The three-paneled plywood canvas measures 120 square feet sized at 10 by 12 feet. A pastoral image in sunset tones depicts Mount Rainier in the distance and in the foreground, a darkened dock with silhouetted people. A long lake separates the mountains from its viewers.
Similar to Thomas Cole’s paintings, the recognizable scene carries a hint of unfamiliarity. It is not an actual place, but an amalgamation of elements portraying several places at once.
The piece was commissioned by Pacific Northwest supermarket chain QFC for its new Kirkland store.
Detail of mural.
Painting large commissions is only a small part of what Eleanor does. She operates under her company Hand to Paper LLC as the sole proprietor. The life of a freelancer is a delicate balance of creation, administrating, self-promotion, and grit. It typically means working on more than one project at a time, which for Eleanor includes selling digital illustrations and prints on Etsy, house portraits, teaching workshops, hosting live sketching events, editorial illustrations and the occasional pop up at art & craft fairs. Throughout the interview, she would remember another side gig and tack it to the expanding list.
This interview was edited for clarity.
How long have you been freelancing?
The spigot of freelancing has been increasing since 2013 when I graduated. At first it was one client I found on Craigslist then random stuff here and there. It’s been steadily increasing year after year. Full time freelancing since 2017.
How did you get into illustration?
I never wanted to be a fine artist, because that seems impossible, but having people pay me to make art seemed like an ideal. When I graduated I didn’t want to be a freelance illustrator, it made me anxious that it would suck the joy out of it – I’ve always loved making things, not just drawing but sculpture. I wanted to be a window display designer and fabricator – which I did in New York City before realizing it kinds of sucks (laughs). It didn’t work out. At that point people started hiring me for illustration work and it started stressing me out marginally less- but I’m still working on that to some extent.
You often depict landscapes, of cities in particular. What draws you to this subject?
One thing that comes to mind is that I really like details and when you’re looking at a cityscape, there is so much life packed into that view – I love packing details into stuff as I observe. It’s satisfying to see so much chaos, so I try to incorporate that into my work. Also I love traveling, and sketching details became a way to process what I was experiencing, especially when I studied abroad. I realized then I enjoyed creating scenes that people can project themselves into, reinterpreting reality filtered thru my experience and aesthetic and inviting people to step into my world.
You seem to use surreal, impressionistic colors in your landscapes that represent the real but are also not - it’s elevated by your choice of colors — how do you decide you palettes for any given piece?
I mostly work in watercolor when I’m doing plein air work, and I always work in mood palettes and learned that you only need a few colors - I almost always use three colors when I’m painting because it makes the scene more unified and determines the mood.
I like to look around at one element or color that inspires me and then design the rest of the palette around that to complement it. Sometimes it’s surprising how the palettes end up working on paper.
Who/what are your influences?
Definitely animated films and graphic novels, especially Japanese and French. When I’m watching anime, I’ll pause and take screen shots of all the backgrounds. Studio Ghibli, obviously, has high production and amazing backgrounds. Also Masaaki Yuasa films are a huge influence to my work. I really love 50s and 60s illustration and screen printing, and the Golden Age of Illustration (1880-1920). A lot of flat animation, I think having those restrictions makes things more interesting.
Have you worked on murals before?
Yes. I’ve worked on two 3,000 square foot murals in two different places in Virginia. I like that it’s a large contract and pays decently, less stressful in that sense. I like being onsite – it’s interesting to spend a couple weeks of your time in a random parking lot and see that little corner of the world for awhile and creating something that’s going to be in people’s lives – it’s satisfying to me as an artist.
What do you find most challenging about your field?
Maybe the work/life balance. For me right now I really enjoy working and my work is my life, I don’t think that’s such a bad thing. What’s challenging is managing the workflow of incoming projects and having to communicate with clients. It would be nice to have an assistant, but I’m not there yet. So much goes into this, especially for public calls. You have to reply to the request for proposal – that takes a long time and you’re not guaranteed a return on that. When it does work out it’s worth it.
Any special considerations for outdoor murals or public art?
A lot of people ask about sealing, but when using exterior pain it’s supposed to last a couple of decades without fading, something one of those project leads were concerned about – vandalizing. A lot of human figures etc. in that case we kept it really flat so it could be corrected easily with the same paint color.
How do you feel about that kind of vandalism?
It happens. I try not to take it personally.
What’s next?
Going to Europe in less than a month for a month and a half. I’ve been selected to teach a workshop in Amsterdam at the Urban Sketchers Symposium – people from all over the world come. Additionally I’ve got a lot of small projects and a large-scale illustration for a hotel in Indiana that is somehow going to be finished before I leave.
Then when I get back there will be a lot of stuff to do … probably lots of scooter rides.
To see more of Eleanor’s work check out her Tumblr here