I recently illustrated the book cover for Marie Marshall’s The Everywhen Angels, which is now published. The novel paints a compelling picture of adolescence, complete with supernatural elements, questionable alliances, fantastic adventures, and a narrative that isn’t afraid to ask difficult questions.
My self-imposed deadline for submitting the book cover was within two weeks, which will allow the publisher to roll out the novel before Christmas. While I had completed quicker work in the past, illustrating for a client stipulated more planning and parameters.
1. Tackle the most difficult components of the illustration first.
Luckily for me, Marie’s excellent descriptions made it immediately clear to me what she wanted. Even before I finished the novel, I had a good overview of the characters’ physical appearances, motivations, and personality traits. Preliminary character portraits were completed within a day to remove the most time-consuming components—facial expressions—out of the backlog.
2. Start the digital illustration and ignore neatness.
After scanning the drawing, I opened up Sketchbook Pro and started colouring like a madwoman. Naturally, I started with the faces and reviewed photographs (thank you Google Images) for shading and skin tones. This conveniently takes care of the visual elements that require constant referencing, which are bottlenecks in the creative process.
3. Start revising the finer details.
It’s close to the end of the first week, which means that it’s time for plastic surgery. Sometimes a revision means altering the space between the eyes by a few pixels. Other times, entire facial chunks are deleted. I used Photoshop for each Frankensteinian iteration. It’s one of the miracles of the digital age.
4. Revise, again.
There’s no formula to revision. You simply revise and revise again until the result is close to your ideal. The nose was the trickiest to revise because of its precise shadows. Highlighting was also interesting. An artist once told me that white should never be used to highlight skin because it’ll look artificial. The best highlighting colour, he said, was light yellow ochre because nothing in real life is “ever that brilliant”. In total, revision took 5 more days—the longest step in the entire illustration process.
5. Finalize the digital illustration.
It’s a good idea to step away from the computer for a day or two to distance yourself from the work. Rip subjectivity to shreds. When you see the illustration again, you’ll have a fresh pair of eyes to assess all the areas you’ve missed or need to leave alone. And trust me, some areas are much better left alone.
The most important part of this process was open communication. While the author is the boss, her requirements act as a skeleton for the illustrator’s creative interpretation. It’s still your vision at the end of the day. So relax, take a deep breath, and let your pen take care of the rest.