Chloe Jackson

Illustrator and Animator

So, in an interview on the Green Chameleon website you’re described as an illustrator. Is this how you’d identify yourself? Or would you say you’re more of an Animator? Or Graphic Designer?

Illustrator first and then animator, designer yeah. So, I did graphic design at university but my work was always really illustrative and I was always-I always thought, like, should I have done illustration but, um, I was glad I did do graphic design because I got to experience lots of different things but I’ve, yeah, I wouldn’t say I’m much of a designer anymore.

How important would you say collaboration is to you? Like when you’re working in a studio environment do you feel like that sort of studio ethos has a big effect on the work you produce?

It is really important to collaborate. Even if you’re working on a project by yourself, it is really important to get, um, other people’s opinions on it because you’re always going to be looking at a project from-from your own angle and you won’t ever see it from someone else’s angle, so I think it’s always, yeah, really important to get feedback, ask questions just, yeah, don’t- don’t be, I don’t ever worry about, like, what people might think.

You also mentioned in that interview that you’re inspired by the work of Micah Lidberg? The illustrator? Which other illustrators do you like? Or do you feel inspire your work?

Adrian Johnson?…It’s like really playful, quite flat, um, cartoony, um, yeah, just really colourful. Um, Charlie Harper? He’s like an illustrator from the sort of 50s, so a lot of his work’s quite, um, geometric and-and bold and it’s quite like timeless, so I think if you were to see his work now it-it could have been made today…Um, who else? Pedro Piccinini? He’s, um, this, I think he’s from Portugal, yeah his stuff’s really cool. Um, It’s quite dark but, like, really graphic. Not like graphic in a violent way but, you know, bold…I’ve always been really interested in, like, colour theory and working with colours, so anyone who uses that really well I’m, like, really interested in. I think things can look really cheap if you don’t-if you don’t spend time on-on colour.

Why do you think you’re drawn to animation and motion graphics?

I just really like making things move and, like, come alive and especially with, like, well I haven’t done loads of character design but what I like about character design is that you can give someone a personality through movement sort of thing and it’s quite, um, it can be quite technical, so, like, when you’re laying out a project in, um, well what-whatever programme you’re gonna work in for animation you have to think, um, you have to be really organised and I quite like that because it’s like problem-solving, like how you’re gonna layer things and mask things and-

We’ve been talking in the studio this week about aesthetics and saying earlier about how your work’s got such a bold aesthetic and the colours and the lines that you use. How would you describe it to people who hadn’t seen your work? And how did it develop over time?

Bold, bold, colourful and quite graphic and I guess-I guess it has always been like that. Um, I love using a lot of black with bright colours, um, and I think when I was in uni I started to look at different illustrators, so one of my biggest influences was Ben Newman, um, he’s actually from Bristol…he uses lots of shapes and primary colours, so I think you can definitely see his influence in my-in my work. Um, and I think for a long time I was like oh I don’t have a style but I guess if-I don’t know it’s maybe harder to see it from your own self.

What would your dream brief be? And what would that include?

I think the best kind of brief is when the client gives you full creative control…just because I think, like, all the projects that I’ve worked on at Green Chameleon they’ve all-I’ve just enjoyed them all so much that I’ve never had to think, like, oh what would my dream brief be, because I’ve just enjoyed it so much…but, um, yeah I guess it’d probably just be doing, like, some cool illustration, animation work for a big client like, I don’t know, Nike or Vans, or someone like that. Something really kind of playful.

Do you have any advice to give us as young Graphic Designers for getting our work out there and how important is it to have an online presence?

I would say by the end of your third year definitely have a website, because it looks so much more professional if you go to an agency and say, ohm you know here’s my portfolio and they can look you up and see you’ve spent time building it…I would just work really hard, try lots of things and just be bold.

By Suzy Bayliss, Molly Cook and Sophie Marshall


Chloe Jackson studied Graphic Design at The University of Falmouth, but now considers herself both an illustrator and animator over a graphic designer. I discovered her work when I was looking through the ‘Green Chameleon Team’ section of their website, as we did our first interview with their business director, Rollo Lewis. In this first interview, we looked at both the studio environment and ethos at Green Chameleon, and wanted to look more into the creative side for our second interview. Although Chloe has recently started working as a freelance illustrator and animator, she worked at Green Chameleon up until September of this year and talked to us about the importance of a studio environment for getting an outside perspective on her work. In our interview with Chloe, we also discussed her main inspirations, the bold aesthetic of her work and what her favourite briefs have been.