✸ HOW I MAKE MY CHILDREN'S BOOKS! ✸ picture book publishing process

hello art friends today i'm going to show you guys how i illustrate my picture books specifically my newest book that just came out rise up and write it if you're new to this channel hello welcome my name is anusha sayed and i am a children's book illustrator and character designer for animation i've illustrated over 20 picture books with some of the top publishers in the world and these are some of the clients that i've worked with in the past i get a lot of questions asking about what the picture book publishing process is like and how i illustrate my own books and so i wanted to cover it all in this little video today today i'm going to talk about how i got this job offer the timeline and schedule what it's like working with the publisher and i'll be going in detail through each step of the illustration process starting from the concepts and character design to the sketches to feedback to final art which by the way i do this entirely on my ipad on the app procreate this is gonna be a long video because i'm gonna try to cover everything with as much detail as i can but you can always skip ahead to a chapter that's more interesting to you also if you haven't already consider subscribing to my channel i've made other videos talking about my picture book process as well as what it's like being a professional illustrator and if you have any suggestions for future videos or any questions please let me know in the comments below now on with the video rise up and write it as a 32-page picture book written by nandini abuja and published by harpercollins on january 5th 2021 the story is about a little girl called farah patel living in a neighborhood with very few green spaces who petitions to make an empty lot next to her home into a community garden but a gravel company has proposed to buy the land to make it into a parking lot so pharah with the help of her family friends and the entire community take action to make the garden a reality through letter writing planning and activism i'm really happy that i had the chance to work on this book because i feel it sends a really strong message and encourages children to be the change that they want to see in the world i also love that we have four south asian main characters you have pharah herself her parents and mayor khan i feel a lot of pride in helping to create books that i personally would have loved to read as a kid especially as like a pakistani kid who you know like i don't i never really saw books which had people who look like me in them and so um i feel a lot of responsibility in making sure that the characters and the books that i create now are as diverse and inclusive as the world that we live in this book is also a novelty book since it has a strong focus on activism and letter writing you have six pages on the book that are designed to look like envelopes inside of each of them is a fun insert like a letter a postcard a sticker or a poster it's a really fun interactive element that was so cool to design since i've never worked on anything like this before there are several ways to get picture book offers from traditional publishers some of them include submitting to publishers or contacting art directors directly which is something i covered in my art director's video from a few months back or your agent might source a project for you but if you have a strong portfolio and online presence or you're an established illustrator then someone from the publisher might get in contact with you which is what usually happens with me an art director from harpercollins who likely saw my portfolio online emailed my agent with a proposal for the book saying they were interested in hiring me for this project if you remember from my agent video from before i actually don't communicate with the client at this point all of the conversation is happening between my agent and the publisher right now to keep things professional when an editor or art director first gets in touch in the initial email they would ask for your availability and then send over basic information about the project like what the book is going to be about when it's releasing how many pages it is what the budget is going to be the schedule and including a manuscript for you to read if you're interested in the project the publisher will then send over a contract for you to review and sign contracts are really scary and i'll try to make a video covering them another day but generally a contract is going to include the following stuff the contract will cover what you are going to be paid and in how many installments which by the way the fee is always going to be a flax fee and this includes all of the interiors and cover art the contract will say who owns the rights to the artwork in which territories for how long as well as the sub rights what the distribution is going to be like the schedule and when things are going to be delivered what percentage of royalties you're going to receive if any and some other details like whether you are going to be allowed to create competing works um illustrator credit whether you're going to have consultation on the final art and how they plan to promote the book however if you feel like the contract terms could be better you don't have to immediately sign it you always have the option to negotiate like asking for an increase in the pay discussing royalty timeline the rights how many of the copies of the book you would receive illustrator credit and so on since i have a literary agent who fights to get me better deals she and the publisher would discuss back and forth between themselves on these terms until both parties come to an agreement sometimes this process can take days sometimes it can take weeks obviously negotiation is a really tricky subject um it's something that i'm still learning on my own because while my agent deals with publishing projects um i still have to deal with animation editorial all of that kind of stuff on my own and negotiation is definitely intimidating because you don't want to feel like you are going to scare off the client but it's also important to be compensated fairly for your work if you guys would be interested in a video about negotiation and what i've learned over the years please let me know anyway after all the discussions are done i sign off on the contracts and finalize the paperwork the paperwork usually includes the contract from the publisher filling a form with all of your financial details so you can get paid and then depending on where you're located you might have to fill out certain tax forms because i live in canada and most of my clients are based in the us i have to fill out a w 8 ben e at this point my agent finally introduces me to the person that i'm going to be working with on this book in this case it's the art director and then we get to work [Music] let's briefly go over the timeline and schedule harper collins first got in contact with me on january 30th 2020 with their proposal discussions and negotiations took about two weeks and i was finally introduced to the art director on february 14 2020 for the interior art they wanted to see the schedules between march 15 to april 1st and the final art was due on june 1st this means around 1 month for the sketches and 2 months for the final art the cover they wanted to see earlier the sketches for that was due on march 15th and the final art on april 15th one month each remember this isn't the exact amount of time that i'd be given to actually work on this since you also have to subtract time where the arc director is going to be looking over the work you've submitted and giving you feedback so in total i would finish the book on june 1st working on the book for about 3.5 months this is actually a pretty short schedule and something that the client did mention to me when they first proposed a project to me in my experience six months is usually the amount of time that i'm given to work on picture book projects i've had other picture books in the past including i am perfectly designed which were also on a tight schedule sometimes that's just how the project goes and it's up to you to decide whether you are able to get the work done in that time i'm actually a very fast worker so it's not a problem for me but if i had other books going on at the same time it would be difficult to juggle all of those at the same time oh speaking of usually i am working on two books at a time three max before we start on interior art we have to develop the world and the characters that live in it as a professional character designer for animation this is actually my favorite part of the whole picture book process the art director first wanted to see some exploration for our main character pharah there isn't any description of pharah in the book apart from the fact that she's a soft asian character and so i had a lot of creative freedom to determine what she would actually look like i came up with seven initial designs submitting three to four options is usually good enough but i felt like because there was no description of her there could be a lot of different directions i could go with her so i needed seven to get that all out when coming up with her design i tried to focus on her personality pharah is going to be an optimistic upbeat girl on a mission she is smart determined and ready to fight for her cause and i really wanted to reflect that in her design the publisher liked this option the best but they did want to see a few changes to it things like changing the outfit and adding classes and so on when the revision was approved i had to design some of the other characters in the book namely pharah's mom mayor khan and two of pharah's friends since they're not major characters i didn't have to do a bunch of variations on them one was enough and i managed to get it right on the first try when designing characters it is important to have some variants in your designs pharah and her friends all look different from each other not just in features but in shape as well each of the kid is based off of a shape pharah is round and circles are a big part of her design showing up in obviously her face her glasses and like her whole design is very much rounded and soft meanwhile her friends stephen is triangular and miles is square for pharah's mom and the mayor it was especially important to differentiate them since they're both south asian women kind of around the same age and it can be easy to like end up making them look too similar or have same face syndrome and i definitely didn't want to rely on stereotypical south asian features i made sure that mom looked like she was related to fire like an older version of her kind of and then that she shared her round circular soft shapes as well in contrast the mare has a much more angular design um in her sharp suit pointed face and geometric hairstyle in effective character design you can immediately get a sense of personality just by looking at the character you can tell that mom is going to be sweet and bubbly and that the mayor is professional but still kind in terms of environment the story takes place in an urban city neighborhood where mostly working class families would be living in while this isn't an affluent neighborhood it's warm and welcoming and just like super diverse and just like a really nice sweet place to live in the publisher sent over some reference images which is always super helpful the funny thing is is that just prior to working on this book i had worked on another picture book that also took place in like an urban city setting which was i am perfectly designed so i had plenty of experience drawing dense city environments you know brownstones diverse neighborhoods all of that but since this was a new book i wanted to differentiate the city from my other one and try something new while my previous city had a lot of like autumnal autumnal colors sorry i keep getting that wrong has a lot of autumnal colors and realistic looking red and brown buildings i thought it would be fun to go on a more colorful stylized route with virus city i wanted the buildings to look super you know stylized geometric with all sorts of colors and have it really feel like a warm and welcoming place just like a lovely community vibe where you know you have the apartment squished together and you can imagine kids playing out on the street and old people just like gossiping on the steps of their apartment building if you guys have trouble with designing environments like i do um treat it like how you would design a character try to embed as much stories and personality as you can with all of these little details to make the environment feel more alive anyway once the character designs have been approved we move on to the interior art at this point the publisher will send over all the details i need to get started on the interior art this would be the manuscript the dimensions maybe a template to follow and a pdf file of the book with the text laid out and descriptions that would give me directions on what would go in each illustration in some book projects i would get to decide where the text goes like how i did with i'm perfectly designed but in this one the publisher arranged it out for me beforehand and i would just have to draw my illustrations around the text of course i still have the option to move the text around a little bit if i feel like it better fits my composition i don't know why people always ask about what dimensions i'm working in every book that i've worked on has been different so i don't know how helpful this information is but i'll share it just in case for this book the book trim was 7.75 by 10 inches but this doesn't include the bleed and this is for a page not a spread i think including bleed it ended up being something like 8.53 by 10.3 i have no idea i also work in cmyk at 300 dpi i'm always really bad at figuring out bleed and dimensions all and all of that the math stuff like i can't deal with it so usually yeah i'll ask the publisher for a template to work off of and i'll just open that template directly on procreate and work directly off of it so i don't have to deal with dimensions and all of that this book also has six inserts that go inside of those fake envelopes that i mentioned before we had postcards letters uh stickers and so on and each of those inserts were going to be in a different dimension as well i've mentioned this before but i work entirely on the ipad on procreate from the sketch stage to the final art in terms of what brushes i use for sketches i love the gouache detail brush from bardo brush and for painting i mainly just use the default 6b pencil brush i love it so much i've created a bunch of different variations for it but other brushes i like are ones from bb brush max olickney which i mostly use to just add texture in towards the end now let's actually start sketching some people start out with small thumbnails that's not really my style i like to just go straight into it using the descriptions given for each page i start to loosely sketch out my interior illustrations these descriptions aren't very detailed and just give a hint to what action is happening on the page and sometimes there isn't any description at all there was a lot of creative freedom here and i was free to interpret the text how i wanted to here is one example of how i interpreted the description for the sketch on this page we have two spots spot of knocking on doors maybe a row of round stones and spot of pharah holding pages fanned out to see that there are many pages there are immediately lots of ways that you can draw these concepts out for the first spot for example you could have it as a close-up of a doorstep or you could have a bunch of mini spots of people lining up knocking on doors i like the idea of focusing on the houses themselves and not the characters and just focusing on like this really colorful cute little neighborhood and then having the characters like teeny tiny in the scene i did this so that we could have a strong contrast against the second spot which would be totally character based even this spot has room for interpretation i could have had pharah like you know standing straight looking straight at the viewer and she's holding like a large pile of papers it's just kind of like peeking from the side and she's looking super thrilled and excited but also kind of struggling under the weight of all these papers so that was one route i could have gone i want to do a spot with a bit more action going on so here i have pharah in mid walk papers just like flying behind her like she's in a hurry with a determined expression on her face like she's gonna get the job done sometimes as an artist you might decide to go in a different direction away from what the art director suggested in this example the description and text implies that the townspeople are already inside of city hall when the spot is happening i thought instead it could be a bit more interesting if we have the scene taking place outside and you have like a whole like all of the townspeople gathering and marching down to city hall and then that could be the lead up for the next page which is when they're actually inside city hall for the big meeting i thought that this would really help bring the momentum up for the next few scenes and then show that the whole community is gathering up together and supporting each other i always ask the art director first for their thoughts before i try something different from what they ask um you know sometimes they don't go for it and that's okay but this was a case where they ended up liking it when people ask me how i come up with the ideas for my illustration i think the main thing that i focus on is a sense of storytelling the author of a picture book is a little bit limited and how much story they're able to tell through the text because picture books generally have a limit of 500 words so because of this you know you can only have so much text in a book and writers have to be economical about the words that they choose and you know tell their stories efficiently as they can and get rid of all of like the fluff and descriptors and other things that you don't really need to tell in the story because of economical storytelling it's up to the illustrator to fill in all of the story that the author is unable to when the author and illustrator work together and make a good team the text and the art will complement each other and flow together seamlessly that's called teamwork a lot of people think that being a children's book writer is easy uh but it takes great skill to create a beautiful story in just a few concise words that's why it's up to the illustrator to add in as much storytelling as they can within the artwork things like for example we have pharah's room but we don't really have any description of it in the text as the illustrator i can use that as an opportunity to uh really make pharah's personality shine through her room giving hints to her character like having posters of female role models around lots of plants a butterfly mural because like i really wanted a butterfly to keep appearing throughout the book like some sort of a like symbolism or motif the other thing i try to remember is to create interesting and engaging compositions and layout as you might recall there are three different types of layouts for illustrations in picture books my favorite is the spread like my signature move in my illustrations is that i love to have a sprawling illustration cover over both spreads um i really love that kind of stuff but unfortunately the way that this book is set up we actually only have room for one spread and then the rest of the illustrations in this book are just spots and vignettes not my favorite but it's also important for me to get out of my comfort zone once in a while because i can't vary my layouts i just have to try to make sure that the compositions for each of these spots or vignettes is different and i try not to repeat any of those compositions after i complete all of the interior illustrations i send it over to the publisher for review these are just going to be low res jpegs no need for psds this early on while i wait for feedback which is something that happens quite a bit on picture book projects i usually just work on other books or other short term projects it can sometimes take several weeks for feedback which is why i tend to work on two to three projects at the same time um just so i don't have any dead time that's being wasted you do have to be careful about this though because once in a while all these projects magically align together so you're all working at them at the same time and also all of the feedback waiting stages at the same time i don't know sometimes once in a while this happens and it sucks anyway as you can see my initial sketches are always really loose i don't think it's necessary to get too detailed at that point especially when they're going to be so many revisions involved afterwards after a few days i get some feedback and i go over all of the illustrations again to fix any changes that they ask for and at this point i also clean up the sketches a bit more it helps the client get a better idea of what the final art is going to be like since i would also fine-tune the character design here and also it helps me out because it's easier to paint a scene where the details are more fleshed out than something that's just stick figures you know [Music] [Music] [Music] in this book we have six envelopes to design as well as the six inserts that go inside of them originally i was really confused in how they worked and how i'm supposed to design them but the publisher was really kind enough to send over two picture books which also used the same concept of envelope inserts um and another friend um sent me a book as well as an example this was really helpful so i could understand what this concept would end up looking like when it was printed out and i was also able to pick out things i liked about it and things to change when i had to design my own inserts for example one thing i really enjoyed was the kind of realistic quality the letters had they looked like they were handwritten by actual people with actual pen and pencils i illustrate digitally but i thought it would be really cool to do the inserts by hand the envelopes are sent and mailed to different people and i wanted each envelope to reflect the person sending it or have some kind of unique design for each of them otherwise you end up with like each envelope being like a plain white boring thing and it gets really repetitive i had a lot of fun changing up the typography for each one and adding little details like stamps and stuff i designed each of the concepts digitally at first and then once they were approved i either painted them digitally or drew them out by hand using things like pencils colored pencils crayons ball point pens and then adding these extra details of um you know the texture from a cardboard nailer or washi tape i don't think i need to show you guys the sketch page since it's pretty similar to the final so i'll just share what the final art ended up looking like these are each of the envelopes and their inserts a letter from pharah to the mayor written on her dad's office stationery a petition drawn out by pharah i had so much fun pretending to draw like a little kid a professional envelope from a print shop with a poster inside announcing a meeting a protest sign an after school club envelope with a club member sticker inside a postcard sent from fire to the mayor before i get to work on painting the final art for the interiors let's work on the cover [Music] sometimes the cover is done at the very end of a project so that by the time that you've illustrated all of the interiors you have a stronger grasp on what the style of the book is going to be like and that you can refer to any story elements that happen in the book and put them onto the cover like easter eggs sometimes you do the cover first which is what happened here this is sometimes for marketing purposes so that they can start promoting the book asap the art director gave some ideas of what could be on the cover along with three possible templates i could use to follow with the title laid out they wanted to see pharah as the focus of the cover maybe along with her friends they wanted to see options with maybe their hands raised holding pencils you know with protest signs papers petitions and all that i ended up sketching out four concepts pharah holding a pencil and leading a march with her friends i kind of like this horizontal composition here pharah as the focus and a bunch of hands raised with pencils and protest signs this was my favorite of the bunch another version of just spyra with a city background behind her and finally one of pharah and her friends with all their protest material this was the design that ended up being selected and i think also the most child-friendly of the bunch i had a couple notes on the cover design so i worked to fix those and cleaned it up a bit and then sent over the file which was eventually approved and now we move on to color this is the first pass that i ended up with since i'm painting the cover before i do the actual interiors it's important for me to figure out what the palette is going to be like since it's basically going to determine what the whole book is going to be like in the future i generally have a palette that i like working on for all of my artwork it's not anything fixed but it's more just that i like working with these colors i like all my yellows to be mustardy and my blues to be kind of teal-ish and my greens to be like more yellowish than bluish i don't know they're just like certain specific colors that i like that i always use on my artwork i just really enjoy that vintage mid-century look and i feel like or at least i try to make my palettes capture that some key things i like to do is to repeat colors so it's a bit more cohesive for example if pharah's tights are pink i'll try to incorporate pink somewhere else in her design like her glasses or her hair clips maybe since we're working with multiple characters i also try to color them as a whole rather than individually and make sure that when they're all standing together their colors look good together i still want repeating colors throughout the team but i kind of assigned a different main color to each kid as well giving them their own sense of identity for the background at this point i just left it as like a pastel wash since i wasn't really sure what i wanted to do and then i sent this over for a review like i said i work on procreate and i just export a psd file and then send it over by we transfer the funny thing is is that the art director replied back politely saying like uh the colors look a little off i don't know i don't know what's going on here they look a little weird and i was like oh what are they talking about like what what's what looks weird about it i think it looks fine and then i opened up the file on procreate and like my face just fell i was like oh my god it looked like a mess and i was so embarrassed like in my head i thought like wow the publisher must think i don't know how to work with color at all it turns out that when i was creating my photoshop file i put accidentally put like a weird color profile um that was like a weird version of cmyk and it led to some pretty bizarre results i had to redo the file as a generic cmyk like i said i'm so bad with color profiles i don't understand them at all and so i just stick with the generic cmyk lesson learned don't do anything different anyway i sent over the correct file for approval and thankfully it was mostly good i just had a couple of small revisions mainly adding a background and changing flowers clothes in the end this was the cover that we decided on since we had the cover art finalized already we now have an established color palette that we are going to apply for the rest of the interior artwork [Music] i normally don't do a color rough stage i like to just improvise my colors and figure it out as i'm working on it but if you want to see what my color rough process is like you can check it out in my i'm perfectly designed video because i do it in that one for the painting style of this book i definitely wanted it to be stylistically interesting just in general this is how my style works i don't really focus on making sure the perspective is right i like my work to look kind of flat like on this page where there isn't a lot of depth in the living room and all the elements kind of look like they're on the same plane but at the same time you still feel a sense of space also things like changing the perspective twice on the same object i really like doing that ahead view on top front view on the bottom i just think it looks cool i also really like including lots of patterns in my work especially a lot of geometric shapes as well instead of drawing each individual book in the library with all of those details i like to apply them with simple shapes obviously these aren't things that you have to do with your art i just wanted to explain my thought process and how i figure out my style i mean as an artist i still have to understand perspective and anatomy and know what it all should look like when it's correct but after i understand how it looks like correctly i try to see how much i can push it stylistically to create more appeal remember you gotta learn the rules before you break them otherwise it just looks like you don't know what you're doing when i'm painting i also like to add in texture whenever i can my painting style is also pretty flat like i don't do a lot of rendering and shading it's all mostly one color so instead i have these flat colors and i try to create interest by adding in texture on top of it things like rough paint edges paint splatter pencil lines and colors layered on top of each other at the final art stage i also try to add in little details as well remember these books are going to be for children and most kids aren't actually reading the book they're just following along to it through the pictures adding in little surprises and details makes it more enjoyable for them for example at the scenes in city hall i thought it would be really fun for a bunch of people to have matching t-shirts you can totally imagine in your mind that previously pharah or maybe some of her friends had designed these t-shirts and handed them out and like really added to like this idea of a movement and another detail that i added which i which i thought was really funny is that one of farah's friends he always shows up with like his mom beside him and the mom is like super pregnant and then at the end of the book the mom has her baby like she's holding the baby adding recurring characters um adding in little things to read in the background and easter eggs are just a fun thing to consider when designing your backgrounds it's important to keep your characters looking consistent which can be very tricky but having reference open is super super super helpful i make sure i have those designs on a reference layer for every page so that i can keep referring back to it when i paint the characters when i draw other interior pages i'll always refer back to my initial character designs and not my previous pages that i've illustrated if that makes sense because if you keep using your previous pages as reference for your characters you might end up with like a telephone game situation where like with each page your character gets slightly more and more different until by the end of it they look completely different from your initial design so that's why i always refer back to my first initial design speaking of reference i love pinterest i keep a pinterest board for every single picture book that i work on and just collect inspiration for the style reference for objects and characters and just like anything else that might be useful for the book i saved a lot of pictures of urban gardens and like city streets and envelope designs for example for this book and i also use pinterest to search up kids fashion i'm just going to share a couple of pieces so you can see how i went from the sketch stage to the final you can see that i do make some adjustments to the artwork that are different from the original sketch if it makes sense to do so [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] let's talk about time management as well for a quick second i had two months to complete the final art which isn't a lot and so as the artist it's up to you to determine how you're going to distribute your time time management is super important as a freelancer and if you don't have a plan set up it can be super easy to end up rushing at the end because you didn't plan properly especially if you have other multiple projects going on at the same time let's do the math real quick we have two months which means eight weeks for 30 pages and six inserts which means that we have 56 days divided by 36 files of art which gives us 1.5 days to complete each page i told you this is a rush schedule not taking out any days for the weekend the good thing is is that not all of the pages are going to take me 1.5 days 12 of the 36 pages are going to be the front and the back of the envelopes which shouldn't take that long which leaves us 24 pages of actual illustration again not all of these 24 pages are going to take me 1.5 days each to illustrate some will take less time things like the simpler spots or an insert like a sticker but some of them might take more than 1.5 days like my first spread this is why planning this out at the beginning is so important you might not have a clear idea of how long each illustration is going to take you but you can try to make a guess and try to work that into your schedule so i didn't do this particular method for this book but recently with the help of my finance guy husband i started creating a sort of checklist for all of my more current picture book projects this is a sort of schedule i made for a 22 page book i did in fall it's ridiculously simple i just mark out each day with an estimated due date you'll see that some pages are given one day and some are given three depending on the complexity sometimes i'll finish up a page early and that's great then i can either continue working on the pages ahead of schedule or give myself a break for the remaining days until my next page is due i can also make sure to give the last page a deadline that's a bit earlier than the actual book deadline just in case i get behind schedule since this was a while back i actually don't know how i structured my days for this book but i know some people were asking me how long it takes for me to complete each illustration um and thankfully procreate gives you the option to see exactly how much time you spend on each illustration you make however this number just tells me the total time i spent actually drawing like my total drawing time and doesn't include the time that i spent let's say taking breaks or researching and pulling up references and so on so the total time is going to be a bit longer than these numbers i'm about to share anyway on average smaller spots like these take me about two to three hours of total drawing time whereas the more complex pages take about 10 hours of drawing time when all the artwork is done i send over my finished files i think i actually ended up submitting it two days earlier in advance so my method works i just sent over my psd files via wii transfer and just make sure everything in the files are labeled nicely and all the layers are like you know we have a bunch of separate layers so that the art director can move around elements as needed i got a few minor revisions but other than that my job was done now that the book is out oh wow uh i'm really happy with how it came out of course i'm always gonna be like my own worst critic and going like pick out the flaws and everything you know with a short schedule um i couldn't take as much time as i would have liked on each page and so i kind of feel like i rushed it really especially towards the end or like looking back at some of the pages i feel like i could have done some things differently or change the composition up a little bit some of the characters could have been drawn a little bit neater as well but again that's just me being a nitpicky artist overall i'm really proud of the work that i did on this and i love that once again i get to draw a book where the characters are super diverse and reflect um the world around us i think that the envelope pages work so well also i've never worked on a novelty book before and i think that the envelopes and inserts turned out so well anyway that's it how i illustrate my picture books and the whole picture book publishing process of course my process for each of my books changes a little bit so i would recommend that you check out my other videos on this topic because you might learn something else if you like this series please let me know and i'll try to do some other ones as well maybe covering uh my book below cook style that could be a fun one actually if you enjoyed this video and you learned something new please give it a like and also consider subscribing to my channel as i mentioned before i create tons of videos on what it's like being an illustrator advice for artists and more recently i started posting studio vlogs if you like those chill vibes and if you think that i've missed anything or if you think that i'm super wrong about something and you want to fight then fight me bro meet me in the comments box as always you can find my work at anushay.com you'll find all my other picture books on there too as well as other stuff that i've worked on follow me on twitter and instagram i am at foxville underscore art and i post art and other goodies there all the time i also have an online store which is just anushosaya.com shop and i sell prints and stickers and pins and all sorts of other goodies i think that's all i have for today um yeah if you see this book rise up and write it in any bookstores libraries etc if you ever buy this book you know thank you so much but yeah if you ever do purchase this book or you see it around please snap a picture and tag me on instagram please let me know i love seeing that kind of stuff and yeah as always thank you guys so much for watching and i hope you have a wonderful rest of your day and i'll see you soon okay bye [Music] [Music] you

Channel: Anoosha Syed

Views: 78,367

Keywords: art, illustration, draw, drawing, anoosha syed, art tutorial, foxville art, children's book illustration, drawing for kids books, how to make a picture book, drawing for books, picture books, books for kids, how to be an illustrator, writing for picture books, publishing art, publish your art, drawing on procreate, drawing on ipad, procreate illustration, drawing vlog, learn to draw, how to illustrate a childrens book, how to draw children's book, self publish kids books

Id: b7oCBp9txoE

Length: 41min 31sec (2491 seconds)

Published: Tue Jan 12 2021