#usually it's something like [rough line sketch] -> [blocky shapes sketch over rough lines] -> [finer line sketch over blocky shapes]

[herrscherofmagic]

thank yooouuuu it does ^.^

and also i really like the way you sketch!

Now I'm a bit curious, though, in this sketch you're using lots of thin lines in monochrome, while in the other aglaea art it looked more like painting with broader strokes & a few simple colors.

do you usually make a line-sketch like this first and then paint over it? or did you make that aglaea sketch by directly blocking out those big shapes and then painting some of the thicker lines over them?

@herrscherofmagic I've been thinking about your comment on my previous art and have come to the conclusion that your point is absolutely valid. Hope this brightens your day at least a little!

[thedawner]

hey I really enjoy your style and brush packs! I've bought a couple of the packs, and I wanted to ask if you have any tips for using your brushes/getting the most out of them? Like what sort of brushes would you say work best for coloring/shading/lineart - some are obvious (ex liner for lineart) but I struggle with picking ones to use and what works!

Hello, thank you very much for the support! Let me know which program you got 'em for and I could try to highlight some particular ones from there.

I like to try to use the lineart brushes both for sketching, lining and coloring, especially the brushes that are like "Thick Tone Pencil"(or similar) or have coloring changing features to them!

Also, this is a more general answer:

🔶 I usually use brushes named around the word "Shale" for lineart and I usually sketch and color with those too. If you use Procreate the Personal Shale from this free set is my most frequently used:

I try to treat it like a very springy, multipurpose brush pen.

I've first tried to make something similar for Photoshop here(and later on re-made the brushes for CSP and Procreate):

From the sets above I like to use the Dried Up Ink/Dry Ink brushes both for lineart and for painting. I draw over loose paint strokes with it to define shapes or to re-make what I painted over! Those sets also contain painting brushes such as Flat Varnish Oil/Painty, Textury, Triangly/Oil Brick which could work well if you want to go for a thick, mushy oil pastel/oil paint texture. For thin, precise sketching, I like to use the Concept Art Lad!

🔶 I also like sketching/lining/coloring/painting with the coloring changing tone brushes such as the ones from these sets:

When painting with color changing brushes, I like to color pick from what the brush randomly generated for me and build up on that!

The brush sets above have a brush called Wispy Sketching Brush which I use for bold and loose brush strokes! It's like a sable brush but covered in graphite(that also changes colors with each stroke).

🔶 There are also a lot of flat, tone brushes for shading in those sets too and a few more in here:

That one above contains a series of Blocky Marker brushes that I like to use for fairly much everything.

🔶 There's also this free PS brush pack which imports decently in Procreate and CSP that has a brush called Soggy Pencil. It behaves like a regular sharp pencil tip, but if you make it bigger, you can create dusty, blurry or out-of-focus effects:

[moookar]

Can you talk about your painting process?

Thank you so much for asking!!

I start with painting under my sketch with some soft brush. I use something different every time. It's mostly just blocking out rough light and shadow shapes at this point

Once I'm done with that I color the sketch layer to some fairly saturated mid- or dark tone, and merge it with the rough colors. What I change the sketch layer to will depend on what it's around (lighter skin will get hypersaturated dark red or yellow, a white shirt would get some desaturated yellow or blue depending on the ambient light). I make duplicates of the un-merged layers at this stage and put them in a new category (which I then make invisible) because I'm anxious about it lol, but I've never had to go back and use them

At this point I go in with a harder brush over the top (usually Veljet Ink from Tuhis 2021) and start cleaning it up. Filling in the shadows, adding highlights, smoothing things out, etc. Rendering is the most time consuming part for me and also my favorite :)

I typically jump back and forth between those previous two steps. If I get an idea for a certain highlight to add while blocking in colors I might add it then instead of waiting, or I might have to redo certain sections while in the middle of rendering.

While both putting in the rough colors and rendering, I'll sometimes go in with the smudge tool (I've set it to some highly textured brush) and add some lost edges. (Recently I've been using a lot of lost edges and while I still don't have them down it's a lot of fun for me :) it's another one of my favorite parts of drawing)

I like Veljet Ink so much because it's very crisp and is basically made of 5 lines--depending on how I hold my apple pencil, it'll either look like that or one slightly thicker line. This is fun for me because it lets me sort of mix colors without actually smudging them, because of the gaps in it if that makes sense? It also gives this fun blocky look that I like. Also, if it's small, you can't really notice it, but if I set it to something larger I get to do these big swipes of it in the background and it looks vaguely impressionistic in a way that I think is fun. It's also easy to do magicy effects with it too

Here's a speedpaint too :)

[jojo-lity]

Iris

thank you for commissioning, i really hope you enjoy it!

pairing: okuyasu nijimura/reader word count: 3709 rating: sfw

ao3 link

“Morioh Grand Hotel, how may we help you?”

The room service worker patiently waited as their guest deliberated over the breakfast options. Conscious of available money and time, she took a simple option, prepared to just get a big lunch if it proved inadequate. Despite her nerves, she managed to get it all down, quickly checking everything one last time before setting out.

Somewhere in that town, where she was walking, Rohan Kishibe lived.

He was a new face in the manga world, but he had carved out his reputation at a phenomenal speed. Naturally, when he had offered the chance for one select participant to learn from him, she had put everything she had into proving herself. Even now, her ability recognised, meeting him was almost as fearful as it was exciting. 

Carefully navigating the public transport network, she made her way to the address she had been given. Assuming that it would be the directions to his home, she was initially dismayed to see a cafe, until she saw him at one of the outdoor tables.

He was working furiously, only occasionally pausing to glance at the vase of flowers in front of him. Not daring to interrupt, she circled behind him to look at the canvas, stunned by the decisive shading and colouring. Far from Rohan’s usual stylised work, it was almost indistinguishable from a photograph.

She waited for him to be certainly finished before clearing her throat. Conscious that he didn’t like to waste time, she launched right into speaking. “Hello!” He didn’t appear to respond to her name, but at the mention of the competition, he blinked and pulled a small photograph from his pocket. Looking closer revealed what she suspected: it was the picture she had submitted with her entry.

“Oh, of course, the contest winner. Sit down, then.” He made a quick gesture towards the table’s other seat, which also had a canvas set up in front of it.

So maybe he wasn’t chatty, but his skills were undeniable. She looked forward to being able to improve her own.

“What’s the first thing you look to for inspiration?” Once she was seated, he questioned her in a clear, rehearsed voice, a single eye peeking out from behind the canvas to stare.

Did she even have a clear answer to that question? She took a moment to think, conscious of his unblinking gaze. “Uh… you?” Everyone liked to be flattered, didn’t they?

“Wrong.” The exposed half of his face retreated from view. “When creating something… your first point of contact should be reality. Always. If you want people to read your manga, they need to understand it. It needs to be familiar to them in some way. So always, build from a foundation of absolute reality.” He spun his canvas around to face her, displaying the painted vase she had already seen. “This is what you’ll start with.”

So she was drawing still lifes? That wasn’t what she signed up for, but she couldn’t argue with Rohan’s results, and it was only the first day. She had weeks to learn about manga.

While she worked, Rohan did the same, though she had no idea what he was doing. It wasn’t her greatest area of expertise, but her finished product was judged as “not terrible”, and she was immediately assigned a new subject. And so it seemed to continue for the rest of the day.

The atmosphere barely shifted from morning to afternoon, until the cafe was suddenly crowded by students on their way home from school. To her, it was inevitable that someone would eventually notice the celebrity in their midst- the only surprise was that it took so long.

“Hey, is that Rohan over there?”

Who was addressing him so casually? She got her answer when their table was crowded by three students, in varying sizes and uniforms but apparently all high-schoolers. They were clearly curious, but to her surprise, that curiosity appeared to centre on her.

“Rohan, no way!” Forgoing a greeting, one of the taller students cried out in shock and anguish. “Don’t tell me that you have a girlfriend!” His purple-uniformed friend patted his shoulder.

“Come on, Okuyasu, there’s gotta be some other explanation. Right?” He grinned at her, a considerably more enthusiastic look than he had given Rohan. Were they not his fans?

Rohan seemed to have nothing to say, too busy showing his notebook to the smaller student (Koichi, she thought she heard him be called), so she went ahead and answered his question. “Nothing like that! I’m just here to learn from him.” 

Okuyasu visibly brightened up, leaning closer to inspect one of her many paintings. “Hey, this isn’t manga.”

“I’m… learning about reality?” Now that someone else mentioned it, maybe it really was strange that manga had barely been mentioned, let alone practiced. Neither of them looked surprised, though, with the boy in purple even muttering about how that sounded like Rohan, all right.

“Hey, this is really good! Come look, Josuke!” Okuyasu held up her rendering of the vase, displaying it with the fascination that she only felt for the greatest works. Her painting was good, but it hardly compared to that- did he really like it that much? His excitement showed no signs of fading as he explored the rest of the day’s works, including the half-finished one resting on her easel. He didn’t so much as glance at any of Rohan’s. “Man, you should be teaching him…” He leaned down to deliver that thought in a loud whisper, conscious of Rohan being distracted but not far away.

It wasn’t the first time she had been complimented, but such obvious admiration produced a curious lightheadedness that made it difficult to respond. An oddly pitched laugh escaped her before any words could. “I don’t know…”

“So you’re just painting stuff you can see?” Josuke’s line of sight travelled from the tree sketched on her canvas, to the real tree that stood some distance away. “I guess that’s cool, but eventually you’d run out of stuff…”

“Then we’d go somewhere else.” She hoped they wouldn’t be spending the whole time painting, though.

“Yeah, I guess… hang on!” His smile was blinding. “You could paint us! That’d be something you haven’t done before, right?”

Even if she had no idea what Rohan would say about it, she was having a hard time thinking of any reason to refuse. He was clearly occupied, and humans were examples of reality, weren’t they? They had interesting appearances and outfits, and… maybe she wouldn’t mind an excuse to look at Okuyasu for a while. Unaware she was smiling until it pulled at her cheek muscles, she nodded, sliding a fresh canvas onto the easel and preparing her sketching tools.

—

Okuyasu had never been painted before. He quickly discovered there was a lot he didn’t know about the experience- mainly, how much staring it involved. She was apparently painting both of them, but her eyes seemed to be on him constantly, following the outlines of his body at a glacial speed. Only the persistent scratching of pencil on paper kept him grounded in reality, and prevented him from getting too embarrassed.

His muscles were starting to cramp when she lowered her hand, letting them both know that they could take a break. Right away, he took the opportunity to stretch, arms flexing under his fairly tight sleeves. If he was still being watched, with a growing sense of admiration, he wasn’t aware of it.

“Hey!” As soon as he was done, he was leaning over the canvas, trying to get an upside-down glimpse of her progress. “Are you almost done?”

She shook her head. “This is only the first stage.” From what he could see, she was right- two human figures adorned the canvas, instantly recognisable from silhouette alone, but rough and lacking in most details. Curious about what their new acquaintance thought of him, his eyes lingered on his own likeness. There was a strong body, created with large, blocky shapes, but the faint lines of his eyes and mouth held a softer quality. Unconsciously seeking a comparison, his fingers drifted to his own lips for a moment.

“You like it?” At her question, he reluctantly tore his eyes away, resuming his previous position.

“Yeah, of course! I’m no art critic, but it’s awesome!” It almost didn’t seem fair that someone so pretty could have so much talent. If she wasn’t so kind, he would never forgive her… but didn’t being kind make it even worse? “So what’s the next stage?” 

She took a small paintbrush from a nearby pot of water, briefly pointing it at each of them. “I have to sketch out the scenery. Then, I’ll start shading in all the darkest bits before adding the rest of the colours.” Okuyasu nodded along with her, doing his best to appear thoughtful.

Whether it was her explanation, his earlier yelling, or just sheer coincidence that was responsible, no further words could be spoken before Rohan looked up and noticed what had been happening right across from him. “You’re still here? Go find something else to do, I’m not done teaching.”

“But-“ He gave them no chance to protest, shooing them away with persistence. Their smaller friend went with them, leaving just Rohan and his student at the table once again. Without even looking at it, he took her canvas and placed it with the others.

“That’s enough of that for now. We’ll go over the basics of manga.”

—

She worked hard all week, picking up new techniques and taking on new perspectives. Though none of it came naturally yet, she was already convinced that she had grown as an artist. She would have been happy to work on Sunday, but Rohan had refused, claiming he needed time to himself. Maybe that wasn’t so bad- she had barely been able to explore Morioh.

The neighbourhoods she wandered through were quiet and lightly populated, the exact opposite of the landscape she was used to navigating. It was surprising how much of a difference it made to be hearing birds chirping instead of trucks and sirens in the background. What was the best way to convey that noise through a drawing? Her notepad and pencils rest at the top of her bag, ready to be taken out at any time, but she kept searching for the perfect place alongside the near-empty roads.

As she circled back towards the city centre, the tranquility slowly faded, bird calls drowned out by laughter. But where was the laughter coming from? That was easy to identify- the teenagers on the other side of the street weren’t exactly being subtle about their joy. It only took one look for her to recognise them. After spending the time and effort to sketch them, they weren’t easily forgotten.

“Okuyasu! Josuke! Hi!” She waved, pleased when they not only waved back, but hurried across the road to greet her.

“Hey! What’s up?” Breathless and grinning, Okuyasu was the first to respond. “Rohan isn’t with you?”

“It’s my day off.” She gestured to the scenery before them. “I was just looking around.”

“Great!” Josuke seemed to exchange a glance with Okuyasu before continuing. “We were heading to Kameyu for some stuff, wanna come? Maybe we can hang out after.”

She didn’t really need anything, but it would be nice to have some company for a while. At the department store, Okuyasu accumulated several shopping bags, while Josuke’s purchases amounted to a few snacks. Chivalrously, he picked up a few of his friend’s bags, and she followed suit.

Their walk back to the neighbourhood was more of a stroll, with plenty of stops to show off some of Morioh’s landmarks to its visitor. She didn’t realise that she had been near-constantly laughing until their sudden arrival at Josuke’s house.

“Well, this was fun, but I gotta go. Mom needed me to fix something, could be a while.” Maybe it was her imagination, but it almost seemed like he and Okuyasu shared another quick look. Before she could be certain, he was hurrying away, and Okuyasu’s attention turned to her.

“I guess you’ll probably be going too?” He said it as if it was inevitable, but not something he was looking forward to. It made something in her chest flutter. Did he really want to keep spending time with her?

“I wasn’t planning on it. Even if you’re going, there’s some interesting stuff here.” Scanning the houses she could see, she picked one out to point at. “Like that one, I’d love to draw that one.” It was huge, but it looked abandoned- most of the windows were boarded up, which wasn’t stopping vines and bushes from growing out of most of them.

To her surprise, Okuyasu perked up, uttering a noise of disbelief. “No way, that’s my house! You should totally draw it!” Lifting his shopping bags onto his shoulders, he broke into a run directly towards the house, vaulting himself over the gate. Still carrying half his bags, she had little choice but to follow at a slower pace.

By the time she reached the house, he had opened the gate, and was holding the house’s door open even while she stood several feet away. His smile was so sweet that it was impossible not to smile back as she passed in front of him.

“Well, here it is!” Once he could close the door, he slipped back in front of her to guide her through the narrow halls. “Kind of a maze, but stick to places with lights on and you’ll be fine.”

Despite the house’s size, there wasn’t much in it. The furniture was minimal, and the few photos he saw scattered around were all of Okuyasu, Josuke, Koichi, or all three. “You don’t… live here alone, do you?” He was still in high school, but he was clearly handling all the shopping himself… it was a possibility, wasn’t it?

“Nah, my dad lives here too.” He gathered all the bags together, thanking her when she handed over what she had carried. “But he’s asleep. Doesn’t really like to be woken up.”

“Oh.” No one would interrupt their time together. She felt a little bad for being relieved. 

“Don’t worry about it.” There was still a smile on Okuyasu’s face. “You can draw whatever you want, I’ll just be in the kitchen. Got a new recipe to try!” So he was cute, kind, and a cook? Meeting him seemed luckier by the second.

Bringing out her pencils and notepad, she took a seat at the dinner table. “So, what are you making?”

She was no stranger to losing track of time, but it was still a shock to look out the window for the first time since their conversation started and realise how much the sky had darkened. Hours must have passed, but a quick once-over of her notepad revealed that it had barely been touched.

“Done!” She was startled once again by Okuyasu lifting a giant pot over his head, steam billowing out above them. “Just gotta put it on plates, then we can eat.”

“We? You mean… me as well?”

“Well… yeah?” He nodded a few times, slowed down by confusion. “I thought you’d be staying for dinner, kinda why I made so much. If you’ve gotta go, I can put some in a box, hang on-”

She interrupted midway through his reach for a kitchen drawer. “No, no, I want to stay!” Dinner or no dinner, she couldn’t say she was ready to leave. Everything she had learned about him only made her want to know more. “Want any help with the plates?”

“Nah, Tonio says I’m really good at it. Watch.” Armed with only a large fork and pair of tongs, he did fill each plate with spaghetti in record time, curling it up into a perfect spiral shape without spilling a drop of sauce. She couldn’t imagine how many times he must have practiced- it was a form of art in itself, despite his claims to have no talent in the field. He claimed to be talentless at most things, then went ahead and proved himself wrong again and again.

“Well, here you go! Hope you like it!” It took a moment for her to stop admiring his smile and start admiring the meal. After seeing it up close, and smelling it, her hopes were confirmed- the small chunks of meat present throughout the dish were chicken. Her favourite. He couldn’t have known… but she wasn’t sure if she believed in such coincidences.

She waited until he sat across from her to start. It seemed a shame to ruin the presentation of the plate, until she tasted it. Then she couldn’t get enough, only stopping to take advantage of the parmesan that he offered. He didn’t even feel the need to ask if she liked it. They were both too busy to talk much, but she had to stifle a laugh every time he slurped up a strand, and when he smiled afterwards.

The sound of him clearing his throat drew her attention away from the last few forkfuls she had been chasing around her plate. As the sun set, the kitchen’s dim light had done less and less to illuminate the corners of the room, creating the effect of a much closer space. “Hey…” His usually-enthusiastic voice was hushed, and had a soft quality that made her heart swell. “Thanks for being here. It was really great to hang out.”

Tossing her utensils aside, she practically leapt to grab his hands. “I should thank you for inviting me! I had a wonderful time!” Her smile was peaceful, but her eyes were shining. It was so nice to be close to him. He was sweet and understanding and warm, right down to the absolute core of him, in a way that she wasn’t sure she had seen before or would ever see again. They were right next to each other, and he didn’t seem to mind that, maybe she could…

Only an accidental glance out the window stopped her from kissing him, instead letting out a cry of dismay. How had she let it get so late? There was the bus she was supposed to catch, already at the stop. There was no way she would get out of the house and across the road in time.

“Hey… are you okay?” There didn’t seem to be much use, but Okuyasu sounded so sympathetic that she couldn’t help but explain her dilemma. Just having him there was already mildly comforting.

As he stood up, he took a gentle hold of her arm, tugging at it until she stood up too. “Come on. We’ll go get it.”

“Get it? But it’s already going to leave, we won’t…”

“We’ll catch up! Come on!” It was hard to refuse when he seemed so certain. After taking a second to gather her belongings, she let him take a firm grip of her hand, doing her best to keep up as he ran right out of the house. “All right!” He yelled as soon as they were across the street, waving his free hand in front of him in a wide sweeping motion…

And there they were, right in front of the bus’ closing door.

In a mild daze, she let Okuyasu guide her onto the bus without protest, and found a seat to sit in before she started thinking. They must have run fast enough to catch up to the bus, but why didn’t she remember half of it? She wasn’t usually someone who failed to pay attention to her surroundings, or forgot things right away.

All that she was certain of was that he had helped her in some way, and that was enough to keep her from worrying.

—

She was happy to say that she had learned from her mistake. After weeks of fun and learning, her final meeting with the friends she had made in Morioh took place right at the bus stop. None of them were happy to see her go, but they had exchanged addresses and phone numbers, and even discussed a potential visit next summer. Saying goodbye turned out to be a little easier, when they knew it wasn’t the end.

She had purposely saved a particular goodbye for last. Even if it had only been a few weeks, she had spent most of her free time with Okuyasu, learning and experiencing everything she could with him by her side. Standing there, she was certain of what she had known from the beginning: there was something special about him, or maybe just about the two of them together.

The way he was freely sobbing seemed to indicate he agreed, even if he was equally likely to express any emotion through sobbing. It was just barely possible to tell that his halting words were expressions of sorrow at her leaving, and implorations that she come back soon. Where words failed to comfort him, hugs seemed to help just a bit.

“You will come back, right? You’re not just saying that?” He was intelligible, which was an improvement.

“Of course! Here, take this.”

His face lit up with understanding when he recognised what he had been handed. A small canvas, still displaying the half-finished sketch of himself and Josuke. He hadn’t even expected her to keep it, much less give it to him. “Are you sure?”

“I’m sure! This way, I have to come back to finish it, don’t I?” Her smile was bright, but if he had been able to look closely, he might have spotted a few tears struggling to escape. “So don’t worry. I’ll call every day, I’ll write, and I’ll come back as soon as I can. You won’t be able to get rid of me.”

He fell silent for a moment, then he was crying even harder, wrapping around her in a crushingly strong hug. “I’ll never forget about you either! I’ll call every day too! I promise!”

Only the arrival of the bus made them stop hugging, but they were waving at each other until they were out of sight, still together only in their hearts.

[elliegratrick-blog]

Virtual studio visit

Saskia Cameron- Email Conversation!

Me and my friend had organised a trip to go visit Saskia Cameron in Banks Mill Studio. I had found Saskia’s work on the Banks Mill website when looking what creators were based there. Her work instantly drew me in. I particularly like her  series of woodcut illustrated train tickets, following the West coast line. The blocky shapes, quite angular shapes used still show a sensitivity and sense of tranquility. The medium of printing means marks and textures come from the screens and lino which gives her work a lovely tactile feel. Unfortunately this visit was planned just around the time corona virus really became serious. It was safer for all our sakes to do the interview over email. It’s disappointing as I would have liked to see the space she works in and what is on offer after you graduate but not much can be done! 

How did you get into illustration? I studied illustration at Edinburgh College of Art - I had done a foundation before that and honestly I don't think I really got the opportunity to try enough stuff there, I wish it had been a bit less narrow! I knew I liked drawing and I was good at it, and I was too impatient to do animation at the time, so I picked illustration! But I think overall it was a good choice - what I really love about illustration is how good it is at transcending boundaries, and now I dabble in textiles, graphic design, all sorts. Top 3 illustrators that inspire you? Oh man this is a hard question. I love Sophy Hollington's work - I work a lot in woodcut and lino myself and it's great seeing that someone else is out there doing that too. It's a weird medium to work in nowadays as it can really restrict how you work to a deadline, but usually if a client wants it they're willing to put up with those restrictions. Roman Muradov is a really great illustrator in the truest sense of the word - his work is clever and clearly communicates concepts visually. Jesus Cisneros is brilliant, his work always pushes me to loosen up and open my horizons about what drawing and narrative can be. Honestly although I do look at a lot of illustration, I think the most important thing is to have people who AREN'T illustrators to inspire you, don't get stuck in an echo chamber of your own discipline. Other creative people who really inspire me are: Jon Zabawa (graphic designer, illustrator, art director, allsorts man) Braulio Amado (graphic designer artist type - he's prolific and so creative) Palefroi (this is arguably illustration, but they're a collective of two, and focus on print, art, installations, small press and animation) Ako Castuera (artist and ceramicist) Ali Smith (writer) And that's just contemporary people - I like to look at a lot of stuff from the past as well, and if you asked me next week I'd probably have a different list of people! When you create a new illustration, what is your process? Research > rough exploratory sketches > thumbnailing > work up a couple ideas > pick one and refine it into the final thing. What's your favourite thing to draw right now? I'm really into drawing people's gardens at the moment, especially those ones that are really overly 'done' you know, with sculpted hedges and garden gnomes and stuff. I just think they're really weird. Is illustration your sole income or is it managed around another job? Nope! My illustration work has always always been wrapped around at least one other job. This has varied from cafe/bar jobs, to admin jobs, to teaching. At the moment, I teach part time on the graphic design course at Nottingham Trent. Most illustrators I know work other jobs most of the time - it's pretty standard, especially at the start of your career. Personally I like this, I think I'd go a bit crazy if I was working alone on my own work all the time. I try and stay open to what my working week looks like, because at the end of the day I need an income, and freelance work can come and go. For me, I don't plan to ever go full-time freelance - I don't like the pressure it puts on my work, it can suck the joy out of it when you need it to provide all your food and shelter. Honestly I still consider myself fairly early career, I'm only 26 and it can take a really long time to carve out a creative career, particularly if you don't come from a wealthy background that can offer you a safety net. I worked full time my first year out of uni as a studio assistant, then went from that to working 3 jobs, then did a masters at Glasgow School of Art and now I've moved back home to Derby and until recently I've been working 3 jobs again! Wrapping an illustration career around that has been tough going, so for me it's only now that I feel I have the time and space to start making this all work properly. If illustration is an income, is the work you produce mainly through commissions/selling prints/etc? Mostly commissioned work! I need to develop more of a passive income, and I'd like to get into selling work more. So far it's mostly practicality that's been stopping me, as I've moved every year for the past 4 years. I'm hoping to be a bit more settled soon! Do you find putting your work out there on Instagram helps? And what’s your attitude towards social media? There's no good answer to this. Yes, it helps. I've had a fair bit of work come through Instagram - and most art directors/clients out there look at it even if its not their main way of finding illustrators. But it's not the be all and end all, the work I've had through it is just a product of having my work out there in the world for people to see - that's the important part. So exhibitions, physical and digital mailouts, networking in person, all of those things are just as likely to find you work. Social media is good for getting seen, but it can be a bit of a sinkhole. My attitude is to use it but not get too reliant on it - really I should be a lot better at updating mine, but I find real life gets in the way a lot! Thanks for reminding me to actually get organised with that. Do you find it more productive having a separate studio space vs working from home? Oh my god yes. But as a caveat - I have never had the luxury of a dedicated space at home. I think if I lived somewhere with a spare room I could convert to a studio it would have a pretty similar effect. Studios vary a lot too - I'm on my own in this one, but usually they're shared spaces. I think my dream scenario is to find shared studio space so I have other creative people around me to bounce ideas off and keep me motivated! I think however you work, it is important to get out now and then. Either for a walk or for your second job, whatever it is. If you can say What are your ambitions or future projects? My current plans are a bit up in the air at the moment with the corona virus! As I was saying above - I'm finally getting into a position to push my illustration career a bit, so I'm working on getting some new, self-directed work together. I'd like that work to be a bit multi-discliplinary, and to involve making work to sell so my income is a bit more diverse. I have a lot of big ambitious plans, but for this week I'm just focusing on keeping alive the commission that came in last week - I know it could be a difficult few months ahead and it could be my last in a while. After that, at least I'll have a lot of time to work on personal projects, so hopefully at least my portfolio will benefit! I have a collection of illustrations that I'm working on putting into a book of some kind, and I'm starting to work on getting a collection of prints, textiles and objects together over the next 6 months to start an online shop! I'm looking to get into a more permanent work/home/life set up soon, but who knows - life looks like it's being put on hold for a while. It’s really interesting to hear from an young illustrator and relieves my own internal pressure of having to ‘have my shit together’ as soon as I graduate. I am particularly interested in the people who inspire her as they are from a variety of disciplines. It motivates me to expand my horizons and not be so narrow focussing on work by illustrators. The rebellious and chaotic style of Bráulio Amado is something I’m really drawn to. It welcomes me to accept my own mistakes and be more loose and free with my drawings. Not worrying so much if a hand looks like a hand! The colours are vibrant and full of life. 

She mentions a shared studio space which something I hope for in the future.  Working on your own, I often get in my own head and overthink my pieces. Being in a space with other creatives definitely boosts your own creativity and you can ask questions. It gives another opinion on your work and ways to improve. A shared space opens up avenues for collaboration and collectives. Hopefully I will stay in contact with friends from uni and could be something we all do together!

Action plan:

definitely look at manicured gardens and draw my own! there needs to be a poodle or worm shaped bush

explore more artists from different avenues possibly looking at film/ book festivals for directors, authors

read more books (i have the time now we are quarantined)