The best adventures start with imagination.

 Illustrations and other important information:


 Who: me.

What and Why:


                          to show by example;

                          to furnish a book with pictures;

                          to be sure the characters look exactly the same on page thirty-two as they do on page one;

                          to work closely with the author and the manuscript, take suggestions gracefully, make them tactfully, and be prepared to make changes;

                          to work in your own style, but be aware of the current fashion, in children's book illustration for example, and make sure your work is marketable;

                          to render the illustrations with skill and care;

                          to work closely with the book designer -- if there is one -- or be familiar with the process and help guide the author through the rigors of design and publishing;

                          to be skilled at layout so the text and the pictures are arranged attractively and are not boring;

                          to be familiar with type, type layout and design, or calligraphy;

                          to be able to design an eye-catching cover; 

                          to know what a dummy is and be able to produce one if called for; 

                          to understand that pictures sell the books, greeting cards, calendars, etc, and the author gets the praise;

                          to know all that, and still believe illustration is the best, most interesting, exciting job in the whole wide world bar none.


watercolor (translucent), gouache (opaque watercolor), watercolor pencils, ink, graphite pencils, Conte Crayon, charcoal, chalk;

brushes, pens (dip pens with split nibs), skinny felt-tip pens, calligraphy pens, more pencils;

watercolor paper (hot press), Bristol board, illustration board, toothy drawing paper, smooth ink paper, parchment, tracing paper;

erasers, masking tape, magnifying glass (or glasses!), scissors, bucket of clean water, transparent tape, white- out, sharp blades, glue, straight-egde and compass; 

arge waste-paper basket;

computer, scanner, copier;

drawing table, comfy chair, taboret, day light, good lamp;

music, recorded books, coffee, a room of my own, my cat.


Work commences at the signing of a contract, or once in a very great while with a verbal agreement.


my studio.

Some basics:

Terms: 1/3 due at the acceptance of the job and/or signing of contract, 1/3 due after sketches are approved, and 1/3 due at completion of the project;

I retain the copyright of my art work, unless another arrangement is made. The written contract will stipulate the sale of "one time rights" to you for the use of my art in your project. If you would like to use the illustrations or designs in a related project, a line of greeting cards for example, a new contract will be provided for the sale of those rights and permission to use the art work. All art work is returned to me at the end of the project.

It is important to know that traditional publishers (agents, too?) are very unlikely to accept your manuscript with my illustrations as a single submission. (The standard exception to this is if the author and illustrator are the same person. Even then, there's no guarantee that both your efforts will be acceted.) Publishers have control over the appearance of your book, and art directors have files full of artist's names and samples from which to choose the one they want to illustrate your book or design the cover. And, as is often the case, you, the author, will have very little to say about this.

Here's something else to consider, too. The art work/book design submitted to you by the art department of a subsidy press (iUniverse, Authorhouse, XLibris, Lulu, etc.,) is not always the best it can be. My own experience with iUniverse is an example.


I gave them my cover idea, chose a copyright-free image (the skull and crossed bones), and picked a font. The first proof I got showed they had made the requested changes to the image, but the placement of the cover text and missuse of letter sizes was disappointing. I've been an artist/designer long enough to know a slap-dash effort when I see one. I laid out the cover design myself, with specific instructions, and the result is the cover in use. This experience does not mean that every cover coming from a design department is weak, but I've seen many  books (self-published--and traditionally, too) with covers that fall short of being dynamic. 

The bottom line is this: If you are determined to go the traditional route, then submit your manuscript without art. If you plan to use any of the self-publishing options, then let's talk.

Price examples: **

full color illustrations for a standard sized 32 page kid's picture book: $1500.00 basic fee; **

watercolor commission, mat size 16"x20", any subject: $250.00;*

watercolor portrait, mat size 16"x20", one person: $350.00; each additional person (or pet): $75.00;*

12 full color illustrations for a calendar, including designing (with spot illustrations) the grid pages: $1200.00, basic fee;**

cover illustration for a standard 5.5"x8.5" or 6"x9" book: $250.00;

marketing materials to go with the book cover: book mark, postcard, or business card designs: $75.00 each, or all three for $200.00 (you get to go to Staples for copies);

consultation re: book design, book interior design, cover design, or working with publisher/printer: $250.00-$500.00; **

calligraphy commissions: please call me;

carpet or fabric designs: please call me.

*Unmatted and unframed.

**The complexity or size of the project will determine the final price.