How would you describe your approach to illustration?
My approach is generally one of great enthusiasm when I get asked to explore a whole new subject every time a new project comes along. Illustration is the form but very rarely the subject matter of my work so this makes the job endlessly fascinating. I like to think that if you were to boil down my illustration, you would be left with a subtle form of social commentary. The aim is to create imagery that is instantly appealing but contained within it are hidden intricacies and comments that need decoding.
My approach to image-making itself is ever-changing, but I have never been able to shake off my secondary school art teacher’s assertion about the importance of the balance between chaos and control in imagery. Mix this with some of the drama, suspense and imbalance created in William Hogarth’s etchings through his use of movement, and you have the basis of my image-making rulebook.
Tell us a little bit about Day Job and how you operate as a studio.
Day Job formed after we graduated in 2012 with the aspiration of making a career within illustration, which is to say, make illustration our day jobs. Day Job effectively works as an agency for each of us as individual illustrators while also attracting commissions as a group. Clients seem to be attracted to Day Job because of the scale of projects that we can take on as a group of ten. Lots of our work as a studio has a playful and energetic quality that seems to fit well with the brand guidelines of many companies wanting to commission illustration. Finally I would say that the scope for keeping your practice in the spotlight when there are nine people alongside you Tweeting and blogging your activity really can’t be underestimated.