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Rilla Alexander

Rilla Alexander’s designs and illustrations have appeared on everything from toys and tea cups to vehicles, buildings and pylon signage. Her characters dance across Museo del Prado’s ceramics and stationery, populate Swiss Credit Cards and sleep on the walls of a Copenhagen hotel (where she replaced the bed with a tent). She has worked with clients such as Puma, Nokia, Absolut, Billabong, Volkswagen, Wallpaper*, Winkreative and LG.

Rilla has spoken at design conferences and led workshops all over the world and her work has been showcased at Paris’ cultural mecca Colette and at the Musée de la Publicité/Louvre.

She has published several books including Neighbourhood which features the collaborative efforts of over 30 artists reworking and remaking hand-made toys. Her latest is The Best Book in the World, an ode to reading published by Nobrow’s Flying Eye Books.


Rilla Alexander

Place of Birth:


Currently Living in:


Train, bus, bike, or other:

Flying dreams

What's the most important object in your studio?

My pencil case

Paper or Plastic?

Paper smells the best.

If you could resurrect one no longer living person to have lunch with, knowing you will have to return them to the grave right after coffee, who would it be?

You'd spend the whole lunch explaining niggly details - like how you had brought them back from the dead. I think I'll stick with live lunch dates.

Preferred method of dealing with an encounter with an acquaintance whose name you can't remember.

Depends how far into the conversation we are.

Why don't you flip the tortoise over, Leon?

"Is there any way I can train my tortoise to be able to flip itself back?" A question from the "Turtle Times": A friendly place to talk about turtles. I love the internet.

How much wood would a woodchuck chuck if a woodchuck could chuck wood?

It's not that I am trying to change the subject, but have you ever seen a microscopic "water bear"? Amazing.

Favourite client so far?

I have worked with one client for 15 years now and they trust me and I understand them. Both fundamental to any project.

Favourite imaginary client?

When I was little I would answer my imaginary phone and speak to my imaginary client. I would then draw whatever my imaginary client requested. Once finished I would pick up my imaginary phone and call my imaginary client, write an invoice and put the drawing in a folder for pick up

How does your mother describe your profession?

With a history like that you can be assured that my mother knows precisely what I do.

Coffee or tea?


What's your earliest drawing memory?

Dictating stories to my mum who would type them onto my drawings and bind them into books complete with author bio.

How do you prefer to spend your mornings?