‘Flux’, prints here
Finally got around to writing up another Q&A post! (See my first one here) Below are some questions I have received in emails from people, and of course my answers to them. Similar themes seem to come up, so thought it would be useful to share in the hope that they may be helpful to others reading this! If you have a specific question please leave in the comments below, or email – firstname.lastname@example.org And I will get back to you as soon as I can, and possibly feature it in my next Q&A post.
Q. Can you tell me a bit about your background?
A. My background = Born in Edinburgh. Studied printed textiles at Duncan of Jordanstone, Dundee- got a 1st. Went on to travel and then moved to London where I worked as a textile designer full time for a while. Realised it wasn’t for me, and spent all free hours trying to work on my own drawings and illustrations as well as promoting it as much as I could mainly via the internet.
Q. When/how did you find your own signature style and work method?
A. Uh, I guess it has been an ongoing thing that continues to develop and change, whilst still retaining my ‘style’ which comes naturally for the most part. I think it started to take shape after lots of experience, practice and knowledge/ experience in different disciplines.
Q.Where do you usually get your inspiration?
A. Everywhere. – I answered this in previous Q&A which you can read here.
Q. How does your day-to-day routine when working look like?
A. It varies, but for the most part I will be in my studio all day. I spend a lot more time on my computer doing less exciting admin – type stuff, which unfortunately seems to take up a chunk of time. I will also spend time packaging and posting sales made from my online shops. And then of course time to work on new work whether on or off my computer…
Depending on how my day has gone, I sometimes stay and work late in my studio or I will keep working at home. Although I never do this every night as I think it is very important to take time off and create space, physically and mentally from your work in order to stay creative.
Q. Who are your favourite illustrators or artists?
Oh, also made a blog post about some of my favourite artists/ illustrators here
And a couple more which aren’t on there because sadly they are no longer alive are : Egon Schiele, and Lucian Freud.
Q. You’ve worked on commissions for products like Derwent and Chloé in Marie Claire magazine, how did these commissions come about?
A. Those commissions all came about by them contacting me basically. I am not sure where each of them first found or heard about my work. I think for this reason it is important to put your work in a lot of places, whether that be online or offline as you never know who is going to see it and when. So therefore the more places you have it in, probably the better. I try to post my work and news on social media a lot and I think that has definitely helped get my name and my work out there.
Q. I’ve noticed that there is a reoccurring theme within your work and most predominately the use of women. Is there any particular reason for this?
A. Not exactly no. I guess one piece leads to another and I like to explore something that worked. I have always liked drawing people, and for the most part find women nicer to draw – having said that I did draw a couple of men last year and hope to explore that some more this year.
Q. Do you still take any classes, or partake in life drawing sessions. If not do you use models for the subjects within your work?
A. I occasionally go to a life drawing class, but don’t have the time to go anywhere near as much as I would like to. I find it very relaxing and enjoyable and would much rather be able to draw from real life all the time, but unfortunately it isn’t always possible. I did do life drawing at uni a lot, this is definitely one of the best ways to enhance your drawing skills.
Q. Are there any interesting projects you are currently working on or plans for the future?
A. A few things in the pipeline, but still in the process of making plans etc so I guess you’ll have to wait and see 🙂
Q. I’ve followed your work on Instagram & your website for a while now, but how else do you get your work into the public eye
….I am currently in my third year at the University of Lincoln, studying Fashion Design. This year I am writing my dissertation which is based on fashion illustration. After finding your portfolio on Association of Illustrators, I loved your work and I would be very grateful if it was possible for you to answer a few questions that would help me with my research, and that I can also include in my dissertation.
Q. How would you describe your style of illustration?
Q. What methods do you use to create your final illustration?
A. The methods I use to create a final illustration are – I always start with pencil, pen or paint and paper. Sometimes I will draw/ paint the main image and then scan it into the computer to play around with it, or add to it in photoshop. Other times I will just use pencil, ink and watercolour and keep it that way. And sometimes I will draw/ paint the main image and some other elements separately, then scan them all in and play around with composition etc in photoshop to bring together the final illustration. I hope that answers your question? I don’t really have a strict method which I stick to, but I think starting with paper and paint etc will, for me anyway, always produce a richer result, rather than doing it entirely digitally.
Q. Do you read any fashion magazines? If so, do you believe that there are enough illustrations included throughout the magazine?
A. To be honest, not often at all no. Sometimes I browse the Sunday Times Style magazine if I am at my parents house. Other than that, I may occasionally buy something obscure that catches my eye, but unfortunately there aren’t that many shops that sell the smaller, less mainstream magazines that I would rather buy. The last time I bought Marie Claire, it’s because I had an illustration in it – which was exciting of course – but I don’t buy it regularly. Oh, so to answer your question, no there are no where near enough illustrations in them, and if there was more I would definitely buy them A LOT more often! I just think it becomes very stale when flicking through a hundred generic photographic adverts for Chanel, Gucci, Burberry etc, I pretty much glaze over at most of them now. They need illustrations to bring them to life again! – don’t get me wrong I love some fashion photography, but there is so much of it these days that only some of it really stands out.
Q. Finally, what do you think the role of fashion illustration is today and how has it changed over the years?
A. The role of fashion illustration today…. not sure to be honest. I like to think it helps to capture the essence or feeling of something, rather than describing a specific item or object. I think a lot of fashion illustration has become an art piece in itself. And once it becomes art it is hard to define what role it actually plays? I think it has changed a lot in that it is probably a lot more broader these days, people are so creative and we now have a lot more tools to help enhance that. Whereas in the earlier times of fashion illustration it was there to fulfil quite a clear purpose to illustrate clothes, when there wasn’t any/ very many photographs about, whereas now it has to do something more than that.
Q. ….I started drawing and painting this year, and although I’m not aiming to break into the illustration field , I would love to improve my work.
I wanted to ask you about what brand of watercolour you use, I’m trying find the brand that works for me but I want vibrant colours and good pigments without breaking the bank.. I had been thinking of giving Dr. Ph Martin’s watercolours a try but I see you use watercolour pans or tubes.. what are your thoughts?
A. I’m not sure what country you are emailing from as I haven’t actually heard of Dr. Ph Martin’s watercolours….?? I use Windsor and Newton. They have two types which they sell, one is either called ‘professional or artists’ watercolours, and that is the more expensive and much better quality out of the two types that they do. The other one is still good, but the pigments are a lot stronger in the artists’/professional one and seem to be less likely to fade etc. To be honest I actually haven’t tried that many other brands, I probably should test out some other ones to compare! The ones I buy are pretty expensive, but they do last a long time, and if you buy them as a pack, rather than individual colours it works out cheaper.
Q. Another thing is that I’m very intimidated by beautiful paper.. If I set to draw on nice watercolour paper, I get so nervous I ruin it, while if I draw on the ipad or on scrap paper… I make actually pretty good stuff..
Any tips to get over this?
A. I totally understand why you feel like this sometimes, and I think a lot of people get this ‘blank canvas’ complex. If I’m drawing in a sketchbook I pretty much never draw on the first page, I always leave it blank, or I’ll stick a postcard or a picture/photograph by someone else that I like there. So I guess that’s my thing, too much pressure to make the first page amazing that I avoid it all together! When working on loose leaf paper however, I guess because I have done it so much now I am rarely afraid to ruin it. That’s not to say that I don’t sometimes ruin it, I am just a lot better at accepting that I spend a lot of money on paper, and that’s ok because it is now my ‘job’ so if some of it gets wasted because I messed up, it’s not the end of the world (and I do try to always recycle it!). I suppose the best ‘tips’ I could give you are 1. Maybe warm up/sketch on a scrap bit of paper first and 2. Practice, doing it more and getting used to working on nice paper will hopefully make it more ‘normal’ and not so different form working on a scrap piece. 3. try not to think so much about this pressure that you are putting on yourself – which itself may just come with practice – not everything you do is going to be great, everyone has bad days, and work that they hate or that just didn’t work, so don’t stress too much if it doesn’t work out. Another thing I would say, is that it’s ok if you do great work on scrap bits of paper or on your ipad, you can keep them too and it is just as much a piece of art as the ones you create on ‘nice’ paper. The scrap paper may even add something to the work, maybe you should embrace that way of working?
Q. And lastly, do you work from reference photos? I struggle a lot with proportion.. and yet as most people I’m very concerned about originality…I feel like a cheat when I use reference photos from magazines and such..
A. Yes I usually use photos for reference. I don’t like doing it either, but it is not practical or possible for me to always have a model to draw from. I know what you are saying about originality, but I am pretty much never trying to copy the photograph, I may even be looking at a few and combining elements I like from each and putting that together with my own ideas and sketches to create my own piece of work. The photographs are for reference only. I have been going to life drawing classes for years, and although I don’t go to them as much as I would like anymore, I still go when I can. This is by far the best way to practice proportions. It is thought that the human body is the hardest thing to draw – which is why architects often go to life classes to practice their drawing – so don’t beat yourself up if you struggle with it, it takes time and practice and a lot of times you may not get it right. Just remember to keep looking – your brain/eyes play tricks on you so it is just practice. It should start to come a lot more naturally with time.