For more than three decades, Mike Church has worked across almost every corner of the animation and illustration world. He began his career in the pre-digital era, painting and tracing animation cels on a lightbox, before progressing through roles including animation assistant, layout artist and background artist on television commercials, series and feature films. Most recently, his work can be seen throughout Kensuke’s Kingdom , where he contributed nearly 300 background layouts.
Now based in East London, Church freelances across multiple creative sectors while also working with Lupus Films and being represented by KJA Artists. In this conversation, he reflects on the realities of a long creative career: adapting from analogue tools to digital workflows, navigating the pressures of freelancing, resisting the homogenising pull of AI-generated imagery, and why curiosity, research and a willingness to keep learning remain at the heart of meaningful creative work.
How did you first get into the industry?
I started in animation first in the days of painting and tracing cells on a lightbox, later I progressed to animation assistant, layout and background artist and a few other niches in the industry. I worked on tv commercials, tv series and films and still do, most recently as a background layout artist and assistant animator on the feature film Kensukes Kingdom.
I started doing illustration work in the 2,000’s and found myself working full-time as an illustrator at a branding and packaging agency, my animation experience had given me a lot of experience in a wide range of styles and media so I was very versatile. I went freelance after 7 years, also worked with a couple of illustration agencies which takes me up to the present.
Where are you based now and who do you work for?
I live in East London and freelance across all sectors, I’m represented by KJA Artists also, and in animation I currently work mostly for Lupus Films.
What is your personal background and what role did it play in your career?
I grew up on RAF bases, went to art college in Great Yarmouth and found myself in the animation industry in London after a few jobs that didn’t suit my temperament.
If you weren’t in your current industry, what would you be doing?
I’d probably be a civil servant, the last job I had before my escape.
Can you explain your creative process? What makes it unique?
I do a lot of research when I start a job, I like to get things correct as a foundation before I go into flights of fancy. I also sketch ideas out for clients approval before committing to final artwork.
How would you describe your style?
My style is all over the place, I’m kind of a bottom feeder in that I’m often asked to reproduce a style that another illustrator has that but they may be too expensive to employ. I’m not proud of that but I must eat.
Which individuals do you gain inspiration from? Do you have any heroes in the industry?
I admire those people who can do things I find difficult to do, an example is the king of icons, Chris Mitchell whose work is brilliantly concise. He was kind enough to comment on something I posted on Linkedin so there’s my shout out.
What tips would you give to aspiring creatives looking for work?
I think in the current climate and with the rise of A.I., having a style of illustration that’s as far away from what A.I. does is a sensible strategy. I should take my own advice, some of what I do has already been duplicated by A.I..
What tips would you give to other professionals to get more clients?
Don’t be like me, be relentless with self promotion, tell everyone how great you are and some will believe it.
Can you share a memorable experience from your career journey that shaped your approach to creativity?
When I worked for 10 years at one animation studio in the 90’s I was given the freedom to use my own initiative to work out how to meet the brief, later experiences showed me that was rare, in the illustration field there’s a lot of micro managing that can stifle creativity, design by commitee can lead to a watering down of vision.
What kind of tools/kit/software could you not do without?
Pre digital, sable brushes, Aerograph airbrushes and dip pen nibs from His Nibs in Covent Garden. Now it’s a Mac, a Wacom Cintiq, Adobe suite, Corel Painter until they disabled my software to make me pay a yearly fee which made me go to Rebelle which in some ways is superior. Oh, and TV Paint animation software.
What’s your secret to staying inspired and motivated?
Inspiration comes from a flow state, allow yourself to switch off and let your subconcious do the work. Go and look at some trees or something. Motivation is hoping to surpass yourself and learn something new.
What’s the work achievement you’re most proud of?
I did nearly 300 background layouts on Kensuke’s Kingdom so my hands are all over that movie and recently finishing my book about Weasels, a monumental body of work.
As someone with experience in the industry, what trends do you foresee shaping the future of creativity?
Sad to say, A.I. Is the threat already affecting the creative industries.
What do you think sets apart truly exceptional creatives from the rest of the pack?
Since I’m in the pack, I wish I knew, maybe I could be exceptional too. I do the best I can.
How do you think technology has influenced the creative industries and how have you adapted to these changes?
I made the change to work digitally years ago and I love it, there’s no “Undo” working on paper. Because technology has sped up workflows I think we get overloaded with too much stuff, hard to see the wood from the trees. I think we were more focused in the analogue past.
What is the one thing that you would change about the industry?
Rates have been driven down since the 1990’s, it’s increasingly getting hard to make a living as a freelancer unless you are somewhat famous. Clients seem to expect me to cover every base, I illustrate and while I could edit video or design a website, it shouldn’t be an expectation. There’s also an alarming trend for unpaid internships which is exploitation. We need to get paid a living wage.
Any websites, books or resources you would recommend?
I’m going to say mikechurch.art as shameless self promotion, Behance has some useful Photoshop brushes, I have a bunch of books on art but it’s a matter of taste, I wouldn’t presume to tell anyone what they should need.
Have a lovely day and don’t let anyone tell you you suck, art is subjective, there’s plenty of successful artists out there that I don’t get, but that’s on me.
