From ASL arts and science to The Chemistry Between Art and Science: Jen White ’00 embraces art, science, and children’s literature

Jen White (Jennifer Jackman) ’00 grew up in Southern California, before her family moved to Hertfordshire, about 40 minutes north of London. She later attended ASL for high school, where her love for science, visual arts, and art history continued to bloom. Though she was equally drawn to microscopes and paintbrushes, she ultimately followed art, earning her BFA with honors from ArtCenter College of Design in Pasadena.

Her career began in publishing and continued to Disney-Hyperion before she became a creative director for several rapidly growing start-ups back in Southern California. But everything shifted in the most meaningful way once she became a mom. That’s when she reconnected with a dream she’d carried since childhood: writing and illustrating children’s books.

Today, Jen is a full-time creative director, a children’s book author-illustrator, and—first and foremost—a very magical mom to her two young kids. Her debut picture book, The Chemistry Between Art and Science, published by Holiday House and distributed by Penguin Random House, is now available worldwide. It has already received glowing reviews from School Library Journal and Booklist and is a Junior Library Guild Gold Standard Selection.

“A thoughtful, visually rich book… recommended for libraries looking to include more STEAM titles.” —Booklist

“An excellent and necessary addition to every STEAM-focused library serving children.” —School Library Journal

Even more exciting, Norton Young Readers has acquired Jen’s younger graphic novel series Ghost and Bat: Guardians of the Garden in a three-book deal. Following two best friends solving mysteries in their garden ecosystem, the first book, The Phantom Pollinator, is slated for fall 2027.

Q&A With Jen White ’00

What were some of your favorite classes at ASL?

“I loved AP Studio Art with Martin Drexler P ’23 (ASL 1995-2001, 2008-17), AP art history, the individual in society—a creative writing class, and physics and biology with Ethan Higgins P ’07 ’09 (ASL 1979–2009) and Bill Kenney (ASL 1990–2022) P ’03 ’22. They were all so passionate about their subjects. I’m so thankful for how encouraging they were.”

One day I was painting Japanese rhesus macaques. I was practicing with sumi ink and I think I was drying them in the hallway. Mr. Higgins saw them and asked if I could paint a bunch for the science classroom walls. We were both amused, and I said sure! And we hung them up on the walls. It was delightful.

I also have great memories of the “Western Highlands Wilderness” ecology Alternatives trip with Mr. Kenney. I remember sitting on top of a beautiful green mountain when a student tossed an apple core down the slope. Mr. Kenney immediately made him hike down to retrieve it so as not to disturb the ecosystem. We all thought that was pretty cool.”

Which university paths did you consider?

“I was so torn. I loved oceanography and animation equally, and had no idea what to do. My parents weren’t artists or scientists, and I think they were a wee bit worried. I grew up hearing the trope: ‘You never want to be a starving artist.’ No pressure, right?

[It was her ASL art teacher, in fact—Martin Drexler—who convinced Jen and her mother that Jen would not go hungry if she chose to pursue the arts after high school. And so she did.]

“My stepfather also happened to know Richard Williams, creator of Roger Rabbit. He reached out to Richard for advice on universities—I wanted to return to California—and he recommended ArtCenter. Richard Williams’ son worked for DreamWorks and he also kindly gave me a tour of the DreamWorks campus while I was back visiting California. I was enamored with animation!”

[Jen’s art portfolio from ASL earned her acceptance to Pasadena’s ArtCenter College of Design, one of the top animation, film, transportation and graphic design schools in the US.]

Tell us about your creative career journey after college.

“During my time at ArtCenter, I loved animation and children’s book illustration. But I also liked the idea of stability—of working in-house at a company. I interviewed at several global agencies and ended up getting my first job in publishing at Harcourt Trade Publishers in San Diego, followed by Disney Hyperion in New York City. It was fate. I learned how books were made.”

[After publishing, Jen worked in branding and digital agencies, eventually becoming a creative director for several corporations and start-ups.]

“I help companies define and tell their story in a way that emotionally resonates with their audience. I help build out their design teams and processes, create what is usually their first-ever branding guidelines, and elevate all of their creative touchpoints—from product design to websites, retail displays, and full 360 marketing campaigns.”

When did you start pursuing children’s literature?

“After 20 years in design, things shifted. I had my first child, then COVID hit. It sparked a lot of reflection. I wanted to return to storytelling and illustration. I thought about kids’ education, about museum work—I wanted to do more for the community.”

[Jen freelanced for a year, balancing creative direction with passion projects. She reached out to museums for design work, and the San Diego Air & Space Museum responded immediately.]

“Working with the museum inspired so much creativity. My kids thought it was really cool. So did I! I also built my children’s book website, filled it with illustrations, wrote several manuscripts, signed with an agent, and started getting book work. I illustrated Katie, Big and Strong, published by Sourcebooks, and the heartfelt Kisses are Invisible, published by Tilbury House Publishers.”

How do you balance your time?

“My friends joke, ‘How do you have time to do this?’ You have to use your time wisely! Everyone has that one thing they love to do after work—crochet, music, baking—for me, it’s writing and illustrating. That’s what I do late at night after my kids are asleep. If I didn’t love it, I’d never have the energy.”

How did you get the idea for The Chemistry Between Art and Science?

“I think every person has a story unique to them, that they constantly play in their head. Once you finally get clarity on what your story is, you start to see examples and patterns of it everywhere. Storytelling really feels magical in that way. 

I have a lot of stories rolling around in my head, but in the case of The Chemistry Between Art and Science, I remember since I was a very young kiddo loving both subjects—and constantly looking for examples of how they could work together. The only example I latched onto as a kid was paleoart, inspired by a Natural History Museum school trip while I was in elementary school.

Eventually, I gave up on science to focus on art—and in many ways, I wish I hadn’t. As adults, we understand how intertwined they are and how powerful they can be together. But for most elementary school kids, art and science are presented as separate worlds: different subjects, different museums, different corners of the library, and later, different university paths.

I wrote this book to answer the questions the little girl in me never had answered—and in doing so, I hope I’ve created a book for kids who might feel the same love for art, science, or both. My hope is that it offers support and encouragement to kids to continue exploring art and science, because they truly can help make the world a better place.

I also like to say, ‘The stories we tell are constellations of the experiences we’ve had.’ ASL, and the people I’ve met here, have given me so many positive and meaningful experiences that continue to inspire.”

How do you feel about AI?

“In the grand scheme of things, yes—AI is scary. It will change things. Mary Shelley and Frankenstein come to mind, reminding us to ask whether something should be done, not just whether it can be done. AI will need guardrails, clear guidelines, and strong ethics.

In publishing, AI is absolutely not acceptable. For creators—writers and illustrators—the work must be made by real people. Traditional publishing must remain authentic and trustworthy, especially at a time where stories are already under book ban attacks, stories need protection. 
That said, on a smaller scale, AI can be very useful—say, for marketing in start-ups, agencies, or corporations. It’s a tool, and like any tool, creative teams need to talk openly about when its use is ethical and when it crosses the line.”

Do you ever have writer’s block? Or creative block?

“No, never! I have so many ideas and thoughts, and my only kryptonite is time. I’m easily inspired, so staying focused is key. When an idea feels like magic, I go for it—I sit down and write or illustrate immediately. I also love waking up early, when the house is quiet, to work with a cup of coffee. I keep a journal on me at all times to jot down ideas so they’re never lost.”

Any parting wisdom?
“The world feels pretty wild right now, and I want kids to know that even if we don’t have all the answers, we do have the tools—STEAM: science, technology, engineering, arts, and mathematics—and that we are all problem solvers.

I recently made a giveaway bookmark with personal affirmations for kids (and I think they’re great for adults too!): I am brave. I am strong. I am smart. I am patient. I am kind. I am loved. I can do hard things, etc. It’s so important to fuel kids’ confidence. You can do anything you’re passionate about, really. It might take time, sure—but with lots of small steps and perseverance, you’ll get there.

Thank you to everyone at ASL who has made my journey feel like a magical one!”