Edinburgh-based illustrator Dominic Kesterton is a master of simplicity. Using crisp outline shapes filled in with vivid block colours, his images are instantly legible and relatable. This trait has made him easily commissionable, and led to illustrations for Bloomberg, New York Times, Ladybeard and Double Dot.
“I usually draw everything with a pen then colour digitally on Photoshop,” explains Dominic of his process. “I’ve used vectors for a couple of clients who needed it that way, but personally I tend to prefer how my drawings look in their pen on paper form.”
Dominic studied illustration at the Edinburgh College of Art, and started out by making zines, comics and prints, also co-founding independent print studio Workhorse Press.
Since then his work has developed into something more refined and polished, with Dominic aspiring to minimalism in his practice. “I’m trying to be quite simple, even when I’m drawing something complicated. I can spend a long time rubbing out a line and drawing it again, I’m not sure what I am trying to achieve by doing that. I like bright colours, controlled but wavy lines and solid defined shapes. When I’m drawing I want it to feel balanced.”
As for subject matter, in his personal work he’s inspired by the everyday experiences that bind us all together. “TV shows like You’ve Been Framed inspire me to draw because they are full of relatable moments, like when a ball falls on your head. These kinds of things are universal and translate with great ease into a drawing.”
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