In Conversation With... Rebecca Elliot

Your illustrations are full of warmth and domestic intimacy — can you tell us about the stories or people that inspired pieces like Kitchen and Reflections?

There is always a slightly different story or influence with each illustration. In the case of ‘Kitchen’, it was inspired by quiet moments spent preparing dinner with my mother - times when you are waiting for something to cook and are standing around chatting. 

This kind of simple domestic warmth is something I was brought up with and continue to carve out for myself as an adult, it naturally bleeds into my work.

‘Reflections’ is similar - I wanted to express the comfort that’s gained from spending some needed time alone in your very own space.

You’ve worked across publishing, editorial, education and advertising — how do you adapt your visual voice across these very different platforms?

For me, working across many sectors keeps my practice interesting. More than anything, what I love to do is solve a problem. Each project represents a new problem that I can adapt to - it’s always critical to consider your audience, this is where my biggest visual adaptions occur. But the basis of my visual style is always present regardless of the sector the project is in.

What drew you to illustration and graphic design in the first place, and how did your time at Belfast School of Art shape your style?

When I started at BSoA, I wanted to be an animator. I took a foundation year for specialist degrees that made me realise what I wanted at that time was the ability to be creatively versatile; illustration and graphic design are so diverse and far-reaching (and can include animation), so it was an easy choice.

BSoA shaped my style in more ways than I probably realise. The classes naturally taught me a lot, but also the experiences around the art school; my friends, living as a student, the city… BSoA was where I for the first time learned the importance of a creative community.

Your work often captures quiet, everyday moments. What is it about those scenes that you find creatively compelling?

I think the quiet, everyday moments are something that we all have in common. Most people can relate to gazing out of their window, waiting for the kettle to boil or making their bed. The reality is that these moments are a privilege - it interests me that they often go forgotten or unnoticed. It also interests me that we all have our own little microscopic rituals around our day, shaped by our own preferences and experiences.

We love the strong sense of place in your work — how does life in Belfast and Northern Ireland influence your artistic world?

There is a wonderful, close-knit illustration community in Belfast. Through this community I’ve been able to work with many businesses local to Belfast - this is what I really love. In visiting the creative spots and local businesses of the city, capturing their sense of place and their values feel very natural.

You mention being drawn to historical references and textiles — how do those visual threads weave into your illustration process?

This relates to the previous question too! A big part of what Belfast and life in Ireland gives me is a connection to my heritage and history. History plays a HUGE role in my visual world; the outcome may be subtle, such as an historical clothing choice for a character, or sometimes overt, like illustrating the story of a famous local myth. Maybe similarly to those quiet, everyday moments discussed earlier, many aspects of history and heritage also go unnoticed. Learning and finding new things in that sense feels like a treasure hunt.

Do you start with character or setting first when creating a piece? How do your scenes take shape?

I almost always start with the environment. I find it more intuitive to create a place and then ask myself “who should live in this place”.

Your characters feel familiar yet fictional — are they based on real people in your life or entirely imagined?

A mixture of both - I pull details from people in my life, people I see and a lot of the time, clothing or features from memory.

As someone who also teaches illustration, how do you stay creatively energized and inspired while nurturing others’ creativity?

I have found it so motivating to be around students who are engaged and excited about what they’re making. That kind of energy is contagious, even as their tutor. Teaching feels like a very different kind of work from my freelance practice. I think having that mental separation between making and teaching helps me to prevent creative burnout.

Finally, what’s exciting you right now — any new themes, references or projects you’re exploring in your work?

Currently I am excited about reigniting an old passion and developing more animation within my current work. I am also in the early stages of development for some new picture books as well as merch for a local establishment that I have adored for years - so there’s plenty to look forward to!