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“I’m inspired by ideas over aesthetics. Anybody can copy a style, but they can’t copy the way someone thinks.” Lisa Maltby, illustrator and designer

I was always drawing when I was younger. When I started school my teacher held up one of my drawings in class and I remember that was the first time I knew it wasn’t just my family displaying affection – it was something others appreciated too. I was an extremely shy kid, so it was like I had found a powerful form of communication that meant I didn’t have to shout.

I don’t remember a time when I’ve not wanted to be an illustrator – it’s something that seemed an obvious thing for me to do. I couldn’t see myself doing anything else, though my ideas surrounding it have obviously evolved. As much as I wanted to draw all day, that’s not what being an illustrator is.

I first tried freelancing when I graduated and it took all the enjoyment out of it for me – I was so worried about trying to earn a living and it totally translated into my work. This time around I’ve been a lot more pragmatic about it and my experience has really helped with having an understanding of clients and knowing how to sell my services better.

‘High Hopes’: A screenprint that Lisa produced in collaboration with Printed By Us; a social enterprise that runs workshops for homeless and vulnerable people in Sheffield.

There’s always tension between fun and finance – there are months I take on work that simply pays the bills, others when I’m able to push for more creative work. I always set time aside to work on personal projects. As well as fulfilling a creative need, it helps me to get the sort of work I want.

"I always start with a traditional pencil and paper, even if it ends up as a digital piece, because I focus better with traditional mediums and somehow it feels more committed."

Lisa Maltby

I have a love-hate relationship with routine. I structure in certain tasks but – as is the nature of the work – deadlines change, briefs take a different turn, or you find you’re out of teabags (emergency!). I try to keep set studio hours and write a list at the start of each week, but I’m flexible within that.

I find I create my best work when I take myself out of routine and allow my mind to wander. So ironically, I need to schedule in time to break out of my schedule! For this I often turn my emails and phone off so that there are no distractions. I always start with a traditional pencil and paper, even if it ends up as a digital piece, because I focus better with traditional mediums and somehow it feels more committed.

Lisa’s early logo sketches and final branding for Worker Coffee Co.

My 'Creative Put-downs' series was inspired by comments that were quite prevalent when I first started freelancing (thankfully I get a lot less of them now). I always find that if something isn’t sitting right with me, I need to address it with humour because it reveals the ridiculousness of a situation.

I felt frustrated that my work was getting put in a box and I wasn’t getting across the range of skills I wanted to apply to my work, so this was a good project to push my ideas and typography further, as well as make people laugh. I’ve not heard from any of the people who made the comments – I don’t think they’d want to admit they’d said them!

A selection of work from Lisa’s 'Creative Put-downs' typography series.

I’m most proud of projects that have a good story behind them. I created a children’s book last year called The Glorious Book of Curious Cocktails, which was inspired by my eldest son laughing at some of the cocktail menu illustrations I was working on at the time. He found it funny that I was drawing limes and lemons in drinks (because that’s weird to a five year old!) and so I asked him what he would put in a drink instead.

The following hour was spent inventing our own recipes, drawing hilariously disgusting ingredients and writing them out. We used a lot of literacy skills in the process and so I thought it would make a great learning resource for kids – especially kids who don’t get on with traditional methods of learning about the English language. I launched the project on Kickstarter and thankfully got enough funding to produce and self-publish the book. Since then I’ve received a lot of positive feedback, photos and drawings from children and parents who have bought the book so it’s been really rewarding.

Animated cover artwork for Lisa’s self-published children’s book, The Glorious Book of Curious Cocktails.

For me, great illustration is always about connection and purpose. I’m not a fan of design for design’s sake. If something has been carefully considered and causes someone to think or act positively in some way then that’s when it becomes effective. When skill combines with empathy, that’s the best sort of work for me – the sort of work that provokes a response.

"Everybody is winging it, so you shouldn’t talk yourself down or out of work. If world famous designers still get imposter syndrome then there’s really nothing stopping you from taking on jobs that may initially seem daunting."

Lisa Maltby

There’s a lot of inequality in the creative industries which is incredibly short sighted. People like to work with those who are just like themselves. We’re all guilty of this, but it’s particularly detrimental to an industry that needs diverse ideas and people who think outside the box. The work that gets high acclaim is often the work that’s associated with big brand names, but that’s not always the best work.

It frustrates me when I see people totally overlooked just because of age, sex, ethnicity, or a lack of education and connections. We should be championing good work and giving a leg up to those that have more barriers to getting their work seen.

‘Bold is beautiful’: original typographic illustration by Lisa Maltby.

I like artists that have good work and ideas, and that have positive messages in their work. At the moment I’m really inspired by Lisa Congdon for this reason – I love her use of colour and composition. I also love designers that use different ways of working and who have managed to forge a successful career without working in just one style, including Alex Trochut and Jessica Hische.

I’m also inspired by things outside design. A lot of Rupi Kaur’s poetry is really poignant and is combined with simple illustration. I love creatives that use both words and pictures simultaneously. I’m mostly inspired by ideas over aesthetics. Anybody can copy a style, but they can’t copy the way someone thinks.

If I wasn’t an illustrator, I’d probably be a painter and decorator or something very practical. I think there’s something incredibly satisfying about physical work – it means there’s more separation between work and rest. I once did a plumbing and tiling course. I’ve not implemented any of those skills since, but there’s always been a desire to solve practical problems in some way.

Illustrated animals/numbers sketched by Lisa during her '36 days of type’ challenge.

My biggest piece of advice to other creatives is to remember that everybody is winging it, and so you shouldn’t talk yourself down or out of work. If world famous designers still get imposter syndrome then there’s really nothing stopping you from taking on jobs that may initially seem daunting. Put yourself up for stuff and get your work out there. I’m not telling you to bullshit, I’m telling you to give things your best shot and not get obsessed with perfection or comparison. Just join the club and get comfortable with winging it!

Lisa is an independent designer, illustrator and lettering artist based in Sheffield. Check out her work via Instagram, or visit her website.

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“Surround yourself with creative people and engage with them positively.” Louisa Mallett, jewellery and ceramics designer

My nanna was a painter. I remember having these dark, moody seascape oil paintings on our walls, but not really appreciating how good they were until I was older. My mum also really loves painting – when I was little she used to buy terracotta pots for 99p from B&Q and we’d paint them in a Clarice Cliff style because she loved the colours and imagery. They’re now scattered all over her garden, in various states of disrepair.

I used to be obsessed with hanging out in the art department at school. We had the most amazingly wild teachers who let us push boundaries, melt stuff and make a mess. I guess my creativity just spiralled from there!

I find it easy to express myself through colour and the vibrancy of my work. I’m more confident with the bold choices and abstract shapes of my pieces, rather than who I am or what I wear. I’m creating wearable art with other people in mind, like the Advanced Style ladies or Iris Apfel, and that’s a feeling I like.

I was in a bit of a funk job-wise, and was a little disappointed in myself having worked so hard at my art degree but failing to utilise it to its full potential. That’s why I started Baked by Lou. At the moment I’m balancing it with a part-time day job. They’re very supportive of my health and wellbeing, and letting me pursue my creative business further.

"A typical Baked by Lou day begins with the cat by my side, a beautiful view of the garden through my home studio window, and plenty of music."

Louisa Mallett

I feel blessed that I’ve been able to balance Baked by Lou with a job. It means I have the security to focus on making the things want to make, rather than always worrying about what will sell. If I make something and I like it, I keep it; if it doesn’t sell, I’ll put it on a shelf.

A typical Baked by Lou day involves getting up at around eight, having a cup of tea and ritualistically checking my to-do list. Work begins with the cat by my side, a beautiful view of the garden through my home studio window, and plenty of music. I usually start with the messy stuff, then pack some orders and cycle them to the post office after lunch. At the end of the day, which varies depending on how much I have to do, I find it super satisfying to check stuff off my to-do list – I’m a proper swot like that.

If I wasn’t running Baked by Lou, I’d have loved to be a hairdresser or stylist, ideally working somewhere wild like Not Another Salon. I’ve always loved playing hair, and it’s still a very creative industry. Hats off to hairdressers… literally!

Creative people inspire me. The work ethic of Twin Made is amazing – those girls have so many strings to their bows and I adore what they make. I’m also super inspired by my husband, who is a graphic designer. He’s so understated about his talent and never shows off, despite being behind some massive campaigns. He designed the branding and came up with the name of Baked by Lou, so I owe a lot to him! He inspires me to believe in myself and helps me to develop my work further.

The creative industry can be very supportive if you surround yourself with the right people, especially in Cardiff. There’s always someone out there who can advise you, or who knows someone else who can. There are phenomenal collaborative spaces nearby including Welsh ICE, The Sustainable Studio and Rabble Studio, plus free business advice from Business Wales and creative communities like Creative Cardiff. So, get yourself on social media and engage with these communities positively!

Louisa is the founder of Baked by Lou, a Cardiff-based craft business that creates colourful jewellery, ceramics and accessories. Check out her work via Instagram, or visit her website.

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“If you keep doing what you love, it will resonate with people.” Ben Tallon, illustrator, author and podcast host

I think everyone is creative. Especially when we’re young – we see magic in the world. I used to draw a lot when I was a kid. Football and wrestling were the things that I was obsessed with, so they were what I drew the most.

I was easily distracted at school and probably could have done well, but I didn’t because I was distracted by computer games and those other things I mentioned. But now when I look back, they were really important catalysts for my creativity. I think it’s a shame that they’re not more recognised in education.

It wasn’t until late in my university degree that I decided I wanted to be an illustrator. I’d really started to enjoy the idea of working for magazines and newspapers – the idea of being paid to draw for them was exciting. It was the only thing I had any real interest in outside of sport, and since I wasn’t good enough at any one sport to play professionally, I decided to draw them instead.

“It doesn’t matter if it’s writing, doing a talk, illustrating… it’s all a bit rough around the edges. That’s who I am, so that’s my natural style.”

Ben Tallon

The foundations for my style as an illustrator have always been there. It’s a product of a lot of things, but the main thing is that I’m a clumsy fucker! If I try to polish anything, I end up breaking it or it falls apart. It’s something that’s prevalent in everything I do. It doesn’t matter if it’s writing, doing a talk, illustrating… it’s all a bit rough around the edges. That’s who I am, so that’s my natural style.

One of the biggest mistakes you can make as an illustrator is to follow trends. When I first came out of uni I was trying to make these collages – they always ended up looking clunky or a bit stiff. A friend in the studio I was sharing at the time said to me, ‘Why did you stop drawing? Your drawing’s second to none, but your collages are weak.’

It was frank advice and it hit home, because I realised I was trying to do what was cool at the time, rather than what came naturally to me. I thought it was what people would expect to see of a good illustrator, but when I went back to drawing in simple black and white, I realised that it was what I loved doing. I’d hit on something that felt right.

I’ve since learned that it’s important to listen to yourself. Not just about your practice, but about everything – where you are, who you’re with, all those things that inform creativity.

My first client was a football magazine called When Saturday Comes. I first discovered it in the journal section at my university library; they used a lot of illustration, and I always thought they would be a cool publication to work for. Once I started to become confident in my drawing style, I started sending them samples of my work – stuff I was doing in my own time, of what was going on in football.

“If you’re passionate and you show it to the world, doors will open and opportunities will pop up.”

Ben Tallon

The art director who gave me my first commission was fantastic. He’d pick out certain things about the aesthetic of my work and say ‘Let’s try to push this a little bit more’ – that kind of ink splatter look, which I was doing subconsciously but hadn’t realised looked cool. The experience of having someone else's eyes on my work really helped me to develop my style. It put a spotlight on things that I did naturally, and showed me that they had some worth.

There’s this weird division that people make between personal and commercial projects. As long as you’re enjoying what you’re doing and the client is into it, I don’t think there’s anything wrong with doing commercial work. I’ve always championed the stuff I’ve been passionate about – the football, the wrestling. If you keep doing what you love, it will resonate with people.

The advice I always share with other illustrators is to enjoy yourself, and lead with your passion. We all worry, whatever stage we’re at. We introspect, especially as creative people. You can’t always plan exactly what you want to do or where you want to go. But if you work hard, if you’re passionate and you show it to the world, doors will open and opportunities will pop up. Get your head down, and you’ll get the results.

Ben is a freelance illustrator based in Manchester. As well as working for dream clients including WWE and the Premier League, he hosts creative innovation podcast Arrest All Mimics. His book Champagne and Wax Crayons: Riding the Madness of the Creative Industries is available via LID Publishing. Check out his work via Instagram, or visit his website.

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“My job hasn’t affected my enjoyment of illustration – I feel lucky to get paid to draw and colour in.” Matt Joyce, freelance illustrator

I’ve always enjoyed drawing. One of my earliest creative memories is of making a calendar called ‘Curiosity killed the cat’. I copied a picture of a cat, but put it into horrible situations. One of them had the cat in a washing machine, spinning around. I think I thought it was funny.

It took me a long time before I realised I was good at drawing – I got a grade C in GCSE art. My confidence grew when I started sharing stuff and getting positive feedback from my peers and people I looked up to.

One of Matt's illustration projects, commissioned by Wales Millennium Centre.

Originally I studied design, rather than illustration. But drawing was always a passion and something I did in my spare time, so last year I decided to pursue illustration full-time.

Sune Ehlers was a massive influence for me. His website led me to discover the work of so many creative people. It also showed me that doing silly drawings was a thing other people did too, which made me far less self-conscious about drawing what I wanted to draw.

As well as being available for commission, Matt sells illustrated products including mugs, tote bags and greeting cards via Society6.

The transition from hobby to job was a long one. After university I worked as a designer for over 10 years. All the while I would do bits of illustration in my spare time – some client work, some exhibitions, and some just for fun. Doing this helped build up a client base, which made the switch to illustration easier.

Having a creative routine works well for me – it helps me get into work mode and stay focused. Usually I start my day by taking my dog Lola for a walk. When I get back I’ll make a coffee or tea, check my emails and try not to get distracted by the internet. Then it’s basically plough into whatever project I have on until lunch. At lunch I’ll take Lola out again, eat some food and then get back to work until about 5.30pm. After this point I won’t reply to any more emails – I think it’s important to switch off for the day.

"Having side projects is a great way to keep the enjoyment up, as you get complete creative freedom to do whatever you want."

Matt Joyce

One of my favourite collaborations was working with Cardiff design agency Hoffi on a project for the YHA (Youth Hostel Association). We made some large murals for their hostels in Cardiff, Liverpool and Bristol. Each one has local facts and sayings which give an insight into the city each hostel is based in. It’s nice to see the guests sharing pictures of the murals on social media – it’s a level of interaction that doesn’t happen with other work.

I feel very lucky to get paid to draw and colour in. Being paid hasn’t affected my enjoyment of it. There are always some projects that are more fun than others, but that’s just the way it goes. For me, having side projects is a great way to keep the enjoyment up, as you get complete creative freedom to do whatever you want. Just try not to work for free!

Matt Joyce is a freelance illustrator based in Cardiff. Operating under creative pseudonym themeekshall, he specialises in digital illustration for print, murals, publishing, packaging and presentations. Check out his work via Instagram, or visit his website.

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“Work hard and maintain relationships with other creatives.” Kirsty Patrick, lighting designer and founder of Home byKirsty

I first realised I was a creative person when I was a kid, hanging out with my dad in the garage, making animal houses and wooden hedgehogs. At school my design and technology teacher used to give me more work than everyone else. That didn’t happen in any of my other classes!

Getting to design and make things every day during a college foundation course confirmed that I wanted to be a full-time creative. I worked in some high street stores as a visual merchandiser while developing my own range of lighting, and dreamed of opening my own shop full of beautiful homeware. I worked my socks off to get there, and now here I am, doing what I love.

It’s super important to meet and maintain relationships with other creatives – I wouldn’t have a shop without them! Home byKirsty stocks over 40 independent designers and makers, who create everything from cushions and blankets to greeting cards and stationery. I also love being involved with creative people outside of the shop, supporting them and finding out what makes them tick. It’s always so interesting to me.

“In such a tech-based world, slowing down and taking time to love the products you buy is important.”

Kirsty Patrick

Having a shop in Cardiff is great. It’s a relatively small city, so it’s easy to get involved with the creative community here. I love my regular customers, and the group of friends I have made through the shop are the best. Sometimes I feel that Cardiff needs a bit of a kick to catch up with the likes of Bristol and London, but whenever I visit other cities I’m always so happy to come home. Maybe we don’t need to change too much.

It makes my day when someone visits the shop and says ‘I could buy everything in here!’ Of course, I know they won’t, but it means the world to know that people like what I am doing. One of my customers once said ‘It’s like Pinterest exploded in here!’

Even though I’m keen to push online orders this year, I’ve always valued having a physical shop. That feeling you get when you pick something up just can’t be replicated online. You can’t get a true sense of an item’s scale, colour or texture just from looking at a picture on the internet. In such a tech-based world, I think that slowing down and taking time to love the products you buy is so important.

I sometimes find it difficult working on my own, particularly when it comes to giving myself breaks. Sundays and Mondays are my days off – I try not to feel too guilty about taking time out for myself. I’m always ten times more productive after a change of scene.

As well as running the shop, I’m keen to get back to making my own lighting and homeware. I’ve recently changed my opening hours so that I can spend one day per week working on my own designs – watch this space!

Kirsty is a lighting and homeware designer based in Cardiff. She runs her shop, Home byKirsty, from a converted coach house in Roath (a vibrant suburb on the edge of the city). Keep up to date with her latest products on Instagram, or visit her website.

Photos: Diana Oliveira

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“Never stop learning – there’s always somewhere new to take your work.” Vic Phillips, woodcrafter and photographer

It was only once I started working that I started being creative. I was working in theatre and had the wonderful combination of time and an empty workshop, so was able to experiment with various processes for prop fabrication and scenic arts. Lots of theatres lack someone interested in these things, so I was more or less encouraged to muck about with art supplies all day.

It took me a good decade to feel confident in my creativity. Before then, being creative was simply a way of enjoying my work. My woodcarving allowed me to find a way to marry my creative approach with a purpose; to feel like I had something that was mine.

My woodcraft takes heritage skills and tries to apply them in a more contemporary way. There’s a lot of stuffiness in heritage crafts at times, but I try to get rid of all that and use traditional skills with a modern approach to design. As a photographer I take a similar approach, and try to offer a style that’s very human and approachable.

Woodcraft and photography are the two things in my life that never feel like a chore. If I’m given a chance to take photos for someone, it never feels like work. Likewise, when I’m carving I’m at peace; tuned into the natural materials, working slowly and with meaning. Much as I enjoyed my career in theatre, it became important to create a life where as much time as possible is spent doing things I care about. It’s a real, genuine challenge, but the balance of my life is such a joy, despite any moments of stress.

I used to live in London, but moving to the countryside always felt like my goal. I’m not a basher of big cities – there are so many plus points. Everything is available, from art supplies to Korean food. You have theatre and museums and all sorts, but honestly I struggled with it. London is a tough, hard place, with so many people needing to be somewhere all the time. Increasingly I felt disjointed from this, aggravated by the percentage of people unable or unwilling to think about those around them.

After a year of freelancing, I realised I didn’t need the city to pay my bills. Being remote doesn’t have to hold massive barriers. Companies often communicate via email or phone within the same building. Meetings on Skype are common already, and there’s nothing to stop them from happening at home in the country as opposed to an office in the city.

"It’s easy to feel caught up or stuck in a job, but knowing you can do something new is incredibly important."

Vic Phillips

Dedicating time to my craft is important. It helps me to know I have a clear long run at something, to focus on it and know that it’s what I’ll be doing that day. I try to prep my workspace with this in mind, putting tools back when I have finished with them rather than letting the workbench get cluttered. If I’m having a bad day, it’ll usually be reflected in my space.

I like being able to do more than one creative thing. I could probably be very happy carving every day, but I also love that my weeks are varied. I don’t think there’s one part of my work I can say I would be happy giving up. It’s super easy to feel caught up or stuck in a job, but knowing you can do something new is incredibly important; it’s how I found these things that I love so much.

Leading woodcraft workshops is probably the most rewarding thing I do. When someone heads away with a new passion – a connection to something they didn’t have a few hours before – it’s just the most lovely thing. I love creating and making, but in those moments I’m able to take my passion and ignite it in someone new, which means so much.

Creatives should never stop learning. There’s always somewhere new to take your work, so talk to others and learn from them – it’ll push your work forward to something greater. Also be generous with your knowledge and help others to grow. It’s the best way to create a culture where makers are valued, and that benefits us all.

Vic is a woodcrafter and photographer based in the Brecon Beacons, South Wales. Operating under the alias SingleMaltTeapot, he leads woodcrafting workshops in locations throughout the UK. Check out his work via Instagram, or visit his website.

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“Enjoy yourself, be patient and share your work.” Kate Alizadeh, freelance illustrator and children’s author

I remember constantly drawing as a kid. I remember being obsessed with history, and drawing knights and Roman soldiers. The Horrible Histories books were an early inspiration, and for better or worse, Joan of Arc was one of my early role models.

I actually didn’t think I was very good at drawing when I was little, because I wanted to draw cartoons. There’s a point when you’re a kid where to be good at drawing, you either have to be the girl who is really good at drawing horses (still not me), or you have to draw in a photo realistic style (boring!). But I was very stubborn and I persisted, because I really enjoyed drawing cartoons.

I sold my first painting when I was about 15 or 16 to a girl in my class, for a fiver. I had an Etsy shop in my late teens, where I sold these weird, whimsical paintings that were heavily inspired by the fact I basically only listened to Sigur Ros. That’s when I properly realised I could make money from my art.

My typical working day is very routined. Sometimes I try to be that happy-go-lucky artist stereotype, but it doesn’t work out because my routine is like a comfort blanket. I feel really sad admitting that… sorry if anyone thought I was cool!

“Workaholism, burn outs and bad mental health made me realise how important it is to relax. My work is better for it.”

Kate Alizadeh

I usually wake up around seven or eight, down some tea and a bowl of porridge, and head to the studio for around half nine. I have a studio at Printhaus in Cardiff. It helps so much to be surrounded by other freelance artists. I try to keep my evenings and weekends work free. I tend towards workaholism, burn outs and bad mental health, which has made me realise how important it is to relax. My work is better for it.

I’m very proud of Quiet!, my debut author-illustrated picture book. I first came up with the idea for the book during my last year of uni in 2013, and it was published in January 2017.

After it found a publishing home with Child’s Play, the draft book went through a lot of changes. The publisher and I decided to make the book accessible for visually impaired children, so there are cues throughout the book to suggest that the child in the book is visually impaired, too.

“Working on Quiet! gave me a passion for telling the stories of underrepresented characters.”

Kate Alizadeh

The colours are bright and bold, and the linework is dark so that it’s visually clear what’s going on. Making Quiet! accessible like this required a lot of research. I learned a lot about what children like to see in books, what parents and carers like to see in books, and how important it is that all types of children are represented in children’s books. I personally gained a lot of confidence from working on Quiet!, as well as a passion for telling the stories of underrepresented characters.

Art and design skills are often undervalued, and this can result in low pay, late pay and sometimes being asked to work for free. Don’t do it! I’m lucky to have people around me who support my ambitions, but the pay situation in illustration can be a real barrier to building a career, especially when rent and bills are so high these days.

It’s important to keep a sketchbook and do fun work that you enjoy, otherwise you can become stifled by client demands and lose your inspiration. Sometimes my routine bogs me down, so I go out on my bike and draw, or I go to the library, or have really long lunch breaks and chat with other Printhaus members.

In my experience, clients really like work that I’ve done while I feel relaxed and inspired, so I’ve learned that it’s important to take breaks and enjoy yourself. Other than that, my advice to other creatives is simply to be patient and share your work!

Kate is a freelance illustrator based in Cardiff. Her debut children’s book Quiet! is available to purchase via her publisher, Child’s Play. Check out more of her work via Instagram, or visit her website.

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“The environment I wanted to work in didn’t exist, so I created it.” Dan Spain, graphic designer and founder of Rabble Studio

One of my earliest creative memories is from when I was around nine or 10. I remember losing my sunglasses in the sea on holiday, and drawing a short comic about a tropical fish who found them. He thought they made him look so cool that he started a band with his sealife friends.

One of the worst things about design is how undervalued it is. It’s sometimes difficult to explain how much impact really good – or bad – design can have. The best thing about it is that you get to create amazing things for some really great people.

A selection of Dan’s work. Clients featured: Rival Brewing Co., UCAN Productions, Dinky Diners, Pizza Monkey, Design Stuff Cardiff 

I have a love for great food and beer, and it was my pleasure to be able to work with independent breweries, pizza bakers and ice cream makers in 2017 – really getting the bottom of their businesses and being able to represent them through original branding. It’s amazing to see your work out in the wild and doing a great job for your clients.

I ran a social event called Design Stuff Cardiff for a few years. It brought together loads of creative freelancers who all seemed to need a space to work from, or weren’t over the moon with their current office situation. After building on those conversations and trying out some dedicated work spaces myself, I knew that the environment I wanted to work in didn't exist in Cardiff. That was when I decided to open Rabble Studio.

Rabble is different because it strikes a balance between being creative, eclectic, relaxed and professional. It’s light, welcoming and affordable, and it gives people a feeling of excitement when they walk through the door.

The space reflects its values. We use furniture from Opendesk, as they promote sharing and collaboration. We also have artwork from studio members and local independent illustrators adorning the walls. We want to support the local creative community as much as we can!

“There’s so much to gain from having a go and getting stuff done, sharing what you know and working with others.”

Dan Spain

It’s important to be surrounded by other people in your industry, so that you can bounce ideas around or ask for advice. Every designer has their own style or approach, so sometimes getting a fresh look at something from a different perspective can be really positive. Other creative people also provide support for tough times and situations like outstanding invoices, copyright issues or work drying up. And because I’m surrounded by people I aspire to be like, I push myself to be a better designer.

I look up to doers. Those people who have ideas and act on them, figuring out the ins and outs of how things work while learning and growing from those experiences. There’s so much to gain from having a go and getting stuff done, sharing what you know and working with others. People like Gav Strange (JamFactory) and Tina Roth Eisenberg (Friends Work Here/CreativeMornings) are unrelenting doers, and two of my heroes.

My advice is to do things for yourself because you want to do them, for your love of them. Money will come later. This doesn’t necessarily mean do things for free – you and your skills are valuable. But when I started to do things for myself and work on stuff I wanted to work on, at the value I was worth, everything seemed to start going well for me.

Dan is a freelance graphic designer and the founder of Rabble Studio, a creative coworking space in Cardiff. Check out his work via Instagram, or visit his website.