Meeting Canadian Writers and Illustrators of Children’s Books
What inspires the writers of the books your students read? How does an illustrator decide what to draw? Is it true that most authors and illustrators don’t know each other? This column features a different Canadian children’s book creator in each issue and shows you the story beyond the covers.
So many recent books have wonderful, quirky, kid-friendly art. I recognize the artist by the illustrations: Scot Ritchie! Non-fiction, fiction, poetry—he does it all and makes it so attractive. Who is this Canadian illustrator of over 80 books?
Margriet: I love your illustrations! Were you already drawing and doodling as a child? What inspires you?
Scot: I have a photo of me, as a sullen young teen, in my bedroom with drawings on my walls. I had just read The Hobbit, so Bilbo Baggins is there, plus a variety of (not very well-drawn) characters. I do believe that my parents allowing me to draw on the walls encouraged me to do what I do now. Thanks, Mom and Dad.
Margriet: Before you became an illustrator, did you do other work, like graphic design? How did you come to be an illustrator of children’s books?
Scot: I got my degree in art history, but didn’t go to art school. I had two other careers before illustrating children’s books. First, I did art gallery shows in Toronto. They were small galleries and a different style of art—sort of cartoon/realistic. It was a lot of work for a small return. When I realized I could draw something once, print it, and then sell it, I started a greeting card company with a friend. It was educational and beneficial (as an artist and as a business owner), but we were up against the giants in the business and had to throw in the towel after 11 years. I also do editorial cartoons, which allow another side of me to come out. It’s a great balance. I also make products (tea towels, postcards, and tote bags). I’ve consciously kept that offline, so I visit my stores and get to know the people there.
Margriet: Did you grow up in an artistic family?
Scot: My dad was an artist and an architect by career. I learned early on that a person could wear many hats. He painted, sculpted, drew, and constructed. Mom was a writer, and we even did a book together with Annick Press. She changed her name as the author so I wouldn’t be embarrassed doing a book with my mom.
Margriet: How has your art changed and evolved over the years? How do you keep that wonderful quirkiness and humour in your work?
Scot: Thank you. It has definitely changed—I have gotten better! I guess quirkiness is what art directors saw when I started out. I’m always amazed that two dots for the eyes and a bump for the nose can convey so much emotion. I think a lot of it is that, with a somewhat blank stare, the reader fills in their own emotions. My dad’s dry sense of humour inspired me, plus a Vancouver cartoonist named Len Norris. Jean-Jacques Sempé is also a hero. His and Norris’ work is understated, allowing the viewer to find things in the art.
Margriet: How do you get a feel for a story that someone else wrote? Do you ever talk to the author?
Scot: Publishers usually keep the author and illustrator apart, but that’s changed recently, and we sometimes speak before I begin working. A lot of what I do is sort of automatic now that I have done this for many years, but I think about practical things like changing perspective and zooming in and out.
I’ve authored 16 books myself. It’s helpful to know both sides of what constitutes a good book. When I talk to authors, I stress the importance of doing sketches when you write. It clarifies the writing.
Margriet: What medium do you use? How long does it take, on average, to do all the art for one book?
Scot: I hand draw to start, so part of the process is in the real world. Then I ink over the pencil work, scan it into the computer, and do the final art in Photoshop. Usually, I have at least six months, but it can vary. I prefer a tighter deadline so I can keep the book in my head. With very long schedules, you can lose the thread and have to reacquaint yourself with the story.
Margriet: Your books have to engage young readers, but also parents, librarians, and booksellers who buy them. How hard is it to juggle that?
Scot: To be honest, I never have a sense of juggling anything, just being true to what I do and why I was hired for this story works well. I used to do a lot of freelance work (advertising, editorial, etc.) and learned then that I was hired to do what I do. You have to please the
client, but wondering what someone might like is an impossible task. It’s a balance because I’m also inspired by many different illustrators.
Margriet: What’s next? Are you working on new books?
Scot: I’m in the final stages of illustrating a wonderful story with Groundwood Books. Last year was very busy, but freelance work is always a roller coaster, so I don’t know what’s coming. I’ve also written a story that I love. I am hoping to find a publisher for that.
Margriet: Do you have any favourite books among those you worked on?
Scot: I’ve done over 80 books, so there are many, but two that I love especially are P’eska and the First Salmon Ceremony and Tug, A Log Boom’s Journey. Two other recent favourites are King of the Dump by Tim Wynne- Jones and Broom for Two by Jennifer Maruno. Books are like movies; there’s a number of creators, and sometimes it all just works really well.
For more details on Scot Ritchie and his books, check out his website: https://scotritchie.com
ABOUT THE AUTHOR
Margriet Ruurs
Margriet Ruurs is the author of over 40 books for children and conducts (ZOOM) school presentations: margrietruurs.com. Enjoy her travel-and-books blog here: globetrottingbooklovers.com
This article is featured in Canadian Teacher Magazine’s Winter 2026 issue.
