Position Statement

As a practitioner I don't like to limit myself in regards to style or medium, and it has been said that this variety can come across as a lack of consistency. However, what what I am working to, is to create a practice with such a strong tone of voice that persists through any 'stylistic changes' and a portfolio that is a holistic body across editorial, publishing, children's illustration and research/ personal practices.

My process, and goal within that process, is to make expressive, sincere work that provokes an emotional response. My visual practice, currently, has been about pushing physical forms, and movement within an image, investigating its effects and how far something can be exerted before it loses power within its context (i.e., can an editorial image look "weird" and how so).

I primarily work with gouache, pencil and coloured pencil. I am looking to move forward with my painting, looking towards using gouache in a more expressive, less solid way and towards new mediums I haven't tried before, like oil paints and working at larger scales, in the hope this will bring a new voice or sophistication to my work.

My goal is, quite simply, to sustain myself (monetarily but also in a personal way) through my visual work. My goals are similar to most other illustrators. Have a solo show, a New Yorker cover, a well paying regular editorial spot, a children's book... but I'm excited for projects in the future that lie outside of traditional illustration too.

Over the coming months, or even long term, I will continue to reach out to art directors, agencies and potential clients through email and physical post. Attending events like New Blood and the Carmelite Prize will allow me to engage with these people on a personal level, and hopefully more successfully.

PPP: Summative Evaluation

This year I have continued to  be engaged in the comings and goings of the illustration industry, and I continue to be thoughtful about my own and others' practice. Using social media I have been able to discuss these dialogues with friends and other practitioners, and it has been commented that I have a "thoughtful" approach to my work because of it. Sometimes there is such a thing as too much thinking though. Really it is about being self-aware of yourself and industry and doing the work. Sometimes it has even helped to be ignorant of others' work, to not let it influence my own, or to not get caught up in the conversation of others instead of my own. I am considering using my blog to write more long form than a few sentences on Instagram every so often.

On the one hand I regret not trying to get my name out there sooner, but on the other, I feel much more comfortable to do it with a fuller portfolio. As of yet my main outreach has been to potential editorial clients as a lot of my publishing / children's illustration work cannot be published online at this moment. I haven't received much feedback or responses, but I can only persist and do it politely. My hope is that attending shows like New Blood and the Carmelite Prize will allow me to network in a more successful way (in the least creepy way, they can't get away).

Participating in other smaller events, like exhibitions, Thoughtbubble and ELCAF coming up (as well as selling work online, the feature in FORGE Art Mag and a social media presence) has also brought an engagement within the community itself which, whilst also providing job opportunities, has also brought forward a community of creative people who I hope to continue to be a part of. It's reassuring, with the safety net of a creative university community about to dissolve somewhat...

Whilst I have a sensible amount of confidence in my work over the last few weeks in the Easter break I have struggled to understand its place in the world/ industry and I wish I had come to that realisation sooner when I could have discussed this more with tutors... However, the news from Carmelite restored some confidence in that it can be recognised at an industry level.

As time goes on, my interest in having a super commercial practice and a branded identity lessens. My approach to branding (physically) is to keep it simple and not try anything complex with what is a clumsy design hand. My approach to the *personality* I convey is to just be myself, but polite, and to not be afraid to continue engaging in discussions about (my own and in general) illustration, art etc. I have a sense of dread that if I think about it too much it will become bland or manufactured. I have observed it occasionally on the net, and it's a light touch of paranoia that I will seem "fake" (though I question how much that even matters). This said, I'm more than happy to do commercial work, I genuinely enjoy it. Illustration is a job, and it's important to remember that and just do it the best you can.

PPP has instilled a sense of reflection in me, and whilst I do look forward to not documenting it in such an academic way it is something that will stay with me and the way I look at mine and others' work.

Final Presentation

As previously, I have left the presentation almost entirely text free. There are a lot of slides, but some move through very quickly to illustrate points within one paragraph.

Creative Presence Presentation Boards

Portfolio

This is my current portfolio of work. Physically, I have printed the pieces out, A3, on thick, slightly textured matt stock. I prefer to keep the pieces in an archival box, which gives the viewer a chance to spread things out, arrange, compare, keep things out at will etc. It also provides room for books. I have also divided, from (and in spite of some) feedback to keep pieces unlabelled, open to interpretation and unencumbered by logos and text. Notably, this works better in when printed, and I do label pieces when submitting mini specific portfolios digitally to clients. My website also provides descriptions for everything there too. But in print, this is what I do.

I placed in the Carmelite prize top 3! Next Thursday I will go to London to find out which prize I got, the event being a great time to also meet and discuss work with art directors and publishers within the children's book industry. Luckily professionalisation continues beyond the PPP module... I look forward to the event and engaging in some sweet sweet industry level illustration.

I believe there will also, as part of the top 5, the opportunity to receive a portfolio review from the publishers. This will also be a great way to  show my work (beyond chickens), though I will have to put some thought into what kind of portfolio I show them. As a whole body, my portfolio doesn't just sit in publishing. Perhaps, when visiting a publisher, I should showcase a more specific body of work.

The news came at a great time. I've spent my recent PPP time wondering where my work sits, if anyone likes it (the usual graduate incessant whining etc etc) but to get this recognition (particularly from a publisher like Hachette) is a confidence boost for sure. A year ago I wasn't sure if children's illustration suited me and now I have not only my own enjoyment in it, but some confidence in my ability from the *real world* too.

I don't see this degree as a resolution, or having a resolution, but it would have been nicer if I had more plans.

who what where why ? - my yet to exist career

presentation ideas .. ?

• how much do I need to reflect on the past two years?
• I'm not sure how much I can remember...
• first year? began to engage in the idea of visual language but didn't really get it till now (and I imagine I'll continue to get it more so, as I go on)
• second year? no print making ever again! working in more sophisticated ways, considerate of atmosphere, feeling within work. PAINTING = YEAH
• THIRD YEAR
• necessary/ unnecessary division of practice- personal/ research projects being integral to what I do but I see as a holistic body of work. (I don't see this as a new idea for anyone, but one that is important to me)
• portfolio -> consistency????? Cox review -> at first inconsistent, but he got the 'feeling' of it and understood. do I want to strip my work down to one thing? (no)
• engaging in more research driven projects- There Are At Least 1000 Ways To Draw A Tiger and (the currently preliminarily titled) Trees And The Men Who Love Them
• practical portfolio work
• books- Penguin, Stratford
• children's- War Horse, Too Much, Carmelite
• editorials- (self initiated)
• small press + self publishing- Thoughtbubble, ELCAF, Kick Don't Twist (Shortbox)
• MA? not right now. I'd like to be able to afford it. it would be a good asset if I want to teach, but all in all it is something I'd like to do for the real reasons
• For now I've nicked the idea of "situated illustration" from RCA, and I try to figure it out myself in a very crude way
• exhibiting? small spaces? taking work to *experimental publishers + spaces* - Nieves, Landfill
• PPP basics- website, social media, entering annuals like 3x3, mailer riso print, business cards
• give It's Nice That and Creative Review graduates lists a crack because why not

• VISUAL SENSIBILITIES?
• MOVEMENT -> agitation drawings, disregard for anatomy, but respecting it enough to create an image that can be believed, or at least, belief can be naturally suspended
• painting, flat, colours, overlays
• that's what moves me right now, but I don't know how long that will soup it up

• I am optimistic to go forth and not heavily define my work whilst also engaging in commercial sensibilities... but let's see how that is in six months, a year, etc (hahaha)

contacted by People of Print

Yesterday I was contacted by People of Print to discuss potentially selling work through their curated market place, Department Store, with them interested in my work particularly in regards to the screen prints I made with Not Now. It seems like an interesting and legit operation, with a wide reaching audience but right now, as I'm not making much in terms of printed matter and don't have much intention in doing so, and the fees associated with selling I don't think it is right for me. I thanked them for their interest, and explained this, and we both decided that should the time come that I would be interested in working in this sort of way, that I should get in contact and they would be happy to support me.

I'm not keen on turning down offers, but this wasn't a *job* as such, and isn't right at the moment and has been left open ended.

tutorial with Teresa/ discussing children's illustration + portfolios

• On conflicting portfolio advice: don't cater yourself to too many people's ideas of what a good portfolio is! Be confident in your portfolio style, people can pick up on tentative-ness. I aim, personally to keep it simple.
• For children's illustration, I might consider having a unique portfolio to take to that kind of publisher/ AD. Not strictly just children's illustration if I have other pieces that are relevant, but there's no use in showing them pieces that wouldn't be suited to them. I suppose this essentially fits for all areas I'd like to work in.

• If you're going to pitch a children's book you will propose it with a dummy similar to the way the Carmelite prize is structured (a script, a mock up of sketches with three or four spreads completed).
• PACING IS KEY! Not every spread in a children's book has to be wild or full of things. Pacing the book with dips of quietness and wildness will, in turn, make the pages stronger in their own personality from the contrast. 
• It's good to work extra from the text, make it interactive, have something for the child and parent to talk about. But don't be gimmicky either, just for the sake of it.

There is A LOT of stuff in children's books. It's a huge market, saturated at times with some things that are... not so interesting. A list of publishers to investigate

• Osbourne
• Bloomsbury
• Flying Eye
• Penguin
• Little Tiger
• Pushkin
• Walker Books
• Candlewick

After now completing the work for the Carmelite prize, I can say that my interest in working in children's publishing is piqued. I wonder how I can sustain a practice that involves children's illustration, without necessarily giving all of my practice over to it.

Ben Cox visit notes

• The talk mostly confirmed what I thought I knew about the structure of agencies. 
• When looking over my folio, he seemed a little concerned at first that it was inconsistent. I think this was mostly in the different usage of media. However, hopefully at not too much of a push, he said that he understood it, and I suppose got the 'vibe' of it, and was mostly positive.  The piece he liked the most was this one, and he spent the most time looking over it:

• I can see it as a piece that has commercial value. Not that he would be put off as a viewer by anything else, but he was quite open about the business nature of an agency and that's completely understandable.
• I am still concerned that my portfolio isn't something likely to get me jobs- that the commercial looking work is few and far between and that the other *styles* would put someone off hiring me. Nonetheless, I don't particularly want to split my work off, when doing different things is really what keeps me going as a creative. I'm aware that he had suggested to a few people that they split their work into different entities, so maybe he at least doesn't see it as that disparate that it would require that. 

• He also suggested that I mock up pieces into their contexts, i.e. editorial in a newspaper setting.  I'm at a point where I realise I'm going to be suggested to do a lot of different things by different people. Some will say [art directors want opportunity, and they themselves can imagine a piece where they see fit] and [art directors do not have the time, show them an editorial as an editorial, show them a book illustration in a book] etc.
• My instinct lies with the former idea, at least in the printed format. Because my online folio is bigger and more edit-able I could put some mock ups there too, but they're not so... committed.

mailers

I am at an awkward position where I realise, I do not wholly know where my work sits. I'm still not drawn into the temptation of limiting myself to less areas, or methods, but do long that it would potentially be easier to work in that way.

I have sent 10 physical mailers, starting quite big to places I would very much like to see my work. I included agencies, (quite big ones at that), and understand that while they might not be interested right now I would also like to make them aware of me, as such. 

I'm holding back a little in regards to children's illustration, until I can publish my work for the Carmelite prize (should I not place). I'm not sure what to expect from this, but hope it is more effective than emails (that will perhaps follow these up afterwards). 

It's essentially... friendly pestering. Always polite.

In each envelope I posted a print, a hand written note with a drawing on the back side, trying to make it relevant to each place. I also wrote a little more to Cox and Brakus, as they are people I have met before and I wanted to make a note of that! I also mentioned my frequent stops to London over the coming months, and should they wish to chat in person that I would be more than happy to.  

• Heart
• Ben Cox @ CIA
• Dutch Uncle
• Big Active
• The Guardian
• Tate Publishing
• New Scientist
• Phaidon
• Transworld 
• Gerry Brakus @ New Statesman

Just a small selection to start! (I don't have the envelopes...)

I'm also selling these prints! More money, mostly going back into funding their printing and sending to art directors at this point. I hope to also sell these at ELCAF.

website update

I added a "currently" page to my website. I haven't seen this used anywhere else really, but I thought it would be nice to add something that shows I'm working, namely on personal projects that could show a little of what I'm interested in beyond *art*. Essentially it would work similarly to a blog, but only show what is happening at present- but obviously private / secret work will remain so. I want to have conversations about what I'm working on, particularly when it's on projects like the FMP, so I want to make it clear I want to chat!

I also added an instagram widget to the bottom of the page, hopefully to attract attention to the account but also make it available to those who wouldn't see it otherwise. More than anything, I think it's the nicest view of my work as holistic body- easy to look through and a mixed bag  of process and finished things, but also conversational and not so formal...

3x3 entry

I entered this piece to the 3x3 #14. 

Weighed against the AOI annual, 3x3 may have less direct impact on art directors, but it is still a well known directory/ catalogue/ annual with a large international following. I also 1) missed the AOI deadline and 2) the fees for that can be questionable in regards to the potential gain from it.

Regardless, I entered this piece. I feel that as a piece of illustration it demonstrates practicality, sell-ability but also my own personality and ability to work with narrative. It is also one of the pieces I'm more pleased of from 2016, which 3x3 states the pieces should be from. I didn't want to submit it as a series as i see it as a cohesive single image in its original form (a gif). I tried displaying it with borders, but that made it look more like a comic, a storyboard or just six completely separate images. So I went with the above.

contacts

This morning I made a conscious effort to really try and start contacting people. I put together a small pdf of work particularly relevant to editorial, and sought to contact people in that area first with those images.

I tried to take time and care to contact people particularly relevant to me (or rather, I would be relevant to them). Four or so emails in I realised that my emails weren't really leading, and there wasn't really a reason for them to email me back.  It was very much "hello here is my work bye!!!!"

I don't want to make these emails particularly meaty, or really ask much of the other person, but just a small something to sort of suggest input on their part? or at least, brings it back to them. "I hope these can be of interest to you" etc.

I've sent a few, but I feel behind and possibly one of just the huge tidal wave of graduating students. I hope my physical mailer will be of interest to them. I think, for now, maybe it would be an interest to set a goal such as, "email at least one person every day for the next month" This is what I have sent to the editorial art directors

promotional print

It seems quite standard that as means of promotion that artists will send out physical material. It's also quite standard that, although beautiful, a lot of it must be thrown away or isn't noticed so much because a lot of it is very similar. I'm proposing to create an A4 two colour riso print, something that hopefully follows these ideas...

• big enough to be noticed, but not cumbersome
• interesting print process and quality
• cost effective
• not so valuable that it matters too much if discarded :-(

I'll be printing at least 100, so I could even sell some too. 

After asking on social media where for recommendations of riso printers, I was very kindly offered by someone who would do it for me for a very good / cost price!! Other presses mentioned:

• Hato Press
• Ditto
• Risotto
• MK Press
• Crumb Cabin

What matters most is the IMAGE ITSELF! It needs to be at once

• decorative enough to go on a wall, in an office, or even taken home...
• innovative and exciting and stand out
• potentially appeal to a wide array of people- art directors and people working in publishing, agencies, editorial and children's illustration
• something that describes my practice, or at least, the key element of it 

So... if I boiled down what I do, what would this image become? 

• something with shape and movement
• a tiger? that's too tempting :-(
• figures, forms
• expression, sentiment

giclée prints

Whilst showcasing the Out of Order/ cowboy design online I received some interest in further prints being made. I was not happy with the prints made for the show itself, so decided that if I was to make more prints I would want them to be of a high quality.

I opted for giclée printing, but with the high cost of printing and not knowing how many of each would be bought I opted for a pre-order system, so I could order the prints knowing that they were definitely paid for. Seeing as it was a pre-order system, it didn't hurt to offer other designs too, and that also proved successful. 

The sales weren't incredible, which I put down to the somewhat high cost, but, in this instance, I strongly believe in making something of quality rather than cheaply for the sake of it. And regardless, I do not make a loss this way. I have placed my order, and look forward to the arrival of these prints. This way of working certainly isn't a way to make a living, but is a helpful addition to my working and if the market is there, there's no use passing up the opportunity!

I need to

Make some connections, preferably before every art director in the country (and internationally) feels the strain of thousands of nervous art students.

I am still keen on the idea of designing something to send out, that whilst not overwhelming, would be precious enough for someone to want to keep. I also need to start on emailing people more.

Gerry Brakus / New Statesman talk

Gerry seemed to enjoy the work I had produced, and noted that my style would be suited to the stories and creative writing section(s). She spoke of Eleanor Taylor as a reference point, in regards to emotive-ness and stylistically.

Other notes from the talk are mostly in regards to the readable-ness of the images (simple enough, but not cliche), the process of commissioning and the client/ artist relationship.

I followed up the talk with an email to Gerry but got no reply, which is expected and fine (though did receive a follow on Instagram). I also made the mistake of forgetting to attach some work to the email, say, a small pdf or relevant images.

I emailed a rug company that collaborates with artists and illustrators because the idea of a rug made of my work is beyond sparkling. Rugs and textiles are a good vehicle for my interest in shape, minimal colour and forms, I think. Working beyond print, or screen is something that is so exciting but I've never known how to get to, beyond simple packaging and product designs. The way these companies translate illustration to textile is an art form, and although functional, the quality of them as an art piece really catches my eye.

Further note:

writing emails at 11pm may lead to sending wrong pdfs, etc. I replied again in a courteous and simple way, but it's better to just not make the mistake. Be careful!

Update: Node got back to me with a kind turn down- they appreciated my work and thought it could work but right now they're not looking to collaborate with any artists.

Gur are yet to get back, and I'm not sure how long ago their last collaboration was so it might well be that they're not looking / working at the minute.

Regardless of the turn downs, it's still a type of project I would like to continue to pursue.

I joined The Dots,

Notes:

• It certainly seems a lot more interesting to me than LinkedIn, but it does feel empty in comparison. But the ability to showcase work easily wins. Not that you should have to choose one or the other, but I can't fathom the interest to use LinkedIn.
• Some of the tagging systems are confusing, and "illustration" is not an option for many sections, which leaves me wondering what I am. Visual arts?
• What is a level? I assume I am a junior? 
• Labelling yourself as a junior feels similar to me as labelling yourself as a student 

• Seeing my work with itself in this grid format makes me feel... that it isn't very consistent? Though I don't want to be overwhelmed with making things 'commercial', I do feel uneasy about my portfolio. Not even in regards to its consistency, but if it is really the sort of work that I want to continue making. I can be quite quick to jump from one thing to another/ out of personal interest/ perceived interest in change = progression.

website update

Notes and improvements made based on website/ PPP tutorial:

• images are BIGGER
• note: portrait images cannot be viewed 'as one' when they're this big. They can be scaled to the monitor size, but this makes them inconsistent sizes so I decided against that
• email in about page + separate contact page-> with a click through link that takes the person through to their computer email client
• selected work is chronological, with most recent first
• image before biography
• I added a small personal description, but I still can't get my head around how to write one that isn't 'cringe' for me and reader.

All in all -> a clearer website that focuses and showcases the work more. 

ELCAF and other notes

To my surprise, I'll be exhibiting at ELCAF 2017 with Grid Kids (as I did at Thoughtbubble). I'll potentially need... to make some more things in anticipation of the show in June. Potentially I might have prints or books from other upcoming projects that I will be able to sell, but I may also need to actively think about what I'll need.

Notes from tutorial with Ben last Friday:

• Research before applying to the AOI annual. It can be pricier than what it is worth. 3X3 may be of more interest to me.
• Is it worth looking for an agent? I don't have a super keen interest to find one, or at least, don't feel them worth it just for the sake of it- unless it was an agency I have interest in. This largely comes from seeing other artists and seeing who they are represented by. Agencies mentioned: Dutch Uncle*, Heart*, CIA*, Handsome Frank, The Art Works...
• Begin to select pieces for a portfolio, begin to construct it from when the speaker from Central visits...
• Ben gave me a useful email template to send to people. I don't need to worry about the state of my portfolio, there's enough there to begin contacts. 
• Postcards and business cards are nice but very throw-away-able, and art directors receive them in hundreds. Consider making something nicer, a print perhaps, that is less likely to be disposed. Something NICE
• 
  

Selling online

I had a small re-arrange of my online shop. I added a header of a *doodle* I had done... whilst not massively significant, right now I feel that this dog(?) encapsulates what I want my work to feel like. It's also nicely lit, and ties into those ideals of nosiness into artist's lives/ sketchbooks...

The listings within the shop are also bigger now, and clearer to see. The layout is simple but bold.  And now my prints are up for purchase! 

potential contacts

A quick list of the various places I could/ would/ should make a start at contacting, based on previous notes of the kind of places I would see my work going.

Notes:

• More prominently than the others, and more relevant than ever, it is important to align yourself with newspapers and media that are in line with your politics. Let's put it this way, although I doubt I'd ever fit their audience, I'm not about to do any editorial for the Daily Mail, not even as a *test/theoretical* piece
• GO SMALL + GO BIG + GO EVERYWHERE 
• I want to be ambitious in who I want to reach out to, but it also doesn't hurt to build foundations at smaller scales. Similarly, in the internet age, it's very possible to address your work overseas, and even between language barriers if approached in the right way.
• There were some more actual names I was going to write but had forgotten, but have asked people who know who I mean to remind me...

More art director names I was reminded of/ given by a friend:

•  SooJin Buzelli, Alexandra Zsigmond, Deanna Donnegan (New Yorker), Len Small (Nautilus) + Anshuman Idammsetty (Hazlitt)

intentions

I started to make some notes re-evaluating my direction (again). It's a little bit too much thinking rather than doing, but the thoughts are there.

I was reminded of the RCA Visual Communications pathway "Situated Illustration", and thought it would be of interest to take some lead from their descriptions...

print with Not Now studio

I was recently contacted by Not Now studio in Bristol in regards to being one of their 'artists of the month'. The deal would be that I would provide a print design, an edition of 50 would be printed and we would each keep half the prints to do what we wanted with. Considering that I would like to never print anything myself again, it seemed like a good deal! I also had a design from Context of Practice's module that I had fancied getting printed, and the opportunity to get it printed for *free* was more than enough to tempt me. Luckily they liked the design and were happy to give it the go ahead!

I translated the design a little for separations, but as it's essentially the same and didn't have much research behind it I won't be submitting it as part of Extended Practice.

original

print design

separations

final print

re-evaluating my work and direction

With the clean break of post-dissertation life I've begun to question the direction of my work a little more. It's not so much the tone of voice, but the aesthetics and the way I construct images- often flat and compositionally... not very dynamic. I now have the time to re-focus and try to push this. The subject matter too- with very self-driven briefs like the Thoughtbubble publication and the print for PRESS I was given complete self direction, and pushed for time I went for my sort of cliche tropes... usually something a little pouty...

Working on '1000 ways to draw a tiger' has really pushed me to consider shape and form, and I'd like to see how I can apply this to more 'serious' contexts but also compositions that are a little more 'real world', and not just a flat plain background. I think children's book illustration is quite a nice place to start this and go wild with it, but I think it can also be applied in subtler ways for sure.

On the other hand, I want to draw more real things! Never realistic, but drawing environments and settings, as it's not something I've ever really done. I have absolutely 0 understanding of perspective, and maybe that will be inevitably be utilised in a stylistic way, but I need to draw something that isn't just a figure! And even- consider compositions without ANY figures. For example, this illustration by Lizzy Stewart really struck me for its lack of characters, and that's testament to the composition itself, but maybe it was also noticeable because most of her work DOES include a figure of some sort.

Lizzy Stewart

considering contexts and briefs

I can't see my work going into a really specific context. I enjoy editorial, publishing and children's illustration. I think it's possible to do this without becoming just a 'jack of all trades'. I feel like it's all I ever write about in regards to PPP but I think to be a confident artist largely lies in establishing and maintaining your own tone of voice. Artists like Laura Carlin and Jillian Tamaki have proved that it's possible to work, successfully, in all three of these contexts and beyond.

However I do feel a little apprehensive about doing lots of different projects. I don't know why I was so unsure about potentially working in children's illustration, when my FMP for level 5 proved so fun. I don't want book illustration to be my main focus for THIS year's FMP, so the idea of taking a pre-existing text like the Carmelite prize could be a good idea. I really think that children's illustration often has the most scope for the most, visually, exciting illustration. And drawing chickens aren't so bad either.

Asides from my final BIG project, I think it would be good to stick to client/ competition lead briefs, to practice and also evidence I can work in that way. This could even be competitions, like the Folio Society, adapted to cater to my own tastes, whilst also making that work a little diverse than say, all of the other graduates who will have To Kill A Mockingbird in their portfolios.

----

Briefs Overview:

level 6 2016 work (mostly very small briefs):

• AOI Prize (done in summer post-level 5 but not sure if I can submit as E.P?)
• editorials (not very many)
• painting commission 
• zine for Thoughtbubble/ Grid Kids
• FORGE art magazine
• PRESSriso print

currently:

• 1 x screen-print commission (design based on previous COP3 work, so won't be submitted as Extended Practice just PPP) (to be revealed this week)
• 1 x commission (within the comics/ illustration community... not sure how secret it is!) (likely to be a slightly larger brief, a small publication)
• Penguin Design Award 2017
• To Kill a Mockingbird 
• In Cold Blood 
• Adrian Mole
• Editorials (will be resumed... and although I want to work on them in quick succession I don't think it's necessary to *force* one a week)

potential:

• Carmelite prize
• !!!BIG SELF DRIVEN PROJECT!!!
• and more................!!!!

Happy New Year

I am interested in working in a silly and playful way.

I am interested in making work that is SINCERE 

My COP practical synthesis touches on this, but the stress of the writing and the getting it together gets/ got in the way.

I'm glad for being critical of the illustration world and considering theory but... now I've ingested that can I forget it for a while? Let it digest in the background

Misaki Kawai having fun