How I Finally Found My Illustration Style as a Children's Book Illustrator
Six months. Ten-plus media. Hundreds of hours of daily practice. This is the story of how I — Gunja Bhatt, a full-time children's book illustrator based in the UK — finally stopped experimenting and committed to the artistic fingerprint that will carry my work into the hands of publishers, editors, and authors for years to come.
You're a full-time children's book illustrator — what made finding your illustration style so important, and why did it take six months?
For a children's book illustrator, your style is everything. It is what a publisher, editor, or art director sees before they even read a word of your portfolio email. It is the reason an author chooses you to bring their story to life rather than one of the thousands of other talented illustrators out there.
The six months came from a place of honesty. I did not want to rush into a style that was not truly mine. I wanted something that felt natural, something that reflected my personality and my joy — and I knew that required real exploration, not just picking what looked commercially safe.
As a versatile artist, I had always been comfortable working across many styles and media. That versatility is an asset, but it can also become a trap if you never commit. Last year's mentorship with illustrator David Litchfield planted the seed. His words stayed with me: you must choose and lose at the same time. That paradox — choosing a direction while letting go of the fear of narrowing — became the engine of my six-month journey.
What exactly does "illustration style" mean for a children's book illustrator? Can you break it down?
An illustrator's style is their artistic fingerprint. It is not simply about the medium — watercolour, digital, soft pastels — but about how that medium is used to tell a story and carry emotional weight.
Line Work — Is it loose and sketchy, or clean and precise? Thick and bold, or no line at all? Think Quentin Blake (loose) vs. Alex T. Smith (precise).
Colour Palette — Vibrant and saturated, or muted and soft? Limited or full spectrum? Think Mary Blair (vibrant) vs. Beatrix Potter (muted).
Characters — Expressive and whimsical, or realistic? Highly stylised or naturalistic? Think Dr. Seuss's unmistakable character language.
Texture — Rich and layered, or flat and smooth? Think Eric Carle's collage textures vs. clean vector illustration.
Mood & Feeling — Fun and playful, or gentle and dreamy? Bold and energetic, or quiet and tender? This depends entirely on the book's narrative needs.
I strongly believe that an illustrator's style should support the book's narrative and emotional tone — and that a distinctive voice is precisely what gives a book its soul.
“An illustrator’s style is their artistic fingerprint — it is not about the medium they use, but how they use it to tell a story.”
Which media did you explore during your six-month practice, and what did you discover about each one?
This is the part that surprised even me when I looked back at it. I explored an enormous range of traditional media — each one teaching me something different about how I like to work and what I find joyful in the process of making illustration.
Media I explored: Watercolours · Inks · Gouache · Pencil Colours · Soft Pastels · Alcohol Markers · Charcoals · Oil Pastels · Water-Soluble Pencil Colours · Mixed Media · Various Ink Pens
Each medium has a personality. Watercolours are luminous and unpredictable — wonderful for dreamy, emotional scenes but demanding patience and a light touch. Soft pastels give an immediate warmth and tactility that photographs beautifully; they lend themselves to playful, colourful children's book illustration with a handmade, artisanal feel. Alcohol markers are bold and graphic — excellent for chapter book illustration where strong, readable visuals guide a young reader through the text.
I kept detailed notes on what I liked and what felt unnatural. That self-analysis was just as important as the making itself. By month six, a clear picture had emerged — not just of which media I love most, but of the kinds of stories I most want to illustrate.
What were the biggest emotional challenges during this process — and how did you push through them?
Honest answer? It was harder than I expected, and I think it is important to say that publicly because I know other illustrators feel the same way but rarely talk about it.
There were days — particularly in the middle stretch of the six months — when I felt as though none of it was working. I was comparing my exploratory, unpolished practice work to the finished, published illustration I saw from illustrators I admire, and that gap felt enormous. There were moments of real FOMO — the fear of missing out, of falling behind, of not having a clear enough portfolio while other illustrators were landing commissions.
What helped was reframing FOMO into JOMO — the Joy of Missing Out. Missing out on rushing to market. Missing out on committing to a style before I was ready. This daily, focused practice was my investment in a career that I intend to build for decades, not just months. The goal has always been to be a full-time children's book illustrator — and full-time careers are built on foundations, not shortcuts.
I also leaned heavily on community and mentorship. Conversations within the illustration world, feedback from peers, and the broader Substack community of illustrators reminded me that this struggle is universal. Every illustrator you admire went through a version of this process.
So what IS your illustration style now? How would you describe it to a publisher or author looking for the right illustrator for their children's book?
My illustration style is vibrant, expressive, and warm — rooted in traditional media with a strong handmade quality that gives the work texture and life. I work primarily with soft pastels and mixed media, creating illustrations that feel rich and tactile on the page.
Character is at the heart of everything I do. I am drawn to creating characters with strong emotional expressiveness — faces and body language that a child can read instantly and feel deeply. Whether a character is experiencing wonder, mischief, fear, or joy, I want that emotion to be visible and felt by the reader.
My colour palette is colourful and confident — I am not afraid of bold, saturated hues — but always purposeful. Colour in my work carries mood and narrative meaning, not just decoration. This makes my work well-suited to:
Picture Books — where bold visuals and expressive characters carry the story alongside minimal text
Chapter Books — where repeated character illustration needs consistency, warmth, and personality
Middle Grade Fiction — where illustrations need emotional depth to connect with older children
Diverse and inclusive stories — celebrating the full spectrum of childhood experience
As a children's book illustrator, what makes you the right choice for a publishing project?
Three things, above all else:
A consistent, distinctive visual voice. My portfolio at gunjabhatt.com carries a cohesive character, colour sensibility, and emotional warmth across every subject — whether it is a forest adventure, a kitchen scene, or a school day. Publishers and editors can see exactly what they are commissioning because my voice does not shift unpredictably from project to project. What you see is genuinely what you get.
Full transparency of process. I share my illustration process openly — from initial character sketches and layout explorations through to finished artwork. This is not just about being open; it is about being a genuinely collaborative creative partner. Knowing how I think, how I respond to a brief, and how I develop a narrative arc in pictures means that working together on a book is a productive and enjoyable experience from day one, not a leap of faith.
Style that serves the story, not the other way around. The best illustrations are not the ones that shout the loudest — they are the ones that make a child turn the page, giggle, or pause and feel something. Six months of deliberate practice, mentorship, and self-analysis were specifically about developing the flexibility to apply my style in service of a story's needs. I know what I can do, I do it with confidence, and I bring genuine energy and creative investment to every project I take on.
What's next for Gunja Bhatt in 2026 — and who is representing you as a children's book illustrator?
I am thrilled to share that I am now represented by Amy Milligan at Illo Agency — one of the most exciting illustration agencies working in children's publishing today. Having an agent who believes in my work and understands my vision is a huge milestone in my illustration career, and I cannot wait to see what we create together.
2026 is shaping up to be a very focused and exciting year. With Amy's representation and my illustration style firmly established, I am actively pursuing book projects and am open to commissions for:
✦ Picture book illustration projects for publishers in the UK market
✦ Chapter book illustration — black-and-white and spot illustrations
✦ Cover illustration for children's and middle grade fiction
✦ Character design for series or franchises with recurring characters
My goal is to work on multiple book illustration projects during 2026. If you are a publisher, editor, or author with a project in development, I would love to hear from you. Please visit gunjabhatt.com to view my portfolio and get in touch via contact form on about page.
