Christmas work-a-thon p.3

Online

Ping Zhu's website

It's Nice That website

Fishink

The Heart Agency

Pinterest

                               

Publication

Children's book of biology, illustrated by Charley Harper

Owen Gildersleeve for The Guardian

IKEA instruction manual

Lemony Snicket's The Dark, illustrated by Jon Klassen

Pages from Lizzy Stewart's A Trip to Helsinki zine

Product

Ceramics by Alex Sickling

Wall paper by Mark Hearld 

Tinhead album cover for Foals' Antidotes

Commemorative Quentin Blake stamps,
commissioned by Royal Mail, Christmas 1993

                                      

Etched silver lion brooch by Emily Sutton

                                   
                                           

Christmas work-a-thon pt. 2

Publication

• Zines
• Editorial illustrations (newspapers and magazines)
• Children's picture books
• Graphic novels and comic books
• Book covers and jackets
• Instruction manuals (technical illustrations)
• Text books (educational illustrations)
• Classic book illustrations

Places

• Exhibitions and galleries
• Train stations (underground maps)
• Billboards 
• Posters and fliers
• Street art (graffiti)
• Court reportage drawings
• Road signage
• Wall murals (often seen in hospitals, nurseries, etc.)
• Shop windows, visual merchandise displays
• Art, illustration, comic book festivals or conventions

Products

• CD and vinyl album artwork
• Packaging
• Fabrics and furnishings
• Printed ceramics
• Stationary
• Greetings cards
• Wall paper
• Clothing 
• Stamps (postal/commemorative)
• Jewelry

Online

• Artists websites
• Art agency websites
• Online news publications (editorial illustration)
• Online games/apps
• Online shops & boutiques
• Advertisements and advertisement banners
• Artist's social media sites
• Collective design blogs/portfolios
• Online magazine features
• Food websites/blogs/journals.

PPP task III: Pinteresting (pun is author's own)

    What illustration means to me:

• Illustration is about more than just drawing pictures - it is about translating the world around us into something more than reality. 
• Illustration is, at its core, communication. Illustration is never without purpose, message, or meaning.
• Illustration is freedom. More than strictly  representational forms of art, illustration allows the artist to be playful, and to play with different media, techniques, and ways of crafting images, without always being restricted by the confines of reality. Part of why I love is illustration, is that sometimes the image is - oddly - the least important part, and it is the message at the core of the image that really speaks.
• This sort of follows on from my last point, but illustration is so freeing in that rarely do right and wrong come into play. Obviously all art is subjective, but especially in storytelling, or narrative illustration, how the artist manages to get from A to B, sometimes in the most offbeat way, 
• To me, personally, illustration is about storytelling. I love, storytelling, I love stories and I love characters. and so naturally, ilustration for me always comes back to my love of illuminating stories. 

Texture & Pattern - Laura Carlin

Character - Misroslav Sasek 

Line - Faris Badwan 

Shape - John Piper

Colour - Blexbolex

Colour - Emily Sutton

Nostalgia & Progess

It's not everyday that you see an exhibition filled with work by some of your all-time illustration heroes (and Matt) arrive on your doorstep. Luckily, for me, a small collection of work by artists such as Edward Bawden, Edward Ardizzone, Emily Sutton, Mark Hearld, Jonathan Gibbs, and, of course, Matt, has moved in to the gallery in the University of Leeds, and so I took myself off for a wander round. 

WOW, is all I can say.

The exhibition in entitled Nostalgia & Progress, and focuses on British illustration since the end of WWII. Seeing so much brilliant work really brought home to me exactly what makes illustration such an exciting and worthwhile practice, and why I so enjoy working toward something. After a difficult couple of weeks, this was exactly what I needed to recharge my creative batteries.

OUIL403 self evaluation

1.  Which practical skills and methodologies have you developed within this module and how effectively do you think you are employing them within your own practice?

I have begun to develop an understanding (however low-level) of digital drawing, and tools such as Photoshop and Wacom tablets. I wanted to experiment with media as much as possible in this module, and was adamant not to use the same media more than once for any brief, and so I pushed myself to produce my final solutions ‘A Day in the Life’ digitally; the quality of the results is questionable, but I am glad I tried to employ a new skill in my practise. I also feel that my understandings of both line quality and use of positive and negative space have developed significantly over the course of this module, and it conjunction with ‘Visual Language’. If my drawing skills have improved, it’s simply because I now employ them constantly by drawing constantly.

2. Which principles/ theories of image making have you found most valuable during this module and how effectively do you think you are employing these within your own practice?

I don’t know whether it can be described as a theory of image making, but I have found my ability to be objective and self-critical absolutely invaluable during this module. During the very early crit sessions I recognised the fact that there can always be room for improvement, and I learned very quickly not to be precious about my work, and if I thought that something could be done to a higher standard, to not fret over starting again.

3. What strengths can you identify within your submission and how have you capitalised on these?

In both my finished works for ‘Initially’ and ‘Play play play’ I feel that there is a certain level of craftsmanship in the pieces. I certainly put a lot of time and effort into the creation of that work, trying to ensure it was of a good quality.

4. What areas for further development can you identify within your submission and how will you address these in the future?

I recognise the fact that I need to be more exploratory and exhaustive in the initial design and development processes when answering briefs. I have a tendency to have an idea almost instantly, and then latch firmly onto it, whereas I should be just drawing, drawing, drawing and constantly trying to find different ways to approach tasks.

5. In what way has this module introduced you to the Ba (Hons) Illustration programme? This module has certainly shown me that this degree programme is intense. However, I also feel as though I’m starting to get the hang of the mechanics of the programme, and getting an idea of how to handle the ebb and flow of the workload. This module (and the last few weeks in particular) have shown me that, on this programme, you have to take charge of your own priorities, and really drive your own work forward.

a DAMN FINE weekend

This past weekend I headed off back down south (leaving the chill of t'North behind for a few days), as I was lucky enough to get a ticket for an 'In Conversation' with both Quentin Blake and Oliver Jeffers at the Southbank Centre in London. Now, this was kind of a big deal for me. Oliver Jeffers? Sure, love him, but Quentin Blake?! THE Quentin Blake, possibly one of the most iconic illustrators of the last century (and, of course, the man responsible for bringing Roald Dahl's Big Friendly Giant - that's BFG to you and me to life?!) This was exciting.

The event was absolutely excellent, with both artists talking a bit about their working methods (fun fact: Quentin Blake often draws with a quill pen), their early influences, the impact of their work of contemporary illustration, and their past collaborations with other artists and writers. It was very interesting (and quite reassuring) to hear that even professionals at the very top of their game remember starting small, and all the trials and tribulations of trying to find a niche for themselves. 

After the talk I hotfooted it over to King's Cross to visit the House of Illustration museum, in order to catch the Quentin Blake exhibition the day before it closed.  

Another fun fact: this postcard was designed by Laura Carlin

Helpful signs for the geographically impaired (like me)

Visiting the musuem was a wonderful experience. It's very small and rather tucked away, so there is a great atmosphere of intamacy and enjoyment, with everyone drinking in the wonderful artwork, and many people (like myself) reliving their childhoods through the images on display.

And, also, I got to see the original illustrations from both The Twits and The BFG. Awesome.

OLIVER F***ING JEFFERS

This is post is more a vomit of excitement than anything else .

On Wednesday I got to meet Oliver Jeffers, one of my absolute all time favourite artists. He is cool, and short, and drew a moose for me. He also told me to just "keep on making". Wise words, Jeffers, wise words.

10 Questions

How do I manage my time effectively?

I know that time management and organisation is of my biggest weakness and I am working hard to overcome that. I will continue to work on this by drawing myself up timetables, becoming a fanatic list-maker, and being self-disciplined.

     

      (on the contrary...)

       How should I balance work and play?

     As important as working to the best of one's ability is, it's also important not to completely frazzle one's brain by finding no balance between work and a social life. Learning to strike this balance is key to retaining any kind of emotional stability. I'm slowly getting to grips with finding this balance, but I need to keep trying. I plan to do this by attempting to retain as overlap between my work and my social life by attending drawing workshops and classes/exhibition/conventions/etc. with other people that share my interests.

How do I take the first steps toward establishing a presence in the illustration world?         

     This is an important one, and I hope to find, at least, some kinds of answers by making the most of opportunities like attending Big Heads interviews and talks by visiting speakers, as well as making trips to illustration conventions and events, to hear speakers and get the chance to meet and talk with practicing illustrators. I also hope to take more of 'hands-on' approach by getting involved in local competitions for poster design etc. 

        How do I avoid getting stuck in a creative rut?

     I want to make sure that I don't get complacent, and that I keep my practice fresh, interesting and constantly evolving. I will do this by attending all the workshops I can and pushing myself to get comfortable with using digital methods, so as to keep my creative practice expanding.

   How can I overcome my weaknesses?

    

    Whilst I have strengths, I am certainly able to identify areas of practice in which I am very weak, and I want to overcome these weaknesses. I will do this by trying to remain aware of what I need       to improve on, constantly evaluating my own work, attending all tutorials and workshops, and by continuing to read, discover, and practice, practice, practice.

   How can I expand my skill-set and keep bringing fresh, interesting creative techniques to my practice?

      I want to keep expanding my portfolio of work by experimenting with as many methods as possible, both ones that I have and haven't tried before, I will do this by attending formal workshops, but also by ensuring that I keep abreast of the illustrative world around me, in order to remain aware of different ways in which images can be made.

  How can I use colour effectively, and how does colour influence the way we view images?

      For someone that loves colour, and coloured work, so much, I have a very poor understanding of how to use it myself. I think I can improve on this by reading some books on colour theory, and also by always taking the time to study, photograph and question the world around me, and asking myself to really think about why I find some things more beautiful than others, what makes something eye-catching, etc. 

 What do I want to do at the end of these three years?

     A scary question, indeed. As much as everyone would like to strike a lucky break and hit the ground running as a full-time freelance illustrator, the reality of it is that that is unlikely to happen. By the end of my time at LCA I hope to experimented enough, learned enough, enjoyed enough successes and made enough mistakes to have a clear idea of where I want illustration to take me. There is no formulaic answer to this question, all I can do is keep pushing myself to work to the best of my ability and keep looking, reading about and discovering things that interest me and let these interests influence my practice as creatively and organically as possible. 

Where do I belong within illustration?

   Although there are certain areas of illustration that really interest me (picture books, for example), I'm keen to decide in what direction I want my illustrative working style to develop, so as to start concentrating on strengthening the skills I would need for that area. I will answer this question by exploring and researching any illustrative style that interests me, and by ensuring that I fully research and explore every brief as much as I can. I need to learn to stop playing it safe!

How to get the most out of peer reviews/critiques/self-evaluation/etc?

      Learning how to answer this question will help me get the most out of the course. I will really pay attention to all feedback I get on my work, and try to question everything, both from my point of view and from other people's, asking myself questions about why things did and didn't work, did the fault lie in the concept or the practical execution and, were I to redo the work, how would I approach it differently. 

PPP Introductory task: Part II

These are five images that I believe best demonstrate my interest in illustration.

1. Letter Maker by Eric Ravillious

Eric Ravillious' series of High-Street images are some of my absolute favourites. I just love his use of colour and his instantly recognisable style. There is a such a sense of life and animation that comes through in these images. 

2. Still Life with Birds by Emily Sutton

Emily Sutton is possibly my favourite contemporary illustrator. Her understanding of line and colour brings such vitality to all her work, and her meticulous eye for detail is second-to-none. Lots of Sutton's work, especially her still life work in centered around trinkets and curious, relics of a bygone era. Despite the nature of these articles, Sutton always manages to steer away from mawkish  cuteness, whilst still retaining huge amounts of personality and style within her work.

3. Illustration from 'I Want my Hat Back' by Jon Klassen

Jon Klassen is another current favourite illustrator of mine. What I most admire about Klassen's illustrative work is his understanding and use of blank space. He allows his characters to take focus, often pressed against the most simplistic and minimalist backgrounds. There is a wonderfully deadpan humor in Klassen's work that perfectly complements his use of very simple shapes and detail.

4. Liverpool St. Station by Edward Bawden

This image is perhaps by favourite of Bawden's copper engravings, Bawden's use of line  and mark-making has been a major influence to me in beginning to develop my own visual voice.There is such detail and expression in what is, essentially, just very careful and effective use of very simple mark making - there is not a line out of place, nothing is over drawn or overworked. 

5. The Moomins by Tove Jansson

Now is time for an old favourite!! It was impossible for me to choose just one Moomins illustration that I loved above the others, so I settled for just one of the many that I am very attached to. It was Jansson's illustrations for The Moomins that first interested me in drawing and in stories, and Jansson's charming, fantastical, and often darkly humorous world of The Moomins holds a special place in my heart. In my opinion, Jansson's illustrations for her 'The Moomins' stories are perhaps the best of example of a perfect marriage of image and word - the two complement each other in a way quite unlike any other; the images are just jam packed with beautiful, whimsically strange detail, much like the world Jansson wrote for her characters. 

PPP Introductory task: Part I

Identify five reasons you chose to study illustration

• I love storytelling.
• Illustration is illumination -  illustration, in all its many forms, has the power to clarify and inform – images can the self-sufficient, or they can accompany another body of work; either way, illustration is a form of  communication.
• Almost all of my favourite artists are illustrators or graphic artists – my enthusiasm for art has always been informed by illustrators. It is through illustration and illustrators that I am figuring all off this out.
• There is freedom in illustration – there is room for play, stylisation, fluidity.
• Illustration is one of the most current and exciting art scenes.

Identify five reasons you choose this programme

• The illustration programme at Leeds College of Art is fresh and exciting. As it is still in it's early years, it doesn't feel like a tired routine, it's taking shape alongside and around the students.
• I wanted to study in a small programme, as I thought the intimacy of a small group of students would better lend itself to a 'melting-pot' of creativity, 
• The course leaders have a lot of experience in their fields - the best people to learn from are those that have actually been there, for their experience is invaluable.
• LCA is a prestigious institution. It's place within the creative fields may lead to exciting possibilities and opportunities, more so than would be available through an institution without the same gravity. 
• I wanted to study in Leeds as it's a great city, with a exciting and vibrant creative scene, both mainstream and alternative.

Identify five skills you think are your strengths

• I am an okay-ish drawer.
• I don't get tired of making images, and if something sucks I have no problem forgetting about it and starting again.
• I have a clear idea of where I want to go -I don’t feel lost. I know what I am working toward.
• I understand communication.
• I’m fairly clued up on illustration – not only is it my favourite kind of work but I am genuinely interested in it – I read magazines and blogs, I attend exhibitions, I read books, etc.

Identify five things you'd like to improve

• My image composition - figure positioning, how to use blank space, etc.
• My use of colour.
• My use of digital methods.
• I can be prone to forgetting that work exists outside the range that I am specifically interested in, even if this work is important/significant/has socio-politico impact etc.
• I'd like to be BRAVER and learn how to experiement and step out of my comfort zone.