Illustration creation: the time you do not see in the finished image
When people look at a finished illustration, they usually notice the colours, the characters and the atmosphere first. What they do not always see is the amount of decision-making, testing, correction and story interpretation needed before the image can feel natural.
This article explains why illustration creation is not only about the time spent drawing, and why a children’s book illustration that looks light and effortless may still require many hours of work.
“I can draw, but I do not understand why this costs so much.”
Someone I knew once said this to me. Not rudely, not dismissively, but with genuine curiosity. She could draw well, much better than most people. But when we started talking about how a children’s book illustration needs not only form, but also mood, rhythm and storytelling function, she became quiet.
Because illustration creation does not begin when someone draws a nice line. It begins when the illustrator understands what needs to happen inside the image.
A good illustration does not only show something. It also helps the reader feel what is happening in the story.
The price is not only about the finished image
When an illustrator prepares a quote, they are not simply counting visible lines, brushstrokes or digital layers. The price also includes the time needed for the image to start working: visually, dramatically and emotionally.
This work often begins long before the first sketch. The story must be understood, the relationships between the characters must be seen clearly, and the mood of the scene must be found. Even a cheerful-looking scene may need a different visual solution if there is uncertainty, fear or expectation beneath the surface.
In the finished image, this may only appear as “it looks nice”. But behind that apparent ease there are decisions: why the character’s face looks this way, why the light falls from that direction, why the background is not more crowded, and why exactly this amount of detail is visible.
What happens before the drawing begins?
The visible act of drawing is only one part of the process. Before that, there are several layers of decision-making that may not be obvious from the outside, but they strongly shape the final result.
Understanding the story: it is not enough to read the text. The illustrator needs to understand the role of the scene, the mood it carries and how it connects to the whole book.
Finding the style: a story for toddlers needs a different visual language from a book written for older children.
Building the composition: someone has to decide where the viewer’s eye should land first, what the focus of the scene is, and how the image guides the reader.
Choosing colours and light: warm or cool tones, the direction of the light and the rhythm of the shadows all influence what the reader feels.
Bringing characters to life: a character does not simply stand in the picture. They may be happy, afraid, curious, withdrawn or ready for an adventure. This has to be shown through the face, posture and surroundings.
These steps are not decorative extras in the workflow. They are the reason a drawing becomes an illustration. If this background work is missing, the image may still look attractive, but it can remain empty: there may be a character and a background, yet the image does not truly tell the story.
Why is drawing well not enough?
Strong drawing skills are an important foundation, but they do not automatically make someone a good illustrator. An illustration has a job to do. It must connect to the text, the atmosphere of the book, the age of the reader and the specific moment it is meant to show.
Someone may be technically skilled and still create an image that does not support the story. The background may be beautiful, the colours may be soft, the character may be carefully drawn, but if it is not clear what we should feel or where we should look, the image does not work together with the tale.
In children’s book illustration, it is especially important that the child can do more than simply look at the picture. The child needs to connect with it. A face, a gesture, a hidden detail or a recurring motif can help the story stay with the reader.
The time is hidden in the decisions
A full-page colour illustration often takes more work than the finished image suggests at first glance. Not because every detail must be drawn slowly, but because every important detail has to be decided.
Who should be at the centre of the scene? How large should the character be compared with the background? How detailed should the environment become? Should the colours calm the reader, energise the scene or create tension? Should the image be understandable on its own, or should it quietly support the text?
These are not just visual ideas. They directly affect the reading experience: whether the child understands the scene, returns to the image, and remembers the character.
The price of an illustration often includes not the spectacular movements, but the quiet decisions that make the finished image feel natural.
Why can it not be “just drawn quickly”?
Some images can, of course, be made quickly. There are smaller, simpler or less detailed illustration tasks. But when an image has to carry story, mood, character and a clear role within a book, speed comes with a cost.
If there is too little time for planning, the image may only repeat the text without adding anything. It shows what is written, but it does not create another layer. The child sees the character, but may not feel what is happening to them.
Illustration is not only what we draw. It is also what we make the viewer feel. A fairy does not become a believable fairytale character simply because she has wings. She becomes alive when she feels curious, shy, playful or mysterious, and when the viewer can sense that through the image.
What does this mean if you are commissioning illustration?
When you request a quote for illustration, it is worth thinking beyond the number of images. It also matters what role the illustrations will have in the book, how many characters need to be developed, how many scenes are required, how detailed the backgrounds should be, and whether the whole publication needs a consistent visual world.
A small, simple illustration is a different amount of work from a full-page scene with several characters. Designing a recurring character requires a different kind of attention from creating a one-time decorative motif. And the visual world of an entire children’s book is not a loose collection of images, but a consistently built visual story.
This is why it helps to prepare a few basic details before asking for a quote: what the book is about, what age group it is for, how many illustrations you are considering, what format the publication will have, and what kind of atmosphere you would like to create.
The Galantusz approach: attention behind the image
At Galantusz Grafika, we do not treat illustration as decoration. A children’s book image works well when it connects to the story, the characters, the reader’s age and the overall atmosphere of the book.
During the work, we do not only look at how to make an image attractive. We also look at what makes it understandable, memorable and easy to follow. Where can the child’s eye rest? Which detail carries the story forward? What colour world fits the scene? How strongly should the background be present, and how much attention should stay on the character?
These decisions take time. But they are exactly what can turn a finished illustration into more than a simple picture: it becomes a visible part of the story.
Do you need illustration for a children’s book?
If you need illustration for a storybook, children’s book or original story, it is useful to collect the most important basic details first: a short description of the story, the target age group, the planned number of illustrations, the format, the deadline and the desired atmosphere.
These details make it easier to see what kind of illustration work is needed and within what framework a quote can be prepared.
Related service: storybook illustration.
Author: Ágnes Ujréti
illustrator and graphic designer - Galantusz Grafika, 2026
