Illustrator Rachael Saunders on Nostalgia, Style, and Creative Freedom

For anyone discovering your work for the first time, how would you describe what you do, and what makes an illustration feel like a "Rachael Saunders" illustration?

I would describe my work as fusing the warm nostalgia of mid-century illustration with a contemporary style. The defining ingredients are simple shapes, strong graphic structure and a gentle sense of humour. Texture is fundamental - I embrace the imperfections and little wobbles of hand-drawn line-work, as I love the warmth, soul and character they bring to my work. I enjoy creating playful characters and quirky situations that make me chuckle, and hopefully make others smile too.

Your work has such a distinctive sense of character, warmth, and nostalgia. Where do you think that visual language comes from?

I think many of the attributes of my style can be traced back to the things I loved as a child. I watched a lot of Disney animation - particularly 101 Dalmatians and The Aristocats - as well as episodes of Rowan Atkinson's Mr Bean. I also collected mid-century children's books - my favourites include the Little Golden Books and anything illustrated by Mary Blair, the Provensens or Miroslav Šašek.

Growing up in the '90s felt like a golden age for inspiring, beautifully crafted design and animation - a time when things still had a wonderfully handmade quality, before everything became more polished, perfect and digitalised. I think that sense of warmth, character and imperfection has stayed with me and naturally found its way into my work.

You've previously mentioned old films, nature, food packaging and travelling as sources of inspiration. What has been catching your eye recently?

I'm really enjoying what brands like M&S are doing with their packaging. They're delving into their archives and drawing inspiration from the graphics and visual language of the 1980s, creating a lovely sense of nostalgia while bringing more personality and character back to the shelves. Next time you're in an M&S Foodhall, have a look at their vintage St Michael chocolate bars - they're a great example of how old design can be given a fresh, contemporary life.

In 2024, you wrote about taking six months to step back and rediscover your artistic style after feeling that your work had moved away from some of your original interests. What prompted you to make that change?

Without realising it, I had become stuck in a cycle of taking on work that was leading me in a different direction from the way I truly wanted to work. I was incredibly grateful for the opportunities and the skills I'd gained along the way, but eventually I reached a point where the work I was creating no longer felt authentic to me. Deep down, I knew I needed to step back, take stock of what was important to me and take back control of my creative direction. It was a brave decision, but I'm so glad I made it. I feel like the fire is burning in my belly again, and I'm genuinely excited to be creating new work and seeing where it takes me.

Was there a particular moment when you realised, "This is the work I actually want to be making"?

Ironically, it was while creating some sample artwork for Lagom that something clicked. I remember looking at the designs and thinking, "Wow, I'm really chuffed with these." For the first time in a very long time, I felt genuinely proud of my work - and, more importantly, it felt like me again.

How do you balance having a recognisable style with allowing yourself to evolve? Is there ever a danger that being known for a particular look becomes restrictive?

I feel like I'm still on an evolutionary journey to find 'my style', even after 10 years in the industry. I think it's a little crazy to believe that once you've found your 'style', that's it - job done! We're constantly changing throughout life, and so are the things that inspire and excite us, so naturally our work should evolve with us. I think the real danger is when you don't allow yourself to change, because in trying to hold onto a particular style, you can end up restricting both your creativity and your potential.

Where do you find yourself noticing visual inspiration when you're not deliberately looking for it?

I find visual inspiration in all sorts of unexpected places. I love flicking through the Sunday Times Style supplement, and my local gallery, St Barbe in Lymington, is a constant source of inspiration - they put on some brilliant exhibitions, most recently one celebrating Elmer and Mr Benn creator David McKee.

I'm also seeing the world through a different lens at the moment, watching my toddler experience things for the first time. Seeing his sense of wonder at the everyday is rather magical and inspiring.

If you could spend the next year working on one completely self-directed project, with no commercial restrictions, what would you make?

I'd love to create a larger, more expansive greeting card collection, giving myself the freedom to explore a wider range of themes, characters and ideas. I'd also like to let the collection grow beyond cards into complementary areas such as stationery and wrapping paper, creating a whole little world of illustrated products.