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Inside the Yorkshire home of the Brontë sisters

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Ahead of the release of Emily, we look around the house of the literary Brontë sisters in Haworth, where their childhood surroundings have been recreated on the edge of the Yorkshire moors

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A quick insight into how Penguin Books create their book covers.

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A more in-depth article into the process of how Penguin design their book covers.

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A book's cover design is the window into its story, and might be the reason a reader first picks it up.

The art of conveying an entire manuscript into a single image, and making sure it's targeting the right audience, is a task taken on not just by designers, but by editors and the marketing, sales and production teams. "Collaboration is part of the whole design process", says art director for Penguin Random House Children's, Anna Billson, "From working with different teams and illustrators outside the company, to sharing inspiration or unlocking a problem, it helps us create the best possible book covers."

The author is of course consulted towards the end of the process when a proposed cover has been developed, and their opinion is hugely valuable, but ultimately the art department will make the final decision. These teams have a huge amount of expertise on what readers are looking for and what is likely to make a book sell - and know exactly how to bring that to life visually.

So, how does a book cover go from brief to bookshelf? Here, designers from across Penguin Random House take you through the journey.

Receiving the brief and researching

Every month each art department are given briefs for upcoming titles from editors, which are then distributed among the team by the art director. They will decide who the best designer is to take on each project, and then work with that person quite closely throughout the process.

'I always read all of the manuscript - you really need to know the book, I don't like to think that I'm missing anything'

After getting the brief, the designer liaises with the editor to ensure they've got everything they need before getting started. Whether or not they read the whole text is down to the designer. Marianne Issa El-Khoury, designer at Transworld says, "This truly depends on the designer and how they prefer to work: some need to read the entire manuscript before starting, others need to sketch hundreds of ideas before developing them more on their computers and some jump right into it from the information on the brief. Personally, I like to dedicate the first couple of days to research. For me, this means needing to read at least part of the manuscript to pick up on small elements I can incorporate into the cover. The wider process can vary from book to book, but I always start this way."

Suzanne Dean, art director at VINTAGE insists on reading the whole text, "I always read all of the manuscript - you really need to know the book, I don't like to think that I'm missing anything. After that comes the key part, research. If the book is a classic title I'll start by looking at any of the previous covers, as I don't want to repeat anything someone has done before me. I make notes in the margins of the novel, and from there I go to my creative notes."

Designers also have to keep audience at the forefront of their minds throughout their creative process. Anna explains, "When briefed, we ask, 'Who is this for? Who's our target audience? Who are the target retailers? What's the competition?"

'Some designers prefer to sketch straight onto the computer with a graphics tablet, and others are more traditional with simple pencil and paper'

Creating the first visuals

"I then move on to roughly sketching my ideas" says Marianne. "I value when a cover has a strong concept that elevates the design, so the ground work from my days of research will influence this. Some designers prefer to sketch straight onto the computer with a graphics tablet, and others are more traditional with simple pencil and paper!"

Suzanne likes to create mood boards to help not only herself, but be able to get across to the editor what look or mood she's trying to emulate in her cover. "As a designer, seeing these different sparks of inspiration really energises me and helps me find a direction in which to move forward. On a practical level, when you have a collection of images, it's very easy to communicate to an editor the direction in which you want to take the cover."

For children's books, the process is the same. If the designer is creating the cover themselves, they sketch ideas to share with their Art Director before creating a full rough draft to take to a covers meeting. "If an illustrator will be doing the cover, we go with a sketch that shows the direction we want to take it in", says deputy art director Ben Hughes. "The first covers meeting makes sure everyone's onboard before we properly tackle the design."

'The editors play a huge role when it comes to the realisation of a cover'

The covers meeting(s)

'A cover is in cover meetings a minimum of three times, but sometimes it can be 20'

"At this point we must have created several visuals for the books we have been assigned, which are then presented during the cover meeting in front of the editorial team, heads of departments and managing director", says Marianne, "The editors play a huge role when it comes to the realisation of a cover. They spend so long going over the manuscripts that most know the book as well as the authors, and so know exactly who the audience are." Alongside editorial, the sales team also have input in a covers meeting on which direction a concept should move in, as they have insights on the audience and what they respond to, plus where the book will primarily be sold.

"When working with an illustrator, the first covers meeting for a title may have illustrator suggestions," says Anna, "before coming back again with the rough draft from the illustrator. After this the typography is designed, because early on we'll just scribble things. A cover is in cover meetings a minimum of three times, but sometimes it can be 20, and each time there are often multiple routes and ideas being worked up.

"Sometimes you can come up with a brilliant concept, but actually, that concept doesn't translate into a decent book cover. So however good the concept, you have to let it go and try something else. But the covers meeting is also amazing, because there's a lot of times I will hold something up and the whole room will go, 'Wow!' And that's a great feeling for the designer."

After several cover meetings, when the design has been approved by all teams and sent to the author, the rest of the cover has to be put together, including spine, back cover and endpapers. All these aspects are very important - with the spine being the view of a book we see most often.
Illustration: Mike Ellis for Penguin
During all of this process, the design team will also work closely with the Production team, who turn the design onscreen into the physical book. Catherine Ngwong, head of production at Ebury explains more, "We can emboss a title, foil it, use spot UV and different laminates to make it feel and look really different." The team have to be very detail oriented as they're working for the finished product. "We have to spot any mistakes, and crucially, fix them!" Watch the production team colour correcting in the video below before the book is sent to the printers.

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A book's cover design is the window into its story, and might be the reason a reader first picks it up. The art of conveying an entire manuscript into a single image, and making sure it's targeting the right audience, is a task taken on not just by designers, but by editors and the marketing, [...]

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Tim Jacobuse produced artwork for many goosebumps books I read growing up. This article explains his creation process when illustrating the book covers.

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Tim Jacobus: The Illustrator Who Gave Goosebumps to Every ’90s Kid

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Tim Jacobus is the man behind over 100 Goosebumps book covers, the iconic illustrations that made the series a success. This Halloween, we celebrate the eerie, saturated art that every ’90s kid grew up loving!

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Book Cover Design: Banana Yoshimoto | Journal | Faber

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Sophie Harris, Senior Designer at Faber, shares her process for redesigning Banana Yoshimoto’s back catalogue.

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Book Cover Design: Giant by Mollie Ray | Journal | Cover Design | Faber

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How do you choose the cover design for a book made entirely of pictures? Illustrator, graphic novelist and now book designer Mollie Ray shares the process of designing the cover for her debut graphic novel, Giant.

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Book Cover Design: When I Arrived at the Castle by E. M. Carroll | Faber

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As Faber publishes the first UK edition of When I Arrived at the Castle, graphic novelist Emily Carroll tells us about her creative process designing a new cover for the book.

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This video really helped me grasp to not only show visual elements you see in your head when reading a story but to also convey how they make you feel and put that into your illustration.

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Book cover illustrations: The design process

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How to approach and design striking, illustrative covers for books about mental health

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Shortlisted for ABCD Award 22 | Design and illustration © Holly Ovenden

ABCD AWARD WINNER, Design and illustration © Holly Ovenden

Series design and illustration by Holly Ovenden

Shortlisted for ABCD award, Design and illustration © Holly Ovenden

WINNER of an ABCD Award 2022 | Design and image collage © Holly Ovenden

WINNER of an ABCD Award 2022 Design, illustration and hand-lettering © Holly Ovenden

Shortlisted for ABCD Award 22 | Cover design by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Tote Bag Design for the Women's Prize for Fiction

Design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design, collage illustration and hand-lettering by Holly Ovenden

Design and illustrated pattern by Holly Ovenden

Design, illustration and hand-lettering by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Design and photography by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design and illustration © Holly Ovenden

Design and illustration © Holly Ovenden

British Puffin Classics series design and interlinking illustration © Holly Ovenden

Cover design and illustration by Holly Ovenden

Design and botanical illustration © Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration © Holly Ovenden

Cover design and illustration by Holly Ovenden

Design and illustration © Holly Ovenden

Cover design and illustration © Holly Ovenden

Design and illustration © Holly Ovenden

Cover design and illustration © Holly Ovenden

Cover design and illustration © Holly Ovenden

Design and illustration © Holly Ovenden

Cover design and illustration © Holly Ovenden

Design, illustration and hand lettering by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration © Holly Ovenden

Cover design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design, illustration and hand-lettering by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Cover designs and illustrations by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Book cover design, illustration and hand -lettering by Holly Ovenden

Design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design, illustration and hand-lettering by Holly Ovenden

Cover design by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Cover design and illustration © Holly Ovenden

Cover design by Holly Ovenden

Image collage by Anna Bu Kliewer; art direction and hand-lettering by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Design and textile collage by Holly Ovenden

Design and illustration by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Series design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Cover design by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design, illustration and hand-lettering by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Cover designs and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Design and botanical illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Design and botanical illustration by Holly Ovenden

Cover design and illustration by Holly Ovenden

Design, illustration and collage by Holly Ovenden

Design and illustration by Holly Ovenden

Design, illustration and hand-lettering by Holly Ovenden

Design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Design illustration and hand-lettering by Holly Ovenden

Design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Illustration by Holly Ovenden

Design and pattern illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

Design, illustration and handlettering by Holly Ovenden

Design and illustration by Holly Ovenden

Design and image collage by Holly Ovenden

Design and image collage by Holly Ovenden

Design and image collage by Holly Ovenden

Design and illustration by Holly Ovenden

Design and illustration by Holly Ovenden

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Holly Ovenden Graphic Design and Illustration

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Micaela Alcaino is an Illustrator, Graphic Designer and Photographer based in London. Takes on projects worldwide.

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A podcast about Micaela Alcaino's book cover research and design process.

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Book Cover Designer (Publishing Jobs 101)

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Sydney Smith is a picturebook maker from Nova Scotia. Since graduating from NSCAD University, he’s worked on many books, including Town Is by the Sea, winner of the Kate Greenaway Medal, and Footpath Flowers, which was a New York Times Children’s Book of the Year and winner of the Governor General Award for Illustration.

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How to illustrate a children's book | Illustration process of Petit Panda

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Joaquín Camp studied Graphic Design at the University of Buenos Aires. As an illustrator, he’s worked for publishers in Argentina, Spain, Korea, the US, UK, Canada and Saudi Arabia. He’s been selected three times for the Bologna Children’s Book Fair Illustrators Exhibition, and the dPICTUS Unpublished Picturebook Showcase five times.

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Anete Melece studied Visual Communication at the Art Academy of Latvia and Animation at Lucerne University of Applied Sciences and Arts. Her animated short ‘The Kiosk’ has been shown in film festivals around the world and received many awards. Anete lives and works in Zürich as an animator and illustrator of comics and children’s books.

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Madame Saqui: Picture Book Illustration Process

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Madame Saqui: Picture Book Illustration Process — Rebecca Green Illustration

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Madame Saqui, Revolutionary Rope Dancer written by Lisa Robinson and published by Schwartz and Wade is out! As soon as this manuscript landed on my desk in 2017, I knew I wanted to illustrate it. Set against the backdrop of the French Revolution, the book celebrates the incredible rope dancer who d

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During this brief I was heavily influenced and inspired by the work of Julia Sarda from the unique composition choices she makes in her books, the gorgeous colours and drawing style.

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Entrevista a l’escriptora i il·lustradora Julia Sardà the funny feeling opening page character research II cover research my first authored book character research I three sisters salve regina the maze of the ants nettles the funeral party grandma spider sunnies pretend you don’t see them behind the garden fence the hanging bats more awake than ever down the stairs going down tomasina Look! mrs. ribot and her naughty friends lasagna for dinner together again :) Júlia Sardà Discusses THE QUEEN IN THE CAVE G+J the online shop happy birthday antonio Mama and Papa rooftop Frederick and winifred the door was open more scritch scratch still not on the list sundays the visitor stayed forever edward and grandpa opening illustrator & author are you on the list? scritch scratch haunted house The Liszts Cover russian edition by polyandria the big chain Light Years the dangers of stupidity Júlia Sardà en Vilustrado 2019 the importance of being scared master and margarita chapete y viva la muerte mungojerrie and rumpelteazer II the song of the jellicles the rum tum tugger I the rum tum tugger II mungojerrie and rumpelteazer I the old gumbie cat jennyanydots growltiger’s last stand the naming of cats II the naming of cats I BEYOND THE HILLS a handbook duckworth cast the difficult child I a cobra in the closet keep it on the surface difficult parents II difficult parents I edificant chores things were getting worse but no one seem to notice dinner with a cobra the snake stayed the end the difficult child II Missing Arabella alice in wonderland home Starving Grandparents ? London england characters for arabella north by northwest the golden ticket III Mr. Banks Júlia Sardà ilustrando «El brazo marchito» de Thomas Hardy. AstroRey #2 unexpected visistors young priscilla Inez Norton some kind of happiness gum machine the colden ticket I golden ticket II the inventing room viking ship violette augustus wind from the east the peculiar nanny bad tuesday back home laughing gas “feed the birds” tickets pepper and pig matilda I matilda II matilda III INSTRUMENT I INSTRUMENT II MASSANA across the moor2 mistress mary quite contrary the key of the garden the strangest house the robin who showed the way martha royal mail el juicio la contradanza de los bogavantes conejo manda a un tal pequeño bill una carrera de comité yo estoy loco. y tú estás loca. ¿Quién eres tú? el testimonio de alicia ¿En qué se parece un cuervo a un escritorio? the cyclone good bye emerald city the emerald city the tin man the fighting trees nikola dorothy and aunt em nikola II

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The Feast Of The Clover Moon The box set illustration celebrates my love for food and foliage from Japan and Michigan, two places dear to my heart. My husband and I lived in Japan for two and a half years, and of course Holbein itself is based in Osaka.

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I would like to produce something along similar lines to this when producing my rough spreads. Although it looks very clean I would like to produce it more rougly but still be including text and a flat colour to show darkness and shadow.

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I love the composition here with the illustrations and text going hand in hand in a zig zag pattern which makes it fun for eyes to follow! I would like to adopt this within my childrens book.

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I really like this comparison image of the rough sketch against the finished spread!

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rufus the bat who loved colors - Google Search

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An impactful children's book character is the first thing anyone sees before reading a single word. The design needs to hook the reader. The character has to be appealing, identifiable, and marketable. They need to have thoughts and feelings and a well-rounded personality. Someone that readers could latch onto..

Designing good characters isn't easy, but when done well, a children's book character can be someone to relate to for a lifetime.

Let's dive deep into my process of designing characters when I'm illustrating a children's book.

Designing Omar

In the story "Two Homes in Omar's Heart" written by Ibtisam Barakat, we follow Omar, an immigrant Palestinian child from Jericho on a magical journey with his first new friend to discover that he does not have to lose a home to have a new home.

As a native-born American, I couldn't immediately relate to Omar or the immigrant experience. I needed to do some intense research, ask my author lots of questions, and really sit with the character to let him speak to me.

I listened to my author's story of how she immigrated to America. She shared her experience of leaving everything she loved behind. She shared the pain and the beauty of how her journey had shaped her. Fueled by her insight, I began to research further.

I gathered references for common Afro-Palestinian features and I finally dug deep enough to start sketching. I focused on Omar's face because once I nailed that, everything else was smooth sailing.

Unearthing Omar's personality took some internal digging, too. I designed his personality from my own experiences of feeling inadequate and insecure. I pulled from the times of being the new kid in the classroom and expanded the "classroom" into a country.

I also discovered my love of really thick eyebrows.

The moment Ibtisam saw Omar's final design, she squealed with delight. She fell in love with him.
Her readers did too.
Omar blossomed into an empathetic, emotional character who felt displaced in his new American city, but he'd make new friendships that would last a lifetime.

Designing Little Dragon

When I read the manuscript of "Our New Normal" by my author Dr. Margaret Bristol, PhD, I couldn't help but deeply empathize with the main character.

In this story, Little Dragon worked their scales off to be head of their school band to but is disappointed yet again by their no-show parent Big Dragon. Little Dragon soon learns why Big Dragon can't handle certain events anymore. And although they've changed, Big Dragon's love for Little Dragon has only gotten stronger.

I knew immediately that I wanted to illustrate a bipedal dragon character for this children's book. I also had inspiration from my favorite dragon characters from past TV shows and videogames to pull from. After reading the manuscript, I instantly started sketching.

I needed to explore a range of emotions for the potential children's book character. As much as it breaks my heart, Little Dragon breaks down and sobs in the story. But they also experience excitement, relief, and downright exhaustion throughout the story. I needed to make sure I could capture that in a strong, emotive children's book character.

I explored an exhaustive array of dragon designs. I played with different shape languages, different sizes, claw shapes, horn shapes, you name it!

This children's book is suited for younger kids around the ages of 4-6. Little Dragon needed to be dragon-like while appealing to younger audiences. I absolutely needed to play up the cute factor.

After much trial and error, I eventually fell head over heels for this design. I couldn't help it. I adored this little one too much! My author loved this design of Little Dragon and wanted to squeeze them off my screen!

It's reactions like Maggie's and Ibtisam's that makes the bags underneath my eyes worth it. It was their imaginative children's book stories and beautiful characters that gripped me and inspired me with every word I read.

I strongly believe every great children's book deserves meticulous attention, professional artwork, and the utmost care. Appealing characters is one large piece of the puzzle.

Never Miss a Post

PrettyKittyPeriodicals is a quarterly behind-the-scenes look of super secret developments as a children's book illustrator.

Sign up below to get them juicy deets! 👀

An impactful children's book character is the first thing anyone sees before reading a single word. The design needs to hook the reader. The character has to be appealing, identifiable, and marketable. They need to have thoughts and feelings and a well-rounded personality. Someone that readers could latch onto..

Designing good characters isn't easy, but when done well, a children's book character can be someone to relate to for a lifetime.

Let's dive deep into my process of designing characters when I'm illustrating a children's book.

Designing Omar

In the story "Two Homes in Omar's Heart" written by Ibtisam Barakat, we follow Omar, an immigrant Palestinian child from Jericho on a magical journey with his first new friend to discover that he does not have to lose a home to have a new home.

As a native-born American, I couldn't immediately relate to Omar or the immigrant experience. I needed to do some intense research, ask my author lots of questions, and really sit with the character to let him speak to me.

I listened to my author's story of how she immigrated to America. She shared her experience of leaving everything she loved behind. She shared the pain and the beauty of how her journey had shaped her. Fueled by her insight, I began to research further.

I gathered references for common Afro-Palestinian features and I finally dug deep enough to start sketching. I focused on Omar's face because once I nailed that, everything else was smooth sailing.

Unearthing Omar's personality took some internal digging, too. I designed his personality from my own experiences of feeling inadequate and insecure. I pulled from the times of being the new kid in the classroom and expanded the "classroom" into a country.

I also discovered my love of really thick eyebrows.

The moment Ibtisam saw Omar's final design, she squealed with delight. She fell in love with him.
Her readers did too.
Omar blossomed into an empathetic, emotional character who felt displaced in his new American city, but he'd make new friendships that would last a lifetime.

Designing Little Dragon

When I read the manuscript of "Our New Normal" by my author Dr. Margaret Bristol, PhD, I couldn't help but deeply empathize with the main character.

In this story, Little Dragon worked their scales off to be head of their school band to but is disappointed yet again by their no-show parent Big Dragon. Little Dragon soon learns why Big Dragon can't handle certain events anymore. And although they've changed, Big Dragon's love for Little Dragon has only gotten stronger.

I knew immediately that I wanted to illustrate a bipedal dragon character for this children's book. I also had inspiration from my favorite dragon characters from past TV shows and videogames to pull from. After reading the manuscript, I instantly started sketching.

I needed to explore a range of emotions for the potential children's book character. As much as it breaks my heart, Little Dragon breaks down and sobs in the story. But they also experience excitement, relief, and downright exhaustion throughout the story. I needed to make sure I could capture that in a strong, emotive children's book character.

I explored an exhaustive array of dragon designs. I played with different shape languages, different sizes, claw shapes, horn shapes, you name it!

This children's book is suited for younger kids around the ages of 4-6. Little Dragon needed to be dragon-like while appealing to younger audiences. I absolutely needed to play up the cute factor.

After much trial and error, I eventually fell head over heels for this design. I couldn't help it. I adored this little one too much! My author loved this design of Little Dragon and wanted to squeeze them off my screen!

It's reactions like Maggie's and Ibtisam's that makes the bags underneath my eyes worth it. It was their imaginative children's book stories and beautiful characters that gripped me and inspired me with every word I read.

I strongly believe every great children's book deserves meticulous attention, professional artwork, and the utmost care. Appealing characters is one large piece of the puzzle.

Never Miss a Post

PrettyKittyPeriodicals is a quarterly behind-the-scenes look of super secret developments as a children's book illustrator.

Sign up below to get them juicy deets! 👀

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How I Design Characters When Illustrating a Children's Book - PrettyKittyPaintings

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Designing good characters isn't easy, but when done well, a children's book can be something to last a lifetime. Let's dive deep into my process of designing characters when I'm illustrating a children's book.

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I wanted to display my character design sheet in a way similar to this. Not only showing how character looks but how they express themselves through their emotions and the way they move.

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The Brontë novels | The Brontë Parsonage Museum

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What did the Brontës write?The Brontë sisters left a legacy through their much-loved, world-famous novels.To this day, the works of these three sisters gri

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The lives of the Brontës | The Brontë Parsonage Museum

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An introduction to Yorkshire’s famous literary familyCharlotte, Emily and Anne Brontë penned some of the most groundbreaking novels in the history of Engli

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The Brontës’ Haworth | The Brontë Parsonage Museum

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Learn about Haworth as the Brontës knew itToday, the West Yorkshire village of Haworth attracts thousands of visitors every year; but what was it like when

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Charlotte, Emily and Anne Brontë were sisters and writers whose novels have become classics.

Charlotte was born on 21 April 1816, Emily on 30 July 1818 and Anne on 17 January 1820 all in Thornton, Yorkshire. They had two sisters, both of whom died in childhood and a brother, Branwell. Their father, Patrick, was an Anglican clergyman who was appointed as the rector of the village of Haworth, on the Yorkshire moors. After the death of their mother in 1821, their Aunt Elizabeth came to look after the family.

All three sisters attended different schools at various times as well as being taught at home. The Brontë children were often left alone together in their isolated home and all began to write stories at an early age.

All three sisters were employed at various times as teachers and governesses. In 1842, Charlotte and Emily went to Brussels to improve their French, but had to return home early after the death of their aunt Elizabeth. Charlotte returned to Brussels an English teacher in 1843-1844. By 1845, the family were back together at Haworth. By this stage, Branwell was addicted to drink and drugs.

In May 1846, the sisters published at their own expense a volume of poetry. This was the first use of their pseudonyms Currer (Charlotte), Ellis (Emily) and Acton (Anne) Bell. They all went on to publish novels, with differing levels of success.

Anne's 'Agnes Grey' and Charlotte's 'Jane Eyre' were published in 1847. 'Jane Eyre' was one of the year's best sellers. Anne's second novel, 'The Tenant of Wildfell Hall' and Emily's 'Wuthering Heights' were both published in 1848. 'The Tenant' sold well, but 'Wuthering Heights' did not.

Branwell died of tuberculosis in September 1848. Emily died of the same disease on 19 December 1848 and Anne on 28 May 1849.

Left alone with her father, Charlotte continued to write. She was by now a well-known author and visited London a number of times. 'Shirley' was published in 1849 and 'Villette' in 1853. In 1854, Charlotte married her father's curate, Arthur Nicholls. She died of tuberculosis on 31 March 1855.

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Read a biography on the 19th century authors the Bronte Sisters responsible for the famous novels 'Jane Eyre' and 'Wuthering Heights'

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During this brief, my work was heavily inspired by the works of Trevor Shin. He has a gritty and 'scratchy' style unlike any I've seen.

He can document people in their everyday lives in a unique format, whether it be a hundred faces in a crowd on a single page or someone standing alone amongst never-ending wilderness, I wanted to carry my interpretation of his work into my own.

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Paul Heaston is an artist I have looked up to for a couple of years, he is able to capture drawing from life with such fluidity yet accuracy.

I love his use of cross-hatching that is frequently shown in his work that gives it that little nudge towards his trademark style compared to other observational artists I have seen.

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Ink and Inspiration: Drawing on the Go with Paul Heaston

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We all can get an epiphany at the most random moments of our lives and, for Paul Heaston, this happened very early on. From a young age and inspired by his mother’s creativity, as well as a gift from his uncle, he eventually realized that art was something he wanted to do. Now armed with pen and paper to capture the world around him whenever and wherever, join us as we follow Paul’s artistic journey. We hope you find inspiration and useful advice here to help you pursue your own creative endeavors! My mother was the reason I wanted to be an artist. She has drawn and painted and made things for as long as I can remember, and I wanted to be just like her. When I was very young she brought home a huge stack of pink paper from her office and I filled every sheet with drawings. That was the first inkling I had that art would be something important for me.
But I don’t think I considered making a career of it until middle school when my uncle gave me a copy of

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I recently came across Natalya Balnova's work whilst finding practitioner inspiration for this brief.

Her work whilst new to me, became a standout as I love how she documents historical figures in a light hearted yet attention grabbing way through her use of various artistic mediums paired with her bold colour and type choices.

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A big inspiration for my Coraline book cover is the work of Junji Ito, a renown horror manga artist who's style is very unique and dark. I wanted to incorporate the same eerie, gritty feeling into my work and I did this by working with a limited dark colour palette and using heavy crosshatch shading.

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Isabella Mazzanti is an artist I came across during my research into artistic inspirations. I love how she is able to create tension and a strong narrative in her illustrations which is something I sought after during this brief.

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Thomas Ott is a swiss contemporary artists whos work I have recently discovered. The very creepy aesthetics and textures in his illustrations make me feel uneasy even if there is nothing scary happening for the image, an example being the one I have displayed here.

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This article helped me understand what to include in my artwork to give viewers a sense of unease and helped me further push the horror elements in my piece.

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In this article, you will discover the enchanting world of horror illustrations and how they masterfully create fear through art. By exploring the dark and mysterious realm of drawing, you will uncover the techniques and secrets that artists use to send shivers down your spine. Get ready to delve into the spine-chilling world of horror illustrations and unlock the power to inspire fear in the hearts of those who gaze upon your creations. Let your imagination run wild as we explore the art of drawing for horror illustrations.

Choosing the Right Subject

When it comes to creating horror illustrations, choosing the right subject is crucial. Understanding horror themes can help you identify the elements that make a piece truly horrifying. Whether it's the supernatural, psychological, or visceral horror, exploring different styles will give you a wide range of options to choose from. Additionally, considering audience preferences is vital to ensure your artwork resonates with your target audience, whether it be horror enthusiasts or fans of a specific subgenre.

Understanding Horror Themes

To create effective horror illustrations, it's important to delve into the various horror themes. These can include elements such as monsters, ghosts, the occult, psychological fear, and many more. Understanding these themes will give you a solid foundation to build upon and will allow you to effectively convey fear through your artwork.

Exploring Different Styles

Horror illustrations can be created using various styles, from realistic to surrealistic, from minimalist to highly detailed. Experimenting with different styles allows you to find your own unique voice as an artist. You can play with different techniques, compositions, and visual elements to create a distinct atmosphere that captures the essence of horror.

Considering Audience Preferences

While it's important to stay true to your artistic vision, considering the preferences of your target audience can make your horror illustrations more impactful. Researching the horror community and engaging with horror enthusiasts will help you understand what resonates with them. Tailoring your illustrations to their preferences can make your artwork more relatable and engaging for your audience.

Creating the Atmosphere

Creating the right atmosphere is crucial for horror illustrations. It sets the stage for fear and adds depth to your artwork. By incorporating dark shadows and lighting, you can create a sense of mystery and tension. Play with perspective and composition to guide the viewer's gaze and evoke a feeling of unease. Symbolism and detailing can also enhance the atmosphere, adding layers of meaning and adding to the overall sense of dread.

Using Dark Shadows and Lighting

Dark shadows and lighting are key elements in horror illustrations. By strategically placing shadows and using contrasting lighting, you can create a sense of foreboding and add depth to your artwork. Utilizing techniques such as chiaroscuro can create dramatic effects that enhance the atmosphere of horror.

Playing with Perspective and Composition

Perspective and composition are powerful tools for creating atmosphere in horror illustrations. Experimenting with unconventional angles, extreme close-ups, or distorted perspectives can enhance the feeling of unease and disorientation. By carefully arranging the elements within your illustration, you can guide the viewer's gaze and create a sense of suspense and anticipation.

Utilizing Symbolism and Detailing

Symbolism and detailing can add layers of meaning to your horror illustrations, making them more thought-provoking and impactful. Incorporate symbolism that aligns with the chosen horror theme to evoke specific emotions or concepts. Pay attention to the small details in your artwork, as they can make a significant difference in creating a chilling atmosphere.

Emphasizing Fear through Anatomy

Anatomy plays a crucial role in horror illustrations. By distorting proportions and limbs, you can evoke a sense of unease and otherworldliness in your artwork. Ghastly facial expressions can help convey the terror experienced by your characters. Additionally, body language and gestures can communicate fear and vulnerability effectively.

Distorting Proportions and Limbs

Distorting proportions and limbs can make your characters appear unsettling and evoke feelings of unease and otherness. Experiment with stretching or warping body parts to create a sense of discomfort. This technique can emphasize the supernatural or monstrous nature of your subjects, adding to the overall horror of your illustrations.

Incorporating Ghastly Facial Expressions

Facial expressions are a powerful tool in horror illustrations. Use facial features to convey fear, agony, or terror. Experiment with exaggerating facial expressions, adding grotesque elements, or highlighting specific features to emphasize the horror your characters are experiencing. The facial expressions of your characters can greatly contribute to the overall impact of your illustrations.

Highlighting Body Language and Gestures

Body language and gestures can convey fear and vulnerability in your characters. Experiment with bent or contorted postures, trembling limbs, or defensive gestures to depict the terror your characters are experiencing. Pay attention to subtle details in the positioning and movement of the body to evoke powerful emotions in your audience.

Mastering Sketching Techniques

Having a strong foundation in sketching techniques is essential for creating compelling horror illustrations. Starting with basic shapes and lines will help you establish the overall form of your subject. Experimenting with different textures can add depth and detail to your artwork, while cross-hatching and stippling techniques can create shadows and add texture.

Starting with Basic Shapes and Lines

Start by sketching basic shapes and lines to outline the composition and main elements of your horror illustration. This will help you establish the overall form and structure before diving into the intricate details. Pay attention to proportions and placement to create a solid foundation for your artwork.

Experimenting with Various Textures

Textures are an important aspect of horror illustrations, as they can add depth and detail to your artwork. Experiment with different techniques such as hatching, stippling, or cross-contour lines to create textures that enhance the atmosphere of your illustration. Textures can evoke feelings of decay, roughness, or unease, further enhancing the horror element in your artwork.

Employing Cross-Hatching and Stippling

Cross-hatching and stippling are techniques that can be used to create shadows, depth, and texture in your horror illustrations. Cross-hatching involves drawing parallel lines in different directions, while stippling involves creating textures using individual dots. Experiment with these techniques to add dimension to your artwork and create a visually intriguing piece.

Enhancing with Color and Tone

Color and tone play a crucial role in setting the mood and atmosphere of your horror illustrations. By using a limited color palette, manipulating contrast and value, and creating mood with color schemes, you can enhance the fear and terror in your artwork.

Using a Limited Color Palette

A limited color palette can create a sense of focus and intensity in your horror illustrations. Choose colors that align with your chosen theme and evoke the desired emotions. Restricting your color choices can add depth and create a cohesive visual experience, enhancing the impact of your artwork.

Manipulating Contrast and Value

Contrast and value are essential elements in horror illustrations. Experiment with the interplay between light and dark to create compelling visual effects. By manipulating contrast and value, you can create depth, drama, and tension in your artwork, heightening the fear factor.

Creating Mood with Color Schemes

Color schemes can greatly influence the mood and atmosphere of your horror illustrations. Experiment with different color combinations to evoke specific emotions or set the tone for your artwork. Cool colors can create a sense of eeriness or isolation, while warm colors can convey intensity or danger. Use color strategically to enhance the overall impact of your illustrations.

Exploring Different Mediums

Exploring different mediums can expand your artistic horizons and give your horror illustrations a unique touch. From graphite pencils to ink and pen, and even digital tools, each medium offers its own set of advantages and challenges.

Working with Graphite Pencils

Graphite pencils are a versatile medium that allows for detailed and precise drawings. They are well-suited for creating realistic textures and shading. Experiment with different pencil grades to achieve various levels of darkness and create depth in your horror illustrations. Graphite pencils offer a traditional and timeless look to your artwork.

Experimenting with Ink and Pen

Ink and pen provide a bold and expressive look for your horror illustrations. Whether using dip pens for fine details or brush pens for dynamic lines, this medium allows for intricate linework and dramatic effects. Experiment with different ink techniques such as cross-hatching or stippling to create shadows and textures that add to the horror element in your artwork.

Utilizing Digital Tools

Digital tools offer flexibility and endless possibilities for creating horror illustrations. With digital drawing tablets and software, you can experiment with various brushes, textures, and effects. Digital tools also allow for easy editing and manipulation of your artwork, giving you the freedom to explore and refine your ideas. The convenience and versatility of digital mediums make them an excellent choice for digital illustration and concept art.

Incorporating Symbolism and Imagery

Symbolism and imagery can add depth and meaning to your horror illustrations. By exploring common horror symbols, using metaphorical representations, and incorporating psychological imagery, you can create artwork that resonates with your audience on a deeper level.

Exploring Common Horror Symbols

Common horror symbols, such as skulls, spiders, and bats, have deep-rooted associations with fear and death. Incorporating these symbols into your illustrations can amplify the horror element. Experiment with different interpretations and contexts to create unique and powerful visuals.

Using Metaphorical Representations

Metaphorical representations can be used to convey complex emotions and concepts in your horror illustrations. Symbolic objects, distorted imagery, or abstract forms can create a sense of unease and leave room for interpretation. Play with metaphorical representations to engage your audience's imagination and provoke deeper thoughts and emotions.

Incorporating Psychological Imagery

Psychological imagery can add layers of meaning and psychological depth to your horror illustrations. Explore themes such as nightmares, phobias, or psychological disorders to create artwork that resonates on a subconscious level. Incorporate elements that tap into primal fears and explore the darker corners of the human psyche.

Understanding the Horror Genre

To create impactful horror illustrations, it's essential to have a deep understanding of the horror genre. Researching horror literature and films, analyzing iconic horror artworks, and studying horror art movements will expose you to different approaches and inspire your own artistic exploration.

Researching Horror Literature and Films

Immerse yourself in the world of horror by reading horror literature and watching horror films. Explore different subgenres, from classic horror novels to contemporary horror films, to understand the themes and elements that make them effective. This research will expose you to various storytelling techniques and visual concepts that you can incorporate into your own illustrations.

Analyzing Iconic Horror Artworks

Study iconic horror artworks from renowned artists to gain insights into their techniques and storytelling abilities. Analyze how these artists effectively evoke fear and create immersive experiences through their artwork. Pay attention to their use of color, composition, and symbolism to understand the visual strategies employed in horror illustrations.

Studying Horror Art Movements

Horror art movements, such as Gothic art or Surrealism, offer unique perspectives on the horror genre. Dive into the history of these movements and explore the works of artists associated with them. By studying the influences and techniques of these art movements, you can expand your artistic repertoire and discover new ways to approach horror illustration.

Telling a Story with Illustrations

Illustrations have the power to tell a story and engage the viewer in a narrative. When creating horror illustrations, focus on creating sequential art panels, developing narrative and pacing, and building suspense and climax to evoke fear and captivate your audience.

Creating Sequential Art Panels

Sequential art panels allow you to tell a story or convey a series of events in a single composition. Plan your illustrations in a way that guides the viewer's eye from one panel to another, creating a sense of progression. Use composition, character positioning, and visual cues to establish a clear narrative flow.

Developing Narrative and Pacing

Develop a narrative in your horror illustrations that builds tension and keeps the viewer engaged. Establish a clear beginning, middle, and end to create a cohesive and satisfying storytelling experience. Experiment with pacing by varying the sizes and compositions of your panels to create suspense and anticipation.

Building Suspense and Climax

Building suspense and climax is essential in horror illustrations. Use techniques such as foreshadowing, visual tension, and pacing to create a sense of dread and anticipation. The climax of your illustration should be the pinnacle of fear, where the horror element is at its strongest. Mastering the art of building suspense and delivering a climactic moment will leave a lasting impact on your audience.

Showcasing Your Artwork

Once you have created your horror illustrations, it's important to showcase your artwork to the world. Building an online portfolio, participating in horror art exhibitions, and collaborating with horror authors and filmmakers can help you gain exposure and connect with a wider audience.

Building an Online Portfolio

Create an online portfolio to showcase your horror illustrations. Create a website or utilize online platforms specifically designed for artists to display your artwork. Organize your portfolio in a way that highlights your best works and effectively represents your style and range as an artist. Regularly update your portfolio with new pieces to keep it fresh and engaging.

Participating in Horror Art Exhibitions

Look out for horror art exhibitions or galleries that specifically showcase horror-themed artwork. Submit your illustrations to these exhibitions to gain exposure within the horror art community. Participating in these events can lead to valuable connections, feedback from fellow artists, and potential opportunities to sell your artwork.

Collaborating with Horror Authors and Filmmakers

Collaborating with horror authors and filmmakers can provide unique opportunities to bring your illustrations to life. Reach out to horror authors to offer your services for book covers or interior illustrations. Networking within the horror filmmaking industry can lead to collaborations on movie posters or promotional artwork. Such collaborations can expose your artwork to a broader audience and enhance your credibility as a horror illustrator.

In conclusion, creating horror illustrations that evoke fear and captivate audiences requires a comprehensive understanding of horror themes, mastery of art techniques, and a deep appreciation for the horror genre. By choosing the right subject, creating the right atmosphere, emphasizing fear through anatomy, mastering sketching techniques, enhancing with color and tone, exploring different mediums, incorporating symbolism and imagery, understanding the horror genre, telling a story through illustrations, and showcasing your artwork, you can create compelling horror illustrations that leave a lasting impression on those who experience them. Embrace your creativity, push the boundaries of horror art, and continue to refine your skills to become a master of horror illustration.

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Drawing For Horror Illustrations: Creating Fear Through Art. - Treesforanja

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Discover the enchanting world of horror illustrations and how they create fear through art. Uncover techniques, styles, and audience preferences that make these illustrations spine-chilling. Delve into the dark realm of horror illustrations and inspire fear with your own creations.

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This article by Anthony Scott Waters who has worked for a range of big gaming companies, helped me in particular with tailoring the creepy aspect of my artwork for the intended audience of the book.

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12 tips for creating truly terrifying art

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Anthony Scott Waters explains how to examine the darkest aspects of human nature.

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Although I am a big fan of the film Coraline, I rewatched the film when I started this brief so that I was able to remind myself of the themes and aesthetics of the film before sketching out my initial ideas for my book cover.

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I own the art book for a video game named Sally face, this video game carries a very similar creepy themes similar to Coraline so I went back and read over the book to see how the artists achieved this horror aspect in their work which I implemented into my book cover.

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Illustrated Book Cover Design Process and Examples - MIBLART

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Get to know more about illustrated book cover design, its advantages and creation. Look at our sketches and their final versions.