Ellen Jin Over is an art director, visual development artist, and illustrator. She’s also our featured artist in this quarter’s Illustrator Gallery! Her work has appeared on televisions all over the world for the last 20 years. Spirit Riding Free, now on Netflix, is her latest project. Before that, she was art director on Disney’s Tinkerbell movies for nine years.
She didn’t always know what she wanted to do with her life until her senior year in high school pushed her to figure it out. “I got lucky that my long-forgotten childhood obsession of drawing and making paper dolls suddenly came back to my mind one day and I decided to major in art. After studying illustration at Otis, I stumbled upon a job interview for a position in an animation company.” The rest is history! Her program of choice is Adobe PhotoShop, something we tend to think of for editing photos, not creating illustrations, but Ellen does beautiful things with it! She tells us more in the interview below.
Sarah Parker-Lee: How did you choose to use Photoshop over other programs?
Ellen Jin Over: Photoshop has been around for 30 years. When I was going to school in the early 90’s, that was the only computer software that was available for students at Otis School of Art and Design. It was mostly for graphic designers. It just happened that illustrators like me found it useful to create images too…Photoshop started to be used more in some animation studios for digital paintings [in the] late 90’s.
There are many painting software today such as Painter, Coral Painter, Illustrator, etc–some for professionals and some for “regular Joe” doodling. I just have not found any other software that is comparable to Photoshop. It’s fast and easy.
SPL: Do you only work digitally or do you do any hand drawing? What do you think are the benefits of each? Continue reading
By Jill Tuckman
By Emily Asaro
Picture books are like little paper theaters inviting us to take a journey. When we provide a believable sense of space, we invite our readers to step into that world.
Clelia Gore is a lawyer-turned-literary-agent who heads 
Meet SCBWI member and illustrator Lauren Gallegos in this quarter’s “Illustrator’s Gallery.” Read on to hear Lauren’s story and see some of her amazing illustrations!
In one of my early illustration classes in college, a professor gave us a quiz to see if we were more cut out for being an in-house illustrator or a freelance illustrator. The test placed me VERY much in the camp of in-house illustrator based on my personality and working style. I was pretty discouraged by this. I was still new to the illustration world (I started out in Graphic Design), but was already on my way down the path of wanting to become a children’s book illustrator. In my mind, that could only mean that I had to do freelance. So what did I do? I set out to prove that quiz wrong! No one was going to put me in a box and tell me what I was destined to be! 
I mainly work in visual storytelling, which is a fancy way of saying I like to draw pictures that tell a story. Throughout the years, this has meant working in animation, editorial, and now, children’s books. Drawing and writing for kids is something I’ve always wanted to do, because when I was a kid, I loved stories and movies and books, but I wanted more of them to look like me (rather selfishly, I admit). This is a pretty common thread amongst a lot of creators and storytellers I meet. We become artists so we can add to the mix and enrich the narrative with our perspectives and experiences and dreams. 
SCBWI member Anne Berry is an illustrator living and working in Huntington Beach, California. She’s been doodling ever since she found paper and pencil, and could get her cats to sit long enough for a portrait. At the 2015 SCBWI Summer Conference, she won the SCBWI Mentorship Program award and the Portfolio Honor Award. Read on for her valuable tips about perfecting your own portfolio and to check out her awesome illustrations!
