Tim Lord doesn’t just draw — he dives headfirst into ink, embracing every smudge, flaw, and spontaneous turn. From scribbling pirates on bedroom walls to creating intricate, psychedelic works for clients like SHEIN and BMG, the Shropshire-based artist has carved out a career that’s as raw as it is refined.
In this exclusive Member Spotlight, Tim opens up about ditching a life in the trades to follow his creative calling, his deep-rooted love for traditional illustration, and why he believes art should always remain human.
How did you first get into the industry?
Art has been a part of my life since childhood. I spent many hours doodling dinosaurs, pirate ships with stickmen walking the plank, and even characters like Sonic and Knuckle - often straight onto my bedroom wall.
I was into comics like Wolverine, and experimented with graffiti during school.
In my late 20s, I returned to drawing more seriously - initially as a hobby. I began creating family and pet portraits for friends, which soon led to commissioned work. At the time, I was working full-time in trades like painting, decorating, and construction engineering, but those jobs left me feeling unfulfilled.
That dissatisfaction pushed me to follow my real passion: art. I transitioned from hobbyist to full-time freelance illustrator in 2015, and haven’t looked back since.
Where are you based now and who do you work for?
I'm based in Shropshire, UK. Since launching Tim Lord Art in 2015, I've had the privilege of working with a wide range of clients including:
●SHEIN
●SHEIN X
●ROMWE
●Goldove Ent / BMG
●Atmosphere Press
●Hush Hush Recordings
●Sanofi Genzyme
●Sweet Science Coffee
●Gent Supply
●Bicycle Cards
●Sleep Eater
●Celadon Productions
●Brian Derro
●Olive Murphy Consultancy
●Rosehill Poultry Specialists
●River Robins
●Greywolf
●One Planet Creative
●Sasha The Mensch
●Nicholas Domaguing Film Productions
●Steve Ashby (Businessmentals / Freelance Mavericks)
What is your personal background and what role did it play in your career?
I was deeply influenced by illustrated stories and cartoons growing up. Books like Brian Jacques’ Redwall series and the cover art of Terry Pratchett’s Discworld fascinated me. I was a die-hard fan of Calvin and Hobbes by Bill Watterson - by the age of eight, I owned nearly the entire collection.
The golden age of 80s and 90s animation had a huge impact on me. The hand-drawn charm of shows like South Park, Beavis and Butthead, Recess, Pinky and the Brain, Rocco’s Modern Life, Sharky & George, The Raccoons, and Teenage Mutant Ninja Turtles still resonates with me today.
I was also into console games with iconic characters - Sonic, Mario, Crash Bandicoot, Earthworm Jim, Streets of Rage, Street Fighter, Tekken, and Mortal Kombat to name a few.
If you weren’t in your current industry, what would you be doing?
I’d probably have put all of my energy into being a musician.
Music has always been a major passion of mine. I’m an avid amateur guitarist and vocalist, and if I hadn’t gone all-in on art, I’d likely have explored music production more seriously. I still try to balance both, as I find equal joy in them.
Can you explain your creative process? What makes it unique?
My creative process usually begins with a spark - an image, a concept, or a personal experience. My larger pieces often explore themes like:
●Pollution (Mother Nature, Atlantis, Collapse)
●The rise and repercussions of technology (Technology)
●Environmental issues like the fur trade (dEviLution)
●The increased monocultures of the planet leading to the decline of pollinators (Collapse)
●Mental health, addiction, and depression (Thanato, Monday, and more)
●Spirituality and Meditation (Meditation)
I often dive straight into ink after a rough sketch - there’s very little erasing in most creations, no safety net as you can’t rub out the ink.
I let the artwork grow organically and I use blending tools like tortillons for shading and Tombow erasers for precision, but I also embrace the natural smudges created and work with the so-called “mistakes” that I create along the way.
These imperfections often add to the depth and authenticity of the piece.
How would you describe your style?
I'd describe my style as hyper-detailed traditional illustration, sometimes bordering on dark psychedelic art or gothic psychedelic art.
It’s heavily sketch-based and tends to be packed with detail - so much that I sometimes get lost in it and end up staring at what feels like a blob of mess.
Which individuals do you gain inspiration from? Do you have any heroes in the industry?
Alphonse Mucha is a huge inspiration - I adore the Art Nouveau movement. Seeing his work in Paris was unforgettable.
Another major influence is Hayao Miyazaki, the Studio Ghibli creator. His animated films like Spirited Away, Howl’s Moving Castle, Princess Mononoke, Ponyo and The Boy and the Heron are unmatched in beauty and storytelling.
What tips would you give to aspiring creatives looking for work?
●Do what you love - regardless of money. The money may follow, but the passion is what sustains you.
●Don’t fixate on social media stats. A few real fans are far more valuable than thousands of empty numbers.
●Avoid the trap of becoming just a “content creator.” It can easily stifle your creativity.
●Get out there, join professional sites like creativepool, hire an illlustrator and social networks like linkedln, Instagram, facebook
●Find local places to sell work but don’t forget you can do it all online. Shops like Etsy are brilliant to sell art through and take out all of the hassle
●Be versatile and open to stepping outside of your comfort zone, try jobs that challenge you.
What tips would you give to other professionals to get more clients?
Hire an illustrator is a great professional site to have a portfolio and to be found by clients. It’s a great price per week and the head guy Darren is a really lovely chap. I highly recommend them
Can you share a memorable experience from your career journey that shaped your approach to creativity?
Exhibiting in London galleries - especially around Brick Lane was an amazing experience. The vibe there was electric.
Although it was fun it taught me that I don’t really need to go so far to sell work, online selling is king for me. I like to work completely from home so I can spend more time with my family and my pets
What kind of tools/kit/software could you not do without?
●Tortillon blenders for sketch shading
●Tombow erasers for precision
●Faber Castell fine line calligraphy pens for outlining
●iPad Pro with Procreate for digital sketching and concept development - procreate is intuitive and easy to use. It’s also free
What’s your secret to staying inspired and motivated?
Stay curious. Watch films, listen to music, get outside, travel, explore, experience life. Real inspiration often comes from outside the studio.
What’s the work achievement you’re most proud of?
One of my favourite commissions was Jupiter for Sweet Science Coffee in Washington, DC. The wall art was beautifully installed with a steampunk-style pipe frame - one of the most rewarding projects I’ve been part of.
I also really enjoy working with Shein creating fashion graphic design / providing licensed art. This was a new experience for me and I really enjoyed the challenge.
As someone with experience in the industry, what trends do you foresee shaping the future of creativity?
I believe traditional art is on the verge of a comeback. The oversaturation of AI-generated art is sure to create a renewed appreciation for human-made, effortful work.
I agree with what Miyazaki (Studio Ghibli creator) said about AI art - “It’s an insult to life itself”. In my opinion AI art lacks soul and real meaningful and inspiring art comes from real people.
What do you think sets apart truly exceptional creatives from the rest of the pack?
I think people who aim to create art purely for themselves - not to fit trends or chase likes.
That honesty leads to uniqueness.
One of my favourite producers Rick Rubin says: "The audience comes last”
And I believe fully that what you make for yourself is what sets you apart and If you create what you love then others will love it too.
How do you think technology has influenced the creative industries and how have you adapted to these changes?
I think that the advances in digital art creation have been great. iPad / tablets are wonderful things to carry around and use with ease remotely.
I think the influx of AI has negatively impacted the creative space. I haven’t adapted to it - I will continue creating traditional and human-made art and plan to stick to that.
I believe art should be made by people, not algorithms.
What is the one thing that you would change about the industry?
I’d eliminate AI art entirely and let art remain a human endeavour. We have been gifted with creative talents which we should use to our full potential.
Any websites, books or resources you would recommend?
●Websites: Pinterest is a fantastic tool for sparking ideas and collecting visual references.
●Books: Pan’s Labyrinth is one of my favourites (Illustrated by the awesome Allen Williams) and artbooks featuring works by Alphonse Mucha and Gustav Klimt are deeply inspiring.
●Resources: Procreate brush sets are very useful for digital art creation and are fun to use
