WHILE growing up in Wisconsin in the United States, Aaron Boyd was fascinated with children’s books.

Through them he imagined himself travelling to faraway places and meeting interesting people.

Boyd, a graduate of the Milwaukee Institute of Art and Design, has since turned this early interest into a successful career as an illustrator and author, specialising in children’s books.

It is to this man — whose heritage as an African-American and love for animals and travel greatly influences his creativity — that Career & Education turns this week for insight into the work of the book illustrator.

Boyd’s paintings appear in several books, including I Can’t Take a Bath, The Low-Down, Bad-Day Blues, Babu’s Song, Panda Goes to School, and Daddy Goes to Work, as well as children’s magazines, such as Spider.

He was in Jamaica last month and made a presentation at the preview of the Kingston Book Festival 2012 at the Spanish Court Hotel. There, he discussed his work as an illustrator and even treated the gathering to an impromptu demonstration of his talent.

Who is an illustrator?

An illustrator is someone who draws or paints pictures for publication in a book to enhance the story of that book.

What prompted your entry into the field?

There were two books that made me want to be an artist of children’s books — Funny Little Woman illustrated by Blair Lent, which is a Japanese story written by an American, Arlene Mosel; and Strega Nona written and illustrated by Tomie dePaola. Both made an impact on me. For example, in the case of Funny Little Woman, it made me realise there was this other place called Japan where people looked different and did things differently. It was fascinating to me that books allow you to travel because as a child you don’t have the freedom to travel.

What do you most enjoy about the work that you do?

I love to travel and meet people and the pleasure I get from visiting beautiful countries. Of course, (I also) eating the food.

What are the challenges you face on the job?

Among the challenges I face is getting secure and consistent jobs. In the United States, people love art, but there is not a lot of financial support for art. When a company doesn’t have money, among the first things they cut is art and advertising. Because of the recession over the last few years, the secure jobs have basically dried up. Many companies or people prefer to use freelancers because if you’re full-time, they have to give you health care and benefits. Freelancers are paid purely for the job they are doing. My work has slowed down in recent years, but I have been fortunate in that I have worked on a four-book series that lasted for years and I still have money coming in.

What are the academic requirements for entry into the field?

A degree from an art school is important, but the irony is I didn’t learn much in art school. By that I mean I was not that much a better painter when I left than when I went in. The most valuable thing I got (from the experience) was (learning) about being in a room with other artists. You get to appreciate the work other artists do and that makes your vision as an artist much wider.

What other skills and/or competencies are required for the field?

Patience (is a must). As an artist, the biggest factor in being successful is time… It’s like a boxing match. You’re not going to get a knockout in the first round, so you shouldn’t even try to do that. But the more you stick with it, the more opportunities will open up for you. Also, I try to develop relationships with people. I never go to someone and say ‘let me show you my portfolio’. Instead, I say ‘I have been working on some ideas, and I just want to know what are your thoughts on them’. I find when you focus on the relationship and not so much on the money, it comes back to help you. Proficiency in software programmes like Photoshop is (also) important because computers assist in making your work much more efficient.

How much can one earn annually as an illustrator?

In America you can earn US$30,000 to US$35,000 annually and live decently. The top people in the field, I would guess, can make six figures (over US$100,000). Also, a few illustrators of successful children’s books have royalties coming in from those books, and may have built up a body of work over the years so they can make thousands of (US) dollars selling their original artwork.

Why would you advise anyone to get into the field?

Let me put in this way, of the 25 people in my graduating class, only five are making a living off art. I can’t speculate as to why that is. But if you have a child or start working a job, you get a raise one day so you stay a little longer, and before you know it you are promoted to assistant manager and 15 years have gone by. (By then) you’re the manager of the store and you haven’t painted in 15 years. There is security in sticking a job, but what they say about working, say in an advertising agency, is that you lose your freedom. A friend of mine had to paint a thousand shampoo bottles lined up on a shelf; that will kill you faster than anything. (As for me), people say I’m a risk-taker, but I only gamble when the odds are in my favour. I’m not married and don’t have a family so I might have had to take a nine-to-five job if I was. However, there are people who make it work. It wouldn’t hurt if you have a spouse who makes a lot of money.