Women Who Draw
Women Who Draw An open directory of female* illustrators
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  • Lindsey Andrews

    Lindsey Andrews

    Where do you work? What is your title?

    I am the Assistant Art Director for the Penguin Young Readers Design Group. We specifically focus on designing covers for middle grade and young adult titles.

    How many illustrators do you work with a year? How do you work with illustrators?

    It really varies. Typically, most of our middle grade books will have an illustrated cover. But, depending on style, we hire some for young adult covers as well (while most skew more photographic or graphic). Over the last year, I’ve worked with about 6 illustrators.

    I work in an art director capacity and am the link between the artist and the rest of our team. I’m here to answer questions and help guide the illustrator in the direction we feel is best for the book.

    What do you usually look for in the work of illustrators you hire?

    I look for someone who’s style really connects with the tone and voice and audience of the book. It’s always a plus if they have a particular interest in or a piece that immediately lends itself to the plot of the book. It makes my pitch easier when the editor can immediately see how pieces in their existing portfolio could be turned into a book cover. Also, diverse books written by diverse authors has become an important focus in publishing, so sometimes I’m looking for someone not only based on their style, but on their background and if they can relate personally to the story. That’s why sites like Women Who Draw are so great, because if I’m specifically looking for a female illustrator of a certain ethnicity/religion/orientation or from a certain place, I can find them. We love when illustrators want to lend their voice to the project to help connect to readers of all kinds.

    What is the process of putting together cover art?

    Every book cover is its own beast. Sometimes I hire an illustrator for their conceptual abilities alongside their style and I will have them lead the process and bring their own ideas to the table. Other times, we already have an idea in-house that we just need executed in a particular style, so those are more straight-forward.

    After selecting an illustrator along with approval from our publisher and editors, I reach out to get the illustrator on board. We always focus on just the front cover first, but oftentimes want the illustrator to expand the art for the whole jacket wrap, which includes the spine, back cover, and flaps as well. We start off with rough sketches to get across concept and composition. We’ll pick an option to be developed further into a tight sketch. We seek approval from our editorial team before also sharing with the author and our Sales teams. Once we are all on the same page, we have the illustrator go to final art. Typically, this process takes 1-2 months to complete, sometimes longer. After the front cover is done and approved, that’s when we finish up with the wrap art.

    What are some things for artists to consider when illustrating covers?

    Know that we hired you for a reason and we want you to express yourself and bring your creativity to the piece, just as you would a personal project. In the beginning, anything is possible. But, once we start to narrow down the ideas and compositions, that’s when we really want to see our feedback incorporated. It’s not only coming from me, it’s coming from a team of people who know our industry and audience well. So, I also ask that you trust us. And it’s always good to keep the audience in mind. For children’s books, we do have to pay close attention to how old the characters look on the cover. But, on a larger level, think about what you would’ve loved to read as a child and what kind of cover would have made you pick that book up.

    What is the theme of your curated feature?

    Who run the world? (Girls)

    Why did you choose these artists?

    I personally love young adult books and want to see even more illustration grace the covers and become more of the norm. These illustrators really show a wide range of what it means to be a teen these days. Their characters not only feel contemporary and very present, but they also show powerful women who are all different shapes and sizes from different backgrounds coming together. An illustrator who can also do hand lettering is always a plus and catches my eye.

    Do you have any advice for illustrators who might want to work with you?

    Just keep putting your work out there in any form you can think of. Update your various social platforms regularly. Mail postcards of your work. Send emails. Network when you can. But, mainly, do what you love. Even if you have a portfolio full of commissioned pieces, I still like to see what you create when you get to create whatever you want. Also, let me know your process!

    Zim

    Zim

    Atheist, Europe
    Kuri Huang

    Kuri Huang

    East Coast (US), Atheist
    Klaudia Szlifinska

    Klaudia Szlifinska

    Europe
    Saffa Khan

    Saffa Khan

    LBTQ+, Asia, Middle Eastern, Muslim, Europe
    Robin Eisenberg

    Robin Eisenberg

    West Coast (US)
    Ann Shen

    Ann Shen

    West Coast (US), Asian/American
    Bridget Watson Payne

    Bridget Watson Payne

    Where do you work? What is your title?

    I’m the Senior Editor of Art Publishing at Chronicle Books. I work on both books and paper products (journals, stationery, etc.) in the categories of art, illustration, photography, and design.

    How did your company come to be?

    We started in 1967 as the book publishing division of the San Francisco Chronicle newspaper. In the 1980s we moved into publishing primarily visual books. And in the 1990s we separated from the newspaper company and became an independent publishing company.

    How do you work with illustrators?

    Most often I work with illustrators as authors in their own right, to create their own books or other illustrated products. But I also commission illustration for other authors’ books. And we also do some books that compile illustration from multiple illustrators.

    How many illustrators do you work with a year?

    It varies, but probably around a dozen or so, most years.

    What do you usually look for in the work of illustrators you hire?

    I’m always looking for a fresh style that I haven’t ever seen before, as well as work that feels perfectly of-the-moment or on-trend. The right mix of idiosyncrasy and accessibility. On a personal level I’m drawn to loose lines and bright colors.

    Do you have any advice for illustrators who want to get a book deal?

    Think about what you draw when it’s just for you. What are your passions and personal projects? I love it when illustrators come to me with big, fully-realized ideas that they’re excited about making happen in book form (as opposed to the more traditional illustration industry here’s-my-portfolio-let’s-work-together type pitch).

    What is the theme of your curated feature?

    There are as many ways to draw a woman as there are to be a woman.

    Why did you choose these artists?

    I was thinking about diversity – not only in terms of the range of demographics called out on the site (race, religion, orientation, etc.), though those are obviously great and important – but also in terms of illustration style and artistic point of view. Drawings of young women and old women. Realistically drawn and comics-style women. The wide range of different tools and art media people use. The range of aesthetics – beautiful, funny, cute, serious, dreamy, quirky. I love every single one of these images and I could easily have included twice or three times or four times as many. It’s exciting and inspiring to think about.

    Kylie Akia

    Kylie Akia

    African American/Black, West Coast (US), South (US), Featured
    Ilaria Urbinati

    Ilaria Urbinati

    Atheist, Hispanic/Latina, Featured, Europe
    Keezy Young

    Keezy Young

    LBTQ+, West Coast (US), Featured
    Bodil Jane

    Bodil Jane

    Featured, Europe
    Sara Andreasson

    Sara Andreasson

    Atheist, Featured, Europe
    Olivia Aserr

    Olivia Aserr

    LBTQ+, West Coast (US), Middle Eastern, Featured, Multiracial
    Kaylani Juanita

    Kaylani Juanita

    LBTQ+, African American/Black, West Coast (US), Asian/American, Featured, Multiracial
    Grace Lee

    Grace Lee

    Asia, Featured, Australia/New Zealand
    Rachael Cole

    Rachael Cole

    Where do you work? What is your title?

    I’m the art director at Schwartz & Wade Books, a children’s picture book imprint within Random House Children’s Books. We publish picture, middle grade, and young adult books.

    How do you work with illustrators?

    After helping to find the right illustrator for a project along with the editor and publishers, I work with Illustrators from their hire through publication. I synthesize and contribute the feedback of everyone at our imprint at sketch and final art phases, and carefully articulate comments to the illustrator. I ensure that illustrators have what that they need to move forward. I design their jackets and interiors, and color correct their artwork.

    How many illustrators do you work with a year?

    Around thirty—all at various stages of the process.

    What do you usually look for in the work of illustrators you hire?

    I look for strong narrative voice, the ability to draw children and/or animals in a way that resonates and engages the reader, and stylistic consistency. Most importantly, I look for work that is the perfect tone for the manuscript at hand—an illustrator who will not just faithfully illustrate the text, but expand on it and make it come alive with their own touch.

    What it the theme of your curated feature?

    Artists that I’m working with right now, or worked with recently

    Why did you choose these illustrators?

    These illustrators have strong stylistic voices, express viewpoints that I find interesting and delightful, and understand how to appeal to young readers’ without being overly saccharine.

    Do you have any advice for illustrators who are interested in working with you or in your field?

    Make work that you enjoy. If you want to make kid’s books, work on developing kids or animals that are accessible and appealing, and true to your voice. Create worlds for them to inhabit. Get to know other Illustrators—and build a community for yourself. Have a strong online presence through your website and Instagram. It’s easier than ever to discover new Illustrators, but the work has to be plentiful and strong to distinguish yourself.

    You are also an illustrator and children’s book author yourself and a WWD member. How do you navigate between the roles of being a freelancer and art director? What are the benefits? What are the challenges?

    The benefits are numerous, and I am lucky. My worlds are constantly cross pollinating and I have an amazing community of supportive women (and men!) around me. For example, while I was working with Julia Rothman and Leah Goren on our LADIES DRAWING NIGHT book, I met Andrea Pippins, who ended up publishing I LOVE MY HAIR and BECOMING ME with Schwartz & Wade Books. Being an illustrator helps me empathize with how incredibly hard it is to work on a big project like a picture book, and understand what is—and what is not possible—on a formal level.

    The challenges are primarily time based. Logistically speaking, I group activities. I wrote both of my children’s books (CITY MOON, illustrated by Blanca Gomez, and BABY, I WILL READ TO YOU, illustrated by Melissa Crowton) on my phone in small moments of free time. I thumbnail ideas for drawings while I watch Netflix in the evening. I often combine drawing with socializing with my friends. For a time, I tried to hone in on one discipline, but realized I didn’t want to quit art direction, illustrating OR writing. That freed my creative energy. Sometimes it takes me much longer than I’d like to finish personal projects or change gears, but I chip away, and try to be kind to myself when I need a break.

    Melissa Crowton

    Melissa Crowton

    West Coast (US), Featured
    Stephanie Graegin

    Stephanie Graegin

    East Coast (US), Featured
    Giselle Potter

    Giselle Potter

    East Coast (US), Featured
    Blanca Gómez

    Blanca Gómez

    Featured, Europe
    Andrea Pippins

    Andrea Pippins

    East Coast (US), African American/Black, Hispanic/Latina, Featured, Europe
    Susan Rich

    Susan Rich

    Where do you work? What is your title?

    I am an Editor-at-Large with Little, Brown Books for Young Readers. I am based out of Toronto, Canada. I’ve make books with Lemony Snicket, Sophie Blackall, Jon Klassen, Frank Viva, Maira Kalman, Dav Pilkey, Lisa Brown, Carson Ellis, Christoph Niemann, Sydney Smith and lots of others. I have an anthology called The Creativity Project coming out in 2018 chock full of amazing women artists: Lisa Brown, Sophie Blackall, Laurie Keller, Debbie Ohi, Lauren Castillo, Victoria Jamieson, Jessixa Bagley, Jess Keating, Deborah Freedman and others.

    How do you work with illustrators? 

    I make books for kids with them. Typically, some of them are middle grade novels that need a cover and some interior art. Some of them are anthologies featuring the art of dozens of artists. Some of them are picture books with a whole lot of art by one amazing illustrator.

    I think every artist benefits from a certain kind of editorial relationship, so I try to be responsive to my artists’ needs. Books are gargantuan undertakings. It starts with math; breaking up the text, fitting the story visually into a set number of pages. Then it’s sketch dummies and revisions, thumbnails and revisions, tight sketches and revisions, final art and revisions, printing and color correcting. On and on. It’s a herculean task and a great joy. I strive to collaborate in the process in a way that supports the artist, elevates the book, and does not drive anyone crazy.

    How many illustrators do you work with a year?

    Depending on the year, 6-12.

    What do you usually look for in the work of illustrators you hire?

    I’m usually responding to a text, and that will direct my choice of artist. That said, every editor has their own taste. I am driven by my taste, of course, but I am also drawn to voice. I admire how much can be articulated in a line, a choice. How images hold story. For text and art to work well together there has to be a dynamic relationship between them; things that the art can illuminate that the text leaves out, and vice versa.

    What it the theme of your curated feature?

    I guess the theme is “I sure do like her work.”

    Why did you chose these illustrators?

    I started with easy choices, two artists that I’ve worked with before and love dearly, Lisa Brown and Sophie Blackall.

    Sophie and I are working on a book right now, Hello, Lighthouse! Sophie is an extraordinary talent and a kindred spirit. I will hope that when you get around to featuring me again on this website in a few decades, Women Who Draw will be the go-to website for everyone who needs an artist, and Sophie and I will still be making books together.

    I chose Lisa Brown because I couldn’t help myself. We’ve worked together and it is a joy to witness the way she outdoes herself every time she puts ink to paper. Have you seen the cover she did for Illustoria?

    I picked Esme Shapiro and Wendy MacNaughton because these women create art I have been in some serious love with over time and hope to make books with them one day.

    And then, to really use Women Who Draw as a vehicle of discovery, I noodled around, saw SO much to love, and then came upon Ness Lee. I have seen her ceramics around town and admired her work, but from peeking into shop windows after hours, I didn’t know her name until I found her here. Now I know her name. Hello, Ness Lee!

    Do you have any advice for illustrators who are interested in working with you or in your field?

    Picture books are little machines in which the art is a working part. Aspiring picture book artists should include work in their portfolios that demonstrate narrative ability, and the way that art can pair with text to make magic. Also, those who wish to work in books should loiter in bookstores and libraries and read as many picture books as possible. The more books you scrutinize, the more books you adore and detest, the better critic and expert you become. Your work will benefit.

    Esme Shapiro

    Esme Shapiro

    East Coast (US), Featured
    Ness Lee

    Ness Lee

    Atheist, Asian/American, Featured, Canada
    wendy macnaughton

    wendy macnaughton

    LBTQ+, Atheist, West Coast (US), Featured, Jewish
    Lisa Brown

    Lisa Brown

    East Coast (US), West Coast (US), Featured, Jewish
    Sophie Blackall

    Sophie Blackall

    Race/Ethnicity, Featured
    Alexandra Zsigmond

    Alexandra Zsigmond

    Where do you work? What is your title?

    The New York Times, Art Director, Sunday Review/Opinion

    How many illustrators a month/year do you assign?

    I assign around 8 illustrations each week for the Sunday Review section, or around 400 per year.

    What do you usually look for in the work of illustrators you hire?

    Editorial illustration involves translating verbal language into a visual one, and often requires making sense of extremely abstract, complicated subject matter. As a result, I look for illustrators whose work is conceptually and narratively strong. Stylistic originality is also crucial.

    What is the theme of your curated feature?

    Conceptual Masters

    Why did you choose the illustrators you chose?

    These women have been frequent collaborators of mine over the past six years. I call them again and again for their conceptual brilliance, their excellent drawing abilities, and their speed.

    Hanna Barczyk

    Hanna Barczyk

    Race/Ethnicity, Featured
    JooHee Yoon

    JooHee Yoon

    Race/Ethnicity, Featured
    Olimpia Zagnoli

    Olimpia Zagnoli

    Featured, Europe
    Lilli Carré

    Lilli Carré

    West Coast (US), Midwest (US), Featured
    Ping Zhu

    Ping Zhu

    East Coast (US), Asian/American, Featured