GRADUATE PROFILE: CHARLOT KRISTENSEN

Illustrator and comic book artist CHARLOT KRISTENSEN graduated from the Middlesex Illustration BA in 2016. Since then she has produced editorial illustrations for clients such as The Dublin Inquirer and AARP. She was also part of 404 ink’s recent comics anthology WE SHALL FIGHT UNTIL WE WIN , runs her own online shop and has recently become a full-time freelancer.  Find out more about her work and career below!

 

 

1. Can you tell us a bit about what you’ve been up to since graduating from Middlesex?

 

When I graduated from Middlesex I knew I would have to move back to Dublin, Ireland, I didn’t know any illustrators there and I wasn’t part of any art community. Knowing that this would be important in order to keep striving to become an illustrator I had to start over and find my place. I was lucky to bump into the illustrator Sarah Bowie and Debbie Jenkinson at a random life drawing class, they introduced me to the Comics lab which they had set up, and there I got to meet many other illustrators such as Matthew Melis who established the Dublin Comic Arts Festival. I quickly realized that without them I wouldn’t have landed some of my first jobs. The last few years I’ve gotten to illustrate for the Dublin Inquirer, BHP publishing and 404ink, AARP, the Stray Lines Collective and Dublin Comic Arts Festival. I also set up an online art shop with my partner where we hope to introduce illustration into practical products such as house decor.

In addition to that, I’m part of the Drawn Chorus Collective, where I’ve been part of 2 anthology zines and an exhibition so far. I also recently managed to get my zine Black Women in History into a book store called ‘Books Upstairs’ and this year I’ve made the decision to go full time freelancing so I can focus more on my illustration career.

 

2. How do you go about producing your illustrations? Is there a part of the process you particularly enjoy?

 

All my work is digital and not so long ago I would have used Photoshop to produced my work but since getting an iPad I’ve found myself using procreate more and more.

I usually start of with brainstorming some ideas and looking up inspiration if I’m stuck. Pinterest has been my go to platform for ideas as I can easily categorize everything and you always get interesting suggestions based on what you have liked.

After that I do thumbnails in my sketchbook and the ones I’m happy with I take a quick photo of with my iPad so I can quickly do a rough based on the thumbnail.

The next step is colour, I like to at least figure out what scheme I’m going for, will it be a daytime drawing or nighttime, and what kind of atmosphere am I’m hoping to achieve with my colours. However, in the end I always tweak the colours a million times before I’m happy with the final result. As you may know most of my work doesn’t have an outline, usually I work off an outline or rough sketch but afterwards I’ll block in the colours and later remove the outline. What I like the most is the rough stage when everything is fresh and things can still change, I particularly love getting the colours down, and things like “is the character gonna have pink hair against a bright blue background” really excites me.

 

3. What does a typical day of illustration work for you look like? Freelancing can be tough- wether doing it full-time or fitting it around a part-time job. Do you have any tricks to keep yourself motivated?

 

Before February I was doing freelancing on the side of a full time job for 4 years since I graduated, that has been really tough as it means you have very little time and energy. At the time I would have spent any moment I could get, whether I was on a bus or during a break at work to work on some freelancing. The important thing here is to not take too much on your plate, I had to really restrict myself and make sure I had days off to rest, I think if you do too much you’ll burn out quicker and that will definitely end up with you giving up. So it’s important to be mindful of your health. If a project is too big and will take a long time to complete make that clear to the client, tell them that you need more time, or sometimes let a job go if it’s going to result in you not having sleep for days, it’s really not worth it. If you have a steady income there’s no need to take every desperate job, think wisely on what project u do, are they paid enough, will it give u good exposure, really research your clients.

I think if you do things in a more balance way you won’t lose motivation. Give yourself a day where you can go for a walk and exercise at least once a week, engage in your local art community and go see art exhibitions to get inspiration.

 

4.This year you began running ‘The Orange Nest’, an online shop with your partner. What made you decide to do this and what have you found to be the benefits of it?

 

Since moving back to Dublin I noticed very quickly that there weren’t many independent art shops, particularly shops that had an interest in illustration and zines, furthermore, most shops where you could buy interior products, such as lamp shades, pillow cases were all mass produced designs which made them look boring, so me and my partner decided to do something about it. You can’t always wait till someone else does it, sometimes you just have to do it yourself. Our shop is still very small but last year we grew a lot in sales and this year we will focus on producing more interesting products. The positive impact me and my partner has seen is that we’ve become much more aware of what people like buying and how to really tune our product design, something I was lacking before. I can’t wait to see what more we’ll do with the shop.

 

5.What’s one bit of advice you’d give someone who’s thinking of setting up their own shop/getting into art fairs and cons?

 

I would recommend using Etsy as it’s cost effective and easy to set up, the mistake I made was to pay for a Wix shop before building up an audience. We ended up losing money which could have been avoided. Another good thing with Etsy is that it’s part of a community so people can favorite your shop and items and even share your shop in community forums. As a new shop it’s important to be seen so you want to start in a place that already has an established community.

Think about your presentation, what kind of look do you want to give to your shop, even if it’s online you still want to picture your shop as if it was a physical one. A good place to start is to build a mood board, like the ones you would have done as a kid, you find images that inspire your shop look and put them together, things like displays and colours, this will give u a place to start. Another important thing is to have good product photos, if you’re selling prints don’t put up a digital file of it, people want to see what this product will look like, you can either take photos by finding a bright space in your home, you want to avoid dark shadows so try and find a wall where the shadows are very dull, if taking the photos yourself won’t be possible you could use mock-ups.. There are sites such as https://creativemarket.com which offers plenty of good mock ups. As you’re starting out, try and find one that you can use for free but I would definitely recommend paying for a good mock-up later on.

Cons and fairs are so important for networking purposes, if you sit all day at home chances are you’ll most likely not meet people like yourself, cons and fairs has help me connect with others and building my audience so definitely go for them, try and stick to fairs that a relevant to your work, when I first started out I did every fair I could find and often that wasn’t the best way, places like vintage or flea markets might not be the best place for selling art as most people attending will be looking for bargain deals so stick to fairs that are connected to illustration, craft or comics/zines if that’s what you do.

Again I would recommend figuring out how to display your table, what props to get, find a display rack for postcards or to display zines and some stands for your prints, it’s important to make your table as visible as possible, so get some decorations and a nice tablecloth. A lot of mistakes people have done, including myself is to place everything flat on the table, people won’t see your art from afar so if you can find a way to display it like hanging it above or in front of your table then that will help loads.

Doing your first fair can be nerve wrecking but there are a lot of other artist in your shoes too, talk to your neighbors, get to know them and when people approach your table make yourself available, if you’re bored, try not to go on your phone but instead sketch in a book, people are more likely to approach you if you’re working on something it also helps keeping yourself active.

Last thing, bring loads of change, be friendly, and support other artist while you’re there.

 

6. Are there any projects that have felt like milestones in your career so far? What made them stand out and why do you feel they’ve been important?

 

I would say it was the comic anthology “We Shall Fight Until We Win” that I got to work on with 404ink and BHP publishing, this would have been the first work I’ve had published and it was an amazing project to be a part of as it was related to feminism and highlighting influential women in the past 100 years. The other work that I’ve been happy about was the covers I got to do for Dublin Inquirer, they were based on 2 issues I care deeply about, the Direct Provision Center and the environment. I usually feel the proudest when I can use my skill to highlight important issues and empower marginalized people.

 

7. How did you find the transition from student to practicing illustrator? Do you have any pointers for new graduates who may be in that position right now?

 

I think for me it was a bit different as I had worked in a full time job almost 3 years before going to university so I was able to get a job after graduating. The job had nothing to do with art it was just important to keep me going, in the end we need to pay our bills and have some steady income before taking on the whole full time freelancing job and there’s nothing wrong with doing that. I don’t want graduates to think they are a failures for not finding an art job or enough freelance work immediately, these things take time. I would say start small and build up from there, it is possible to do freelance work while working in a job, we just have to be practical about it, don’t take huge projects on board or too many. The good thing about having a steady income means you’re less likely to become desperate about the art jobs you pick up.

Also while you wait for work there are loads of other things you can do such as networking online, a lot of artist I know are surprisingly not on Twitter or very active there but it’s the best place to network. Try to keep up with popular hashtags in the community such as #artvsartist, #portfolioday and #inkoctober, these can really help build your audience. Also interacting with people even if they are popular can go a long way, you would be surprised how willing people are to connect, whether you’re small or big, if they can see you have good content they’ll usually take a look and may just follow you back. I find connecting with people who have common followers usually works best, there’s trust established when they can see that some of the people they follow are following you. When interacting with people try not to come across too intense, act natural as if you met them in person, like and comment on their work, make it relevant. Also connect with people in the industry, follow companies/people that you hope to work with one day.

 

8.Can you tell us a bit about what you’re working on next?

I currently produce a lot of editorial pieces for my client AARP, they are a big news company based in the USA and they have a newsletter called sistersletter, which is what I’m producing work for. Apart from that I’ll be working on my first published graphic novel with Avery Hill this year, it will launch some time next year. And Penguin Random House has asked me to design a book cover for them which is super exciting, I hope that this will open many new doors for me.

Find more of Charlot’s work online;

WEBSITE | TWITTER | INSTAGRAM | SHOP

GRADUATE PROFILE: CRISTIAN ORTIZ

Since graduating from Middlesex CRISTIAN ORTIZ (a.k.a Crom) has gone on to become an  award winning freelance illustrator and animator. His work has been featured in the AOI Annual and is the creator of the British Comics Award nominated Golden Campaign comic book series. As well as this he has worked with clients including Fox and Warner Brothers.

1. Can you tell us a bit about what you’ve been up to since graduating from the Middlesex?

After I graduated from MDX the credit crunch hit (2008) and everyone was panicking. I had a job lined up with an animation studio for the beginning of 2009 but they went under with many other companies at the time.

I held onto my bar job in Camden Town while working in different collectives, organising exhibitions with people from uni and applying for jobs that could let me afford living in London. I was still doing the odd commission here and there but in general the recession vibe kept most clients and companies scared of hiring and spending money.

I’ve always had a love for animation so I was very versatile with the use of animation softwares of the time, like Flash and AE which gave me a bit of an edge when I started applying for jobs in advertising agencies. I worked in a couple of ad agencies for a few years, while publishing my own comics and growing my online presence. I quit the ad industry in 2014 to dedicate myself fully to my work and my projects.

2. How do you go about producing your illustrations and is there a part of the process you particularly enjoy?

I keep a moleskine notebook where I sketch all my ideas with biro and when I have something I like, I re-draw it in pencil, clean it up and scan it. then I “ink” it on my cintiq and add colours if needed. It really depends what piece I am working on. Sometimes I go fully traditional, do pencils, then real inks, etc.

When I’m working on comic pages, I notice how much I enjoy working on the pencil roughs. After the line-work is done everything feels a lot more mechanic, not as organic as getting good fluid lines on paper.

 

3. What does a typical day of illustration work for you look like? Do you have any tricks to keep yourself motivated?

I try to have a relaxed and productive start to my day. After a few years of full-time work I really appreciate what I have now, so I tend to take the morning to ease into work. I drink my coffee in bed while catching up with emails and messages from around 7:30, I’m at my desk at around 9:30 everyday after exercise, breakfast and getting ready.

Depending on the day of the week I have to spend an hour or so getting orders from my online shop ready to be posted. I always try to keep at least an hour a day to work on ideas in my sketchbook.

I wouldn’t say I have tricks to stay motivated but there are certainly tips that help me stay focused:

1. Keeping a to-do list is essential. That feeling of crossing things off makes you feel great and at the end of the day you can see how productive you’ve been.
2. Taking time to play games, watch films, read books and comics that you like is great to get over the dry patches of creativity.
3. Looking at what other artists are doing usually gets me really pumped up to try and be better and to work harder on my craft.

4. As well as working as an illustrator you’ve also written and drawn several issues of The Golden Campaign. How did you get into self publishing? What advice would you give someone looking to get into producing their own comics and graphic novels?

I have always made comics for the fun of it. Even when I was at Middlesex I used to publish a comic about my tutors and peers on Myspace which was really fun to make. To have people in the class coming to ask when the next pages were going to be out was a big thing for me. I enjoyed how easily accessible it was for everyone to read the comic online. I started Golden campaign as an online comic back in 2012 as an exercise to keep my skills sharp while spending 8 hours a day doing design work at the ad agency. As years went by, costs of printing comics, in decent quality, got lower and I finally had money to invest in my own work so for me it was a no brainer.

My advice for anyone looking to get into self publishing is just to go out there and try it. Enquire into the costs of printing and means of distribution.Nowadays everything is out there for you to do it, easily accessible information online and the UK has a vibrant and friendly indie comix scene.

If you’ve never made a comic before don’t get yourself into an epic 7 volumes project that you can’t finish. Start small, shorts stories or a condensed one-shot but make sure you finish it. That way you experience the full process from pen and paper all the way to printing press.

5. Are there any projects that have felt like milestones in your career so far? What made them stand out and why do you feel they’ve been important?

Yeah, there have been a few that meant a lot to me, at the time, as they were signs of my progress towards what I wanted to achieve in my career.

I did a big project for the Arts Council England a year after I graduated which was the first illustration job I did that paid professional rates. I had to do all the illustrations for a graphic novel/rap-opera which was really exciting and taught me a lot of things that could only be learnt on a project of that magnitude.

Finishing volume one of Golden Campaign felt like I managed to prove to myself that comics could be done from beginning to end by one person. This encouraged me to continue with bigger projects and to find ways to improve my work.

Overall, while these were important projects at the time, I’d like to think the actual milestones are yet to come.

6. How did you find the transition from student to practicing illustrator? Do you have any pointers for new graduates who may be in that position right now?

I found it to be long and too gradual for my liking. things took longer than I expected and Im not a very patient person.

What I usually say to new graduates and those still at uni is not to wait for the graduation day to start getting things moving. You are an illustrator now! Go out, find projects, get commissions, arrange internships during summer, make contacts and be aware that we all learn on the job. The earlier you start the better, just be open to new things and have flexible plans.

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Find more of Cristian’s work online;

Website | Tumblr |Instagram |Twitter |

GRADUATE PROFILE: DANIEL DUNCAN

While studying on the Middlesex Illustration BA 2013 graduate DANIEL DUNCAN was highly commended for the Macmillan Children’s Picture Book prize. Since finishing university he had been signed by the Bright Agency, worked for clients including Aquila Magazine, Mundail Magazine, Vice’s THUMP, and illustrated a number of picture books including SOUTH which he also wrote.  

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1. What have you’ve been up to since graduating from Middlesex?

When I left Middlesex, I was working part time at a shoe shop but then started a full time job at a fabric company run by my girlfriend’s Dad. A year or so after graduating I was signed up by the Bright agency who saw saw my work at the AOI awards shortlist exhibition. Now the illustration work is coming in more regularly I have gone down to working 2 days, spending the rest of the week in the studio working on commissions.

2. How do you go about producing your illustrations? Are there any parts of  your process you particularly enjoy?

My work has changed since graduating but similar in lots of ways. I used to use pencil on paper and coloured in photoshop. Now most of my process is done digitally on a Cintiq.

I start an illustration by sketching lots of thumbnails in my notebook, I’ll develop 1 or 2 digitally adding in more detail etc. This is the most creative and fun part of my process. Then I’ll fully render the piece using a variety of pencil, paint and paper textures brushes in Photoshop. I find working digitally frees me up and gives me more confidence to try out different things.

3. What does a typical day of illustration work look like? Do you have any tricks to keep yourself motivated?

I’m lucky to have my studio in my house, so typically I’ll be sat at my desk all day if I need to be. One of the good things about working from home is that you can be more flexible with your time. So if I’m not feeling too motivated I can take a break and do other things around the house, or even pop down the road to the gym! If I don’t have any work on I’ll develop portfolio pieces, book ideas or tidy my studio etc.

4. Your portfolio includes a number of self-initiated pieces. What made you choose the projects you did and what do you think is the importance them?

For me self initiated work has always been about adding new things to the portfolio and trying to get more work, as well as developing as an illustrator.  When commissions are coming to an end and I have nothing lined up , i’ll work on self initiated pieces or  stories to show new and current clients, which will hopefully bring in more commissions.

5. You’re currently signed with the children’s book illustration agency Bright. What’s it like having an agent and in what ways has it helped your career?

I was I initially skeptical about having and agent, as some people prefer going solo.  But it’s the best thing to happen to me as an illustrator! I’m able to focus on jobs, portfolio pieces and new stories whilst they take care of invoices, contracts, and networking with publishers/clients. They’ve also been great at giving me tips and suggestions on my portfolio and helping my develop as a children illustrator.

6. Are there any projects that have felt like milestones in your career so far? What made them stand out and why do you feel they’ve been important?

My biggest achievement so far would be writing and illustrating my own published children’s book , South (Abrams 2017) . It felt like a big step towards making illustration an actual career, and has given me the confidence to write more!

7. How did you find the transition from student to practicing illustrator? Do you have any words of advice for students who may be in that position right now?

When I was at Middlesex I felt like I built up so much momentum. I think its vital to keep it all going when you graduate. The hardest thing when leaving university, is that you have to get a day job, often doing things you don’t really want to do. These take up most of your time so it’s difficult fitting in illustration. I’ve always made time for it though. Wether it’s getting up a couple hours before work, drawing on lunch breaks, staying up late, or staying in all weekend. My advise would be, find time and don’t give up!

8. What are you currently working on? Are there any future projects coming up that you can talk about?

At the moment I’m working on the roughs for a picture book called “Mr. Posey’s New Glasses” written by Ted Kooser, published by Candlewick Press, I’m really pleased with how its turning out so far. I’m also just about to start work on a non fiction project with Macmillan too. In my spare time i’m trying to write another story of my own which I’m hoping to have roughed out and ready to pitch to publishers by the end of the year!

Find more of Dan’s work online;

Website | Facebook | Twitter | Instagram

GRADUATE PROFILE: HANNAH CLARK

Since graduating from the course HANNAH CLARK has worked as both a freelance illustrator and as a gallery assistant at Margate’s LOVELYS GALLERY. Along with producing artwork for clients including Slimming World Magazine and Hallmark Cards she has also taken on a range of private commissions.

 

1. What have you’ve been up to since graduating from Middlesex?

Since graduating, I tried for the 1st year to be a full-time illustrator. Though with each passing year the income from my art increases, it’s not reliable and I needed a part time job to go into. I emailed Lovelys asking for a job and it just so happened they had a vacany. I’ve now worked there for 2.5 years. In terms of what’s happened to me as an artist, I’ve had a variety of jobs- from Jamie Magazine, Hallmark Cards, Slimming World Magazine and Landscape Magazine. I’ve had a number of private commissions, such as pet portraits. I also set up my Etsy shop 4 years ago and I get some sales from that, as well as private commissions, and set up a shop on artfinder.com, where I have had a few sales. My work is also in a couple of hotels in Cornwall and I also have an art licensing agent: Pure Illustration Ltd. More recently, I’ve been concentrating in getting my work into local galleries.

 

2. Describe your practice- how do you go about producing your images? Are there any parts of the process you particularly enjoy?

 

I have several sketchbooks and do use them- either through creating thumbnails to work up an image, sort out composition or to make sure I know how to draw something accurately- essential with buildings and animals! Or simply to draw for the sake of drawing: my ‘line’ is that it’s cheaper than therapy..! Other times the image I want to create is so strong in my head that I dive straight in and draw what I want straight onto the paper, and then paint. Often I stare at the pencil marks I’ve made for a long time to figure out how I’m going to paint it. Watercolours are a bit like chess- you can plan all you want but it still might not turn out how you want them to. Which is good in a way. The work is constantly fresh and unexpected and you learn new things. What I love most about creating, is colour and the blending qualities you get with watercolours. It’s so real, in front of you, using beautiful paint, solid paper.

 

3. What inspires you to keep going? Your work often features food. What draws you to this subject matter in particular?

 

What keeps me going is that I couldn’t do anything else. Perhaps some sort of organisational job, or caring, but to create is very much part of me as a human being. [Food] does, yes, because I’m so attracted to colour. Living in the countryside means I’m exposed to the changing seasons and part of that is food. Food is essential, it looks good. I’m also a keen cook/baker, but I’m now not someone who eats very much! Perhaps this is my outlet- I can’t eat it but I can paint it instead!

4. What does a typical day of working freelancing look like? While being an illustrator sounds like a dream gig the truth is that it’s still a job. Do you have any trick for keeping motivated when work starts to feel like a drag?

 

On my days off is when I do my freelancing bit. That entails answering any emails, doing marketing, creating artwork, doing my accounts, buying supplies, seeking out new ventures, getting inspiration, building up my portfolio. I really need to update my website, so I’ll say that aswell! But yes, it is still just a job. I would say to stay motivated is to not do it all the time. Yes really! Go out and get a part time job. It’ll give your week structure, it will make you be social and find potential new clients and outlets, instead of the temptation to sit on your arse all day. Either that, or make yourself go out: to galleries, museums, craft fairs; whatever gives you inspiration, and don’t forget the exercise. I have a dog and that makes me be active, as well as the gallery job. & I suppose I should also say that I’ve recently started a life modelling career… It’s not for everyone, but I find It relaxing!

5. Are there any projects that have felt like milestones in your career so far? 

I guess it was the Slimming World magazine commissions. It was good pay, of a subject I enjoyed painting and it was starting to be a regular thing until the art direction changed, staff changed and that was that. But it gave me a taste of what being a full time illustrator could be like and I loved it. I also like doing the window display at work, and I now also do the window display for the patisserie next door on special occasions. It has forced me to be more 3D with my work; bolder and know what is eye catching and appeals. It’s important to me as it shows I can do bigger things and think more about the logistics of artwork, such as is this glue going to hold for a month, can people see this from their angle etc.

6. As well as taking commissions you also work at Margate’s Lovelys gallery. What is it like working with artists from that perspective? And what is your favourite part about the job?

It’s important to say that not only is it a gallery but we also do framing, restorations and sell art materials, so it’s a varied job! It’s a very nice thing to be part of an artistic community: you advise them on buying the art materials, how they could have things framed to sell well & advise them on what sells well at the gallery. It’s nurturing them, seeing their career grow but also gaining tips from them and making new friends and contacts myself! I like most parts of the job, but if I had to choose, it’d be the ‘creative’ side of it, such as designing the recent poster for the Illustrators and Printmakers exhibition or doing the window display. And working with such great people; we’re a mini family sometimes.

 

7. How did you find the transition from student to practicing illustrator? Do you have any words of advice for students who may be in that position right now?

I would say… don’t have high expectations, don’t feel like you’re not good at creating artwork if you don’t get many jobs coming in and be prepared to expand your skills. I have found it very difficult in getting freelance work but I couldn’t be a student anymore- had quite enough of tuition for a lifetime! I’m an independent person and I like working hard.

8. What are you currently working on? Are there any future projects coming up that you can talk about?

At the moment I’m doing a lot Lovelys Gallery, in terms of having my own solo exhibition starting the beginning of October, to curating the Printmakers and Illustrators exhibition starting at the end of October and inbetween that we’re hosting an event in aid of The Big Draw/The Campaign for Drawing charity on the 22nd October, where myself, my colleague and ALEX FOSTER from MDX who now lives in Margate will be doing some drawing workshops. When all that has blown over, I’ll be continuing my project of building portraits of Margate businesses and painting more alcohol bottles- a favourite!

 

Find more of Hannah’s work online;

Website | Instagram | Twitter | Facebook | Etsy | Artfinder

www.hannahclarkillustration.com

etsy.com/uk/shop/HannahLClark

artfinder.com/Hannah-clark

twitter.com/hannahlclark

facebook.com/hannahclarkillustration

instagram.com/hlclarkillo

 

GRADUATE PROFILE: AMBER COOPER-DAVIES

AMBER COOPER-DAVIES graduated from Middlesex’s Illustration BA in 2013. Since then she has worked on a wide variety of projects including designing patterns for SOAS, illustrating a children’s book and creating a stop motion animation for ICAN. She has just finished a series of illustrations for a new book from ET-AL DESIGN.

1. What have you’ve been up to since graduating from Middlesex?

Since I graduated from Middlesex I’ve been freelancing as an illustrator! It’s great fun but also very hard work- most of the jobs I’ve had recently have been longer projects, which I love because you really get to delve into the subject, but they do take a lot of dedication so it can be easy to spend whole weeks chained to my desk. It really helps that I love what I do!

2. Describe your practice- how do you go about produce your images? Are there any parts of the process you particularly enjoy?

I mostly work in collage, so once I’ve completed a rough, I trace each component onto coloured, textured or patterned paper, then assemble into the final image. I tend not to stick anything down until the very end, just in case I change my mind about something- which actually happens very often, because colours or textures can look completely different to what I had anticipated once they’re cut to size. Occasionally I do alter papers, but I try to keep this to a minimum, because it’s very easy to get distracted by creating tiny details that way when really all the composition in my images is in the lines the edges create. Most of the paper processing I’ve done recently has been applying monoprinting ink to tracing paper, so that I can incorporate transparent coloured layers into my work.

I do also create stop-motion animation, on a similar principle to my collages with flat paper puppets, but that’s another story altogether!

3. What does a typical day of working freelancing look like? While working as an illustrator sounds like a dream job the truth is some days are more of a grind than others. How do you keep yourself motivated?

For a typical day of freelancing, I tend to just sit down and get on with it- I’ll be at my desk at about 9:30am, stop for lunch, then back to my desk, stop for dinner, and then back to my desk until (depending on how close the deadline is) up to about midnight. I try not to work any longer than that though unless I absolutely need to, because you need to be able to work effectively the next day. I listen to a lot of podcasts while I work, which certainly helps me keep focussed when I’m doing something fiddly or working on a very long project. Recently I’ve also been trying to make sure that even when there’s a lot to do I at least go outside for a little while, working in the back yard if I can or getting a walk in before dinner.

4. As well as being an illustrator you’ve also produced several animations. Can you tell us about how you put your films together and how working with moving imagery differs from creating a single static image? Is there anything you enjoy about the process?  

My animations have really progressed recently, as my last major project was the longest animation I’ve done- about 8 minutes in all. I actually tend to be less precise with my planning of animation compared to collage- I tend to find the best results come from just trying things out whereas with collage I absolutely can’t get anything done until I have an exact rough planned. This probably wouldn’t work out well with drawn animation, but because I use stop-motion with paper puppets, it’s all about finding out what the puppet can do. I usually work with my black paper puppets on top of a lightbox which backlights them, eliminating any need to worry about shadows, or concealing their joints. I like working this way because it means that I have to use fairly simple compositions, although it does mean that I can mostly only work in black and white, and it would be nice to try out some colour- maybe that’s my next challenge! I find the flow of animation work very enjoyable- it’s easy to lose track of time completely watching the puppets come to life, and it’s a much more immediate process than people think, especially with programs like dragonframe.

5. Are there any projects that have felt like milestones in your career so far? What made them stand out and why do you feel they’ve been important?

Last year I worked on my first picture book, which was a very interesting experience. The publisher (KioGlobal) found me through the Drawn Chorus Collective, and asked my to do a sample page to see if my style would fit their story. It was quite intimidating to take on such a large project, especially with a fairly tight deadline, but it has certianly given me the confidence that I’m capable of pulling something like that off! Another turning point for me was earlier this year when I was working on the set of animations for Hibakusha Stories in New York, which has now beenpicked up by ICAN (International Campaign Against Nuclear Weapons). The animations were originally made to punctuate a live event in May, and after working on them in isolation for so long it was quite amazing (and scary!) to meet all the people whose lives I had been representing, and to see my work as a more collaborative component of a larger thing. I think that like many illustrators I tend to think of my work as an independant problem solving exercise, leaving it behind once I’ve finished, but this has helped me realise that even though I usually work alone, good collaboration with clients is important and that my work is alwas part of a larger whole.

6. How did you find the transition from student to practicing illustrator? Do you have any words of advice for students who may be in that position right now?

It’s definitely not easy transitioning from student to freelance illustrator. I decided to stay living in London, which has been helpful, as there have been times when clients have wanted me to work in their offices (which is in itself a bizarre experience!) and it is convenient for when clients want to meet. It has meant however that I have had to rely on a part time job to make sure the rent is always paid! My advice to students graduating now would be that it will take time to build up enough business to be an illustrator full time, especially if you live away from home, so don’t worry about having to be a barista etc for a while so long as you keep dedicating time to creativity and looking for illustration work and don’t lose sight of your goal.

7. What are you currently working on? Are there any future projects coming up that you can talk about?

Currently I’m working on a spread for DRAWN CHORUS COLLECTIVE‘s ‘Easy As…’ alphabet book, which has been a lot of fun! I would say that it’s definately worth working on projects together with friends as it’s a refeshing break to have a lot of creative freedom between more restrictive professional projects.

Find more of Amber’s work online;

Website | Instagram | Twitter

GRADUATE PROFILE: LEFKI SAVVIDOU

LEFKI SAVVIDOU graduated from Middlesex’s Illustration BA in 2012. Since then she’s tried her had and many things. As well as combining words and images with biting, humorous results she also freelances as a tattoo artist. Find out more about her and her work below;

1.   Can you tell us a little bit about what you’ve been up to since graduating from Middlesex?

Freelance graphics, tattoo design and tattooing, t-shirts, notebooks, illustrations and I did manage to make my first zine.

2.   Describe your practice- how do you go about to produce your images? Are there any parts of the process you particularly enjoy? 

I don’t follow a particular process. When I have an image in my head I just grab a piece of paper and put it down and usually that’s it. Even though there are times I might rework the original doodle/drawing I usually don’t like to mess with it because the first thing you draw comes out natural so if you fiddle with it I feel like is becomes more and more planned.

3.   What is a typical day of working as an illustrator like for you?

I have to be working on multiple projects, otherwise i get bored and give up. I jump from one project to another either because i get stack or i need to take a brake from a project.

 

4. Many of your projects are self initiated; where do you get your ideas for them?  

Many of the ideas come up do to practical reasons. Say i want a pot for my plant, or a t-shirt, or a skateboard or even a pair of shoes  but i can’t find anything i like. I have to make it. I WANT to make it. I like making things that i can’t find out there. It’s like a lot of film directors do. They make films that they’d like to watch and no-one else makes. I like making art that id like to see and no-one else is making. I do have particular images in my head of what something will look like.

6. Shortly after graduating from university you started designing and inking tattoos. What drew you to this process and what keeps you coming back to the tattoo gun?

During the uni years i wasn’t able to find my style. No to say that i have a very refined style now but I’d like to think that people can tell apart my work when they see it. So right after graduation there was a period of frustration of no knowing what to do and what to draw.  It took a good 6-7 months to real get motivated and start drawing again and that was a time where i started finding a certain style. A style that I saw emerging in the tattoo world. It was nothing like the traditional old school tattoo form. It was a year after graduation when I moved back to Cyprus when someone saw my work and wanted to teach me how to tattoo. And I took it from then on. I’ve been tattooing  my own designs for 3 years now.

7.   Are there any projects that have felt like milestones for your career as an illustrator?

I wouldn’t call it a project but getting a design I did put on a shoe by the people over Bucketfeet in Chicago and retailed internationally is pretty damn insane. I get a lot of tags on Instagram from people from all over the world wearing my shoes. I got people from all over the USA and even Japan. I even got one from Belize just this morning.

8.   How did you find the transition from student to practicing illustrator? Do you have any words of advice for any recent graduates who might be in that position right now?

It was defiantly hard to adjust to the real world of illustration but you get to work on so many different projects and see if you are able to adjust under certain circumstances and see how versatile of an illustrator you can be.  My advice? I wouldn’t call it advice but to all of those graduating now: This is were the real fun begins!

9. What are you currently working on? Are there any projects coming up that you can talk about?

I’m currently producing some new images for my “daily poetry” and “disillusions” series. I’d love to make a zine but its turning out as a book. Looks like I’ve got one too many images and i thought a book would be nice. I might have to abuse my privileges on some xerox facilities. I’m also starting to use colour and actually producing larger scale imagery. Is that still illustration or am i coursing into fine art? Also thinking of learning how to play around with PMC (Precious Metal Clay) maybe start busting out some rings?

Find more of Lefki’s work online:

Website | Instagram | Facebook

GRADUATE PROFILE: JAMES OSES

JAMES OSES graduated from Middlesex’s Illustration BA in 2010. During his time on the course he discovered a love for drawing on location which has directly translated into his practice. Since graduating James has worked on projects for Borough Market, Marks & Spencers, The Sunday Telegraph, J.D Weatherspoons and more. As well as his client work he also sells original artwork, prints, and work on commissions, drawing street scenes of London and other places.

1. Can you tell us a little bit about what you’ve been up to since graduating from Middlesex?

I’ve been working as an Artist and Illustrator, selling original art and prints of places I like to draw on site; mostly in London, but also in other locations when I get the opportunity to travel. In terms of illustration, I’ve been fortunate to work on  a series of commissions for Borough Market, as well as projects for Ritzy Cinema, The Telegraph, M&S, J.D. Wetherspoon, BMI Voyager, Sipsmith Distillery and others.

2. Describe your practice- how do you go about produce your images? Are there any parts of the process you particularly enjoy?

The most important part about the way I work for me is drawing directly on location. I’ve found that this is the way I feel most comfortable putting pen to paper. I think this is because its quite a spontaneous way of working, I like how certain things can come into your view momentarily like an interesting person or a particular event, so it forces you to draw quickly and pick the most important aspects of what you’re trying to depict.

The main materials which I use are a dip pen with a flexible nib, black indian ink, and watercolours. I gravitated to dip pens because I like how you can manipulate a line to be thick or thin by varying your hand pressure, which makes them very expressive to work with. Watercolours are great for many reasons; their transparency, and the ability to use them in a quick way is what I like most about them. They also work well in combination with pen & ink.

3. What is a typical day of working as an illustrator like for you?

For working on most illustrations it’s usually a slightly different process to when I’m drawing on location. I find that for a lot of illustration there’s a particular composition in mind upfront, so this usually means that I’m making the final image at home. The way I try to keep a loose, reportage feel is through using small sketchbooks, and then drawing the reference material I need from life. I use Faber brush pens, for speed and practicality. I also like that they give a flexible line.

I usually scan these sketches, print them, and use the copies on a lightbox under watercolour paper for the final image. I can just about see the sketch this way, so when I use the dip pen over the top to draw the finished illustration, I’m really trying to get a similar feel to the original sketch. I saw a short film with Quentin Blake doing this when I was a student and it’s something I’ve found really useful.

4. While working as an illustrator sounds like a dream job, some days can be harder than others. Do you have any tips for keeping on top of it all and staying motivated?

I think it varies from person to person but I would say the most important thing is to keep creating your own work and making it available however you can – not just going after commissions. I’ve found that often work I’ve done on my own steam is what attracts more interest from potential clients.

5. A major part of your illustration process involves working on location. What drew you to reportage and what are the challenges that come with working on site?

I got really into sketching at Middlesex early on, and one of the first things that drew me to reportage was Ronald Searle’s ‘Paris Sketchbook’. Its a pretty old book, and quite hard to come by, although there should be examples on the internet if people want to look it up. What I really liked about it was that it showed how location drawing could be used in the context of illustration, not just something you do in a sketchbook.

One of the most challenging times I’ve drawn somewhere was on Record Store Day in Soho last year. There was a music stage in Berwick Street, and I’d been sketching bands nearby. I eventually got talking to one of the organisers who asked if I would like to draw from the photographers pit in front of the stage. It was pretty bizarre and exciting to draw in that environment. I was sitting on a metal security step with loud speakers in front, with a crowd of music fans behind. By chance the headliner was Gang of Four – a really influential post-punk band – and the guitarist, Andy Gill, was directly in front of me. I found trying to capture a moving band at that proximity was quite difficult, and I think I lost focus in an attempt to try and get it all down. It didn’t help that there was a sound issue early on, and the band actually walked off stage! It’s certainly something I’d like to have a go at again though.

 

6. Are there any projects that have felt like milestones for your career as an illustrator?

Borough Market’s 1000th anniversary was a lot of fun to illustrate. The premise was that there had been a food market in some form or another around the area since 1014, so I was asked to draw a scene reflecting Medieval London to present day, using local architecture and other things to do with the Market. This was for different purposes including banners, flyers, bags, online material, and other applications, so it was nice to see the illustration being used in a lot of different design contexts.

7. How did you find the transition from student to practicing illustrator? Do you have any words of advice for any recent graduates who might be in that position right now?

I’m not sure how often it gets mentioned, but I think actual word-of-mouth is still very important – though its gradual, and means you have to keep at whatever you’re doing. Being friendly and meeting potential clients face to face where possible goes a long way to establishing this I think. If anyone is interested specifically in reportage, then I would say business cards, out in plain sight on your drawing board/sketchbook, are important. Put a few out at a time and keep the rest in your bag. Don’t snub people if they take an interest while you’re drawing. At least say hello. A lot of the work I’ve had is from interactions like this. At the same time don’t be afraid to say you’re busy if you really need to get on.

8. What are you currently working on? Are there any projects coming up that you can talk about?

I’ve got a few illustration projects which are scheduled for a little later in the year around Spring. Right now I’m working on a series of small Brixton drawings to sell as original pieces and making a new website with an integrated shop. I’m also intending to take my favourites from the Brixton drawings and produce a giclée print which should be available soon.

 

Find more of Jame’s work online:

Website | Etsy | Instagram | Twitter |Facebook

GRADUATE PROFILE: DAWN WILLIAMS

Graduating from the Middlesex Illustration BA in 2014, Illustrator DAWN WILLILIAMS was soon signed to THE ARTWORKS illustration agency and is one of the co-funders of THE LITTLE DOOR COLLECTIVE. Largely inspired by folk art and a nostalgia for times gone by, Dawn’s work is both charming and ominous. She uses rich colour palettes and dramatic compositions to bring stories to life.

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1. Can you tell us a little bit about what you’ve been up to since graduating from Middlesex?

I was lucky enough to be picked up by The Artworks illustration agency after they saw my work at the D&AD New Blood show last year. They helped me improve my portfolio by setting me projects and giving me feedback before they started to officially represent me in February. It was like having another tutor for a few months after uni and was totally invaluable. I wouldn’t have got to where I am with my work now without them. Among smaller bits and pieces, I also had the amazing opportunity to design and paint a Mural for Buckland Hospital in Dover which took up a few months of the year.

 

2.  Describe your practice- how do you go about produce your images? Are there any parts of the process you particularly enjoy?

I tend to start with thumbnails before moving onto pencil roughs. I will draw the same image quite a few times before I get it to as close to finished as I can in pencil. I will then trace around every shape individually, scan it in, layer it all back up in photoshop, colouring as I go. The pencil roughs stage can be quite long and a little tedious at times, but once all the shapes are scanned in it is super quick putting it all together. Thats my favourite part – playing with the colours and seeing it all come together really quickly. 

 

3. What is a typical day of working as an illustrator like for you?

I’ll normally catch up on my emails over breakfast, then get properly ready for the day. Once I’m sat at my desk (..or coffee shop table of choice) I will look over what I’ve got coming up, set myself some (realistic) goals for the day and get to it!

4.  While working as an illustrator sounds like a dream job, some days can be harder than others. Do you have any tips for keeping on top of everything and motivated?

Go Outside! Nothing swallows my motivation like staring at the same piece of wall all day. Go and find a coffee shop with big tables and decent wifi and work in there, get some exercise in the morning, grab lunch with a friend or go and sit in a park and read for an hour! Anything that rewards your hard work and refreshes you. I also plan out what work I’ll get done each week on Sunday evening so I know what I have to achieve that week, rather than planning hour to hour. I also find this allows for any unexpected work that may come in 😉

5. Recently you were commissioned by Buckland Hospital to create a mural for their children’s ward. Can you tell us a bit about the project? What was it like working on such a large scale image and how did it compare to your usual way of working?

 

This was a really exciting project to work on! Designing and painting a mural for a brand new hospital building was great. The old building’s children’s ward was a bit of a miss mash in terms of what they had on the walls, so for the new build they wanted something a bit calmer: Something that the parent’s would find soothing but the kids would find fun. I created the designs for the mural in my usual way of working, but when it came to getting them on the walls it was a little out of my comfort zone! For starters the building wasn’t complete when we (my trusted friend and helper Maddy Vian and myself) started meaning we had to go to work complete with hard hat and high-vis jacket each day. The builders all became rather intrigued in what we were doing, a few of them making daily trips to the ward just to check on our progress. Getting the images all drawn up on the walls was a challenge – manoeuvring the space with the projector on a platform was not easy! However once we started painting we really got into the swing of it.

I was super happy with it once we had finished and when I went back to visit once everyone had moved in I couldn’t believe how lovely the whole place looked! they chose furniture and toys to match my colour palette and the whole thing came together in a way I totally didn’t expect. It was so lovely to see! They’ve done such a good job making that ward a lovely place for families to be and I’m really proud to have been a part of it.

 

6. As well as working as a freelance illustrator you’re also part of The Little Door Collective. Can you tell us a little bit about the group? What do you like about working with others? Are you working on anything at the moment?

Projects such as zines and exhibitions can be expensive, and being an illustration graduate can sometimes feel challenging when not much is happening. By getting this group together we cut the cost and create projects to keep us all busy, and have hopefully made some beautiful things in the process! We started as a mix of graduates and students, but our little door students all graduated this year! *Proud*

We have just finished a project which we are super excited about – A Risograph zine inspired by the Reddit page Shower Thoughts. Its on its way to us now and will be up for sale very soon! We also something on the cards we’re hoping to get out in time to be a stocking filler this christmas…but we’ll keep that under wraps for now!

7. Are there any projects that have felt like milestones for your career as an illustrator? 

The Mural. 100%.

8. How did you find the transition from student to practicing illustrator? Do you have any words of advice for any recent graduates who might be in that position right now?

Its a really tough transition to make. Along with it being an emotional end to an era, you are thrusted out into the real world, often without a foot in the illustration door! There are so many things in the year following uni that make it a difficult time, aside from trying to start out as an illustrator. My advice would be to take it in your stride, keep working, and not compare yourself to others too much. Everyone succeeds at different times and in different ways and you can’t let other people’s triumphs get you down. As long as you persevere, your time will come. But don’t beat yourself up if you need to take a step back, you probably have a hell of a lot of other things in life to work out in this one short year and thats okay too! 

9. What are you currently working on? Are there any projects coming up that you can talk about?

Currently working on some illustrations for In Watermelon Sugar by Richard Brautigan. This is just a personal project for my portfolio, it has been one of my favourite books for years and I’m super excited to finally get round to illustrating it. Also working on some hush hush things for Little Door’s next project, and of course starting to think about my christmas illustrations now as well!  

You can find more of Dawn’s work online at the following:

WEBSITE | INSTAGRAM | FACEBOOK | TWITTER

THE DRAWN CHORUS COLLECTIVE PRESENTS ‘TALES FROM THE DEEP’

The Drawn Chorus is a collective of illustrators largely composed of graduates from Middlesex’s Illustration BA. Working together since 2013 the group has organised three large-scale exhibitions; Curiouser and Curiouser, The Greatest Show on Earth and AHOY!. Recently they branched into the world of self-publishing with Tales from the Deep. Featuring a narrative and plot outlines by FRED CAMPBELL, the book is a 100 page graphic novel anthology collecting ten sea stories penned, drawn and paper cut by members of the collective plus guest artists including 2nd year tutor MARTIN URSELL.

Check out the rest of the post for more art from the book!

FRED CAMPBELL

Website | Twitter | Instagram

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ABIGAIL MOULDER

Website |Twitter | Blog

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NADINE SHERER

Website | Facebook | Big Cartel

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EILEEN KAI HING KWAN

Website | Twitter | Instagram | Facebook

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FRED CAMPBELL

Website | Twitter | Instagram

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MARTIN URSELL

Website

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CATHY KWAN

Website | Twitter | Instagram | Facebook

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LEFKI SAVVIDOU

Website | Instagram | Facebook | Big Cartel | Twitter

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ZANNA ALLEN

Website | Twitter | Instagram | Tumblr

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ALEX MOORE

Website | Twitter | Instagram | Tumblr | Facebook

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DANIEL DUNCAN

Website |Twitter | Instagram | Facebook

Copies of Tales from the Deep are available from the DRAWN CHORUS SHOP. Reviews for the book can be read on the Forbidden Planet blog, Music City Comics and Down the Tubes.

See more work by the Drawn Chorus Collective on their WEBSITE, FACEBOOK and TWITTER.

 

GRADUATE PROFILE: DIONNE KITCHING

Print-maker and illustrator Dionne Kitching graduated from Middlesex’s Illustration BA in 2012. Amongst working on various commissions , Dionne has been awarded a print fellowship at Northampton University, created patterns for Urban Outfitters, frequently sells her work at and craft fairs and has recently relocated to Berlin.

– Tell us a bit about what you’ve been up to since finishing the course?

Since graduating I’ve been keeping myself busy with various projects, I’ve just completed a print fellowship at Northampton University, I’ve been selling prints and illustrations online and also at various craft and illustration fairs, had a few exhibitions and some really exciting commissions, including my first publishing job and various pattern design jobs, gig posters, map designs etc, and I’ve just moved to Berlin and plan to stay and work here for a while.

– How do you go about produce your images? Are there any parts of the process you particularly enjoy?

I’ve recently started to embrace the sketchbook finally! my ideas tend to start there, sometimes just as doodles sometimes already a fully fledged idea. Then I draw all artwork by hand usually on a larger scale, before scanning and colouring digitally. Because I often screen print my work, all my drawings are drawn with layers, so I will plan which colours will be where and draw each colour on one layer, if that makes sense. It’s hard to explain but it’s quite straightforward in practice. My favourite part is drawing the final artwork, the ideas part can be quite difficult and at times frustrating.

– What’s a typical day of working freelancing like for you?

I’ve learned to be a bit more disciplined these days, I get up at a reasonable time and plan my day, responding to emails and checking social media first, then onto whatever the day involves, hopefully drawing, but there is a lot of other boring stuff involved too. In the afternoons I like to go for a run or do something fun, and then get back to work in the evening. But it doesn’t always work out like that! It’s also hard to keep a routine when you have to fit being an illustrator in with other jobs! The key is planning things and not leaving it until the last minute.

– As well as taking on commissions you also sell your work on various websites like Etsy and Society 6 and regularly take part in craft fairs. Can you tell us a little bit about your products and the benefits of running a shop?

Running a shop is great, it’s a good way of reaching out and meeting people, sharing ideas and seeing how people react to your work, especially if you go to markets and fairs rather than just online, you can also approach local retailers and galleries, they’re often more than happy to stock independent artists work! There are also some sites like SOCIETY6 where you simply upload your work and they do all the hard work for you, this is great for having a kind of passive income, but it does take some of the fun away. Some of my products are entirely hand printed/painted by me, some are professionally printed, I think it’s important to know where you strengths and weaknesses are and go with that to get the best possible product. Unfortunately, my online shop is taking a short break at the moment, as I’ve just moved to Berlin, but I can’t wait to share a bunch of new products soon!

– Are there any projects that have felt like milestones for your career as an illustrator? 

I guess URBAN OUTFITTERS was pretty exciting because it’s a big international name and I’ve always wanted to do some work for them, it’s nice to know you’re doing something right when jobs like that come along. At the same time though, each new job feels like it’s own little milestone in a way, and I really feel like I’m only just starting out!

– How did you find the transition from student to practicing illustrator? Do you have any words of advice for any recent graduates who might be in that position right now?

It’s pretty hard, but don’t be disheartened. I graduated in 2012 and I still find it difficult to keep going when there’s a gap in between jobs, and I still have to have another job to support myself. I think if you just remember that you do it because you love it, and make sure you keep producing new work, keep putting yourself out there and good things will happen.

– What are you currently working on? Are there any projects coming up that you can talk about?

I’ve got a load of new ideas I’m working on at the moment, I’ve had to stop taking new jobs and close my shop temporarily while I get settled here in Germany, but it’s been a lovely opportunity to go back to basics, sketching every day, producing personal work and drawing for the fun of it!

Dionne’s work online:

Website | Twitter | Tumblr | Instagram | Facebook | Urban Outfitters | Society6