Interview #20: The art of Molly McCammon
Molly McCammon shares her thoughts on creating a unique style and shape language
* Note to my Italian friends: Clicca (QUI) per leggere l’intervista in italiano!
Hello friends!!! After a long and well-deserved summer break, I’m back at work and planning to bring you more amazing artists here on the page. By the way, we’ve hit 500 art lovers in this community!!! Thank you so so much ♥
Today's artist really caught my attention through her unique style and shapes. So I can't wait for you to meet her!
Molly McCammon is an illustrator based in Scotland who was recently selected by Handsome Frank agency as one of their emerging talents. Her illustrations are graphic and sophisticated, but also calm and nostalgic. I really admire her shape language and vibrant color palettes. Also the screen-printing vibes of her works. I'm really curious to know more about her art process and technique!
✿ Hi Molly and thank you for joining forArtists. Could you tell us what was your artistic path that led you to where you are today?
The usual artist cliché rings true for me-I was drawing before I could walk! After high school, I pursued an art education at Duncan of Jordanstone College of Art and Design, where I was introduced to the world of illustration. During my final year at university, I created two picture books. Recognizing their potential, my tutor encouraged me to apply for a Master’s program in Picturebook Illustration at the Cambridge School of Art.
I was accepted and soon moved to Cambridge, where I completed my Master’s degree. The program was both eye-opening and humbling, being surrounded by exceptionally talented peers. It taught me the value of hard work and the importance of developing a distinctive style to thrive in a creative career. After graduation, I returned to Dundee, Scotland, and secured a literary agent specializing in picture books.
However, I soon felt the need to evolve as an artist and explore a broader range of commercial projects. This led me to part ways with my agent and pursue a freelance illustration career, allowing me to diversify my portfolio and collaborate with a variety of clients.
Over the past two years, I’ve been freelancing and building a diverse portfolio of work. I still have some way to go on my illustration journey, but I’m really pleased with the decisions I made along the way and I look forward to the future of my practice.
✿ Many artists worry about finding their unique style. What do you think about this common struggle and how did you develop your current style?
Style is something that evolves naturally over time, so I’ve learned not to worry too much about it anymore.
I believe the key to developing a consistent visual language is to draw as much as possible, especially from life.
It’s important to listen to yourself and observe how your hand naturally creates lines—this isn’t something that can be forced. During my time at university, I realised that my drawing technique was naturally impatient. I enjoyed taking shortcuts, and over time, this evolved into the simplicity of line that now defines my work.
Ultimately, style is less about finding something unique and more about allowing your natural inclinations to guide you.
As I’ve continued to draw and refine my work, my style has developed organically, becoming a reflection of both my technique and my creative journey.
✿ Do you have any advice on shape language and stylization for those who want to improve these aspects in their works?
Take drawing the human form, for example- it's easy to feel overwhelmed by all the details. Instead of getting caught up in every little feature, try breaking the form down into simpler shapes. Look for lines that flow throughout the figure and use those to guide your drawing.
This approach not only makes the process less intimidating but also helps in developing a stronger sense of shape language. By focusing on the underlying structure, you can create more stylized and expressive forms.
It's about capturing the essence of what you're drawing, rather than getting lost in the minutiae.
✿ How do you usually choose the color palette of your illustration?
I have strong synesthesia, which means my brain associates colors with numbers, letters, and feelings. This has played a significant role in shaping my color palettes. While synesthesia can feel like a creative superpower, it was initially overwhelming to have the entire color spectrum at my disposal. I found that limiting my palette actually provided a surprising sense of freedom and calm, making the design process far more enjoyable.
When choosing a palette, I typically start with a color I’m certain I want to include in the piece. From there, I build around it, allowing the associations in my mind to guide me. This intuitive approach helps me create harmonious and emotionally resonant color schemes that feel authentic to both the subject and me.
✿ You' ve worked with several clients, such as Frankie magazine, Carpe Diem Magazine and so on. How do you usually search for clients? What would be an important aspect in building a good portfolio?
I typically search for clients by researching art directors online, exploring social media platforms, and checking accreditations inside magazines. Following other illustrators can also be a great way to discover potential clients. Once I find a contact, I usually send a personalised email with a small selection of my work attached. It’s crucial that the pieces I choose align with the subject matter they typically commission- this ensures that my work is relevant to their needs. Making these interactions personal and thoughtful is key to establishing a connection.
As for building a good portfolio, diversity in subject matter is essential.
It’s important to showcase people, buildings, animals, foliage, food etc. Casting a broader net in your portfolio will increase your chances of attracting different types of clients. A well-rounded portfolio not only demonstrates versatility but also appeals to a wider audience, ultimately leading to more opportunities.
✿ You are now represented by Handsome Frank agency. What would you love to achieve through this collab?
I’d love to expand my work beyond traditional print. I’m eager to take on projects that allow my illustrations to appear in new and diverse formats, such as advertising campaigns on billboards, illustrations on fabric and packaging, or even interactive installations. The opportunity to see my work come to life in different mediums is incredibly exciting, and I’m looking forward to exploring these possibilities with the support and reach that Handsome Frank provides.
✿ I'm sure many people ask you about your brushes and the tools you use. What are your favorites?
I like to keep things simple, so I only use two brushes in total. My go-to is a custom brush I developed over the course of a year- it's really my favorite because it’s so versatile. For anyone interested, it’s available to buy on my website. Additionally, I use Retro Supply’s risograph brush for added texture. These two tools give me all I need!
✿ Can you sum up the steps for creating an illustration?
Research Stage: I begin by gathering references and visuals online, in books, and in person if possible.
Sketching: I create sketches based on the research, focusing on the essential details to meet the brief.
Compositions: I develop compositions and provide the client with 2-3 sketch options, if the timeline allows.
Blocking Out Colors: I start by blocking out color shapes, usually in black and white, to avoid distraction from the color at this stage.
Finalising: Once the sketch, composition, and values are in harmony, I move on to coloring the illustration.
✿ What are your main sources of inspiration?
I love everything vintage and find myself obsessing over mid-century picturebooks, interior design and travel advertisements. Miroslav Sasek, Bernice Myers, Alain Gree and the Provensen’s have been some of my favorites for a while, and more contemporary favorites include Virginie Morgand, Malika Favre, Leo Espinosa, Owen Davey, Iker Ayestaran, Mar Hernandez.
✿ What would be your dream job/project?
I would love to work on a major advertising project or see my work featured on packaging. It would be a dream come true to walk through the London Underground or a big department store and see my illustrations. I've noticed a lot of animated illustrations on TV adverts recently, and having my work featured in this way would be a pinch-me moment.
✿✿ Find more about Molly’s work on Instagram and her website, or check her shop for prints and digital brush.
Such a fabulous interview! I love Molly's work
The art looks so good and simple.😁