Marketing isn't just about industry conference stars, CEOs of analytics firms, and tools that touch on the algorithms of the future. It's also about talented artists who create beauty. Ewelina Dymek —and her path to greatness—shows that the stories involved are sometimes straight out of American soap operas!
Read the interview with Ewelina Dymek
Łucja Stachura: How does an English Philology graduate get an illustration commission from the Washington Post?
Ewelina Dymek: Changing career path and becoming an illustrator. Drawing has been my passion since childhood, and for many years I kept what I did to myself, until I had the courage to show my work online, recognize the commercial potential of what I was doing, and build my portfolio over the next few years. One lucky day, a commission from the Washington Post landed in my SPAM (!) inbox, and luckily, I discovered it just in time.
LS: What are the advantages of being a self-taught illustrator?
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ED: No one, no academic teacher, has influenced the development of my aesthetic, my way of perceiving art, or the techniques I work in. It's common to hear about university lecturers who actually limit students seeking their own "voice," instead of showcasing diverse forms of expression and supporting them in their own choices/paths.
LS: How does your style/way of working differ from the methods of illustrators who have completed studies in this field?
ED: I don't think my style and way of working stem from a lack of academic training. Someone might approach these matters in the same way as I did, having studied at an art university.
LS: How long did you work to make “illustrator” your actual profession and source of income?
ED: I could say my whole life because I've been drawing since I was a child, but I fully consciously needed about 3-4 years of drawing "for myself" and working full-time to be able to switch from a full-time job to my own illustration business.
LS: You are represented by the London-based creative agency Jamie Stephen Represents – what is it like to become their protégé?
ED: You get into this type of agency (not to be confused with an advertising agency), which represents creatives of all stripes (photographers, illustrators, 3D designers, etc.) either through an invitation from someone seeking new talent on their behalf, or by sending the agency your portfolio. In my case, the agency contacted me, and I'm grateful they trusted my portfolio, which was very modest at the time.
ŁS: Do you ever work for agencies in Poland? If so, do you notice any differences in their approach to assignments? Do you have more creative freedom in the West, for example?
ED: I sometimes work for Polish agencies, but advertising ones—those that, for example, develop a visual identity concept for a client's product and need, for example, illustrations for product packaging—and then I act as a subcontractor. I have significantly more creative freedom working with foreign agencies/clients, who perceive the illustrator's profession somewhat differently—as a specialist, someone who knows what they're doing and is skilled at it. Consequently, they respect and trust illustrators more. In Poland, this attitude may be changing, but very slowly, and I still often encounter the attitude, "What kind of job is it to be a cartoonist?"—illustration is less respected than photography, which has dominated creative practice for many years.
LS: You've been an illustrator for several years now. Have you had the opportunity to see illustrations (for advertising or books) evolve? Is there a noticeable shift from one style to another? Is "something" more readily viewed than it was a few years ago?
ED: Seasonality also exists in illustration. New trends emerge periodically, while older ones either undergo modifications or fade into oblivion, though not entirely. We readily return to retro illustration, which references, for example, French illustrations from the 50s or the style of illustrations found in Polish or Russian children's books from the 60s-80s. Currently, one of the strongest trends is illustration composed of simplified geometric forms, playful lines, and metaphors – this appeals not only to adults but also to children.
LS: Full-time job versus freelancing – your experiences.
ED: Both forms of employment have their pros and cons. Much depends not only on the specific industry, but also on our personality – for example, introverts are significantly more productive and feel more comfortable in a quiet workplace, disciplined people don't need a boss rushing them to work, and if someone values financial stability and doesn't want to "chase" money, they'll choose to work for someone else. For me, being a freelancer with my own business means complete freedom not only in choosing projects and clients, but also in the organization and style of work. I'm flexible when it comes to deadlines and make key decisions myself, which can sometimes be overwhelming, but at the end of the day, it's a source of pride, especially for someone who doesn't consider themselves some kind of business tycoon. However, I try to compensate for any shortcomings resulting from the nature of my employment, such as the lack of coworkers and the resulting loneliness, in my personal and social life.
LS: What did you show at Fashion Drawing during the Art&Fashion Forum in 2013? – did you have any professional hopes attached to this event?
ED: To qualify for the week-long workshop, I had to prepare a portfolio, primarily focused on fashion illustration, as the workshop was part of a fashion festival. Thanks to the positive feedback from the workshop leader, Magda Antoniuk, and the event organizer, Grażyna Kulczyk, I was able to learn the ins and outs of the fashion illustrator profession firsthand through discussions and hours of practical work. The results were showcased during the festival finale and were considered in determining the workshop winner. The stakes were high, as it involved any course offered by the renowned British university, Central Saint Martins. This event was a significant moment in my life and career, as it was only then that I began to understand the specifics of the illustrator profession and learned how to combine my passion (drawing) with my work.
ŁS: How does the interest from Grażyna Kulczyk influence your career development?
ED: It definitely gave me a little more courage, which I practically didn't have at the very beginning of my journey. Around that point, I started showing my work online, experimenting more, and finding my own style.
LS: You get an assignment – how do you start working on it (and how long does it take on average?)
ED: I usually start by reading the client's brief, then move on to research, where I delve deeper into the topic. At this stage, I create the first loose and very rough sketches, which I use to select the most interesting concept and composition – this can take anywhere from 2 hours to 2 days. The next step is to prepare more detailed sketches of the selected items and send them to the client, who then chooses one from several options. After the selected sketch is approved, I move on to drawing the final illustration, taking into account the selected color palette, which can take anywhere from 2 to 7 business days, depending on the complexity of the project.
LS: Do illustrators need to do research – and what does it involve?
ED: In my opinion, this is an essential stage of the process. During this stage, you learn more about the topic you'll be working on after receiving the brief. The client comes with a problem, and my job is to solve it—how to visually present the client's goals, for example, to increase sales of their product or promote it effectively. During research, I not only gather information about the topic in terms of its content, but also create a mood board, which includes various materials (photos, videos, drawings, patterns, sculpture, architecture, etc.) that will serve as inspiration for creating the right atmosphere/feel for my final product, i.e., the illustration.
LS: What tools do you use to work?
ED: Pencils with a hardness from H to 8B, a drawing pad, sometimes watercolor or acrylic paint to make your textures, a scanner and Adobe Photoshop.
LS: You run your own social media accounts – how do you promote yourself there?
ED: Yes, I couldn't give it to anyone else, even though it can be quite time-consuming at times. I'm passionate about being authentic not only in the physical world but also in the digital world, so I show what my work as an illustrator looks like without overembellishing it. It's simply a profession – there are small and large successes, the satisfaction of successful collaborations, the opportunity to work remotely, delving into interesting topics, but there are also moments of doubt, burnout, long hours, financial instability, criticism from clients, and many other things that don't look so good on an Instagram wall, but I want to show them too. I like to stay in touch with my audience, so I share behind-the-scenes glimpses of my work and life in the form of Instagram Stories, while I mainly post photos of finished projects or projects in progress on my feed. I also have a Facebook fan page, but it's definitely easier for me to reach new audiences and connect with them on Instagram.
LS: Can you really gain recognition and lucrative offers through Instagram? Do you hear from clients through this channel?
ED: Of course, we all know many examples. I have clients who contact me via Instagram, but more often, inquiries come from industry portals like Behance, where we can find creators in various fields.
LS: What do you like/value most about your job?
ED: Diversity of assignments – I've noticed that the older I get, the harder it is for me to settle for long-term work on a single topic. This may be due to the times we live in, where content changes rapidly. Continuing education in topics outside my area of interest and expertise. Flexibility – the ability to adjust working hours regardless of the time of day. Remote work – the ability to work with clients regardless of my or their location.
LS: What was the most interesting assignment you have ever completed?
ED: It's hard to choose, but I think this will be my first assignment since joining the agency I represent. The Mayfair Hotel commissioned me to illustrate and personally paint a mural on a 15-foot-long wall of the hotel, located in the heart of London. My task was to emphasize the exclusive character of the hotel's then-renovated cocktail bar. Painting was hampered by the prevailing weather conditions, so the hours were sometimes frantic (sessions lasting several hours, often in the middle of the night). Regardless, it was an incredible week-long experience, during which I received a truly warm welcome and interest from Londoners passing by.
LS: How many orders per month can you accept and execute?
ED: It all depends on the complexity of the project—the number of illustrations the client needs. Therefore, I can complete an average of 3 to 8 projects per month.
LS: How do you gather ideas and look for inspiration?
ED: I look for ideas everywhere, but most often, the greatest source of inspiration is simply the internet. I'm inspired by stories I've heard, photos and videos I've seen, apparent perfection, music albums I've listened to, fashion, emerging and disappearing trends, and contemporary interpersonal relationships. A significant source of inspiration for me is the theme of women—their inner strength, sensuality, and contradiction.
LS: Do you have any specific career goals for the next 2 years? (+what?)
ED: I have some, but until I do them, I'd rather not talk about them so as not to jinx it.
LS: What advice would you give to people who want to follow in your footsteps?
ED: Draw, draw, and draw some more. Nothing will just happen, and long hours spent drawing will bring us closer to our first commissions. It's worth thoroughly understanding your craft and technique to be able to confidently fulfill the client's goals and optimize your work. Besides that, don't be afraid of experimentation, because it's through experimentation that we'll find a style that sets us apart from other illustrators. Don't be afraid of criticism either; it will always come, and if it's constructive, all the better because we can learn from it and grow. Besides craftsmanship, a business/marketing approach is also important. This means presenting yourself online, being consistent in choosing your work and building a portfolio from it, learning to communicate with clients about what they need, and not just exposing your ego in the commission. Don't shy away from commercialism, because after all, it's great to earn money with your passion.
Who is Ewelina Dymek?
Ewelina Dymek is an English philologist by training and a passionate illustrator and graphic designer. She is inspired by the feminine nature – its inner strength, sensuality, and contradiction.
She loves to delve into detail and expressive gestures. She is represented by the London-based JSR Agency, and thanks to her extensive experience, her portfolio includes projects for brands such as Bank of America, The Washington Post, Condé Nast, Kiehl's, Nautrogena, Phyto, Playboy, Vanity Fair, David Morris – The London Jeweller, Alpro, Hunter, Falconeri, and GQ.
Outside of drawing, she's a fan of fashion and the atmosphere of Wes Anderson films. She devours reportage, buys another houseplant, and practices yoga.
Summary
The above article covers the following topics:
- Ewelina Dymek's story shows that marketing is also an art created by talented artists.
- Ewelina Dymek is a self-taught illustrator who, thanks to her passion and consistency in building her portfolio, has gone from publishing her work online to working for prestigious brands such as the Washington Post and Mayfair Hotel.
