How to Become a Live Event Graphic Recorder (or at Least, How This One Did)
I don’t know about you, but every time I’ve opened up a new notebook or sketchbook, after getting over the initial joy and intoxication of its dazzling white pages and ✨new book smell✨, the feeling that follows is… fear?
Fear of getting it wrong, I suppose. Something leftover from my high school perfectionism, something I once considered a key trait of ‘serious artists’, but more on that later.
The point me and my stack of empty notebooks are trying to make is, starting a new blog feels like that, and I find the best way through that is to get something down before you get to overthinking too much. So, to get some words - any words- into the blog to start the flow, how about we start with how I found my way to live event illustration and graphic recording?
I do get asked this a lot, at the actual events I’m illustrating as well as when jobs come up in conversation with new friends etc. I suppose it’s such a niche line of work, people are curious how someone even stumbles upon it.
And it really was a stumble-upon moment, back in February, that took me from illustrating for publishing with some graphic design on the side (and struggling to gain a foothold or any stability, in all honesty) to graphic recording for events across London, further afield and online. The perfect blend of my two previous hustles with some actual personal interaction thrown in!
A nonprofit I had illustrated a ‘poster for the future’ for two years before, had remembered my piece.
The artwork, briefed by Creatives for Climate, and exhibited at a Purpose Disruptors event at Tate Modern.
A proud moment with the print, along with many other beautiful artworks.
Purpose Disruptors were holding a summit in London, and knew they wanted live illustration to be a feature, but were open to hear my ideas. I had not long finished my first mural, and was considering trying to find a niche in wall art, so my mind went straight to live painting on a pre-fabricated ‘portable wall’, something we quickly realised would swallow the entire budget in materials (and your girl makes sure she gets paid thesedays)! Turned out, they had been thinking of digital live graphic recording all along. It’s super sharable, available instantly, and easy to tweak if needed. I went away, did some research, and was amazed to find this whole illustrative world I’d somehow missed all this time!
Rewinding a couple of years, I sometimes listened to The Good Ship Illustration’s podcasts as background listening while cooking. Over the chatter of my then toddler, I would catch a few mentions by one of the hosts, Katie Chappell, about live event illustration. I had always dismissed it for myself, with the (mistaken) assumption that I work best in peace, at my own pace, and generally could NEVER. I had built my freelance illustration career over maternity leave and lockdown, and accidentally convinced myself I’m a solitary worker, and an introvert - not bad things, but don’t really go hand-in-hand with being under the spotlight at big events!
Katie’s Instagram and Substack content actually became amazing sources of insight and knowledge for me after Purpose Disruptors asked to scribe . As there are so few of us in this niche, there isn’t much public information about how to get started, what to charge etc. and Katie is so candid and open about these usually-taboo topics. I’d be massively undervaluing my time graphic recording if I hadn’t read her pricing guide, so it’s no exaggeration to say that Katie’s material, along with the invitation to live illustrate in the first place, are what pulled me out of the old stereotype I’d become: a burnt out, underpaid artist.
Back to my first event, I had done loads of research, but was still a bag of nerves on the day, knowing my illustration would be displayed on a big screen in real time throughout. I had also done some swotting on the speakers: renegade economist and author Kate Raworth, and Future Generations Commissioner for Wales, Sophie Howe. Obviously I was awestruck, and quite certain I could never do their talks about reimagining economics or a country’s politics justice.
At least the Purpose Disruptors team knew it was my first time and would be kind to me when I failed to keep up…
Except, I did. And visually, it worked! I can’t explain it, but something almost meditative came over me, and my hand just flowed. As I took in the speakers’ words, making sense of them in my own brain translated to illustrations that summarised each point. I was taken back to how I learned in high school, often seeming to zone out of what teachers were saying while doodling on corners of notebooks (I got told off a lot for ‘daydreaming’ and ‘doing art in maths class’). It was how I had always digested information, and now, it had a use in the world. While my illustration unfolded, I was having a revelation: making sense of ideas with visuals could help others make sense of it, too.
And the best part of all was entirely accidental. My first event was by a climate nonprofit. Purpose Disruptors challenge creatives and agencies to shift to less harmful clients and models. Getting to illustrate messages like these was an outlet for a lot of the environmental despair I’ve been feeling. I’ve wanted to do more for the climate movement for some time, but like many, felt trapped in my daily hurrying around and the ever-rising pressure to pay the bills. I realised I might have been pushed straight into my specialism of choice within graphic recording - climate science and environmental justice!
Whitechapel Gallery’s collaboration event with Gasworks.
From there, the venue that held this event, Whitechapel Gallery, had me illustrate an afternoon of workshops about facilitating youth accessing art, reminding me that doing good work and sincerely connecting with people along the way can bring unexpected leads, maybe even sparking a chain reaction of bookings. I’ve always tried to work this way, but it’s much easier to make human connections when you’re out in the real world, not just at your studio desk!
While I haven’t got a continual flow of work landing in my lap, and still consider myself in the ‘launch’ stage of graphic recording, all of the offers that have come to me so far have aligned with my values, even if hugely contrasting in vibe. Last month, I live illustrated a corporate celebration event for a B-Corp tackling fuel poverty and energy inefficiency, and the artwork will be printed XXL on a wall of their HQ. Last Friday, I graphic recorded workshops and presentations for COP30’s global ethical stocktake for Project Dandelion, a climate initiative empowering women to lead resilient, community-based climate action.
And, while I figure out the full-calendar-of-events thing, I get to enjoy significantly reduced perfectionism! That chronic fear of starting a new piece and fear of making mistakes I was telling you about? Well, there’s no space in the brain for any of those worries when an event has already started and you need to pay close attention while drawing along. 😅
I mean, I’m not trying to suggest that finding my niche as a live illustrator made every aspect of my work and life better, but… actually you know what, I am.
Top Lessons from Becoming a Live Graphic Recorder, So Far
Like I mentioned before, being remembered and booked again is about more than the work itself. While it’s always important to take the time to get to know people where possible, truly listen and just generally be nice, it’s even more true when you work at events, where human connections and new client possibilities are everywhere.
Feel the fear, and do it anyway. All the research and practice in the world before my first event didn’t mean much at all in the moment, because you can’t replicate in the studio/at home the pace of a real event unfolding around you. We can get some idea by drawing along with online videos of panels etc (just don’t touch that pause button!) but a better way to create some examples before you first get hired is to go to events in person and appoint yourself their unofficial live illustrator!
Some prep is great, but not too much! It’s good practice to have the client’s brand colours, a couple of their logo lockups, and an idea of the intended use of the visual. That way, you can set up your workspace to the right size, have your palette ready, and be ready to draw when the event starts. I also get really familiar with the event schedule, sometimes structuring my graphic around event timings. BUT, if you research the topics of discussion deeply, I think you can bring contexts to your graphic that weren’t part of the event, and that can be confusing for others. I tend to look up any terms in the event blurb or agenda that I’m not familiar with, and otherwise try to bring an open mind. After all, it’s our job to bring to life what was said on the day, not our own personal knowledge!