Question Time
You asked, I answered! A few weeks ago, I had put a call-out on my Instagram stories if anyone wanted to ask me questions about my career and advice about being an illustrator. Thank you to everyone who asked me a question, and I hope my answers help ease any confusions or anxieties. I still have a long way to go in my career and achieve all the dreamy things on my wish list, but I look forward to sharing my ongoing journey with you all! Ok, let’s get started…
Did you always know you wanted to work in illustration?
I always knew I wanted to be an ‘artist,’ however I wasn’t sure what kind of artist I wanted to be! Before the internet and social media, it really was a different world in deciding your future. Although I loved books and illustrations growing up, I never knew there was a career called an ‘illustrator.’ I figured that illustrators such as Quentin Blake and Beatrix Potter were ‘artists’ and maybe they studied fine art. It sounds quite strange to say that now, with the wealth of information available online, but that kind of information was not so readily available for a young kid growing up in 1980s/90s Dublin! I guess I discovered my path to illustration in a more roundabout way than most. It’s essentially my ‘second career,’ as I had studied to be an art historian and archaeologist at university. As mentioned in my below answer, once I discovered illustration at Ballyfermot College of Further Education (BCFE), I knew I had finally found what I was always looking for!
Did you complete an art degree/similar?
I don’t have a BA degree in art, but I do have BA and MA degrees in Art History and Archaeology. They were obtained many years before I decided to delve back into my creative interests. I also have a Higher National Diploma in Visual Communications (Graphic Design) from BCFE. The HND is a 2 year course (which suited me perfectly as I wasn’t keen on committing to another 4 year course), and this is where I discovered illustration as a subject and potential career. The course was exceptional - the teachers were so dedicated to every single person in the class, and they covered a huge wealth of information regarding design, art, illustration, and photography. I am forever grateful for taking this course; it literally opened my eyes to where I wanted to go in life, and what I wanted to be. Like all educational courses, you have to dedicate yourself to learning and growing. I would set myself my own personal projects during the summer break to make sure I was constantly developing and understanding the digital programmes I was being taught. Going to college is great, but you also have to devote yourself (and lots of personal time) to your studies and creative development.
How did you get into book cover design?
I was lucky to be contacted by O’Brien Press to illustrate the first book in a new time travelling Judi Curtin series - ‘Time After Time.’ They had seen my work on the ‘Illustrators Ireland’ website - where I had been accepted as a member 2 years previous. That book series led to me working on Judi’s follow-up series set in Lissadell House. I feel very fortunate to have had that one chance which spiralled into many more opportunities with O’Brien and other publishers. For further books I’ve worked on, art directors had seen my personal work online and subsequently hired me for commissions. For example, my Dublin Doors series and Little Women Big Ideas illustrations are two personal projects I had added to my portfolio, which subsequently led to me working with Royal Mail and Penguin Random House. Therefore devoting time to personal projects and uploading them to your website or social media is a great way to potentially get on the radar of commissioners.
Can you share advice on developing an illustration portfolio?
It is so important to create the kind of work that you want to get commissioned for. I believe in staying true to yourself and try not to focus too much on trends in illustration. Draw what you like. Draw what reflects your personality and interests. Listen to your own voice and you’ll create a body of work which is distinctive and attractive to clients. You’ll also enjoy the experience more if you’re working on personal projects that truly mean something to you. In doing so, you make your best work. For example, I love history, old architecture, fashion and vintage things. Therefore, I illustrate these things because they interest me the most, and I creatively challenge myself more when I’m immersed in something that really ignites my interest and imagination. If an art director discovers my portfolio, they see this passion too, which makes it easier for them to choose me for a particular brief because they know I’m capable of illustrating these subjects.
What area of illustration are you most excited by? Is it editorial, publishing, branding, murals, custom work etc? It’s good to have a focus so you can tailor your portfolio accordingly. As a freelance illustrator it is common however to work in various fields of creativity. If you do, it’s best to divide your portfolio into sections, so a client can easily find the work they’re looking for. And finally, share your illustrations as much as possible, but only share the work which you are proud of.
Do you have an agent? If not, how do you get your jobs?
No, I don’t have an agent. I have tried in the past to get representation, but it can be difficult. Maybe I wasn’t ready, or maybe my style isn’t ‘on trend,’ but I don’t view being unrepresented as a barrier to having a successful career. I’ve built my whole career myself and gained many regular clients who work with me each year. I find one job can lead to many. It can be a case of getting lucky with a publisher the one time, and then you’ll work with them again in the future. I’ve been fortunate that art directors/commissioners have seen my work online through a Google search (having a website with informative SEO is a huge advantage), or through Instagram (using illustration hashtags is worthwhile when posting - many art directors will search for illustrators on Instagram using certain popular hashtags, and also for hashtags referencing the subject of the book they’re working on.) I have also exhibited my work at large art shows where I’ll come in direct contact with customers and potential commissioners. It’s a great way to get your work seen by people who may not regularly use internet searches or social media to find illustrators.
How do you keep motivated if you get rejected from illustration agencies?
Firstly I think the word ‘rejected’ is a bit negative when used in this context as it conveys a sense of your work being ‘thrown away.’ It does feel dispiriting when you receive a ‘no’ from an agency, but I view it as a ‘pass’ or a ‘we’re not ready for you yet,’ rather than a rejection. If an agency ‘passes’ on your submission, then it’s time to look more closely at your portfolio and see what it is that may have led to this opinion. I look back on previous submissions and I can see now that my portfolio wasn’t ready. Yes there’s hindsight and progress attached to that viewpoint, however I think it’s valuable to be constructively critical about your own work and keep asking yourself, ‘can I do better?’ These aren’t negative thoughts. They’re questions that are needed to be asked in order for you to grow as an artist. Do you really need an agent? Can you acquire commissions on your own? Of course there are some opportunities out there where having an agent is really beneficial, such as a literary agent, but it’s not the be all and end all, by any means. Even though I have many ‘passes’ from a wide variety of agents, I don’t let it stop me from moving forward with my career. I keep creating the work that I like creating, and from this, I receive commissions. Don’t feel bad if you get a pass, but see it in a positive light - it’s a chance to reflect. Join organisations like Association of Illustrators and Illustrators Ireland for advice on matters such as contracts and licensing, and this can help to make you feel less alone with decision-making, and it will increase your confidence in running your career without an agent.
HOW DO YOU MANAGE DEADLINES?
I’ve always been pretty good at managing my time with projects. I’m a natural list-maker who loves a calendar! I’m a bit of a traditionalist also, and I write out a list of ‘to-do’s’ on paper and also mark impending deadlines on a desk calendar - this means I can always physically see when a deadline is looming. As a visual person, I need to be able to ‘see’ my deadlines rather than relying on my memory or having a date stored away from my view on a digital app. It all comes down to prioritising. Obviously the most imminent deadline makes it to the top of the list, but if you have deadlines which fall in and around the same time, I find it’s best to split up your day and week, and work on one project during the morning, rest, then begin your next project that afternoon. That way you’re chipping away at your work, rather than letting it all pile into one confusing and tiring jumble!
A word of advice also. If you’re completely swamped with deadlines, ask your client if there’s room in their schedule to allow you a few more days to complete the brief. Usually a client will be absolutely fine with this request. It’s better to let them know before the deadline so they have time to consult with their team and amend the schedule. Being open and honest will really help in these tricky situations, and a client really does appreciate being kept in the loop.
DO you come from an artistic family? i follow your sister’s work too!
I guess I do! My twin sister Gillian is a jewellery artist under the name Lost Forest, and my older brother Graham is also an illustrator, and an art director for an animation company. We all loved art in school and were greatly encouraged and supported by our amazing parents who bought us craft sets, art materials, and brought us to exciting art shows and galleries. My brother also went to BCFE, but he studied animation; and my sister taught herself how to create botanical artworks and jewellery. I’ve never really thought of it until now, but art has been a huge component to us as a family; it has been a constant in our lives since we were babies and to this day. Unfortunately my parents didn’t have the opportunities to attend further education, however they’re both creative in their own ways. My Dad is so talented at DIY and my Mom had wanted to go to art college, however my Granny wasn’t keen on her painting nudes(!!) - goodbye art college! You don’t have to ‘inherit’ artistic abilities, they are only achieved by yourself; and your success is achieved by both your skills and with the encouragement of others.