Ian Mitchell: Creating minimalist vector landscapes with Affinity

For Ian Mitchell, illustration isn’t just about visual style, it’s about place, presence, and process. After years in commercial design, he shifted focus to create pared-back vector landscapes inspired by the places he walks and photographs. In this interview, Ian discusses how Affinity has become an essential part of his workflow and how he approaches the challenge of simplifying the landscape without losing its essence.

Ian, tell us a bit about yourself and your creative background.

I studied for a graphic design degree many years ago before computers. I then worked in advertising as an art director in London for a few years before starting my own graphic design consultancy in Yorkshire. That’s when computers first appeared on the scene, and I began learning to create digital artwork for page layouts and vector illustrations for logo design (using the programs available at the time).

Did you always know you wanted to be an artist?

For as long as I can remember, I was destined to do something with drawing. I spent much of my youth sketching, and after years of working in commercial design, I began experimenting with digital landscapes (over 20 years ago). After a few years of balancing commercial design with my other practice of digital landscapes, I decided to focus entirely on the vector landscape work.

What drew you to working in a minimalist style in vector?

Since my early love of logos and design, I’ve applied a reduced, minimalist approach to the British landscape. I enjoy walking in nature and mentally breaking down the views on my walks, looking for shapes and ways to simplify them. Working with vectors gives me the flexibility to save and test different options without discarding ideas or designs.

How do you decide what to focus on and what to leave out of your landscape scenes?

Over the years, I’ve trained myself to mentally discard the elements of a landscape I feel are not needed or get in the way—typically people, cars, and excess detail. Instead, I focus on the main structural elements that feel essential to building an aesthetic view—such as a road or track, shadows, or a cliff edge.

When you create a new illustration, what is your process?

I can only create a new piece if the subject excites me. I need to have personally visited the location—walked it, experienced it, and taken photographs.

Back in my studio, I begin by blocking in and building up the structure, usually in black and white, to get a feel for the design. My main goal is always to create an aesthetically pleasing image that the viewer can connect with. I often have a few different designs on the go at various stages and dip in and out of them. It’s important to revisit them and see things afresh, building them up as I go along.

In the early stages I work quickly, blocking things in, while the later stages are more deliberate—fine-tuning colours and details until I feel the piece is finished. For reasons I can’t explain, I always know when that moment comes.

When did you first start using Affinity, and what are your thoughts on it?

I started using Affinity a few years ago after many years of working with the old favourites of the time. When I changed my computer, I didn’t want to be forced into working from the cloud. It was a steep learning curve—teaching an old dog new tricks—but well worth it. Affinity does everything I need it to do.

Do you have any favourite features?

I work very simply, using a tablet or mouse with a desktop Mac, and only scratch the surface of what’s possible with the program. As long as I can draw in the style I want, I’m happy—I’m less interested in exploring the more technical features. That said, I recently completed a new series that combines vector with raster, and the ability to switch between Vector Studio and Pixel Studio and import pictures is amazing.

How do you choose the locations for your work?

Most of my work is based in the north of the UK, with a few southern views created for specific reasons. I’m particularly drawn to coastal areas, and spending time walking there is essential for gathering reference. I liken my process to that of a photographer—I like to experience the landscape in different lights and at various times of the year.

What does a typical work week look like for you?

At the start of the week, I’m usually inland on the Yorkshire Wolds, where my main studio is based. That’s where I prepare online sales for posting, work with a local framer, and coordinate any upcoming shows and framed pieces needed for galleries I work with. Toward the end of the week, I’m in Staithes, a picturesque fishing village in Yorkshire, where my wife (also an artist) and I run a gallery showing our own work. I usually spend a couple of days a week there, and if it’s quiet, I use the time to progress my illustrations. These days, I spend less time designing and more time experiencing the landscape, which I feel is just as important.

What do you feel is the biggest challenge you’ve faced as an artist?

I feel blessed and lucky that my work has found an audience. In the early days, though, I struggled as a digital artist, since many galleries and exhibition organisers frowned on this “new” practice. Thankfully, that’s no longer the case. My greatest challenge now is staying true to my style and not getting sidetracked by too many different directions.

Are there any dream projects you would like to work on in the future?

I’ve been very fortunate to receive some wonderful commissions and solo exhibitions over the years. I don’t have any major dreams or goals—just to keep doing the work I love.

You can see more of Ian’s stunning vector landscapes on his website and Instagram at @ianmitchellart.