Editorial Illustration Masterclass with Luis Mendo

In this masterclass we meet illustrator Luis Mendo, joining us live from Tokyo. Luis has worked with clients including Apple, The Guardian, The New York Times, Forbes, Uniqlo, Washington Post and WIRED.

In this session he shares his story of moving from 20 years in creative direction to full-time illustration, his process for tackling editorial briefs, and his advice for building a sustainable practice.

Originally part of our 28-Day Editorial Challenge (2023), this replay is back to get you fired up for The Editorial Illustrator’s Playbook.

Set aside an hour, grab a sketchbook, and dive into practical tips on briefs, concepting, and pitching—so you can create editorial work that gets commissioned.

Hit play, take notes, and get excited for what’s next!

Check your email for the password to access this session.

Luis Mendo’s Story in Brief

• Career shift – After two decades as a creative director in Amsterdam, Lewis relocated to Tokyo and gradually rebuilt his career as an illustrator.

• Personal sketching practice – Keeping daily sketchbooks and travel diaries (first on Flickr, later on Instagram) became the backbone of his portfolio and led to early commissions.

• Starting small – His first job (a wine label) was “a disaster” but he kept going, improving with each project.

• Agency representation – By showing his sketchbooks to a Tokyo agency (Building), he landed representation and his first paid illustration jobs.

Key Themes & Takeaways

1. Draw All the Time

Lewis emphasised that drawing constantly — at home, on trips, even in the bath — builds both skill and confidence. It’s meditation, observation training and portfolio development rolled into one.

2. Find Inspiration Close to Home

• Your own environment — your desk, neighbourhood, family, favourite cafés — can all feed your illustrations.

• If your surroundings feel uninspiring, look beyond your comfort zone: other people’s stories, podcasts you wouldn’t normally listen to, new subjects and industries.

• Editorial work demands breadth: one week you might illustrate a far-flung travel story; the next, a Federal Reserve interest-rate piece.

3. Observation as a Superpower

• Spend at least a third of your time looking and noticing.

• Draw rather than photograph to lock memories and details into your brain.

• When studying references, look beyond the obvious — texture, print style, and production quirks can inspire your own visual language.

4. Build and Feed Your “Visual Library”

Everything you take in (books, signage, nature, products) becomes raw material. Feed it deliberately.

5. Case Studies Showed His Process

Across examples for The New York Times, Wired, and more, Luis walks us through:

• Printing the brief and highlighting key ideas.

• Producing many rough sketches (some polished, some very rough).

• Working out lighting and composition separately from colour.

• Offering multiple colour options to the art director.

• Accepting that revisions and curveballs are normal in editorial work.

6. Think Like a Director

As an illustrator you’re also:

• Casting director – choosing characters.

• Lighting designer – setting mood and tone.

• Cinematographer – deciding viewpoint and framing.

• Writer – telling the story visually.

7. Master the Brief

A solid editorial brief should include deliverables, reference images, style pointers, sizes, deadlines, and usage details. If it doesn’t, ask clarifying questions and “debrief” the client to ensure alignment.

Quick Tips from Luis:

• Stay curious. Read widely, listen to unexpected podcasts, and expose yourself to new ideas.

• Make your workspace work for you. Small but inspiring beats big but soulless.

• Keep humour and humanity in your drawings. Small visual jokes or quirks make work memorable.

• Expect the unexpected. Timelines shift, feedback arrives late, and preferred sketches can change last-minute — flexibility is part of the job.