A useful illustration brief does not need to describe every object in every scene. Its job is to give the illustrator the information needed to understand the book, the audience and the production constraints while leaving room for visual storytelling.
The essential project information
Start with the working title, author or publisher name, target age range and a short description of the story. Add the manuscript or the sections that are ready for illustration.
If the project is a picture book, include the expected page count or number of spreads when you know it. If you are still deciding the format, explain that instead of presenting a temporary guess as a fixed specification.
Character information
List the main characters and the details that matter to the story. Age, personality, relationships and recurring objects are usually more useful than a long list of physical measurements.
If a character must have a specific cultural, historical or professional context, mention it early so the illustrator can research appropriately.
Visual references
References are helpful when they communicate mood, era, clothing, architecture, colour or atmosphere. They work best as a conversation starter rather than a request to copy another illustrator’s work.
You can also point to examples in the illustrator’s own portfolio and explain what you respond to: perhaps the expressive characters, soft colour, detailed environments or sense of movement.
Page and print specifications
If a publisher or printer has supplied technical requirements, share them. Useful details include trim size, bleed, colour profile, file format and safe areas for text.
The placement of text matters because illustration and typography share the same page. If the final text layout exists, it can help the illustrator plan compositions that leave appropriate breathing room.
Your timeline
Include the intended publication date and any intermediate deadlines that cannot move. Remember that the artwork normally needs to be completed before final book layout, proofing and printing.
If you have flexibility, say that too. It can make scheduling easier and may allow more time for development.
What not to over-specify
Avoid turning every illustration into a camera-direction list unless a particular action is essential. A brief such as “the child is nervous about entering the room” gives the illustrator storytelling space. A list of every hand position, object angle and facial detail may make the scene rigid without improving the story.
It is useful to distinguish between must-have information and optional ideas.
A simple brief template
- Working title and author
- Target age range
- Short story summary
- Manuscript or final text
- Number of pages, spreads or illustrations
- Book dimensions and print specifications, if known
- Main character notes
- Essential visual or cultural references
- Text placement information
- Desired schedule and publication date
- Required deliverables
- Intended uses of the artwork
- Contact details and decision-makers
Keep the conversation open
A good brief starts the project; it does not replace collaboration. The illustrator may identify opportunities in the manuscript that are easier to see visually than in text. Leaving room for that contribution is one of the advantages of hiring an illustrator rather than simply ordering individual images.