Hi, I’m Kevin McElroy, and thanks for being here. I’m developing a children’s book project that blends storybook warmth, visual storytelling, and a very specific musical and emotional world. I already have the manuscript, character direction, and core visual references in place, and I’m now looking for the right illustrator to help bring the project fully to life.
More than anything, I’m looking for a collaborator — someone with a real visual voice, strong storytelling instincts, and an interest in building something cohesive and special together.
More than anything, I’m looking for a collaborator — someone with a real visual voice, strong storytelling instincts, and an interest in building something cohesive and special together.
Illustrator Search for a Children’s Book Project
I’m not looking for just an illustrator. I’m looking for the right visual storytelling partner.
Thank you for taking the time to visit this page.
I’m currently seeking an illustrator for a paid children’s book project for readers roughly ages 7–10. This book lives in a hybrid space between storybook illustration and panel-based visual storytelling, so I’m looking for someone who can do more than create attractive drawings. I’m looking for someone who can help carry mood, pacing, character, staging, and page-by-page storytelling with a strong, cohesive visual voice.
This is a project I care deeply about, and I’m approaching the search with intention. I’m not casting a wide net for random samples. I’m trying to find the right creative fit.
The Project
The story has a strong visual identity and a world of its own. Its tone blends heart, humor, atmosphere, music, character, and energy, with visual inspiration rooted in ’70s and ’80s rock-and-roll attitude, fashion, and stage presence.
The format is not a standard picture book in the traditional sense, and it is not a straight comic either. It sits somewhere in between: a hybrid illustrated book with cinematic page design, expressive character work, and panel-driven moments where the storytelling rhythm matters just as much as the drawings themselves.
The manuscript is complete, and the project may run up to approximately 40 pages, depending on final pacing and structure.
The Kind of Illustrator I’m Looking For
I’m looking for an illustrator with a strong, singular visual voice.
The right fit for this project will likely have:
I am especially drawn to work that feels human, warm, lived-in, expressive, and story-first.
I am not looking for artwork that feels AI-generated, overly slick in a generic way, or inconsistent from piece to piece. I’m trying to find an artist whose work already feels like it belongs to one world.
Visual Touchstones
To give a clearer sense of the kind of visual language I respond to, I’m drawn to artists such as William Hillenbrand, Joe Todd Stanton, and Tim Probert. Not because this project should look exactly like any one of them, but because each of them captures qualities I value, whether that’s warmth, organic linework, strong composition, character appeal, or visual storytelling energy. No single illustrator reference perfectly defines this project. The names above are simply touchstones for the kinds of qualities I respond to — warmth, storytelling instinct, expressive line, character, and composition.
What I respond to in that general neighborhood is:
These are not meant as exact style targets or imitation requests. They are simply helpful touchstones for the spirit, energy, and storytelling sensibility I’m hoping to find in a collaborator.
What This Opportunity Is — and Isn’t
This is a paid creative collaboration.
I already have core story material, visual references, and character direction in place, so this is not a blank-slate concept search. At the same time, I am not looking for someone to simply trace over my ideas without bringing their own storytelling instincts to the process.
What I want is a collaborator who gets the vibe, understands the emotional and visual language of the project, and can help bring it to life in a way that feels unified from beginning to end.
How the Process Will Work
This project will be approached in phases, both to protect the work and to make the collaboration fair for both sides.
That means I am not expecting anyone to commit immediately to the entire book before we know the fit is right.
The likely process will look something like this:
Phase 1: Initial review
I review portfolios and notes to identify illustrators whose work and instincts feel aligned.
Phase 2: Conversation
Selected illustrators may be invited to a short discussion so we can talk through style, sensibility, interest, process, and overall fit.
Phase 3: NDA + project packet
For shortlisted candidates, a non-disclosure agreement will be required before sharing more detailed project materials.
Phase 4: Creative and workflow discussion
After reviewing the material, we would discuss how you see the project, what you feel you could bring to it, how you prefer to work, and how you would approach the visual development process.
Phase 5: Paid development stage
If there is mutual interest, the collaboration would likely begin with a paid early phase such as visual alignment, thumbnails, rough page composition, or another agreed-upon development step before either side commits to the full project.
From there, if the fit is strong, we would continue into later stages such as rough pencils, tighter drawing, inking, color direction, and final art as appropriate.
Rights and Ownership
This is a collaborative project, but the underlying story, manuscript, characters, and project world remain my original intellectual property.
Final terms regarding scope, compensation, usage, deliverables, schedule, and rights will be discussed directly with shortlisted illustrators and formalized in a written agreement before work begins.
I want to be upfront about that, not because I’m trying to make the process cold or overly formal, but because clarity protects both the creator and the illustrator.
What I’d Like to Receive
If this sounds like a genuine fit, please send:
You do not need to send everything you’ve ever made. A small, focused submission is far more helpful than a giant folder of unrelated work.
At this stage, I’m not asking for free sample illustrations. What I am looking for is evidence of fit, voice, thoughtfulness, and seriousness.
Submission Instructions
To keep this process organized and fair, all submissions must come through the submission button on this page.
Please do not contact me through Facebook comments, direct messages, text, phone, or other off-page methods. Those submissions will not be reviewed.
To confirm that you read this page, please use the subject line:
STORY SIGNAL SUBMISSION
This is not meant to be unfriendly. It is simply the only way I can keep the process manageable and give proper attention to the people who take the time to follow the instructions here.
If I receive a high volume of submissions, I may not be able to respond to everyone individually. Please don’t take that personally. I truly appreciate the time and effort it takes to share your work, and a lack of response simply means I’m narrowing the search to the specific fit this project needs.
Final Note
I care a lot about this project, and I’m looking for someone who will care about it too.
Once I move forward with an illustrator, I want it to feel like a real creative partnership. That means I’m looking for someone who not only has the right visual voice, but who wants to read the story, absorb its tone and intent, and talk with me about what it’s really trying to do.
I’m not just looking for someone to execute artwork. I’m looking for someone who understands story, mood, character, and heart — someone who really connects with the material and wants to help bring it to life in a way that feels cohesive and true.
If that sounds like you, I’d be glad to see your work.
Thank you for taking the time to visit this page.
I’m currently seeking an illustrator for a paid children’s book project for readers roughly ages 7–10. This book lives in a hybrid space between storybook illustration and panel-based visual storytelling, so I’m looking for someone who can do more than create attractive drawings. I’m looking for someone who can help carry mood, pacing, character, staging, and page-by-page storytelling with a strong, cohesive visual voice.
This is a project I care deeply about, and I’m approaching the search with intention. I’m not casting a wide net for random samples. I’m trying to find the right creative fit.
The Project
The story has a strong visual identity and a world of its own. Its tone blends heart, humor, atmosphere, music, character, and energy, with visual inspiration rooted in ’70s and ’80s rock-and-roll attitude, fashion, and stage presence.
The format is not a standard picture book in the traditional sense, and it is not a straight comic either. It sits somewhere in between: a hybrid illustrated book with cinematic page design, expressive character work, and panel-driven moments where the storytelling rhythm matters just as much as the drawings themselves.
The manuscript is complete, and the project may run up to approximately 40 pages, depending on final pacing and structure.
The Kind of Illustrator I’m Looking For
I’m looking for an illustrator with a strong, singular visual voice.
The right fit for this project will likely have:
- a hand-drawn, organic sensibility
- expressive character work
- comfort with sequential or staged storytelling
- a feel for mood, composition, and page turns
- a collaborative mindset
- an interest in helping shape the visual storytelling, not simply executing instructions
I am especially drawn to work that feels human, warm, lived-in, expressive, and story-first.
I am not looking for artwork that feels AI-generated, overly slick in a generic way, or inconsistent from piece to piece. I’m trying to find an artist whose work already feels like it belongs to one world.
Visual Touchstones
To give a clearer sense of the kind of visual language I respond to, I’m drawn to artists such as William Hillenbrand, Joe Todd Stanton, and Tim Probert. Not because this project should look exactly like any one of them, but because each of them captures qualities I value, whether that’s warmth, organic linework, strong composition, character appeal, or visual storytelling energy. No single illustrator reference perfectly defines this project. The names above are simply touchstones for the kinds of qualities I respond to — warmth, storytelling instinct, expressive line, character, and composition.
What I respond to in that general neighborhood is:
- warmth and hand-made charm
- expressive, organic linework
- strong character appeal
- thoughtful page composition
- visual storytelling with momentum and feeling
These are not meant as exact style targets or imitation requests. They are simply helpful touchstones for the spirit, energy, and storytelling sensibility I’m hoping to find in a collaborator.
What This Opportunity Is — and Isn’t
This is a paid creative collaboration.
- It is not a request for free work.
- It is not a mass cattle-call commission.
- It is not a rush-to-final-art arrangement.
I already have core story material, visual references, and character direction in place, so this is not a blank-slate concept search. At the same time, I am not looking for someone to simply trace over my ideas without bringing their own storytelling instincts to the process.
What I want is a collaborator who gets the vibe, understands the emotional and visual language of the project, and can help bring it to life in a way that feels unified from beginning to end.
How the Process Will Work
This project will be approached in phases, both to protect the work and to make the collaboration fair for both sides.
That means I am not expecting anyone to commit immediately to the entire book before we know the fit is right.
The likely process will look something like this:
Phase 1: Initial review
I review portfolios and notes to identify illustrators whose work and instincts feel aligned.
Phase 2: Conversation
Selected illustrators may be invited to a short discussion so we can talk through style, sensibility, interest, process, and overall fit.
Phase 3: NDA + project packet
For shortlisted candidates, a non-disclosure agreement will be required before sharing more detailed project materials.
Phase 4: Creative and workflow discussion
After reviewing the material, we would discuss how you see the project, what you feel you could bring to it, how you prefer to work, and how you would approach the visual development process.
Phase 5: Paid development stage
If there is mutual interest, the collaboration would likely begin with a paid early phase such as visual alignment, thumbnails, rough page composition, or another agreed-upon development step before either side commits to the full project.
From there, if the fit is strong, we would continue into later stages such as rough pencils, tighter drawing, inking, color direction, and final art as appropriate.
Rights and Ownership
This is a collaborative project, but the underlying story, manuscript, characters, and project world remain my original intellectual property.
Final terms regarding scope, compensation, usage, deliverables, schedule, and rights will be discussed directly with shortlisted illustrators and formalized in a written agreement before work begins.
I want to be upfront about that, not because I’m trying to make the process cold or overly formal, but because clarity protects both the creator and the illustrator.
What I’d Like to Receive
If this sounds like a genuine fit, please send:
- your portfolio link
- 3 to 5 samples most relevant to this kind of storytelling
- a short note about why this project feels like a fit for you
- any experience you have with children’s books, sequential storytelling, storyboards, or visual narrative work
- a brief note about your process and availability
You do not need to send everything you’ve ever made. A small, focused submission is far more helpful than a giant folder of unrelated work.
At this stage, I’m not asking for free sample illustrations. What I am looking for is evidence of fit, voice, thoughtfulness, and seriousness.
Submission Instructions
To keep this process organized and fair, all submissions must come through the submission button on this page.
Please do not contact me through Facebook comments, direct messages, text, phone, or other off-page methods. Those submissions will not be reviewed.
To confirm that you read this page, please use the subject line:
STORY SIGNAL SUBMISSION
This is not meant to be unfriendly. It is simply the only way I can keep the process manageable and give proper attention to the people who take the time to follow the instructions here.
If I receive a high volume of submissions, I may not be able to respond to everyone individually. Please don’t take that personally. I truly appreciate the time and effort it takes to share your work, and a lack of response simply means I’m narrowing the search to the specific fit this project needs.
Final Note
I care a lot about this project, and I’m looking for someone who will care about it too.
Once I move forward with an illustrator, I want it to feel like a real creative partnership. That means I’m looking for someone who not only has the right visual voice, but who wants to read the story, absorb its tone and intent, and talk with me about what it’s really trying to do.
I’m not just looking for someone to execute artwork. I’m looking for someone who understands story, mood, character, and heart — someone who really connects with the material and wants to help bring it to life in a way that feels cohesive and true.
If that sounds like you, I’d be glad to see your work.
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