Did you go to an art school, and do you need to study to become an illustrator?

I studied Fine Arts at the National Art School and majored in printmaking. I learned a lot during my three years there, the drawing classes were especially helpful. Having to create a full body of work taught me so much, and colour theory was also really useful. But honestly, a lot of what I’ve learned has come from experimenting and figuring out what works and what doesn’t, just through many years of experimentation.

I also loved building an art community. That might have been my favourite part of uni, the friends I made and the creative support around me.

And no, I don’t think you need to study to become an illustrator. It can definitely be helpful, but I don’t think it’s 100% necessary! My course was in fine arts, so many of the things I needed to learn about illustration and the illustration world as a whole, I taught myself along the way.

Who or what inspired you to become an illustrator?

Probably my mum! She’s such a fantastic drawer and was always encouraging me to get creative with art when I was little.

I’ve loved drawing little worlds of my own from a young age, which was probably inspired by the picture books I was reading as a kid. Jill Barklem’s Brambly Hedge series and Shirley Barber’s books were my absolute favourites. I loved how they created these rich, detailed worlds in their illustrations that you could completely get lost in. I feel really lucky that art was always something that was encouraged at home.

What is your dream type of project to work on?

This year I worked on the artwork for the TCM Classic Film Festival. Creating the illustrated map allowed me to combine my love of old films, illustration, and detailed world-building, it was an incredible dream project!

In the commercial world, illustrating for the NewYork Times front cover would be very special.

And for children’s illustration, I’d love to work on a series of picture books, all set in the same universe, so I could really explore and build that world across multiple stories.

Has your work evolved over time?

Absolutely! I started out very inspired by my background in printmaking, where I focused on a technique called etching, which leans heavily into crosshatched lines. My style evolved from there, and over time I started loosening up my lines and incorporating a more playful use of colour. I used to work entirely traditionally, painting scenes directly onto a single sheet of paper. There was no layering and very little room for mistakes!

In the last few years, I’ve taken my love of traditional methods and combined it with digital media, which gives my process way more flexibility when creating a final illustration. Now I like to create pages and pages of hand-painted textures, which I then scan and use to assemble the final artwork in Photoshop. I’ve created a sort of digital library on my computer, filled with all sorts of textures that I can easily pull from.

I also incorporate Photoshop pencils and gouache brushes. I really love working this way. Since moving from purely traditional methods, I have so much more freedom to experiment and push my work in new directions. It’s a lot of fun!

What mediums do you use?

I use a mix of everything. Gouache, watercolour, oils, pastels, pencils, printmaking textures, textures I’ve collected, found and made.

What advice would you give to an aspiring illustrator?

Be patient. It can take time to develop an illustration style, but it will slowly evolve through lots of practice and experimation. Try not to be hard on yourself if you feel like you haven’t found your style yet, or if your work doesn’t look cohesive. That’s all totally ok and it’s just part of the process.

Draw whenever you can. Take figure drawing and perspective classes or watch online tutorials. Having a solid base of drawing skills makes everything feel so much easier (and a lot less frustrating!)

Reach out to other artists online and try going to local art events, like gallery openings or picture book talks. Freelance illustration can feel a bit isolating sometimes, but I’ve met quite a few illustrator friends through social media who then became real-life friends! Having creative connections with like-minded people in the same industry, and a sense of community, is so important.

Most importantly, focus on making work you genuinely enjoy and the kind you’d love to be hired for. If you’re passionate about what your creating, that will shine through your work!

How many projects do you work on at one time?

I love having a few projects on the go at the same time. Often I’ll start a new project while I’m still in the middle of another one, and I actually really enjoy working this way. It’s great because while you’re waiting for feedback on one job, you can make progress on another. So there’s always something ready to dive into.

What inspires you?

Reset days in nature, passionate people, artists like Toulouse Lautrec, Raoul-Dufy and Ludwig Bemelmans, beautiful picture books, art deco homes, and experimenting with new mediums and textures.