The third-year illustration students presented their FMP's and Experimental projects to us, aiming to give us ideas for the broad range of projects available to us when we have to do the same. Of the presentations, three projects were prominent: Planning and Pitch, the Research Project, and the Final Major Project (FMP). Some ideas of tasks for each project are listed below.
Planning and Pitch
- Design sheets.
- Kickstarter funding.
- Constant experimentation.
Research Project
- Use all forms of media in work.
- Artist research.
- Constant research and development.
FMP
- Branding.
- Be original.
- Get out of comfort zone.
- Show evolution of ideas.
- Constant experimentation.
- Something that can be produced and sold.
- Constant research and development.
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Thursday, 28 January 2016
Stephen Cooper Lecture
Stephen Cooper is a Concept Artist who has worked in both the film/tv and videogame industries. He studied BA Illustration and Computer Animation, favouring gel-ink pens and indian ink as his creative mediums during this time. His undergraduate works drew ideas from the subconscious, being inspired by the likes of Max Ernst and Ian Miller. In his experience as an illustrator, Stephen has worked in established teams and companies, where he learned to share thoughts about his own work to others.
Games
His first jobs as an illustrator were with the game development companies Free Radical Design and Codemasters. Through working on videogames, he taught himself how to use 3D computer software, and how to make the transition from 2D to 3D in his digital designs. Whilst at Free Radical Design, Cooper was assigned to be an environmental artist for a game called Timesplitters, where he felt creative when working with the developers, contributed to a collaborative team effort, and learnt how to balance his personal ideas for the game with the ideas of other team members.
Later on, he worked on Silent Hill: Origins, where he utilised moodboards to collect references and colour schemes for environments that would be in the game. With future work in the same series, Silent Hill: Shattered Memories, Stephen created concepts for ice effects for consideration by the Art Director (of whom it is important to become friends with), but did not see his designs reach it to the final game. This particular experience helped him to learn not to be too assertive with getting his own ideas into a project, as it is better to be magnanimous than have conflict with team-mates. When working on game production, he found that there are less limited time constraints for the concept phase, compared to concepts for film/tv - although there is still a rigid schedule for artists to follow.
Film/TV
In the film and television industry, Stephen spent most of his time as a Concept Artist for Doctor Who - where he would work closely with other artists and production designers. Because of practical considerations of the show, limited sets were built, so the designs for concept pieces needed to be size accurate, fully referenced, and architecturally sturdy. To help with this, production designers set concept artists briefs for certain elements that should be included with the concept ideas.
During an average work day on the production of Doctor Who, Stephen would speak to Senior Artists about any outstanding tasks, as well as share artwork with the Art Director. He would also check the measurements of his illustrations against the building specifications set by the production designers to avoid aformentioned practical issues with sets. While most illustrators in this field would be paid daily, Stephen was careful about ensuring payment for long payments. This is because the starting salary for artists at the BBC has a fixed rate.
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Games
His first jobs as an illustrator were with the game development companies Free Radical Design and Codemasters. Through working on videogames, he taught himself how to use 3D computer software, and how to make the transition from 2D to 3D in his digital designs. Whilst at Free Radical Design, Cooper was assigned to be an environmental artist for a game called Timesplitters, where he felt creative when working with the developers, contributed to a collaborative team effort, and learnt how to balance his personal ideas for the game with the ideas of other team members.
Later on, he worked on Silent Hill: Origins, where he utilised moodboards to collect references and colour schemes for environments that would be in the game. With future work in the same series, Silent Hill: Shattered Memories, Stephen created concepts for ice effects for consideration by the Art Director (of whom it is important to become friends with), but did not see his designs reach it to the final game. This particular experience helped him to learn not to be too assertive with getting his own ideas into a project, as it is better to be magnanimous than have conflict with team-mates. When working on game production, he found that there are less limited time constraints for the concept phase, compared to concepts for film/tv - although there is still a rigid schedule for artists to follow.
Film/TV
In the film and television industry, Stephen spent most of his time as a Concept Artist for Doctor Who - where he would work closely with other artists and production designers. Because of practical considerations of the show, limited sets were built, so the designs for concept pieces needed to be size accurate, fully referenced, and architecturally sturdy. To help with this, production designers set concept artists briefs for certain elements that should be included with the concept ideas.
During an average work day on the production of Doctor Who, Stephen would speak to Senior Artists about any outstanding tasks, as well as share artwork with the Art Director. He would also check the measurements of his illustrations against the building specifications set by the production designers to avoid aformentioned practical issues with sets. While most illustrators in this field would be paid daily, Stephen was careful about ensuring payment for long payments. This is because the starting salary for artists at the BBC has a fixed rate.
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Wednesday, 27 January 2016
Fumio Obata Lecture
Fumio Obata is a Japanese artist that specialises in Illustration and Pictorial Storytelling. He grew up with comics and manga, before coming to England in 1991 to take his practice further. Fumio attended the Glasgow School of Art from 1997-99. Initially being rejected from the Royal College of Art after graduating, he later reapplied and studied a Masters' course there, from 2001-03. While his initial artistic approach was watercolour paints, Fumio aimed for a stronger visual identity that would get his work noticed.
Because he works with character-based sequences, there are three main mediums Obata works in: Illustration, Animation, and Books.
Illustration
Fumio moved from traditional media to digital, when focusing on his work in concept and background art. Within his illustration practice, he tries to combine Japanese and European aesthetics, to produce a unique style of work.
Animation
From his experience in animation, Fumio has learned that it requires precise scheduling and organisation, with complex teamwork and tasks shared with other animators. For his first large-scale animation commission, he helped create the stage projection for one of artist Duran Duran's live concerts. From there, he applied for several programs to train animators. Not long after, Fumio recieved funding to make an "Artist in Residence" animation for Channel 4. The television network later commissioned him to create a mostly digital animation of his own.
Books
His practice led him to France, and the Bonde Dessinee (Angouleme) - an artist residenct for comic artists. Whilst there, he stayed in the "Les Maison des auteures," from 2008-09. Fumio's first book publication was a year later, made through a personal contact of his. In 2014, he published "Just So Happens" through a competition, as a runner-up. The book was published in six different countries and five languages. Through these things, Obata learned that it is important to take part and involve other people in projects, as well as to be a part of the creative industry. He is currently working on a reportage project, named "Quake news from Elsewhere," in which he hopes to spread awareness of a Japanese crisis to European audience.
Fumio's advice for any inspiring creative would be to know the market and keep on top of current trends. He says that it is just as important to find your artistic voice and build your audience.
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Because he works with character-based sequences, there are three main mediums Obata works in: Illustration, Animation, and Books.
Illustration
Fumio moved from traditional media to digital, when focusing on his work in concept and background art. Within his illustration practice, he tries to combine Japanese and European aesthetics, to produce a unique style of work.
Animation
From his experience in animation, Fumio has learned that it requires precise scheduling and organisation, with complex teamwork and tasks shared with other animators. For his first large-scale animation commission, he helped create the stage projection for one of artist Duran Duran's live concerts. From there, he applied for several programs to train animators. Not long after, Fumio recieved funding to make an "Artist in Residence" animation for Channel 4. The television network later commissioned him to create a mostly digital animation of his own.
Books
His practice led him to France, and the Bonde Dessinee (Angouleme) - an artist residenct for comic artists. Whilst there, he stayed in the "Les Maison des auteures," from 2008-09. Fumio's first book publication was a year later, made through a personal contact of his. In 2014, he published "Just So Happens" through a competition, as a runner-up. The book was published in six different countries and five languages. Through these things, Obata learned that it is important to take part and involve other people in projects, as well as to be a part of the creative industry. He is currently working on a reportage project, named "Quake news from Elsewhere," in which he hopes to spread awareness of a Japanese crisis to European audience.
Fumio's advice for any inspiring creative would be to know the market and keep on top of current trends. He says that it is just as important to find your artistic voice and build your audience.
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Tuesday, 26 January 2016
First Story Ideas
In response to a live brief to design children's book covers, I have illustrated my ideas for two of the four available topics. The following will present my designs and the ideas behind them for the 'FIRST STORY' school poetry brief.
FIRST STORY - My Voice is a Shy Tiger
My idea for 'My Voice is a Shy Tiger' consists of two characters (a child and a tiger) made out of blocks. Because both are created from the same shapes, it represents that the tiger is a part of the child (their voice). While the child has simple features which make them easier to connect with the reader, the tiger has a detailed yet innocent face. I have chosen to make the child gender-ambiguous, so that any child could project themselves onto them and relate to their experiences. They were purposefully designed without a mouth - showing that they have literally lost their voice. For the covers themselves, I showed the tiger walking away from the child on the front cover, with the child and tiger reunited on the back cover. I used bright colours to design my characters, so that they would stand out against the darker blue of the covers. On both covers, I have provided spaces for a scratchy, black title and the blurb.
FIRST STORY - Journeys
FIRST STORY - My Voice is a Shy Tiger
My idea for 'My Voice is a Shy Tiger' consists of two characters (a child and a tiger) made out of blocks. Because both are created from the same shapes, it represents that the tiger is a part of the child (their voice). While the child has simple features which make them easier to connect with the reader, the tiger has a detailed yet innocent face. I have chosen to make the child gender-ambiguous, so that any child could project themselves onto them and relate to their experiences. They were purposefully designed without a mouth - showing that they have literally lost their voice. For the covers themselves, I showed the tiger walking away from the child on the front cover, with the child and tiger reunited on the back cover. I used bright colours to design my characters, so that they would stand out against the darker blue of the covers. On both covers, I have provided spaces for a scratchy, black title and the blurb.
FIRST STORY - Journeys
My idea for 'Journeys' involves a child writing, and those stories representing journeys through her imagination - to the past, future, and other places. The girl's imagination takes up the top half of the front cover's design - signifying the importance of these journeys (shown like a branching path). The back cover shows the girl's stories after she has finished writing. My intention was to use a lot of white and orange, as they bring a warmth and purity to the composition. The imagined journeys were designed with bright colours as to make sure they don't overpower the path connecting them to the child. On both covers, I have again provided spaces for a title and blurb.
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Monday, 18 January 2016
Papio Press visit
Papio Press - consisting of former students Zanna and Harry - came in to talk about their business with the second year. They started the business at the end of their second year on the course, through the online shop, Etsy. Later on, they reached out and set up similar stores on Not on the High Street and their personal site. At the end of the third year, the product range for Papio Press was expanded, allowing the business to win a "Growth Hub" competition within the university. Through their presence on Etsy, they were found by, and collaborated with, the Natural History Museum, where they produced illustrations based on a competition for 'National Photographer of the Year'.
Ensuring a larger customer base, the former students continue to promote themselves through various forms of social media. Papio Press are currently collaborating with a large company called One King's Lane, a partnership which involves the company printing and producing their work and giving commission to the small business. However, the business has had various issues in the past, involving initial struggles with tax returns, an inadequate supplier resulting in ill-fitting stock, and postage concerns leading to bad feedback on their site. With this in mind though, Papio Press is more successful than ever, producing and selling enough stock for the business to be the central focus of both of its founders.
Ensuring a larger customer base, the former students continue to promote themselves through various forms of social media. Papio Press are currently collaborating with a large company called One King's Lane, a partnership which involves the company printing and producing their work and giving commission to the small business. However, the business has had various issues in the past, involving initial struggles with tax returns, an inadequate supplier resulting in ill-fitting stock, and postage concerns leading to bad feedback on their site. With this in mind though, Papio Press is more successful than ever, producing and selling enough stock for the business to be the central focus of both of its founders.
Sunday, 3 January 2016
About Me
Professional qualities I possess:-
- Good organisational skills.
- Work to the highest possible standard.
- Good time-keeping skills.
- Able to plan and execute tasks efficiently.
Personal qualities I possess:-
- Good personal hygiene.
- Focused when needed.
- Reflective.
- Unique perception of the world.
Someone else would describe me as quiet, tidy, hard-working and intelligent.
Within my work as an illustrator, my specialist skills consist of traditional drawing, painting, and digital art.
I am passionate about storytelling, and the way a larger narrative is told, through both visual and literary medium. I enjoy becoming a part of a story's universe, and always having that universe be a part of me. I am also passionate about non-vocal music, how a core melody can bring something to life and evoke an emotion within the participant that stays with them - similar to that of physical art.
Someone should hire/comission me because I have the knowledge and skills at my disposal to find a way of achieving the highest personal standard, and the motivation to get the task done.
Some unique things I can offer are my social commentary on many aspects of our culture - as an outsider looking in - as well as my willingness to explore deeper philosophical and existential questions about life.
The purpose of my imagery is to capture the detail of life, while showing my own interpretations of the world.
In one sentence, I would define my practice as detailed, heavily monochromatic and lightly experimental.
I want to illustrate characters and environments that inspire me not only from real life, but also fiction. My target audience is not defined, as people of all ages can take something away from my work.
I want to portray an adaptable style. The pros of this style are that you always have a structure to work from and a set level to work towards, in regards to referencing a similar style. However, this style has cons, in the form of artistic limitations - it may be more difficult to portray more personal thoughts/visions through an adaptable style.
A signature style has advantages also, in that you are given freedom of interpretation, choice of colour/medium, and a visual style that is completely unique. Although, it is not without its drawbacks, such as difficulties in the development of a brand new style - all things that are new ultimately reference things that came before.
I am looking to be an illustrator part-time. Alongside a freelance illustration practice, I will be a writer for an online gaming website.
On the topic of becoming a freelance Illustrator, I will need to consider how to look after myself, how much time I will be devoting to my artwork and my writing, how to budget money, how to reach out and contact potential clients.
Work experience that I think will help me with my future plans consists of games design. This is because it will benefit both aspects of my professional future. While it will teach me what the games design industry is like, and give me a greater appreciation for games, concept art, teamwork,etc., it will also help me as a games journalist to look deeper into the true nature of game developers in today's society.
I am going to contact as many local games development/design companies as I can that are local to me. I have already contacted one, and more will follow.
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