From First Idea to Finished Image
A finished illustration is built through a series of deliberate choices, long before paint ever touches paper. Over time, I’ve developed a process that helps me move from an initial idea to a final image with intention, clarity, and emotional focus. While every project is a little different, the steps below form the backbone of how I approach my work.
1- Starting With Story, Not Style
Before I think about technique or finish, I ask what the illustration needs to communicate – what I want the viewer to feel. Is the moment quiet or active? Safe or uncertain? Hopeful or tense? Whether I’m working from a manuscript or a personal concept, the emotional core of the scene guides every decision that follows.
2. Research, Reference, and Visual Memory
While not photographic, much of my art is somewhat realistic. As such, I first gather reference material so that I can draw and paint what I see. When drawing from imagination or memory, it’s easy to overlook certain details. This might include studying posture, environment, light conditions, or objects that carry symbolic weight in the scene. Reference keeps the work honest and prevents visual shortcuts that can undermine believability.
I used my own hand as reference for the hand composed of water that’s pushing the boat in this illustration.
3. Thumbnails and Composition
I begin with quick thumbnail sketches to explore composition. These are loose and fast, focused on movement, and visual flow rather than detail. I look at balance, positive and negative shape, story flow, etc. This is where the illustration is truly designed—long before color or texture enters the picture.
4. Developing the Drawing
Once a direction is chosen, I develop the drawing with careful attention to structure and gesture. Once completed, the image is then ready to be transferred to the watercolor paper. Even in softer or more painterly work, a solid underlying drawing gives the image weight and clarity. If the drawing doesn’t work, nothing built on top of it will.
For the initial drawing, I use tracing paper so that I can illiminate one step in transfereing the image to the watercolor paper.
5. Planning Light and Value
At this stage, the drawing becomes less about objects and more about mood. Before committing to color, I think in terms of light and dark. Value establishes mood, directs the eye, and creates emotional emphasis. I often simplify the image into light shapes and shadow shapes to make sure the scene reads clearly before moving forward.
Because this image is a night scene, I built a more detailed graphite under-drawing to push the depth and even out the watercolor washes. This is a technique I learned from studying the illustration work of Charles Santori.
6. Color Choices and Atmosphere
Color is chosen to serve the story, not overwhelm it. I think about temperature, harmony, and atmosphere—how the environment should feel rather than how it should look. Subtle shifts in color often do more work than bold contrasts.
The blue washes that I used for the sky and the water in this illustration were slightly different, adding visual interest and a difference in temperature.
7. Painting and Building the Image
This is the slowest and most patient part of the process. I build the image gradually, allowing forms and textures to emerge without rushing toward a finish. I try to leave room for softness and suggestion, trusting the viewer to complete the image emotionally.
In this drawing, I had two different light sources to consider when lighting the subject matter – the cool light of the moon, and the warm light from the lantern.
8. Knowing When to Stop
One of the most important skills an illustrator develops is knowing when an image is finished. Overworking can drain an illustration of life and make it look “muddy”. I step away, return with fresh eyes, and make only the changes that truly serve the story.
Closing: Process as a Quiet Partner
For me, process isn’t a rigid formula—it’s a way of listening. Each step helps me stay connected to the story, the characters, and the reader. While techniques evolve over time, the goal remains the same: to create illustrations that feel grounded, thoughtful, and emotionally true. When done well, the process disappears — leaving only the story behind.
M. Chad Randall is a published children’s book illustrator known for his gentle, emotionally resonant artwork. He is available for partnerships with writers, publishers, and editors who value timeless, story-driven illustration. He’d love to bring your next project to life. Contact HERE.
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