Society of
Children's Book Writers
and Illustrators

Limor Scnurmacher

Limor Schnurmacher is an illustrator and an art director. Since graduating from the Wizo Academy of Design, Limor has illustrated for various companies in different fields: high tech, education, media, book publishers, newspapers and magazines. Lectures and teaches illustration classes for children, parents and grandparents.

Some of the group’s exhibitions she participated: 2015 – “Eat With Your Mouth Closed“, the Israeli illustration week, Tel Aviv. 2015 – “Still Optimistic: Illustrators in a Tribute to Dudu Geva”, HIT- Holon Institute of Technology. 2013 – “Whales and Blue Hair–the illustrative imagination of Israel“ , Teatrio association, Venice, Italy. 2013 – “Temperament”, Hanina Gallery, Tel Aviv. 2010 – “Legend of the Child”, the Municipal Art Gallery, Raanana. 2007 – “Beyond the Mirror”, Associazione Culturale Teatrio, Venice, Italy.




How did you first get into illustration?

I drew from a very young age, but never thought of it as a profession.When I registered to visual communication studies I thought of becoming an art director at an advertising agency. I always liked illustration classes but only in the third year of studying I realized that this is my place. It took me a while to realize that I’m a storyteller, a visual storyteller.



Part from the exhibition: Eat With Your Mouth Closed, acrylic and crayons on paper


How do you start a new project?

Let’s make it short: reading, reading, analyzing (figures, characteristics, atmosphere and emotion), more reading, writing a list of associations, building a storyboard (thumbnails)- composition and balance, searching for references, character design, environment, detailed sketches, Photoshop editting (sizing and arranging the composition) and colorful language selection.



Peter and the Wolf, acrylic on paper


What is your artistic process, creating a new illustration?

Most of the illustrations are performed with special watercolor paper. I never work directly on white paper, I rather use a transparent background color. Even if the illustration requires white – I begin by applying a white base layer to provide texture. Then I copy the sketch to the paper (on top of the paint layer) and start working with the acrylics. I use pencils to emphasize shading and other details and I finish by using Photoshop editing as necessary.



Work process- For Einayim Magazine, Element issue, acrylic on paper


Tell us about an interesting illustration project you were involved in.

I’m currently working on a joint independent project with three other illustrators, in which we are translating Russian fairytales to create a children’s book and an exhibition. We received a scholarship from a culture fund that encourages artists and I’m very excited about this project.



Little Red Riding Hood, acrylic and crayons on paper


What would be your ultimate goal as an illustrator?

As a child, books and illustrations were windows to other worlds and new forms of thinking. I wish my illustrations become a source of inspiration, comfort and identification for many children and their parents.



Fly, personal project, acrylic on paper


More about Limor Schnurmacher at her website and Facebook page.