My approach
Most projects start with a creative problem: how to visualise a place with layers of history, how to present a piece of research or a story that needs to be shared with a wider audience.
Every commission is different, but there are usually a few stages to the process. This page explains how we get from the initial brief to the finished illustrations, along with some practical information about working together.
The process
The exact process depends on the project. A single illustration may need very little preparation while a set of maps or exhibition drawings will involve more stages. I’ll set out the proposed stages, timings and opportunities for feedback in the project proposal.
Research
I’ll start by looking through the information you’ve provided and doing any additional research needed to understand the subject. This might include archive images, site plans, collection records, research papers or other visual references.
Sometimes it’s useful to have an initial conversation before drawing anything, particularly if there are questions about what to include, the intended audience or the overall direction.
Concept drawings
I’ll put together some initial sketches based on the brief and research. At this stage, the drawings are usually quite rough. We’re looking at the main idea, composition and content rather than the finished details.
For a map, this might mean agreeing the layout, the information to include and how the different elements fit together.
Developed sketch
Some projects need an additional stage to work through the details before the final artwork begins. This can be useful for historical or archaeological illustrations where buildings, clothing, objects or activities need checking.
Not every project needs this stage. We’ll agree it at the start if it’s likely to be helpful.
Final illustrations
Once the sketches have been approved, I’ll develop the finished illustrations. I’ll share the colour artwork before delivery so you can check the details and colours.
Changes at this stage are generally smaller adjustments. Larger changes to the content or composition are easier to make during the sketch stages.
Delivery
I’ll supply the artwork in the formats and sizes we’ve agreed. This might be print-ready artwork for a designer or printer, files for a website or separate elements that can be used in different ways.
If the illustrations are part of a larger exhibition or publication, I can also liaise with the designer or production team.
Research and accuracy
The information I work from usually comes from the client, alongside my own visual and written research. This might include archive photographs, plans, written records or academic research.
I’m an illustrator rather than a historian or archaeologist, so I’ll often ask someone with specialist knowledge to check the drawings. It’s much easier to deal with questions of accuracy while we’re still working with sketches.
Sometimes there isn’t enough evidence to show exactly what something or someone looked like. For an Oxford Health Histories project, for example, I illustrated a woman at a point in her life for which there was no photograph. Her appearance had to be imagined, using the information available.
On an archaeological project, we took a different approach. Rather than inventing characters from the past when there was little evidence about their appearance, we concentrated on illustrating the activities taking place.
These decisions depend on the subject, the available evidence and what the illustration needs to communicate. They’re worth discussing before the drawings are developed.
Working with a team
There may be several people involved in a commission: curators, academics, learning or interpretation teams, trustees, funders and exhibition designers. I can share sketches with the relevant people and allow time for feedback and approvals.
It’s helpful to know about any committee meetings, trustee reviews or funding deadlines at the beginning, so these can be included in the schedule.
For some projects, the illustrations are supplied as separate assets for use across different materials. The work for Hughenden Manor and Dive In at the Museum of Oxford, for example, included illustrations that could be used across panels, posters, social media and digital materials.
I can also take on graphic design and layout, producing finished panels, leaflets or publications. Alternatively, I can supply the illustrations to work with your own designer.
Accessibility and legibility
Illustrations used in museums and public spaces need to work in their actual setting. People may be standing a distance away, reading in different lighting conditions or looking at a panel alongside other visitors. The audience may include different ages, levels of sight and reading confidence, and people using different languages.
A few things I take into account:
- Size and viewing distance: labels, map keys and small details need to be legible at the final size and from the intended viewing distance.
- Colour and contrast: information shouldn’t rely on colour alone. Shape and pattern can help distinguish elements in a map key, while text needs a clear background.
- Clarity: routes and essential locations need to be easy to find. Decorative details shouldn’t get in the way of the information people need.
- Different languages: layouts may need to accommodate longer or shorter translations. An educational coastline map for Aberystwyth University, for example, included Welsh, Irish and English.
- Digital use: I can provide short descriptions of illustrations to help with alt text.
If your organisation has its own accessibility guidelines, it’s useful to have these at the start of the project.
Files, licensing and budgets
What files will I receive?
This depends on how the illustrations will be used. I’ll agree the file formats and specifications with you before delivery, so they’re suitable for your printer, exhibition designer, web developer or internal team.
Where useful, I can supply separate characters, objects or buildings as individual files for use across different materials.
Who owns the copyright?
I retain copyright in my illustrations and grant a licence for the agreed uses. This is set out in the proposal, including where the artwork can be used and for how long.
I don’t offer full copyright buyouts. This also means the artwork can’t be used to train AI models.
It’s worth thinking about possible future uses when we discuss the licence. A visitor map might later be used as a postcard or souvenir print, for example, or an exhibition poster might need adapting for a touring version. These can be included in the original agreement or added later.
For example, an illustration originally created for a window display at Arts at the Old Fire Station was later licensed for use on a sign and an A5 leaflet.
How much does illustration cost?
The cost depends on the scale and complexity of the work, how much research is involved and how the illustrations will be used. A simple map and a detailed illustrated interpretation panel are very different projects, even if they’re for the same site.
I’ll put together a proposal based on the brief, with the scope, fee and licence set out clearly. The level of detail can also be adjusted to suit the project and available budget. Not every commission needs to be drawn in the same amount of detail.
How long does a project take?
A small commission, such as a single character or mascot, might take around two weeks. A set of illustrations for an exhibition, site or publication will usually take several weeks.
Maps also need time, even when they’re relatively simple. Research, checking information and agreeing the layout all need to be included in the schedule.
The proposal will include an estimated timeline and dates for feedback. If you have a fixed opening date or publication deadline, let me know as early as possible.
What if funding or deadlines are uncertain?
Projects don’t always have all their funding in place at the beginning. It may be possible to divide the work into stages, with different parts completed as funding becomes available.
For Kelmscott Manor, for example, the map and interpretation drawings were produced at different stages.
Do I need a finished brief?
No. It’s helpful to have an idea of what you want to achieve, who the work is for and when you need it, but you don’t need to have worked out every detail.
An initial conversation can help establish what’s needed and whether illustration is the right way to approach it.
Where do you work?
I work with clients across the UK. Recent projects have taken me to Wales, Cornwall, Norfolk and Scotland, as well as closer to home.
Most discussions can take place online. Where possible, I prefer to visit a site in person, particularly when a project involves illustrating a building, landscape or place.
Have a project in mind?
A map, interpretation panels, a publication or something you’re not sure how to describe yet: tell me a little about it and I’ll reply with my suggestions or proposal.
Not ready yet? See how I work or browse the portfolio.
