Last updated on Sep 24, 2025
30 Amazing Children's Book Illustrators for Hire
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Dario Villirilli
Editor-in-Chief of the Reedsy blog, Dario is a graduate of Mälardalen University. As a freelance writer, he has written for many esteemed outlets aimed at writers. A traveler at heart, he can be found roaming the world and working from his laptop.
View profile →If you’re an author working on a children's book, sooner or later you’ll find yourself in need of hiring a professional to bring your narrative to life with stunning visuals. But how do you connect with an artist whose drawings and talent are the right match for your story and vision?
In this post, we’ll introduce you to 30 of the best professional children’s book illustrators in the industry who you can hire today.
Q: What qualities should a picture book author look for when selecting an illustrator to complement their story?
Suggested answer
Most importantly, you want to work with an illustrator that understands the correct formatting, page breakdown, and processes for picture book work. There is a lot more to creating a picture book than just the art itself. Pacing, page layout, etc are all crucial, and you don't want to be stuck with an artist that is providing beautiful art that is also incorrectly dimensioned. This often is reflected in their pricing structure. You know an illustrator understands the entirety of the job and is professional when they are quoting you an appropriate amount for the work. Picture books are expensive for a reason and if someone is quoting you a great deal... it's probably too good to be true.
Caitlin b. is available to hire on Reedsy ⏺
Aside from the obvious aspects such as whether the author likes the illustrator's style/artwork, I think communication is key. If an incredibly talented skilled illustrator isn't great at explaining their process or doesn't fully respond to your questions, the project is just going to be a lot more difficult for both parties. I also think personal experience with self-publishing is so useful and the authors I've worked with have been delighted with the 'insider' tips and advice I've been able to share as we go through the process – from formatting and design, to marketing and creating a buzz on social media. Those aren't part of an illustrator's remit, but it helps because I know what an author is likely to need for marketing, for example, and can provide those elements within the project package, saving the author time and money.
Siski is available to hire on Reedsy ⏺
Cyndi H.
Cyndi specializes in children’s picture books and chapter books. Working digitally in Procreate, she creates joyful, high-energy adventures: a little diver weaving through schools of fish, Halloween streets glowing with friendly ghosts, a tiny witch greeting her ghostly pal, and a tree-top quest. Whimsy with a cinematic pop.
Natalia G.
Natalia G. is a Milan-based freelance children’s illustrator who creates soft, pastel worlds with a folk-art touch: a beach romp with a donkey and bear, a luminous phoenix-like bird on black, a cozy French bakery, and a sunny park where kids watch ducks by the pond. Natalia’s pages feel friendly, handmade, and quietly magical.
Check out Natalia’s portfolio.
Dorota R.
With over 14 years of experience and 25+ children’s books illustrated, Dorota R. combines warmth, imagination, and professional polish. Whether it’s a wintry reading nook with a fox and rabbit, a sunlit cuddle with a bear family, and a seaside splash with a dog (plus a cheeky mermaid tail), Dorota’s textured brushwork wraps every moment in warmth and wonder.
Olaru I. R.
Olaru has illustrated over 30 children’s books, specializing in enchanting picture books for ages 5–12. His style is painterly emotion and story in motion 一 a girl reading with woodland friends, a towering figure in a patterned “memory sweater,” and a sun-bright journey that loops across a winding road. Classic watercolor charm with a modern heart.
Anastasiya H.
Anastasiya is a children’s book illustrator with over 50 successful projects. Her style is sleek, vibrant spreads with a friendly, animated feel: a bustling science lab fizzing with bubbles and a city-park day starring Bella the golden retriever. Her work balances polished design with genuine warmth.
Check out Anastasiya’s portfolio.
Q: How do illustrators maintain character and scene consistency across a children’s book?
Suggested answer
To create a consistent look for a children's book, you'll need a strong foundation!
First, the author and the artist should work together to establish each character and then create detailed character sheet illustrations for each of your main characters, capturing their personality and unique features in full-body illustrations, front and back. These will be used as references for the illustrations, making sure that all the character's details are portrayed in each of the scenes in the book.
At the same time, they'll choose a color palette that matches the book's theme and give each character their own special colors. This will help them stand out and feel unique!
The artist and the author should explore different illustration styles and use lots of visual references to find the perfect look for their book and work closely throughout the process, checking in regularly to make sure everything feels cohesive and true to the author's vision.
They should also establish a step-by-step approach to each illustration, starting with sketches, then adding flat colors, and finally finishing with the details. The author will be involved in every step of the process, approving each stage and ensuring the illustrations perfectly capture their vision for the book.
Natalia is available to hire on Reedsy ⏺
Sketch, sketch & more sketching! I find it useful to create character turn arounds from multiple angles so I can use these as references moving forward. By getting to know the characters it becomes second nature to create dynamic scenes with consistent characters.
Tommy is available to hire on Reedsy ⏺
Edyta K.
Edyta is a children’s illustrator whose joyful, nostalgic artwork brings smiles to young readers worldwide. A child sledding with a dog, a bear pedaling through golden fields, a forest “library” where a badger reads to friends, and breezy garden chores… Edyta’s pages glow with comfort, texture, and timeless charm.
Patrick G.
Patrick has brought zippy, humorous storytelling with bold lines and candy-bright color to children’s books for clients like Sesame Street, Scholastic, National Geographic, and Highlights. Patrick’s characters are elastic and expressive, his compositions lively and clear — the kind of pages that make kids giggle and keep them turning.
Check out Patrick’s portfolio.
Sonja V.
Sonja is a children’s book illustrator, art director, and game designer whose vibrant, joyful artwork sparks imagination. A child proudly holding a pinecone, leaves whirling in autumn, a fearless bike ride, and those oversized star-glasses full of wonder 一 Sonja’s work is sunny, kind, and brimming with curiosity.
Evgenia P.
If you grew up loving Quentin Blake’s illustrations for Roald Dahl (and let's be honest, who among us didn’t?), then you’ll absolutely adore Evgenia’s work. In her illustrations, you’ll spot traces of Blake merged with her wholly original imagination. Evgenia's scratchy linework lends raw, real elegance and levity to each piece, while her perfectly chosen colors spotlight what matters the most: the characters.
Check out Evgenia's portfolio.
Q: How do you collaborate with authors to ensure your illustrations align with their vision?
Suggested answer
Working with authors means making sure the illustrations match their vision while staying true to my style. Here’s how I make that happen:
They come for my style – My portfolio does the talking. I keep it fresh and up to date, so when an author reaches out, they already know what to expect. This keeps our creative visions aligned from the start.
Visual brainstorming – We dive into the project, discuss ideas, and swap references. Mood boards, sketches, inspirations—whatever helps us get on the same page.
Open process on Miro – I share my progress on a Miro board, where the author can follow along, give input, and be part of the journey. This keeps everything transparent and collaborative without disrupting my workflow.
In the end, I want the final illustrations to feel natural and exciting for both of us.
Evgenia is available to hire on Reedsy ⏺
It's important to remember that every author is different. Even if an author has worked on their book for months, if not years, and has a deep understanding of places, characters and content, it doesn't always mean they know how it should look. Other times the author knows exactly what they want.
Often an author has prepared visual references and described their project in detail in their proposal. But others can be less sure. Either way, I will want to pick their brains and try and get as much information and hopefully relevant picture references from them as possible. This could be other illustrations, art or books they like, but also experiences and situations that have inspired the book that they think are relevant. I may also suggest some references here if I think it can help. If the author is unsure at the start, then this process will help them find a visual idea that we can build upon.
Then the next stage is to find a coherent look and style from this material that can work for the project. To do this I will narrow down the references to find a core idea by making a number of sketches and mockups of characters or scenes with references for colours, lines, light or textures that we can discuss. It's good to give this phase a little extra time to ensure we both understand what I am aiming for in the visuals. It may take a couple of variations but hopefully we can agree on a look that we are both happy with. I want to make illustrations that match their vision but also need to be sure it's a look that I am comfortable making that's not too far from my personal style.
After this, and if its a bigger project with many illustrations, then it can be a good idea to choose a 'typical' scene from the book and make a single, finished illustration for approval that can be a style reference for all the rest.
Even if we both agree on the visuals, it's still important to me that the author can follow the progress throughout the rest of the project to avoid any problems or disappointment at the end. This doesn't mean the author has to give a critique of everything I make, but it's good to confirm my work feels right for them and see if there are details that they want to change.
In short its a process of respect, understanding and guidance from both parties that leads to a successful visual interpretation.
Ben is available to hire on Reedsy ⏺
When an Author sends me their text, my first step is to produce a written visual layout on their text. So for each page I will write in red my idea for the page or spread. This is solely for me to begin researching any reference I need and collect this into a folder to refer to later.
I will then produce a rough layout of each page, very loose, quick sketches to convey the action and composition of the scene, I will do this for the whole book. Then all the text and rough sketches go into a PDF which is sent to the author for notes. This way, we can agree overall composition, make sure it flows well etc, but also, we can make changes easily. So when I move into producing the final artwork, we are both as prepared as can be. There will inevitably be further changes for the final art but this way, they tend to be minimal. It's about setting the ground work early on so the client knows what to expect.
Rich is available to hire on Reedsy ⏺
Rich G.
Picture-book Illustrator based in the UK, Rich draws vivid, detailed, colourful art that breathes life into children’s stories. Just look at the bearded fisherman and the storm-tossed boat, or the seahorse and pack-toting octopus that keep the adventure rolling.
Sorina-Georgiana G.
Color that sings and scenes that move: a bedroom that bursts with imagination, a hilarious standoff with brussels sprouts, a magic-carpet glide over Paris, and dream-streams swirling around a child and her dog. Sorina-Georgiana creates playful, vivid, and delightful compositions.
Check out Sorina-Georgiana’s portfolio.
Kevin R.
Kevin is a professional cartoonist and illustrator with over 20 years of experience, specializing in children’s books and comics. Look at those wide-eyed kids greeting a giant octopus, a boy’s desk overflowing with sketches, and a cherry-blossom sword scene that crackles with motion. Kevin’s pages are clear, characterful, and irresistibly fun.
Joana P.
Joana is a children’s book illustrator with over 11 years of experience and more than 50 published books. She’s all about big feelings, gently told: a grandmother’s bedtime glow, a wide-eyed polar bear cub you want to hug, a kind lady bending to reassure a child, and night scenes pricked with little lights. Joana’s pages feel safe, sparkling, and deeply empathetic.
Q: What's your process for creating a storyboard and refining character designs in children’s books?
Suggested answer
When working on a new book, I read the story over and over until I picture the main parts in my mind.
From there, I divide the story into a number of pages that is acceptable (often 24 but not always), depending on the amount of text and the writer’s requirement sometimes. For each part of the text, I write a short sentence that will remind me of the main elements I want to place on that illustration and if I think this should be a spread, single page or spot illustration.
Then, I start drawing thumbnails of each scene, this should not take more than a couple of minutes per illustration. I am looking at placing the right elements in the right spots on the page.
I keep in mind that every decision I want to make will have to be approved by the author so there is quite a bit of messaging back and forth going on at this stage of the project.
When it comes to character design, I have found that children’s book author often have a very vague idea of what they see in their mind and that’s also why they hire me. So, there’s room to play but the author will often ask for different version of the same character or will want to add details as you go. The main thing is to keep communication happening until they are satisfied.
Charlotte is available to hire on Reedsy ⏺
I begin with character design as this is the foundation for any book. Without strong character design the storyboarding will not be as impactful. Storyboarding then follows which brings the scenes to life!
Tommy is available to hire on Reedsy ⏺
FREE RESOURCE
Children's Book Storyboard Template
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Julianna L.
Julianna (JuLi) is a Sweden-based illustrator with a love for children’s storytelling and nature. With over 5 years of experience and a background in graphic and child culture design, she creates playful, compassionate, and joyful illustrations.
Check out Julianna’s portfolio.
Christina M.
Christina is an award-winning illustrator who brings children’s stories to life with enchanting watercolor and mixed-media art. From tender doctor visits, to cozy reads, to kids making music and art together, Christina’s style is cheerful, contemporary, and instantly readable.
Check out Christina’s portfolio.
Amanda L.
Skillfully weaving texture and color to craft serene and playful scenes, Amanda’s illustrations are loved by children and adults alike. From curious foxes on mindful adventures, to whimsical goats at the beach, even sloths lounging in the trees invite us on a journey, as each of Amanda’s storybook illustrations open the door to immersive worlds.
Sara K.
Often combining dynamic lighting with bright and pastel colors, Sara has a knack for placing simple, iconic cartoon characters in a tactile environment. Her illustrations are full of life, capturing everything from the ambitious spirit of a go-kart racer to the simple joy of a Viking child and his dragon friend. If anything, Sara’s work is a reminder for young minds to embrace their playful side and dream big.
Mariana O.
It’s not hard to spot Mariana’s illustrations in a crowd! With her distinctive rounded shapes, she creates friendly, cozy characters with big, bright eyes that quickly draw young readers in. You might also feel how her soft color choices instill her work with a serene energy that invites readers to come on a gentle journey.
Take a peek at Mariana's portfolio.
Q: What marketing strategies are most effective for promoting a self-published children's book to the right audience?
Suggested answer
Know exactly who you are marketing to, and your book will sell so much easier than if you try to market to "every parent." Instead of targeting parents of children aged 5-8, be specific and craft your copy and ads to appeal to a niche of parents, such as "Parents of girls ages 5-8 who love to play in the mud and sing silly songs about frogs." The more specific you can be, the better.
Lisa is available to hire on Reedsy ⏺
Making sure you build in enough time into your publishing timeline for an ideal marketing launch is important. This would be at least two to four months in advance of the book's publication date. Creating buzz before the book lands in stores (or online), such as submitting for advance trade reviews from review journals, will help optimize your book for great sales numbers that first week. And hopefully, those initial sales will then prompt consumer reviews early on.
Another important--and easy--marketing tactic for self-published authors is to never underestimate the power of local marketing. An author's community is generally looking to champion someone who has done well or achieved something exciting within their own backyard. A local story or coverage about an indie author's book can go a long way to generating a larger story outside of their community. And sometimes that can even organically lead to amazing coverage in a major newspaper or television segment.
For children's books, it can be challenging for a self-published author to get into schools and libraries unless you are distributed through a wholesaler. Pounding the pavement has its rewards, going to local schools and libraries, offering a storytime or autographing, leaving behind sell sheets for your book. Educators and librarians are huge influencers and their word of mouth is gold for many families and caregivers of young children.
Tara is available to hire on Reedsy ⏺
Ivett T.
Brace yourself for an explosion of joy and color! The masterful combination of textures and abstract elements rendered through digital media and watercolors, results in “messy paintings'' that brim with life. From dazzling sunflower fields to a dreamy dance on a rainbow path, Ivett’s illustrations practically glow with charm.
Kelsey M.
Kelsey's illustrations speak to the softer side of storytelling. Whether it’s the gaze of an elderly person or a jolly monster playing with her woodland friends, the textured colors and subtle expressions of her images help tell stories of companionship, imagination, and the quiet joys of everyday life.
Tommy H.
If you’re looking for artwork that is soft and minimal, but also deeply inspired by nature and adventure, look no further than Tommy’s work. Whether they’re showing young characters on a journey, or animals frolicking in a field, his vignettes are a delightful display of simplicity and expression.
Take a look at Tommy's portfolio.
Q: How do you balance creativity with the technical requirements of book illustration, like text placement and bleed margins?
Suggested answer
Once the size of the book is decided, I draw the margins on my canvas and make sure I mark where the middle of the page is, especially when working on spread illustrations. Depending on the amount of text on the page, I decide where it should be placed (sometimes in more than one spot). The rest of the space is free for play!
Charlotte is available to hire on Reedsy ⏺
For me, every book starts with a complete rough layout. I will draw out the entire book in rough scribbly lines. This allows me to work quickly on the composition and how the image will work with the text. This also allows me to work out which pages will be full spreads, which will be spots etc. This can take several iterations but once I'm happy I will neaten the roughs so the author can read the layout, then I will send to the author for any notes.
The rough nature of the book at this stage allows for quick edits before committing to final layout. I will then work up one spread to finished art and send to the author so they can get a feel for the style. Once approved I work though all pages.
I make sure to work at full bleed size of the book, usually 3mm bigger than the agreed size, then work within a margin of the agreed sizes so Illustrated elements and text are not to close to the edge, or disappearing into the gutter.
Once all the art is complete I will layout the book with text using Indesign or Affinity Publisher and play with the text layout. This will then be exported into the various formats required by the book printers.
Rich is available to hire on Reedsy ⏺
Space is incredibly important. As important as the illustrations themselves. I often overcompensate on space so I can always add more illustration to that region later if needed. Text & illustration are both equal parts in the overall composition.
Tommy is available to hire on Reedsy ⏺
Stephen S.
Stephen’s hand-drawn linework and textured painting bring stories to life with warmth and character. From a grumpy squirrel to cinema-loving hyenas, or even a duck and reindeer teaching a child to swim, he creates unforgettable personalities full of charm and heart.
Andy C.
Children love Andy’s endearing, emotive characters. And he clearly loves creating them as well! His precise, intricate linework manages to be incredibly expressive, and he especially enjoys experimenting with exaggerated shapes to make them vividly unforgettable. The end result is a portfolio of lighthearted illustrations that urge you to join in on the fun.
Check out Andy's full portfolio.
Nicholas C.
With his wonkily wonderful designs, Nicholas brings an explosive sense of fun to every project he turns his hand to. Flip to any page in Noah, Blue, and the Scooter That Flew or Just Henry, and you’ll find yourself stepping into a hand-crafted wonderland.
Take a look at Nicholas’s portfolio.
Kseniia K.
With her flair for cozy, magical scenarios, Kseniia treats every one of her projects like a mini-masterpiece — and the results are always worthy of belonging in an art gallery. With oodles of experience working for traditional publishers and indie clients alike, perhaps her best-known work can be found in the “Courageous Kids” series of picture books, with their cameos from historical figures like Louis Armstrong and Abraham Lincoln.
Check out Kseniia’s portfolio.
Taylor B.
Taylor’s art truly exemplifies the axiom, “Life is like a box of crayons.” Her bright hues rise, ripple, and reverberate across the page — always in wonderful harmony with the mood of the scene. Perhaps that’s fitting, given her background in the motion graphics and animation industry. One glance at her portfolio is all it takes to understand her attention to detail and masterful use of colors to evoke emotions.
Take a look at Taylor's portfolio.
Sandie S.
Sandie’s portfolio will draw the eye of anybody who loves cheerful, appealing art, with its clean lines and limitless personality. Scrolling through her art is the equivalent of drinking a steaming mug of hot chocolate, or viewing a YouTube clip of golden retriever puppies. It will leave you feeling warm and fuzzy on the inside, and your day will brighten for having experienced it!
Basia T.
At first glance, what stands out most about Basia’s portfolio is the sheer diversity of style. Digital art, colored pencil, realism, fantasy: she creates magic out of it all, so subtly that you might not realize the spell she’s cast until you've been staring at one of her pieces for a beat too long.
And though her styles may vary, one common theme ties all her pieces together. As Basia herself says, her art is all connected by one thread: her “desire to tell stories that could make you laugh, teach you something new, or even bring you some peace. Best of all, if they could be all of the above.”
Nathalie K.
With skills honed in the mobile games industry, German-born illustrator Nathalie has helped countless indie authors render their stories in evocative detail. Though her aesthetic may look darker than some of her contemporaries, Nathalie’s focus on the sweetness and humor of her characters allows her to balance out the look and create incredibly alluring illustrations.
Check out Nathalie’s portfolio.
Martina T.
Martina’s gallery clearly demonstrates her uncanny ability to humanize any animal — and better yet, give them distinct emotions. Inquisitive owl? Done! Curious bear? Sure. But what's even more impressive is her composition: the natural color palettes and simple shapes effortlessly harmonize character and environment. Needless to say, younger audiences will particularly enjoy her art.
Take a look at Martina's portfolio.
We hope this gallery helped you get clarity around your preferred illustration style, and, even better, find the right person for the job!
