Steve

Scott

My name is Steve Scott. What interests me most about illustration is the way it can punch an idea straight into the cerebral cortex. A good image creates an immediate emotional response.

I am an illustrator because it allows me to create new characters and new worlds. My work is all about finding the balance between simple and complex, normal and weird, using colour and humour to do so. I like the strangeness of the everyday. One of the most formative experiences of my career was the day my uncle gave me a couple of battered copies of Tintin comics. Here were characters, colours, and drawing skills that have remained inspiring ever since.

My studio is currently in London because it’s a city that is ancient and modern, maddening and enlightening, ugly and crazy and silly and kind. Basically, it's all the things you want to keep you inspired for a thousand years. My desk might look messy but there’s a system to the chaos.

The key to keeping your work relevant is making sure you find time away from the drawing desk. Traveling, meeting friends, getting out in the world ... it all eventually feeds back into making fresh work. It’s important to get out in the world if you want to avoid insular work. The three things currently inspiring me the most are Japanese woodblock prints, '80s European comics, and wonky London architecture.

While I’m not doing client work, you can probably find me walking in the Epping Forest, getting a dose of green air. This is my favourite place to dream up ideas. It’s really important to dedicate time to personal work because you need to give yourself the space to experiment and play.

Recently I’ve been playing around with lighting. I want to show more light and atmosphere in my work. I’ve been inspired by a lot of Shin Hanga and Ukioyo-e. Lately in my personal work I’ve been drawing some images based on my trip to Japan. Going to new places refreshes the eyes and is a nice way to kick-start the creative process.

Most of my work starts with scribbles on loose bits of paper. Then I switch to digital format and start drawing a more refined sketch. Nowadays this involves drawing on my iPad. From there it’s a matter of working out the colours. I love simplified and tight colour palettes. Usually you need to experiment with a few different colours until you have the mood you want. I then move onto drawing up the final image. Again, this is all digital and involves drawing on a large tablet.

The best thing about working on commercial projects is that it’s a collaborative process. The best collaborations bring out something unexpected which you wouldn’t have done on your own.

Here’s a recent poster I created for the 59 Parks series. I loved creating something with this enormous scale while trying to keep it relatable . . . hence the dog!

Not long ago I created a ten-metre-wide print for Louvre Mall in paris. It was all created on a small iPad. I love that technology has this amazing flexibility—I can sit on the couch and still have the ability to create large prints.

One of my all time favourite projects was created for GQ magazine. I enjoy creating landscapes that interlock like a pattern and then filling them with odd people.

I really loved this image I did for Nobrow. I got to put all my thoughts about the illustration process into a drawing about my dream studio. It involved shrines, biker gangs and experimental submarines.

Here’s another piece I’m really proud of. It was created for Adobe. The briefs were very conceptual—how do you portray how a software works in a drawing? I had to find unique ways to visualise the software suite.

If you want to find out even more about me, here are some recent articles about my practice in the AOI and Thunder Chunky.

That’s me! If you want more, check out my full folio and Instagram. Got a brief? Contact me and the good folks at Jacky Winter.

With Jacky Winter you work directly with the artist alongside a hands-on producer—it’s a power-up for your artwork commission.

With Jacky Winter you work directly with the artist alongside a hands-on producer—it’s a power-up for your artwork commission.

With Jacky Winter you work directly with the artist alongside a hands-on producer—it’s a power-up for your artwork commission.