Pofessional Illustrator Interview - Leo Broadley.

When we were asked to identify professional Illustrators to interview for the Professional Practice module, I couldn't wait to interview Leo.

We know Leo as one of our most enthusiastic lecturers, supporting our growth in Visual Communication through tough assignments (I am thinking back to 'The Great Face Race - our first project in the First Year of University life - one week to produce an A0, professionally photographed, illustrated poster featuring typography - welcome to University!), masses of enthusiasm and shared experience and, when required, tough love.

What we don't always see, is that Leo, who specialises in Graphic Design teaching at the University, is a successful and prolific illustrator across many genres, but specialising in Children's book illustrations.

Armed with three student colleagues, a camera and tripod and a whole heap of questions, we interviewed Leo following one of our early Professional Practice sessions.  Leo kindly gave up his lunch break and brought in lots of his illustration work to share with us.  I have waited until now to post this interview for a few reasons - firstly I have been processing some of what Leo told us, and trying out some of the techniques discussed, and secondly, I wanted to keep this interview up my sleeve for a while, otherwise every other student would have the same idea. All is fair in love and competitive learning. :-)

Actually the first part of the above is truer for me than the second.  I have many illustrator heroes and one of the questions I always ask myself is this.  How did they do that? Why does that watercolour wash look so beautiful and smooth and mine does not?  How much of that work is done digitally?  What paint / pens / methods do they use?  

Chris Riddell

Last year I went to the Hay Festival with my daughter, and while standing in line waiting for art hero and children's laureate, Chris Riddell, to sign two of Edie's books, my heart was pounding.  Lots of children were asking Chris questions; 'where did you get the idea for Ottoline?' which he was graciously answering, smiling down at these little beings who are our future writers and artists and storytellers.  I checked with Edie that she didn't have any questions for Chris, nope, she didn't.  Everything on her list had been answered during the previous Q&A session in the lecture tent.  Good.  While Chris was signing the books I coughed nervously, 'er... Chris, is it okay if I ask you a couple of technical questions?'.  Chris looked up at me, smiled his huge smile and said 'of course.'  I proceeded to ask him how much work he produced digitally (none, except for tidying up the line and creating watercolour washes).  He works with a large brush to create the block colours. I asked him about materials (Kuretake brush pens, Dr. P.H. Martins Radiant Watercolour Concentrate, most kinds of paper) and I asked his advice for students (draw every day, do it your way).  

Leo's home studio

But what has this got to do with Leo?  Leo also gave me a huge lightbulb moment - that question about the watercolour washes? He answered it perfectly and it's not dissimilar to what Chris told me.  You'll have to watch the interview to find out what Leo told me, but suffice to say it's one of the techniques I'll be practicing over the Summer.

You can watch the interview here.

Reflecting back on the interview, and this relates to the processing I referred to earlier.  Where Leo is, is pretty much exactly where I want to be in a few years time, illustrating, supplemented with teaching, but while I feel I have found my 'personal voice', my own style of illustrating, some of the techniques I have discovered will help me add that professional polish to my work. I just need to do it my way, and building up a body of work I am proud of is the next step for me.

Have a look at Leo's beautiful work here and here.

If you want to find out more about Chris Riddell you can do so here.