Ask an (IGI) illustrator no 14: Conor Nolan
Instagram: @cnr_nln
Instagram: @cnr_nln
Conor is an illustrator and printmaker from Dublin. Since graduating from NCAD in 2016, Conor has been busy finding his footing in the world of illustration, creating advertisements, murals, books and some motion graphics, for clients such as the Irish Cancer Society, Foras na Gaeilge, Jameson, and Facebook.
Q: What did you want to be when you were growing up?
A: I wanted to be a bunch of different things and it changed all the time really. Some of the ones I remember were an inventor, artist and professional wrestler.
A: I wanted to be a bunch of different things and it changed all the time really. Some of the ones I remember were an inventor, artist and professional wrestler.
Q: Why did you become an illustrator?
A: There was never any big moment or anything, where I decided that this was what I wanted to do, but it came very organically. Really I suppose when it came time to finish up in school there was just nothing else I could really see myself doing other than art, so I did a portfolio course for a year and went to NCAD and while I was there it kind of came into place.
A: There was never any big moment or anything, where I decided that this was what I wanted to do, but it came very organically. Really I suppose when it came time to finish up in school there was just nothing else I could really see myself doing other than art, so I did a portfolio course for a year and went to NCAD and while I was there it kind of came into place.
I think illustrators have a unique position in art and design in that you make all this work that looks beautiful, has strong conceptual roots to it, and adheres to the pressures of deadlines and clients and other components that tie it to graphic design in a way. I feel like as an illustrator I’ll never be finished learning and I love that.
Q: Explain how you work?
A: I do a lot of different jobs that require different approaches, so it varies a bit, but most of the work goes in before I even start making an actual finished image. There’s a lot of thumbnails, writing out keywords, lists, messy pencil sketches and notebook work where I’ll figure out concepts for images based on the brief, and once I get something that I think will work, I’ll get together a tidier pencil sketch (to show to the client) and then ink that up in layers using pens and brush pens before I scan those in and do the colour digitally.
A: I do a lot of different jobs that require different approaches, so it varies a bit, but most of the work goes in before I even start making an actual finished image. There’s a lot of thumbnails, writing out keywords, lists, messy pencil sketches and notebook work where I’ll figure out concepts for images based on the brief, and once I get something that I think will work, I’ll get together a tidier pencil sketch (to show to the client) and then ink that up in layers using pens and brush pens before I scan those in and do the colour digitally.
Q: What kind of illustration projects are you most interested in?
A: I’ve had a funny time since finishing college, getting to know how working as an illustrator in all these different capacities functions. I’ve made murals, motion graphics, print work, editorial bits, maps and a bunch of stuff, but lately, I’ve tried to give myself a bit of time to focus on some more work which is personally driven which has been really rewarding. I just wrapped up my first solo show, called 'Welcome' in Lucky's not long ago. Working on that was great as I took the time to explore the work for a long time leading up to the show. I screen printed most of the work too which added another layer of enjoyment to the process.
A: I’ve had a funny time since finishing college, getting to know how working as an illustrator in all these different capacities functions. I’ve made murals, motion graphics, print work, editorial bits, maps and a bunch of stuff, but lately, I’ve tried to give myself a bit of time to focus on some more work which is personally driven which has been really rewarding. I just wrapped up my first solo show, called 'Welcome' in Lucky's not long ago. Working on that was great as I took the time to explore the work for a long time leading up to the show. I screen printed most of the work too which added another layer of enjoyment to the process.
Q: Where do you find inspiration?
A: For the show, I took time to reflect on where I’m from and reconsider all the ordinary stuff day-to-day that influences me, on a commute to the studio or having to take a walk to the shop or walk my dog; the people and places and what they’re made up of. I think there’s something really interesting about everyday things in how mundane but fascinating they can be.
A: For the show, I took time to reflect on where I’m from and reconsider all the ordinary stuff day-to-day that influences me, on a commute to the studio or having to take a walk to the shop or walk my dog; the people and places and what they’re made up of. I think there’s something really interesting about everyday things in how mundane but fascinating they can be.
Q: What do you like to draw the most?
A: Lately? Plants, faces, dogs, a lot of hands for some reason.
A: Lately? Plants, faces, dogs, a lot of hands for some reason.
Q: What illustration- or illustration related project have you been most proud of?
A: My college degree show work was kind of a documentary style illustration project called 29 59 56, based on a swim my Dad did in 1993, where he and five others swam from Holyhead to Dublin. It was the first time anyone had done it and it hasn’t been done again, and I looked through piles of saved material from the swim, letters about the training, minutes from meetings, maps and old photographs, newspaper clippings etc. The whole experience of making it was really immersive, and I put a lot of work into making it really thorough, to try to do the story justice, and it’s still one of my favourite projects. Honestly what I’m working towards at the moment is making something that I’m as happy with as I was with that.
A: My college degree show work was kind of a documentary style illustration project called 29 59 56, based on a swim my Dad did in 1993, where he and five others swam from Holyhead to Dublin. It was the first time anyone had done it and it hasn’t been done again, and I looked through piles of saved material from the swim, letters about the training, minutes from meetings, maps and old photographs, newspaper clippings etc. The whole experience of making it was really immersive, and I put a lot of work into making it really thorough, to try to do the story justice, and it’s still one of my favourite projects. Honestly what I’m working towards at the moment is making something that I’m as happy with as I was with that.
Q: What do you think makes a good illustrator?
A: Initially, when I was first getting into illustration, I thought the most important thing was style; work looking exciting and eye-catching, and while that’s important what I’ve really shifted my focus to more recently is that it’s not necessarily a visual thing at all but more a conceptual depth that gives the work far more value, and allows the work to connect with an audience. I think the best illustrators are the best because of their ideas.
A: Initially, when I was first getting into illustration, I thought the most important thing was style; work looking exciting and eye-catching, and while that’s important what I’ve really shifted my focus to more recently is that it’s not necessarily a visual thing at all but more a conceptual depth that gives the work far more value, and allows the work to connect with an audience. I think the best illustrators are the best because of their ideas.
Q: Who, outside the world of illustration, inspires you?
A: Before I wanted to do illustration I was very into photography. I learned how to make prints in a dark room, which is still fascinating as a process, and looked at work by people like Garry Winogrand whose work has kind of carried through to what I’m doing in its sort of colloquial, everyday subject matter.
A: Before I wanted to do illustration I was very into photography. I learned how to make prints in a dark room, which is still fascinating as a process, and looked at work by people like Garry Winogrand whose work has kind of carried through to what I’m doing in its sort of colloquial, everyday subject matter.
Q: How do I go about commissioning you as an illustrator?
A: You can see my work at my website www.conornolan.net and there’s a link to email me there.
I’m also on Instagram where I try to stick up as much as I can as I make it.
A: You can see my work at my website www.conornolan.net and there’s a link to email me there.
I’m also on Instagram where I try to stick up as much as I can as I make it.
Website: conornolan.net
Instagram: @cnr_nln
Twitter: @conomolan
Twitter: @conomolan
