From Quentin Blake to Winnie The Pooh: My pen and watercolour illustration inspiration

Work-in-progress pen illustration featuring expressive linework and whimsical, anthropomorphic character details…with a touch of Pride & Prejudice inspiration.

As an illustrator, I’ve always been drawn to the wonderfully imperfect - the squiggly line that has a mind of its own, the splash of colour that lands just where it wants to. 

That’s why I find such joy and endless inspiration from the works of artists like Quentin Blake, and other illustrators who celebrate looseness, character, and charm over perfection.

The childhood books I so vividly remember are Road Dahl, Bramley Hedge and Winnie The Pooh and for me the illustrations within them really helped me to visualise the world and engage with the characters within them. 

There’s something magical about the way Quentin Blake’s pen seems to dance across the page - every flick and wobble bursting with life and humour. His work reminds me that expression often lives in the imperfections; a crooked smile or a slightly tilted line can convey more personality than the neatest technical drawing ever could.  

Similarly, Jill Barklem’s illustrations for Brambly Hedge feel like stories waiting to happen - playful, whimsical worlds where animals wear hats and teacups have feelings. There’s an honesty and warmth to that kind of art, where imagination and emotion take centre stage.

If you’re not familiar with Brambly Hedge, do yourself a favour and follow the delightful @bramblyhedgeofficial (Forget nutrition, fashion and influencers, this is the kind of content to make you feel good!)

Adding watercolour to these quirky little creatures who are off to Pemberley (niche reference for the Jane Austen lovers amongst you). This series of happy accidents originally became a card for my Mum and is now available to buy here.

And then there’s E.H. Shepard - the master of tenderness and storytelling through line. His drawings for Winnie-the-Pooh capture a timeless simplicity: a bear, a pot of honey, and a friendship that feels as real as any human one. There’s a gentle honesty to his work that I always return to - the sense that even the smallest creature in the Hundred Acre Wood has a story worth telling.

In my own work, I try to channel that same spirit: letting my pen wander, letting watercolour pools create unexpected splodges, and giving everyday creatures a touch of human mischief. Because ultimately, illustration is about connection - finding joy in the wonky, the whimsical, and the wonderfully human side of creativity.

What I need to remind myself of more in my own illustrative practice is allowing the imperfections. 

There is such a thing as a happy accident. 

Sometimes the first scribblings are the best.

Early illustrative scribblings exploring the deep connection between a dog and their human.