“Why do people think artists are special? It’s just another job”
–    Andy Warhol

What kind of stuff do you do?

My work varies, I was the first to custom-design Don't Panic's Media promo pack, in association with Oxfam, and I've designed for TFL's Platform for Art. I do t-shirt design including projects for Collect London and Softwear Industries, whose customers include Topshop and ASOS and I've had work published in Volume Magazine. I also do a lot of artwork for bands, including an ongoing affiliation with up-and-coming, award-winning rock band Suzerain.

How did you become a freelance illustrator?

I went to university and did an illustration degree, but I didn’t really get into it in the way that I am right now until the start of this year. I’d been working in a studio as an assistant, but I became unemployed. The luxury industry was really hard-hit by the recession and I thought: ‘ok, I have to create my own opportunities’, so I created my website and put all my work on there. I visited Gumtree everyday, checking adverts for any freelance work and sending off my portfolio. I didn’t get any results for ages but then I started to get a few replies here and there, and the ball started rolling.

Is it important to have a degree?

I think it is, for me. It gives you industry knowledge and, especially now, it’s not anything to do with just being able to draw; it’s about having the spirit behind that and having the ideas and the tools to be able to actually promote yourself. It’s about being industry-savvy. But then you can’t just rely on that, you have to make yourself as visible as possible; think outside the box.

Where does your inspiration come from?

A lot of artists draw what they imagine, I draw what I see and what I find interesting. So just being out, living, having fun, which is lucky really; a lot of artists are inspired by depression and sadness. I’m influenced by being upset but equally by what I see around me…

Like fashion, the art world has a reputation for being a bit contrived, what’s your experience of people in the scene?

That is exactly one of the reasons I became freelance, I tried doing work in the studio with other artists and designers and it just doesn’t work for me. There’s not enough room in a studio for the amount of egos in there. People need to get over it and just do the art and do what they’re good at.

Is it hard to decide how much to charge for your work?

One of the last commissions I did was for a t-shirt company. I sent them the invoice and they asked me to halve it. People are always trying to swindle you out of money, I suppose that’s the same in every business. It takes a lot of hard knocks and realising that you should never work for free. If you don’t value yourself then no-one else can, so I have a strict guideline of what I charge and I always stick to it.

What are the best and worst aspects of the work you do?

The best aspects are that you are being totally creative, you’re doing what you love doing. I think that’s probably everyone’s dream; being yourself and always doing something different, meeting new people and seeing new things. It’s so much fun and you work at your own pace, you’re your own boss.
On the downside, there’s a lot of uncertainty, nothing is set out for you. You have to be proactive 100 per cent of the time otherwise it’ll slip through your fingers. It’s like you’re existing on the edge of a cliff: it’s an amazing, beautiful, exhilarating thing, but it’s dangerous because you could fall at any moment if you lose your grip…

What is your plan for the future?

I suppose my aspiration now is to start my own company and be an artist within my own right. Over the last couple of months I’ve got some more contacts. I got interest from this guy who owns a t-shirt shop in Notting Hill and wants to show my summer t-shirts there. I think I’m on the right road to becoming self sufficient as a graphic designer but I think its going to take a lot more promotion and self initiative. I really want to do some exhibitions of my own, get my name out there and create a buzz.

What's your idea of success?

On the way to waterloo there’s a big building with a massive billboard that’s been blank for what must be five years. It’s just a plain white billboard, but it’s huge. I see it and think ‘one day I’m going to paint something there and everyone will see it.’ I really want to fill that blank canvas. In my eyes, once I achieve that, I’ll be successful.

What advice would you give to someone looking to get into illustrating?

Just do illustration as much as possible. Always have a camera and a sketchbook with you, set yourself projects and keep designing and creating. Get as much advice as you can. Send your stuff off and never be scared to call people, companies, magazines and websites - they’re not monsters and they’re not super-beings. I remember being cripplingly shy about calling people up and talking to people in industry, but you have to get over that because that’s the only way that you’re going to move on. You have to make yourself known to everyone, they’re not going to find you.

See a slideshow of Emma's work here

To find out more about Louisa's work, visit her website