Today I have the honor of interviewing the amazing Anoosha Syed. I don’t think I even need to introduce her, but if you don’t know this award-winning author, illustrator and character designer who has illustrated over 40 picture books and worked with clients including Disney Jr, Google and Netflix then you need to check out her Youtube channel (where she educates people about the illustration industry and shares her art process) and website.
I’ve been fortunate to have three of my books illustrated by Anoosha— a dream come true. Just take a look at these gorgeous covers!!
These three books center Muslim families, observances, and festivities and are part of the Our Neighborhood series of board books that celebrates every kid’s culture so kids can find themselves, their family, and their friends in every book.
The series is published by Little Bee Books and distributed by Simon & Schuster.
Friday Fun and Excited for Eid are already on shelves and available for purchase, while Radiant Ramadan is releasing later this month (November 25, 2025) and is available for preorder!
Before we jump into the interview, a little grounding: I’m taking a break from interviewing my editors, but incase you’re interested, check out my previous interviews with Emily Settle (editor for three of my titles, namely, A Dupatta Is…, Henna Is…, and The Camel Library) and Krista Vitola (editor for Aarzu All Around).
I also interviewed my lovely agent, Lynnette Novak.
I will be back with more interviews with editors I’ve worked with soon, but for now I want to highlight the talented artists whom I’ve been fortunate to work with! In case you missed my interview with Anain Shaikh, check it out here.
My questions are in bold and Anoosha’s answers are italisized.
Welcome Anoosha! I’m so thrilled to be interviewing you today.
Tell us where you started and what sparked your interest in illustration.
I was a big reader as a child as so I initially wanted to pursue an animation career; as it combined by love of arts, film and storytelling. I ended up getting a BFA in Illustration, and through that program I discovered the world of children’s publishing. Although I initially worked in animation after graduating, I dabbled in children’s books here and there. I eventually committed to it fully when I realized it was my calling. Not only do I get to combine all of my storytelling interests, but I had the opportunity to create the stories I was most passionate about that relate to my culture and the books I wish I had as a child.
That’s wonderful. Your sure have contributed immensely to the true depiction of South Asian culture in your children’s books. I’m curious to know how you developed your skills when you were starting out.
Practice! I am the first artist in my family, and my school didn’t really have a big support for the arts. I would spend a lot of my free time (sometimes during classes) doodling and following online tutorials. I carried a sketchbook, gave myself a lot of little personal projects, and pushed myself to improve. Most importantly, I shared my work online. It was how I found other artist friends and a network of creatives to aspire towards, support me and push me to be better.
I agree, community is so imporatnt in keeping us going in the publishing world! Can you share a pivotal moment or experience that shaped your career as an illustrator?
Although I had been illustrating books for three years by this point, my first big gig was working on Bilal Cooks Daal (by Aisha Saeed). This was my first Big 5 publisher, my first big advance, and my first time working of a cultural story. I started to finally see illustration as a viable career option, and I loved working of books that celebrated my identity. And most importantly, through this book I met my agent Taylor! And her influence on my career can’t be understated.
I love Bilal Cooks Daal. It was one of the mentor texts I used when drafting my book, Awe-samosas! How did you decide to work on our book project/series and what was your process like?
Our paths had crossed a few times already! There were a few previous books I had been approached for, but at the time they weren’t able to work out. But I was hoping for the chance to work with Marzieh at some point. When I was contacted to work on the My Neighborhood series, I felt like this was the perfect time. I was actually six months pregnant, and looking to slow down on my arts practice in preparation for the baby and an international move. And a board book series worked wonderfully for my schedule and capacity. A board book has fewer pages than a picture book and can work with a much simpler style. And best of all, this would be a wonderful book for my new baby.
I have to say the excitement at getting to work with you was mutual. I maintain a list of dream illustrators from South Asia that I would love to work with, and send it across to my editors once we sign a new contract. You were always at the top of my list…So when I learned you agreed for not one, but all three books, I was elated!
Can you walk us through your typical creative process when starting a new illustration project?
I typically start with a concept art stage! I begin with character design exploration, creating a mood board of references and inspiration, and doing studies if needed. Then comes sketches, revisions and finals.
I loved the characters you created for this series. How long did it take to complete the illustrations, and what challenges, if any, did you face?
The publisher was very accommodating and we arranged it so that I would work on the first two books during my pregnancy, and the last book after I came back from maternity leave. Since each book had a simple style, I think it might have taken me two months per book. The sketches I was able to do in about a week, and the final art in two weeks. Definitely a lot easier than my other books! The biggest challenge came from motivation. I was so exhausted and achey during pregnancy and had to push myself to work. And for the last book, I was itching to get back to art creation so that wasn’t an issue. But finding time to work was the problem! My baby at three months was a contact napper, and I struggled to find the time to squeeze in drawing time.
That sounds like a tight schedule. I can’t imagine how you made everything look so effortless in the books. Bravo!
What did you enjoy most about working on our book, and what made it stand out to you?
One of the suggestions I made for the illustrations was to have a recurring cast. Each book would focus on a different family, but we would see the children pop up in each others’ stories. I thought this was a cute way to add a bit of world-building. I also loved that this could be a great first book to read to my baby, and share my religion with him. I had a wonderful moment where I was able to read Excited for Eid to him on Eid this past Spring!
That sounds so special. I’m so happy our books are a part of many familys’ celebrations.
What inspires your creativity and sparks new ideas?
Usually other artists! I try to immerse myself in different sources of creativity outside of publishing. These days I’ve been very interested in textile and mixed media artists.
That’s interesting. I too love how creativity can show up in different places and hw it influences art and writing over time.
How do you think AI will affect the future of children’s book publishing, and what opportunities or challenges do you see on the horizon?
I think (hope) that traditional publishing will remain committed to supporting actual human creators, and that is the impression I am seeing from the pubs I have worked with. My biggest concern is for smaller pubs and international ones who might use AI to cut corners. Since these are the ones that beginner artists are usually working in, it will make it harder to find those first gigs and a lot more competition as well. However, I also think that although AI the shiny new thing right now, over time consumers will grow tired of it and turn back towards real creators.
I hope so too! Can you share some details about your illustration revision process, including how many rounds of revision you usually go through? What stages do you typically get feedback at, and how do you incorporate it into your work?
I typically see at least one round of revisions per stage (sketches and finals). This will include notes from the AD and editor, but occasionally requests from the author as well. Towards the end, I will also see notes from the copyeditor as well, where we will check in with the consistency. I will sometimes push back on notes if I feel like the changes would be to the detriment of the artwork or my intention.
What are you working on currently, and what can we expect from your future projects?
I am currently working on the final art for my fourth authored title LOVE IN EVERY LANGUAGE, a follow-up picture book to my award-winning ‘That’s Not My Name!’. I am also finishing up a manuscript/dummy for another story, that I hope to submit in autumn.
That sounds amaing and leads well into my next question: Since you’re also an author, how does the process differ for words you have written yourself? Do the sketches come first, or do you start with the words? How do you revise personal author/illustrator projects?
When I work with an author, I have to work with the story that is given to me and that is a fun challenge to bring to life. But as an author/illustrator, I have control over all forms of the story-telling process. I don’t write the text first, and then do the art. I do them simultaneously. I might begin with some sketches to work out some visuals, or maybe with an outline first to plan out the basics of the story. But at all times, I am thinking about both. And if I write something, and then create some art, I will go back to the text and rework it. The art will influence the text, which influences the art. This way, I have a finished piece of work where one cannot exist without the other; both parts of the book are integral to telling a story.
What is you favorite part about being a children’s book creator?
Creating books that can make an impact for children.
Can you recommend any valuable resources, such as books, courses, or online communities, for aspiring children’s book illustrators?
If you haven’t already, check out my website! I am a big advocate for free, accessible education and I share many resources including my blog and my youtube channel that dive into how I make my books as well as the business side of the job; talking about things liek pricing your works and dealing with contracts.
I love your vlogs— I’ve learnt so much from them on my own illustration journey.
What advice would you give to aspiring illustrators looking to break into the industry?
FIND YOUR PEOPLE. This can be a very isolating career, and it is important to have a group of creatives buddies to be a source of support.
That’s amazing advice.
Thank you so much for sharing your learnings and thoughts on your authoring and illustarting journey and on the current market, Anoosha. It was a pleasure to have you and I wish you all the best with your books.
Readers, I hope you enjoyed this interview as much as I did.
Please leave a comment or message me with your thoughts! If you learnt womething valuable, be sure to share the post and subscribe to get future posts.
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