A maze in eyes

When did you first get into drawing?

I’ve been drawing for as long as I can remember. As a young child, I would draw my favourite Disney characters and make my own ‘cels’ with acetate and paint!

Why did you choose to make fashion part of your inspiration?

My first foray into fashion illustration started at college, when I discovered the ‘Fashion Illustration Now’ book and David Downton. Seeing the loose brushstrokes depict clothing and movement so perfectly really inspired me. I loved to draw fluid lines and interesting faces, so the fashion imagery I found lent itself well to my style.

What is your particular working day as a creative?

My days begin by walking the dog, some exercise to wake up my body and mind, and then I’ll put some music on and start work at 10 until around 6. I can work through on some days, only stopping for lunch. Some days, I need to step away from my work if it isn’t turning out the way I would like. Breaks are important to get perspective and I have learnt that the hard way.

What tools do you use when creating your images?

I start out with a pencil sketch - this is the part that takes the longest. For commissioned portraits, I usually have a photo to work from, or a mood board I’ve developed with a client. I map out all the basic elements of my subject and then go in with more detail until I am satisfied with the likeness or pose. Next, I go in with inks and Golden liquid acrylics. This is the more spontaneous part, where I can loosen up the pencil framework underneath and bring some life to the portrait. If I am producing something just for me, I can be much freer - sometimes starting with a brushstroke and seeing where it takes me. If the job requires an illustration that will eventually be used digitally, I will scan the piece and tidy it up in Photoshop, by removing any rogue ink splatters and brightening it up.

Who or what has influenced you over the years as an artist?

I’ve always felt a connection to portraits with amazing eyes – whether they’re incredibly detailed, or just a few perfectly placed marks. Artists/illustrators who execute the eyes just so, always inspire me. I also love to see a balance of detail with abstract shapes and loose colour. I first appreciated this technique when I discovered René Gruau. I also like the ‘unfinished’ look - sometimes a suggestion is just enough – and when it’s done right, it’s a thing of beauty. 

What advice do you have for younger artists looking to be part of this industry?

You can never be too good at your craft, so spend the time finding your style and nurture it daily. You can take the academic route which will equip you with many skills and you’ll get exposure to talented people, but the most important thing is growing your body of work, your skills and desire to work in the industry. You can have all the qualifications in the world, but what you can create – however you do it - is what really matters. Stay inspired, interested and be kind to yourself – every single working artist/illustrator has times when they struggle, it’s all part of the creative process.

What are you drawing today? Music are you listening to? Books that you are reading?

Favourite artist/designer at the moment?

Today I am drawing a face – no surprises there! It’s going to be used as a brand image for a new start-up company. At the moment, these are some of my favourite artists to listen to while I work: Beach House, Warpaint, Beck, Bat for Lashes and Roxy Music. I’ve just finished reading The Perks of Being a Wallflower – again!