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Main and on-end title design / On-camera work / On-site work / Hand close-ups / Period lettering & re-creation / Typographic props. My very first job was with the legendary Royal Shakespeare Company, and storytelling on stage or camera has been in my bones ever since.  Design for Film, TV & Games Graphic Design / Main title design / On-camera work / On-site work / Period lettering / Typographic & design props / Handwriting & re-creation My very first job was with the legendary Royal Shakespeare Company, and world-building on stage and camera has been in my bones ever since. Directors include Nick Tree / Aitch Alberto / Luke Scott / Ken Loach / Julian Jarrold / Jamie DeWolf Member Download a PDF -† Stepping Up †- Roughcut TV/Channel 4 / Assistant Graphic Designer - Director: Jack Clough / Writer: Josh Pugh - Coming to UK telly screens Spring 2026. Working on location I produced a bewildering array of graphics, props and illustration for this new comedy series . More pictures to follow in due course! -† Aristotle & Dante Discover the Secrets of the Universe †- Main title design, scene locations, poster, credits. - Director: Aitch Alberto / Blue Fox Entertainment - -† 'Bigger Badder Wolf' †- Main title, credits, illustrations, scenery. - Director: Sage Francis & Jason MCCafferty / Strange Famous Records - -† 'Do Grow Up' Magazine Shoot †- Arriving with pens AND make-up bag I drew realistic tattoos on model Lina with makeup on set, working with AD and photographer. - Art Director: Jessica Lockett / Stylist Magazine - -† Farmly †- Main title design and credits/end crawl. - Director: Jamie DeWolf / Writer & Producer : Buddy Wakefield - -† Season of Change †- Title design and hand-lettered annotations for this video by The Stone Foundation. - Producer: Paul Weller / Director : Richard Edkins -† 'Forest of Sleep' title / logo design †- Hand-lettered titling inspired buy the culture, folklore and geography of this beautiful, procedural game's setting - Client: Twisted Tree Games - -† Canopy Hotels Ad †- On-set design and painting of a mural, the creation of which was integrated into the TV/web ad campaign for this new chain of Hilton Hotels. We were costumed and styled accordingly! Watch the video below. - Client: HZ, Baltimore AD: Karen Zuckmerman - -† 'Stupid Enough' †- Hand-lettered title design, credits, chapter headers, quote cards. - Director: Leigh Adams & Sarah Coleman, Factoryroad/Inkymole - -† Period Drawings †- Here's a selection of hand-drawn and digital ink illustrations for or use on-set and in museum, experiential and visitor experiences. - Clients shown: Robert Burns Birthplace Museum / Shakespeare Birthplace Trust - -† Film title design †- Hand-lettered period-correct title design. - Directors : Ken Loach, Julian Jarrold / Client: The Creative Partnership London -† Other film title design †- Hand-lettered title/poster design. - for two of my favourite films! -

Inkymole is the creative studio of Sarah J. Coleman, a UK-based illustrator and hand-lettering artist. Known for intricate ink work and bold typography, Sarah creates artwork for advertising, book covers, editorial projects, packaging, film and TV. Her shop features original prints, jewellery, stationery, and limited-edition collaborations, all rooted in a love of storytelling through illustration and letterforms. My name's Sarah Coleman; artist, illustrator, designer, lettering artist, public speaker, lecturer, writer, pen & ink lover. With a joyfully expansive roster of global clients in advertising, design, film, music, publishing and health, I make energetic analogue and digital work alongside a lifelong love of juggling myriad personal projects. I've got a big folio and a lot of skills - if you want the deep dive, get stuck in! Read more Personal work for 'The Video Shop' filn poster exhibition, October 2025 Cover work for the LA Times Personal work for 'The Video Shop' filn poster exhibition, October 2025 1/28 It's always delightful to work with Sarah. We've commissioned her ebullient illustrations on several projects now, and her creativity, professionalism and delivery have exceeded expectations every time. Jackie Burrell, Bay Area News Group Latest Film & TV work Watch us paint our car - twice! Designing an identity for Maine Big Adverts for BIC Global New book - the discovery of climate change Why I hand-print on a tiny Riso... Once again with 13 short, unnerving stories and illustrations f or each one (this time with hidden surprises) this promises to be the mouldy cherry on the top of what has become a trio of horrifically successful collections for young readers. My third book with Josh Allen is out - a horribly perfect read for lovers of the eerie 🎃 READ ALL ABOUT IT Coleman’s dark, unsettling full-page illustrations further heighten the horror and add to the appeal of this well-paced, compelling anthology. - Kirkus Reviews I created pen, ink and collage illustrations for this video by Strange Famous Records. Sarah is a delight to work with . Her enthusiasm, experience and pure talent make her the consummate professional. She consistently goes above and beyond what we ask of her; I am often surprised by unexpected extra touches in her work. In addition to an incredible final result, you can expect flexibility, good communication, and genuine passion. She really loves what she does...and it shows! ~ Sally Morgridge, Snr. Editor, Holiday House Books 1/19 Andrea Gibson 13th August, 1975 - July 14th, 2025 Poet laureate, friend, colleague, collaborator, inspiration and fully-rounded human, Andrea's work featured in mine almost from the moment we met. You can see it all over my portfolios, but in particular here . I aim to continue the practice! 💜

Inky illustrations made by the original inkvangelist, illustrator Sarah J. Coleman, co-creator of the annual Diamine Inkvent Calendar. Buy prints and original artwork. The Inkvent Calendar 2024 Daily ink pieces created and captured for December 2024's Inkvent project. Originals for sale with a donation to A collaboration with Diamine Inks Buy Inkvent Art Buy Inkvent Calendar s Buy Inkvent Inks See them created on In ks tagram

Inky illustrations made by the original inkvangelist, illustrator Sarah J. Coleman, with the annual Diamine Inkvent Calendar. The Inkvent Calendar 2023 25 daily ink pieces created and captured for December 2023's Inkvent project. Originals for sale with proceeds to A collaboration with Diamine Inks Buy Inkvent Art Buy Inkvent Calendar s Buy Inkvent Inks See them created on In ks tagram

Novels Back Books for grown-ups, mostly fiction. This is not all of them, but I know you won't want to be still scrolling at tea time. All are published unless otherwise stated, and if you'd like to see any of them in greater detail, just ask.

Watch sessions broadcast live as I work through projects, draw and demonstrate illustration and lettering techniques and tools. Watch as I explore my process live on camera, to watch back on screen at any time, working with Adobe and other partners. Live Streams Adobe Live from Munich 🎅🏼 Christmas 2024 Edition 🎅🏼 Enjoy my first session as an Adobe Live Host with guests Rourke Heath and Hadrien Chatelet! In this session: - Hadrien Chatelet shares how to create custom Christmas designs in Adobe Express - jumpers, post cards and more - with the help of templates and custom assets, fully unafraid to embrace the silliness of the season. - Rourke Heath showcases how he uses Photoshop to create his distinctive, sparkling Instagram thumbnails, focusing on short form thumbnail creation with his trademark glowing effect. Adobe Live from Munich Hallowe'en Special! Watch as I create 3 ready-to-share Hallowe'en cards: 1, using artwork created on ink and paper, with additional organic elements made in Adobe Fresco; 2, using only imagery and textures sourced from stock, and 3, a combination of both existing artwork, stock and fonts. On from 58:00 . In this session I include, among many other things: - using Fresco's live brushes to make beautiful, bleeding 'robot ink' backgrounds and textures - deploying simple layer blends to create atmospheric effects - the usefulness of Express's 'remove background' feature - and when to go long-hand! - easy colour changes and palettes in Express - saving and exporting finished cards Adobe Live from Munich Creating promotional assets for the promotion of a new book, using Adobe Fresco and Express Still deep in promotion for my recently-published book collaboration - a collection of illustrated short horror stories for kids - I used this session to demonstrate the creation of social posts and a little animation. I’ve included the whole session, but fast-forward to 1:24 if you want to go straight to me! In this session I include: - taking an existing vector illustration made in Fresco and animating to to make a shareable GIF - hand-lettering a horror-esque shoutline in Fresco using gnarly brushes - using illustrations from the book with the lettering I made to put together an Instagram post in Express Adobe Live with Sarah Coleman: Christmas Wrapping Paper Mid-century inspired brushwork giftwrap - done digitally Inspired by my own brush pen illustrations and the fantastic mid-century explosion of bold design and colour in textiles and paper goods, I make a repeat pattern entirely in Photoshop. In this session I include: - drawing with Kyle Webster's brushes, to simulate my 'IRL' pens - research into specific design eras - layering up - repeat patters 'the long-hand way' Adobe Live Book Club with Sarah Coleman: Historic Eras Only If You Dare - 1963-style! In Part II of the Historical Eras series, I created a cover for a book I've done in real life - but I went back in time to be inspired by the textiles, wallpapers and book designs of the early 60s! In this session I include: - drawing with Kyle Webster's brushes, to simulate my 'IRL' pens - research into specific book design eras - layering up - using Adobe Stock to create paper backgrounds See the finished cover Adobe Live Book Club with Sarah Coleman: Historic Eras DRACULA! Looking at historic styles and periods in book design, I create a cover for Bram Stoker's Dracula which pays homage to the ornate, beautiful cloth and leather-bound editions of the late 1800s and early 1900s. In this session I include: - drawing with the symmetry tool - simulating a 6mm parallel ink pen - gothic lettering from scratch - deploying Adobe Stock and Adobe Fonts - historic and geographical inspirations - making marbled endpapers, 100% digitally! See the finished cover Adobe Masterclass with Sarah Coleman FAN ART! 'Dark': The Novel In a 'Brush'-centric special I created this bit of fan art: the book of the Netflix series Dark. In this session I include: - setting up a template for a real book cover - drawing with the symmetry tool - time-lapses of ink creation - integrating organic hand-made elements - using layer styles to create atmosphere - making and tweaking bespoke brushes and their settings - synthesising analogue fountain and other pens with digital brushes See the finished cover Adobe Live Book Club x Sarah Coleman Creating a book cover in an hour - from scratch, using ink elements and Photoshop, chosen by last week’s audience. In this session I integrate: - using layer styles to create textures - adding scruffy hand-lettering via vectorisation - using Kyle Webster’s brushes - using the content-aware tool - Enjoy the session! ‘A Scanner Darkly’ by Philip K. Dick See the finished cover Adobe Live Book Club x Sarah Coleman The Fall of the House of Usher’ by Edgar Allen Poe Each session starts with a look at previous versions of the cover, and for this one there are many. In this session I do the front and the back of this cover, suggested by last week’s audience This session includes: - choosing and using licenced Adobe Stock - layers tyles and textures - using the mirror drawing tool to create a symmetrical image - making my own brushes from original art - layer discipline and modifying brushes See the finished cover Adobe Live Book Club x Sarah Coleman ‘The Institute’ by Stephen King Creating a book cover in an hour - from scratch! The first of four the sessions saw me create a book cover from scratch using sketches, ink elements and Photoshop. I n this session I include: - setting up a template for a real book cover - a brief look into my workflow - time-lapses of ink creation - integrating organic hand-made elements - using layer styles to create atmosphere See the finished cover ‘The Omen’ (novelisation of the film) Adobe Live Book Club x Sarah Coleman This was never actually a book - it was a film first, which was novelised later, and thus had no real ‘cover’ precedent. I wanted to get away from the cliches that have gathered around ‘The Omen’ In this one I demonstrate the creation of a very organic woodcut-inspired look: Along the way I look at: - Kyle’s pencil, fountain pen and chalk brushes - creating brushes from a Photoshop sketch - why I ‘colour in’ rather than ‘fill’ - ‘dialing down’ on the sophistication - and we discuss the real identity of the Antichrist! See the finished cover

Back Pulp Kitchen Feargus O'Sullivan Pulp Kitchen was a great idea - recipes for food you could cook named for, and inspired by, your favourite films: "More delicious than Scone With the Wind ! Hotter than The Wild Brunch! More chilling than The Texas Chainsaw Moussaka ! Have you ever been tempted to fry someone's liver with fava beans and a nice chianti? Or to try 'what she's having' in When Harry Met Sally? And just what do the hobbits eat in The Lord of the Rings? " I did all the internal illustrations with a dip pen and ink. It was a joy to do, the book was full of humour, and affection for the big screen. Buy a copy here

Back Special Projects: Created over a two-year period, Tinselsnakes is a story told in three voices, written by Ed Garland and illustrated by me. It combined all our loves in one projects - music, writing and art - taking the form of a full colour picture book and 7” white-vinyl record, with a specially produced glow in the dark 45rpm adapter at its centre. "This little winter tale is seen through the eyes of Daddy, The Child and Mummy, who all see something marvellous happen..." It was narrated by rapper and spoken word poet B.Dolan (Strange Famous Records) over music commissioned from and produced by Buddy Peace (WarrenPeace/Strange Famous/Speech Development Records). Taking cues from inspirations that included Edward Gorey, Jan Pienkowski, Dr Seuss, Tim Burton and the ‘Music for Pleasure’ 7”s of our childhood, I created experimental hand-drawn, inky-cold scenes of strangeness and snow to Ed Garland ’s ultimately joyful story of spontaneity and irresponsibility by adults who should know better: cold, alcohol, snow, tinsel, flying bowling balls, ulterior motives, suspicious townspeople and freezing hands. The project was mailed to hundreds of clients, fans and collectors, with a limited number of copies for sale via the Inkymole Shop, long since sold out. Visit the Tinselsnakes website

Poetry Books Back Write me a picture and I'll paint you a story...

Special Projects Outside of commissioned and commercial work I do lots of other projects. These are often created and executed with my partner Leigh, and are usually things we want to try out, do for the sake of doing, or experiment with. They’re neither designed to make money (though they sometimes do), nor to satisfy any brief but our own. They’re also, sometimes, collaborative, and are almost always for the entertainment and engagement of other people. Tinselsnakes Postal/global, 2010 Yet to complete. The Witches London, Manchester, Hinckley 2008- 2010 Yet to complete. Altar Ego Radio Global, 2014-15 Yet to complete.

The third in the series of middle grade horror story collaborations by Josh Allen & Sarah J. Coleman! 13 stories to shiver and shock, with unsettling pen and ink illustrations for each and every one... Back to the Illustrated Books Dayna Daydream Becomes A Lawyer Jen Santavy, illustrated by Sarah J. Coleman Dayna Daydream has a secret...she can be anything she wants, with a little touch of her golden cloud pendant. But here's another: so can you! The first Dayna Daydream book is published 11/11/25. Read about Dayna's journey Illustrations were made with ink, pencil and paper with a little digital magic! Some close-ups: OTSY Booklist review You won’t find character descriptions for the main characters in my series. It’s a choice I made for a very specific reason. I want every reader to imagine themselves in the story. To see that they can be the one who argues in court, solves a big problem, or overcomes their fears. These books are all about imagination, after all. So tell me...what does Dayna look like to you? — Jen Santavy I even designed a special font for the Dayna series, for the voice of Jenny Jitters, Dayna's best friend. We called it 'Jenny', of course! Behind-the-Scenes - making the cover Artwork, development and sketches

Get in touch with Sarah J Coleman, the pens and pencils behind Inkymole's illustration and lettering art Copyright x AI I've been working with Design & Artists Copyright Society in the UK as part of a working group to help form a response to the UK government’s AI & Copyright Consultation. Our government is seeking to change decades-established copyright law in the face of the rapid and unchecked growth of AI. We have a very short timeframe in which to object - February 25th, 2025. Copyright is a human right enshrined in law by the Berne Convention . It is the mechanism by which millions of people are able to earn a living through their creative works, through royalties, licensing, resale, and the protections that copyright gives from plagiarism and IP theft. A lot of technical and logistical detail has been explored in these sessions in terms of possible models for a way forward that doesn’t impact current copyright law , while acknowledging that what we’re doing is akin to negotiating with the school bully AFTER he’s taken your lunch money. Here are some resources to help you make sense of what's happening, and what you can do. Download this template letter to send to your local MP https://we.tl/t-b5nwqfrUri The Copyright, Designs & Patents Act of 1988 https://en.wikipedia.org/wiki/Copyright,_Designs_and_Patents_Act_1988 Establishes that copyright in most works is automatic at the point of creation and lasts until 70 years after the death of the creator if known, otherwise 70 years after the work was created or published What artists need to know https://www.dacs.org.uk/news-events/copyright-and-artificial-intelligence-consultation-what-visual-artists-and-rightsholders-need-to-know Understand the facts of what is being proposed and the potential impact. The UK government's open consultation https://www.gov.uk/government/consultations/copyright-and-artificial-intelligence/copyright-and-artificial-intelligence It's wordy as hell - but well laid out and clear - grit your teeth and try and get through it if you can! Have Your Say https://ipoconsultations.citizenspace.com/ipo/consultation-on-copyright-and-ai/ "The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted.” Sign this STATEMENT on AI TRAINING https://www.aitrainingstatement.org/ "The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted.” Object to the government's proposed copyright exemption for AI training on this google docs form Have your say, before 25th February. The objection, representing the approximate 2.4million creative workers in the UK, demands transparency and a strong copyright regime that safeguards the livelihood of freelance workers and the vitality of human creativity. RESPOND to the proposals via the Intellectual Property Office https://ipoconsultations.citizenspace.com/ipo/consultation-on-copyright-and-ai/consultation/ Give the IPO your views directly. See if your work has been used to train AI models https://haveibeentrained.com/ If so, you can choose to opt these images out. It's not perfect, but it's a start, and built by some very good people working for years at the interface of artificial intelligence and creativity. Read about a prototype registry of Public Domain and open-licensed works https://openfuture.eu/blog/open-future-launches-commonsdb/ An initiative funded by the European Commission, to create a prototype registry of public domain and openly licensed works. The CommonsDB registry will enable users to verify the rights status of content from multiple sources. Have a look through The Association of Illustrators' resources on AI https://theaoi.com/resources/professional-practice/artificial-intelligence-updates/ The AOI have been thorough and relentless in keeping abreast of developments in real time. Delving deeper: Tools for developers https://spawning.ai/#content Developer tools to make it easy and efficient to filter do-not-train requests. Spawning ’s Data Diligence package and API surface all machine-readable rights reservation methods and keeps developers in compliance with the EU’s TDM Copyright Exceptions. Read my thoughts on AI, in this series of articles https://inkymole.substack.com/ TL;DR: I'm not anti-AI. I've used artificial intelligence for years in the form of Photoshop tools, and in shopping, translation, voice recognition, ID verification and myriad more ways that are hidden in plain sight. I want it to scan for cancer cells with a hitherto only dreamt-of accuracy and speed. Model 20,000 laser-surgery outcomes in 24 hours to find the right treatment for short-sightedness. I want it to ease the burden of dangerous, difficult work that puts humans at risk. I want it to make human-focussed medical and scientific leaps so that humans suffer less, are exploited less. What I am against the erosion of a human right central to the earnings of one industry in order to engorge the profits of another. "The underlying purpose of Al is to allow wealth to access skill while removing from the skilled the ability to access wealth" - Jeffowsky (thank you to fellow campaigner Chris Haughton for bringing this quote to my attention). No; this page is about the use of generative AI and its training entirely on existing creative works. I refer to you Isaac Asimov's Three Laws of Robotics: A robot may not injure a human being or, through inaction, allow a human being to come to harm. A robot must obey the orders given it by human beings except where such orders would conflict with the First Law. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law. https://en.wikipedia.org/wiki/Three_Laws_of_Robotics