Case study #1
The Traveller and The Soul
The Project
A reflective, illustration-led book exploring grief, death, and the journey of the soul.
Written by Wes Filleman, the book is often used as a gentle companion during times of loss, offering a peaceful perspective on transition, connection, and continuity beyond life.
The Challenge
This was a delicate balance.
The story deals with grief and death, but not in a heavy or distressing way. The illustrations needed to feel:
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comforting
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spacious rather than literal
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emotionally present without becoming dark
On top of that, the narrative is highly abstract.
There are no conventional settings or characters, only concepts:
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“worker souls”
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a Traveller moving through different planes of existence
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a sense of transition rather than physical action
The challenge was to create a visual language that could guide the reader through something intangible, while still offering clarity and emotional grounding.
The Process
Early conversations with Wes focused on finding something that could carry meaning across the entire book. We landed on a central symbol: the moth. In many cultures, moths are associated with transition and movement between worlds. This made them a natural fit for the story’s themes, and they quickly became a recurring presence throughout the book.
From there, the visual direction developed around:
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soft, atmospheric environments
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a focus on movement and flow
Rather than illustrating events, the goal was to create a felt journey, something the reader could move through alongside the Traveller.
The Result
The final book offers a calm, cohesive visual experience that supports the text without overpowering it.
The moth has since become something of a visual signature for the project. Most importantly, the illustrations help hold the emotional tone of the story:
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gentle
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open
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reassuring
Creating space for readers to engage with difficult themes in a way that feels safe and accessible.
Case study #2
Ready, Set, Dance
A picture book designed to introduce young children to their first ballet class: what to expect, how it feels, and how to navigate those first uncertain steps.
Written by Terrel (Once Upon a Dance), the book combines practical guidance with storytelling, helping both children and parents approach dance with confidence.
The Process
We shifted the tone of the project by leaning into character and visual storytelling.
The choice of anthropomorphic animals became central:
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a cute hen learning to dance
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a frog who might be too good at jumping
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a sloth, a Highland cow, and other unexpected dancers
The message becomes immediate: everyone belongs here (and this message is truly central in Terrel's practice and vision).
From there, the storytelling opened up:
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visual gags layered into the illustrations
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small details and “hidden” moments rewarding re-reading
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playful comparisons (how long is a class? about ten plates of spaghetti…)
We kept the structure informative, but allowed the tone to become lighter, warmer, and more child-led—balancing clarity with personality.
The Challenge
The initial manuscript approached the topic from a more adult, instructional perspective.
While informative, it lacked the sense of play and curiosity that young readers need (especially when facing something new and potentially intimidating like a first dance class).
The goal became twofold:
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make the experience feel accessible and reassuring
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introduce enough humour and lightness to keep children engaged
At the same time, the book needed to retain its educational value: answering real questions children (and parents) might have before stepping into a studio.
The Result
The final book is both educational and engaging, offering a reassuring introduction to dance without losing a sense of fun.
The illustrations create:
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a welcoming, inclusive environment
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a sense of movement and energy
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multiple layers of interaction for young readers
Reviews highlighted the balance between clarity and charm, as well as the humour and visual richness that support the story.
Most importantly, the book helps children feel:
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less intimidated
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more curious
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ready to step into something new
“A humorous, warm, and encouraging introduction to dance.” — Kirkus Reviews
“Beautifully designed, accessible and charming… with illustrations that bring the story to life.” — Mary Lanni, Librarian Reviewer
Case study #3
The Rainbow Fairies
The Project
A picture book exploring a world of colour-coded fairies, each representing different traits, emotions, and ways of engaging with the world.
Framed as a “field guide” narrated by a fictional dragon scholar (real human author is East Phillips), the book blends imagination with gentle personal development themes.
The Challenge
The project came with a strong core idea (connecting fairies to colours and emotional qualities) but needed a clearer identity.
Two key challenges emerged:
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moving away from familiar fairy stereotypes (small, decorative, human-like figures)
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shaping the book into something more structured and engaging for children
The goal was to retain the spirit of the concept, while creating a world that felt more distinctive, immersive, and meaningful.
The Process
The visual direction shifted early on.
Instead of traditional fairy imagery, the characters were reimagined as elemental beings—each one tied to its colour in a more fundamental, almost natural way.
This allowed the fairies to feel:
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more symbolic
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more connected to the environments they inhabit
At the same time, the narrative structure evolved into a pseudo-scientific field guide:
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each fairy presented with its own classification and traits
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observational notes and small details encouraging curiosity
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interactive elements inviting readers to engage more actively
This approach created a balance between imagination and structure: something that feels playful, but also grounded and exploratory.
The Result
The final book is a cohesive and distinctive world, where each fairy feels part of a larger system rather than a standalone character.
The combination of design, structured presentation and interactive features transforms the concept into something that encourages both imagination and reflection.
Reviews highlighted the book’s blend of creativity and educational value, as well as the richness of its visual world.
Most notably, readers began extending the experience beyond the book itself, creating their own fairy guides and engaging with the concept in a personal way.
testimonials
Deborah Stevenson, author
Aside from her considerable artistic talents, Stella is a joy to work with in all regards. She is professional, accommodating, and I trust her 100% to deliver a quality finished product within the agreed upon time and budget. She is a true collaborator with an eye for detail and a strong desire to create a book that not only can the author be proud of, but she can be proud of as well.
Annarella A. Morejon, author
I personally love working with her, I really trust her sensitivity and her work. Stella is always open to discussion and new solutions. I know that a project in her hands can only improve and grow. Through images, Stella has the ability to tell the story in a different, captivating and poetic way
Angela Catrani, editor+agent
I met Stella a few years ago: multifaceted artist with great talent, author of short stories, creator of jewels and clothes. She has hands of gold and a patient nature, always willing to work and experiment, with humility and humor.
Stella illustrates a text trying to go beyond the surface and adding her own personal and original contribution.
Terrel Lefferts,
author+dance teacher
Each image is a beautiful work of art with small details and a masterful use of light and shadow to finesse the gorgeous life-like illustrations. As a thoughtful collaborator, Stella brings ideas to the table and helps with promotion.