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Elisabeth Alba live and work in New York City after moving here in 2006 in order to complete my MFA in Illustration as Visual Essay at the School of Visual Arts. Before then, I had received my dual degree BA in English (with a focus on children’s literature) and visual art studies at the University of Florida. I’ve traveled a lot, which has led to an obsession with history and an interest in other cultures throughout the ages. I’ve always loved children’s literature and film, especially fantasy and historical fiction.

Clients include Scholastic, Simon + Schuster, Oxford University Press, Henry Holt Books for Young Readers, Small Beer Press, AAA Traveler magazine, and MTV Books. I’m the illustrator of Diamond and Fancy, both published by Cartwheel Books, an imprint of Scholastic, and part of the Breyer Stablemates easy-to-read series. Recently illustrated I am Martin Luther King Jr.,  I am George Lucas, and I Am Cleopatra, all written by Grace Norwich and published by Scholastic; and I contributed illustrations for The Shadowhunter’s Codex by Cassandra Clare, Simon & Schuster.

Here is Elisabeth discussing her process:

I had just read Richard Burton’s translation of One Thousand and One Nights and was inspired to do an illustration of Scheherazade. I decided to make it a scene, with the Sultan in the background.

I used my usual, watercolor and acryla gouache. It’s fairly large for me at 12.5×17.5. Trying to work bigger… but it’s hard with the small space I have to work in.

After working on a few thumbnails I knew right away what I kind of wanted, so I took some
photo reference of myself! (and my fiance, but he’d prefer I not share him in lady slippers)

This is a quick sketch using the reference working it all out.

After doing a real pencil drawing and scanning it I began working on it digitally, getting the tones and lighting right, working out the pose a little more.

The final sketch with color test. You can see I moved the hand and gave her more of a tilt. I usually bring my color compositions to an almost finished state (if they were digital paintings), just to make sure I’ve figured it all out before painting.

I print out the digital drawing. It was too big for my printer to print directly on the watercolor paper. I then traced the image using graphite paper to transfer it to the watercolor paper. Then I started blocking in a base color.

More blocking in of base colors.

Don’t have progress photos from after that, but I continue to layer watercolor and get darker and darker, then I seal it with matte medium before continuing to add color with acryla gouache. I then varnish and scan and do any digital touch-ups.

Final image. It’s darker than the actual painting, because it just looks better that way on a computer screen.

Above and Below: Where an assignment during my mentorship with the art director for the Harry Potter books (he was a guest). We had a different art director critique us each month and he assigned us the first book!

How long have you been illustrating?

I’d say since 2006, when I moved to NYC. I had done some small work before but it wasn’t very interesting to me. I didn’t consider myself a professional until 2006 at the earliest. Though I was also in grad school at the time so couldn’t take too much on.

I see you attended the University of Florida to study both children’s literature and visual art. That makes me think that in high school you had an interest in writing and illustrating for children. How did that idea of a career develop with you?

I loved writing and reading but also loved art, so I wasn’t sure which to pick as a major. I started as a BFA art student, but because I was mostly doing fine arts as a student, and wanted more illustration experience, I decided to switch to a less work intensive BA so that I could double major in English as well (and I concentrated in children’s literature).

How did you decide to attend the University of Florida?

I went to high school in Florida. There was a great scholarship for Florida students called the Bright Futures Scholarship. If you got a certain GPA and SAT or ACT score, and you completed a certain amount of community service hours, you received 100% tuition to a Florida college. My sister and brother were both at UF already, so I wanted to join them. I wasn’t ready to go too far away to an art school, and I knew UF was considered a very good school.

What type of things did you learn in college that you still use today?

I had a chance to experiment with a lot of art materials, so that helped me to settle on what I liked best. I think the best stuff I got was writing skills though. I had to write sooo many critical papers in my English classes (as well as art classes, actually), I read hundreds of children’s books, and I wrote a lot of short stories. And I had fantastic English professors. I have a wonderful day job in communications at a private school that I wouldn’t have gotten without my writing skills, and it has helped support my burgeoning illustration career.

Did you immediately decide you want to get your MFA or did you get a job right out of college and then decide to continue your education in illustration?

I moved to NYC to start my MFA program right out of undergrad. I had no idea how to go about finding illustration work, since, as I mentioned, my art classes at UF were all fine arts, and I needed to be in an art school environment.

What made you decide to attend the School of Visual Arts in NYC?

At the time there were only three grad programs in illustration. SCAD, SVA, and AAU. I applied to and was accepted to all three. I only had a chance to visit SCAD and SVA. I planned to visit AAU, but as soon as I visited SVA and met the chairman, Marshall Arisman, I knew I found the school for me!

Did you have any favorite classes?

So hard to choose! They were all different. We had a location drawing class that was super fun. We got to visit the circus, a boxing gym, the botanical gardens, the zoo, and many other cool places, so it was great for someone who had just moved to NYC. Sightseeing while at school!

What specifically does an MFA in Illustration as Visual Essay teach you that just an MFA in Illustration doesn’t?

I don’t think there’s a difference. It’s still an MFA. Illustration as Visual Essay is just the name of the program. The ‘visual essay’ portion had to do with finding your own voice, and there was a lot of writing involved – we had a creative writing class, and we also had to write papers about gallery shows in a fine arts class and comics in a comic history class.

Did the School help you get work?

They certainly helped, but it’s not the school that gets you work, it’s the amount of time you put into bettering yourself and actively keeping up with contacts as well. Work’s not just going to drop in your lap (sometimes it might… but don’t count on it)! I worked on some concept work  while I was still student for SpotCo after meeting the art director on a visit to the offices and having one of my teachers recommend me. I also interned with illustrator Brian Pinkney since he contacted the program for help (he was an alumnus). My thesis advisor, Brett Helquist, also hired me after I graduated for various  projects. And I made a lot of connections through classmates (which resulted in my working with Scholastic). SVA also has a career services department that seemed pretty great but I never needed to use it.

Do you feel the classes you took in college have influenced your style?

Not really, actually. I always just did my own thing. My professors at UF let me do my own thing, thankfully, because they knew I wanted to be an illustrator not a fine artist, and they were open to me making children’s book work. SVA was more of the same, just concentrating on working out what I wanted to do, and my style. I guess my classes also helped me to see what I didn’t want to do, in terms of style and genre.

What type of work did you do right after you graduated?

I graduated in 2008. I continued doing concept work for SpotCo – I was helping ‘storyboard’ musical theater posters for Broadway, so they would tell me what actors I had to portray and what was going on, and I’d come up with some ideas. They would then show my ideas to the clients and take the final photos based on our ideas. I also taught kids that summer after graduating at an after school art program. And I got my day job at the private school, which I’ve had since.

Above: Final mentorship project with Rebecca Guay. The assigned by Irene Gallo, art director at Tor Books to create an illustration for a short story.

What was the first art related work that you were paid?

I’d been paid for drawing since my freshman year as an undergrad, when I would draw fanart commissions. I also had a few small local assignments in Florida. I’d say my first real paycheck came when I was in grad school and did some work for author Rick Yancey (my favorite english professor at UF, Dr. Cech, knew him and recommended me) for a manuscript he was working on. It was never picked up by a publisher, but he’s been writing some marvelous books that came after! My first publishing job was a cover for Farrar Straus & Giroux half a year after graduating from SVA… but unfortunately the job was killed.

Above: Done with watercolor, colored pencil, and acryla gouache. 10″x12.5″

Do you have an agent or artist rep.? If so, who and how did the two of you connect? If not, would you like to find representation?

I don’t. Whenever I’ve contacted them they usually tell me my work is too traditional or realistic. But I haven’t needed one so far. Sometimes I think about looking for another, but I’ve heard mixed reviews, and I just haven’t needed one yet.

Sketch to final for self-published book, Brendan and the Beast – an alternative retelling of the classic fairytale.

When and what was the first children’s book that you illustrated?

I guess I would say Diamond, written by Suzanne Weyn, one of the Breyer Stablemates books published by Cartwheel Books/Scholastic. That was in early 2009.

How did that contract come about?

One of my classmates became a graphic designer at Scholastic. She recommended me. They needed someone who could draw horses, and she had remembered that I drew some at SVA. I had to paint the cover first, to show that I was capable of drawing a horse and just good enough in general, and they went with me!

Above: Watercolor/acryla gouache/some digital touch ups.

Do you consider that book to be your first big success?

For sure! It was the biggest paycheck I ever got. Went directly to my student loans.

Have you tried to write and illustrate a children’s book, yet?

I have written and illustrated two of my own books while at SVA. I showed them to a few publishers but nothing came of them. One was a book about the Hanging Gardens of Babylon, called Amytis’s Garden. The other was a book called Nico’s Journey, about a boy searching for the best paella in Spain. They were fun to work on and great learning experiences!

Above: From Amytis’s Garden

What type of work have you done for Scholastic?

I did two books for the Breyer Stablemates series, Diamond, which I mentioned above, and Fancy by Kristin Earhart. I also did a map for 39 Clues, a map for Infinity Ring, and three biographies for the I Am series, on Martin Luther King Jr., George Lucas, and Cleopatra.

Same two questions again for Henry Holt Books for Young Readers.

So far I’ve only done one job for Henry Holt Books for Young Readers, and it was very recent. I illustrated two maps for the upcoming book, The Last Days of Jesus, which is a middle grade adaptation of Killing Jesus by Bill O’Reilly. The art director, Patrick Collins, has in-person portfolio reviews with illustrators if you contact him beforehand by snail mail to set up a time (See here: http://us.macmillan.com/Content.aspx?publisher=holtbyr&id=375). So I sent him a postcard and a few months later we met!

It must have been exciting to be asked to do some illustrations for Cassandra Clare’s book, The Shadowhunter’s Codex. How did that come about?

It was fantastic. That was a dream job, because I don’t often get fantasy work from publishers and it’s what I really want to do. I was in a mentorship with illustrator Rebecca Guay (http://www.smarterartschool.com/) which was the best thing to happen to me in my illustration career since grad school. She is a fantastic teacher and my work has really developed since the mentorship. I made many new contacts too. It’s all about networking. Anyway, she knew the art director working on The Shadowhunter’s Codex and he was looking for some new illustrators. I submitted samples based on text he had sent. He ended up hiring me!

Do you feel living in New York City helps you get more work?

It has definitely helped, because it’s easy for me to go in for portfolio reviews and go to amazing illustration shows and lectures and events here. The Society of Illustrators is one of my favorite places. Meeting people face to face definitely puts you a step up, I think. It’s a huge community and you get to know so many people and mingle. Illustrators are generally pretty nice folks. I’ve gotten work thanks to them, and I have also passed on jobs to them as well. It’s just a friendly giving community.

What illustrating contract do feel really pushed you down the road to a successful career?

Hard to choose, but I guess the Scholastic one since they have hired me multiple times!

It looks like you exhibit your work at conventions? Can you tell us about that and has it been helpful in making contacts and getting you more business?

I’ve been to a lot of conventions, but the first one where I had a booth was Gen Con 2013. It is a gaming convention (board games, roleplaying games, etc), and it has a wonderful art show that my fiance has been a part of for a few years. I’d tag along and decided I wanted to exhibit at the art show too. I’d like to try to get some gaming work, and I am also breaking into the collectors market—that is, people who buy prints and original paintings. You can meet a lot of art directors at conventions. They stop by the booths, but sometimes they have portfolio reviews that you can sign up for. And it’s just more exposure in general for people who might want to collect art. Gen Con was a pretty successful first convention for me, a lot of sales!

How did you get involved in illustrating maps?

I worked on a private commission for an author who is self publishing her novel online (www.whyismud.com). She needed a fantasy map. I’d never done one before, but it was actually super fun. That single map was all I needed to get more map work.

Have most of the maps you’ve done been for educational publishers or more for fantasy books?

A mix. For publishers it has been educational, and for private clients  who are self publishing it has been fantasy.

Have you done illustrations for any children’s magazines?

Not yet!

What materials do you use to paint your color illustrations?

My favorite materials are Dr. Ph. Martin’s Hydrus liquid watercolors and Holbein acryla gouache. Sometimes I use ink too, FW acrylic sepia ink or Dr. Ph. Martin’s Black Star matte ink. Sometimes I use a little bit of colored pencil. I also like working with pencil when I work in black and white.

What types of things do you do to find illustration work?

So much! Half the work is promoting yourself. I keep my website updated, my facebook artist page, tumblr, just started using twitter, selling on Etsy, various portfolio sites like Behance. I carry around business cards and attend a lot of illustration networking events. I make promotional postcards and greeting cards and mail them to a list of art directors from the SCBWI market guide, and to my contacts that I already have. I also email samples to my contacts and to any companies that accept email submissions. I attend conventions to meet more art directors and artists.

What is the one thing in your studio that you could not live without?

Probably my computer…. I do so much research on it, and keep all my reference images on it, and I do a lot of stuff digitally… It’s just so dang useful.

Do you try to spend a specific amount of time working on your craft?

I try to work 2-4 hours Monday-Thursday after my day job, and I get most of my work done Friday-Sunday. It depends on what I’m doing socially or how much illustration work I have. Sometimes on weekends I work from morning to late night, but sometimes I let myself off by dinnertime. I’d love to work even more but the day job makes it difficult!

Do you take pictures or do any types of research before you start a project?

All the time! Since my work is more realistic I like to make sure my anatomy is correct and that my poses are actually doable. I also research historical clothing, architecture, plants, animals, etc.

Do you think the Internet has opened doors for you?

Definitely. It’s great for promoting and networking, and that mentorship I mentioned with Rebecca Guay was all done online. If you’re not on the internet promoting your work or with a website than I can’t imagine how you would get work now…

Do you use Photoshop or Corel Painter with your illustrations?

I’ve used Painter in the past and would like to relearn it. I use Photoshop all the time though.

Do you own or have you used a Graphic Drawing Tablet in your illustrating?

I have an ancient Intuos II tablet. Should really buy a new one because it’s starting to act wonky! I do a lot of my sketching on Photoshop with my tablet. Also make my color tests digitally. Sometimes I work entirely digitally, but I prefer traditional media. It’s very useful to know though.

Do you have any career dreams that you want to fulfill?

I would love to get more fantasy work from publishers. My dream job would be to do covers and interior illustrations for a middle grade or YA fantasy book/series, like Harry Potter or Series of Unfortunate Events. Someday I might like to write and illustrate a book, but right now I’m just concentrating on getting more clients and building/improving my portfolio.

Above: Scholastic’s Fancy, part of the Breyer Stablemates book series.

What are you working on now?

I gave myself time to work on a personal project – I have a booth at MOCCA in April, a comic convention here in NYC. I wanted to make a comic sample to share, so I am working on that all this month. I am also working with a private client on her self-published fantasy book – a map and book cover!

Do you have any material type tips you can share with us? Example: Paint or paper that you love – the best place to buy – a new product that you’ve tried – A how to tip, etc.

I love Dr. Ph. Martin Black Star matte ink. Sometimes it’s hard to find. I had to order it online last time. It’s completely waterproof and flows wonderfully. I also love working with layers of acryla gouache. My mentor, Rebecca Guay, recommended them. They flow like watercolor but dry like acrylics, so they don’t wipe away. Also, if the paper I’m working on isn’t too thick and it’s not too big, I print out my drawings directly onto the watercolor paper so that I don’t have to redraw it!

Book Cover for SVA thesis book, Nico’s Journey, watercolor and ink.

Interior Art

Any words of wisdom on how to become a successful writer or illustrator?

Don’t get discouraged. Do everything you can to keep improving. It is a lifetime of learning and practicing! Do what you love, not what you think gets work. You’ll end up making better work.

One of my interior illustrations of a young George Lucas (he was actually very handsome!) working on a draft of Star Wars, surrounded by reference material.

Thank you Elisabeth for sharing your process, journey, talent, and expertise with us. It is easy to see how you have managed to be so successful. Please make sure you let us know about all your future successes. We’d love to have you share them with us. You can see Elisabeth’s work at:

www.albaillustration.com

www.albaillustration.com/blog

https://www.facebook.com/albaillustration

https://www.etsy.com/shop/albaillustration

http://albaillustration.tumblr.com/

http://www.inprnt.com/gallery/albaillustration/

https://twitter.com/elisabethalba

Please take a minute to leave a comment for Elisabeth. I know I would love it if you did and I am sure Elisabeth would enjoy hearing from you. Who knows she could someday illustrate your book.

Talk tomorrow,

Kathy

Jen lives and works in the Boston area, where she freelances illustration and teaches art at a local college. She received her BFA in Painting from the University of Central Florida, her MFA in Illustration from Syracuse University, and learned amazing things about illustration at the Illustration Academy.

She loves working in watercolor, solving visual problems, and seeing a story come to life by creating images for it. Her work has appeared in CMYK, 3×3 and Illustration West, where she won third place for the Children’s Market category in 2010.

She also won the SCBWI Mentorship Award in 2012, and joined the KidLitArtists.

Here is Jen explaining her process:

I begin with  small “thumbnail” drawings, which I use to develop ideas and composition.

This process continues until I settle on a concept and composition, and these two elements are  interdependent. For this piece, the idea that the soldier was already in his grave, disappearing into the flowers, led to certain visual solutions.

After developing the composition, I took reference photos.

Reference photo – this is fellow illustrator Charlie Griak!

Reference photo for the poppies:  Since antiquity, poppies have been associated with sleep and death, due to their connection to opium and morphine. During World War 1, fields were often red with flowers growing where men had died, because poppies grow well in disturbed soil, such as on fresh graves or battlefields. Image copyright Corbis.

Finished sketch.

Color studies. Before moving on to the finished painting, I figure out what the color scheme will be on a small scale.

Start of the painting. First I put down a light green wash, and then laid down the light colors of the soldier’s clothes, gun, and  painted his face and hand.

For the next stage, I painted in the shadow portions of the figure, and started to lay down some of the poppies. The poppies were painted with heavily pigmented watercolor, so that the flowers would bleed and run when a wash was painted on top of them.

Next, I painted the first section of the grass and flowers. This was painted very wetly, and I used a spray bottle to add texture to the wash.

Here is a detail of the face. It was a little nerve-wracking to paint the flowers over it, since if I messed it up I would have to redo the entire painting.

The completed wash. In this photo you can see a little bit of the reference photos – I kept them right next to the painting while I worked.

I used a damp brush to lift paint out of the wash to create the barbed wire.

Finished! The last touch was painting in the barbed wire at the top.

How did you end up in California after attending the University of Central Florida for your BFA?

My husband got accepted to grad school, so we migrated across country. However, I’m actually from California originally.

What types of classes did you take that really helped you to develop as an illustrator?

The Illustration Academy was amazing (www.illustrationacademy.com). It is an immersive summer program where you get to work with an amazing set of illustrators (Anita Kunz, Sterling Hundley, Mark English, Jon Foster, Gary Kelley, George Pratt, C. F. Payne, John English, Brent Watkinson). I saw incredible personal growth after attending.

Did you go directly from college to get your MFA in illustration at Syracuse University?

Almost. I transitioned from fine art to illustration for one year in between. I attended classes at Ringling College of Art and Design as a non-degree seeking student, and spent the summer at the Illustration Academy before going to Syracuse.

Can you tell us a little bit about the MFA program there?

Syracuse has a 3 year MFA program, which I attended, but it also used to have a summer intensive where you were taught by a lot of guest artists. That was great – to have the ongoing instruction and continuity of the wonderful full time faculty, but also be able to participate in the summer courses where I got to work with some amazing visiting illustrators. Syracuse is also not that far from New York City, and I went there about once a semester.

What did attending the Illustration Academy bring to the table?

They have a very different instructional environment, in that the teachers are not just there for a few hours while you learn and paint, but they are there all the time – when you are working on your piece at 9pm at night, one of the teachers is there too, and can help you if you need. It’s intense, because you are producing a new piece every week, but it is also nice to just have one project at a time to focus on, and nothing else. And like a lot of intense situations, it forces you to grow!

Did you always tend to lean towards using watercolors for your illustrations?

Yes, my mom got me art classes when I was ten. I was too young to use oil and my teacher didn’t like acrylics, so I learned pastels and watercolor. At first I didn’t like it, but it quickly grew on me – I love the happy accidents and textures you get with watercolor. I’ve tried other media, and enjoyed them, but I keep coming back to watercolor.

Are you open to working with self-published authors?

Not at the moment.

What was the first things you did that you got paid to do?

I think I sold a collage when I was in high school.

What is Illustration West?

It is a term that the Society of Illustrator’s Los Angeles uses for their annual competition and show.

What piece won you third place in the Children’s Market category?

The underwater polar bear.

Is their contest open to everyone?

Yes, it is like most other illustration competitions – you pay to submit and is open to everyone.

How long have you been illustrating?

If you count school, then since 2005.

What types of things do you do to get your work seen by publishing professionals?

I enter the big competitions, I send out postcards, and this year I’m going to the SCBWI conferences.

Have you ever tried to write and illustrate your own story?

That is something new I’m working on. I have one completed dummy book for a story I wrote, and a few other story ideas I’m developing.

Do you have an agent? If so, who and how long have they represented you? If not, would you like one?

I do not have an agent and yes, I would like one.

Do you want to concentrate on being a children’s picture book illustrator?

Yes, although I like Middlegrade and YA too. Bookcovers would be fun.

Have you made a picture book dummy to show art directors, editors, and reps.?

Yes, I’ve done a couple dummy books.

I see the you belong to KidLitArtists.com. How did that come about?

KidLitArtists.com is the website for winners of the SCBWI Mentorship Award. Every year at the LA conference, five illustrators are chosen from the portfolio competition for the Mentorship Award. You get individual critiques from the mentors, and you join the KidLitArtists (past and present mentees). It’s a wonderful, insightful event, and you join such a warm, supportive group of peers. I was fortunate to be picked for the award this past summer.

In your e-mail, you mentioned that you were attending the SCBWI Winter Conference in NYC. How do you prepare for attending something like that?

I did a new piece for my portfolio, reorganized my portfolio book. You never know who is going to see it at the portfolio exhibition, so you want it to be as polished as possible. I’m packing a bunch of postcards and business cards, and hoping to get my website updated before I leave. I also recommend reading the bios for the speakers you are going to see. If you bump into any of them, it’s good to have a conversation topic. I also bring a sketchbook to put notes and thumbnails in – I got a lot of ideas at the last conference! Also have a spot to store other people’s cards – you’ll collect quite a few. And finally, I’m bringing Shaun Tan’s The Arrival, since he’s going to be doing a book signing.

Have you seen your style change since you first started illustrating?

Yes, although it’s had a consistent direction.

Have any of your college connections ended up helping you get work?

Not directly: although they helped me get a number of connections, none of those directly led to work.

Have you had any of your artwork published?

Yes, I’ve done some zoo advertising work.

Do you use Photoshop in your work?

Sometimes. Usually it’s just color corrections, but sometimes I use it quite a bit, like in the Ice Cream painting I did – the background is all Photoshop. I also have some non-children’s book pieces I’ve done that are all Photoshop over graphite, but it is a very different style.

What about a graphic tablet? Do you  own one?

No, I don’t. I would if I did a lot of drawing and painting on the computer, but I learned to digitally paint using a mouse, and I still use it most of the time.

Do you own a graphic tablet?

No, I don’t. I would if I did a lot of drawing and painting on the computer, but I learned to digitally paint using a mouse, and I still use it most of the time.

Is there anything in your studio, other than paint and brushes, that you couldn’t live without?

Strathmore 500 illustration board! I love it.

What are your career goals?

I’d love to get into the Original Art Show someday.

Are there any painting tips (materials, paper, etc.) you can share that work well for you? Technique tips?

I always paint on Strathmore 500 Illustration Board, vellum finish. It reacts to watercolor in a very different way than traditional watercolor paper. It makes it much easier to build dark colors, but it also lifts very easily, so there is a trade-off because it is much harder to layer your color. I also use a spray bottle with water, instead of salt, for when I want to acheive light spots. Water drops give you a wider range of effects, depending on how moist the wash is at the time you apply them.

Any words of wisdom you can share with the illustrators who are trying to develop their career?

Be persistent! Work on your craft and enjoy it, but don’t ignore marketing. If no one knows about you, they cannot hire you!

Jen, Thank you for sharing your wonderful illustrations and process with us.  I enjoyed showing off your talent.  If you would like to see more of Jen’s work you can visit her on her website: www.jenbetton.com or her blog: www.jenbetton.blogspot.com

Please take a minute to leave Jen a comment, I am sure she would love to hear from you.  Thanks!

Talk tomorrow,

Kathy