Though Dill Bill has only been a graduate since 2014, he’s already making considerable strides in the realm of creativity. Better known by his professional moniker, Dillustration, this illustrator, muralist, and sign creator based in Sheffield has quickly earned accolades for his public art, indoor/outdoor signage, illustrations, and his involvement in arts education. His artistry combines meticulous, observation-based iconography with bright hues, underscoring his enthusiasm for design and visual engagement.

Some of his praiseworthy recent endeavors are the creation of a grand mural at Sheffield's Orchard Square shopping precinct, which won a World Illustration Award, initiating and fostering an arts education scheme named DesignLab together with The V&A and Sheffield Museums, orchestrating the AYUP Sheffield Get-Together, and being party to an illustrative campaign to mark the Queen's Platinum Jubilee on Oxford Street in London. We hold Bill’s work in high regard, hence, we were eager to delve deeper into how he attained his status so swiftly and what guidance other budding creatives could glean from his achievements.

Enormous wall art

MF You may be relatively fresh out of uni, but your career has been long in the making. Can you tell us more about your journey into the creative world?

DB Creativity has always been something I've gravitated towards. From designing murals for my bedroom walls in a small village in Warwickshire to studying illustration at Sheffield Hallam University, my decisions in life have always put creativity first. My family was really encouraging too; mum's a teacher, and dad studied product design, so my early days as an artist involved a lot of conversation and collaboration with them.

MF You started out studying product design in Manchester. How did that experience shape your path?

DB I enrolled in a product design course in Manchester in 2014. But after a bumpy start and realizing that my heart wasn't in it, I dropped out and went back to the drawing board. After a year of working, I decided that illustration looked like the path I'd be interested in: a mix of creativity and art, but with a commercial application.

MF Once you decided on illustration, how did you approach your studies and early career?

DB Freshly energized, I was determined to get the most out of my studies in Sheffield. I think I spent just as much time working on projects outside of university as I did in it. I was constantly looking for additional opportunities. I started painting A-boards and murals and illustrating posters for local businesses to earn myself a little extra pocket money. I wasn't really aware at the time that these connections would grow into a full-fledged freelance business that I'd be able to pay rent and live off.

MF Your art often features technical, observational imagery and vibrant colors. What influences your style?

DB I like to take influence from traditional signage and advertising. I love the styles seen in early ephemera and packaging. Vintage matchbox art and soap companies are worth a quick Google. Additionally, technical drawing principles seem to shine through often.

MF Who are some of the artists that inspire you?

DB The greats such as Kevin Harding, Andy Weir, and David Hirst take the top spot in terms of inspirational artists. More contemporary people I admire are Levi Johnson, Print Makers, David Sharkey, and Kelly Anne.

MF You've also had the opportunity to learn from some notable artists directly. Can you tell us about that experience?

DB During my studies, I completed an internship with Greg Lane, the formerly Sheffield, now London-based illustrator and mural artist. I managed to get some grant funding from the Enterprise Team at uni, which covered the costs. We crossed paths when he hosted a meet-up called Sketch Club, which I went on to help coordinate. It was incredibly inspiring to assist him in painting murals and creating assets for Sketch Club. It was so insightful getting my foot through the door of the industry and seeing how the inner workings of the visual art machine tick.

MF How did your peers and fellow students influence your work during your studies?

DB We were constantly bouncing ideas off each other and constructively critiquing each other's practices. Some of my peers that were particularly inspiring included Jack Meadows, Grace Jennings, Guy Russell, and Lydia Higgins.

MF Your success highlights the enduring appeal of traditional, handwritten signs in our digital age. Why do you think that is?

DB: I think people are a bit tired of the consumerism that's constantly pinging left, right, and center throughout their lives. Social media is a blessing in that it allows us to connect and engage with wider audiences, but it also allows big business to sneak their sponsored content into our daily scroll almost without us noticing. I think people are gravitating towards tradition because it's refreshing.

MF What do you find admirable about the process of creating traditional signs?

DB: The process of how they're painted is admirable. It takes skill and precision, and it is just as exciting to watch the creation as the finished article. I think brands and businesses have cottoned on to this too, and by collaborating with signwriters and artists and sharing the process, it gives their company more of a down-to-earth ethos.

Inspirations

MF Your work stands out for its technical quality. Where does that come from?

DB That stems from my early introduction to art. Flicking through the pages of my dad's portfolios and seeing the hand-drawn sketches and renderings of products definitely led to some kind of lightbulb moment.

MF You also have a distinctive use of color in your work. How did that develop?

DB Colour was something I used to avoid in my early days as an illustrator. I threw in the towel at the black-and-white vector stage and assumed that it was commissionable and complete. I think I built up a bit of a barrier in my mind because I found selecting color schemes intimidating. But I soon learned that color can be incredibly enhancing in artwork and is definitely an essential part of the practice.

I started by reading up on color theory. Realising that colors on opposite sides of the wheel complement each other helped. I also followed an Instagram account called @colours.cafe, which posted daily scheme ideas. After a few years, it started to click. I now often stand at the swatch sample wall in my local paint store and hold them up together to see if they work. I like starting in an analogue way before I go back home and convert the codes into RGB or CMYK samples.

Conventional principles

MF Can you tell us about your large-scale exterior mural, 'Workings of Sheffield'? How did this project come about?

DB After my studies, I started my journey working part-time at a sustainable tote bag printer in the city. During this time, I was constantly promoting myself and keeping an eye out for commission opportunities. I found an open call for this job online and pieced together an application. After a nerve-wracking selection process, I was awarded the commission from LAP Properties and Sheffield Museums for a colossal 30x50ft mural to be installed onto the walls of the Orchard Square shopping center.

MF That sounds like a massive undertaking. How did you manage the project?

DB This was my first large-scale exterior commission, and I had to project-manage the entire job. This involved writing a contract, designing a to-scale proposal, attaining my IPAF license to legally operate cherry pickers and scissor lifts, writing risk assessments and method statements, booking scaffolders, managing and paying a team of assistants, sourcing materials, and then finally installing the piece.

I scraped the moss off every single brick with a wire brush, gave it a fungicidal wash, applied a masonry undercoat, scaled up and marked the artwork, and then painted the piece with brush and roller-applied masonry paint. It was by far the hardest but most rewarding project of my life to this date. I was honored for it to be recognized in the World Illustration Awards, facilitated by the Association of Illustrators and the Directory of Illustration.

MF What did the Orchard Square project mean to you personally and professionally?

DB The Orchard Square project will always hold a special place in my heart as it was the job that allowed me to take my first steps into a life where I can earn a living solely from creativity.