Illustrator Emma Lawrence on licensing her art into greetings cards, gardening, giftware and more

Emma, it’s great to connect. Firstly, can you tell us about your pathway to becoming an illustrator? I believe your route to the market was a little conventional…
As a child, I spent most of my time drawing or being creative, with a very keen interest in nature. However, I wasn’t encouraged to pursue art at school. I remember wanting to study both Art and Biology A-levels, but I wasn’t allowed – it was expected that I would go to university to study a “proper” degree. I ended up studying Psychology and immediately became interested in Neuropsychology. I spent seven years studying to achieve a Doctorate in Clinical Psychology and a Diploma in Clinical Neuropsychology.

Did your creativity find an outlet in neuropsychology at all?
Looking back, it’s interesting that I often used creative approaches in rehabilitation to help patients with a brain injury and their families’ overcome deficits and weaknesses… I remember several examples early in my career where I would draw pictures for patients whose visual memory was much stronger than their verbal memory, something that computers didn’t quite solve at the time!

After 23 years in the NHS, running a department across Shropshire, I decided to take the leap into freelance illustration. As the stress of the role had been building, I had started drawing again to help gain a better work life balance. I had an idea to write and illustrate a children’s book which was published while I was still working.

I had started printing a few greetings cards, selling them locally and increasingly being asked to undertake commissions. I even designed the logo for the NHS trust I worked in and created a range of promotional material for children’s services. My biggest concern was leaving my patients, but in 2015, I had major surgery, which forced me to take time off. It felt like the right opportunity to make the change. I haven’t looked back since then and feel that I’ve come full circle, doing what I’ve always loved.

How would you describe your design style and what influences it?
I’ve always loved American folk art, especially its naïve and primitive style, full of rural subjects, flowers, and animals. The simple compositions, flat and linear style, and handmade ethos are all things that influence my work. All my drawings are created by hand, starting with pencil on paper before adding a black ink line.

Another major influence comes from British artists who create detailed studies of flora and fauna. My favourite is Charles Frederick Tunnicliffe – who was born in Cheshire as I was and spent most of his life in Anglesey, where my parents now live. His incredible, detailed wildlife studies have always inspired me, particularly the level of care and attention in his work. That kind of detail is something I try to bring into my own work and helps it to stand out.

What do you think are the challenges faced by freelance illustrators these days?
There are plenty of challenges, from the practical aspects of running a business as a one-person operation to worrying about the rise of AI. Being a freelance illustrator can be hard, especially when it comes to the irregularity of income and juggling all the different elements of a business. That said, it also comes with wonderful benefits like flexibility and creative freedom. The industry is competitive, and with the rise of digital art, there are many freelancers with similar styles.

With that in mind, would you have any advice for budding illustrators?
My advice would be to stay true to your unique style and not get too caught up in copying what’s already out there. With so much art exposed on social media and the internet, it’s easy to get influenced by trends, but developing a distinct style is crucial.

You’ve had success with licensing your designs. Can you tell us more about the licensing side of the business and how you promote yourself in this market?
In recent years, I’ve focused more on licensing, which gives me more time to focus on the creative side of my work. I was introduced to licensing in 2018 when I exhibited at Spring Fair. I was runner up in the Gift of the Year awards and approached by two companies who I then signed licensing deals with. This was a great introduction and to see my designs on homeware and children’s gifting was fantastic. They were all products and ranges that I could never have produced on my own.

I was then lucky to be signed by licensing agent Mel Humberstone-Garley, who helped to further my licensing programme and expand into different categories. She was a key part in promoting my brand and teaching me far more about the industry with great connections and contacts made too. Now that she’s working full-time for the National Gallery, I manage this side of things myself, and promotion is key. I use my website, social media, in-person networking events and attend trade shows to build relationships with potential licensees. I also look for opportunities in relevant trade magazines, and I’ve received great support from the Giftware Association.

I am now licensed in greetings cards, stationery, candles, giftware, gardening gifts and fashion accessories, but always keen to expand my licensing programme and would love to collaborate with homeware brands too.

One of your licensing partners is Zippy & George. Can you tell us more about this partnership?
Zippy & George is a fantastic licensing partner, and we have a really close collaboration. They produce wonderful quality products, and we share a similar ethos, which makes the partnership successful. Communication is key, and we discuss everything from design ideas to the retail offering. The range has grown quickly, and I’ve been able to offer bespoke designs, either using existing assets or creating new ones specifically for their customers.

I think the quality of their products really brings my designs to life, especially the detail in my drawings. We’ve created a range that includes wall plaques, arrows, and magnets featuring a variety of subjects like nautical icons, buildings, botanicals, and animals. I carefully research different locations to bring something special and I think it is that attention to detail that works well. It’s been such a positive experience working with them.

I noticed you present your work as collections by theme, such as Flower Cups and Country Living. How do you identify new themes? Are you influenced by commercial requests in this context?
I tend to organise my work into themes as it helps manage my assets more easily, which originally carried over from my greetings card ranges. New themes are always on my mind, and while I often wish I had more time to design them all, they are definitely influenced by commercial requests and awareness of broader trends. However, no matter the theme, I always try to bring in some element of the countryside or nature, which is a constant source of inspiration for me. Almost every drawing that I create contains a little bird on it somewhere which reflects my passion for nature and has become a bit of a signature.

How do you find fresh inspiration for your work?
I keep a list of ideas that I aim to work on when I have time. I certainly know that if I was producing my own ranges instead of licensing, I would never manage to create anything new! My portfolio of assets is growing all the time with many hundreds of drawings.

Last question! Your work features a lot of subjects from the natural world. What role do you think art and illustration can play in helping educate people about nature and the environment?
I’ve always been influenced by the natural world, and I think illustration plays a crucial role in educating people about nature. I wrote and illustrated a series of children’s books aimed at encouraging children to get outside and learn about the often-overlooked small creatures in the world around them. The illustrations were fundamental in this, as they helped show accurate details, colours, and markings that can often be missed in photos. The illustrations from the books were developed into a licensed range of educational gifts and garden tools. Hopefully there will be some exciting news soon about developing these ranges further.

Illustration is such an important tool in education because it allows you to simplify complex concepts, highlight specific aspects, and present things in a fresh, engaging way. Whether it’s information panels for nature reserves, illustrations for books, cards or packaging, I always enjoy working on educational projects where illustration can bring challenging topics to life in a visually compelling way.

Thanks again Emma.