Let’s ‘say yes, figure it out later’.

When Paspaley (one of Australia’s most iconic luxury brands, responsible for Australia’s most prestigious pearls) approached me back in July, I knew that whatever they asked, the answer was going to be “yes!” (dream client, obv).  

As it turns out, they wanted face-only portraits.

Not my usual wheelhouse, but it was one of those “say yes, figure it out later” opportunities that spark growth. And so began my preparation - full of research, experimentation, and practice (sooo much practice haha).

First step: Pinterest. I literally typed in “illustrated faces” and browsed for styles I loved - clean, expressive, modern face portraits. Then I analysed what I liked about them, tried it with my own tools and adapted to my style. It didn’t always work out because some of the styles I liked were digital, but the more familiar you are with your tools, the more you know what you can realistically achieve.

I found LOADS of faces to practice. And worked on two things: resemblance and timing. I watched YouTube videos on facial anatomy, of artists painting super detailed watercolour faces so I could learn shadowing and features. Learnt the minimum I needed to make a good portrait. Then planned on adding my own flair once I had the basics down.

This included learning to mix watercolour skin tones and apply it to paper stock that wasn't watercolour (because the client wanted their own stock). Note: Always ask for a sample stock so you can learn how your mediums work on them. They sent me 5 paper stocks to try and 4 of them weren't great. It turned out to be one of the biggest challenges, and why preparation matters.

Once I’d figured out a paper/paint combo that worked, I gave myself a simple, structured challenge: paint five faces a day.

Different ages. Different ethnicities. Different hair styles, makeup styles, skin shades etc. The goal was to get confident, fast. And by pushing myself through reps, I became quicker, more intuitive, and more relaxed with each new face - until I was very very confident I could deliver.

Being an illustrator - especially one working in live events - means constantly evolving, but not necessarily reinventing yourself. Switching things up, even just occasionally, can help you expand your skill set and bring fresh depth to your work. Think of it as upgrading your toolkit, rather than changing your style.

So whether you’re working on watercolour portraits for brand activations, or simply trying something new as an artist - don’t be afraid to say yes before you’re ready. The beauty of events is that you’re booked in with a bit of leeway, so use those weeks to hone your craft. Learn, experiment, take notes, and most importantly - practice until you feel proud to deliver.