In the studio with… Tony Allen

Can you tell us about your journey into illustration and what inspired you to pursue it as a career?

I have always loved art and drawing for as long as I can remember. When I finished school, I enrolled in an art and design course at York College. I wasn’t sure exactly what I wanted to do, I just knew I wanted to pursue something creative. After exploring different disciplines, I enrolled in a National Diploma course in illustration. At that point, I had only a vague idea of what illustration entailed, but I felt a stronger connection to the work being produced in the illustration course compared to fine art. I also became interested in illustration through skateboarding and skateboard graphics, which played a big role in shaping my artistic interests. After college, I went to Middlesex University, where I earned a BA in Illustration.

How would you describe your unique style, and how has it evolved over time?

I work in a flat, digital illustration style inspired by mid-century illustration, outsider art, and contemporary illustration. My style is playful, bold, and character-based. I enjoy experimenting with proportions to create fun and dynamic compositions. My style continues to evolve as I experiment with different techniques and refine my approach. Lately, I have been particularly interested in hand lettering, and I would love to incorporate more of it into my work.

What role does your home environment or cultural background play in influencing your artwork, if any?

I don’t consciously think about my environment or background when working, but elements of it naturally find their way into my art. On a more conscious level, my two black cats, Diva and Buster, have definitely inspired some of the cats that appear in my illustrations. 4. Are there any specific themes or subjects you find yourself drawn to when illustrating? I am especially drawn to illustrating people and animals. I love creating expressive characters with exaggerated proportions and playful compositions that bring personality and movement to my work.

Can you walk us through your creative process, from concept to final piece?

I begin by brainstorming ideas to get into a focused and creative state before sketching. Next, I create very loose thumbnail sketches to explore different possibilities. I then review them to see which ones have the most potential. From there, I iterate and refine the sketches. If it is a commissioned project, I send a sketch deck to the client for feedback. Once a sketch is approved, I open Adobe Fresco and start inking the final illustration. I love listening to music, audiobooks, or podcasts while I work, as it helps me get into the creative flow.

What tools and mediums do you prefer to work with, and why?

I use an iPad and Adobe Fresco to create my illustrations. I have brush sets from RetroSupply and True Grit Texture Supply, and I keep a folder with my favourite brushes. One reason I prefer Fresco over other drawing apps like Procreate is that my files sync with the cloud, making it easy to access them in Photoshop on my laptop. I also use Affinity Designer for sketch decks and, occasionally, as an alternative to Photoshop since I find it more intuitive for certain tasks. 7. Who are your biggest influences, and how have they shaped your approach to illustration?

I am a huge fan of illustration and constantly find inspiration from illustrators whose work I follow. I think they know who they are. One of my biggest influences is the 1950s poster artist Hervé Morvan. I love the bold playfulness, strong colours, and clever concepts in his work. His approach has definitely influenced how I think about composition and visual storytelling.

How do you stay inspired and overcome creative blocks?

If possible, I take a step back from my work. Going for a walk often helps get ideas flowing. If I am really stuck, I focus on what I can do, like brainstorming ideas, creating a mood board, or sketching without any pressure to produce a final piece.

What advice would you give to aspiring illustrators looking to build a career in this field?

Before landing client work, a great way to practice is by creating mock briefs. This not only helps you develop your skills but also shows potential clients how your artwork can be used commercially.

Also, don’t be afraid to reach out to brands, agencies, or illustrators you admire. Rejection is a normal part of the process and isn’t personal. 10. What can we look forward to from you in the future? Are there any exciting projects or collaborations you would like to pursue? Who are your dream clients?

I would love to explore animation, as it is exciting to see my characters come to life. I am also interested in creating screen-printed merch, like t-shirts and tote bags, and getting my online shop back up and running with a new collection of prints.

Rather than focusing on specific clients, I am most excited by projects that challenge me creatively and allow me to experiment and grow as an illustrator

In the studio with… Gill Ferguson

Can you tell us about your journey into illustration and what inspired you to pursue it as a career?

I’m originally from a textile design background, I’ve worked in the textile print industry and as a freelance surface pattern designer. As the textile design market slowed down during lockdown I started using the collage technique I’d been using to create motifs for patterns to collage scenes from my daily walks. Over time I found that I was becoming more engrossed with this work as it felt more personal, I was able to explore themes and techniques which were significant to me. As a child I was always obsessed with drawing and making, going to art collage was all I ever considered doing when I left school,  I feel lucky to have been able to pursue this career.

How would you describe your unique style, and how has it evolved over time?

 I work with collage and would describe my style as colourful, joyful and observational. Over time I’ve honed in on  themes which resonate with me and have become more comfortable with working spontaneously, collaging on location and while at life drawing sessions. Previously I created textile designs in watercolour and still like to paint watercolour sheets to use in my collages.

What role does your home environment or cultural background play in influencing your artwork if any?

 I live in a rural coastal village in Lancashire, which I find very inspiring, often the landscapes and animals in my illustrations are those observed while I’m out walking. I love being outdoors whatever the season and enjoy recording the seasonal shifts in my illustrations. I must admit I do also enjoy being within striking distance of the fab cities we have in the NW and being able to get a top up of culture when required!

Are there any specific themes or subjects you find yourself drawn to when illustrating?

 I am drawn to collaging landscapes, observations of nature and figures, I like to have a grounding anchor point for my work.

Can you walk us through your creative process, from concept to final piece?

I love getting my hands sticky and working with the materials, collage is a fun and tactile medium to work with. If an illustration is based on a scene I photograph it from different viewpoints to help me work on the composition, I then thumbnail different versions in a sketchbook and research the animals or birds which I might be including. Once I’m happy with the layout I get down to the fun and start painting and selecting the papers to use, I enjoy the freedom of this mark making stage. The elements of the collage are cut from the various papers and after some of arranging/rearranging glued into place. I’ll then scan the collage into photoshop and clean up the ragged edges and blobs of glue!

What tools and mediums do you prefer to work with, and why?

I love that collage is a lo fi medium, it feels very democratic! My tools and methods are very simply and accessible, if I’m out and about collaging I use a small pair of scissors or if I’m working in the studio I use a scalpel and cutting mat and stick everything together with a Pritt stick. The papers I work with are often from old books or found papers such as the insides of envelopes and magazines. I use materials from different sources as I enjoy the variety of weights and tactile qualities.

Who are your biggest influences, and how have they shaped your approach to illustration?

My influences are quite varied, I first started looking at collage through the work of Eric Carle and his wonderful textured, colourful papers.  I look to the painting of Eric Ravilious and Edward Bawden for their beautiful compositions of the countryside. At the moment I’m also developing my work in figure drawing and looking at the work of Johanna Goodman and Romare Bearden, they’re inspiring me to be more experimental in my approach.

How do you stay inspired and overcome creative blocks?

I stay inspired by getting out about and walking every day. When I can I travel to new places either on holidays or with the Urban Sketching group I’m a member of, I think this keeps my eyes keen. I also enjoy the opportunity to work alongside other artists, at workshops and life drawing sessions. I try to stay open to fresh ideas through reading, magazines, podcasts and films. If I feel stuck with a piece of work I’ll get outside take a break and come back refreshed and with a brew.

What’s your perspective on the role of illustration in today’s digital world?

I try to remain positive and hope that clients will appreciate the unique perspectives that illustrators bring to projects and enjoy following the development of the artists’ work.

What advice would you give to aspiring illustrators looking to build a career in this field?

 Keep on going and have fun finding your unique voice by trying different techniques and sharing your work. It’s not a career for the faint hearted but the best folk to work with are creatives.

What can we look forward to from you in the future? Are there any exciting projects or collaborations you’d like to pursue? Who are your dream clients?

 In the future I would love to illustration a nature book, something around seasonal changes, fauna and flora. It’s been great to see my illustrations licenced for greetings cards, I’d like to see more of this in the future. I’m also enjoying the work I’m doing in life drawing and the direction that’s moving in, it would be great to be able to use this for editorial work.