FROM THE STUDIO OF Shelley Skail
Hi Shelley and welcome to Words & Pictures. How did you get into illustration? And how would you describe your style?
It all started when my daughter asked me to make up bedtime stories. I'd ask her to choose a setting, character, and theme and then I'd roll from there. When I’d tell these stories I could see them in my head. Although I've made art since I was young, I couldn't make the kind of art I was imagining so I started to learn - that’s what really took me into illustration.
I struggle to describe my style, but other people have said lovely things like “it's whimsical”, “quirky”, and “playful”. And I like that so I’ll claim it. I predominantly use watercolours for delicate and intricate pieces, while using paint pens, linocuts, crayons, etc for more rough drawings. These all look very different but I think there’s still an undercurrent of playfulness and whimsy that runs through my pieces.
Can you describe your studio space?
Until recently my studio space was exclusively my dining table (and sometimes the floor). It’s just exactly as you would imagine it - covered in normal house stuff which gets pushed aside temporarily for art, which is then all packed away at the end. My art supplies are arranged for quick access in various nooks and crannies about the house. I have an Ikea pegboard on a cupboard door and a trolley of supplies that I can wheel about.
But very recently I got a studio space near my house in Edinburgh - it took years to get! It’s a shared studio and I'm still in the process of setting everything up but I love it. The most delightful thing is that I can leave all my stuff out, there’s no need to pack anything away. I'm thrilled to have a little art grotto now.
What are your favourite tools of the trade?
I love watercolours (of course), my mechanical pencil (I use it all the time), Poscas, and this year I took the plunge and got myself an iPad. I am absolutely loving Procreate.
Why do you have a preference for watercolours?
As I was getting into illustration my grandmother, an artist who had developed arthritis, gave me her favourite watercolours, some brushes and paper. These were the tools that I literally had to hand when I decided I wanted to create the things I imagined when telling my daughter stories.
And what I imagined was heavily influenced by what I grew up with. I was lucky enough to be surrounded by gorgeous Victorian watercolour illustrations as a child. We had flower fairies on decorative plates hanging on the walls and these old-fashioned storybooks with Victorian illustrations. Watercolours are indelibly associated with fairytales for me.
When illustrating for yourself or others can you describe your process from getting an idea to finished artwork?
Often, I have an idea and just go for it. Sometimes I'll thumbnail it - making a bunch of tiny quick sketches and then choosing the one that resonates. Then, I'll make a larger, rough sketch and tweak it - that can be with pencil and paper, or on my iPad. Once I'm happy, I'll either do some colour testing or just start painting. Finishing comes with making sure I like the amount of contrast (spoiler: I usually don’t and I add more), and last little touches.
Now, it’s not always as linear as I’ve described it, and I left out our friend, procrastination… But that’s the general process for me.
Is there a particular artist/illustrator who has inspired you?
I find Margaret McDonald really inspirational. She was one of the “Glasgow Four”. I adore her work. It's beautiful. If you know her work, you can see her influence on Mucha, who is also one of my favourites.
And then, of course, there’s Arthur Rackham. He's, to me, one of the quintessential, Victorian illustrators. His mix of technical skill and whimsy is sublime and unendingly fascinating.
Is there a project you have particularly enjoyed working on and why?
Yes! I got the idea for a board book based on my tiny niece's antics. My usual watercolour style wouldn't capture the right energy, so while helping my daughter sort her artwork, I was inspired by her very early drawings. From there I developed a naive style for this story using Poscas and gestural marks to capture a baby's energy and worldview.
I loved creating the book; it was one of those things where I thought, "You know, even if this goes nowhere other than my own table, I'm perfectly happy because I have thoroughly enjoyed every element of creating this book." It made me laugh a lot.
Have you got any tips for when you get stuck on a project?
Go do something else for a while: go for a walk, do gardening, watch a movie. Take your mind off it. And when you can come back to it, refreshed, there’s a good chance your subconscious will have worked out a way around whatever it is that’s making you feel stuck.
What tips do you have for artists who are starting out?
Keep making art. Quantity leads to quality, so keep at it.
Don't feel like a failure if you don't create every day; persistence is more important than consistency.
Take breaks when needed, everyone deserves them, including you.
Create before consuming social media - social media can be distracting and disheartening so nurture your creativity and moderate the consumption of that.
And keep doing things that bring you joy! You need to fill your creative well before you can draw from it.
What's next for you? Anything exciting you’d like to share?
I’m looking for an agent for the board book project I mentioned earlier - that’s an exciting adventure! I'm also developing an online class about using watercolours for self-care, which I plan to publish in early October. Over the years I’ve learned an enormous amount from online classes, which makes contributing to that space especially meaningful.
Contact scotland@britishscbwi.org
Contact them at illustrators@britishscbwi.org
Tita Berredo is the Illustrator Coordinator of SCBWI British Isles and the Art Director of Words & Pictures magazine.
Contact her at: illuscoordinator@britishscbwi.org
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