Nadia Alam is an illustrator, and first generation Bangladeshi-Canadian. She is an avid daydreamer and meanderer who draws to capture the world as she sees it. Her work focuses on connection, especially across generations. She lives in Toronto with her husband, two lovely kids, and a dog named Momo. Visit her online at nadiaalamillustration.com.
We caught up with Nadia Alam to ask about her creative process and advice for aspiring illustrators.
What inspired you to become an illustrator, and what drew you to creating books for children and young people?
I love books; they’re such a powerful tool for building empathy, and I’ve always been drawn to images that tell a story. As a kid, picture books and comics were my first art gallery. I’d flip through the same ones over and over, completely absorbed by the colours, the expressions, and the way the characters seemed to come alive on the page. Picture books can be a gateway for a child to become a lifelong reader—they certainly were for me. Becoming a mother deepened that connection even more. Reading to my own kids reinforced how powerful visual storytelling can be, and I wanted to work in that space and help create it.
Can you tell us about your process for bringing a story to life visually? Do you follow a routine, or does it change with each project?
It changes a little every time, but there’s definitely a rhythm to it: research, rough sketches, colour tests, final artwork. I usually start by reading the manuscript a few times, then setting it aside for a bit to let it sink in. I begin with loose thumbnails to figure out pacing and mood. I’ve found that I can’t really see the book clearly until the characters are nailed down. Sometimes they come so easily, and sometimes I have to draw them over and over until they feel right. I go through a lot of cheap newsprint and printer paper in that phase! It helps me stay loose and not overthink things early on.
Are there specific materials, techniques, or styles that you love to use?
I always start with traditional mediums for sketching, and then do all my colouring using Photoshop. I usually start with a pencil or graphite, then scan and work digitally from there. I’m less interested in polished, perfect images and more drawn to work that feels warm, lived-in, and a little bit imperfect.
What challenges have you faced while working on specific books, and how did you overcome them?
Balancing illustration work with parenting and family life can be a chaotic dance. I’ve had deadlines fall right in the middle of fevers, school breaks, and everything in between. Over time, I’ve learned to build extra time into my schedules and to ask for extensions when I need them—something I didn’t always feel comfortable doing.
Most recently, we had a death in the family that overlapped with a book deadline. It was hard to concentrate, and I was being pulled away from my studio. I had to take breaks, step away, and come back when I felt more steady. Even so, I was grateful to have something to focus on. Creative work doesn’t solve anything, but it can give you a place to sit with things. Sometimes drawing is just a quiet way to keep moving forward.
What do you hope your readers take away from your illustrations and stories?
I hope readers feel seen—that a reader recognizes a character, a setting, or even a simple gesture that reflects their own experience. Much of my work focuses on connection, especially across generations. Sometimes I’m able to capture moments that feel genuine—a hand on a cheek, a tired hug, a look that says everything without words. Those are the spreads I get absorbed in while working, and the ones I hope stay with readers.
What advice would you give to emerging illustrators, especially those from diverse backgrounds?
A big challenge is comparison. It’s easy to look around and feel like everyone else is working faster, doing better, or getting more attention. But that mindset usually just derails me. I’ve learned (sometimes the hard way) that the only pace that matters is the one that allows me to do the work well and sustainably. The work doesn’t have to be fast or flashy—it just has to be honest. Your voice is needed, even if it doesn’t sound like everyone else’s. Make the work you want to see—not just what you think the industry wants.
Build a small, supportive, creative circle. Find people who get what you’re trying to do. And if you’re juggling caregiving, a day job, or just life—don’t worry if your path looks different. Slow growth is still growth!
Keep up to date with Nadia Alam's latest projects by following @Nadiabmad on Instagram.
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Written by Tatiana Huong, CCBC Intern