A Conversation with Illustrator Will Hillenbrand

By Chris Weber

Editor’s Note: Our longtime contributor, Chris Weber of The Bookshelf in Madeira, had a chance to sit down
with illustrator Will Hillenbrand. Please enjoy this special Q&A!

Weber: I’m sure everyone asks you why you became an illustrator, and I know that you drew as a young child because you were dyslexic and your dad told you to draw thank you notes. My question is, how has being an illustrator changed your life?

“I think in pictures.” Willenbrand continues thoughtfully, “as a child, I didn’t know any different; I assumed all people did. Drawing was simply a language I was fluent with, and it allowed me to give voice to my expression and emotion—it was my way. The code of the written word was a problem; it was a code that I had difficulty with. Just to clarify, I was not diagnosed with dyslexia until I was halfway through college, so as a child, I was seen as a ‘slow learner’”.

Adding, “if I may, I would like to say the symbols of print on a page, being stationary, were practically invisible to me—some folks used to call it “word blindness.” Now, here is the difference: looking at a moving object was different, so when my pencil moved as I drew, I could see it. In other words, the “blindness” disappeared. It is a bit like this: when we take a walk, we may only notice the rabbit standing stock still (as camouflage), but when it hops, we immediately see the movement.”

“Being an illustrator has not changed my life; it has given me life. It illuminated my life by giving me a voice. As a children’s bookmaker, I want to reach an audience I have a strong compassion for and a connection to. Artists and storytellers bring stories to life so we can see them anew; children are natural artists and storytellers, too, as they see the world anew for the first time. When we give them the time they deserve, we can build that loving bond of trust so they can give us the gift of a second childhood—or a new way of seeing. Without that, adults may remain in a place where they say, “been there, done that,” and therefore exist, but not truly be alive in the world” shares Willenbrand.

Willenbrand notes, “my dad saw my difficulties, and because he was my champion, he recognized my pain in writing even a simple thank-you note. Wisely, he had already recognized my strength and encouraged me to build on it. Oddly, drawing a picture for a thank-you card had never, ever entered my mind, but when he said, “Why don’t you just draw them a picture?” it was as if a light went on, and I have been following that light ever since.”

“I now live the life I was meant to live, and I also believe everyone needs a champion. For me, being an illustrator isn’t just a profession—it’s the way I found my voice, my joy, and my connection to the world, and in turn, I wish to be a champion for young readers, as reading is the key that will unlock a world of magic within.”

Weber: What is the first thing that you look at when receiving a manuscript from an author?

Willenbrand explains his process, “I am always honored and excited to be considered for bringing a manuscript to visual life. For me, the story I say yes to needs only one critical requirement: it has to resonate with my soul, like love at first sight. Before diving into the details or imagining characters, I listen for that emotional connection. If the manuscript stirs my heart or sets my imagination alight, I know I can bring it to life visually with authenticity and joy. That instant resonance is the compass that guides every brushstroke and every creative decision that follows.”

Weber: You are an author as well as an illustrator. What inspires you to write a story?

Acknowledging, Willenbrand shares, “there are stories inside of me that only I can tell. For the reader, that allows them to experience the singularity of my individual creation—the world as I see it in my head, realized as a book. Sometimes inspiration comes from a childhood memory or a dream, but I choose not to tell my experiences as a reporter; it’s never a direct narrative. Instead, I use my experiences as a kind of foundation for imaginative storytelling. What I know is essential—my memories and feelings build the base—but from there, I invite the dream, the expansive universe of my imagination, to roam and explore.”

“My hope is that this approach connects with the mythic imagination of the reader, offering them not just a story, but a doorway into a world that is both deeply personal and universally resonant. It’s that blend of lived experience and creative dreaming that inspires me to write—a desire to share my unique vision and invite others to see, wonder, and dream alongside me.”

Weber: If there is one misconception about being a children’s book illustrator, what would you say it is?

“Oh, Chris, that is an easy one—and the answer is: it looks so easy to do a picture book. I have to agree with that, to a point. When a picture book is finished and sitting on a shelf, it really does look easy. In fact, that’s almost always how the reader encounters any creative work: all the labor and struggle have been thoughtfully removed, so the reader can simply enjoy the story adventure. And that’s what people fall in love with—the magic of the story, not the sweat behind the scenes” muses Willenbrand.

“I can’t recall anyone ever saying, “I love that book because it looks like it was hard to do.” Sometimes, you might look at a thick novel and imagine the years it took to write, but even then, that’s not really why you love it. Crockett Johnson once wisely said, “Don’t overlook the seemingly simple.” A picture book might look slight next to a heavy novel, but in a picture book, not a single word (or brushstroke!) is out of place. It’s an art form unto itself.”

Sharing more, Willenbrand notes, “often, when people look at their bucket list and see “write a book,” they think, “oh, I know—I’ll write a children’s book! That will be easy,” and check the box. What they don’t realize is that they’ve just grabbed a tiger by the tail. Creating a truly great picture book is deceptively simple-looking, but takes tremendous skill, thought, and heart. That’s the biggest misconception, and also the secret magic of what we do.”

Weber: In the world of AI-generated art, what would you say to inspire artists of the future?

“In the world of AI, I believe artists will need to consider the meaning of those two letters for themselves. Used wrongly, it can remove what it means to be fully human. My advice? Always keep a story in your heart. That is your one and only voice—treasure it. Allow your heart to be broken in the name of love and use your voice and your art with the fire of your true passion.”

Willenbrand continues, “AI could stand for Artfully Imagined or Authentic Illustration. To yourself, be true in every way, and let your heart be your guide. The biggest misconception about being a children’s book illustrator is that it’s simply about drawing pretty pictures or following trends. In reality, it’s about pouring your own lived stories, dreams, and passions into every page—making sure that, no matter how technology changes, the soul of storytelling remains deeply, unmistakably human.”