The Intersection Between Design and an Untamable Imagination: a Chat With Illustrator Lillian Ansell
Interviewed by Claudia Yile
Edited by Hayley Lind
Lillian Ansell is an NYC-based illustrator and designer with a gift for bringing big ideas to their most magical conclusion. Lillian’s captivating illustrations are a blend of graphic design and comics, brought to life with a deft expertise for storytelling and character creation. HOLE got the chance to chat with Lillian about her process and the inspirations behind her stunning works that transcend mere illustration.
CY: Where are you from? How did you get started with making art?
LA: I’m from Berkeley, California. Growing up, I was always drawing, copying Disney characters and chronicling any imaginary story I came up with. I always saw it as some sort of secret thing I did.
In college, I transferred into graphic design with the encouragement of a drawing professor, and everything started clicking. I began sharing my work more and because of that, I started getting hired to make music posters, participating in art shows, and working as a screenprint assistant. I met a lot of inspiring people, and that’s where I really started building my work. Then I decided to move to New York to go to grad school for illustration at SVA (School of Visual Arts).
CY: Did you start with illustration or did you pivot from another medium? How has your style changed over the years?
LA: I think most of the change comes from me just getting to know myself better and practicing. I love experimenting and no matter how far off it is, it normally contributes to itself in the larger scheme.
My subject matter has stayed consistent since I was a kid–characters and narrative. I grew closer to illustration and comics and further from design, yet my design background informs a lot of my work.
CY: Your work transcends so many mediums; with printmaking, apparel, and action figures to name a few; yet it all still feels distinctly yours. How did you find your voice as an artist? And how would you define yourself as an artist?
LA: A lot of the work I did to find my voice was growing confident in my thoughts/abilities, paying attention to what/how I was drawing and why, continuing to push myself and experiment, and following inspiration.
CY: Where do you turn to for inspiration? Do you have any favorite artists or designers?
LA: When I was studying design in undergrad, I was drawn to other designers–like Push Pin Studios and Tadanori Yokoo–who used illustration as a design solution. Then I got really into comics, specifically the underground comics of the 80s. A lot of my inspiration comes from the intersection of poster design and comics. I get excited when I find these connections–one example is Ebisu Yoshikazu’s “Pits of Hell” comic, which is inspired by the poster artist Tadanori Yokoo.
Another thing Ebisu was a part of that I’m attracted to is a certain rawness in the drawings, someone not aiming for perfection, someone who just loves to doodle. Ebisu’s book was at the forefront of a movement called Heta-Uma, a counter to the perfection of manga artists in Japan. I love most of the work that comes from there and this mindset of trusting yourself and just drawing, giving up control. I was lucky to work with Braulio Amado for my thesis project. He has a certain natural feeling to his work that I love, this trust in himself.
CY: There is a strong sense of narrative, character, setting, and humor in your art. What’s your storytelling process like?
LA: It all just comes from messing around in my sketchbook. Writing while drawing is important when I’m trying to come up with ideas. I never run out of ideas so the trick is sticking to one and seeing it through.
CY: Are there any types of stories (in film, novels, music, etc.) that you tend to be drawn to?
LA: I like anything that has an air of darkness to it. I grew up watching Masterpiece Theater, a British murder mystery show. It has a dark, mundane humor that I found I like in other stories. I can’t handle horror though; I prefer stories that have comfort within darkness. I’m also drawn to punk music, which also seems to fit into this theme.
CY: Something I love about your work is the essence of fun and play coexisting with complexity and detail. What would you say is the hardest part of making art for you?
LA: Staying focused. Like I said before, I have a million ideas and if I keep chasing a new idea I never get any of the old ones done. I love sketching because I can get everything out but I have had to train myself to stick with one idea and drive it to completion.
CY: How have you changed over time as an artist? If you could speak to yourself five years ago, what kind of advice would you give her?
LA: With practice, just better. I would be too scared to mess with time, so I wouldn’t say anything.
CY: You’ve collaborated with a lot of different brands! Does your process change in collaboration?
LA: Yes–making posters, I would just get the information and could take it whichever direction, since it’s such a fast turnaround time. Most people don’t work with illustrators this way, as the client is more involved in the process. Feels more in tune with my design training. So sometimes I have to switch gears.
CY: What do you enjoy outside of artmaking?
LA: If I’m not working, I try to do things with my friends. I like doing music, art, or fashion-related things with them, and creating a whole day out of something. If I am alone I like reading, cooking, and watching videos. When I’m with my family, I enjoy traveling with them or having tea together.
CY: What’s next for you? Any upcoming projects?
LA: I’m working on putting a comic book/zine together.
Find more from Lillian here:
Instagram: www.instagram.com/lilliansell
Website: www.lillianansell.com
