to ensuring representation is as authentic as possible is to consult people with lived experience and to double-check at different stages.”
Consulting with the National Deaf Children’s Society around representation made sure that the assistive technology shown felt modern and in-keeping with the kinds of equipment being used by children today. “The NDCS team were keen to see a BAHA (bone anchored hearing aid) because they felt these are used by many children and yet shown less often in books than ‘traditional’ hearing aids and cochlear implants. We continued to get advice throughout the book’s development, changing things as we went along, based on the feedback – for example, ensuring the
BAHA was clearly on the child’s skin, not on their hair. Details like this are important for authenticity.”
Sharon too was keen to consider the different points of connection that her artwork can provide, revealing: “I create my work as if I’m inviting little explorers into a world full of wonder. I notice all the textures, colours, and details around me - and I try to bring those sensations into my artwork.” Underpinning this is an awareness that babies and children understand the world in different ways at different developmental stages. “For babies and young children, I think about how they experience the world differently at each stage. A newborn might first be drawn to bold contrasts, simple shapes, and clear patterns. As they grow, they start to notice colours, textures, and little surprises hidden in the illustrations.
“My aim is not to simplify or talk down to them, but to create layers of discovery – so each child can engage with the book in their own way and uncover new delights as they develop.”
The production values of the book as an object are also important considerations for Sharon. “I like to consider the physicality and the material the book itself is printed on. For the youngest babies – my Mirror Magic board books are printed on an actual mirror surface, which creates a highly engaging sensory experience. Each movement of the book brings a new reaction, as babies respond both to the illustrations and their own reflections. As children grow into picture books, I explore other special finishes and innovative uses of paper which help make the books more accessible….’ Sharon’s Starbird, which won the Shadowers’ Choice Carnegie Medal for Illustration, is an example of this. “Foil detailing adds depth and luminosity to the artwork on every page. And in my
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collaborations with Julia Donaldson, features like die-cut flaps and gatefolds introduce layers of interactivity and surprise, helping to spark curiosity and deepen imaginative engagement.”
For Alex a key aspect of inclusion was trying to avoid making assumptions so that everyone could feel included and the widest range of sensory needs were embraced. “One child with vision impairment may have some vision, so will appreciate the high contrast, while another child may have no sight at all, so making the shape of the tactile elements fully recognisable was important. One child might go on to learn braille (or a parent may already read braille) so we included braille words. It was very important to me was that the book could be suitable not just for babies but also for toddlers, young children and even older children or adults. I am not a fan of labelling touch and feel books as ‘baby books’ or ‘novelty’ books! I believe touch and feel books can be of huge appeal to every age!” Sharon’s ambitions were also more about reader engagement and experience rather than simply upon age. She says: “My aim is always to create work where more children feel seen, while nurturing empathy and understanding.”
Alex is passionate about ensuring there are more books that all children can access and can find themselves in. Part of that is through dialogue, ‘I’d love to hear from parents, carers or professionals with ideas and requests on how we can continue to make the book landscape as accessible and inclusive as possible – so if you’ve spotted a gap or need that isn’t being met, please get in touch – people can find me on Instagram or LinkedIn.”
With such careful thought and con- sideration levered at books for babies and toddlers, the future looks bright for children of all ages and backgrounds. PEN&INC
Spring-Summer 2026
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