Hey You! is a lyrical, inspirational exploration of growing up Black, written by award-winning illustrator Dapo Adeola, and brought to life by some of the most exciting Black illustration talents working today.

Remember to dream your own dreams
Love your beautiful skin
You always have a choice

Hey YouI is an urgent and inspirational message of hope. It addresses the experiences Black children face growing up with systemic racism, as well as providing hope for the future, delivering a powerful message to a new generation of dreamers. 

To mirror the rich variety of the Black diaspora, this book showcases artwork from Dapo and 18 incredible Black illustrators in one beautiful, powerful, and cohesive reading experience. We couldn't be more excited to be bringing you an interview with all 18 of the brilliant illustrators behind Hey You!. Below, the illustrators have each responded to four questions regarding their role in this project, their experience collaborating together on the book and a little more...

Head to the bottom of this article to read the bios of all 18 illustrators, and where you can find out more about them.

Question 1

Can you describe your piece for Hey You!  for The Big Draw audience?

Nicole Miles:

"My piece was looking at the isolation one can feel in spaces where you are not only not represented but where the works of one’s forebears (regardless of how local, global or relevant their work might be) are also not taught so one’s belong is called into question and, on the more positive side, the strength that can be drawn from being able to tap into that ancestral connection for grounding and inspiration."

Selom Sunu:

"My piece is about the moment our protagonist finds out he is going to be a Dad and he is thrilled about it. There are two separate moments captured – in the first moment the protagonist has been handed a baby scan by his partner and is pleasantly surprised. In the second moment, the couple share a warm embrace against a colourful backdrop."

Diane Ewan:

"My spread is a scene in a library where a little black child is reading a book of fairytales and on the cover is a white protagonist princess, in fact all the books being read have images of white protagonists."

Bex Glendining:

"My piece involves a secondary school girl and her two friends walking down a school corridor, while other kids look on with mixed emotions. We wanted to show the main character being confident and proud in herself and her culture, despite the judgement she faces from her peers."

Dunni Mustapha:

"My piece is about discovering your own stories. It shows the character surrounded by things to do with her life story: music, books, photos, and other items that spark memories. It’s about connecting your past to your present to your future."

Chante Timothy:

"My piece for Hey You! highlights a little girl's choice to become whoever she wants to be, the image challenges the different stereotypical jobs that are associated with black people."

Jobe Anderson:

"My piece shows my character in the spotlight surrounded by a class of children and his family. The children look up to him because his work inspires them to be great and do great things. While the family builds the character up with love and it makes him feel invincible."

Jade Orlando:

"My spread focused on showing the generations of love that created the main character’s family. I illustrated a diverse range of people from different decades, countries and lifestyles as photos on the family wall, to show pride in a beautiful Black heritage."

Camilla Sucre:

"For Hey You! I was tasked with illustrating the protest scene, the protagonist is empowered to go and actually march at a black lives protest."

Joelle Avelino:

"My piece shows everything in my characters imagination shooting out of her mind representing all of her dreams and aspirations. This was very personal to me and reflected the many things I was interested in as a child."

Gladys Jose:

"My piece for Hey You! Was about being curious and questioning everything, “for curiosity gives you a special kind of freedom.” I’ve always associated freedom to birds (the flying ones). They aren’t bond by gravity, at least not bond in the same way as other living creatures. I wanted to show her taking notes and reading but having the question-marks and birds sort of flowing out of her mind and off the page."

Onyinye Iwu:

"My Hey You! spread depicts the role models that have lead the way for the black community by excelling in a variety of industries. These are individuals whose achievements have allowed black people to be involved in politics, to thrive in literature and excel in the arts. They create a foundation that ensures all young black people see themselves represented in future careers and have no limits to their aspirations!"

Kingsley Nebechi:

"My illustration was inspired by the emotions we feel as we see some of the events happening around the world. It can often feel like an emotional roller coaster you are forced to sit through as you see events unfold all around the world."

Alyissa Johnson:

"I did the lettering for the cover of Hey, You!"

Charlot Kristensen:

"As my spread included vignettes, I chose to show different moments in our main character’s life. My favourite drawing was of the Dad and his daughter dancing with each other, I wanted to focus on Black Joy."

Sharee Miller:

"I had the pleasure of creating the endpapers art for Hey You! I wanted to incorporate elements from all the other spreads into my design. Sunflowers are the main symbol in the book so i wanted to feature them as their own element and as designs on the different items and kids clothing."

Reggie Brown:

"My piece for the Hey You! book depicts a group of kids drawing a brick wall. I wanted to show the main character's love he has for his family. He wants people to see his family as he sees them, radiant, strong, and beautiful."

Derrick Brooks:

"My piece shows a comic artist at his desk daydreaming about the ideas they want to bring to life in their work while the idea is actually coming to life behind them."

Question 2

Were there any conversations amongst the artists during the process in order to get that sequential flow between illustrations? Were there any challenges to working this way?

Nicole Miles:

"Not on my side of things but I also really enjoyed the surprise of things being brought together in this way and I think it felt a little like a game of Exquisite Corpse. It is, in effect, trusting in the professionalism of these various artists and, while that can be a leap of faith, I think the trust equally in the editorial team and attention from the sensitivity readers helped make it come together really well."

Selom Sunu:

"I can’t speak for the other artists, but I didn’t end up speaking to any of others about what they were doing. Dapo had shared the opening image with us all previously which was helpful and I trusted him and the designer at Penguin (Monica) to put it all together. When my piece wasn‘t quite working I was shown the work of others so I could get a sense of how other people had used the spread (it was my first one). However, knowing me I think even if I was shown the work of the other artists at an earlier stage, I would have still done exactly what I did as I had an idea as soon as I saw the brief and had to get it out."

Diane Ewen:

"I had an initial conversation via zoom with Dapo and couple the other illustrators where he explained the project and it’s concept. It was very useful."

Bex Glendining:

"Yeah! We had a group call and a group chat, which was great and everyone was really supportive of each other. For the most part everyone had creative freedom over what they created in their own style. but there are elements like the sunflower pattern that continue throughout each illustration to help connect them which was discussed early on! it’s such a beautiful touch."

Dunni Mustapha:

"I didn’t really discuss with the other illustrators during the drawing process. I was briefed by the publisher and had guidance from Dapo. I think this was a good way of working because we were able to focus on our individual piece with clarity."

Chante Timothy:

"I did have a conversation with Dapo to figure out the angle of the image and we discussed which gender I should move forward for my spread. We came to the conclusion that black girls are often not associated with jobs like a veterinarian , a doctor (not a nurse), an illustrator or even a footballer."

Jobe Andersen:

"Dapo got us all together at the beginning as a group so we could meet one another, he setup a group chat where we could communicate and keep us up to date on the book."

Onyinye Iwu:

"I unfortunately did not have much interactions with the other artists through the process but the initial guidance i received and the continuous support and feedback was enough to allow me to see my spread from a variety of perspectives and create the best version of my work."

Jade Orlando:

"Our art director and Dapo helped us focus in on the vision with some tools to keep everything cohesive. Since the main character varies in age, look and gender throughout the spreads, we all used a certain sunflower print to represent them on every page. We also kept to a certain color palette, to help tie everything together."

Camilla Sucre:

"There was a group chat formed as the project was coming into fruition and being new in the industry, I thought it was a really cute and sweet gesture. I wasn't involved in any conversations on the content in the book, mostly we talked about exciting news book related or not I used the chat for advice in my general career it was really a fun community to be in."

Joelle Avelino:

"We had a sunflower print to incorporate in our illustration which was a recurring pattern which was a great way for keeping the narrative across all the illustrations."

Gladys Jose:

"There was, but I missed the first call because I didn’t convert my time zone meeting time correctly… I DID chat with Dapo though. But I believe we were all given the freedom to put our own individual hearts into our pieces and that was what made it even more epic to see once it was put all together."

Kingsley Nebechi:

"It was really fun to connect and relate to each other as artists by connecting as one to work on the book but also having your own space to define your own artistic message can bring a unique perspective to the project. It’s such a special collection of unique pieces and I love it!"

Charlot Kristensen:

"Since it was a project put together by so many artists with a wide variety of styles we did discuss how to keep it cohesive, like the color choices and the importance of the sunflower pattern, which was used to identify our main character."

Sharee Miller:

"I didn’t get to discuss the art with any of the artists during the art making process. I think everyone got to bring their own experiences and interpretations to the text and that is what makes the book so unique."

Reggie Brown:

"I recall a zoom conversation with a group of us at the beginning of the project, where Dapo explained his book's vision. He gave us the freedom to depict the character in the way we envisioned. It was a lot of pressure because when you're doing this type of book, you want your art to be just a good as everyone else."

Alyissa Johnson:

"I was at the tail-end of the process and didn’t need to work directly with any other artists."

Derrick Brooks:

"We kept a group chat throughout the process, but Dapo already had some great prompts in place that we could build from that made the process more cohesive. The challenging part for me was balancing out my color palette."

Question 3

What aspect did you find most inspiring while working on this book with Daps, the publisher and your fellow contributors?

Nicole Miles:

"I think the concept was it for me. Not just the book’s concept itself but more so the bringing together of the artistic team and being able to metaphorically stand with so many other talented Black artists who are so “hard to find” (except when one is actually looking for them). It’s great to think that this book can be a starting point for art directors and publishers looking for a variety of new illustrators to work with. On top of all that, Dapo’s enthusiasm, spirit and activism has been essential, energising and motivating."

Selom Sunu:

"Dapo’s first image was very inspiring as it became real to me after knowing this was coming up for a while. It was also inspiring to see it all come together in the final layout as it was great to see so many interpretations of the protagonist."

Diane Ewen:

"It was great to be involved for a few reasons. A. Spotlighting black illustrators, previously unheard of. B. Promoting the need for inclusion and awareness. C. That black children need to see themselves in books."

Bex Glendining:

"I think it was seeing everyone’s different takes and styles on Dapo’s writing coming together. Everyone put their own touches and pieces of themselves into it. And of course having the opportunity to work with Dapo himself, especially on something so personal, it was an honour. Everyone involved is just so kind and amazing."

Dunni Mustapha:

"The most inspiring part was when we’d all completed our spreads and we got to see them all come together. It was a really nice moment, seeing it all fall into place!"

Chante Timothy:

"I was inspired by the many different artists involved in this book, Dapo created a group chat through instagram and getting to know who else would be in the book and the amount of talent packed into this one book has to of been the most exciting thing."

Jobe Andersen:

"I found it inspiring knowing that I was creating a piece of work among a bunch of talented artists and that eventually it would link together with these artists to create something amazing."

Jade Orlando:

"I absolutely loved being part of this project created by such an inspiring illustrator, that showcased the voices of so many talented Black artists all at once. It was such a group effort, and the final story is one I’m so excited to share with my own family!"

Camilla Sucre:

"The most inspiring part was actually when Dapo reached out to me himself to do the book and the creation of the group chat. I really felt a personal connection with him and the artists that I hadn't had yet in the industry. It was refreshing and inspiring to see a space for so many faces like mine created by us."

Joelle Avelino:

"Working on this project as a collective with so many amazing illustrators was just overall inspiring."

Gladys Jose:

"It was inspiring how Dapo and the Publisher found all of us and brought us together. Though our styles are different I believe we all share the same message and hope of wanting to see more representation out there in the world."

Onyinye Iwu:

"Working with Dapo, Monica and the Penguin team was fantastic. The most inspiring moment was seeing the fantastic work produced by the rest of the artists, it was incredible seeing how well our pieces worked together spread by spread. Dapos words were magical to create such harmony throughout the book."

Reggie Brown:

"What I found most inspiring about this book with Dapo is that even if the concept is simple, he produces magical things.

"Dapo had a plan, the artist followed the road map, and the publisher dared to move forward with this book."

Charlot Kristensen:

"The fact nothing like this had been done before! It was also exciting to work with so many inspiring Black artist. As illustrators we often work independently so it was really great to be a part of a team collab."

Kingsley Nebechi:

"Working on this project has allowed me to reflect on tragic events happening around the world. Working with Dapo and other fellow contributors was a good chance I learn more about myself and my artistic voice."

Alyissa Johnson:

"Seeing the illustrations come in was really great, I loved the variety of styles and the story as a whole."

Derrick Brooks:

"I found the energy and spirit behind the text to be the most inspiring thing for me. It’s a genuine love letter to ourselves and you."

Sharee Miller:

"It was inspiring to see all of these different styles bring life to Dapo’s words. All the art works together to tell the story but also stands on its own. An excuse we often hear in the industry is that it’s hard to find black illustrators. Seeing a book where each page is done by a different talented black illustrator is so refreshing. Dapo has created a book that will not only inspire the readers but highlights black talent in the illustration industry."

Question 4

Our theme this year is Make the Change. Are there any ways you're looking to make the change in your practise or in your daily life?

Nicole Miles:

"Yeah definitely. Though I think in general more in terms of aligning my life to my values. I read a lot (more out of sheer curiosity than anything else) and I think that’s also pretty important for my own personal unlearning, learning and growth. I try to give of myself (money and/or time) when I can but I also try to be aware of the kind of activism that I am  best suited to. I like sharing what I’ve learned and I feel compelled to push back when I see people espousing damaging ideas. I’m also aware that living in a flawed world (as we do) means living in contradiction so I’m just trying to do my best to convert any applicable criticism into positive action."

Selom Sunu:

"Well, I’ve recently had a big change in that I have recently become a full-time artist (currently freelance). I previously did my art commissions around a completely non-art related 9-5 which was very taxing. I hope to be able to have a better work-life balance and generally have the time and mind-space to give more of myself to family and friends."

Diane Ewen:

"To continue to develop my illustrations and to not be afraid of self promotion."

Bex Glendining:

"Hmm, that’s a tough one. A change of scenery would be great once it’s safe. Hopefully i can make that happen haha."

Dunni Mustapha:

"I definitely want to push myself further with illustration and storytelling, and see where it can go."

Chante Timothy:

"I’m looking to make a change in my practise by working on my light and shadow in all my projects to add dimension to my work."

Jobe Andersen:

"Doing this project has inspired me to dive into the world of children’s books even more than before. My comfort zone is creating comics but while being on this journey I have been reading more children’s books and it’s an amazing feeling knowing that we as illustrators can create worlds for children to get lost in."

Jade Orlando:

"I feel incredibly lucky to be able to use my art in projects promoting justice, change and equality. I’m working hard to take on illustrating projects that matter, and sharing a message for change through my art."

Camilla Sucre:

"I definitely have some plans in store representation wise and story wise. Wheels are definitely in motion for some projects I'm working on to expand the genres and narratives that black people and people of color can see themselves in."

Joelle Avelino:

"Being an avid believer in the importance of representation, I want to continue creating and pushing artwork that shows underrepresented communities that reflect the reality of the world we live in."

Gladys Jose:

"The change I want to help make is to bring more Black writers & artists in this industry. We have a HUGE under representation of Black characters in books, despite there being so much talent out there. Especially in the next generation who may not have the option to go to an OVERLY expensive private art school. I want them to know that there are alternative approaches they can take, so post covid I'm hoping to do more school visits to underserved schools in my community and reaching out to help inspire and guide the next generation. On the daily though, I just do the work."

Onyinye Iwu:

"I'll be making the change by being more intentional in my personal work and prioritising joy and selfcare throughout."

Charlot Kristensen:

"Just like Dapo’s story, I try to focus on empowerment through my work, hoping it will change Black people’s narratives and build up our assertiveness in how we see ourselves."

Kingsley Nebechi:

"The older I get, the more I see the importance of Mental health in my community. I’ve been trying my best to assist my friends and family who are dealing with difficult things in their lives. You never know who is going through something and it’s important to help each other during incredibly challenging times."

Alyissa Johnson:

"This year I feel as though I am in a perpetual season of change and growth and I can’t wait to see what it turns into."

Derrick Brooks:

"I’m looking to make the change in the types of projects I devote my energy and talent towards. I want them to predominantly be things like this book. I want to create stories I can see myself in."

Reggie Brown:

"Some of the ways I am making a change in my life is to commit to working on personal projects. I want to embrace what makes me feel uncomfortable so I can grow and become a better artist, husband and human."

Sharee Miller:

"This past year has forced a lot of change in the way I work. I hope to continue to grow with my art and collaborate more like this in the future."

Nicole Miles

Nicole Miles is an illustrator, cartoonist, hand­ letterer and designer from the Bahamas. She currently lives in West Yorkshire in the UK with her pet snake and human boyfriend.

Selom Sunu

Selom Sunu is based in London. His children's illustration work includes The Puffin Book of Big Dreams and New York Times bestseller Ghost by Jason Reynolds.

Diane Ewen

Diane Ewen is from the West Midlands in the UK She has always been in love with art and graduated from the University of Wolverhampton with a B.A. honours degree in illustration.

Bex Glendining

Bex Glendining is based in the UK, and has worked on projects such as Seen: Edmonia Lewis, Penultimate Quest, Nubia: Real One and Lupina.

Dunni Mustapha

Dunni Mustapha grew up in the UK and has always been fascinated by picture books and magazines. She likes using pictures to tell stories and capturing people's quirks and unique traits.

Chante Timothy

Chante Timothy creates work that explores different themes of diversity and inclusion. She's best known for her debut book A Black Woman Did That by Malaika Adero

Jobe Anderson

Jobe Anderson lives in Birmingham in the UK He loves creating wacky scenarios and making short stories. When he isn't drawing, you'll find him reading comic books and watching movies.

Jade Orlando

Jade Orlando lives in Atlanta, Georgia. When she's not drawing, you can usually find her curled up with her cats and a really good book.

Camilla Sucre

Camilla Sucre is a Caribbean American artist born in New York and raised in Baltimore.

She studied illustration and film at MICA with a passion for multidisciplinary arts and telling stories.

Joelle Avelino

Joelle Avelino is a Congolese and Angolan illustrator and animator. Her animation project with Malala Fund was featured in Design Weekly's favourite International Women's Day projects of 2020.

Gladys Jose

Gladys Jose lives in Orlando, Florida, with her supportive, loving husband, her energetic, brilliant daughter and a very sweet pup named Miles.

Onyinye Iwu

Onyinye Iwu is a Nigerian illustrator and author. She was born in Italy where she spent her childhood, then moved to the UK Onyinye enjoys reading books and drawing patterns.

Kingsley Nebechi

Kingsley Nebechi is a Nigerian based in London. Crazy for comics, fanatical about films and inspired by African art, Kingsley is recognized for his commercial and gallery work.

Alyissa Johnson

Alyissa Johnson is a graphic designer and lettering artist who focuses on positivity and feminism. You can find Alyissa playing with her dog Luna or selling prints at a local pop-up shop in Kansas City, Missouri.

Charlot Kristensen

Charlot Kristensen has worked with clients such as Google, New York Times and Huff post. Her first graphic novel, What We Don't Talk About, was published in 2020.

Sharee Miller

Sharee Miller lives on the east coast of America. Her art is fresh, full of joy and encourages all who view it to smile.

Reggie Brown

Reggie Brown lives in San Diego, California. He has always loved to draw and can't remember wanting to be anything but an artist. Reggie loves the McRib and wants it back.

Derick Brooks

Derick Brooks is based in Richmond, Virginia and loves to create adventurous stories about Black folk. He lives with his wife and pets, and really loves potatoes.