I've been vaguely discussing with tutors about where I see my practice going. I've been feeling a little apprehensive towards *illustration* at a whole. Feeling a bit like that one (really dramatic) Lawrence Zeegan article about "where is the content, where is the comment" in illustration, but again I don't see why anyone would shame another for wanting to make a living just because a picture of a nice dog or businessman is a bit too superficial for their tastes. I guess it's about establishing what I want to do. When I think about it an 'arty' life sounds fun but I also DO enjoy those more commercial things. I think its about balance.
This summer is a prime time to *think* a bit. I want to push my painting and narratives whilst I have a bit of an easier time. In the coming year I want to work more with problem solving and what my tone of voice is... sort of key to editorial. I have more faith in children's illustration since doing this 505 module but it's not my main focus.
(Matt said I should look into a MA in storytelling in Stockholm so I also suppose it's time to start learning swedish)
26/04/2016
25/04/2016
This is just a small list off the top of my head of clients that I think would be fun/ interesting / valuable to work for. I feel that these are all clients that value interesting image making, stories and the same sort of *ethics* as me.
Publishing:
Penguin
Nobrow
Flying Eye
The Folio Society
Editorial:
The Guardian
New Yorker
New York Times
Smaller Publishers:
(thinking about how my self-published zines etc could be a little more profitable)
Koyama Press
Peow Studio
Jazz Dad Books
***(anyone who will pay me)(a decent and fair amount)***
Publishing:
Penguin
Nobrow
Flying Eye
The Folio Society
Editorial:
The Guardian
New Yorker
New York Times
Smaller Publishers:
(thinking about how my self-published zines etc could be a little more profitable)
Koyama Press
Peow Studio
Jazz Dad Books
***(anyone who will pay me)(a decent and fair amount)***
presentation preparation
Where am I now?
I am starting to understand what kind of work I am interested in, particularly in regards to media and tone of voice. For example, I've almost abandoned the heavily digital stuff that I was more into in first year. I also have some interest in self-publishing, for example the zines I have made and the proposal we did for Sad Mag. I also have the beginnings of an online social media presence- which at a glance looks good but I haven't found that I get much from it- in terms of work. Having 3000 instagram followers is fine but if they're all, e.g. teenage girls, then not much in terms of commissions will come from it*. Still, I don't want to just have an online presence for the £££, and it's a fun experience and I have begun to get to know other illustrators through it.
*except the multiple requests to make something for someone else's zine and not see any profit from it
Where should I be?
I think by this point I should be more decided on where I want to be. I have a vague idea of going into publishing/ editorial but don't have much work that fits that context to use in my portfolio- which I think I should. By now I also wonder if I should have started to make more contacts (beyond being casual acquaintances with other illustrators) and begin to think about my visual identity.
Where do I want to be?
At this point I am picturing myself in publishing and editorial, with a small focus of personal self published side projects- if anything just to keep me sane. Since doing my work for OUIL505 I am also beginning to become interested in children's books, though don't plan on making it my entire practice. Looking at illustrators like Laura Carlin this does seem achievable.
One of my main focuses over the next year is also to gain more knowledge of industry, specifically publishing/ editorial- how people get work, how they get commissioned, how agents work.
How am I going to get there? What do I need to do?
I need to make contacts- not just other illustrators but also publishers, art directors and agents. I need to get together a solid portfolio with relevant pieces, though I think having personal projects in there is important too. I also need to work on my visual/ online identity and just keep working on improving myself as an illustrator!
----
Feedback / notes from the tutorial
I am starting to understand what kind of work I am interested in, particularly in regards to media and tone of voice. For example, I've almost abandoned the heavily digital stuff that I was more into in first year. I also have some interest in self-publishing, for example the zines I have made and the proposal we did for Sad Mag. I also have the beginnings of an online social media presence- which at a glance looks good but I haven't found that I get much from it- in terms of work. Having 3000 instagram followers is fine but if they're all, e.g. teenage girls, then not much in terms of commissions will come from it*. Still, I don't want to just have an online presence for the £££, and it's a fun experience and I have begun to get to know other illustrators through it.
*except the multiple requests to make something for someone else's zine and not see any profit from it
Where should I be?
I think by this point I should be more decided on where I want to be. I have a vague idea of going into publishing/ editorial but don't have much work that fits that context to use in my portfolio- which I think I should. By now I also wonder if I should have started to make more contacts (beyond being casual acquaintances with other illustrators) and begin to think about my visual identity.
Where do I want to be?
At this point I am picturing myself in publishing and editorial, with a small focus of personal self published side projects- if anything just to keep me sane. Since doing my work for OUIL505 I am also beginning to become interested in children's books, though don't plan on making it my entire practice. Looking at illustrators like Laura Carlin this does seem achievable.
One of my main focuses over the next year is also to gain more knowledge of industry, specifically publishing/ editorial- how people get work, how they get commissioned, how agents work.
How am I going to get there? What do I need to do?
I need to make contacts- not just other illustrators but also publishers, art directors and agents. I need to get together a solid portfolio with relevant pieces, though I think having personal projects in there is important too. I also need to work on my visual/ online identity and just keep working on improving myself as an illustrator!
----
Feedback / notes from the tutorial
- Collaboration may well be an important part of my practice and I should discuss that
- Agents are useful and you can have more than one for different locations / types of illustration. Go international, dream big
- Identify who/ what I want to work for
- Business cards will be good for the end of year show
- The presentation is like a pitch of myself
COP2 evaluation
As a start, I feel that this year's COP module went far better than the last. As a module I began to understand it more, how it works but also how it integrates into my own practice.
I chose the topic of the disconnect between the general public and the fine art world because I too felt that and wanted to investigate why- if it was a matter that came from me or them. (Also as an art student, I felt morally at wrong for feeling that way). As expected it was a mix of both, but it was interesting to investigate a topic that I felt was relevant to me in a critical way. Writing about the disconnect between conceptual/ modern art and the public also made me start to evaluate the relationship between audience and work in my own practice, even though I'm in a different field of visual arts.
I think my essay writing had developed from last year, largely because I had chosen an essay question that made sense, and was less broad. I tried to approach it in a more systematic way but still struggled. I really wish I'd allotted more time for research and planning, and I think I relied too heavy on a few texts rather than looking towards a broader range that could have backed up my opinions and more and created a stronger essay. Once I had written the essay I found it hard to evaluate what was good or bad so was too afraid to make edits to it
I began to understand this year the connection between the written and practical work, but still found it a little hard to make visual work as I was researching and writing. This was mostly a case of bad timing as I was just trying to focus on getting the written work done over anything else. I see that for COP3 it would be a good idea to try harder with this, but I feel that as a module I will probably also have more time to do that kind of work.
I enjoyed making a publication as my practical response to COP this year. It felt more purposeful, and whilst I could have just made a book just about the topic I chose to make one specifically aimed at the people I was writing about in my essay, and chose the tone of voice and format accordingly. I think this made it a stronger project in all, and more relevant to my practice as an illustrator.
What I largely struggled with though was making, essentially, art about art. As an idea I think my publication worked, but I couldn't help but feel a bit odd basically using heavy referencing of other visual art as part of my own visuals. Seemingly it worked to serve its purpose, feedback in crits and tutorials said that the work came across as humorous and accessible (because of these heavy and common reference points) but if I am to do a similar project in COP3 I'd like to find another way of getting these sorts of ideas across. It felt a little questionable on my part, I felt my ideas and images were somewhat derivative as a result.
I can see COP2 as being a good springboard into COP3. I wouldn't like to call my work this year a 'practice run' but it really helped me get my head around the idea of Context of Practice, and how to work with this kind of project. In COP3 I hope to make a more cohesive body of written and practical work that are made as a sort of cycle, in response to each other. After practicing my essay writing more and getting more into the academic side of things I'm starting to almost look forward to writing my dissertation.
I can see COP2 as being a good springboard into COP3. I wouldn't like to call my work this year a 'practice run' but it really helped me get my head around the idea of Context of Practice, and how to work with this kind of project. In COP3 I hope to make a more cohesive body of written and practical work that are made as a sort of cycle, in response to each other. After practicing my essay writing more and getting more into the academic side of things I'm starting to almost look forward to writing my dissertation.
23/04/2016
Varoom 05
(cross posted from my studio practice blog, relevant to practice as a whole)
I was given a copy of Varoom 05 to look at and it sort of reaffirmed what I had been thinking about the practice of children's illustration.
There was a whole section devoted to children's illustration and interviews with several artists who generally came to the same conclusion of not following pre-conceived notions of 'child-friendliness' is the best way to go about making a picture book.
For me it has been and is about balance. As much as I'd love to make something wholly abstract for maybe, my own benefit, I don't think that would suit children so well. When I think about what I liked as a child, I liked big images with lots to look at. Exciting things like tigers and forests. There's a place for more abstract books but that's not what I'm going for in this project. I think it's more than possible to create something that can be enjoyed by children and adults but I would always cater it to the children first (everything that can be enjoyed by a child can be enjoyed by an adult but maybe not the other way around). I am not fond of things that market themselves as for children when it's just a ruse to cater to adults with some sort of high-art agenda on their children. I'd rather be open and be like, hey this is an art book with some narrative that's for adults who like to look at pictures!
There was a whole section devoted to children's illustration and interviews with several artists who generally came to the same conclusion of not following pre-conceived notions of 'child-friendliness' is the best way to go about making a picture book.
For me it has been and is about balance. As much as I'd love to make something wholly abstract for maybe, my own benefit, I don't think that would suit children so well. When I think about what I liked as a child, I liked big images with lots to look at. Exciting things like tigers and forests. There's a place for more abstract books but that's not what I'm going for in this project. I think it's more than possible to create something that can be enjoyed by children and adults but I would always cater it to the children first (everything that can be enjoyed by a child can be enjoyed by an adult but maybe not the other way around). I am not fond of things that market themselves as for children when it's just a ruse to cater to adults with some sort of high-art agenda on their children. I'd rather be open and be like, hey this is an art book with some narrative that's for adults who like to look at pictures!
06/04/2016
logos?
I'm not sure how valuable a logo is to an illustrator but I tried writing out my name and almost accidentally stumbled on doing this. I was worried it looked a bit... pretentious (?) and I'm still not sure but it got a good reception on instagram. I like drawing faces on things so it fits with what I'm into.
I have no intention to brand myself under a different name, it just feels a bit messy. I just don't think I could keep to another name without changing my mind later in the line, but I've managed as Molly Fairhurst for twenty one years so I should be able to stick with it for a little bit longer at least.
I almost made a website!
I had heard vaguely about Cargocollective and it had the template of website that I'd seen on so many other illustrator's websites and wanted for myself. Although it's very much ~like the others~ I wanted something simple and having some wild design didn't really feel appropriate. I suppose I'd rather the work could speak for itself.
I expected to have to pay for a domain name but didn't realise that I would have to pay Cargo for the ability to use a domain on the website, but I'll get up to it later. Maybe it's a sacrifice worth paying for the design?
I like the layout of sidebar, image in the middle, and the ability to have thumbnails underneath so the viewer knows there is a selection! It feels a bit rubbish only having a small selection of projects to show but I plan to put my work for Coffee Shop North on there which is nice because it is an actual project that is being used in the *real world*! I'm also hoping for the work produced from OUIL505 to be portfolio worthy.
I'm still feeling apprehensive about the creative CV so this is all I have so far.
I expected to have to pay for a domain name but didn't realise that I would have to pay Cargo for the ability to use a domain on the website, but I'll get up to it later. Maybe it's a sacrifice worth paying for the design?
I like the layout of sidebar, image in the middle, and the ability to have thumbnails underneath so the viewer knows there is a selection! It feels a bit rubbish only having a small selection of projects to show but I plan to put my work for Coffee Shop North on there which is nice because it is an actual project that is being used in the *real world*! I'm also hoping for the work produced from OUIL505 to be portfolio worthy.
I'm still feeling apprehensive about the creative CV so this is all I have so far.
01/04/2016
I got rejected from Thoughtbubble
I'm ok with it. I applied with Amber and used my tumblr as a pseudo-portfolio. I think we may have been long-listed if anyone is to drop out which is nice.
Really though, things like Thoughtbubble aren't the highest on my priority as an illustrator. Comics and sequential art aren't really a focus in my practice, although I do like to make say, less narrative focused zines. When I used to think of Thoughtbubble I imagined it to be just traditional comics which isn't very appealing to me but there are a lot of interesting illustrators there. I was interested to see the work of illustrators like Wai Wai Pang and Marianna Madriz (who both stayed with me in their travels in Leeds) and how their practice works in a context like this.
I'll definitely be attending and would be keen to table if given the chance! But otherwise it's not a huge deal
Really though, things like Thoughtbubble aren't the highest on my priority as an illustrator. Comics and sequential art aren't really a focus in my practice, although I do like to make say, less narrative focused zines. When I used to think of Thoughtbubble I imagined it to be just traditional comics which isn't very appealing to me but there are a lot of interesting illustrators there. I was interested to see the work of illustrators like Wai Wai Pang and Marianna Madriz (who both stayed with me in their travels in Leeds) and how their practice works in a context like this.
I'll definitely be attending and would be keen to table if given the chance! But otherwise it's not a huge deal
ouil503 responsive evaluation
Responsive has been quite an interesting module!
I have had some very small experience working for other people with my work for Fuzzy Logic but when at university and constantly working on projects for yourself or your assessors it definitely felt different to make work for competitions and other clients. And in itself too working for competitions feels different to working for clients despite them both being live briefs- with competitions although it is made for someone it feels more free- I feel competitive and enough pride in myself to put a lot of effort into projects but take them more at this point as an opportunity to try and push something new in a relatively quick brief. I felt this notably in regards to War Horse, diving straight into the final images painting when I hadn’t done very much of it before. I wouldn’t say it’s the completely correct approach though! But this way I did learn that I very much enjoy painting.
Compare this to Fuzzy Logic and Coffee Shop North. Notably, I didn’t take on Fuzzy for Responsive but rather it was work that came along whilst I happened to be doing this module- I didn’t want it to be considered part of the main chunk of this module so took on enough other projects for it to instead be considered a side project, but included it here because I undertook this work during 503 and felt I had still learned something from it. Regardless, with Fuzzy and CSN I find myself being a little apprehensive when creating work for it, with less (but still some) desire and inspiration to be experimental with techniques and ideas because of limited timeframes but mostly perceived expectations from the clients. Dan Saul Pilgrim from CSN found my work through the Off the Page exhibition, and with it I was a little concerned he was expecting something just like what I had had in the exhibition.
Studio Brief Two saw me work creatively in a group which is not something I’m wholly used to. I had worked quite successfully in a group for OUIL502 PPP’s Life’s A Pitch project but this was entirely creatively focused and involved making rather than just being theoretical. I found it hard to share creative focus and struggled with feelings of inadequacy compared to animators- but overcame this when I actually discussed my technical issues with them! Even though I’m not sure the final videos suited the Dazed aesthetic and objective (as discussed in the project report) I think it was a successful animation in itself and I came away from it having learned a lot- about working in groups but also technical things like filming, stop motion and animating.
I picked briefs out of personal interests. I have interest in working in editorial and publishing, so The Guardian and The Folio Society’s competitions seemed like prime opportunities. I took on Secret 7 mostly because it sounded fun which I don’t think is necessarily a bad thing- I’m at a point in my life where I can take on fun projects just to do that! Coffee Shop North wasn’t something I would have thought of or maybe even taken a second glance of given the title (I like coffee but am no connoisseur) but being given the opportunity to be published is great I think. Maybe this is a sign that I should pay attention to briefs that don’t have fancy exciting titles- after all a project is what you make of it.
I’m starting to think about how audiences aren’t necessarily divided up by age or gender but rather interests and focuses. War Horse was written mostly for children in mind but I’m sure there are plenty of adults who enjoy it, and when combined with the context of The Folio Society and their types (and prices) of books suggests a collector audience. I think I’ve covered a good range of audiences and contexts through Responsive but wonder if I could have challenged myself a bit more. Admittedly my work for Secret 7 felt so open and non-specific that I felt like I was just completing it for the sake of the module, and at once I didn’t want to limit it by forcing it into a set but also felt that it was directionless.
As I go along I’m also learning more about ‘communicating with clients’, which sounds a bit silly but I think it’s worth thinking about consciously. Many times I have rewritten emails because after a pause of looking over it I realise I’m being too apologetic, or too rambling. It seems weird but I think you need a certain assertiveness when talking to clients! Be simple and direct.
All in all I feel like I’ve learned a lot and have largely enjoyed myself. I’ve learnt a lot technically and about where I want to go- the editorial and publishing briefs were what I enjoyed and quite possibly were best at, so might well be worth keeping up.
I have had some very small experience working for other people with my work for Fuzzy Logic but when at university and constantly working on projects for yourself or your assessors it definitely felt different to make work for competitions and other clients. And in itself too working for competitions feels different to working for clients despite them both being live briefs- with competitions although it is made for someone it feels more free- I feel competitive and enough pride in myself to put a lot of effort into projects but take them more at this point as an opportunity to try and push something new in a relatively quick brief. I felt this notably in regards to War Horse, diving straight into the final images painting when I hadn’t done very much of it before. I wouldn’t say it’s the completely correct approach though! But this way I did learn that I very much enjoy painting.
Compare this to Fuzzy Logic and Coffee Shop North. Notably, I didn’t take on Fuzzy for Responsive but rather it was work that came along whilst I happened to be doing this module- I didn’t want it to be considered part of the main chunk of this module so took on enough other projects for it to instead be considered a side project, but included it here because I undertook this work during 503 and felt I had still learned something from it. Regardless, with Fuzzy and CSN I find myself being a little apprehensive when creating work for it, with less (but still some) desire and inspiration to be experimental with techniques and ideas because of limited timeframes but mostly perceived expectations from the clients. Dan Saul Pilgrim from CSN found my work through the Off the Page exhibition, and with it I was a little concerned he was expecting something just like what I had had in the exhibition.
Studio Brief Two saw me work creatively in a group which is not something I’m wholly used to. I had worked quite successfully in a group for OUIL502 PPP’s Life’s A Pitch project but this was entirely creatively focused and involved making rather than just being theoretical. I found it hard to share creative focus and struggled with feelings of inadequacy compared to animators- but overcame this when I actually discussed my technical issues with them! Even though I’m not sure the final videos suited the Dazed aesthetic and objective (as discussed in the project report) I think it was a successful animation in itself and I came away from it having learned a lot- about working in groups but also technical things like filming, stop motion and animating.
I picked briefs out of personal interests. I have interest in working in editorial and publishing, so The Guardian and The Folio Society’s competitions seemed like prime opportunities. I took on Secret 7 mostly because it sounded fun which I don’t think is necessarily a bad thing- I’m at a point in my life where I can take on fun projects just to do that! Coffee Shop North wasn’t something I would have thought of or maybe even taken a second glance of given the title (I like coffee but am no connoisseur) but being given the opportunity to be published is great I think. Maybe this is a sign that I should pay attention to briefs that don’t have fancy exciting titles- after all a project is what you make of it.
I’m starting to think about how audiences aren’t necessarily divided up by age or gender but rather interests and focuses. War Horse was written mostly for children in mind but I’m sure there are plenty of adults who enjoy it, and when combined with the context of The Folio Society and their types (and prices) of books suggests a collector audience. I think I’ve covered a good range of audiences and contexts through Responsive but wonder if I could have challenged myself a bit more. Admittedly my work for Secret 7 felt so open and non-specific that I felt like I was just completing it for the sake of the module, and at once I didn’t want to limit it by forcing it into a set but also felt that it was directionless.
As I go along I’m also learning more about ‘communicating with clients’, which sounds a bit silly but I think it’s worth thinking about consciously. Many times I have rewritten emails because after a pause of looking over it I realise I’m being too apologetic, or too rambling. It seems weird but I think you need a certain assertiveness when talking to clients! Be simple and direct.
All in all I feel like I’ve learned a lot and have largely enjoyed myself. I’ve learnt a lot technically and about where I want to go- the editorial and publishing briefs were what I enjoyed and quite possibly were best at, so might well be worth keeping up.
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