Your illustration questions answered – insights, tips, and behind-the-scenes advice from Rosie Brooks on the art and business of illustration.
Q: What makes your traditional illustration technique stand out in today’s digital world?
A: I’ve spent over fifteen years building my illustration practice on the foundations of pen, ink, and watercolour. My journey started as a child, growing up in a house full of artists, it was inevitable. I studied Music at Durham University, but continued to draw prolifically throughout my degree, going on to complete a Masters at Cambridge School of Art to consolidate my illustration practise and iron out any bad habits! Today all the work on paper I create is hand-drawn using Leonardt nibs, Winsor and Newton Indian Ink and Watercolour and Cass Art Heavyweight Cartridge Paper. Whether you’re a brand, publisher, cultural establishment or private collector, my work is created with the craftsmanship of pen on paper, keeping the artistic heritage of non digital alive.
Q: Who do you work with?
A: My client list extremely varied indeed it stretches from Ediciones Cal y Canto in Chile to ELLE Girl Korea! One of the best aspects of my job is when I receive an enquiry from a corner of the globe I have never been to. I’ve created artwork for Classic FM’s Hall of Fame, American Greetings, Borough Market, and Oxford University Press. I have worked with Sir Paul McCartney, the Royal Ballet and Opera, as well as luxury hotels like Hilton Bankside and cultural icons like Wigmore Hall. I also love working with independent publishers, creative agencies, and private collectors who share my love of pen and ink.
Q: How did you develop your style and approach?
A: My style is a blend of gentle humour, musical storytelling, and the influence of pen and ink illustration legends like Edward Ardizzone, Ronald Searle, and Jean Jaques Sempé. Growing up in West London, I was always surrounded by sketchbooks and pens and paper, and had parents who encouraged observational drawing at any opportunity. My illustrative aesthetic appeared very early on, it has evolved since I was younger but is still distinctly recognisable. I have always been drawn to line work over painterly techniques and see my illustration as an extension of my own handwriting.
Q: Why do you use Leonardt nibs and Indian Ink?
A: After years of trial and error, I settled on the Leonardt General Drawing Nib as it suits the speed of my linework – too fine a nib and the work ends up looking too scratchy, too wide and it is impossible to render any detail. I’m currently a fan of Cass Art heavyweight paper, although recently I have been experimenting with lots of other papers, including the Italian Fabriano Paper range – the most important factor for me is that the ink doesn’t bleed on the page, and can dry like a shallac to colour with a watercolour wash. Winsor & Newton Indian ink works perfectly, and the most important factor with the watercolour is that they are the professional range, for the intensity of pigment, vital if the work is to be printed. For the larger format projects such as the Public Art sculptures I work in reverse, building up the acrylic paints, outling the line work as a overlap – usually with a fine to medium Posca Pen, depending on the scale of the project.
Q: What’s your process for commissions or collaborations?
- Briefing: Discussing the vision, scale of project, deadlines budgets etc…
- Sketches: I create pencil concept sketches, often known as ‘roughs’ for collaborative feedback
- Final Artwork: On acceptance of the skecthes, I then create the finished piece in pen, ink, and watercolour.
- Delivery: I then scan and send high-res files and/or the original artwork, depending on the project.
Q: Can you work live at events or create custom projects?
A: Absolutely! I’ve illustrated live for audiences at London Mozart Players, Borough Market, Opera Holland Park, Southwark Cathedral and many corporate events. I use a visualiser which looks a bit like a small crane over my drawing table which can then be projected to an audience or broadcast. It’s a fantastic way to add creativity and theatre to any event, whether presentation, product launch, or open day.
Q: Are there limited editions or collectible series available?
A: Yes! My Pizzicards collections are coming very soon – they are designed for anyone who loves limited edition works, and supporting living artists. Each piece is part of a limited run, perfect for collectors. There will be themed drops, mystery bundles, and special editions—keep an eye on my shop and Instagram for the latest.
Q: Why is traditional hand-drawn art still relevant?
A: In a world of digital everything, there’s something truly special about the tactility of a piece of art you can hold, frame, or physically give to a friend. My work is about more than just creating an image, it’s about story, process, and genuine connection. Traditional hand-drawn art remains deeply relevant because it offers authenticity, warmth, and a distinct human touch that digital shortcuts simply can’t replicate. My illustrations, created in pen, ink, and watercolour, carry a spontaneity, and character that only hand-made work can achieve. This approach resonates emotionally, helping brands and individuals tell their stories in a way that feels personal and memorable. Clients across publishing, luxury brands, heritage, and hospitality value the individuality and authenticity behind every drawing, knowing that its originality make it stand out from mass-produced or AI-generated visuals. I believe this resurgence of interest in heritage crafts -illustration included, but extending across countless traditions, reflects a growing desire for authenticity and originality. While technology undoubtedly has its place in making our lives easier, the homogeneous visual ‘soup’ produced by blending everything together simply can’t compare to originality of an artist’s authentic idea rendered in the real world, away from a screen.
Q: Was drawing always a big part of your life, even as a child?
Absolutely! Drawing has been at the heart of my life for as long as I can remember. One of my earliest and proudest achievements was winning Second Prize in the national Blue Peter Crown Jewels poster design competition for Transport for London & The Tower of London. Out of over 30,000 entries, my poster design was selected as a top winner in the 11–15 age group. I even received a letter from the Blue Peter editor congratulating me and awarding me a coveted Blue Peter badge. (yes, I still have the letter!).
This early recognition was a huge boost to my confidence, especially seeing my illustrations on the London Underground. I think it cemented my love for illustration. It’s proof that creativity and storytelling were already central to who I was, long before my professional career began. Drawing wasn’t just a pastime, it was a defining thread that has shaped my journey ever since.
Q: How do I commission, collaborate, or just say hello?
A: Easy! Contact me here or email rosie@rosiebrooks.com. Whether you’re after a bespoke illustration, or to collaborate, I’d love to hear from you.
Rosie Brooks | London Illustrator – Pen & Ink, Watercolour, Live Events 