evaluation, portfolio, SWOT/Target Setting

Cheltenham Awards Final Piece Production

It’s been a busy week indeed!

In between running around like a headless chicken and trying to maintain a ‘healthy’ work/job/life balance, I’ve finally finished up my final project of the year ♥

It was quite an arduous process, but I think I actually really benefited from the super short time frame I’d been left with- not only was I working towards my deadline, I was also racing to get my art book submitted for publishing in time! I wanted this piece to be included, so that was another self imposed time limitation.

I created the piece on Procreate, using a variety of my own photos from my 2018 China trip to inform the architecture and layout. I clocked in just over 30 hours across 4 days according to the app, so here’s a wee time lapse video of my process to make a very long story short! (This is the 30 second quick cut- the longer time lapse video is about 12 mins long, and unfortunately I couldn’t quite get it to load up on Vimeo!)

 

So it was quite a linear, reassured workflow, but also had some new techniques being used since Procreate is a completely new tool to me since my last Cheltenham project in 2017. I’m really pleased with how far I’ve come, as my line art, layers and detailing/texture management has come leaps and bounds. While I still appreciate the flat, pastel-y appeal of my old Cheltenham piece, this newer one boasts a lot more depth, as well as a more experimental colour palette that really is quite ‘far out’ for me as an artist- up until now I really have been stuck in my ways with pastels and monotone, but the subject matter fully supported a warm, deep toned palette and I think it ties in quite well.

Here’s the finished piece- there’s loads wrong with it of course, but I’m content for now ♥

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Modernisation (Collingwood, 2019)

 

Although I feel I’ve had a lot of success with this project, there were still some weak areas here and there- artwork wise, I think there’s still something amiss with the anatomy… but I have the time to fix this before final show, where I’ll hopefully be exhibiting this art as a centrepiece. If I’d have an ample amount of time prior to hand in this could have been fixed, but my workflow left me with a bit of a difficult situation- the way in which I’d blended the layers and applied tone and shading meant the line art and skin tones were across multiple layers, so it won’t be an easy task to correct this.

Working on this Cheltenham project has opened up lots more opportunities for me- I’m considering making a series of similar pieces based on my travels around the world. Also, when I submit this piece to the Awards I could potentially be featured in a catalogue showcasing selected entries from the year. Very exciting~

 

And with that, this wraps up my project work for Semester 2! Left to do is to finish off this blog, as well as some promo type stuff, like business cards, a creative CV and other artist-specific things like potential merchandise for final show. So, targets for the following week include tying up all the loose ends and making sure everything is ready and prepped for hand in, and also starting to think about final show- what I want to exhibit, sources for merchandise, and technicalities like layouts, exhibit space organisation, and marketing.


References

Collingwood, C. (2019). Modernisation [digital].

Collingwood, C. (2019). Modernisation Time Lapse .

research

Wider Research: Illustration Agencies

As I move into the final few months of student life before trying to establish myself as a freelance illustrator, I’m researching into online illustration agencies that represent some of my favourite national and international artists.

I’ll be looking at each agency individually, evaluating their clientele, ‘house style’, and other areas of interest.

 

Big Active

Big Active are a UK based agency that specialise in Art Direction, Graphic Design, Content Production and the promotion of artists. Having a quick flick through their artist repertoire, I see some familiar names, particularly Katie Scott (who illustrated the popular children’s reference book Animalium as well as other editorial works):

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Animalium (Scott, 2014), The Clerkenwell Post Issue 20 (Scott, 2014)

 

Big Active don’t appear to have a particular house style, which is nice to see. Sometimes agencies that have specific aesthetic requirements for their artists can make it difficult to stand out from the crowd or to break into the industry- or even to get taken on by an agency in the first place! However, I suppose it would help if there were certain ‘go-to’ agencies for a particular style of work, as this could help a client seek out a selection of potential artists.

On their website they currently list only a small selection of artists… while they are all fairly recognisable names, I was expecting them to have a bigger selection- I’m not sure if it’s typical to have a small amount of artists in an agency. I’ll compare this to the amount of artists promoted at other agencies I’ll look at.

 

Handsome Frank

Another agency based in the UK, Handsome Frank bill themselves as “representing some of the finest contemporary artists on the planet”, also stating that they now “represent 35 illustrators, spread across five continents and we’ve worked with some of the biggest brands and agencies in the world” (Handsome Frank, n.d.).

At a first glance, Handsome Frank definitely appear to have a more minimalistic, graphic house style compared to Big Active, which was more diverse style wise. Artists include Jonathan Burton, Quentin Monge and Tom Haugomat, a Paris based illustrator specialising in stylish, graphic landscapes:

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Archer Farms Coffee (Haugomat, 2018)

 

Overall I think Handsome Frank tend to a younger, more stylish client than some of the other agencies which offer a wider variety of styles for different applications. Their website layout is also quite graphic based, which complements the artwork nicely.

 

Lemonade Illustration Agency

While the other agencies so far have had a very minimalistic approach, Lemonade Illustration Agency presents a wide range of artistic styles and disciplines, whereas the other agencies seem to have more of a focus on illustration for certain commercial applications. Lemonade sets out its artists under different categories according to their suited disciplines, e.g. editorial (with an emphasis on children’s books), storyboarding and concept art (which doesn’t appear to have much obvious representation in either Big Active or Handsome Frank).

Lots of the work is very commercial and represents popular tastes, compared to the artists represented by the former examples I’ve researched, who are arguably aiming towards a more sophisticated, niche market. The amount of artists represented exceeds Big Active and Handsome Frank tenfold, and appears to have around the same amount of creatives as Central Illustration Agency. Artists include Marine Gosselin and Rose Frith, both of whom boast a very colourful, childlike aesthetic in their artwork:

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Witchy (Frith, 2014), Les Animaux (Presque) Disparus (Gosselin, 2018).

Lemonade Illustration Agency has offices in London, Yorkshire, Sydney and New York promoting artists in markets worldwide.

 

Central Illustration Agency

Last but not least, Central Illustration Agency (CIA) is another larger global agency that represents artists in three categories on their website: Illustration, Motion and Physical. This is an interesting way to set out these categories, as it allows clients to pinpoint artists that are especially proficient at their chosen discipline or application.

Also similarly to Lemonade Illustration Agency, they seem to have a much more diverse appeal within their body of represented illustrators and creatives, compared to the very select selection of Big Active and Handsome Frank. There doesn’t seem to be a house style, resulting in a wide array of art styles and aesthetics.

Artists include Whooli Chen and Brosmind, both of whom I’ve looked at in the past.

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Hong Kong IFC Mall Brochure, Winter 2016: Beautiful – Celebrating Together (Chen, 2016), RS Concept Store: Christmas Display (Brosmind, 2017). 

 

Looking at agencies still feels a bit overwhelming, but I’ve definitely gained some insight into the specifics of choosing an agency, and working with a company that appreciates an individual’s specific artistic traits and aesthetic.

 


References

Big Active (2016). Big Active – art direction, graphic design, creative consultancy and representation [online]. Available at: https://www.bigactive.com  [Accessed 27 Mar 2019].

Brosmind (2017). RS Concept Store Barcelona: Christmas Display [mixed media].

Central Illustration Agency (n.d.). Central Illustration Agency – Home [online]. Available at: https://centralillustration.com  [Accessed 28 Mar 2019].

Chen, W. (2016). Hong Kong IFC Mall Brochure, Winter 2016: Beautiful – Celebrating Together. [mixed media].

Frith, R. (n.d.). Witchy [digital].

Gosselin, M. (2018). Les Animaux (Presque) Disparus (The (Almost) Extinct Animals) [digital].

Handsome Frank (n.d.). Handsome Frank Illustration Agency [online]. Available at:  https://www.handsomefrank.com [Accessed 27 Mar 2019].

Haugomat, T. (2018). Archer Farms Coffee [digital].

Lemonade Illustration Agency (2019). Home – Lemonade Illustration Agency [online]. Available at: https://www.lemonadeillustration.com/Default.aspx  [Accessed 28 Mar 2019].

Scott, K. (2014). ‘Animalium’ Front Cover art [mixed media].

Scott, K. (2014). ‘The Clerkenwell Post’ Issue 20 Cover art [mixed media].

 

inspiration, research

Magazine Review: Hi-Fructose Issue 50

This post has been a long time coming!

About a month ago we were set the impossible task of finding the latest issue of Hi-Fructose, a contemporary art quarterly magazine. I traipsed allllll over town trying to find one with no joy. Searches on eBay were also unfruitful, with only one seller listing the latest issue… and of course, they were sold out. :c

I resigned my search to maybe being able to find a back issue in the future. But last week I was browsing again on the off chance I might find a copy, and lo and behold- that seller had just restocked! Since the magazine was coming from Germany I wasn’t expecting it for at least 2 weeks, but it showed up on my doormat this morning~

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Hi-Fructose: Issue 50 (Collingwood, 2019)

 

Here we have Issue 50 of Hi-Fructose, RRP $8.95- my cost was just under €14 with postage, which is fairly reasonable considering these magazines seem to be akin to gold dust in Europe.

Not gonna lie, I was expecting it to be a wee bit bigger than ~A4/letter size, but the quality feels great and it’s printed on nice sturdy stock. Peep that lush gold foiling on the cover! ♥ My poor photo really doesn’t do it justice! [Disclaimer: please excuse my horrible sausage fingers invading the rest of these pics!]

We’d been advised that any recent issue would do for this review task, but I was set on finding Issue 50 because Audrey Kawasaki is one of the featured artists- I’ll touch on her section of the magazine later since her section is near the end of the issue.

Having a quick flick through, there’s also the added bonus of a snazzy 16-page insert on the work of Jason Lemon- love this, it makes it feel very deluxe.

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Hi-Fructose: Jason Limon Feature (Collingwood, 2019)

 

Going off on a tangent, this magazine also smells really good… woodsy and organic with only a very small smidge of plasticky print smell- hooray! I’m sure any fellow bibliophiles will attest to the fact that you can tell the quality of a printed publication by how good it smells~

The magazine is beautifully laid out, with very high quality photography and artwork alongside in-depth artist interviews that are genuinely interesting. Adverts are only found at the beginning and end of the publication, which is a welcome feature- I feel like adverts ruin the flow of a magazine and distract from the otherwise beautiful artwork.

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Hi-Fructose: Contents Page (Collingwood, 2019)

 

Featured artists for this issue include Annie Owens, DabsMyla, Shoichi Okumura, and of course Audrey Kawasaki, all of which have gorgeous artwork. Each section is from 6-12 pages long, with full page illustrations that are vivid and (mostly) of a good resolution. The interviews are set out beautifully and work well paired with both the illustrations and some candid shots of the artists as they work.

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Hi-Fructose: DABSMYLA Feature (Collingwood, 2019)

 

My favourite section is Audrey Kawasaki’s interview- no surprise there! Her work is hauntingly beautiful. I’m already pretty familiar with her work, but the interview alongside her illustrations is obviously very up to date, which reveals new information on her current practice and workflow as well as aspects her life that are inspiring her work. The featured artworks are from 2016 onwards and were impeccably photographed. I love the typography set against her art on the ‘cover’ page of the article- there was obviously lots of love and care put into the layout and editing of this issue.

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Hi-Fructose: Audrey Kawasaki Feature (Collingwood, 2019)

 

Overall this is a really nice art quarterly- my top fave is still Beautiful Bizarre as that’s suited to my taste a wee bit more, but I love looking at new and upcoming examples of illustration and Hi-Fructose didn’t disappoint. I only wish it was easier to find in the UK!

Thanks for reading~

 


References

Beautiful Bizarre (2019). Beautiful Bizarre Magazine [online]. Available at: https://beautifulbizarre.net  [Accessed 12 Mar 2019].

Collingwood, C. (2019). Hi-Fructose: Audrey Kawasaki Feature [photograph].

Collingwood, C. (2019). Hi-Fructose: Contents Page [photograph].

Collingwood, C. (2019). Hi-Fructose: DABSMYLA Feature [photograph].

Collingwood, C. (2019). Hi-Fructose: Issue 50 [photograph]. Cover art: Fosik, AJ. Erratic Spell Release [polymer paint on wood].

Collingwood, C. (2019). Hi-Fructose: Jason Limon Feature [photograph].

Hi-Fructose (n.d.). Hi-Fructose|The New Contemporary Art Magazine [online]. Available at: https://hifructose.com  [Accessed 12 Mar 2019].

Kawasaki, A. (n.d.). Audrey Kawasaki [online]. Available at: https://www.audkawa.com  [Accessed 12 Mar 2019].

Rosa, E. (2019). Hi-Fructose. Issue 50. pp.13, 50-51, 76-77, 104-115.