Artist Jean Spencer was introduced to Mayhaven by a mutual friend. Presently, Spencer is living and working in Charleston, South Carolina.

Jean, I asked, at a meeting I was attending, if anyone know of a really good illustrator. A friend gave me your name.

Good matchmaking created the opportunity to match up my abilities with your needs. I am grateful to that chance meeting that allows me to be associated with a publisher of high standards and quality. For an illustrator-publisher relationship to work to the greatest benefit to both, there really needs to be mutual trust and respect.

I think the cover you did for us for Pythagorus Eagle and the Music of the Spheres was your first for a book.

It was the first time. I had to overcome the instinct to illustrate the whole book! It taught me to look for the moment in the book that encapsulates the gist of the story without trying to tell it. Although I'd illustrated all types of media, this was a thrilling challenge and I was hooked!

But you've been a professional illustrator for some time. What kind of things have you done?

I just love to draw and always have. I began my career in greeting cards, then in textbooks. I've been fortunate enough to illustrate posters and brochures, billboards, television scenery, and even a mural. I am versatile enough to have a range of styles. Although I began to research what types of images children at different ages respond to while still in high school,. I have since filled many sketchbooks with drawings that are stories in their own way.

We often get samples of art or query letters about doing covers or children's illustrations. What would you tell the novice?

That talent alone will not get the job done. Transforming the author's words into enticing visuals takes imagination, hard work, and teamwork. There's no substitute for practice, so I'd say relentlessly experiment with color, light, materials and draw, draw, draw in a stream of sketchbooks, not on a computer. Visit bookstores to see what is available to children and always be sure your work is personal and truly stands out.

What have you found you still need to consider in illustrating for the written word?

I must read and re-read the author's text and search for the visuals hidden within the text, I see the words..I then struggle to produce illustrations of visual clarity and emotional depth contained within the text. In a way I become the translator of a moment. I also find I must continue to increase my knowledge of the technical aspects of book publishing. There are ways to ease the transition from artwork into print and the more I learn, the more efficient I am at producing effective artwork, and thus the more satisfied I am with the final piece. I find I must read and re-read the manuscript to search for the emotion and spirit of the story.

You have also illustrated a children's picture book, Night of Lighted Freedom: A Firefly Fastasy (by Dana Marquess), and another that will be available soon. They are very different.

The demands of each text are quite different, and I respect that. Night of the Lighted Freedom is a tender nostalgic fantasy and Grampa Grumpy Pants (by Cullen Porter) is a light-hearted funny story that calls for simpler, more cartoon-like visuals. I am so fortunate that I am able to visualize the words through the eyes of children of different ages and then gear the illustration style toward the demands of the story. In fully illustrated picture books, I find my biggest challenge is maintaining the personality of the characters, the colors, and the visual details throughout the pages of a picture book.

You've illustrated at least three covers for us. Author June Weltman says readers often praise the cover.

Covers hold different challenges. I get a moment to represent the reason why the person should read the book. I must entice and provoke interest of the moment the reader is allowed to peek into the book filled with words. I respond to each manuscript individually because each one is so wonderfully unique. The cover of a mystery novel, such as Mystery of the Missing Candlestick (June Weltman), or that of Beyond the Road (M. Howe Bugbee) differ in tone. The challenge is to make the book so compelling that it is almost impossible not to want to read the story.

Sometimes, as a publisher, it is tough knowing what to express to the artist or designer. What helps most?

I suspect that it would differ with each illustrator's personality (some may like specific direction), but speaking for myself, I'd like to think that allowing the greatest freedom translates into trusting and valuing the illustrator's individuality and talent. Mayhaven has consistently demonstrated a deep respect for my unique visual expressions,

Are there things that hinder the illustrator?

Choosing an artist/illustrator whose style does not match the demands of the story or the author's vision seems to be the biggest hindrance. A progressive series of built-in approval steps is necessary to avoid problems. And, of course, allowing an adequate timeframe, although I find I always want more and more time. A rushed job can be disappointing to everyone, and can potentially ruin an illustrator's reputation.

How do you prepare?

The manuscript holds the key for me.The author's words resonate with an inner eye that “sees” the characters, the setting, the situations. Then it is a matter of sketch sketch sketch! I produce at least 10 more sketches for every one I actually use. Then I re-read the manuscript to see other possibilities and decide which sketches to refine, based on their clarity, intensity and drama.

Jean, you've lived in various locations. How has that influenced your work?

As an artist and illustrator I draw on all my experiences, the places I've lived, the children I've known. I like the stimulation of new experiences and diverse environments. I like the chance to see things in a different light and setting. This wonderful country is so diverse and our stories reflect that diversity. Reading is a wonderful way to travel and I would hope that the adventure of living by the ocean or in the mountains is reflected in my illustrations.

And have there been other influences?

I was born with the desire to tell a story equal to that of writers, but I use pictures instead. My childhood, my children, the children I've taught, have all been important to my expression. I am so grateful to contribute my strengths and talents to make books an important part of children's lives.

Jean, I am happy I asked about an illustrator that day. You are a joy to work with.