I’m an Australian family man. I have a charming mid-twentieth century single car garage converted into a studio where I used to illustrate, stare blankly out of the window from my swivel chair and stroke my chin. But now I have a new studio in Bolivia, South America
in the Spanish colonial city of Sucre, where I volunteer part-time while continue to illustrate for clients in Australia, USA and the UK.
I’ve been an illustrator since 1987 but in that time I’ve completed secondary school, university and defected to the design and advertising industries from time to time.
1) How did you become an illustrator of children’s books or similar works? Did being in the advertising industry equip you to make this transition?
Yes my background in advertising and design was a big influence my return to illustration. I really enjoyed my time as an Art Director and Designer, and during that time I incorporated illustration into as many projects as I could. So it was inevitable that I would find a way back to full-time drawing. Having been on the ‘other side of the fence’, I knew what I needed to do to give freelance a good crack. I found out where to be found, and how to promote myself well enough to gain the work I wanted to do. I’m thankful that it worked out.
After establishing myself commercially, I had time to write children’s books and was fortunate enough to have a great agent who was able to connect me to publishers.
2) Describe your illustration style and creative process. What makes your illustrations unique and different?
The creative process for me is actually quite simple. If an idea enters the brain an attempt should always be made to scribble it down, no matter how bad I think the idea may be. After a while there should be quite a few badly drawn but reasonably good ideas on the page. I then need to recognise which idea will work best on the page, as well as deliver the story in the right ‘tone of voice’. I then work up a pencil sketches that will provide enough but not too much detail.
Once the sketches have been given the thumbs up it’s time to apply colour. I recreate the drawing on my Mac in a vector format, and devise a simple, muted scheme. I then create a new file for each colour the same way a screen printer would build a new silkscreen for each ink. The separate colours are imported into Photoshop in individual layers and multiplied on top of each other. Often the intersecting of these layers will create new colours similar to letterpress. I then mess up the crispness of the vector shapes by erasing details and applying texture.
If I’ve done a good job, we’re all satisfied. We exchange heart-warming emails about how we both enjoyed working with each other and vow to do it all again sometime soon.
3) When did you realise you could make a living from your talent?
Well, my dad was in the printing trade (and an excellent artist in his own right). One of his regular clients was a small local publishing outfit who needed a bunch of illustrations for a sheet of kids’ stickers. I was twelve years old, and in the late 1980’s child labour laws were easier to ignore than they are these days, so my dad encouraged me to submit a few drawings for consideration.
During that summer I illustrated 32 stickers – things like elephants riding bicycles, walruses smoking pipes, apples with bites out of their bottoms – the usual stuff. Each summer holidays throughout secondary school I illustrated a new set of stickers. They were quite popular and the publisher found overseas markets for them, so it was nice to know my work was getting out there. It also meant that I didn’t need to get one of those summer jobs as a spotty-faced supermarket trolley-boy. So it was pretty early on that I got a taste of working as a professional illustrator.
It wasn’t until 2004, while working as an Art Director at an advertising agency that I made the decision to become a full-time illustrator. I was hiring illustrators for ad jobs and became a little jealous of their freelance-iness. I quit and started promoting myself as an illustrator.
4) Has technology changed your trade and the way you work?
Oh yes, technology has changed EVERYTHING. I couldn’t have imagined as a twelve year old watercolourist that I would be relying so heavily on technology for both communicating with clients as well as the execution of the illustrations themselves. These influences are obvious, but there is an even greater affect. Location. I live in Bolivia, South America now, volunteering, creating books, and illustrating for my commercial clients in Australia, the UK and the USA. None of these things would be possible for me without my computer, its applications and the reach of the internet all the way up the Andes Mountains. Ahhh … technology!
5) Who are your biggest influences in your artistic career and why?
My dad is the greatest influence. Our styles are completely different but nobody has influenced me more in this department. He was the one who got me my first freelance gig while I was still pre-teen.
My first full time job was at a place called Paul’s Signs. The owner Paul van Gaans is one of the most creative people I know. While we worked on signs in the mid-1990s we spurring each other on creatively. Paul taught me not to settle for less – to keep striving. That’s why we no longer make signs. Paul is now a hugely successful 3D Animator with a brilliant body of work.
In the recent past I worked collaboratively with a couple of other illustrators and friends in Ballarat. Both Travis Price and Sam Harmer have been influential in bringing me out of my creative shell.
6) When collaborating with an author or a client, how do you ensure you are able to translate their words into art and convey the message they are trying to portray?
On a weekly basis I’m reading stories and attempting to pick up on the right tone. That’s something that I’m used to now after illustrating for hundreds of magazine articles. For me it’s not so much interpreting the words or message, it’s more about what else I can contribute to the story. What can I add to the piece? Can I approach the subject in a different and complimentary way?
With picture storybooks, so far in my career I have only illustrated the books I have authored, so it’s a far easier process to understand where the writer is coming from. As I’m writing the books I’m often imagining the pages completely illustrated.
7) Tell us how you came about creating the Ben Sanders gift store and the products that you sell.
The Ben Sanders Shop on RedBubble is a fun side-project that has exceeded my expectations. I decided to utilise a bunch of out-of-use illustrations that I felt would work well as household and stationery items like cushions, journals, phone covers and even bed spreads.
8) What advice do you have for aspiring illustrators about being true to themselves and how to navigate the big bad world of publishing?
Well, the publishing world can seem big and bad at times, but I think that’s only a perception. There’s so much competition that you really need to have a unique voice in order to be heard, that’s the tough part.
When you have the opportunity to publish your work take as much advice as you are given by wiser and more experienced people in the industry. My books improved greatly during the development process, due to listening intently to editors and publishers. At the same time don’t be afraid to have your input and express your vision for the project. A good publisher will appreciate your enthusiasm, and take into consideration your ideas.
9) Please provide a short brief of each of the pictures you have submitted
Cover of I’ve an Uncle Ivan children’s picture book.
Cover of I Could Wear That Hat! children’s activity book.
Buck gets his gut stuck in his truck, limited edition print of a character from I’ve an Uncle Ivan.
Should you wish to know more about Ben, here are his pertinent details.
Website: Ben Sanders
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