Beth Suzanna

Like the paper-cut collages she’s known for, Beth Suzanna’s creative journey has been anything but linear. Layered, colourful and full of unexpected connections, it’s spanned everything from illustrating an award-nominated picture book to collaborating with brands like Hermès – all while keeping people at its heart. It hasn’t always been easy, though. Rejection, comparison and self-doubt have also been part of the process. Here, Beth shares how she stayed playful, trusted her instincts and embraced her identity through it all to craft a career that’s as vibrant and dynamic as her work.

What I do

How would you describe what you do?
I’m a freelance illustrator based in London who creates uplifting work rooted in colour and connection. Be it celebrating diversity through paper-cut portraits or sketching the energy of vibrant communities, my illustrations are all about using tactile mediums to create a playful, authentic feel – one that captures our everyday world in a human and empathetic way. This translates across everything I do, from editorials, posters and picture books to covers and campaigns.

Beth's paper cut piece – ‘Throwing Shapes’

What are the main influences and inspirations behind your work?
Colour is a big inspiration to me and a through line in all of my work. I always use vibrant, non-naturalistic palettes to evoke emotion and give my illustrations a playful feel.

My own identity also plays a big role in my work. As a person with mixed heritage, identity is a theme I’m always exploring. Whether I’m working in pastel or paper, my focus is always on representing people, showcasing their unique identities and celebrating diversity.

I usually bring my sketchbook out with me so that I can bottle the energy of people in different places. What colours reflect them? What simple elements can capture their emotion? You’ll often find me in lively spaces like markets, gigs, galleries or coffee shops, observing people to create illustrations that feel alive.

Would you say you need any specific training for what you do?
I studied illustration at university and loved it. It gave me the space to really play and explore what my work stood for, while also allowing me to begin building a creative community. However, I don’t think it's essential to have any specific training to be an illustrator. I’ve learnt so much from throwing myself in and learning as I go.

Just as important is knowing how to navigate the business side of your practice. That could involve cross-referencing a fee with your peers or asking a client more questions in the early stages of a commission. There’s no formal training for that, but being a member of the Association of Illustrators really helped me, especially in the early days, to gain an understanding of copyright, contracts and negotiating.

Beth's sketchbook behind the scenes

What’s been your favourite project to work on from the past year, and why?
Over the past few years, I’ve expanded my practice into live events and workshop facilitation. I’d felt that there was a gap preventing people from connecting through creativity in real life, especially after the pandemic – and having often been asked about my paper illustration process, I wanted to share it with others.

This past year, I’ve worked with some amazing clients like Casetify and G . F Smith, as well as with community spaces such as Roundhouse and The Quentin Blake Centre.

A highlight was working with Hermès last summer to create live paper portraits at their new Bond Street store. Using their iconic colour palette, I sat on their sunny terrace and chatted with guests while creating quick-fire collage portraits for them to take home. Meeting so many lovely people and seeing how pleased they all were with their portraits made it a really great experience. As someone who thrives on being around people and championing community, I love bringing my work to life beyond the page.

What does a normal day-to-day usually look like for you?
I recently moved into a new studio space in Dalston and it’s really helped with my work-life balance. I feel really lucky that I have a commute, which gives me an opportunity to get outside and be around other creative people.

I usually start my days with admin tasks such as emails, invoicing or new client outreach, which I try to carve out time for a few times a week. Then, I get stuck into something creative. The specific project I work on varies – I usually juggle several on my plate – but I tend to focus on one creative project per day so that I can fully immerse myself and get into a flow.

How I got here

What was your journey like when you were first starting out?
I used to think that a creative journey consists of having one big break, after which you’re plain sailing. The truth is, it’s a daily commitment: you have to constantly dedicate yourself to your work and put yourself out there despite rejection and setbacks. This gets easier as time goes on, so try to be kind to yourself when starting out. It's all part of the process.

How did you go about landing your first few jobs, clients and/or commissions?
I landed my first few commissions through social media. It’s not all about the number of likes or followers though – if your work is authentic and unique, it can attract the right attention. For example, Bloomsbury reached out to me in 2020 after seeing a colourful sketchbook page I shared. The post only had around 50 likes, but it resulted in me publishing my debut picture book with them. Sometimes, your unique perspective can be exactly what someone else is looking for.

At the same time, I created a lot of personal work and shared it on my website. It helped me clearly communicate my creative perspective before pitching to clients. That led to an editorial commission for Politico US and an illustration for a human rights foundation’s report, both of which aligned with the themes of my personal pieces.

So, make work that you’d love to be commissioned for and share it with pride. Be bold about reaching out – you have nothing to lose. I like to think of this as planting seeds: it might take a while to see things come to fruition, but you’ll be building a body of work that reflects who you are.

What has been your biggest challenge along the way?
As an artist, you’re channeling a lot of your personality through your work, so when you miss out on a project or an opportunity, it can feel like it’s about you. But it’s important to remember that it’s never personal!

How important are social media and self-promotion to your work?
Social media has been a really great tool to share my work. I’m trying to be more consistent with posting about my process and showing the face behind the work, as I love seeing that from other creatives I follow. Watch this space!

Editorial commission for Politico Magazine

What are three things that you’ve found useful to your work or career, and why?
One of the most useful things is to reframe comparison as community. Whether it’s through Instagram DMs or in-person events, speaking to other creatives in the same position as you really demystifies the industry and creates a support system for yourself and others.

I’ve also found that it’s important to fill up your creative cup. This sounds simple, but you can’t create something from nothing. Go on a walk, take pictures of interesting colour schemes, see an exhibition, listen to a talk – fuel yourself up so that you're in the best position to create.

Finally, don’t fall into trends. Trust in what you do and hone your craft. You're the only one who can create the work you do, so don’t shrink it into what you think people want. Trust that it’ll be the right fit for the right project, and keep plowing away.

Beth at work

Have there been any resources you’ve found helpful or would recommend to get into your sector?
I always keep an eye out for open calls on Instagram or LinkedIn. In fact, I got my residency at Hay Festival in 2023 by applying through a job board!

Another helpful resource is Run the Check – it’s a great page to follow.

What have been your greatest learnings with making money and supporting yourself as a creative?
Being an illustrator isn’t just a hobby – it’s a creative business. I’ve learnt that it’s important to advocate for yourself and have boundaries. Being clear and assertive benefits both you and the commissioner as it makes you easier to work with. For instance, I’ve found that follow-up confirmation emails are the best way to work out terms for a commission, as they give everyone a clear record of what was agreed.

Beth's self portrait paper cut illustration

Advice

What advice would you give to someone looking to get into a similar role?
Put yourself out there and don’t wait to be invited. Although this sounds like a cliché, it’s some of the most actionable and practical advice you can start applying today. Step into new situations, pitch for a dream project and attend networking events – there are a lot of elements in the creative industry that are out of your control, but focusing on small actions you can take each day will get you where you want to go.