Anna Violet - Feedback/Advise

I have recently been in contact again with children's book illustrator and past student Anna Violet. During the 2nd year she gave me some really great advise so I decided to contact her again to see what she thought of my current work for the Rainbow Pig story. 
I was also keen to know what it's like working with an agency and whether she felt it was worth while to her way of working.


Hi Anna,

I'm not sure if you remember me but I contacted you back in my second year at Stockport college asking a few questions regarding illustration (Rosie Wilman). I spoke with Gary Spicer today regarding my rather unsuccessful trip to London last week. Only had one portfolio visit where the art director had no idea about children's book illustration and seemed reluctant to give me any feedback on my work... Felt a little deflated after that...

Gary suggested that I contact you again as you know and work in children's book illustration and because I've found your opinions very helpful in the past. I was wondering if it would be possible to send you a few examples of what I have done so far for my book to see what you think? I'm planning to illustrate a children's book I've written and enter it into the Macmillan contest.

I was also wondering if you could tell me a bit about what it's like working with an agent? Gary mentioned that you are a part of Plum Pudding. I'd like to know a bit more about how it all works because I think I'd suit working with an agency rather than trying to tackle it on my own :P

Many thanks,

Rosie

Hi Rosie,

Yes I remember you and hope you're enjoying your 3rd year. Sorry your meeting in London wasn't so good, I've felt deflated too sometimes. I'd be pleased to look at your work - do send me some samples.

Louise Power from Walker Books has been responsive to my emails in the past (illustrated stories & storyboards)and to others on the Stockport course. I think she acts like a gateway into Walker Books. SCBWI (society children's book writers & illustrators) have portfolio reviews in London each June, which may be worth trying. Also Fig Taylor from AOI gave me some useful feedback on my portfolio. I haven't had any work through my agent in the last year - they say my work is very niche-market, and I've been developing b&w images for chapter book market with them and softer work for under 5's. They have good contacts in the publishing world. I don't think many of their illustrators make a full-time living out of illustration, though, but this seems to be the norm.They charge 30% commission, but I think 30% of something is always better than 30% of nothing, and they don't charge anything upfront. If you're interested in agents, do look in the 'Children's Artists & Writers Yearbook' to see their listings & contact details - this book is a must if you want to get published in children's book illustration/ stories. Do make those follow-up phone calls, if you don't get any response - emails don't always get through the spam-detection systems!

There seems to be the mainstream US-style market (cute characters, dot eyes) and the more edgy European-style (which doesn't sell well in this country) - see images from recent Bologna Book Fair, held each March. The cultural differences are fascinating but frustrating.

I look forward to hearing from you, Rosie, and seeing your samples. Best of luck with Macmillan, too.

Anna

Hi Anna,

Thank you so much for all the advise and contacts! I've ordered the Children's Artists and Writers book from Amazon just now. 

I really like how the agencies help you progress and give you feedback. I think I'd benefit from that because on my own I tend to be very stubborn and stuck in my ways rather than trying anything new.

I'm going to send you a few images that are going to be in my book as I haven't completed any double page spreads just yet. 

Look forward to hearing what you think :) Thanks again!

Rosie

Hi Rosie,

Thanks for showing me your images. I think you have some lively cute characters with great shapes (a big plus for the young end of children's book market). Your texture works well - scanned-in recycled paper? Your hen is really expressive and full of life - quite a diva! Your pigs are very appealing and child-friendly, too - especially where they're all piled up on top of each other - a wonderful 'aahhh' moment - fun composition!

Some things you may want to consider,  and may just reflect my own views (I am a big fan of mess, textures, decoration and playing around with ink):-

-The position of the hen's feet. Could they be positioned more centrally or could she be running?

- Could the pig's nostrils be smaller (keep the nose size, though)?

- Pigs eyes (open ones). I am told that very large eyes are not well received by US market. 

- Body language/character. Could you bring out the different characters of the pigs more with different body languages. eg one cheeky/manic, one lazy, one bashful? You may want to read what Louise Power writes in a recent AOI Images Annual about what she looks for in characters.

- For me the pigs look too clean (but this may not be a problem with publishers). I want to add lots of real smudges and mess and lumps of earth/spikes of grass that are not computer-generated.

I hope my comments are of some use. I had a peek at some of your other images on the web - your foxes (made up of triangles) are great fun and full of life, too.

Best of luck with Macmillan

Anna

I found her advise massively helpful and it also reinforced what Ian suggested during the Thursday tutorials. Unfortunately with the limited time remaining for FMP I'm going to be unable to change the design's of my pig characters. I agree about the smaller nostrils but not about the eyes. The larger eyes are needed during the parts of the story where the pig is covered in mud because they are the only thing that indicate that it's still the blue pig.

The comments on body language are also a good point but I wanted to show in the story how the 3 pigs are very similar other than the obvious colour difference.