Currently contemporary artist Adeel uz Zafar is busy making his mark internationally with mega paintings of subversive toy world imagery in his signature scratch technique. However, this 1998 National College of Arts (NCA) graduate initially began his career as a book illustrator. Working on academic curriculum volumes with reputable publishers like Oxford University Press (OUP) and HREP (Human Rights Education Programme) as an educational illustrator and graphics expert he gained considerable technical experience in this field.

This working knowledge was well utilised recently when he proposed the idea of a joint venture at the Kathmandu International Art Festival, ‘Earth, body, mind’.

The ensuing project, Perana and Lalpila, is a children's book, illustrated by Zafar and authored by writers from Nepal and Pakistan. The illustrations and story are on display at the festival from November to December 2012. The theme of the festival is to see climate change challenges through the eyes of human relationships with nature.

This is a story that connects the geographic bodies of Nepal and Pakistan, beyond national borders, through the hearts of a young girl and a young bird. Here, in this tête-à-tête, Zafar elaborates on the specifics of the venture and the status of illustration as an art genre here in our milieu. He currently teaches at Karachi Grammar School.

Briefly describe the objectives of Perana and Lalpila collaborative effort and your role as illustrator?

Glaciers and streams are as important for Nepal as the sea is to the people of Karachi. Most rivers start in the mountains so water bodies and their pollution effect a large population stretching from North to South.

My art is an illustrated story book, written jointly by a Pakistani and a Nepali writer (Rumana Hussain and Buddhi Sagar) and is based on real life issues with lively characters like Perana, a girl who lives in the mountains and a bird Lalpila, who comes to meet her from the other side of the world.

The bilingual story book is an investigation of ecological degradation and the communication of these problems through illustrations. The intention was to catch the attention of the young audience at the Kathmandu International Art Festival 2012 and later use the book as supplementary reading material in primary schools in both countries.

What are the technical and conceptual requirements needed to become an illustrator?

Illustrations especially for children books require a certain kind of aesthetic quality to deal with younger audience and to modify certain styles. A basic academic art education can help to hone the skills although this is not the criteria. All you need is a better understanding about the subject and the cultural context has to be evident. Many times I feel that the characters in fictional story books appear very western and alien in relation to our society.

What is the scope and range of book illustration in Pakistan?

Unfortunately there is not much happening as far as book illustrations are concerned. Again I will talk about children’s books. We used to have many children’s magazines with a variety of original illustrations in my childhood which are now disappearing. Textbooks are being adapted and there are a limited number of publications coming out every year. Private publishers only print certain amount of new books according to the demand of the schools which offers limited amount of illustrations. Same is the case with the supplementary reading material and local story book publishing now seems less due to the printing cost and advancement of technology.

There are other projects which are funded by NGO and global organisations which require illustrations but again illustrators are working in limited capacity.

 Can this discipline be a viable career option? Is there a demand for trained illustrators, if so among which organisations?

Frankly speaking it is not. Publishers are not ready to pay even reasonable amount for the artwork and royalty is out of question. Illustrations are still not considered as an art form which is again debatable but most of the leading contemporary artists in the world these days are coming from illustrative backgrounds including Takashi Murakami and Yashimoto Nara.

In Asia Pacific, we have a long history of illustrations and documentation which include miniature paintings and prints in a book form. The world is changing and technology has opened many other doors and possibilities, trained illustrators are working as animators and creating visual effects in post-production houses, even in Hollywood, which is a new extension.