So the Illustration department newsletters came through from the printer's recently with my image printed on one side. It's really cool to see the image in print, and I've posted a few snaps of it below. The newsletter has been printed up really nicely, and works as an A2 sheet folded up into an A4. When folded out, one side becomes an A2 poster, and the other side has all the illustration information and news from the spring and summer. I took a few photos of the inside too, and particularly the type at the top which I think looks great, so all credit to whoever put it together. Thanks!
Sunday, 29 May 2011
Stockport College Illustration Newsletter
Labels:
my work,
packaging,
photography,
research,
typography
Sunday, 22 May 2011
OWT Issue #6
So I submitted a little illustration to OWT a while back for their 'Differences' issue, and they were kind enough to include it in the issue that's on sale at the moment! I blogged about my image I while back so I won't go into details, but I just used it as a chance to have a go at something a bit different (no pun intended) and mix together some of my ideas and influences from other people. Anyway, I've posted the image below along with photos courtesy of OWT of the actual zine in print. The zines are on sale on their website here, in Magma and I believe also the Cornerhouse in Manchester. Cheers guys!
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Labels:
my work,
packaging,
practitioners,
research
Thursday, 19 May 2011
3D Book Covers
I just found a link to cool article on Digital Arts online, about some 3D book covers that have been made by Vintage Books, for some classic horror and science-fiction novels such as 'Planet of the Apes', 'Journey to the Centre of the Earth, and 'The Lost World'. They work by the viewer wearing some of the classic red/blue 3D glasses, and the covers then jump out at the viewer, adding a more interactive experience to buying or reading a book. It's interesting to see how 3D, an effect obviously popular in films, has been translated over to still imagery to try and draw in a wider audience in the midst of the 3D revolution. I think this is a really good idea, especially for children, and as it says in the article, the illustrations work well even without 3D glasses. It would be cool to try and do a project using this method in the future. Anyway, I've posted some of the books covers below along with their illustrators...if you've got some 3D glasses maybe try 'em out..do't know if it would work though......enjoy!
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article,
practitioners,
research,
typography
Thursday, 12 May 2011
Illustration Newsletter
Earlier this year I submitted a load of rough ideas for the college illustration newsletter, based around the theme of 'Transformation'. The image had to be in one colour, so most of my ideas were bold central images, some with typography. I think I emailed in about 13 different ideas to do with transformation, from butterflies, origami, evolution, and superheroes to scientific changes, werewolves and Dr Jekyll/Mr Hyde. Jo liked the idea of using origami to represent transformation, and it became a bit of a collaboration between me and Jo as she helped me develop it from the initial rough through to the final image.
The image went through a lot of changes, and went from a more simple image of some origami, through to a more conceptual image that involved showing all the stages of the folds of an origami crane. I also originally had some typography at the bottom, and it also went through a colour change from a dark blue, referencing blue print type drawings, to a leaf green colour to represent changes in nature, as blue had been used before.
I've posted some images below showing the changes it went through from rough to final. The newsletter has been sent off to print so it'll be interesting to see this printed up to size!
The image went through a lot of changes, and went from a more simple image of some origami, through to a more conceptual image that involved showing all the stages of the folds of an origami crane. I also originally had some typography at the bottom, and it also went through a colour change from a dark blue, referencing blue print type drawings, to a leaf green colour to represent changes in nature, as blue had been used before.
I've posted some images below showing the changes it went through from rough to final. The newsletter has been sent off to print so it'll be interesting to see this printed up to size!
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Labels:
my work,
research,
typography
'Music' Project Part 2
Below I have posted our proposal sheet for our 'Music' window design, based on the song 'Harder, Better, Faster, Stronger' by Daft Punk. We will be taking this proposal to the next stage before it finally gets sent off, so the sheet will probably change a bit from this one. In the next couple of week we are going to be doing some scale tests on a piece of glass/perspex using cut vinyl to see if it's feasible. So we will have to look at finding specific sizes for the triangles of vinyl used to create the pattern, check out what colours are available, decide on numbers, look at trying to get some uniformity between the images and also creating more examples of the images we will use. So still a bit of hard work to come!
Check it out below, along with a couple of my image ideas and the original window sketch, and I'll post again when we have developed it a bit further....
Check it out below, along with a couple of my image ideas and the original window sketch, and I'll post again when we have developed it a bit further....
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Bugs Project
So on Tuesday we had a quick one day project set by some of the HND graphics students. We had to create an image for a poster advertising a bug/germ spray cleaner that was meant to be safe to use around children and made of natural ingredients. The tag line on the poster was '...send them packing!' so we had to take that into account also.
In all we had about 4-5 hours from first seeing the brief until the deadline, needless to say my image wasn't great. Because of the tag line I started thinking of different types of transport that I could have the germs leaving in, and I also was trying to think of a way of showing that the natural ingredients were forcing them to leave. I had to make a decision pretty quickly, so I ended up with the idea of showing the germs in a rocket, surrounded by lots of harsh weather; wind, rain and lightening, to represent the forces of nature and the natural ingredients, and to have the lightening sparking the fuse to the rocket.
I think that the idea was ok, but because of time restraints, the execution of the image just wasn't good. The overall quality of the image, composition and readablility definitely suffered. When I see the word advert I think I sometimes get a bit confused by what I should be doing because adverts are often funny or clever, or have great metaphors, or some just include the product in some form, so I'm not even sure if I was going down the right road with my idea.
The only bit I actually quite like is the rope/wick with the sparks on the end; I think that turned out ok. I like the idea of using a rocket for something so I might have another go at it in some other form in the future.
Anyway, I've posted the image below, don't judge it too harshly!
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Labels:
my work
The Chase
A while back we had a visit from The Chase, a graphic design and branding consultancy based in Manchester, but with offices in London and Preston also. They came in and spoke to us about how they commission and work with different illustrators, what they and illustration agencies are looking for in an illustrator, and gave us lots of tips on how to get meetings with art directors, and how to present our work. They had compiled lots of good quotes from illustrators and agencies, which was very helpful.
Now that I'm trying to put together a portfolio, it was helpful to look back at the extensive tips they gave us on the best way to go about it. I've posted below some of what they said about portfolios (and I am paraphrasing!) :
1. Start and finish with your strongest work
2. Don't leave in pieces of work you don't like
3. Include a good mix of work (mix of colour and black and white, different sizes)
4. Spend time working on the layout so that it flows well
5. Try and include original work or good quality scans
6. Don't put foam board in your folder!
7. Practice talking about your work, and find out how much time you have in a meeting so you can go through it all
8. Keep your folder spotless!
9. Don''t take all advice to heart!
They also gave us some good tips for when trying to set up portfolio meetings with agencies and art directors :
1. Find the correct names and spellings (phone up to find out if need be)
2. Include a PDF portfolio of around 10 images, or an easy link to a website.
3. Follow up your emails and mail to see if it's been seen
4. Be nice to receptionists!
5. Know something about the company or people you're meeting with
6. Don't be nervous! Enjoy talking about your work
7. If there are no jobs going, ask about a brief you could have a go at
All the things they spoke about and told us were really helpful, and I think we all appreciated the time they dedicated to giving and putting together the presentation. Check out their website here to find out more about them.
Thanks!
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Labels:
PDP,
practitioners,
research
Wednesday, 11 May 2011
Graduate Visits
I'm running a bit late with this, but earlier this year a few illustration graduates from Stockport College came back to talk to us about their work and what they'd been up to since leaving university. I think we all really appreciate being able to talk to some illustrators who had very recently graduated as it gave us a sense of what it might be like for us in about a years time.
I managed to go around have a quick chat with most of the guys that visited, and I think there were about 6 in total. I've posted examples of their work below, along with links to their respective websites. Enjoy.
All of these illustrators that came in were all great to talk to and open about their experiences of the industry. One of the main things that struck me was that many of them had only had a few commissions since leaving uni (which was fantastic!) and were still holding down their days jobs for the money, but as their work was of such a fantastically high standard it just made it really clear how hard we'll have to work to get commissions, and how much I really need to up my game in terms of volume of work, and the overall quality of the work I do. My work is no way near as good as these guys'! Anyway, check out their websites by giving their names a click! *click-click*
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Labels:
exhibitions,
practitioners
Tuesday, 10 May 2011
Folio Agency - Q&A
I recently emailed Folio Illustration Agency to ask a few questions about how an agency works, and what exactly they do for their illustrators, and Lydia Jane from Folio got back to me with some great answers!
Folio is a long established illustration and design agency, and represents a lot of fantastic illustrators working in many different ways, so it was very helpful to get some information from them about how an agency works.
I've posted the questions and answers below for you all to take a look at, thanks again Lydia!
1. How does an agency such as Folio go about promoting and finding work for the illustrators/artists they represent?
Mailouts, portfolio viewing with clients, social media, reputation.
2. Do you actively look for illustrators to recruit or do they get into contact with you?
Generally speaking illustrators come to us. However, we are always on the look out for new talent at degree shows, industry events etc
3. Is it important for you that illustrators have a consistant look or 'style' to their work so that clients know what to expect? Do you represent any illustrators who work in various ways?
Illustrators are recognised and sold on their 'style' so yes consistency is very important. However we do represent some very talented illustrators who have mastered their techniques in a wide variety of traditional and digital outputs.
4. Do you take on more than one person who work in similar ways?
We try not to. It wouldn't be fair on the artists as they would be in direct competition for jobs.
5. How much contact do you generally have with your artists, both in person and over the phone/email?
Nowadays we are in regular contact with our artist via email. We represent quite a few artist abroad so it tends to be the most convenient. However, we always like a good chat on the phone and our London artists pop in from time to time too.
6. Do you help the illustrators with the business side of the work, e.g pricing, setting up contracts with clients, copyright issues etc ?
All part of the job description.
7. What do you look for in a good portfolio of work, both in terms of work featured and how it's presented?
Unique, memorable, eye-catching work. Quality of finish. Commercial quality.
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Labels:
contact report,
PDP,
research
Monday, 9 May 2011
Wish I'd Done This
This is an excellent piece of work created by one of my favourite illustrators at the moment, Dan Matutina, entitled ‘Amateurs’. The image was created for a magazine to advertise a club night entitled ‘Friday Night Fist Fight’, and I’ve had it set as my desktop for a while and still can’t stop looking at it.
The first thing I really love about the image is the way that the figure is depicted. Drawing the figure is something I really struggle with, and generally stay away from because I don’t feel I have a strong enough visual language to create the figure in a way that isn’t realistic, but on the flip side my lean towards realistic never looks right either, hence I try and give it a wide birth if possible.
In this image however, I absolutely love the way Dan has depicted the two boxers. He has a unique style of creating the figure that isn’t realistic, but gives more than enough information to make them recognisable as people. His use of strong angular lines and shapes to build up the form works really well, and he mixes it with smaller shapes and lines on the face to represent the facial features and the bruises and cuts the boxers have sustained. I think that the mix of straight lines and shapes, and some curves and circles, to create the people makes the images more fun and interesting to look at than if they were depicted in a more realistic manner. This is something that definitely inspires me and makes me think more about how I could tackle the human figure myself, and about how to utilise elements, line and shape to create imagery that isn’t necessarily realistic, but has enough information to be recognisable as a person.
Secondly, one of the major things I love about this piece, and Dan’s work in general, is his fantastic use of texture, lighting and hand drawn elements and marks. Mixing together digital and handmade elements and textures is something I’ve tried to do in my work, but Dan does it such an extent in this piece, and so well that it could almost look like a painting. The speckled texture used as a background to highlight the figures, suggests the hazy and smoky atmosphere surrounding a boxing ring, and the circles used in the foreground to suggest dust a drops of sweat flying toward the viewer, highlighted by the lights above really bring the atmosphere to life.
The use of what looks like handmade marks, created with ink or paint, help to build more of the picture of what it would be like to be in the boxing ring. The quick swipe used to show the speed and force of the punch, and the splatter of the blood/spit to show the impact, bring the piece to life.
One of the things I really have trouble with is how to get the impression of depth and perspective in my work, rather than just a flat image. Despite using a lot of straight lines and shapes in this piece, rather than flowing lines and curves that naturally can make an object look more 3D, Dan has cleverly used the angles of the lines and sections of shadow to create perspective, and therefore create the impression that the blue boxer is in the foreground and the red boxer is in the background. He has also crucially used the cube shapes for the head guards which make the boxers look 3D.
I emailed Dan a while back and he talked about how film is a big inspiration for him and his work, and you can definitely see it coming through in his work. Film is a big inspiration for me, and I always admire the cinematography and tone created visually in films, but I don’t think it’s something that I often let bleed through into my work. Sometimes I forget that illustration and film aren’t mutually exclusive visual arts; there’s a lot of crossover and tings I see on screen can work equally well in one image; the use of colour, shadow, perspective and composition for example. This is something that I’d like to work on I think.
I definitely think that his work created in this way has a unique look about it, and the successful blend of digital and hand-made elements I think will appeal to a broad range of people. I think what always catches my eye when I see work like this is the attention to detail, and the little extra bits that set it apart from the work of others. For example, in this piece I love the addition of the tattoos, the lines in the hair and even the little string ties on their shorts. It’s finding the balance adding bits that enforce the message or the idea behind the image without overcrowding it or just adding bits for the sake of it.
In conclusion, I think there is a lot I can learn from looking at this piece of work, and I definitely wish I’d done this.
Labels:
PDP,
practitioners,
research,
Wish I'd Done This
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