Sam Gilbey

Few appreciate the hard work and imagination that goes into creating memorable movie posters and other promotional artwork. Often this is the first that the public will see of any given film and so their role in the success of a movie can be vital. Sam Gilby is an illustrator who has specialized in re-creating many of these classic posters, although his talents do not end there.

Sam discusses his love of cinema and his career as an artist…

How did you first come to develop an interest in illustration and what were your earliest kinds of drawings? Did you find those around you to be supportive and who or what were your main inspirations?

“I know most artists probably say this, but I’ve been drawing for as long as I can remember, and from a very early age it was something which I felt compelled to do. Thankfully it was something which my parents encouraged, and they kept my art supplies fully stocked up. I used to draw the kind of things that appealed to me a child, so I was forever drawing characters from Star Wars, Transformers, and of course lots of superheroes too.”

At what point did you decide that you were going to attempt to make a career out of your art and how did you get your first break?

“It wasn’t so much that one day I ‘decided’ anything, more that I can’t really imagine how I would do anything else. I just worked incredibly hard for a few years, developing my style and technique (and of course that process continues today). My first official illustration commission was a tutorial for a magazine called Digital Arts back in 2004. I should also make it clear that I haven’t yet made a career purely from illustration, and doubt that will ever happen. I continue to design for web and print all the time. Luckily I love this too, so there’s no great conflict or anything. Getting paid to create things is such an honour and I ‘always’ knew that was what I wanted to do.”

What kind of illustrations do you most enjoy doing and what would you say are your strengths and weaknesses?

“That’s a difficult one – I think you’ve got to try and find something that ‘fits’ you in every piece, and that’s a skill which develops over time. Yeah sure, I love drawing cult movie stars and robots, but last year I worked on a few purely observational landscape pieces from photos I’d taken here and there, and that was a really rewarding process. Just the act of making marks is where the joy is, and seeing something emerge out of that blank canvas. I’d argue that my strengths are also my weaknesses, in that I love bright colour and lots of detail, but also admire those with a facility for a much simpler, and less saturated style. Illustration fees don’t often take into account just how long your style takes compared to any another, so let’s just say that my more detailed renders aren’t as, er, economically viable as some other styles, certainly when it comes to editorial!”

Having worked on numerous projects, what would you say is your most acclaimed work to date?

“When you say acclaimed, do you mean the one that most people like? I have no idea, and of course that’s entirely subjective, so I can’t really answer that. I have no awards to my name and it’s not something I’m seeking. Still, because I don’t want to be totally non-commital(!), I’d have to point towards my Hot Fuzz piece as that definitely marked some kind of turning point for me. Not simply because Edgar Wright (the director of the film) was a huge fan and got a canvas made, but also because it incorporated a level of technical detail and ambition which I’d not attempted before. In short, once I made that piece I realised that anything was possible.”

Have you worked on many graphic novels or similar projects and do you prefer to create characters from scratch or base your drawings on real-life people?

“I’ve yet to work on a graphic novel but it’s something I would really love to do. But the fact is it’s a huge investment of time and resources, and whilst my style is clearly influenced by a lifetime of reading and appreciating comics, I’m not so naive as to think that it’s something I can just dive into. Still, I hope that at some point the right project will come along, and I know that I ‘could’ do it. I think a first step would be to do comic covers. That’s really where I’d like to start. Wherever possible my work is observational, and really I suppose that’s the core of my style. I know that’s obvious from the portraits of actors especially, but if there’s a specific pose or expression I need reference for, I’ll take photos of my friends or have them photograph me. I normally have a very clear idea in mind of what I want, so it’ll just be case of taking a few quick snaps and getting to work. Early on I used to try working without reference, and well, I’m happy to say that I’ve moved on.”

What projects do you currently have in the works and what are your intentions for the foreseeable future?

“I don’t want to say to much about current projects, as things can change, and until they’re finished and out there they’re just something in my head. I’m not actually superstitious, but I suppose there’s something very private and personal about the process of illustration. I recently created a flyer for Edgar Wright’s presentation of cult classic Death Wish 3 at the Curzon Soho in London which was tons of fun. I made a widescreen version of the image which was then projected at the cinema on the night, which was a great experience. I also recently designed a print for the Renmen Project, a charity project in aid of Unicef’s Haiti appeal. I feel very honoured to have been invited to contribute. We had just 20 copies printed, and the time of writing there are a handful left (if anyone is interested!). http://therenmenproject.bigcartel.com/product/sam-gilbey-trogon-bird-print.

I think it’s the greatest compliment for someone to like your work enough to put it on display in their home or at work. As for the future, I’ve done lots of promotional work recently, but, as stupid as it sounds, I simply haven’t had chance to promote it! That is actually my immediate priority, and I’m trying to find an agent to represent me. I think from there, a lot of things could be possible, but actually it’s very important now that I try and reach out a bit further. I imagine a lot of illustrators struggle with this, in that they want to be working on the next exciting piece that’s just sprung into their heads, but they need to be getting their existing work in front of potential commissioners. Still, after saying all that, of course if I never get paid again for an illustration, no doubt I’ll still be doing it anyway. Does that make me stupid? Actually, don’t answer that…”