Celia and Nonna. Children's Book Illustration by Kayleen West

Books that build in hard places.

Empowering others through imagination

Anyone can choose to encourage or build others in helpful ways but sometimes imagination is needed to harvest additional opportunities. Accompanying a servant’s heart is a mind that will seek to discover ideas that will influence positively often enhancing the life of others. Creative people have countless opportunities to invent in this area.

Have you ever opened a book and had one or more of these thoughts?

Wow, that’s life changing!
I learned something that will help me grow!
Now I understand ______ better and I’ll do __________ differently from now on!

I certainly have.

Valuable life lessons, no matter how minor they first appear, have potential for significant, positive transformation. Scattered between the pages of a good book we often find pearls of wisdom in unexpected places; dormant hope waiting for a reader to identify with, and embrace wholeheartedly.

When creating story in word or image I ask if and how someone will benefit from it. I prefer communally beneficial and emotionally uplifting assignments that give me creative freedoms to explore how I can contribute. I believe we live to serve one another. To inspire moments of happiness or ease the pain of another is the best way to use talents and time. Though romantic, I hold onto this conviction. I like to dream big!

How I translate this conviction in children’s books?

Illustration is a wonderful vehicle for transporting a child reader through the emotions of a story powerfully but safely. Invention surfaces when we can look past the obvious elements of a story and find potential macro stories within the original. We ask the question, how by invention, can this illustration enhance the reader’s transformational experience and entertain them?

Illustrating emotion in a particular way is the answer. Some strategies I have used are:

  • A touch of humour to lighten a particularly uncomfortable moment.
  • Controlling drama or excess tension by moderating the visual risk.
  • Illustrating humility to ensure character flaws are judged with compassion.
  • Capturing heroism through specific actions or appearance (empowering the character and reader)
  • Repeating images to emphasise important emotion.


In one of my most recent picture books my challenge was to guide the child reader through uncertainty, tackling a tough subject of change and adult challenges. I had to make the visual experience enjoyable, reassuring the reader through the story and end it with a sense of intimate peace.

Emotive imagery in Celia and Nonna

Celia and Nonna was the perfect canvas for emotive imagery. I needed to illustrate tension and emphasise particular emotions and actions to capture the story.

Celia and Nonna. Children's Book Illustration by Kayleen WestModerating tension: placement of characters, adding humour and humility

In the above illustration Nonna forgets she is cooking (adult error-imperfection). The spilling pot is the closest visual to the reader and creates immediate DANGER! Celia is placed near but far enough from the stove to be safe from burns. We still see her alarm as she signals the distracted adult. Should she look up, Nonna can still see the pot from where she sits making it less threatening.

Poor Nonna. I can relate to this myself. I have been known to do the same. Here’s one example! It was fish and vegetables before I killed it.11089039_10152901460174013_4050968061784294035_o

But I digress. Back to Celia and Nonna…

Near the spillage I placed teddy cakes they successfully baked on the previous page; a safe, comforting scene. One cake is broken/imperfect because Celia made an imperfect cake or perhaps has a naughty or impatient moment eating and extra ear or eye when Nonna wasn’t looking (child error-imperfection). This juxtaposed visual adds humility hopefully moderating uncertainty in Nonna’s perceived failings as a responsible (safe) adult. Hopefully children can consciously or subconsciously identify and bond with the elderly character through the comparisons


Repeating images to emphasise important emotion


Celia and Nonna. Alzheimer’s and dementia in picture book. Hospice.
On the first spread I emphasised the safest place for most children – the loving embrace of an important adult. Apart from abusive situations, this is a significant place of safety for children.

I repeated the symbol of the embrace between Nonna and Celia on this spread deliberately. Like the stove example, the foreground would be noticed by the reader. I place two birds in similar intimacy on the handrail. Inanimate objects were also used to mirror this; the two penguins on a cover of a picture book and Celia’s shoes positioned in a crossed fashion. The penguins are later mentioned and a perfect prop.

Celia is seen close contact with her grandmother in in the first few pages, concreting the sentiment from the beginning.

Body language speaks volumes

The embrace was deliberately introduced at the beginning and end for the child to safely enter and exit the story. Later illustrations show Celia busy drawing near her grandmother and Nonna’s new friends. Her comfort is also made evident by her body language. Celia is engaged and happily distracted.

Empowering a reader by capturing heroism, illustrating specific action or appearance

Celia embraces residential change by drawing pictures for Nonna; lovingly preserving Nonna’s favourite memories, nesting as they decorate the new walls and celebrating their relationship through particular images of the two together. Celia is empowered by contributing. During this she discovers their time together is what is most important. Don’t you love a good ending!?

Sensory experience

In the examples above I have demonstrated how illustrations can be an important sensory experience in children’s books. Illustrations can make or break a picture book. They stimulate emotion and are visually entertaining – arguably the most important part of a picture book story. And if an image is worth a thousand words, they need to be the right images. They can provide additional story, equally projecting the original imagined by the author.

I pray my illustrations speak to the heart, helps families and is a blessing to children and adults who contemplate them. It is my hope that stories like Celia and Nonna reach into homes and the hearts of children dealing with any form of change or helplessness. Victoria Lane’s story is not just a story about aged care or dementia; if you look further you will see our collaboration is so much more. I hope it softens any confronting challenge of growing old, apart, different, or any fear and sews a seed of empowerment and creative victory in every person who reads it – young or old.

World Dementia Month – September

A select group of Australian children’s authors and illustrators (myself included) have collaborated to showcase books about ageing and dementia for World Dementia Month. Each unique and beautifully illustrated story is based on personal experience and offers practical strategies to connect and share love with elderly grandparents even in difficult, changing, and confusing circumstances. You can read more HERE

World Dementia Month September - Books Encourage Children to Connect

Note to writers, Illustrators and All creative people…

Regardless of occupation I encourage you mine the hope and joy in your story or project. Look for the details that can translate that hope. It just might change the whole appearance of your next assignment!

Further reading: Explaining Dementia to Children

Carers Corner has an informative article on explaining dementia to children. This compliments what is written above adding more light on this subject.
You can read the article HERE

Childrens Illustration: Space Pirate

Combining Illustrator and Photoshop tutorials – textures

Children's book illustration: Picture book, Better Than A Superhero. Publisher: Even Before Publishing

The Visual Economy – how important are illustrations in picture books?

Georgia, a student at the CATC Design School was working on an article on ‘The Visual Economy’ exploring importance of illustrations in children’s books verses the written story. In her article she wrote, (quote) “They say ‘a picture is worth a 1000 words’ is becoming more and more relevant in today’s society as the world we live in becomes more and more visual. Research (*) has shown that 80% of people remember what they see and do, compared to only 20% of people who remember what they read. These days, 93% of communication is non-verbal but visual, and this is a current trend in children’s books.” (end quote) Georgia emailed me asking what I thought on this topic and the article in question. This was an email I thought needed a considered response as it is a hot topic in the industry and was recently raised at the SCBWI Conference in Sydney this year. I wrote back and added some of the points below:

I believe the illustrations engage the children for a longer period of time and add additional layers one story. As an Illustrator I know the responsibility this entails. We have to illustrate images that capture and hold the attention of a child so they will want to re-read a book over and over again. We illustrate a moment in time but also leaving something to the imagination. We also have to manipulate a page turn, illustrating curiosity for the next page and next part of the story. If executed well, a wordless picture book will stand alone as does a good story. Maybe the question remains … what appeals to children of this visual age more?

Sacrificial text

An author’s words are often culled to make way for an illustration or sometimes altered. An illustration not only tells the original story but also adds additional dimension. Are the illustrations in a picture book of most importance? I personally believe so and many illustrators would agree with me. I am both an author and illustrator and I believe picture books rely on the illustrations to not only entertain the child (and adult) reader but draw a buyer into a purchase. Not many books would fly off the selves without a good cover or inside illustrations in the children’s market.

Page turn

The spread above is a page from one of my latest picture books, Better Than A Superhero written by Belinda Francis. It is a good example of how I had to think outside the clique of biblical imagery to invent something that was fresh and that a child would relate to. I didn’t want to produce yet another Christian book filled with predictable biblical imagery. Sometime it is relevant but let’s be original where possible! I chose to illustrate the story through the eyes of a child. I used the little boy’s toys as he tells the story and here we see him in a gallery wondering about the big picture; who created the universe and how incredible they must be. The text and image leaves the child wondering what is on the next page.

Georgia’s article is an interesting topic. In this industry, too often authors are celebrated above the illustrators for the publication of a picture book, the illustrator sometimes barley acknowledged. We are always a second credit on a cover, sometimes a smaller credit and something even removed! It is a bone of contention in the industry and was raised at a recent conference by a well-known and popular illustrator. A picture book is a collaboration of the story idea and the image that bring it to full visual life. Illustrations are imperative when creating a picture book, but like you point out (Georgia expressed in her article), a picture book can stand alone with illustrations and no text and create a wonderful adventure. It is after all – a picture book.

Inspiration for the imagination

A text story is reliant on the child’s imagination and literacy skills or a parental reader but a wordless picture book is an independent reading experience, uninterrupted or interfered. They can give a child a feeling of empowerment and build their imagination. The child is invited to investigate what the illustrator sees and imagine for themselves.

I have a growing collection of wordless picture books. It is my intention to publish a wordless picture book in the near future. I have one written and fleshed out ready. These are what I consider purist picture books. They have their entitled position on my bookshelf where I consider them as artisan books.

It is a good question though. It shouldn’t be a matter of superiority or pride, but of creating a wonderful experience for a child solely with illustrations, story or in collaboration.

And of course there are other creative things children can do with books…

child imagination picture books.

(*) Research reference:



Owl Costume: Childrens illustration
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5 more illustrations for #illo52weeks

I am doing a post catch up with my illustrations for the 52 week illustration challenge. I have been consistent in my artwork but no time to blog piece by piece. Here are weeks 26 -30.

Children illustration 52 week challenge. Weeks 26 27 28 29 and 30. Clouds, snow, feather, plane and Sydney illustrations by Kayleen West

Children illustration 52 week challenge. Weeks 26 27 28 29 and 30. Clouds, snow, feather, plane and Sydney

  • clouds: Following my daughter’s engagement announcement, naturally I had to make this theme a congratulations card. Ah, cloud number 9 – my favourite cloud. Pencil on toned paper.
  • snow: (Watercolour) Australia/NZ Christmas card illustration. The Kiwi bird, Koala and Kookaburra.
  • feather: A combination contribution to Daily Doodle (Owly) Pencil on toned paper.
  • plane: Plane was drawn whilst waiting for my sleeping beauty roomies ay the SCBWI conference to wake. I had started the night before while we were chatting (okay laughing our heads off) I was too pumped to sleep past 5am and besides I couldn’t miss my week’s challenge! Thankfully you can draw in the dark on my new potable Wacom.
  • Sydney: While in Sydney last month, I was making a call home when dozens of BIG bats flew overhead. They are so HUGE! Creepy and cute at the same time. Meet Melba, Phantom, Pavlova and Picasso hanging around the Sydney Opera House – naturally. Sketched in my journal and coloured in Photoshop.

The next 2 will be a little surprising. I have begun a new adventure into surface design not realising it would be so exciting!

Children's illustration. Tortoise and the hare. Rockets - Let's get the party started. Toned sketchbook

I Think I Am In Love

I am in sketchbook heaven right now. I have wanted a toned sketchbook for a very long time and finally ordered a few from overseas. My American friends, you have all the goodies – It isn’t fair! I would love better access to some of the home-wares and art supplies you have. I found someone who would delivered here and a cheaper than the ones I have seen in art shops.

Children's illustration. Tortoise and the hare. Rockets - Let's get the party started. Toned sketchbook

Children’s illustration. Tortoise and the hare. Rockets – Let’s get the party started. Toned sketchbook

This is the first drawing in my new sketchbook. I love this paper! It isn’t that thick but is smooth and grey lead is easily removed repeatedly. The sepia and white pencils look great. It is a great base to colour digitally too. It will be difficult to go back to white paper for sketching now I have been spoiled. I can see why so many illustrators and animators use toned paper.

Here you will find a coloured one I did for a get well soon card illustration, and for #illo52weeks dots.

I have been having a lot of fun creatively this month. I launched a fun and educational video on creative drawing, Eye and Imagination, which evolved from the #illo52 week theme “eye”.

I have been dabbling in the Daily Doodle drawing challenge in my TV down time and produced a colouring page download.

Work is consistent. I am in the middle of the sketching stage for a ABC picture book for Xist Publishing; my newest project.

Along with the author Victoria Lane, I will be launching a picture book, Celia and Nonna with Ford Street at the SCBWI Sydney Conference and in Melbourne at end of August.

Celia and Nonna,. Picture book by Victoria Lane and Kayleen West

Celia and Nonna,. Picture book by Victoria Lane and Kayleen West

I have some work in progress images from Celia and Nonna. I will share something soon and talk about how a the book was put together.


Get Well Soon gift card illustration. Child with chickenpox taking temperature.
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52 Week Gift Card Challenge – #25 Dots

Get Well Soon gift card illustration. Child with chickenpox taking temperature.

Get Well Soon gift card illustration. Child with chickenpox taking temperature.

Week 25 – Dots: I have a few friends going through illness and my whole family has been affected by this horrible cold/flu going around. Naturally it was time for a get well theme. Dots was the perfect excuse for a get well card don’t you think?

Birthday card illustration. Feast of cupcakes and a very greedy mouse.
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52 Week Gift Card Challenge – #22-24 Eye, Feats, & Octopus

Watermarks on my work.

I have had too much of my work stolen on the internet and so I have decided to watermark my work. You may have noticed me putting my web address over the images lately. Unfortunately as much as I would rather not, it is unavoidable. I have even had someone claim that my work is their portfolio as they advertise themselves for hire. I would hate to see what the clients end up with. Possibly an empty bank account and no goods.

Week 22 – Eye: This theme became a video not a card illustration. Short 3 minutes of creative inspiration for even the most intimidated of beginners. Check it  out  if you haven’t already.

Week 23 – Feast: This was a really quick sketch in a small sketchbook. I finished it with ink and Intense water soluble pencils. I am using these a lot in my sketchbooks and like to travel with them in my bag.

Birthday card illustration. Feast of cupcakes and a very greedy mouse.

Birthday card illustration. Feast of cupcakes and a very greedy mouse. Look out for that candle!

Week 24 – Octopus No1: My youngest child was turning 9 and wanted me to illustrate a card for him. He was first asked for the teddies in the tree house but later asked for drums. He is learning the drums at school and we were surprising him with an electric drum kit for his birthday. As I was drawing for the theme octopus so I combined the two.

Boy's birthday card sketch rough. Octopus drummer.

Boy’s birthday card sketch rough. Octopus drummer.

Boy's birthday card illustration. Octopus drummer.

Boy’s birthday card illustration. Octopus drummer.

Boy's birthday card sketch rough. Octopus drummer.

Boy’s birthday card sketch rough. Octopus drummer.

I decided to use the white background in the end. The progress images show a splotchy yellow background in the last image but I decided it was too busy and distracted from the funky octopus.

Week 24 – Octopus No2: I ended up with a second octopus. I was winding down from a tough day and pulled out an older sketch to illustrate in colour. My eldest daughter’s boyfriend proposed this week so I had this on my mind as I developed the sketch. The octopus has big sad looking eyes but they reminded me of my daughter’s eyes. They are big, beautiful and bright when she smiles, always sweet, but some times sad. I am sure her now fiancee often gets swallowed up in them. This isn’t a final illustration – only a sketch but still fun to put up for show and tell 🙂

Romantic gift card sketch rough. Octopus with love heart and flowers.

Romantic gift card sketch rough. Octopus with love heart and flowers.

Welcome to your new home gift card illustration. Boxes word illustration challenge #illo52weeks
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52 Week Gift Card Challenge – #21 Boxes

Welcome to your new home gift card illustration. Boxes word illustration challenge #illo52weeks

Welcome to your new home gift card illustration. Boxes – Word illustration challenge #illo52weeks

A “welcome to your new home” gift card illustration – sketch stage. Of course one must unpack teddy first. Her mum has opened the kitchen box for accessing coffee ASAP – I soooo understand that. Caffeine is essential in any house move, several in fact. I shudder at the thought!

My last move was 4 years ago and still a nightmare I remember. The home owner hadn’t moved out when we arrived and left the house in a very dirty state. We had to do a frantic call out for help to half clean the essentials before we moved in. The removalists damaged several things, took cigarette breaks every 5 seconds and left us that night with half of our possessions on our front lawn. Yes we were expecting rain too and NO the removalist wouldn’t repair or compensate for the damage he caused. I won’t be moving again in a hurry.

I am thinking of adding a cat in the kitchen box to magnify the curiosity of the pets. I’ll have only its tail seen, poking up out of the box. Cats get into everything and know no boundaries. What do you think?

Interestingly, an obscure theme like boxes seemed impossible at first but in fact was easy once I began. I avoid painting the subject like a still life. Those days are over. I prefer more story. I also wanted to ensure I did a gift card illustration this time. I need to finish it in watercolour now. I will pop it on my blog when it is done.

The next word challenge is eye. I have already been working on this and it turned out to be an even bigger surprise. I’ll have something very different to show and tell next time; something I use as an activity in schools and hopefully a fun video idea. Stay tuned!

Kids Show and Tell Invitation

Teachers and parents: If you children are inspired by anything I share on my website blog I would love to see what they are creating and celebrate some of those creations. I would love to start an online gallery for kids to show and tell. If you have anything you want to share email me via my contact page. I would love to see!

School of fish. Mixed media children's illustration.
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52 Week Gift Card Challenge – #19 Fish

This would have been the most busiest months ever for me, but I am still on board with this personal challenge. I can’t believe we are up to week 19 and I have actually kept up! I feel like waving a superwoman cape at you 🙂

It was time for some mixed media and collage. Why? Because my sketchbook had a few blank pages from Copic markers leaching through the pages. The moleskin book is thick but those inks are pretty powerful.

I re-purposed an older classic, Alice in wonderland, that was sadly falling apart. It wasn’t an antique (I did check) but had those lovely aged-coloured pages in it. My 20 cent purchase from the COM opportunity shop has not only been read by 3 extra children, but will now be recycled into many future mixed media creations. What a life this little book has lived and what a bargain!

I might turn this one into a thank you card for teachers. A profession that is much appreciated in this home.

School of fish. Mixed media children's illustration.

School of fish. Mixed media children’s illustration.

Angels watching over me. #illo52weeks challenge. Illustration in ink and coloured in watercolour and Photoshop.
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52 Week Gift Card Challenge – #18 Celestial Body

Two very different style illustrations from me this week for the 52 week illustration theme challenge: Celestial bodies.

I have been experimenting with pattern in my sketchbook and they have evolved from that. The lower illustration was evolved whilst listening to revelation on my iPad. A rather eventful book in the bible, especially when Michael and his angles fight the devil.

On a very different note, the whimsical reflection of angels going about protecting and praising makes me feel pretty happy when I look at it. I did a big whoopsy though. I drew it with a spelling error – thank goodness for Photoshop! I spelt guardian – gardian!

You will see more pattern form me. I will be launching from this idea for a picture book – fun!

So where does the “gift card” part of the challenge come in? Well, I haven’t deviated too much. In time, I will pull some of the image from the top illustration and use it for that and a surface design project.

Angels watching over me. #illo52weeks challenge. Illustration in ink and coloured in watercolour and Photoshop.

Angels watching over me. #illo52weeks challenge. Illustration in ink and coloured in watercolour and Photoshop.

Celestial Bodies. Michael the angel. #illo52weeks challenge. Illustration Photoshop. Revelation 12:7 Then there was war in heaven. Michale and his angels fought against the dragon and his angels.

Celestial Bodies. Michael the angel. #illo52weeks challenge. Illustration Photoshop.

52 Week Gift Card Challenge – #17 Donkey Illustration in digital pastel.
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52 Week Gift Card Challenge – #17 Horse

Work in progress. I have been wanting to finish this for ages! I have too many illustrations started that need some time on them. Sorry not exactly a horse but close. The mouse was pulling his tooth with a string but I am going to change it. I am almost there.

52 Week Gift Card Challenge – #17 Donkey Illustration in digital pastel.

52 Week Gift Card Challenge – #17 Donkey Illustration in digital pastel.

The job of a Children's Illustrator
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The Job of a Children’s Illustrator

More questions about the job of a Children’s illustrator …

Students, usually in their final year of an Illustration course contacting me for information to help with my business plan assignments. I am asked, what is the job of a children’s illustrator? These questions are frequently asked by students. Some of these questions are extremely relevant when planning a career in illustration. There is so much I could share (and will via my blog over time) but this is a good start.

Here are a few I was asked this week:

How long have you been doing illustration?

I have been an artist for decades but illustrating children’s books since 2010. I turned direction in late 2009. I began setting myself up as a children’s book writer by launching an online portfolio website. I have kept adding to it and updating it ever since. I had a popular blog on blogger but needed a shop front. I do think my web presence is a major reason for the work so far. That and a 200% attitude. I think that is the job of a children’s illustrator – give 200%

How did you get started in your job as a Children’s Illustrator?

Illustration or art?

Art: When I was at senior school, my cousin Debbie who came and stayed with us a few months. She drew a lot and I loved drawing. I made the decision that was what I could do well so I would follow that path. I chose it as electives in school and entered college with art as my subject. Disappointed with a what I felt was an unstructured drawing course where I felt I wasn’t learning a thing I left school and entered any job that was creative. I still regret not choosing to do the illustration course instead. My fine art got more attention when my kids went to school and I got the opportunity to study under a master painter. He taught me the important basics of painting. I exhibited as a fine artist, demonstrated and took students into my studio.

Illustrating picture books: To be honest, it was God inspired; I felt confident that God wanted me to create a book for orphan children – so I did. Making picture books had been a desire since I was a teen, but I didn’t pursue it because I didn’t believe I would succeed. That lie held me back for too many years. I began with Adoptive Father and work took off.

Are you mainly freelance?

Yes 100% freelance. I am offered contracts or illustration opportunities and pick what I think is a good fit for both parties.

How do you source your work?

I have fallen into my work so far. My first publisher discovered me when I accidentally emailed with a conference inquiry (always have your portfolio links in your email signature and use it every time!) The other publishers have found me via my website. I have had intentions of approaching agents, art director and publishers but have been working around the clock on my projects and their deadlines. For me my web presence has been vital.

The usual and recommended method of sourcing work would be to approach suitable publishers with a professional looking PDF portfolio and website. Make sure you read their preference for submission and stick to it exactly. Network with publishers at SCBWI events – get to know them genuinely – but don’t sell to them – wait to be asked. Publishers are looking for people they will work with and get along with well, not just good illustrators. Be yourself.

Do you work in other areas apart from children’s books?

I offer my services in other areas such as editorial illustration, product and surface design. I used to do web and print design, logos etc. but it is not my direction now. There is plenty of work in this area though – for anyone interested in this. I want to get a variety of portfolio examples together in these specialised areas over the next 12 months. I will split my website home page and portfolio into my whimsical style and a more corporate editorial work to make it clear. Then I will approach the appropriate people.

I also write faith inspired articles.

Finally, do you have any advice for someone hoping to start out in this area?

Practical application: Draw, draw, DRAW! Draw everything – practice, experiment and have fun with it. Your drawings skills will be what set you apart in some areas.

Motive and expectation: Don’t expect to get rich overnight. Not a lot of illustrators make a living in picture books. There is very little return on a book unless it is a hit seller and sells 100,000 copies, then you might take that beach holiday from the studio. You need to spend just as much time networking on the net and illustrators rely on paid school visits and speaking. So consider if you want the whole package because it is a big one to take on. I love teaching and sharing my enthusiasm so it suits my personality but not necessarily my wallet. I expect to build my income up over time by being versatile and generous. From what I understand, editorial illustration pays the best – very well in some cases- so determine your motive before deciding. I want to get into an agency myself (haven’t tried yet) but I need to have a portfolio of relevant illustration in my style to present. It is on my action list.

Illustration Marketing: Don’t! Take it from me it doesn’t work. Instead, make lots of friends and connect with as many of them on a genuine level (not easy illustrating all day alone in the studio) and make sure you are serving them. Give of yourself often and hopefully people will show their appreciation by supporting you. Be professional in EVERYTHING you do.

Social and Education: Join associate societies e.g. Picture books – SCBWI and ASA and Illustrators Australia. Follow other people’s blogs; the ones who are generous with their information. Comment on their blogs too. When they know they are helping and not talking to the air, they will share more.

Balance: Be organised and plan – revise- and plan some more: You have to be really organised in your office and a visionary to be successful. I am still working on improvements in this area – it’s a juggle! Read all you can about the entrepreneurship and how to organise a business – it helps! But don’t get into the marketing trap. I see some book authors and illustrators shouting “buy this book!, buy this book” non-stop. You don’t want to read anything from them if it is all advertisement.

Courage: Have the courage to be uniquely YOU. There will be a flavor to your work that will seep out if you are genuine and not trying to mimic anyone. Keep growing and hammer your sketchbook – it is your best friend. You never arrive at perfection but when you plan consistently, your direction will be clear. Keep moving forward until you knock off your milestones one at a time.

And the list goes on…

If any other students have questions, feel free to send them through to me and I will add them here for everyone to benefit from. You can contact me via my contact page.

Tweet: Business Q & A for #illustration Students from Children's #illustrator

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