Scottish born Illustrator and Daler Rowney Ambassador, Willa Gebbie is well renowned for her beautifully crafted illustrations, combining traditional watercolour with contemporary digital elements. Her prolific career includes collaborations with high profile luxury retail brands, mentoring up and coming illustrators and running live events. We caught up with Willa to find out more about her creative practice, her favourite materials and the 'average week' of a professional illustrator. We also get her professional opinion on four world class paper brands: The Langton, Saunders Waterford, Bockingford and Arches.
Hi Willa. Thank you for taking the time out of your busy schedule to speak to us. Firstly, can you tell us a little bit about your journey as an illustrator?
My route to illustration was pretty unorthodox. I have always loved art, but my family isn't creative, and I was encouraged to pursue a career in the sciences. To be clear, I loved (and still love) science too, so this wasn't a mistake by my parents. After a degree in Chemistry, and a number of years working as a research scientist, I realised that I wasn't fully satisfied. I taught myself Photoshop in the evenings, with the aim of becoming a graphic designer, and through this, discovered the potential for a career in illustration. I volunteered with some graphic design agencies, and some fashion print houses, while I built a portfolio, and slowly became freelance.
I've been lucky enough to be working as a full-time illustrator for 9 years now. I love my job, and feel grateful every day that I am able to make a living from my art.
Looking at your portfolio you have an incredibly prolific and varied career – from creating beautiful illustrations for luxury brands to running events to working as a mentor for younger illustrators. What does an average week look like for you?
Week to week things can change a lot. Before the pandemic, I worked regularly at luxury events for clients like Chanel, Lancôme and Kate Spade. This involved a lot of travel. But more recently I've been at my studio, working for magazines like Porter, Stylist and Kew. When I have client work, I really spend most of my time painting. However, there are also times when I am quiet with client work. That down-time is essential for me to catch up with admin and self-promotion.
I'm a mum to a young family, so at the moment, I fit my work into four days a week 9-5pm, with the occasional evening or weekend event
Good quality art materials are vital to any artist’s toolkit. If we were to wonder into your studio, what materials would we find? Do you have any favourite brands?
Over the years my style has changed a lot, and I've collected a lot of different materials and brands, and to be honest, I dip in and out, and mix things up. I'm not a purist. Sometimes the best texture can be achieved from an old dried up pen nib, or a cheap bingo marker. When I'm sketching, I'll use pretty much anything I can put my hands on.
For my commissioned work, however, I tend to stick to watercolour, and for this, I paint with a mixture of Maimeri Blu and Daler Rowney Aquafine watercolours. They are perfect for my studio work, and give reliable, smooth colour. For live events, I also love using Kuretake ZIG clean color pens. They are less easy to work with for fine projects, but are great when you don't have access to water, or need something more graphic.One final question for you Willa. What’s next on the horizon for you?
After starting a family, I promised myself that I wouldn't make any big career changes for a couple of years. The pandemic has really helped me to keep that promise to myself! And I'm lucky that I've not been financially affected to the point that I have to make swathing changes.
But, one thing the pandemic has done, is renew my interest in science, particularly the natural and environmental sciences. I'd really like to explore this more in my work, in particular with some illustrated books. I'll be reaching out to some publishing houses, so watch this space.
I've also started playing about with sewing and ceramics. I'm interested in moving my artwork off the page and onto new surfaces, and I'm excited about the possibilities for this.
Thank you Willa!
The Langton Paper with Willa Gebbie
Daler-Rowney The Langton is an established mould made woodfree paper that performs with rigour. The Langton is acid-free to prevent the deterioration of paint and to preserve the integrity of the paper over time. Willa Gebbie explores the qualities of this range with various watercolour applications.
Saunders Watercolour Paper
Saunders Waterford is an exquisite watercolour paper, traditionally made on a cylinder mould machine. Made using 100% cotton, the highest quality papermaking material, to high archival standards. Its attractive surface is created using natural woollen felts that give it a distinctive random texture. The surface is sized in gelatine making it strong and resilient to scrubbing, and other rough treatments.
Bockingford Hot and Cold Pressed Watercolour Paper
Bockingford watercolour blocks are a beautiful English watercolour paper, traditionally made on a cylinder mould machine at St Cuthberts Mill. The paper is a high quality watercolour paper made using pure materials to archival standards.Willa explores the key differences between Hot and Cold Pressed Bockingford Watercolour Paper so you can pick the best paper applicable for your practice.
Renowned for their artist's quality watercolour surfaces, the Arches paper mill in France manufactures all of its fine art papers using traditional cylinder moulds. They are revered for their quality, and dedicated to replicating the precision of hand-made papers created by master papermakers in the same mill in 1492.. Here Willa explores one the oldest paper brands in the world Arches with some wet on wet techniques to showcase the unique aspects of this paper.
Also check out Willa Gebbie's website and instragram to find out more about her incredible illustrations and career.