ILLUSTRATION FEATURE Interview with Art Director Jo Samways

Illustrator Coordinator Tita Berredo interviews Art Director Jo Samways, and picks her brain for portfolio tips as well as technical ones for illustrators already working with publishers!

Jo Samways has been working in children's publishing for 3 decades. She has previously worked as Head of Design at Sweet Cherry Publishing, Pearson, and as an Art Buyer and Art Editor at Oxford Universty Press and Macmillan. Jo currently runs her own design agency, Emojo Design.

As an art editor, her job has been to tell stories through pictures, and she sees herself as a link between editorial and illustration and design. The goal is to get all three right!

Tita: Hi Jo, let's start with yourself. Tell us a bit about your journey to become an art director and working with picture books.

Jo: I always wanted to be a children’s book maker from when I was 5 - you know when your teacher goes around the class, and says, what do you want to be? I forgot about all this until I was being interviewed for a teaching role by one of my former school teachers who reminded me of the little books I used to make. I didn’t get that teaching job, but it reminded me of my passion.

I started my career at Oxford University Press working as an artwork cataloguer then moved into the design department where I became an assistant Art Editor, working for the lovely Hilary Wright and the amazing Ron Heapy who taught me everything I know. The team at OUP instilled me with a passion for Children’s Book which has never left me. I did not have a degree in design, I was just lucky to work with amazing people who were happy to mentor me. I hope I have been able to return the favour by mentoring many people in my own career.

I loved going to degree shows and sourcing new talent, and I helped quite a few graduates on

their illustration journey. Memorable amongst these was my first picture book project, Stripe!, by

Joanne Partis. And I’ve been hooked on picture books ever since.

Tita: Tell us three classic picture books that you love and three more recent that you really like.

Jo: Obviously Maurice Sendak features high on this list, along with Orlando the Marmalade Cat by Katherine Hale, whose use of colour and production techniques still amaze me today. I know it’s not a picture book as such, but my all time favourite children’s book is Cars, and Trucks and

Things That go by Richard Scarry because I just love the cheeky visual humour and the delight

this brings to children as they revisit the books as independent readers.

More recently, I’ve fallen in love with several books as a parent including There are no Cats in this Book, by Vivanne Schwarz, anything at all by Jim Field who I adore, and most recently a lovely new book called Sleigh Queens by the amazing debut authore-illustrator Seán Casey. I loved working with Seán and the talented designer Amy Orris to bring this book to life. Sean’s passion for perfection, and ability to find those delightful little child friendly elements in the visual sub plot are just pure joy.

Tita: That's fantastic! Seán Casey is brilliant, he has been featured in Words&Pictures before. What kinds of illustration styles do you particularly like?

Jo: I am very eclectic. I love bold cheeky styles, as well as gentle soft illustrations. You can’t get stuck with one style as an Art Director, you need to have your eyes open for the illustration style that fits best with the story. Saying that I’m a huge fan of Rob Biddulph, because his words and pictures work so beautifully together and his rhythm is simply spot on.

Tita: What’s your favourite part of the job?

Jo: Simple - Finding an illustrator that fits with the subject of a book, like Nick Moffatt and the Creepy Classics series.

Tita: Oh that's interesting, let's talk about that! How often and where do you look for new illustrators?

Jo: Every day on line and I’m regular visitor to agencies like Advocate, Collaborate, Lemonade and The Bright Agency. But I also go to College shows, New Designers and Book Fairs etc because nothing beats meeting people face to face.

I also ran a competition for a new book with Children’s Presenter Gyasi, and that was a fun way to find some new illustration talent. As a first time author, Gyasi was really keen to extend the

opportunity of being a debut talent to an illustrator. With a team of judges with selected

unpublished illustrator Ola Snimshchikova.

Tita: Do you search for new people on social media? What do you like to see on illustrators’ Instagram?

Jo: Yes I do, but I have to say I like it when it’s very clear the Instagram is about someone’s illustration - not things that inspire them. And I really want to be able to get in contact with illustrators to see their portfolio so it’s important to have clear contact details and an account dedicated to just the illustration. I’m old school - I would prefer to see a website.

Tita: That's interesting... What do you expect to see on their website?

Jo: Samples of illustration - the best stuff! Less can be more. If published - examples of books, If not - good selection of characters and character development. If possible a selection of humans and animals, but if you style only favours one of these, stick to it.

Tita: What are some specific aspects that you look on an illustrator’s portfolio? Give us the technical side and the personal side.

Jo: I want to see an ability to carry a narrative. Static images of characters are great, but what we are looking for is an ability to tell a story - capture emotions through subtle changes, and convey an atmosphere. It’s essential to see how you show a character from different angles, and in different situations. From a personal point of view, I’m looking for energy and a respect for the words that someone is illustrating. And that ability to bring a character to life through humour or pathos.

Tita: What’s the sweet spot in number of illustrations and themes on a portfolio? And how often should illustrators update their portfolio?

Jo: I’d say 3 or 4 screens/pages should do it, and regular updates of the best work.

Tita: What if the illustrator has more than one style — let’s say one is more artistic and the other is more commercial—, is that something interesting? How should it be presented? 

Jo: I would def have this in sections on a website and yes it’s very interesting. Think about book genres, and split your work into categories eg: mid grade black and white, early years, funny, atmospheric, etc. If you need help with those categories, pop to a book shop and browse the sections to find genres.

Tita: Now let's shift to when illustrators are already working with a publisher. How hands-on or collaborative do you like to be throughout the illustration process? 

Jo: As much as the illustrator needs. As an art editor it’s important to know when to step back and let an illustrator bring their magic. Equally if someone requires help with composition, perspective and scale, to ensure you get a good rhythm in the book, I’ll happily help with a story board, or just gentle advise. A good art editor or art director will know when to offer advise and when not. If as an illustrator you are struggling, just reach out to them and ask for the help. They are sure to prefer you asking than being late because you couldn’t make up your mind.

Tita: What are some good questions an illustrator should ask the art director before starting the work?

Jo: I’d ask what tone and atmosphere they are trying to get. I’d also want to establish a good

schedule, and ensure you have got some early character sketches approved before doing the

entire project. Make sure you know what the technical requirements are. If you are using Procreate make sure your director knows this, and have a plan about how you deliver print files in CMYK. Another really good tip, is to ask how the director would like the files layered. You don’t want to flatten your files in case later amends are needed. Read the brief thoroughly before you start- go back with questions as early as possible.

Tita: How do you approach giving creative feedback — are there particular things you prioritise? 

Jo: I always want to be supportive and get the most out of an illustrator’s experience. I tend to start with gentle comments, but if i feel more is needed I would support comments with detailed

sketches. Mostly comments are added to a PDF and illustrators need Acrobat Pro to be able to read these comments. That is important.

However, I am old school and I often pick up the phone and talk things through or have a zoom. I

think speaking is really important. A lot can be misinterpreted in a written comment and it’s great

to have a chat with an illustrator. I’m mindful Illustrators often work alone, and I think they like it when a designer or director reaches out for a chat. So advise for any designers out there - pick up the phone and speak to your illustrator!

Tita: Oh I like that! Will feedback come in stages (thumbnail, roughs, finals), and how is it usually delivered? 

Jo: Usually: Character development - rough sketches of characters to be approved; then colour versions; once agreed move on to internals. I’d usually do this over email or through a zoom call. 

Sample spread - again, probably chat this through over zoom and email. Roughs for entire book - I like to get these put in page, and then mark up the pdf of the book. This way illustrators can see how images fit with the text which may well have changed ever so slightly while illustrator is working on roughs.

Colour or final artwork - again I prefer artist to send these in, without layout, so designers can put them in page with finalised text, which has probably been worked on further while the illustrator has been drawing. Again - marked up pdf.

Tita: What are some differences that you find between working with illustrators and author-illustrators (when they are illustrating their own book)? 

Jo: I always work with an editor but when it’s an author-illustrator it becomes even more collaborative with all three of us working directly together. It’s always a lot of fun.

Tita: What are some specific technicals that you ask your illustrators to follow?

Jo: Always supply bleed, always work in layers, work to the template. It’s really important you leave plenty of room for the text. If you obscure the text with dark colours or rough textures, you will only have to do the piece again. So stick to the template as much as you can. It’s fine to offer different options, but space for text is essential in illustrated books. Books are printed - they end up CMYK - always think about this.

Tita: What are the main differences you find between working with illustrators who work with digital and those who work with traditional media?

Jo: Recently I worked with the hugely talented Jodie Smith who works with all sorts of medium which she scans and then delivers digitally. She creates great textures using crayons and all sorts of drawing tools mostly found in her daughters craft box. I don’t think there is a major difference if the scanning or photography are done really well, apart from ability to layer files which is something the illustrator needs to bare in mind if corrections are required.

Tita: How flexible are you with deadlines, given that many illustrators are neurodivergent and may struggle with that part of the work?

Jo: Deadlines are often fixed months ahead, and printers, and paper stock purchased in readiness for agreed press dates. Publication dates are set in advance, with publicity and marketing events planned for particular releases. Seasonal titles, like summer readers, or Christmas books, have to make it onto the shelves months in advance.

So, the simple answer is, schedules are hugely important and there can not be a huge amount of flexibility. Art Directors need to leave contingency in schedules for issues with delivery dates, but there are so many plates spinning when a publisher decides to print a book and so many different departments can be affected. A book might not publish until June, but it might need to print in China, and this can mean anything between 5-8 months in print and shipping. So the handover to design dates is critical even though it might seem miles away to the illustrator.

If you know you might need additional time, please be upfront with your art director about this at the start of a project, rather than thinking it might be ok to be a few days late. Don’t agree to a schedule you know you can not commit to.

Tita: Is there anything illustrators have done in the past that made the process smoother for you?

Jo: Handing over files that are clearly labelled, and without the template in place. Layering is really helpful. Being on time and accurate following of briefs.

Tita: This has been a wonderful interview, Jo! Let close it with you giving one good advise for all illustrators.

Jo: Have fun with your work remembering the main goal of the illustration is to tell a story through images, delighting the children reading the book. If they want to read the book again - you have succeeded.

Header Credit: Jo Samways

*

Tita Berredo is the Illustrator Coordinator of SCBWI BI, and Art Director at Words & Pictures. She has a Master's degree in Children's Literature and Illustration from Goldsmiths UOL, and a background in marketing and publicity.   www.titaberredo.com

Follow @titaberredo on Instagram and Twitter