In this series, we shine a spotlight on the incredible artists contributing to our 2020 Field Guide.
Today we hear from Lisa Baudry
How would you describe your illustration/artwork style?
For portraits I ‘collage’ my pencil drawings and use hand painted or paper textures to colourise them. I like my work to have a hand-done feel but love the flexibility to edit on my mac.
Some people tell me my work has a vintage, sun-bleached feel, I think because I often use a muted, colour palette. But it depends on the subject and what I’m trying to get across. I love the subtle colours of paper whites and creams.
Is illustration your full-time gig or how does it fit around the other mix of work you do?
No it’s not, but I like to keep my schedule open enough so that I can execute work when it comes in. I also have a part-time graphic design contract for an environmental organisation. I currently sell some art prints and textiles designs and fabrics and want to grow this further.
What attracted you to illustration over other creative mediums?
Probably my love of drawing and painting. Also because I still find it challenging so I never ever get bored doing it.
How do you feel like your practice has evolved since you started out?
Evolved a lot over the last few years, spending more time experimenting through online courses really helped to find my own voice and style. I think my work will always evolve as that is the nature of it. The more I try new things, the more I incorporate those techniques and approaches that feel good. It’s all about tuning into what I actually like doing.
I remember when I realised that I could use my pencil drawings in the final work. Traditionally pencil has been for roughs and working out ideas. But rules are made for breaking. My work looks better when I use the drawings themselves. I use a technique where I not only collage the background, I also collage the drawings.
What does your dream project or commission look like?
More editorial and portrait commissions would be wonderful. I also dream of working with someone incredible like Dries Van Noten to create prints for his collection. I drool over Paris furniture and textiles company Pierre Frey and would love the chance to work with them.
We are so grateful of the work you are doing on DA’s field guide – Could you give us some behind the scenes into your process for the field guide artwork. What aesthetic or conceptual decisions did you make?
I wanted to include some details about the person’s life or background in the portrait. I love the art of portraiture, particularly documentary photography where the objects or environment surrounding the person give you clues about the person’s past or present life.
What else are you working on right now? OR What project (personal or professional) are you most proud of?
I am working on my next collection of print designs for Cloud 9 fabrics. I also want to develop some more native plant prints for home interiors.
How does your workload compare to before the COVID-19 Lockdown?
It is very similar. I probably have even more motivation to work hard and look for the opportunities. I want to remain optimistic as I think that is crucial in business and life.
Given the Field Guide series is putting a lens on our post COVID practice… what do you hope for the future?
More understanding that we shape our reality. If we want more creative work in the world, then it’s up to us as designers to initiate great concepts and ideas and bring them to reality. Pull in a team of talented people and see what you can do, see what you can make happen. I’m here and I’m ready to go!
Finally, where can we see more of your work?