Documentation of the recent ‘Togther’ mural and banners at We Built This City on Carnaby Street in London, completed January 2018
I really wanted to design something inclusive, vibrant and fun; just like the capital. With January a time for traditional resolutions and looking ahead, I wanted to create something with a positive message we can all carry through the year, and beyond. I’m a staunch believer in the power to overcome when we work together on the issues that matter. And when we do, we don’t just work side by side, we achieve more, we create power and hold power to account. I am proud to have London as my home and love how diverse, crazy and fantastic this city is. There are so many things that we aren’t divided on as Londoners – look at what happens when there’s a huge event (or a snow day!) that makes people come together, help each other and their communities. I wanted to celebrate that.
The message that forms the centrepiece of the mural is a 3D banner, intricately cut out of wood and featuring the words: “If We Can Work Together, We’ll Work Together”. Accompanying this are two embroideries hanging in the shop’s windows, stating “Everyone” and “Everything”. I worked with textile artist Annalisa Middleton to collaborate on the banners – I wanted someone with an exquisite knowledge of fabrics and techniques to help create the part adornment, part protest banners. Annalisa’ work is incredible, and her artistry made all the fabric work even better than I could have dreamed of.
This new work came out of work I have been trying to make for ages about traditional trade union banners, and protest, and how, as a country, and world, we are going to have so much to protest about for the foreseeable future. I couldn’t quite get it right, and then I got so angry I just thought, ‘f**k it, make it directly about what you believe in.’ Starting with the general election, this perpetual project will continue as long as it needs to.
Created for International Women’s Day, these posters are part of a campaign to reclaim the ages-old language uses to demean, dehumanise and destroy women the world over. Women have long been seen as in harmony with the natural world; especially with herbs and flowers and the key to the knowledge these plants hold.
Witch contains the images of highly poisonous flowers; Aconite, Oleander, Lily Of The Valley and Autumn Crocus.
Harpy contains the images of flowers long considered highly therapeutic for their medicinal properties; March Marigold, Henbane, Camomile and Peony.
Siren contains the images of leaves from four trees long considered to have magical properties; Oak, Hawthorn, Yew and Elder.
Bitch contains the images of plants renown for good fortune – a lucky bitch if you will; Basil, Oxalis, Clover and Malabar Chestnut (Money Tree)
I was honoured to be asked to illustrated the first Royal Mail stamps released in 2017, on the theme of Ancient Britain. The eight stamp set depicts intriguing sites and artefacts from British prehistory, and provide a timeline across thousands of years – from a glimpse of a mesolithic ritual of 11,000 years ago, to exquisite metalworking of the Iron Age from 300 BC.
Featured on the stamps are: the Battersea shield; the Star Carr headdress; Skara Brae village (Orkney Islands), Grime’s Graves flint mines; Avebury stone circles; the Mold Cape (Wales) ; the Drumbest horns (Northern Ireland) and Maiden Castle hill fort.
Senior Designer, Sarah Dutton at True North, Manchester; Battersea shield, Star Carr headdress and Mold cape photos © The Trustees of the British Museum; Skara Brae village photo by Rolph Gobits © Royal Mail Group Ltd 2017, taken with the kind permission of Historic Environment Scotland/Àrainneachd Eachdraidheil Alba; Maiden Castle hill fort photo © Skyscan Photolibrary/Alamy Stock Photo; Avebury stone circles photo by Rolph Gobits © Royal Mail Group Ltd 2017, taken with the kind permission of the National Trust; Drumbest horns photo by Jonathan West © Royal Mail Group Ltd 2017, taken with the kind permission of Ulster Museum, Belfast; Grime’s Graves flint mines photo by
Rolph Gobits © Royal Mail Group Ltd 2017, taken with the kind permission of English Heritage
Inspired by travels, home, friends – a range of rooms waiting to be inhabited.
Editorial works for Glamour Magazine, 2016 onwards.
VIP Playing card designs for Agent Provocateur’s Le Salon AW14 campaign.
The recent Kenco advert has made a lot of waves as an ethical campaign that supersedes a brand. Rebecca Strickson created the beautifully intricate illustrations used in the spot, which are enchantingly animated to dreamlike effect. Researching for the specific Meso-american aesthetic including religious and tribal imagery, families, friends, death, even down to the type of ink used, Rebecca has delved into a culture of tattoos to craft a powerful and astute collection of illustrations. You can remind yourself of the Johnny Hardstaff directed spot here.
Advertising Agency: JWT London, UK
Executive Creative Director: Russell Ramsey
Creative Director: Jaspar Shelbourne
Art Director: Matt Leach
Director: Johnny Hardstaff
Executive Producer: Annabel Ridley
Production Company: RSA
Editor: John Smith / The Whitehouse
Sound: Dan Weinberg / Greek Street Studios
Music: Colin Smith, Simon Elms / Eclectic
A selection of personal portraits, depicting small moments of time in friends’ lives.
Well, I guess you know this one…!
Working with RSA films director Antony Crook and writer James Bowthorpe, Rebecca storyboarded and illustrated the central section of ‘Knock for Knock’ with Gergely Wootsch and Elroy Simmons animating.
Filmed and Directed by Antony Crook
Music by Mogwai – “Drunk and Crazy” edit
Written by James Bowthorpe
Edited by JD Smyth at Final Cut, New York
Boxer Nao Tsuchiyama
Stylist Glenn Kitson
Casting Emi Kameoka
Voice Atsushi Nishijima
Tokyo Producer Masa Kokubp
Location Manager Mitsu Hamazaki
Fixer Dan Doyle
Produced by Ben Porter RSA films
Illustration Rebecca Strickson
Animation Gergely Wootsch, Elroy Simmons
Graded by Pearly Leung at Final Cut New York
Post production and VFX Cecil Hooker, at Final Cut New York
Soho House Group
Rebecca worked with Soho House to create a line of illustrated posters and postcards for their film evening, Film Klub, monthly at Soho House, London.
Up at The O2
Rebecca created 8 illustrations for use on the changing room doors at the new experience at the O2 – walking over the roof of the dome! Working with Agency pd3, 8 extraordinary explorers, climbers, sailors & travellers were picked to adorn the doors in the ‘Base Camps’ where people get ready to climb/change back into the real world.
A wonderful series of road safety videos and prints for the Department of Transport devised by Smith and Foulkes at Nexus and Leo Burnett;
Rebecca had the great pleasure of working with them helping design the font in the titles.
Client: Department for Transport
Title: ‘The Boy Who Didn’t Stop Look and Listen’
Length: 1 x 40″
Production Company: Nexus Productions
Director: Smith & Foulkes
Executive Producers: Chris O’Reilly and Charlotte Bavasso
Head of Production: Julia Parfitt
Producer: Melody Sylvester
Production Assistant: Denise Flavell
Character Designer: Mustashrik Mahbub
Project Lead: Mark Davies
Brilliant And The Dark, 2011
Gaggle – “The Brilliant and The Dark”
The Brilliant and the Dark documents a live performance at the ICA on 2nd Dec 2010 in which Gaggle were invited by artists Eileen Simpson and Ben White of the Open Music Archive to re-interpret a 1969 cantata for women’s voices. The radically remixed cantata uses elements from “The Brilliant and the Dark”, a work for women’s voices composed by Malcolm Williamson and Ursula Vaughan Williams, and first performed by 1,000 women volunteers at the Royal Albert Hall.
Rebecca was invited by Gaggle, to provide a cover for this release. She wanted to include every band member of course, but also people referenced in the recording whether directly or through influence; hence Delia Derbyshire, Mother Shipton, Eleanor of Castile and Maya Angelou all popping up along side the band members. Creating a feeling of a group bound together on a journey, both through time and collective experience, she worked with Photoshop using photo references to create the composite image of over 40 pictures, then worked over the image again.
In 2011, The Brilliant and The Dark cover was included in Creative Review’s Illustration Annual and was shortlisted for The AOI’s Images 36 competition in 2012.
Images – photos pf CR
Close up’s on cover drawings
Image of final cover
Photo of album : Credit: Oliver Harrop, 2011