My illustration process - Creating Visuals

I’m often creating visuals for clients but because of ‘Non disclosure agreements’ (NDA) I’m usually not able to share the results. This piece is an exception. I drew it for a ‘Spacehive’ crowdfunding campaign by Park Hill Friends, as they try and raise money for new pathways in their Walled Garden to enable better disabled access. 

B&W rough

The first stage is getting the brief from the client. In this case I visited the Walled Garden and spoke to the Friends group, confirming the requirements later by email. I then drew up a black and white ‘rough’ which was sent to the client for feedback. At this stage it is possible to make changes before moving on to the colour artwork. 

Colour Artwork

In the final piece, I needed to make sure that the emphasis of the illustration was on the proposed new paths and the people that would be able to use them. The client also wanted to show the diversity of people living in the area that used the park. The colour artwork was drawn with a fine liner and watercolour at A2, scanned in sections into Photoshop where final adjustments were made before supplying a high-resolution digital copy to the client. With pieces like this there is always a certain amount of invention balanced with giving a realistic idea of what the proposed plans might look like when complete.

The campaign is currently live and can be seen here. Please get in touch if you think that I may be able to help with a project by supplying watercolour visuals!

Topping up my watercolours - step by step

Collecting together the almost empty pans and half pans

Using washing-up liquid to clean the empty boxes

Using tubes of professional watercolours to top up the cleaned pans

Carefully squeeze the paint into the half pan.

I tried to fill two of each colour so as to have identical palettes both for the studio and on location.
I then left them to dry out for five days.
After drying, the colours sank slightly so will remember to top up a bit more next time.

I took the opportunity to redo the Blutac layer in my smaller tin which means that I can keep 24 colours in there.
It's a tip from USk instructor Liz Steel.

Cut the Blutac (or similar) to roughly the correct size.

Spread out to fill the bottom of the tin

Start adding the half pans, pressing down slightly so they stick in the Blutac

Complete!

I was inspired by Suhita Shirodkar and Teoh Yi Chie to try out this method. It's only the second time I've tried it - the first time I didn't let the paint dry enough and you can imagine the result!

I think it's a cheaper way of buying paint and relatively easy to do.

Searching for the perfect sketchbook...

The saying goes that the best sketchbook is the one you have with you and, of course, that is true. A simple pencil used on cheap paper can capture scenes and thoughts in the hands of a master. For the rest of us however, finding the ‘perfect’ one that suits your style and material preferences can become a bit like the story of Goldilocks and the Three Bears. Too big, too small, not the right paper...

Here’s my journey through sketchbookland with accompanying images:

College ones – I’m not sure who makes these ones and I couldn’t track them down online. I bought them (quite a while ago) from supply stores when studying at art college. Good general quality, good for collage.

Daler Rowney spiral ones - Good for drawing and inks

Daler Rowney A5 cream paper - Good for pen line and collage

Bushey large cartridge paper ones – Good for drawing. Took some light watercolour washes. They came in really large sizes and I don’t think they are made any more.

Square Goldline ones from stationers – okay for pen line and some watercolour. The paper quality seemed to change a few years ago for the worst.

Moleskine small A5 watercolour sketchbook - Good for watercolour. Can use both sides. Folds out flat for scanning.

Moleskine A4 landscape watercolour - One of my favourites! Takes pen line and good for watercolour. Able to use both sides for watercolour. Not so good for coloured pencil because of the texture. Folds out flat for scanning. Only problem is that the landscape book tends to dictate the composition. If only they made it in an A4 portrait size...

Seawhite of Brighton Eco and Black A4 soft cover - Good for line, light washes and collage. Lightweight so handy to pop in a bag and not be weighed down. Not so good for scanning because of the gutter.

Stillman and Birn Beta soft cover 8 x 10 inches - Great for watercolour, pen line, coloured pencil and collage. Paper is thick, a bit like card but takes watercolour on both sides. The gutter sometimes gets in the way as although the books are sewn, they also have used a glue which can leave uneven marks on the gutter area when you lay the books flat.

Cromede Art - I was sent two of their sample sketchbooks last year. Good quality paper but the spiral binding is not my favourite.

Leuchtturm1917 - I received one of these in my ‘Goody Bag’ at the USK Symposium. The A5 size is handy but doesn’t take watercolour well. Nice for drawing on though.

Hahnemuhle pocket soft backed sketchbook - great for carrying around in a small bag or pocket.

STOP PRESS! I’ve seen that Liz Steel USk instructor and illustrator Ohn Mar Win are using Moleskine A4 Portrait Watercolour Sketchbooks! I will track one down and see if that will be just right!

Portfolio Showcase at IRIS London

It was lovely to be invited to participate in a Portfolio Showcase last month at the offices of IRIS Worldwide. The event was arranged by The Association of Illustrators (AOI) and the Association of Photographers, who had selected 15 illustrators and 15 photographers to take part. The open plan offices were on the north side of the Thames, with a fantastic view of London including Tate Modern, The Globe and the river. 

A large area had been set aside, with each of us having a designated space to show our work. I took my portfolio along on my iPad, plus some business cards, postcards and maps. It was only the second time in eight years that I’d shown my work like this so it was a very useful experience! 

The AOI had suggested we have a question or two ready to ask the creatives looking at the folders and I was interested to know where a design and marketing agency, such as themselves, looked for illustration and illustrators. Apart from the AOI site and Illustration Agencies, the one place that surprised me was Pinterest. I knew from looking at my Etsy shop data that a lot of traffic for that came from Pinterest, but I hadn’t really thought about the fact that design professionals would use it just as much as individual buyers.

Useful feedback I received included:

• Limit your portfolio to about 15 pieces. (I had about twice that amount on the evening)
• Viewers need to come away with one strong impression of your style
• Keep the 'wonky lines' and lose the 'neater' work. Emphasis the hand-drawn qualities.
• End with a favourite piece

I managed to do a few quick sketches of some of the IRIS team between showing my work, which you can see above. It was also great to talk to some of the other illustrators and photographers on the evening. I’m very grateful for the AOI for inviting me and to the IRIS team for hosting the event.

(Really) Old Sketchbooks

Having a bit of a sort out at home and thought it might be interesting to post some images from old sketchbooks. I’ve always loved working in them and there is something about them that allows me to work freely, much more so than with a blank sheet of white paper.

The drawings below were made in a very large ‘Bushey’ sketchbook, 20 x 14 inches. The pages were made of a smooth thin cartridge paper which took coloured pencil really nicely. Drawn from magazine photographs when I was at art college. I’ve just had a look online and the company that made them doesn’t exist anymore. That’s how long ago it was!

Most of the work is from art college days, when I mixed drawings, illustrations and collage on the pages. It’s quite surprising how I drew so many people/characters then when nowadays I tend to stick to architecture. 

Brighton Station, drawn on location.

Many of images of people were drawn from my imagination, which is something I doubt that I could do anymore. Materials were a mixture of coloured pencil, inks and pastels.

I was always fascinated and inspired by London.

Recording the People's Vote March 2019

On Saturday, a march was organised in London to ask the government for a ‘People’s Vote’ as part of the final decision over the United Kingdom exiting the European Union. As an individual I feel quite powerless about the whole situation, so I did what I am able to do and went to record the day in drawings. Here are some of the spreads plus a video showing a better look at the accordion sketchbook which I used.

I stood near Hyde Park Corner concentrating on drawing the crowds and their banners as they streamed by for at least an hour or so, later joining the marchers as they weaved their way through the London streets to Parliament Square. I was right at the back and by the time we arrived it was almost 6 o’clock, as there were so many people involved. Estimates say there were over one million and it seemed to be very peaceful and at times had an almost festival atmosphere.

The accordion sketchbook was made with two sheets of A2 cartridge paper, partially painted with acrylic ink in blue and yellow which I thought would be appropriate for the day, similar to the one that I made in this blogpost. The soundtrack on the video was recorded on the day on my phone.