Turning the ordinary into the extraordinary: Violet Kelley's magical world of illustration
Freelance illustrator and Illustration student Violet Kelley talks about her award success, book deal and developing a creative voice at 鶹ý
“I like to spend my time imagining ordinary things as anything but ordinary. That is often how a project or illustration comes about for me!”
Violet Kelley is an illustrator based in Devon and studies BA (Hons) Illustration at 鶹ý.
Inspired by nature, history and folk stories, Violet loves to paint using gouache as well as to embroider. Violet loves creating whimsical and comforting pieces of art that adds a bit of magic to our everyday.
Violet's talents have been recognised in the industry by winning a highly commended in MacMillan Children’s Picture Book 2024 competition, as well as earning a three-book deal with Flying Eye Books.
In a wide-ranging conversation, Violet talks to us about her recent award success and book deal, developing her creative voice, as well as how her time at 鶹ý is helping to prepare her for a career in the industry.
- Freelance illustrator with a vibrant style characterised by whimsical themes and vivid colours.
- Highly commended in MacMillan Children’s Picture Book 2024 competition
- BA (Hons) Illustration student with a three-book deal
In conversation with Violet Kelley
Earning a highly commended and a book deal
Huge congratulations on winning a highly commended in MacMillan Children’s Picture Book 2024 competition. How did it feel when you found out?
To be honest, it was a bit of a shock! I hadn’t heard anything, and by the time the results day had come and gone, I figured I hadn’t won anything. I was feeling a little sorry for myself, when suddenly I got an email saying I’d been highly commended. I was completely stunned and then just overwhelmed with happiness.
It was such a heart-warming, reassuring feeling to have my work recognised, especially since I was still at university. It still hasn’t sunk in completely.
Can you tell us about your entry and how it was made?
My entry for the competition was made for my final project at university and it came together perfectly because I had the time, resources and the most wonderful guidance from my lecturers and tutors.
The seed for the idea was planted back in my second year when we were tasked with creating a dummy book for a children’s picture book. Being a three-week project, I didn’t manage to finish it, but I absolutely fell in love with the process. There was something so magical about bringing my own little world to life and it filled me with so much joy!
You have also earned a three-book deal with . How did this opportunity come about and are you able to tell us anything about these books?
It still feels very odd knowing I have a book deal! it’s incredibly exciting though. Alongside my classmates, who are all amazingly talented and lovely, we had the opportunity to have our work displayed at a big London show.
That’s where Sam Arthur, co-founder of Flying Eye Books, saw my work, specifically my MacMillan entry, and he liked it. He got in touch, we had a lovely chat, and before I knew it, he introduced me to some other members of the team. I was then offered a book deal which I am unbelievably grateful for – more details will reveal themselves in the magic of time.
How do moments of recognition for your talent like these make you take stock of your work and development to date?
They definitely do! I am quite the overthinker, I tend to criticise my illustrations and I find it very easy to nit-pick a piece, even when I liked it only moments before.
When people, other than your family and friends, recognise and enjoy your work, it boosts your confidence and encourages you to be just a bit kinder to yourself. But it doesn’t last long!
It’s strange, because looking at my Macmillan entry now, I would change so much of it, but then I remember that someone liked it and more importantly, I was proud of it too.
There is something so magical about bringing my own little world to life and it fills me with so much joy!
Drawn to the magical and whimsical
You have a wonderful vibrant illustration style, often characterised by whimsical themes and vivid colours. Where did your passion for illustration come from? Have you always drawn?
Thank you! Honestly, my passion for art was actually born out of jealousy, which sounds dramatic, but it’s true. I remember sitting in my art lesson at school and feeling inadequate because my drawing skills weren’t that great compared to others.
I told my mum, and she hit me with the age-old advice, ‘practice’. I started drawing every day and I loved it, not because I was improving but because it made me really happy.
I have always been intrigued and drawn to magic, historical fashion, dark and whimsical stories from history and folktales. Research into these areas always spark an idea and I love sneaking in little nuggets of knowledge I have collected into my illustrations.
I love medieval illuminations; they look a bit whacky and eerie but somehow also decorative and charming. I love anything Gothic; it could be a cathedral or even a gothic styled chest of drawers and I’m happy.
Are there any artists, figures or cultural and biographical touching points that have influenced and inspired you and your work?
Artists that have consistently stayed with me are, Julia Sarda, Taryn Knight, Karlotta Freire, Carson Ellis, and I know there’s so many more. I wish I could crawl into their brains and watch all their creative ideas be born – I’m just in awe of each one of them. The way they paint and visualise their stories is so yummy and whimsical.
How have you developed your own creative voice?
I’m not sure I consciously developed a creative voice, I can definitely see my inspirations morph and develop and that’s influenced my creative journey, but I just create what I fancy, and I see where it takes me.
Turning the cogs of inspiration
Your work typically features a blend of fantasy and realism, adding a bit of magic to the everyday, showcasing a deep appreciation for nature matched with imaginative storytelling.
Are you able to tell us about where your inspiration comes from and what your process is for developing a project?
I like to spend my time imagining ordinary things as anything but ordinary. That is often how a project or illustration comes about for me. For example, a kettle, I’ll start to think about what else it could be used for: a vessel, a hat, a pair of shoes…or maybe a house, and suddenly you have something whimsical and fun!
I love rewatching films I admire, sometimes for the story and sometimes for the visual aesthetic and colours. That will sometime spark an idea, so does playing around with classic and nearly forgotten stories, putting a new spin on them, or taking inspiration from a character or environment in it.
Once the cogs start turning, I will sit and think about it for a while. I won’t even sketch anything at this point because I put too much pressure on it, so if it stays in my head, I can mentally shape it all I want.
Your work seems to have strong connections to nature, history and folk stories. There are rich depictions of flora and fauna mixed with fantasy elements, plants and animals – often with anthropomorphic qualities – are incorporated with mythical creatures and magical landscapes. But at the heart of the work still lies strong human emotions such as empathy and compassion.
What is your relationship with nature and how does it connect with your work?
Growing up, I definitely wouldn’t have been called ‘outdoorsy’—if anything, I was a ‘clean’ child who enjoyed time spent inside. Now though, things are a little different.
I’ve found such joy in slowing down to notice the tiny ants scurrying around the pavement and standing in awe beneath tall and twisted trees. I’m steadily rekindling my relationship with nature each day, and I like to think that by bringing elements of it into my illustrations, I’m only strengthening that bond.
I like to think of my work as little tokens of gratitude for being surrounded by — and part of — the beautiful natural world.
Worlds stitched and painted
Alongside digital art, you also love to paint using gouache, and also to create embroidery projects.
Are you able to tell us what draws you to these particular mediums and how do you decide which method to use for a project?
When I start a project it all feels very intuitive – I just know that something should be stitched and the other painted. I have always loved embroidered pieces of work; I think it’s so lovely to see how much labour and love it takes to complete them.
Painting with gouache makes me feel like a witch, mixing all the beautiful and grubby colours together and, fingers crossed, create something beautiful. If it’s not initially an intuitive feeling though, it will be a decision based on what each medium will bring to the project.
One project of mine, which conveyed our society’s overconsumption of fashion and its damaging effect on