Jane Randfield

Illustrator, print-maker and lecturer Jane Randfield is a master of her craft. With over 30 years experience, she’s at ease with a pencil, water-colours and engraving, evident in her commercial success working with the likes of Waitrose, Sainsbury’s, the BBC and Penguin Random House.

She’s also an elected member of the prestigious Society of Wood Engravers and a print lecturer at Bath College and Bath Spa University.

My family are used to me spending hours on top of a mountain or by the side of the sea

Why is ‘making’ important to you?

I’ve always drawn ever since I can remember, there’s definitely something magical about making an image appear from a piece of paper with a pencil. It’s the same with printmaking, the slight trepidation before revealing the print from the wood, plate or stone, quickly followed by my heart skipping a beat (if it’s gone well) or a sigh (if it needs more work). And what could be simpler than a quick sketch to show an idea?

I do enjoy the processes that drive the artwork in printmaking too, following a series of steps to create an image. 

What or who inspires you?

I have gathered an army of heroes and heroines over the years, including: Norman Ackroyd for his atmospheric aquatints; Simon Brett and Christopher Wormell for their exquisite wood engravings; Käthe Kollwitz for her powerful drawing and graphic work. They stand out as inspirational artists among all the others too numerous to mention. 

How do you come up with your best ideas?

I suppose it depends on the reason I’m doing the work. If it’s a commercial project then it’s down to getting a good brief from the designer. By choice I don’t have an agent as I enjoy the direct conversations with the client, which help to really understand what they want.

For my own work, ideas come from many things. I rely a lot on my sketchbooks to give me a starting point: be it a landscape; fleeting light through trees in a wood or a moment captured by pencil and watercolour. 

Time away from my day job as Printmaking Technical Demonstrator at Bath Spa University are the most important times to fill the sketchbooks with ideas. My family are used to me spending hours on top of a mountain, by the side of the sea or improvising still lives at the kitchen table when the weather turns bad.

What are you most proud of?

I’ve been lucky to work on many great and varied projects such as illustrating the labels for the Hortus range of gins at Lidl, large-scale linocuts for window decals at Bath’s Western Riverside development, and most recently wood engraved illustrations for a fine art book with St James Park Press. I produce many illustrated maps, which all started with of map of Bath city centre over 20 years ago.

As a naturally shy person, teaching printmaking has been a real challenge but one that I’m increasingly proud of; imparting my knowledge to inform the next generation of artists. For me the reward is seeing the students grow as artists and for them to glow with pride at seeing their work progress.

I’m also honoured to have been elected a member of The Society of Wood Engravers in 2020. The Society was founded in 1920 by a group of artists that included Lucien Pissarro, Gwen Raverat and Eric Gill. I have long admired the beautiful work of the members, so to be accepted by them has been a thrill and an honour.

Hortus, Design Activity

Three Choirs, Amphora

Chene Bleu, Amphora

How important is risk taking and failure? 

Any artist who says creating work is easy and that they rarely make mistakes is telling porkies! Of course I fear failure, I want to do well but I have to accept that some work is going to be a struggle. However, experience does help in being braver, for example to be able to say “I’m starting again” when things aren’t going well. Recently, I spent three weeks working on a wood engraving commission, but it just didn’t look right, so I started again. It was absolutely the best decision to make, the new illustration took half the time and it’s something I’m now really proud of. 

I do try to encourage students to accept failure as a positive input to their work but I fear that their 13 years at school increases their fear of failure to a point where they might not want to try.

I’ve rarely thrown in the towel on a project. I think the only job I’ve turned down was to draw half-naked women on a car bonnet (don’t ask). I just couldn’t bring myself to do it!

What do you enjoy most about making?

It depends on the medium. Drawing is a direct expression: just a pencil, a piece of paper and inspiration. With printmaking it’s the pride in knowing the rules and then maybe bending them to get just what I need. 

Best piece of advice you’ve received?

I was lucky to encounter two inspirational teachers when I was growing up: Mrs Bridges, who home-schooled me when I was housebound, aged nine, with a broken leg and later Miss Goodwin at secondary school. Mrs Bridges was an amazing artist and once the Maths and English had been done for the day, out would come the paper, pencils and paints. She instilled in me the importance of thoroughly reading the text before starting an illustration. Miss Goodwin was stringent in teaching five solid years of observational drawing, a discipline that has grounded me in good practise. Both women encouraged me to continue as an artist and followed my progress since.

David Hockney is an incredible role model for all artists. He works continuously, adapting to the latest technology with an infectious enthusiasm. But fundamental to his work is the drawn line: ‘The teaching of drawing is the teaching of looking.’ 

Any talk by an artist is an opportunity to listen to someone at the top of their game discuss their craft and working process, an invaluable window into their creative world.

What themes do you see emerging in the making world?
With the awful COVID-ridden year of 2020, more people are coming back to the simple things in life and, most importantly, really appreciating and exploring their own creativity. I really hope this continues in spite of the politicians downgrading the Arts at every turn.

The young artists coming through are really switched on to the wider issues such as the climate emergency or human rights, and it’s starting to become apparent in their art. Artist’s are often reactionaries and should challenge the status quo with their work. Power to the people – especially those with pencils and brushes!

How do you keep it fresh?
I love learning new skills and from an admired artist is always great. For instance a couple of years ago I was lucky to do a day’s workshop with graphic artist Anthony Burrill at the Letterpress Collective in Bristol. To learn from on icon of words and typography (and such a lovely man) was a dream! 

Working at the University also allows me to connect with other practitioners. If there’s a workshop about bookbinding or colour mixing I’m in there with the students! 

Advice to your younger self?
Be brave and keep going, you know that you can do it, so just get on with it and enjoy doing it!

janerandfield.com