With a background in graphic design, Matt Blease produces illustrations that are both topical and full of wit. After studying Design Futures at Edinburgh’s Napier University, Matt moved to the capital and has sinced worked for such clients as Nike, Nokia, Random House, The Guardian, Waitrose, Barbour, BBC and The Sunday Times.
Ahead of speaking at The PanicRoom, LeBook Edition in Amsterdam, we caught up with Matt to talk creative scenes, working for The Guardian and what advice he’d give to budding illustrators.
When did you first decide you wanted to pursue a career in illustration?
My earliest memory is drawing. I’ve always loved to draw, but growing up I never quite realised that illustration could be a legitimate career. It was what I did for fun, in my free time. The idea of being paid to draw seemed crazy. It wasn’t really until I began commissioning illustrators when working as a graphic designer years later that it dawned on me that this could be a viable option.
You studied Design Futures at Edinburgh’s Napier University. How has this shaped your outlook on the design world? What’s the most valuable thing you learnt from your course?
That the idea is everything. You can have the most intricate, beautifully drawn illustrations, but if the idea isn’t there it just doesn’t work for me. Design and illustration isn’t art; it’s about communicating an idea in the most effective way possible. The course was predominantly based around product and furniture design, but the approach and thinking behind every brief can be applied across most disciplines.
You’re from Liverpool originally. Then you studied in Edinburgh. And now you live in London. How do the creative scenes differ in each city?
I spent my childhood in Liverpool, secondary school/University in Edinburgh and my professional career in London. So I’ve experienced the creative scenes at very different points in my life. I can’t really speak for the scene in Liverpool as I was just a kid but the scene in Edinburgh was small and compartmentalised, where as what I loved about the London scene was that it seemed like everyone was trying everything. You could be an artist/illustrator/designer/scultper/trapese artist/ninja/cat whisperer and it didn’t matter. It was the ultimate in multi-disciplinary design. That’s what pulled me to London after graduating.
You’ve worked for a wealth of commercial clients. What’s been your favourite commercial project to work on and why?
I loved working with Nike. They consistently put out great work at such a global level it’s hard to think of a brand of that size that are still pushing the creativity as far. It’s been great to be involved in helping shape the look and feel of Brother Cycles. They are such a young brand that are really focused on doing things right. It’s nice to produce work for a brand that you really believe in.
How did your weekly spot the The Guardian’s G2 come about?
I’d been working with The Guardian for a few years, lots of work for The Guide and The G2. They were looking for a new illustrator to take over the weekly spot and asked me to do it. Over the years I’d built up a good level of trust and understanding with them which is good when working to such tight deadlines.
How does your approach to commercial work and editorial work compare? Do you have a preference? What are the pros and cons of both?
The approach is always the same. Whatever I’m working on I will try and make it the best thing I have ever done. Usually the deadlines are a little longer with commercial work, so more time to craft the illustration and a little more control with print. Where as editorial is almost always tight deadlines. I don’t really have a preference but there is something quite real about seeing one of your drawings in the paper one day and in the bin the next, it really reminds me not to be too precious about my work.
Your style of illustration is influenced by your background in graphic design. What’s the key design technique you’ve carried over into your illustration style?
I’m not sure if it’s a technique but probably reading and understanding the brief. It’s the most important part of the process. Then it’s all about communicating the idea in the simplest and most effective way within my style.
Who are some of your favourite illustrators and designers?
I really love the work of Saul Bass, Wayne Thiebaud, Charles & Ray Eames, Jack Kirby, Milton Glaser, Matthew the Horse, Geoff McFeteridge, Daniel Clowes, Barry McGee, Adrian Tomine, Matthew Green, Ed Cheverton, Mike Giant all for very different reasons.
What piece of advice do you have for those trying to make illustration their career?
Don’t force a style, stop worrying about the things you can’t do and focus on what comes natural to you.
Your work is very topical and full of humour. Do you like to spur a dialogue on certain issues through illustration?
I think this stems from working on news and current affairs briefs, my brain is almost conditioned to see ways of injecting humour into what could be a difficult subject matter. It’s like this every day, just looking at things, taking it all in and getting the big idea, then scrambling for a pen to scribble it down before I forget it.
What will you be working on next?
The last few months have been flat out so I’m planning on taking a much needed week off before getting back to it. I’ve got a few exciting personal projects that I’ve been struggling to fit in around commissioned work that I’d really like to focus on, just got to get that balance right.
This evening Matt will be speaking at The PanicRoom, LeBook Edition in Amsterdam.
Matt Blease is represented by Breed.
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