JENN PLAYFORD
Friday, December 9th, 2011
Inspired by her travels through Europe, Asia, and Africa, Jenn Playford’s vibrant, visually stimulating illustrations are peppered with hints of Japanese floral prints, African textile patterns, and Indian motifs. Her clean aesthetic and colorful designs have appeared in advertising, publishing, magazines, product and newspapers. Clients seek her out for her ability to produce bright, cheerful work that exudes a playful, youthful sensibility. Her clients include Energy BBDO, Frankel, Kaplan Thaler, Chen Design, Virgin Records, Fast Company, Natural Health and Random House. Her work has been recognized by Communication Arts, American Illustration, and HOW Magazine.
Jenn has been creating art since she was a young girl. Never seen without her bucket of crayons, Jenn demonstrated artistic leanings and went on to study Fashion Design and Visual Communications at Toronto’s Ryerson University. Before delving into illustration she worked in graphic design and marketing, and as a fashion designer for dolls at a toy company. During an extended stay in London she doodled in the margins of her letters home to friends and family. Serendipitously, a friend who worked as an art director saw these letters and suggested that Jenn pursue a career as an illustrator. With this in mind Jenn attended an American Illustration Conference that quickly affirmed her idea that illustration was a perfect career choice. Her past experiences as an art director and designer have informed her illustration, allowing her to effectively share her creative vision with clients. “I can see the project from the art director or designer’s eyes, so I am very aware that the illustration has to fit within their vision, and the technical limitations. I have patience for revisions and direction, trusting that they know what their needs are.”
Since then, her work has appeared in publications like The Los Angeles Times, Women’s Health, Family Circle, Girl’s Life, Child Magazine, Organic Style and Sunset. Described as “decorative and global with an exotic twist,” Jen’s work creates strong visual statements in a cheerful and approachable manner. It’s this point of view that has attracted ad agencies and corporate clients with assignment for illustration and development work for Coca Cola, Aussie Haircare, The Limited, JC Penney, and Limited Too (now known as Justice).
Although many artists struggle with creative blocks, Jenn has the opposite problem – too many ideas! Her collection of ribbons, trinkets, textiles, and ornaments, gathered from her many travels, provide an endless source of inspiration. Jenn often juggles several projects at a time. Currently, her creative outlets include personal work, commissioned pieces, illustrated books, gallery shows, and her eco-conscious furoshiki brand Furochic.
‘Furoshiki’ is the ancient Japanese custom of wrapping gifts and other items in patterned fabric. Jenn markets her own line of furoshiki cloths (using her own illustrated repeat patterns) and is frequently called on to demonstrate how they can be used as an eco-friendly alternative to paper gift wrap. Her product line has been featured on “What’s Cooking TV“, the Delta Airlines Duty Free Catalog, The Boston Herald, and Style At Home, Country Living, Chatelaine, Home & Country, Flare and Boulevard. She has also authored a book on the subject, titled Wrapagami, which has brought on a slew of in-person and TV guest appearances. She recently appeared on Global TV Morning News (Canada’s top morning show), in a Martha Stewart radio interview, and was flown by The Japan Foundation to the Ottawa Museum of Civilization to teach furoshiki workshops as part of an exhibition called Japan Innovation and Tradition.
Visit Furochic.com for more information and view demonstration videos at YouTube: Furochic.
Jenn is currently working on another self-authored craft title. In fact, Jenn cites publishing assignments as her favorite type of work. She has also worked for Sasquatch Books on cooking themed illustrations, a how-to hairstyling book by Artisan for young girls (and their moms), stained glass style artwork for a Klutz craft title, and meditation themed illustrations for a Running Press mini book & kit.
She has also licensed her artwork to clothing and product manufacturers, particularly for the children’s market, and looks forward to doing more of this type of work. Her illustrations and repeat patterns have appeared on diaries, notepads, and a pop-up dollhouse for Mudpuppy, with more products releasing over the next year. The Playford-designed dollhouse, called Castle Playspace, is a pop-up fantasy castle featuring her signature prints alongside cardboard cut-out princesses, canopy beds, and even a royal poodle.
Beyond Mudpuppy, Jenn’s illustrations have appeared on temporary tattoos for the Shaw Ocean Discovery Center, children’s t-shirts for the Victoria Butterfly Gardens, and silk-screened pillows and lampshades for Clementine Tree.
Jenn balances her illustration career with painting and exhibiting in galleries. In 2009, she and fellow Magnet Reps artist Red Nose Studio contributed pieces to the Custom Kokeshi show at the Japanese American National Museum in Los Angeles. Curated by Christina Conway, the exhibition showcased kokeshi designed by over 100 internationally recognized artists, illustrators, and designers. (Kokeshi are Japanese dolls crafted from wood, and stylized with slender trunks and enlarged heads). Other participating artists included Tara McPherson, Amy Sol, Marcos Chin, Stella Im Hultberg and Calef Brown.
To learn more about Jenn and her work, visit her online portfolio.
Q&A with Jenn Playford
When did you know you wanted to be an illustrator? What convinced you?
I have been drawing and colouring since I was a little girl, never leaving home without my bucket of markers but I never realized that an illustration career existed. After University (I studied Visual Communication in Fashion), I lived in London, UK for two years and would send illustrated letters to my friends, one of which was an art director. She encouraged me to pursue illustration and opened up that world to me. Soon after, I put together a portfolio, a mailer and attended an American Illustration Conference in New York.
You currently run a furoshiki website called Furochic.com. How did you first hear about furoshiki? Why are you interested in furoshiki?
I have always cringed at the idea of paper gift wrap, it’s function lasting only temporarily before being thrown in the garbage and wanted to promote the idea of reusable fabric gift wrap. Through my online research to see if anyone was marketing this idea in North America, I stumbled upon the old Japanese traditional furoshiki cloth. Furoshiki is a craft in itself as well as being a green alternative to paper gift wrap and Furochic is my take on this brilliant custom. I love furoshiki because it is easy to use, looks beautiful and I like the idea that it is passed on from friend to friend. Furochic allowed me to print my own patterns onto fabric and led me to write a book called Wrapagami, which illustrates how to use the wraps. It has been a fulfilling adventure introducing a new concept to the marketplace – recently I had the pleasure of experiencing a TV shoot which will be aired in December.
What’s the last book you read and how did you like it?
I love books based around a strong woman character where you learn about a different culture or era. And there must be a good dose of romance, self-realization and empowerment! I recently read a book called The Blood of Flowers by Anita Amirrezvani which was fascinating as it was about a young women in Persia in the 17th century who was a talented carpet designer and the odds she had to face. I am about to delve into The Lace Reader which looks delicious!
You’re planning a dinner party for three people living or dead, real or fictional. Which three people do you invite?
I would invite Ibrahim Ferrar from the Buena Vista Social Club because I love his music and he seems like he would be full of good stories (hopefully he would get up and sing for us), my Grandmother on my mom’s side because I never had the opportunity of meeting her and Coco Chanel because she is Coco Chanel! Too bad I can only pick three, I would love a long table that seats twenty.
Describe your creative process. How much work is done by hand and how much is done on the computer?
I used to draw by hand with black ink on paper and then scan it in, colour on the computer and fix up the lines. Now I draw directly on a Bamboo tablet. I do my sketches first in pencil and trace over them with the tablet. I invested in the expensive Wacom Cintiq but it broke down on me twice and had a huge amount of cumbersome cords. In the end the cheapest version of the Bamboo works just as well! In Illustrator I adjust the line work and colour the illustration.
What’s the best Halloween costume you’ve ever worn?
I have to admit I am a fly by the seat of my pants girl when it comes to Halloween, throwing together what I have in the house at the very last moment. This year I wore a red sparkly cape, tall boots, a long black wig in pigtails, lot’s of blush and red lipstick, my glasses and a wand! I liked to think of myself as a mysterious character that would have appeared in a Harry Potter book!
What do you do when you have a creative block? What are your favorite sources of inspiration?
I must say, I don’t know if I have ever had a creative block. I have the opposite problem – too many ideas! For inspiration I go to fabric stores, look through my extensive book collection, and travel as much as I can. I try to stay in bed for ten to twenty minutes in the morning after I wake up as this is often when I think of new ideas. Seeing what other artists are doing inspires me so I like to go to galleries or browse online.
You have traveled extensively through Europe, Asia, and Africa. What’s one place you haven’t been but wish you could go?
That’s a hard one because there are so many. If I had to pick one, I think I would pick Brazil. It seems like such a lively, colourful place where you could indulge in the pleasures of good food, music and passionate people. When I get enough nerve, India is on the list too.
You were once an art director. How does that inform your interaction with art directors as an illustrator? What’s it like having been on both sides of the fence?
I can see the project from the art director or designers eyes, so I am very aware that the illustration has to fit within their vision, and the technical limitations. I have patience for revisions and direction, trusting that they know what their needs are. Respecting deadlines is important to me because I understand how tight production can be sometimes. I think having the experience of the other side creates a good foundation for a healthy partnership in the creative process of the project.
As an illustrator who used to be an art director, do you have any tips for ADs? How do you get the best possible work from an illustrator?
It’s a fine line between being clear on what you are looking for and allowing the illustrator to have their creative freedom which may take you in an unexpected direction. I like the idea of giving creative reign within a framework so that you end up with a vibrant and inspired illustration with minimal revisions because you had a clear vision to begin with but were open minded throughout the process. Clear communication and direction is essential. As an illustrator, it is disheartening to have the direction completely change due to bad communication or an unclear vision. This struggle will likely result in the illustrator losing heart over the job and the work won’t be as strong.
You can only take three things to a deserted island. What do you take?
Does my family and friends count as one thing or lot’s?! Outside of people, I would choose paints and a sketchbook, my library of books and a case of good wine.
What is your favorite way to wind down after a long day of work?
Lately I have been enjoying creative writing and I will often indulge in creating stories during my down time. Other times I get my paints out and immerse myself in painting for fun with no end goal or purpose. I know it sounds like work, but creating with no restrictions is what relaxes me. If I am too tired and need a complete break, then a long, hot bath is heavenly. Or movie night at home with my kids, popcorn and a good magazine to flip through (I have a hard time just watching TV)!
What is a typical work day like for you? How do you portion off your time?
My work day is split in two with an extended break in the middle to be with my two children, Ava who is 9 and Oliver who is 5. I work from 8:30 to 3pm and then switch to Mom mode until around 9pm. I am a night owl so I will often spend a few more hours in my studio once the kids are in bed. I love the flexibility of setting my own schedule. If I get busy with social things or appointments during the week then I will dedicate one day on the weekend to work.
Do you listen to music while you work? What’s the best and worst type of music for getting things done?
I know I should be saying something really cool and obscure but to be honest, I often put on a top forty station (without commercials, I can’t stand radio commercials), maybe this is what happens when you have a nine year old in the house! I like energetic music that makes you feel good so Salsa can be good too. If it is hard to sit still and a song makes you want to dance, I figure this energy is going into my work! I like to sing while I work but only if I am absolutely sure no one else is around. As for the worst type of music, I guess anything irritating or distracting. There are so many great webcasts these days, sometimes I will listen to something inspiring instead of music, especially if I am doing the more technical parts of my illustration.
How has your work changed since you’ve become an illustrator? How do you see your work progressing in the future?
My line work has become stronger, smoother and more polished and my colour palette has shifted. I would like to continue illustrating for the younger market. It is a good match for my style and color palette and I enjoy it. I am very interested in designing a collection of fabrics and would like to develop in that area. As a side to illustration, I have started painting for the first time this year and would like to put together a collection for a show.
