My first ever magazine cover is hanging in the Society of Illustrators

I got the email in early September 2024. I was at the office, and upon reading the offer, I was running in circles and jumping on the sofas.

In short, the email from Art Director Jared Boggess read, “Hey Abigail- what d’ ya say?”

YES.

There were two illustrators in the running for the final cover (one of them was me.) I was determined to give it everything I had to get the gig. The following sketches are what I turned in for round 1.

After the first round of sketches, I got great feedback from Jared. He took my existential and crazy ideas and pushed them towards something just right. He emailed wonderful suggestions. “What if you used a blue tarp kind of like a nativity scene?”

This idea was a bit on the nose for me, but I realize now that pushing a little “on the nose” can mean the same thing as “being clear.” He was the art director- I’d give it a try.

The next rounds of sketches. (My friends have suggested I make a set of Christmas cards- “The Saddest Christmas Cards Ever”). I really liked #5 The Nativity Train.

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Above: A third round of quick-and-dirty sketches.

They were edgy. (Especially the one with a cigarette.- a little too edgy for the Christianity Today cover… for now.) That was understandable, I suppose.

After this round, I was chosen as the artist who would do this project! All I had to do is make it happen.

I did a fourth set of sketches to refine the layout. At this point, I was using some photo reference I had taken to help me get a good version of a cityscape.

I pass this street all the time.

The kid in the car made this choice sing. It’s that Christmas magic of staring out the window at Christmas lights. But this piece also had the true-grit story of Christmas- a family abandoned by the society that’s meant to hold them. The birth of Christ making all suffering holy. The theme of the magazine- the wonder of the incarnation and the trauma prevalent on city streets- all met in Thee tonight.

My first sketch had the holy family looking away at a baby in a box. I realized people didn’t know what was happening with the box, and I needed to clarify that. This change completely saved the piece! A few comments from my confused family members were what I needed to realize that this was an important change. I turned the figured toward the viewer to look cozy and iconic- holding the baby between them both. Always listen to feedback, even if it’s a clarifying question. However, You can ignore it if you want to. :)

Above: The drawing before I changed the figures

I drew this piece for about 3 and half days, and painted for about the same. The day before it was due I painted for 12 hours straight! In the middle of the day, I was in a total panic that this was going terribly. They had made a huge mistake hiring me and I would have to fake my way to the end.

This is the point in a watercolor painting where I’m totally saved by scribble-painting until it looks like something. One foot in front of the other- one brush stroke, one color at a time. My little color study was my saving grace now that my brain had left the studio. Seen below to the right.

Above: the new figures drawn and the color sketch

I got the piece in on time! I receives multiple edits back: add sparkling lights, darken the entire thing, and repaint the kid in the car - very necessary requests that I was graciously compensated for. Another thing that made them a great client!

This piece was shortlisted in the World Illustration Wwards, American illustration, and entered into the Society of Illustrators editorial show 68, where it is hanging until May, 2026. This was an amazing moment where my personal vision matched the client’s I was working with. A dream project.

If you like this image, I have prints and postcards available on my website.

If you’d like to work with me, I am open for assignments.

Abigail.platter@gmail.com