FAQ

What advice would you give to anyone hoping to become established in the industry?

Create personal projects directed by subject matter that you feel passionate about. This will help build your illustration portfolio with themes that you’re interested in and will hopefully attract the type of clients that you’d like to work with. Share your work widely and a like-minded audience will find you. 

How did you establish yourself as an illustrator?

Towards the end of my time studying Illustration at Falmouth University I arranged portfolio reviews with some publishing houses and organisations that I admired. These were important formative experiences as it enabled me to ask questions about the industry and to receive advice. At a similar time I began sharing my work online, which led to features in some prominent design magazines and blogs, and eventually led to some of my first commissions.

After graduating in 2013 I moved from Cornwall to Bristol and found a part-time job in an art gallery, while I also worked as an illustrator in the evenings and on weekends. After one year I became represented by Heart Agency and began working as a full-time illustrator.

When do you think the right time is to seek agency representation and what do you think about having an agent?

One years industry experience is a good place to start, and I’ve heard that many agents will typically only recruit new illustrators with at least this before representation. Having an agent works well for me as they deal with the administrative side of the job, which means I can spend more time on the creative side. An agents role ranges from negotiating contracts and budgets, promoting the work, tracking payments and royalties, offering professional advice, while also protecting you and your work should anything go awry. An agent will usually take 25-30% commission, which should be a fair exchange for their time and work. Many illustrators may also choose not to have an agent because they want to take on the role themselves, both routes can work out just as well, so it depends on what you feel is right for you. 

What materials do you use, and what’s your process?

To draw I use a Rotring Isograph pen, to paint I use gouache onto hot pressed watercolour paper, while I also use Photoshop and Procreate to edit. The beauty of illustration is that you don’t need much equipment and I try to keep my stationary fairly minimal. I usually work at double the dimensions, then shrink the final artwork down so everything neatens up a bit. I particularly enjoy portraying narrative through visual metaphors and poetic imagery, to convey an idea, concept or narrative; which often gives my work a dream-like and surreal quality.

Who are your influences, what are you inspired by and how did you develop a style?

Many early self-initiated projects were important stepping-stones in the stylistic development of the work. A minimal line developed as an outcome of studying Intaglio printmaking. It was this material restraint, of working with an etching plate, that had a direct effect upon the simple linear aesthetic in my drawings now.

The Isometric perspective used within the illustrations, is an influence from Japanese woodblock prints from the Edo-period. I particularly love Ukiyo-e, floating world imagery that depicts hedonistic scenes of tea gardens, brothels and Kabuki theatre. The use of off-coloured paper in my work is an influence from age-stained illuminations, drawings and ancient engravings. While other influences include the surrealists of the 1920’s, Indian miniature paintings, folk-art, the gestures and figures of pre-Raphaelite paintings, and otherworldly narratives found in folktales and mythology. 

What is a typical work day like for you?

Everyday is different and my schedule tends to be flexible and fluid depending on what projects are on the go. Sometimes being freelance can feel like juggling plates. The great thing about working for yourself is that you set your own perimeters and goals, it’s taken time to strike up a good balance to avoid burn out which is important to ensure longevity and to enjoy the job.

What advice would you give to a young creative wanting to become an illustrator?

It’s important to remember the reason you chose this career path, and keep it close. For me I love using illustration as a tool to explore topics I’m interested in. Creating a portfolio that reflects your personality and interests is vital if you want to attract likeminded organisations. If you explore your interests and awareness of what will make you feel fulfilled, then you’ll always be working to your full potential. If you can’t find commercial work right now, then focus on the personal projects you enjoy and eventually your audience will find you.