Mel is Mel Boring, moderator of this chat with Cynthia Faber Smith and web editor of the ICL site.

Cindy is Cynthia Faber Smith, Art Director of Highlights For Children Magazine. Before coming to Highlights, Cindy worked for 20 years in art and art direction in Washington, DC, for the Grocery Manufacturers of America, the National Association for the Education of Young Children, The White House, Insight Magazine, and most recently twelve years at Science Magazine, becoming Design Director there. These positions allowed Cindy the opportunity to design for very diverse audiences and she is now thrilled to be designing for children as the new Art Director at Highlights. Cynthia Faber Smith is the first art director we have interviewed in an ICL Guest Chat.

Pink shows the user names of the people who are asking questions of Cindy.

Mel: When I contacted the Art Director at Highlights For Children Magazine a few months ago, Cynthia Faber Smith had just taken over the position and replied to say she would consider it an honor. Of course the honor is OURS tonight to have Cindy here for a chat under the title of "Art and Art Direction: What's Best for the Reader?" Cynthia Faber Smith has had a wealth of experience in publication design, bringing twenty years of solid experience with organizations and magazines in Washington, DC, to Highlights. We could not have had a more knowledgeable art director as our guest. Cindy, a WARM WELCOME to you!

Cindy: Hi, it's great to be here!

Mel: Cindy, as a child, were you one who was drawing all the time? Did your art begin early on?

Cindy: Actually, it was my brother who was drawing all the time and I was art directing HIM.

Mel: HA, neat! Did he do well under your direction? Is he an artist today himself?

Cindy: He's very successful and very creative, rare for a business person, and he is a musician.

Mel: You had an extensive career start in Washington, DC, for a dozen years or more—how did you begin there, and what was the FIRST of your positions in DC?

Cindy: Twenty years, actually--did I just admit that?! My first position there was with an association. I went there to attend the Publication Specialist program at George Washington University.

Mel: What did you actually do for the Grocery Manufacturers and the National Association for the Education of Young Children?

Cindy: Booklets, collateral material for conferences, at NAEYC I designed books, their journal and a newsletter.

Mel: So you've covered the gamut of art and illustration, I'm thinking. How did all your work in DC lead to your coming to Highlights, rather recently—wasn’t it?

Cindy: I've been at Highlights almost six months. It's a dream job and DC was a great learning ground for many different kinds of projects.

Mel: Janet McCaffrey was Art Director at Highlights before you, was she not? Is she still there?

Cindy: Janet is still at Highlights working on some very special projects!

Mel: How much influence do you have in the decision to publish manuscripts?

Cindy: None, really, my work comes later.

Mel: So, after the stories and articles are BOUGHT, then you come in?

Cindy: Correct.

Mel: How do you determine what scenes of a story to illustrate?

Cindy: I first read a manuscript several times to determine a "tone" or "feel" for the story. Most of the editors supply me with an idea of what they think is the crux of the story, or what they'd like to see accompany the story. With those notes, I usually discuss ideas with the editor and we pick scenes, hoping to pick scenes that convey the "tone" as accurately as the text.

Mel: How do you match an illustrator with a story?

Cindy: When I am thinking of the "tone", I usually have a picture in my head of how the illustration would look. Then I usually have two or three illustrators in mind before I finish the design.

Mel: Is there an illustration style or trend that is in favor at the moment?

Cindy: Digital art saw a real surge in the last 5 to 6 years and now I am seeing more and more illustrators returning to a traditional line quality, but combining it with digital enhancements. It's a new look and something I think has a solid future because of the huge possibilities.

Mel: Could you explain for us non-artists what "digital enhancements" are like?

Cindy: Usually it's adding color to a scan, either color within a line or a shadow, or a highlight, or even a texture.

Mel: Cindy, you must also have input as to photographs that are used in articles, don't you?

Cindy: Yes, most of the photos are used with nonfiction articles and we try to get the best image we can—it can be a challenge!

Mel: Does it help my chances of publication if I illustrate my own stories or if I have a friend who could illustrate for me?

Cindy: I would say, no, leave the illustration to the professionals. Even if your friend is a professional, their style might not mesh with the publication you are submitting to. It could even hurt your chances, if the illustrations weren't appropriate. However, with nonfiction, authors often send in photos and those are considered, and it is helpful, usually.

Mel: Here's a longer question from an illustrator who has submitted artwork to HIGHLIGHTS. I'll put it together in pieces:

remus: Hello, I am glad to have you here. It is great to have an art director for a change in the chat room. I’m an illustrator and graduate from Art Center College of Design. I have illustratred various children’s magazine covers (like Cicada and this issue I am on the cover of Once Upon a Time). After having submitted my work to Highlights I received a letter from Ms. McCaffrey, saying that "because your style seems to fit what we are looking for, I’ve placed your samples on file for consideration of future assignments." Unfortunately, this was last summer and I never heard from her again. Now I am wondering how many illustrators are in your files and if an illustrator can be forgotten if they don’t send new updates every month? Woof—a long question!

Cindy: Well, not to scare you, but I have thousands of illustrators on file. I keep those I am intrigued by on a board and review them often. Send me your samples. I love getting samples and I am using new people all the time.

tatoland: What percentage of your illustrations are 1 or 2 color?

Cindy: We are full color and use it 100%.

Mel: Again for us writers-not-artists, does that 100% mean the same as full color?

Cindy: Yes.

tatoland: How do you go about looking for an illustrator? Do you use annuals?

Cindy: I do look through annuals and I look on-line. I am always looking.

Mel: This is a FASCINATING education for writers, too! I presume that "annuals" are yearly publications of different illustrators' work?

Cindy: Yes, and they are great for sparking creativity. Sometimes I just look through them to get the juices going.

Mel: Do you have any contact with the writers, Cindy?

Cindy: No, the editors are my ambassadors with the writers. That's why it is so important to have good communication with your editor.

Mel: What is your relationship with the editor I might be working with at Highlights?

Cindy: Think of us as joined at the hip. We work very closely together on the whole package, putting the words and images together for the best experience for the reader.

Mel: LOVE that—joined at the hip! (-:}

remus: What medium do you prefer to see for Highlights

Cindy: Ah, I love that you asked this! I try to include as much variety as possible. Our paper limits what will reproduce well because it is not glossy, so I use whatever I can.

tatoland Do you prefer digital files, even if they are "analog"?

Cindy: Hmmm, help me with "analog."

tatoland: By "analog," I mean work done by traditional methods, as versus computer.

Cindy: Yes, the work can be done traditionally, scanned and sent to me digitally. The danger with this is that the illustrator might not have the best scanner.

Mel: Again I'll ask for us nonart-talented, do digital files mean that the illustrator takes digital pictures of their artwork to submit to you?

Cindy: That has happened and that is NOT a good thing to do unless the work has a three- dimensional quality about it, such as cut paper. By digital, I mean the artist has created some of the art in a computer program or they have created the art traditionally and scanned it in.

Mel: So then, do illustrators submit HUGE pieces of their artwork? And do they submit by mail?

Cindy: Yes, some of the art is large and it is wonderful! Most artists use FedX or some other vendor to ship insured.

Mel: So, compared with writers, illustrators have a GIANT submission challenge! Do they ever come to Highlights in person to show you their work?

Cindy: Oh, yes, and that is a treat! I love to show people the wonderful environment at Highlights. Highlights values their illustrators and shows it by enthusiastic appreciation and recognition.

Mel: What's the first thing you do when you are preparing to design for a story?

Cindy: I read the story several times and then think about what's the correct tone for it. Part of my thinking process is to play with the headline type treatment, which I think is as important as chosing the right illustrator. I usually have a good idea in my head about the illustrator before I finish the design and I repeatedly ask myself if I am doing what's best for the reader.

Mel: What is "the headline type treatment" you mentioned, Cindy?

Cindy: It's the font I choose for the story's title. I'm a bit playful with type. I vary sizes and placement and I am always exploring new type faces to fit the text and the tone.

Mel: ineedanap has an interesting question, though I didn't get it all. But ineedanap wants to know about the payment for artwork. Is there a range of payment you could cite for us, in magazines in general, and in Highlights?

Cindy: Payment ranges for the size and type of illustration being assigned. It varies so much that I wouldn't want to quote something. In general it even varies from magazine to magazine and is based largely on circulation. I want to add that the Graphic Artist's Guild has a guide for illustrators to help them know how to price their work. I've found it to be overpriced for most publications but it is a great resource.

Mel: By size of illustration, do you mean 1/4 page, 1/2 and so on?

Cindy: Exactly. I'm doing many things now that span a two-page spread--lovely work!

remus: How many weeks does an illustrator have on average to complete an assignment?

Cindy: Highlights has very generous deadlines. I usually give an illustrator several weeks for a sketch and an equal amount of time for a final.

tatoland: Can you explain the process at Highlights from manuscript to typesetting of a story or article?

Cindy: That would be a very long answer and some of the steps I am not involved in so I will condense the process and do my best. Submission...review...circulation to other editors...possible revision...re-review and circulation...acceptance...nomination (an editor nominates a piece for a particular issue)...review of the entire issue's content...final edited text reviewed...layout...review of layout...art assignment...review of sketch...correction stages of text...revised sketch...final art review...review of placement of final art...review of entire issue with final art...review of printer-ready pages...review of printer's final proofs...review of pre-bound copies. I combined some steps, but you get the idea—it's a very careful process!

Mel: Doing your best, you DONE GOOD (-:}, very valuable, Cindy--thanks!

zubbycat: Do you accept unsolicited artwork with stories or is all art work assigned?

Cindy: Yes, all artwork is assigned. However, photos to accompany nonfiction articles are often helpful.

ineedanap: What is the preferred format for sending samples?

Cindy: I love to get a physical card I can post on my board. However, I can look on-line or receive a CD. I'll add that if I have something physical, then it is a reminder. If I love your work, I will post it and try to use you. And I think, in general it is good to send cards out several times a year to targeted art directors.

tatoland: Would you look at a digital portfolio on CD?

Cindy: Yes, I would look at a portfolio on a CD, no problem.

Mel: Here's a question about illustrations in BOOKS, too, Cindy:

craig: Can young adult stories and books have illustrations in them, and how many are in them?

Cindy: I don't have experience with designing YA books but from my perspective, I would say yes to any illustration that invites the reader. The number of illustrations can change, due to what's best for the reader, or due to the budget!

mara52: Do you have an official list of artist's guidelines available at Highlights?

Cindy: Yes, and they are also available on-line.

artist: I am an artist. Do mostly oils. Are they useful in illustration for children?

Cindy: OH, I love oils, why not. It really depends on your style. I am always looking for illustrators who can render children well. It is very difficult to do it well and also interject FUN into the drawing.

mara52: If you have thousands of illustrators on file, you must have a limited number you use most frequently. What makes those you use stand out to you?

Cindy: I first look for someone who will be able to draw children, not every artist can. And then I consider whether or not their style is appopriate for our readership, ages two to twelve. Then it's if they will reproduce well in the magazine and if I feel they would fit the tone of any given story. Because we have so much variety in the magazine, I also look for nature illustrators, illustrators who can do maps and diagrams. It's huge really, what I look for (which explains why I have so many on file). Ultimately, if I choose to use someone, they must agree to our terms of publication and our payment. If all that goes well and they are given an assignment, I expect them to follow my direction and yet, be true to their own talent. When revisions are necessary, the illustrators need to be flexible. They have to be part of the team at Highlights, not just a work-for-hire.

Mel: What do you think is the ultimate role of an art director, Cindy?

Cindy: To help convey the story's true intent and invite the reader by making that intent apparent and intriguing.

Mel: How is Highlights different from other design positions you have had?

Cindy: This is the first time I have ever designed for young children, so you would think it would be night and day for me. It's really so similar. I'll explain: Because I'm trying to do what's best for the reader, my approach to the work is the same, my thought process is the same. I'm having A LOT MORE FUN and that's the difference.

Mel: Is Highlights going to change with you as the new Art Director?

Cindy: A change in Art Directors will naturally bring something of a new look a new palette, new sensibilities. Highlights is also always exploring how to make the magazine better. I'm proud to be contributing to that evolution.

zubbycat: Do you have experience with picture books as well? If so, what is the correct way to submit a manuscript AND illustrations?

Cindy: I don't have experience with picture books, sorry.

ineedanap: Can you suggest what kind of paper is best to use, for instance?

Cindy: Most illustrators are very particular about their paper; they have chosen the paper to match their medium and their style. All we ask is that the surface be flexible so that we can scan it on a high end scanner called a "drum" scanner. It's round, and the art work has to be flexible enough to bend to its contours.

remus: If you want illustrations on paper so that you can run them through the drum scanner, can the illustrations be done on board?

Cindy: The board has to be flexible or the surface has to be able to be removed from the board for scanning.

Mel: Do you approach designing for fiction differently than designing for nonfiction?

Cindy: The difference is really in the tone of the piece and what we want to convey. For example, for a nonfiction piece, we want to convery that it is REAL, and a photograph works best in that situation (if it’s possible to find a photograph).

Mel: How many stories are you working on at any given time?

Cindy: Oh, goodness, me personally, about 30 right now, in various stages.

Mel: WOW! A BUSY Art Director!

remus: Where do you obtain your fonts? Do you purchase them?

Cindy: Happy art director! Highlights bought a large type library for company-wide use, so I have a nice selection.

remus: Do you create the fonts yourself in the Illustrator program?

Cindy: No, I tried that once for a special project. Type design is a very specialized field of design—complicated detailed work!

zubbycat: Do you know if there is a good percentage of unpublished authors whose manuscripts are accepted by Highlights?

Cindy: I know that we have a number of manuscripts on file that we have accepted and have not published. That doesn't mean they won't be published. It just means we are still looking for the best opportunity for those stories.

industrious one: How does the market respond to submission from someone both writing and illustrating a piece? (Highlights in particular.)

Cindy: I think that it is a risky thing to do. There are writers out there who are also professional illustrators so I don't want to discount them. I just want to point out that if you are not a professional illustrator focus on your writing and give that all your effort. Let us find the best illustrator for your story.

ineedanap: Do readers seem to prefer cartoony or realistic art?

Cindy: That varies. It's really about matching the style to the tone of the story. For example, a reader may be offended by a cartoony style for a serious subject.

remus: How do you determine what style fits to what story? There must be a million ways to illustrate one story, aren't there?

Cindy: In a sense, yes, so that means I have to discard almost a million ways before I think I've hit on the best way. Ha—I do actually go through a very quick elimination process. Serious or humorous? That cuts it in half and I go from there. I'm very quiet when I am designing. Lots of wheels churning. Of course, there are time constraints, and aspects of each publication's mission that must be considered, too.

Mel: There is SO much more variety in illustrating, it seems, than in writing!

Cindy: Our tag line is "Fun with a Purpose" The purpose relates to our mission of "helping children grow in basic skills and knowledge, in creativeness, in ability to think and reason, in sensitivity to others, in high ideals and worthy ways of living."

remus: How long before the illustration is published do you assign it to an illustrator?

Cindy: I am assigning December art this week!

Tom Owens pre-submitted this question: How do you hope to infuse your own sense of art into Highlights while respecting and maintaining the traditions of the magazine?

Cindy: You will start to see my work in some of the June issue, all of July, and some redesign of some pages farther down the line. I spoke of how Highlights is always reviewing the magazine and trying to make it better. I'll be here for those attempts and it is very exciting. Highlights has a long and faithful tradition of serving our readers. I will be a continuation of that tradition. Maybe you will notice a freshness to the colors, new illustrators, playful type, and maybe you won't notice. I'd have to say that my goal is not to have you notice, really; and then one day you are looking through an issue and you completely enjoy it, every single page. Then I've done my job.

Presubmitted by Vijaya Bodach: Wow! By the way, I just looked your name up in a 1997 masthead. I was impressed to read that you were with Science Magazine for 12 years. I am a former scientist, though I never published in Science (but my mentor did). I learned how to do all my own photography and did all my figures myself but it was always thrilling to see it in the journals laid out so nicely. Were you responsible for the entire layout for figures and text?

Cindy: I worked my way up to Design Director there so I was responsible for the visual aspect of the magazine. There's a super team of designers that painstakingly works with the authors to get every figure perfect. Leading that team was a real pleasure.

Another question from Vijaya: I have written an article that has figures interspersed between the text because it's also an activity. I generated the figures on the computer. Would you approve of computer-generated images? Or would you have a real artist draw them based on my images if the editor liked the manuscript? Should I separate the text from the images like we do for scientific journals and label them Fig. 1, Fig. 2, etc.?

Cindy: Yes, I think that would be a good idea. Our science editor is used to that format. We might use your figures for a scientific article so it is good to include them, if only for clarity.

Vijaya also asked: Do you or the editors mind having to see stick figures for clarification in the text?

Cindy: Stick figures are my friend.

Ruth McNally Barshaw asked beforehand: What format should sample submissions take, if an art director has asked to see more of a particular style of my art? Does the paper weight and texture matter? My reason for asking: Some illustrators are telling me to print samples onto photopaper. That would make each submission packet cost more than $10 to send. If I use cheaper paper, am I lessening my chance of being assigned work?

Cindy: Presentation does count. I suggest that you consider sending a small packet to select art directors and follow up with a phone call. I don't need to see a ton of your work to know if you are appropriate or not for Highlights. One sheet with a few illustrations on it will do. Focus on impact and follow through.

Mel: Cindy, never have two hours passed so swiftly as in chatting with you tonight! You have opened the pages of Highlights For Children for us this evening, sharing with us not only about its art and your direction of that, but with information about stories and articles as well. So we will be much better able to submit to Highlights now, more knowledgeably. We have a zillion questions left over, so I hope you will agree to come back someday and continue with us what has been a delightsome chat! Will you please join us again to continue this chat someday in the future?

Cindy: Absolutely! It's been fun. Thanks everyone!

Mel: Two weeks from tonight, on Thursday, June 3, our Chat Guest will be a return appearance by popular request. Harold Underdown, children's editor supreme, will be joining us for what I know from the past will be a lively and intriguing chat about writing and editing children's books. Will you please join us again in two weeks to welcome Harold Underdown back to our chat room? I had the privilege of meeting Harold last January at the Kindling Words Conference in Silver Bay, New York, and I know he will kindle you on June 3 with his words of wisdom about children's books. Harold has a new edition out of his Complete Idiot's Guide to Publishing Children's Books, which I have been reading with great interest.

Mel: THANK YOU again, Cynthia Faber Smith, for being our chat guest tonight, and sharing with such great ease about what must be a very hectic job sometimes as Art Director of Highlights For Children Magazine. Our WARMEST BEST to you, Cindy, on your fairly new position! We’ll be watching for your great art direction!

Cindy: Thank you for inviting me!

remus: Thank you, Cindy. I will send you some samples next week.

tatoland: THANK YOU THANK YOU!!!

Mel: Good night to you all, children’s illustrators and writers!