A Day in the life of an Illustrator

In this special feature, we celebrate National Illustration Day by spotlighting fantastic illustrations and the people behind them.

We love to support illustrators, illustration and the wider creative community. So in the lead up to National Illustration Day (NID) this 29 November 2024, Natasha Knight was delighted to chat to seven illustrators whose work we’ve been enjoying, finding out what illustration means to them, how they approach their day to day creative work/life balance, and the what they think is the best way to enjoy celebrating NID.

You can also view the Quentin Blake Centre for Illustration 101 second film ‘What is Illustration?‘ to find out more about why there is so much to love in the medium.

What does a typical (or not so typical) day in the life of an illustrator looks like for you?

Vanessa Branchi : As I work from home, I try to keep my day pretty balanced and to follow, as much as possible, a daily structure that usually starts with a nice walk at the local park and some yoga/exercises. I’m way more productive in the morning, so that’s when I focus on brainstorming and working on briefs and sketches. In the afternoon I focus, instead, on the more “technical” aspects of creating my illustrations, like vectorising sketches or working on colour palettes.

Throughout the day it’s super important for me to get out of the house, enjoy some fresh air and a nice coffee to unwind a bit. That’s what usually helps me in case of a creative block or, if I’m really stuck on a particular concept, a shower weirdly always does the trick!

Through illustration I always try to almost surprise the viewer with a different point of view
Vanessa Branchi

James Colmer: As a freelance illustrator, my day mostly involves working from home with my cat. To start the day on the right foot (literally!), I walk my son to school and take a 30-minute detour along the cliffs on the way back. This walk sets me up for the day, ready to focus on whichever project I’m working on.

Depending on the project, I either work on my conservatory table for watercolours or head to my garden studio for oil paintings. My last project was a mural at a local concert hall, which was a nice change—it was lively, with rehearsals and events happening around me.

Eri Griffin My typical day starts with a long walk with my dogs. I love Edinburgh—it’s so beautifully grey! During the walk, I brainstorm concepts, imagine compositions, and refine ideas without distractions. I’ve set up a dedicated drawing space in the corner of my small flat, equipped with custom tools and a desk I built myself.

Once my dogs settle down for a nap, I get to work, drawing throughout the day on my designated drawing days (I also have days for research and fun admin tasks). When I finish my work, there’s always another dog walk to wrap up the day!

Julia Midgley: It varies depending on whether I’m out on location for a reportage project, developing sketches produced when working offsite, or catching up on paperwork of the tedious kind. Occasionally clients come to the studio to discuss projects or look at works in progress. Conversely, I go to the client to report on same.

Alongside my reportage practice, I am a printmaker, and there are exhibitions to prepare for. Usually these are mixed shows but this year for instance two one person exhibitions came within a month of each other. This was wonderful but required plenty of preparatory time. Workshops and talks are a part of life in conjunction with exhibitions and visiting lectures to art school students. I am fortunate in having my own studio, which makes an enormous difference to my practice. It enables me to hold Open Studio events and to fill it with too much stuff. Other things that take up time are probably the same as any working person, household demands, etc. I play tennis, weekly Pilates sessions, and daily dog walking.

Charlotte Ager: My work varies quite a bit, so this naturally changes. But I mostly start early by going for a walk/run so that I can have a think about how I’m going to spend the day. As I work from home, if I go straight to my desk, I’m often a bit nervous about how to spend my time, so starting the day outside is a good way to plan without panicking! It’s also a good time to just observe the world and get thoughts rolling…Then It’s a combination of drawing roughs/ having time to play in sketchbooks/ finalising images/emails!

As I’ve developed, I try and create more variety in my day and learn what my brain needs in order to work well. I used to make too many assumptions, like that I couldn’t work well in the evening but actually it’s sometimes when I now feel freest, with most of the day behind me and less time to worry!

Carl Wilson: Nowadays most of my working days start with watching cartoons with my 2-year-old son, (currently its Hey Duggee, Big Lizard, Bluey) and I enjoy this period of time because whilst it’s time together in the morning, I enjoy the character design/movement/illustrations, so ultimately, it’s a wholesome and inspiring start to the day visually!

Most of my freelance work is remote so I work in a home studio environment surrounded by Risograph prints (which I love to make), skateboards and figurines and I’m definitely someone who enjoys working in a mostly neat and tidy space, mainly because my desk (and floors) gets covered in sticky note ideas throughout the day. I work in the evenings a lot due to being a parent, but I think because I’ve made my studio homely with plants and cosy lighting it facilitates a relaxed approach to most of my briefs and project work.

Sakina Saïdi: As a freelance illustrator, my days are anything but typical! I often find myself working from various locations—whether it’s my home studio, a cozy café, or a vibrant coworking space. This flexibility allows me to draw inspiration from different environments.

However, being a new mum has added an exciting layer of unpredictability to my routine. My schedule can change from day to day, making it a challenge to establish a consistent work-life balance. I’m still navigating this dynamic, trying to carve out dedicated time for my art while also being present for my family. It’s a continuous journey of adaptation, but I find that my creative process thrives on this variety, allowing me to bring fresh perspectives to my work.

I find that my creative process thrives on this variety, allowing me to bring fresh perspectives to my work.
Sakina Saïdi

Why is illustration important to you and how does it impact the work you make?

JC: I love art with a purpose, whether it’s telling a story for a client or enhancing a community space. I think that’s the beauty of illustration. I enjoy the challenge of working to a brief and crafting a unique experience for the end user.

VB: For me illustration, especially conceptual and editorial, is a beyond powerful tool that allows me to express and interpret a specific topic in an unexpected and clever way. Through illustration I always try to almost surprise the viewer with a different point of view on a topic, that I hope will bring the person in front of my piece, to approach the topic more easily or to see it with a pair of fresh and new eyes.

EG: I enjoy collaborating closely with my clients throughout the creative process. I work with a diverse range of clients from various industries. Although my own world and knowledge are small, my clients share their expertise and experiences, which I find inspiring and educational.

JM: Since my childhood I have always drawn; I used to like drawing movement, trying to describe energy and action in my drawings. Reportage or documentary illustration became a natural fit. Subject matter derives from being a Fly on the Wall, recording with drawing everyday lives of people at work or leisure. Drawing is the bedrock of everything I do. My interests have focussed on medicine and war art, and occasionally sport, so to be outside drawing something which really interests me is inspiring.

Illustrations aren’t just in books, social media, or packaging—you can find them all around you! From a gargoyle on someone’s roof to graffiti and hand-drawn shop signs, there are so many creative forms of illustration / sculpture in everyday places.
Eri Griffin

CA: Illustration and drawing have pulled me back into the world more times than I can count. It’s how I communicate with, understand, remember and digest the world. It has made my heart leap like nothing else. Being in the world can be really confusing and lonely; Illustration to me feels like something that bridges gaps of understanding and can punch you with emotion quicker than anything else, connecting you to the essence of being human. As someone who’s always been helplessly emotional, maybe that’s why I find it so important. It makes me really care about my work, makes me want to make things that connect with people emotionally.

My inspiration changes constantly, I feel when I was younger, I tried to lean into games and cartoons I enjoyed as a child to help me with visuals in my personal work. As I’ve got older, I feel inspiration really does come from anywhere, I just think you have to train your eye to look for it, but certainly engaging with new experiences, travelling and interacting with different parts of the world and people, taking opportunities and having an overall desire to learn keeps me grounded and open to new ideas/ways of working.

CW: Illustration is important to me because it allows small projections of my childhood, interests and imagination to engage with different audiences and communities worldwide. I enjoy creating pieces with characters whilst often experimenting between mediums such as risograph, 3D CGI and most recently vinyl toys so ultimately, I feel that illustration always allows me growth as a creative. There’s no real rules and I think that’s what I love about it, it just took me a while to understand that as I didn’t start doing it until I was 24!

SS: I love creating illustrations that explore a variety of topics, from well-being and social justice to migration and community. Each project, whether it’s my greeting cards, prints, or client briefs, allows me to connect with different audiences and share unique perspectives. This diversity in my work keeps my passion alive and inspires me to delve deeper into meaningful narratives that resonate with people’s experiences.

What would be your ideal way to celebrate National Illustration Day?

VB Spending the day at an illustration exhibition of all the artists I admire the most!

JC: Scribbling with my son. I’ve learned a lot from him about enjoying the process without worrying too much about the outcome.

EG: On National Illustration Day, I’d love to stroll around town and discover more illustrations out on the streets. Illustrations aren’t just in books, social media, or packaging—you can find them all around you! From a gargoyle on someone’s roof to graffiti and hand-drawn shop signs, there are so many creative forms of illustration / sculpture in everyday places.

JM: To be out on location drawing all day with an open brief, a free rein, and if outside good weather conditions.

I love art with a purpose, whether it’s telling a story for a client or enhancing a community space.
James Colmer

CA: Talking about illustration! Sharing illustrations we love and explaining why. I love talking about illustration with people because often I’m just at a desk alone. Being able to ramble on about something you love and share in it with someone seems like a good way to celebrate. It’s a good chance to honour previous illustrators too – honour the enduring history of the practice which has seeped into our everyday in so many ways. And of course- drawing! Without purpose, but just to draw and be present. Maybe drawing with people.

CW: A big drink and draw in a pizzeria for sure because who doesn’t love tipsy drawing, and socialising with pizza! I enjoy doing giveaways quite regularly through Instagram and feel it’s a nice way to give back to the community of people who do engage with my work, so maybe I’ll do that! Sometimes I think I’d love to ask people to draw something of mine in their own style as I see lots of artists setting those challenges on social media, but I also don’t know if it’s something anyone would want to draw which is why I’ve truthfully never done it! Maybe one day in the future…

SS: On National Illustration Day, I (will) take a moment to celebrate the importance of illustration in my life. To me, it’s a wonderful way to convey ideas and represent concepts in a stylized and accessible way.

My ideal way to celebrate National Illustration Day 2024 would be to draw in a cozy café while enjoying a day out with my baby. I love the idea of being inspired by the lively atmosphere around me, capturing moments and creating sketches that reflect the joy of the day.

Could you tell us a bit about the work you’re sharing with us, to celebrate NID 2024?

VB: I’m sharing with you 3 personal pieces and one commissioned by Harvard Business Review. All these pieces have in common a prominent surreal aspect that transports the viewer to another dimension where reality is challenged. My aim is to transform simple everyday objects and situations into deeply symbolic events.

JC: I wanted to share two very different projects to show the variety of my work. The first is a series of stamps commissioned to highlight the work of the Alderney Wildlife Trust in protecting puffins that colonise Burhou Island. The stamps even had to go to Buckingham Palace for Royal Approval, which was pretty cool

JC: On the other end of the spectrum, I recently created murals for St. James Concert and Events Hall. There was no brief—just a request from the manager to “go wild,” with no overt music theme. I pitched a “Creatures of the Night” concept, thinking about how everyone brings their own vibe and style to events. The mural walls also lead up to a bar with lots of tropical plants, so it all tied together. The team loved the concept, and the final artwork took just over two weeks to complete.

My next project is a series of illustrations depicting Victor Hugo’s exile in Guernsey, where he finished “Les Misérables”. This is for a new exhibition centre. There’s a lot of research there for me and its lovely to have that variety in projects.

EG: I’d like to share a mix of personal and commissioned works (see all images above):

‘Miles Davis’: I love creating jazz-themed illustrations, as capturing movement, mood, and atmosphere really excites me. I was thrilled to be commissioned by Sony Music NY to create a series of drawings that were not only fulfilling professionally but also a personal passion!

‘1954 Ford Sunliner Convertible’: I love reimagining scenes from books I enjoy. For example, this piece was inspired by Stephen King’s novel 11/22/63. I often create a kind of “movie” in my mind while reading, and this is my own take on the story.

‘Shetland Reel – Up Helly Aa Special Edition Whisky’: This is my favourite commissioned project. Through it, I learned so much about life in Shetland, the Up Helly Aa fire festival, and the passion behind it, thanks to my client.

JM: The examples of work I’ve chosen to share with you reflect my involvement with, and interest in, medicine, war art, and an example from my most recent commission as artist in residence for the Bicentenary of Liverpool John Moores University (LJMU).

CA: I’m sharing a few recent images of personal work- some silly, some more thoughtful. Because that’s ultimately what I love about illustration: its capacity to be anything and respond to so many purposes, making the world more tangible, funny, thoughtful, silly and beautiful. I love being able to work in different ways, recognizing different feelings/ideas need different ways to express themselves.

Personal work is often where ideas germinate and you can be more honest, so on NID, it feels like a nice thing to share!

Illustration and drawing have pulled me back into the world more times than I can count. It’s how I communicate with, understand, remember and digest the world. It has made my heart leap like nothing else.
Charlotte Ager

CW: An advertising campaign I produced working with Baron & Baron (New York) to create illustrated adverts and graphics for SKP 2023 Children’s Day campaign. This involved creating a series of endearing characters in an exciting and engaging world for children. I was fortunate enough to visit Beijing to witness the holiday and see the artwork brought to life through large scale advertisements scattered throughout the city, along with a parade of fully costumed characters and various pieces of merchandise including plushies, balloons and sticker books. It was fantastic to be there to witness children (and adults) interacting with the characters and having fun together collecting stickers to gain their free toys and plushies. I’m extremely grateful to have the experience of visiting Beijing and overall, immensely proud of how successful the campaign was.

SS: To celebrate National Illustration Day, I’m excited to share a selection of works that reflects my passion for storytelling and social themes. For me illustration is throwing light on the diversity of the world. It is to fill spaces with inspirational visuals. First, my greeting card collection features uplifting depictions of women and plants, celebrating connection. Next, I have a children’s book illustration for a book called “solstice” written by Jenna Breach and published by What on Earth books. The book is a collaboration with 14 global artists. I illustrated the story of Ahmed and his family in the vibrant, sun-soaked streets of Marrakesh, Morocco. Drawing from cherished childhood memories of exploring Morocco with my parents, as well as from more recent visits to the bustling medina.

I’m also proud to share my tote bag design for the Glastonbury Festival 2024, created in collaboration with the Fairtrade Foundation and Co-op, highlighting the importance of ethical practices.

Additionally, there’s my print titled “Step Out of Your Comfort Zone,” which was sold at Oliver Bonas, encouraging personal growth. Lastly, I have a piece that includes the quote, “If you don’t stand for something, you will fall for anything,” reflecting my commitment to social justice and activism through my art.

Each of these works represents a unique aspect of my creative journey and the values I hold dear.

More about our illustrators:

Vanessa Branchi is an Italian editorial illustrator based between the UK and Italy, working with international clients and publications, and published in several printed and digital platforms. Inspired by Surrealism, Symbolism and dreamlike states, her ambition is to take the viewer to another, whimsical dimension, through her work. Her carefully crafted illustrations explore themes from science and technology to psychology and personal development.

James Colmer is a Guernsey-based illustrator and artist focusing on vibrant colours and textures, which bring characters and landscapes to life. His work encompasses everything from artwork for a collection of royal stamps to large scale murals.

Eri Griffin is an illustrator based in Edinburgh, Scotland, creating illustrations for books, album covers, and spirit labels. The subjects depicted vary widely, including a personal passion for creating jazz-themed artwork. Her work is deceptively simple and minimalist, with a defining characteristic – the dynamic flow of the lines and brushstrokes highlighting movement, informed by her training in traditional Japanese calligraphy.

Julia Midgley utilises her reportage drawings record working life: ranging from office, operating theatre, to in-flight lifesaving medicine. Julia explores war art, medicine, military medical training and rehabilitation of wounded soldiers. Now retired Julia was formerly Reader in Documentary Drawing Liverpool School of Art & Design and is an LJMU Honorary Fellow.

Charlotte Ager is a Freelance illustrator based in London, but originally from the Isle of Wight. She loves that drawing can communicate the difficult and challenging whilst having enormous capacity for joy and silliness. She enjoys working on a multitude of projects and illustrations that aim to connect to viewers emotionally.

Carl Wilson is an illustrator, animator and associate lecturer based in Newcastle Upon Tyne. His uplifting work includes product, character, branding, advertising, poster, mural design & public exhibitions and is informed by early Nintendo video games series such as The Legend of Zelda and Super Mario and he is a frequent speaker at design conferences and events.

Sakina Saïdi is a French-Moroccan artist based in London, dedicated to celebrating diversity through her art, which tells stories inspired by memories, everyday life, and a vision for a better world, through social awareness. Having established her own brand of uplifting art and stationery, she also illustrates children’s books. Her clients include the BBC, The Fairtrade Foundation, Plan International, and Sephora.

With thanks to all of illustrators for taking part and to our friends at Quentin Blake Centre for Illustration for partnering up with us for National Illustration Day.

Find out how to get involved here.

Vanessa Branchi
AOI Folio | Website

James Colmer

Eri Griffin

Julia Midgley

Charlotte Ager

Carl Wilson
AOI Folio | Website
Sakina Saïdi

AOI Folio | Website