In the world of illustration, few voices resonate with as much clarity and passion as Mark Braught. With a career spanning publishing, editorial, and advertising, he’s crafted visuals that do more than just decorate—they tell stories, convey messages, and connect deeply with audiences. Guided by a philosophy centered on solving creative challenges within clear parameters and inspired by a lineage of legendary mentors and contemporaries, Mark brings a thoughtful and disciplined approach to the craft. From hand-drawn traditions to digital innovations, from dream assignments to professional achievements, and from personal values to future aspirations, this QA offers an insightful glimpse into a life dedicated to the art of visual storytelling.

Introduction by Roger Sawhill, Graphic Designer & Partner, UP-Ideas

I know Mark Braught as an illustrator, designer, art director, type designer, teacher, friend, business partner, and distant cousin (something we learned by accident). He likes to fly under the radar, doesn’t look for the limelight, and wants to do great work—and when he gets going, he can be a machine. His eye for mixing colors, especially in his pastel work, is beyond amazing. Layer upon layer of color goes into a piece. Weird greens, shocking oranges, intense purples—all stacked on top of each other—but the result has this intense depth and vibrancy. Frankly, his sketching abilities make me envious. I am lucky to call Mark my friend and business partner.

What is your work philosophy?

Does the solution address the problem within the parameters supplied to the best of my abilities?

Who is or was your greatest mentor?

John Laska, Hazel Gamec, and Rob Lawton.

What is it about illustration that you are most passionate about?

Effectively communicating a message to an audience.

Who have some of your greatest past influences been?

Herb Lubalin, Mad magazine, Mary Cassatt, N. C. Wyeth, Brad Holland, John Collier, Bernie Fuchs, Jack Unruh, and Norman Rockwell.

Who among your contemporaries today do you most admire?

Greg Manchess, C. F. Payne, Bill Mayer, Laura Freeman, and Tim Jessell.

What would be your dream assignment?

Something involving a series of images establishing a brand or a great children’s book manuscript.

Who have been some of your favorite colleagues or clients?

Tom Gundred, Lloyd Brooks, Heather Hughes, Jennifer Bacheller, Mike Weed, Sleeping Bear Press, and Strange Duck Brewery.

What are the top things you need from a client to do successful work for them?

The parameters and goals of the project, as well as an environment of mutual respect conducive to collaboration.

What do you consider your greatest professional achievement so far?

To be able to continue to create solutions in this industry.

What about your work gives you the greatest satisfaction?

Creating successful, creative solutions.

What part of your work do you find the most demanding?

Striving for the standard my mentors embedded in me: “Good isn’t good enough.”

What professional goals do you still have for yourself?

Again, “Good isn’t good enough.”

What advice would you give to students starting out today?

Be curious, be passionate, be brave, and work hard.

What interests do you have outside of work?

Playing tennis and literary festivals.

What do you value most in life?

Family, friends, and time (all of these are finite and irreplaceable).

What would you change if you had to do it all over again?

Nothing. To change anything would risk where I’m at, and I’m pretty happy where that is.

Where do you find inspiration?

Just about anywhere. I love going down rabbit holes.

How do you define success?

Waking up excited and happy to face what the day has in store.

Where do you see yourself in the future?

I never saw my career developing as it has, and it became more than I could have dreamed, so I am more curious than most to see what the future holds.

How do you balance your work with your personal life if there is a distinction between the two for you?

In many ways, they coexist pretty seamlessly. They feed off each other most of the time.

In what ways do you see your field changing over the years?

The technical barrier between the industry and its consumers is, in a very broad general manner, continuing to disappear at breakneck speed. With our clients having access to resources to create solutions easily, it is a challenge for us to develop “a game” for better solutions and to earn our keep. It is an excellent opportunity to earn and/or maintain respect for what we do.

You mainly do hand-drawn work, though you sometimes do digital illustrations. For you personally, why hand-drawn over digital, and is hand-drawn a dying art?

Drawing will always stay in style. It is fundamental to visual communication like the alphabet is to writing. Does writing on a laptop make someone a better writer?

Digital is just another way to do it, not a way to replace it. I use a medium in response to the problem at hand and what is needed to get the image where it needs to be.

You illustrate for publishing, editorial, and advertising. Is there a category you prefer to illustrate for, and are there similarities and differences between working on each one that might not be obvious?

Each category offers unique challenges, but they all have a story that needs to be told visually. These challenges are very appealing.

Some of your most recognizable works are your Harry Potter illustrations. How did you get to illustrate one of the biggest literary series of all time?

LOL! That is a great question. You would have to ask Tom Gundred (the art director for the project). It was a great experience, and I am still very grateful for the opportunity. The short answer is that he called.

Other than your illustration work, you also run UP-Ideas with Roger Sawhill. How was UP-Ideas founded, and how does that work differ from your illustrations?

UP-Ideas evolved from both of us teaching at Creative Circus and collaborating on various freelance design projects we both had, including the identity of the school. We discovered that we have great chemistry when working together and felt that our combined experience would greatly expand our opportunities. I primarily function as a designer but occasionally illustrate if the project calls for it.

You’re a member of numerous organizations, such as the Society of Illustrators and the Illustrators Partnership of America. How have such memberships benefited and shaped your work?

Interacting in these organizations has been an incredible asset. So much was learned about our industry from some of the best it has to offer. Networking is also a great benefit. They helped me see the bar I wanted to meet and gave me information on how to meet it.

Mark Braught studied graphic design at the Minneapolis College of Art & Design and graduated with a BFA from Indiana State University in 1979. He has lived and worked in Georgia since 1991. He joined Roger Sawhill to create what is now UP-Ideas in 2007. Mark’s wide-ranging experience encompasses the design of books, identities, packages, collateral, exhibitions, and illustrations. His clients have included IBM, General Housewares, Churchill Downs, Warner Bros., the State of Indiana, the Cincinnati Zoo, the Women’s League of Indiana, Citibank, ProServe, and AT&T. Mark’s work has been recognized and received numerous awards from the NY Art Directors Club, Communication Arts magazine, Print magazine, the Society of Illustrators (NY and LA), Graphis, and other regional and local organizations. He has served as the president of the Indiana Art Directors Club, a board member of the Graphic Artist Guild (Indiana), and is a member of the Society of Illustrators, the Society of Typographic Arts, the Society of Children’s Book Writers & Illustrators, and the Illustrators Partnership of America. Mark has lectured at institutions and organizations nationwide and has taught at the University of Georgia, the Portfolio Center, Ivy Tech Community College, Hollins University, and the Creative Circus.

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Discover other creatives in the Graphis Journal #384.