Yeah, so there’s parts of a text where there needs to be things revealed, so there will be a moment in the text where you wouldn’t want to have a big reveal on the second page of a spread because it doesn’t, it’s not as impactful as when you turn the page and you see this thing that’s happening that is very unique to a page turn in a book. Like, if you just, if your eyes move from left to right on the spread there’s not a revealing moment in that. So you, I go through the manuscript and I find those moments and you have to figure out like for that sort of device specifically like where is there going to be a reveal.
And some moments call for bigger images you know, bigger, you know big emotional or a big impact of a big full spread image, but some moments are about just moving the story forward so you can get away with a spot illustration on a single page or one on each page. So you really just, it’s about just the experience of creating a book and sort of knowing how best each bits of text are going to work in the layout of the book.
And I’ve always found that it’s my job as the illustrator to at least try out initially and then present that first sketch dummy to the publisher and then you know there’s usually some back and forth about what’s working or what’s not working but as the illustrator you know finding those moments that need to be, they need to be illustrated as a spread, there needs to be you know the impact of a page turn, all those moments.
And that’s part of the fun too of being an illustrator is figuring out, because it’s really, it really can change the dynamics of the storytelling if you can find those moments and fit them in the right spots.