Neil Packer
An Unusual Collaboration
The illustrated editions of J.K. Rowling's Harry Potter series, produced by Bloomsbury, had long been the artistic domain of Jim Kay. However, for the fifth installment, Harry Potter and the Order of the Phoenix, a new name appeared alongside Kay’s: Neil Packer. Unlike the previous volumes, where Kay worked solo, the sheer scale and complexity of the fifth book necessitated an unprecedented partnership.
Packer, a longtime friend of Jim Kay and a respected illustrator in his own right, was brought into the project following a suggestion by Kay himself. Their mutual respect and understanding of one another’s artistic strengths made the collaboration both logical and effective. As Kay focused primarily on the characters and core narrative scenes, Packer was given the freedom to develop complementary illustrations that brought depth and richness to the world without encroaching on Kay’s visual storytelling.
Understanding the Wizarding World
Although Packer had long been familiar with the Harry Potter phenomenon, his engagement with the books deepened when he began reading them with his son. This personal connection provided a meaningful foundation for his work on the project. Reflecting on the experience, Packer remarked on the illustrative wealth of the series, but felt that Order of the Phoenix was the ideal volume for his contribution.
The fifth book allowed him to explore settings and themes that played directly to his artistic strengths. From the medieval-inspired Black family tree tapestry to the Edwardian-style cutaway of the Ministry of Magic, Packer was able to deploy his passion for historical styles, architectural detailing, and decorative arts.
Division of Labor
Deciding which scenes and illustrations each artist would tackle was primarily the responsibility of Bloomsbury’s editors and designers. By the time Packer joined the project, much of the layout had already been determined. Packer’s contributions were often marginalia or full-page spreads of specific environments or artefacts, such as Firenze’s Divination classroom or the interior of St Mungo’s Hospital.
With Kay handling the dramatic action and character development, Packer’s illustrations brought a decorative, atmospheric richness to the book’s margins and interstitial moments. Together, their collaboration created a visual experience both coherent and layered.
Technical and Stylistic Approach
Packer’s style is eclectic, influenced by medieval art, bestiaries, tapestries, Victorian advertising, and architectural prints. His work on Order of the Phoenix adapted these styles to suit the needs of the text, creating visual diversity without dissonance. While Kay's painterly realism grounded the characters in emotional reality, Packer's intricate patterns and stylized renderings expanded the world with historical flair.
Working primarily by hand, Packer used pencils and fine-point pens on tracing paper, which he then scanned and refined in Photoshop. However, his use of digital tools was deliberately minimal. He emphasized the handmade quality of his illustrations, preserving the raw integrity of his initial lines and textures.
Creating the Ministry of Magic
The most ambitious illustration Packer completed for the project was a cutaway of the Ministry of Magic. Originally planned as a simpler spread, it evolved into a massive, vertically oriented map referencing every known detail of the Ministry from the series. Packer spent nearly two months on this single illustration, a testament to his commitment and the complexity of the work.
The result was a piece that captured both the bureaucratic sprawl and fantastical architecture of the Ministry. Drawing inspiration from Edwardian department store blueprints and layered with magical details, it is considered one of the visual highlights of the illustrated edition.
Embracing the Challenge
The task was daunting. Packer joined a series with a passionate, global fanbase who had been waiting three years since the previous illustrated volume. Both he and Kay felt the weight of expectations. But Packer embraced the challenge with humility and enthusiasm, seeing it as both a creative opportunity and a responsibility to honor the legacy of the series and Kay’s vision.
He read the book multiple times to fully absorb its tone and themes. Notably, he observed the tonal shift in both text and art as the series matured. The darkness and complexity of Order of the Phoenix demanded a nuanced, evolving artistic language. Packer adjusted his style accordingly, matching the emotional gravity of the story.
Style, Influence, and Artistic Philosophy
Beyond Harry Potter, Packer’s career includes over 56 illustrated books, including works such as The Divine Comedy, The Odyssey, and Catch-22. His ability to reinvent his style for each project, while maintaining a clear artistic identity, is one of his defining strengths.
He draws deeply from life experiences, art history, and visual culture. A former apprentice of graphic designer Peter Hatch, Packer credits his early work in typography and layout with informing his balanced, deliberate compositions. He is inspired by museum visits, medieval manuscripts, product labels, and even bubble gum wrappers, all of which contribute to his visual lexicon.
A Creative Philosophy Rooted in Simplicity and Passion
Packer believes that great illustration communicates simply and clearly. He values narrative clarity, strong shapes, and visual storytelling over technical showmanship. His style reduces and refines, editing down to the essentials that best serve the story.
Despite his evident mastery, Packer remains refreshingly humble. He does not keep sketchbooks and often discards his early drafts. For him, ideas emerge from lived experience and internal processing. What matters most is staying creatively active. “It keeps me sane,” he says.
Looking Ahead
With Jim Kay’s eventual retirement from the illustrated Harry Potter project, the question arose whether Packer might take up the mantle. His answer was a firm no. He sees himself not as a character illustrator, but as someone whose strengths lie in decorative and environmental storytelling. He expressed deep admiration for Kay’s work and the legacy he leaves behind.
Still, Packer’s contribution to Order of the Phoenix is a meaningful chapter in the ongoing visual history of the series. His unique vision enhanced the project without altering its core, offering a harmonious counterpoint that respects both the story and its previous visual interpretations.
Conclusion
Neil Packer’s work on Harry Potter and the Order of the Phoenix stands as a testament to the power of collaborative art. His stylistic versatility, deep respect for the source material, and craftsmanship helped elevate the book to a new level of visual storytelling. As both a tribute to his friend Jim Kay and an exploration of his own artistic strengths, Packer’s contribution enriches the wizarding world in a way that is both complementary and unmistakably his own.