Illustration Toolbox

I first came across Rod’s work a few years back and was intrigued by the depth of his compositions. At first glance, the work is overtly colorful and well defined, but look a little closer and you are rewarded by detailed character filled landscapes. Rod is a London based illustrator & designer who has built a reputation for his retro tinged illustrations and is the current Chairman of the UK Association of Illustrators (AOI).

His roster of UK and international clients in publishing, design, advertising and new media spans the gamut of book covers to advertising campaigns and even large scale installations with a client list that includes Barclays, BBC, Computer Arts Magazine, Dorling Kindersley, The Economist, FHM, Maxim, Random House, The Observer, Orange, Top Gear and Vodafone.

Interview

Brian: How did you develop your unique illustration style?

Rod: I’ve been a full time illustrator since 1996, but my work was very different back then as I painted everything in acrylic paints with hogs hair brushes. I had grown restless with my old way of working and wanted a new challenge. After I bought my first iMac in 2000 I started a few tentative digital experiments. In 2001 I finally completely abandoned mess and paint and reinvented my work, taking the digital plunge by switching over to working in Adobe Illustrator.

As a former painter, I like to think I’ve brought elements of that into my current work. I don’t want the medium to dictate and be the first thing people see. It’s important for me to keep the hands on feel with my work, despite producing the final artwork on the computer. At the end of the day the computer should just be seen as another way of making a mark on a page.

What tools do you use and what is your process?

My current set up is an iMac 2.9 Ghz Intel Dual Core 4GB Ram, Wacom tablet, Adobe CS4, CanonScan Lide 100, Epson Photo R265, Canon D20 SLR for shooting reference, plus Pencil, biro, sketch book and 220gsm heavyweight cartridge pad. I’ve recently bought a Wacom Cintiq which I’m just starting to really get to grips with, and I’m already seeing the benefits of drawing directly on the screen.

All my artwork is now produced digitally, but before I go near the computer I’ll start doodling ideas and compositions in an A5 sketchbook with a pencil or biro. These sketches are very quick and throwaway to keep the ideas flowing. It’s important to give myself enough thinking and doodling time at the beginning of a project before producing a finished rough drawing. That’s where the real hard work is done and is the foundation of a great piece of work. Once I’ve worked out the rough idea and composition and gathered any visual reference I might need, I work on a larger finished pencil drawing, which I then use as a guide for drawing the final artwork with a graphics tablet in Adobe Illustrator. There’s usually not a great deal of change compositionally from rough to final artwork.

Who or what inspires you most at the moment?

I think it’s important to indulge your personal interests in your work and create your own unique voice, as that is what will set you apart from everyone else. I love old illustration from 50’s and 60’s advertising, Pulp Fiction covers, album sleeves, old posters, comics, etc. I grew up with Science Fiction films like Star Wars, The Day the Earth Stood Still and Forbidden Planet, and old TV shows like Flash Gordon and Star Trek. Their design aesthetic definitely stayed with me and their visions of the future are still what I think the future should look like. The American painter Edward Hopper has also been a big influence due to his lighting and ability to capture a moment in time. Having a sense of history and what’s gone before is very important, as you can’t learn from just what everyone is doing today.

What are you working on right now?

I’m currently working on the follow up to my bestselling Top Gear book “Where’s Stig?” It’s a huge commitment undertaking a project on this scale, so I’m solely working on that for the next few months. It’ll be in the shops this September, so not too long to wait to see the results.

A few other projects completed this year include an interactive project for French water company Lyonaise de Eaux to show water saving in the home and updating my Chessington World of Adventure map with the new attractions for the 2010 season. I’ve also recently worked on the cover of the reissue of “Paddy Clarke Ha Ha Ha”, the Booker Prize winner book by Roddy Doyle.

Any last words of advice for anyone just starting out as an illustrator?

Perseverance. It can take quite some time to get your creative career really established.

Get out there and get your work seen by as many people as possible. You should never be afraid to show people your work. You may be the best designer/illustrator in the world, but if no one sees your work, you won’t get commissioned.

Your body of work is your livelihood, and you should be entitled to the financial benefits of your talent and hard work, so maintain control over your Copyright in your illustrations. There are very few occasions that clients need to own the Copyright in your work.

If you’re an illustrator I’d recommend joining the AOI. They’re constantly campaigning to protect all illustrators’ rights, and if you need advice on pricing commissions, contracts, promotion, etc, it really pays to get help from the experts. As the only body to represent illustrators and campaign for their rights in the UK, the AOI has successfully increased the standing of illustration as a profession and improved the commercial and ethical conditions of employment for illustrators.

Thank you Rod for taking the time out of your busy schedule to answer a few questions and share some of your work.

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