When you are illustrating a book, how do you start the process?
When I take on a new project I like to do a bit of research in order to get the look just right. For example on the Swindon edition of Great War Britain it was important for the background to be representative of the town. So, I chose to include Christ Church (or The Lady on the Hill), and the Corn Exchange in the background. I like to have plenty of imagery around me to give me inspiration and keep me focused, particularly if I’m working on a piece that needs to be historically accurate. Choice of colour can make or break a design. For this series I chose a palette similar to the colours that would have been used in propaganda material from that era.
I begin with a rough drawing. Well, I say rough but often my first drawing is the most precise so a lot of rubbing out takes place. Most artists I know start with a rough and then hone it down but I seem to work in reverse. Once I am happy with how it looks I’ll place it on a light-box. You can never see the original very clearly but it enables me to take the elements which I am most happy with from the sketch and use it as a guide should I need to make alterations.
If I’m adding colour to my drawings I tend to use Photoshop. But first I will outline my drawing using black ink – at the moment I favour Uni pens, but I’m always on the hunt for new materials. Once I am happy with the result I will scan it in and fill in the outlined sections with colour. I must admit, I love using the computer for this purpose. Colour can be changed in an instant and you can try many variations without having to re-draw the entire piece over and over again.
Who are your influences?
My influences include Stephen Wiltshire, an artist who draws very detailed cityscapes often from memory. I also love Fred Taylor’s work. He was an illustrator and decorator but mainly known as a poster artist from 1908 to the 1940’s, designing posters for the Underground and London Transport. I love his choice of composition and how he places blocks of colour on the page.
Where do you find your inspiration?
I find inspiration all around me and ask a lot of questions: how is that made, what materials were used, what is the story behind it. In fact I am constantly stopping to look at things or take notes that it takes me ages to get anywhere. The walls of my studio are covered with wrapping paper, cards, images that have been torn out of magazines. If I am struggling with a project I usually find the answer buried away somewhere here. I love drawing old buildings with plenty of character. The best thing is finding an old grainy photograph in which you can barely make out the detail. But I love drawing from these because it means you can give the image a new lease of life with your imagination.
I like to take my sketchbook out with me, and I will sit down somewhere and do a few scribbles. I enjoy drawing people and usually they are busy going about their business so I will literally have seconds in which to draw them, but it’s a great exercise and loosens you up. It can be tricky finding the time though as I usually have my 4 year old daughter with me. There was the time I was drawing Flamingos at Slimbridge and she fell in the pond, but we won’t talk about that!
Melissa Turland was born in Cheltenham and has loved drawing for as long as she can remember. She graduated from the University of South Wales with a degree in Animation, and has since made a career as an Illustrator and Graphic Designer. She has worked on projects for clients such as Plymouth Gin, Tewkesbury Civic Society and The History Press and has completed a large number of private commissions. She recently began teaching and runs courses on Life Drawing and Drawing Master Classes.