Attention illustrators! Here is a question for you: do you work in multiple contrasting styles?
If you do, have you ever wondered how to manage them as separate entities?
As someone who works in editorial illustration and children’s publishing, I often find a conflict with promoting the two styles. Is there ever a point where you think working under a pseudonym is the best option?
Replies7
- @Kathryn Brammall I think you're right. If the creative urge is there to explore and experiment then it should be indulged to an extent. I suppose, as with anything, it's about finding the balance between having one or two styles and a prospective client not having a clue which style they might receive!
- Hi Robin!I very much work with many different styles and have had similar struggles in terms of making my portfolio consistent and marketing myself. I found that technically and professionally, it felt better to have a bigger toolkit, but I do wonder if it contributed to some of my difficulties with my portfolio.I think there are benefits to both sides - with one style, you can really work at it and get yourself across to potential clients quickly and simply. But I also think styles come and go, and this puts you at risk of falling behind when things change. I think having a range works better for me because I need a rotation of ideas, and it allows me to really experiment with a piece.
- @Robin Boyden Exactly, editorial work, more than any other I find, often asks you to explore slightly different styles depending on the complexity of the subject matter or the tone of the piece. What works for a light hearted piece might not have the gravity for a more serious project and so it benefits us to have a few different approaches we can take with our work.
- @Mihai Tigleanu It could be said that focusing on one style might mean you improve quickly at it, thus get better quality clients. It could also be said that your interest in that style and its development might plateau more rapidly. On the other hand working in multiple styles might mean you don't excel at one in particular, or it could mean you find the one your passionate about earlier.Perhaps it comes down to individual personalities. I work across editorial and children's publishing and enjoy being able to jump between the two.
- @Michael Arnold Thanks Michael, that's really great advice. I hadn't really thought about the conceptual differences as well as stylistic ones. I found working in editorial illustration that your work really can be pulled all over the place depending on the tone of the brief and the wants of the art director. This is often keeps the job interesting but can feel like your lassoing a wild horse when it comes to compiling your portfolio! Appreciate the comment.
- Hey Robin, I work across a few styles myself (after initially starting with one style and evolving it) and over the years I've realised style can also be an approach to ideas not just an approach to drawing.The hard part is like you say trying to market them both as 'you', to be honest I think the best way to approach it is to really stick to it and over time the style gap won't feel so noticeable. The other thing is to try and make sure that although they visually might be different they feel like they were born from the same mind.I've experimented with creating pseudonyms or sister studios and I've always just come back to collecting it all under my own practice and my own name. Hope that helps.
- Hi Robin, I work in multiple contrasting styles, and sometimes I mix them in the same artwork if the aesthetic aligns with the concept.Years ago I decided not to focus on one style (as illustrators are often encouraged) but to develop several styles, as I believe a bigger tool kit accomodates a wider variety of topics, especially in editorial art.And some styles accelerate faster than others, it's normal. I'd say I master 3 styles, atm. I find it fun, because sometimes I get bored with one, so I just switch.I like your work, followed you on ig. Cool stuff.
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