my shop, I sell primarily prints and a few originals. Future items to be added might include greeting cards, notebooks, sketches, or one of a kind handmade objects. Who knows?!

4. Do you refund items? 

If you are unhappy with your purchase, I am happy to offer a full refund on return of the item, so long as it is in new condition. Return shipping is the responsibility of the buyer.