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.

inspiration, research

Artist Inspiration: 3 of My Favourite Artists

Even though I’m looking at specific artists for each degree project in terms of suitability, application and style, there are a number of artists that inspire me in all of my artistic endeavours. By looking at the work of these creators, I’ve been able to hone my own style and artistic voice through looking at their work, finding my favourite aspects and fusing these elements together to create my own style. To reference one of my favourite quotes once again, Tony DiTerlizzi once said:

“…an artist’s “style” is simply an expression composed from a combination of the elements in other artist’s work that the artist finds appealing”. (DiTerlizzi, n.d.)

Here are just three of the best artists I follow that have influenced my own process and aesthetic~

Amy Sol

I first came across Amy Sol’s work in an issue of Juxtapoz I was given to look at in the first year of my degree, and I instantly connected with the way in which she utilises fantasy setting and figural fauna and female elements to create an ethereal feel that is both haunting and endearing.

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Embers (Sol, 2018), Rae (Sol, 2018).

 

A recent article from Juxtapoz Online tells of her inspiration and process:

“Exploring how nature and femininity intersect, Sol’s figures are elegant and serene with a stoic, introspective power. Both her sculptural work and oil paintings are frozen scenes taken from airy dreams and tales. Populated by bewitching figures and their mythic companions, each piece is a glimpse of a delicate ritual or parlance with nature. Incorporating traditional oil painting and sculpting techniques as well as virtual reality and 3D printing, Sol has masterfully blended mediums to explore light, atmosphere, dimensionality, and mood in this new body of work. Characters and figures are rendered both in graceful oil paintings and dynamic sculptural works utilizing digital- based and classic tools to create a visual language all her own.” (Juxtapoz, 2018)

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Diurnal Garden (Sol, 2018)

 

Since I first started following Sol, she has transitioned into a darker palette with more muted grey tones and less bright, pastel colours. I feel this is somewhat reflective in my own art, in the sense that I am starting to find it easier to refine my colour palette to suit a purpose, rather than combining colours from many different families. Nevertheless, I do still enjoy colour and like to embellish areas of my work with colour to draw a focal point or place of interest.

She also makes a wide use of flora and female characters in her work, something I also like to utilise wherever possible. Favouring female figures is a bit of a trend in the illustration world at the minute, but I find the female form so much more interesting and appealing… it seems a lot of artists agree! Combining form and nature is a quintessential match, and I love the diversity and endless possibility of working with this theme.

Overall I just find her work mesmerising ♥

 

Miho Hirano

Another one of my favourite artists, Miho Hirano’s work shares many of the same qualities with Amy Sol’s work- somber palettes embellished with slight touches of colour, and female focal figures that command the piece. She uses mostly oil paint in her work, which creates smooth fluid scenes and colours that blend seamlessly together which makes for a strong sense of surrealism.

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自慈 ‘Self Pity’ (Hirano, 2015),  夢占い ‘Dream Divination’ (Hirano, 2016)

 

The figures are often surrounded by flora and naturally curving patterns like foliage, smoke and hair- I often use these elements in my own work as I find they flow especially well together and I like to use as much naturally occurring imagery as possible. I especially love how she hides flowers within the hair of the figures, rather than just using them as a separate entity. Touching more upon this aspect of Hirano’s art, Tracy Eire of Beautiful Bizarre Magazine says:

“My first impulse was to connect the floral nature of Miho Hirano’s characters to reclaiming a confounded notion of womanhood, like women’s closeness to nature, their connection to the moon in myth and body, and painting them as entwined with untamed things.” (Eire, 2018)

In terms of feeling and emotion, the facial expressions of the figures play a big part in how the piece portrays these elements- the somber faces of the women in the paintings are a blank canvas for everything that surrounds them. I do find that a neutral expression cultivates a much more appealing aesthetic in my own work, leaving the possibility for the emotions of the viewer to be manipulated using other visual motifs; I find this creates a much more universally appealing piece. ♥

 

James Jean

I couldn’t write a favourite artists post without mentioning James Jean- I think he’s the artist that really inspired me to explore different varieties of illustration that were a bit more abstract, and has helped me grow out of my comfort zone- even though I still have a long way to go ^^”

I think my favourite aspect of Jean’s artwork is the engrossing, immersive atmospheres mixed with a distinctly Japanese aesthetic. Jean states that he was introduced to Hiroshige and Yoshitoshi during art college (Jean, 2016), which influenced him to start experimenting with sea-like waves and flowing forms in his art.

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Adrift (Jean, 2016)

 

I adore these aspects, as once again this speaks to my personal love of curved and contoured form which flows across all areas, binding the artwork together. Referencing a 2016 article from It’s Nice That, James Jean and his interviewer Jamie Green expand on these themes:

“Creatures, critters and the tendrils of foliage wrap themselves around spectral figures, occupying worlds that seem to bleed out of the canvas. He casts his surreal and decaying fantasy worlds in technicolour blues, oranges and gold.” (Green, 2016)

 “Despite my efforts to force my work to go in a certain direction, I keep going back to these dreamlike images. I suppose they are a selfish, self-indulgent escape from the anxiety-ridden age we live in.” (Jean, 2016)

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Mockingbird (Jean, 2015), Piggyback (Jean, 2015)

 

The detail in these pieces is simply exquisite. Viewing Jean’s artwork is truly a joy, and evokes a very calming effect on the viewer. I’ve previously written about my attention to this particular aspect of emotion in my own work- see my Design Philosophies here

There’s so many artists I’m inspired by, so this is only a small look at some of my favourites. I hope to write another post in the future about more artists that I love! Thanks for reading~

 


References

DiTerlizzi, T. (n.d.). Frequently Asked Questions: Art and Illustration – Tony DiTerlizzi.[Online] Diterlizzi.com. Available at: http://www.diterlizzi.com/faq-category/03-art-and-illustration  [Accessed 1st Oct 2018].

Eire, T. (2018). Hair and Hirano – Beautiful Bizarre Magazine [online]. Available at: https://beautifulbizarre.net/2018/02/15/hair-and-hirano/ [Accessed 8 Mar 2019].

Green, J., Jean, J. (2016). It’s Nice That|James Jean’s phantasmagorical world of technicolour fever dreams [online]. Available at: https://www.itsnicethat.com/articles/james-jean-zugzwang-phantasmagorical-paintings-180816  [Accessed 8 Mar 2019].

Hirano, M. (2016). 夢占い ‘Dream Divination’ [oil paint].

Hirano, M. (n.d.). Instagram – @mihohiranoart [online]. Available at: https://www.instagram.com/mihohiranoart [Accessed 8 Mar 2019].

Hirano, M. (2014). Miho Hirano|Powered by Strikingly [online]. Available at: http://mihohirano.strikingly.com [Accessed 8 Mar 2019].

Hirano, M. (2015). 自慈 ‘Self Pity’ [oil paint].

Jean, J. (2015) Adrift [mixed media].

Jean, J. (n.d.). Instagram – @jamesjeanart [online]. Available at: https://www.instagram.com/jamesjeanart/  [Accessed 8 Mar 2019].

Jean, J. (n.d.). James Jean [online]. Available at: http://www.jamesjean.com [Accessed 8 Mar 2019].

Jean, J. (2015) Mockingbird [mixed media].

Jean, J. (2015) Piggyback [mixed media].

Sol, A. (2019). amy sol. [online]. Available at: http://www.amysol.com [Accessed 8 Mar 2019].

Sol, A. (2018). AN INTERVIEW WITH AMY SOL ON HER NEW SHOW “LORE” AT SPOKE ART [online]. Available at:  https://www.juxtapoz.com/news/painting/an-interview-with-amy-sol-on-her-new-show-lore-at-spoke-art/  [Accessed 8 Mar 2019].

Sol, A (2018). Diurnal Garden [oil paint]. 

Sol, A (2018). Embers [oil paint]. 

Sol, A. (n.d.). Instagram – @amysol [online]. Available at: https://www.instagram.com/amysol [Accessed 8 Mar 2019].

Sol, A (2018). Rae [resin, enamel, oil paint]. Available at: https://spoke-art.com/collections/amy-sol-lore/products/amy-sol-rae  [Accessed 8th Mar 2019].

research

Durham University: Oriental Museum Visit

Back with another post on our day out at the Durham University Botanic Garden and Oriental Museum! Find my post on the Botanic Gardens here c:

Admittedly, I’m really not much of a museum-goer… I find them quite dry and stuffy at the best of times. However, I do have a deep appreciation of Asian culture and art, so I thought I’d give this museum a go since it sounds right up my street. The uni were also running a special admission deal for the Botanic Garden and the Oriental Museum on the same day~

Upon arriving the museum was nicely set out, organised in a tiered open space type layout- I know this has nothing to do with my research but it made it feel nice and airy in there (which made me much less anxious about spending hours getting lost in a blur of similar exhibits)!

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Durham University Oriental Museum: Main Floor (Collingwood, 2019)

There were a plethora of cultures on show at the museum including Korean, Egyptian, Middle-Eastern and Indian exhibits which I thoroughly enjoyed; however, for the purpose of this post I’ll be looking specifically at Chinese and Japanese items, since that’s what I’m basing my project on.

We visited the Japanese exhibit first- although it was small, there were some gorgeous examples of early ceramics and pottery, as well as some ceremonial prayer set-ups and symbolic items. My favourite exhibit was the collection of traditional Hina Matsuri dolls. The attendant told me these are only displayed for a short time around Doll’s Day or Girl’s Day (celebrated on the 3rd March each year)- more on this holiday here if you’re curious!

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Durham University Oriental Museum: Hina Matsuri Doll Display (Collingwood, 2019)

This is exactly what I was looking for to supplement the images of flora and fauna I’d taken in the gardens… I’m excited to work some of these visual styles into my concepts c:

I then wandered across to the Chinese exhibit floors- there was a much larger space for Chinese items and artwork, so I was able to gather tons of really useful reference imagery. The ceramics and pottery were standouts for me; peek a few photos from the exhibit below. My favourite item was the huge Qing Dynasty cloisonné floral vase!

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Durham University Oriental Museum: Qing Dynasty Red Dragon Plate/ Qing Dynasty Cloisonné Vase (Collingwood, 2019)
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Durham University Oriental Museum: Qing Dynasty Porcelain Bowl with Fish and Crane/Floral Horse Bowl (Collingwood, 2019)

At the far end of the Chinese floor was a huge paper replica of a traditional Chinese Dragon- with Chinese New Year being recently, it was nice to see an example of some more modern festive items. In particular I was happy to see this, since my current concepts for the Chinese risograph feature a traditional Chinese Dragon very prominently.

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Durham University Oriental Museum: Upper Floor Chinese Dragon and Lanterns (Collingwood, 2019)

You may have noticed the quality of these photos is lacking in this post… truthfully I find museums to have horrendous lighting for photographing exhibits, so while most of my pics are useful and do the job, they’re not very nicely composed and a bit naff. There was also no flash photography, so I just had to make do with the conditions in there… and it was very dark >:c

Overall I thoroughly enjoyed my research visit to Durham. I’m so pleased I was able to source places to go for references for this project- I doubted I’d be able to find sufficient primary sources, so I was winning before I’d even begun~

I’m looking forward to working this new imagery into my concepts- I feel much more equipped to produce some lovely symbolic pieces of art that work well together and show my appreciation for the beauty of Asian culture ♥


References

Collingwood, C. (2019). Durham University Oriental Museum: Floral Horse Bowl [photograph].

Collingwood, C. (2019). Durham University Oriental Museum: Hina Matsuri Doll Display [photograph].

Collingwood, C. (2019). Durham University Oriental Museum: Main Floor [photograph].

Collingwood, C. (2019). Durham University Oriental Museum: Qing Dynasty Cloisonné Vase [photograph].

Collingwood, C. (2019). Durham University Oriental Museum: Qing Dynasty Porcelain Bowl with Fish and Crane [photograph].

Collingwood, C. (2019). Durham University Oriental Museum: Qing Dynasty Red Dragon Plate [photograph].

Collingwood, C. (2019). Durham University Oriental Museum: Upper Floor Chinese Dragon and Lanterns [photograph].

Wikipedia (n.d.). Wiki – Hina Matsuri [online]/ Available at:  https://en.wikipedia.org/wiki/Hinamatsuri [Accessed 24 Feb 2019]

research

Durham University: Botanic Garden Visit

As part of my ongoing effort to source primary reference sources (this was a weakness in my workflow during Semester 1), I’ve been for a visit to the local Botanical Garden and the Oriental Museum, both of which are kept my Durham University. To prevent this from being overly wordy I’ll just talk about the Garden today, but I’ll be sure to make a post on the Oriental Museum in the future as both were fantastic!

In an attempt to catch some nice weather for the first part of the trip, we visited the Gardens first- of course, this was a failure because when do we ever have nice weather in the UK? It was really misty and since it’s still February, there wasn’t much to see in terms of flowers and blooms. I did spot a few British flowers planted at the front, but since my project is based on Asian flora, this wasn’t applicable to my area of research.

My favourite area of the garden is the collection of greenhouses, which contain ‘exotic’ plants that aren’t native to the UK. This is where I collected most of my references of succulents for my terrarium project, and at a slower pace I was able to discover some really nice plants that I could reference for this project.

I also discovered another gem in the back conservatory of the greenhouse- koi fish! I hadn’t noticed these at all the first time I went in (I was in a pretty urgent hurry), so I took some time taking reference images of these fish. Here’s a pic of me employing my family to bait the fish with feed while I took photos haha:

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Durham University Botanic Garden: Feeding the Koi/Koi Fish (Collingwood, 2019)

After having a good mooch through the tropical section, we ventured outside to the main garden. Looking at the map, there was a cluster of areas that interested me; the Bamboo Grove (30), the Japanese Collection (31), the Oriental Collection (37), and the Sakura Friendship Garden (38)- see these on the map below:

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Botanic Garden Visitor Map (Durham University, n.d.)

It was quite a trek, and when we arrived at the Oriental Collection there wasn’t too much to see- mostly trees and the odd leafy plant, but compared to the variety in the greenhouses it was a wee bit disappointing. Since it’s out of season, the Sakura Friendship Garden was also a bit underwhelming. Now obviously this garden doesn’t focus on flowering plants nor are they in season, so I sort of expected it to be limited- however, this is the best selection that’s accessible to me, so it’ll have to do for now~

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Durham University Botanic Garden: SAKURA Friendship Garden (Collingwood, 2019)

On the plus side, I really enjoyed the Bamboo Grove! Plenty of mossy textures and interesting leaves and branches to photograph- these will definitely come in handy.

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Durham University Botanic Garden: Moss Specimen/Lostachys Aurea (Collingwood, 2019)

Despite the drawbacks, I really loved this garden- I’ve re-visited it quite often for inspiration and reference, the most recent being for my first experimental risograph project during Semester 1. That was a bit of a whirlwind visit since time was very short, but I was able to enjoy it much more this time around (despite there still being fairly little flora outside of the nice warm greenhouses!)

More in the next few days on the second leg of our trip- the Oriental Museum c:

[Edit 27th Feb: Oriental Museum trip report here!]

 


References

Collingwood, C. (2019). Durham University Botanic Garden: Feeding the Koi [photograph].

Collingwood, C. (2019). Durham University Botanic Garden: Koi Fish [photograph].

Collingwood, C. (2019). Durham University Botanic Garden: Lostachys Aurea [photograph].

Collingwood, C. (2019). Durham University Botanic Garden: SAKURA Friendship Garden [photograph].

Collingwood, C. (2019). Durham University Botanic Garden: Unidentified Moss Specimen [photograph].

Durham University (n.d.). Botanic Garden Visitor Map [map]. Available at: https://www.dur.ac.uk/resources/visitor-attractions/Botanic_Garden/Durham_University_Botanic_Garden_Map.pdf  [Accessed 20 Feb 2019].

evaluation, portfolio

Tailoring Your Career (Practice What You Love)

Getting into the real deal career stuff now, I thought I’d write a little post on my reflections on a fantastic talk presented by The Association of Illustrators (AOI) we had last Friday.

AOI visitor Lou Bones imparted lots of wisdom on us in the 2 hours we were spoken to, but one of the topics that stood out to me the most was about creating artwork that directs your interests (and your clients)- put simply, ‘create what you love to do and the work will follow’~

Now that doesn’t mean that freelancing is gonna be easy (that’s far from the truth!), but building a portfolio based upon work that you’d like to take on is key to getting jobs that promote self growth as an artist without straying too far from personal preference.

There’s loads of areas you can aim towards- to name a few, we have editorial, fashion/costume design, commercial advertising, fine art (art for its own sake), and concept design. There are areas that could use illustrative talent almost everywhere you look; the possibilities (and opportunities) are truly endless.

For example, I’ll personally be working on pattern design, character-led imagery, editorial style imagery and possibly printmaking (as well as a variety of other areas) that best describe my artistic style and interest. I also really want to get into typography some more, as this is a really prevalent application in the industry today and could come in useful for a variety of jobs.

Through doing this, I can display the kind of work on my website that will look attractive to clients looking for that type of artwork- in theory! ^^”

Obviously, it’s really beneficial to have a wide range of styles/applications of work to showcase as this opens up many more potential job opportunities compared to sticking to familiar ground. Not all jobs will be to my taste, but I hope by pointing my artistic style in the right direction will yield good results ♥


References

Association of Illustrators (2017). The AOI – Stand Stronger Together [online]. Available at: https://theaoi.com [Accessed 6 Feb 2019].

inspiration

How to… Collage with Washi Tape

The post I published a little while ago about alternate embellishment techniques really got me back into one of my favourite varieties… washi tape collage. It’s fast become one of the most relaxing ways to work on a piece, and I love doing washi collage when I’m feeling particularly stressed or anxious.

I first discovered this technique when I stumbled across the work of @shardula (real name May Ann Licudine) on instagram. Her art is so delicate and lovely!

Washi means ‘paper’ in Japanese, so washi tape literally means paper tape. To be honest it’s basically fancy masking tape, but the quality is mostly above and beyond what you’d usually find. It’s a joy to work with since it’s strong, versatile and comes in every pattern imaginable, allowing for a wide variety of uses.

In the style of my childhood hero Neil from Art Attack, “here’s one I made earlier”:

 

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 Maiko Washi Tape Collage (Collingwood, 2018)

As you can see, the semi-opaque quality of washi tape makes it really easy to work with. As the line art can be seen through the tape, this helps to prevent the artwork from looking too loose, while also adding more detail and letting the accuracy of your actual collage be a little more lenient.

So, onto the ‘how to’! ❀

You’ll need:

  • An image to work with– try using a simple line art image for the best results. Use good card stock to minimise accidental cuts on the paper when collaging~
  • A selection of washi tapes (good quality so they adhere to the paper and don’t lift at the edges)
  • A sharp scalpel or craft knife– mine has a thin pointed blade for the best precision when cutting fiddly bits!
  • Watercolours or another medium to add final details to the image (optional)
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Washi Tape Collage Tutorial: Materials (Collingwood, 2019)

 

I’m starting off with a plain line art image- this can be anything but I’m sticking with a similar type of concept as my example, as it has lots of potential for patterned collage.

Select a tape that you’d like to use- I find solid repeat patterns are the best to use, with photographic themed tapes (e.g. characters, food, animals) being a bit less favourable for this application.

I usually work on the largest area first. Depending on how wide your tape is, you can cover a whole section with one piece, or you might need to lay strips side by side. If the pattern allows you can try to match up the pattern to create a seamless design, but honestly I think the organic nature of the workflow shines through if the tapes are slightly misaligned c:

Temporarily press the tape into place while it’s still attached to the roll, then use your scalpel to lightly cut around the edge of the area, leaving a clean cut where the pattern ends and preserving as much washi as possible (this stuff can be pricey!)

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Washi Tape Collage Tutorial: Cutting Washi (Collingwood, 2019)

Because good washi tape won’t damage the paper, you can reposition this as many times as you need to. A wee dab of glue will fix any curling edges when a piece has been repositioned one too many times ^^” I use the edge of my scalpel handle to firmly press the washi down when I’m happy with how it looks.

If the tape is light in colour and translucent enough, you should be able to see the line art through the tape when working, which is really useful as it makes it much easier to see what you’re doing. If the tape is dark or too opaque you can still use these techniques, it just takes a little bit more guesswork… try chipping away at an edge to maintain a precise cut rather than winging it on the first go~

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Washi Tape Collage Tutorial: Translucent Line Art Detail (Collingwood, 2019)

If you have a roll of tape that has lots of bold large scale pattern, you can also cut out individual elements to add to the image as stand alone embellishment. For example, this really wide roll I have features lots of leafy, flowery type things that can be easily cut out, due to their solid edges and distinct shapes. Even if the pattern runs off the edge of the tape, you can just fashion your own leaf or petal edge out of the existing imagery.

Use every pattern to your advantage- tapes can be applied sideways to follow the shape of the image, or used sparingly to embellish a tiny portion of the piece!

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Washi Tape Collage Tutorial: Small Detailing (Collingwood, 2019)

To finish off, you can hand embellish the remaining bits of the image with watercolour, ink pen or whatever you fancy using. I like to fill in areas that wouldn’t have worked well with washi, e.g. hair, skin, and other textures that weren’t represented within my tape collection.

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 ‘Gingko Fan’ Washi Tape Collage (Collingwood, 2019)

And there you have it- your own little washi collage. Not thrilled about the tapes I used for this image, but at the time of writing I was waiting on a new stash to arrive ^^”

Hope you enjoyed this tutorial! I’ve also compiled a list of tips and tricks, as well as some of the best sources for nice washi ❀

 

Tips and Tricks~

– Using a super sharp knife (as is needed) might result in you accidentally cutting through the paper… I do this literally all the time. Most cuts will be so crisp that you can simply push the paper back together, effectively ‘sealing’ the cut closed. Add a little bit of very strong tape (e.g. heavy duty masking tape or clear sellotape) to the reverse of the image if you want to stop the cut from lifting open again. c:

–  Always use this technique on a separate piece of paper, rather than in a sketchbook where there’ll be other imagery on the reverse of the sheet. You can always insert any finished washi collage into a sketchbook after you’ve finished~

–  Tapes come in loads of widths, from really thin to over 2 inches wide! Use this to your advantage to preserve tape and fill in tiny details ♥ You can also purchase special ‘writeable’ washi tape, where the surface is less waxy, allowing for detail to be added over the top of any collage work.

–  Don’t know which washi to use? Keep a swatch book with examples of all your tapes- that way, you’ll know how big/long the repeat is, what direction the repeat runs in and exactly which elements are on each roll. Here’s a page from my swatch book:

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Washi Tape Swatch Book (Collingwood, 2019)

 

Where to Buy~

Washi is available in an infinite amount of patterns and styles- I’ve collected washi for a long time! Some of the best sources are:

  • Paperchase– the seasonal tape collections often go on sale, so watch out for any upcoming discounts. A bit hit and miss at times, but every so often I find a real gem in here! Most of the tapes are a bit Basic though haha
  • Michaels (US-based craft store)- they sell huge bumper packs of washi in tons of themes and often run ‘50% off one item’ coupons.
  • Fox and Star– loooove this store, but they’re a bit on the Super Duper Expensive side. Single washi rolls are always priced at a premium compared to multipacks, but it’s UK based to save on postage, at least~
  • MiSoPaper– this online store has lots of tapes that fit my personal tastes. Slightly limited in certain categories, but can be quite affordable and there’s free delivery over £15 c:
  • If you’re feeling brave, try AliExpress– like all of the above, but a tenth of the price but takes 2+ months to arrive. You will find every single variation of ‘weird and wonderful’ on Ali! c:
  • Above all of these sources, nothing brings more joy than finding a one-off store that’s washi heaven. All of my favourite tapes are from a stationery store I stumbled upon during my trip to Shanghai- it really had it all. Rolls were 7 yuan (80p) a piece; the multipacks even better value! My fave find was a beautiful little box of Sakura washi:

 

Screen Shot 2019-03-16 at 17.35.08
‘Sakura Dream’ Washi Box (Collingwood, 2019)

And that’s a wrap! Sorry this was a long’un- thanks for reading! I hope this is helpful ♥♥♥

 


References

AliExpress (2019). AliExpress – Smarter Shopping, Better Living! [online]. Available at: https://www.aliexpress.com  [Accessed 28 Jan 2019].

Collingwood, C. (2019). ‘Gingko Fan’ Washi Tape Collage [digital, ink, watercolour, washi tape].

Collingwood, C. (2018). ‘Maiko’ Washi Tape Collage [ink, washi tape].

Collingwood, C. (2019). ‘Sakura Dream’ Washi Tape Box [photograph].

Collingwood, C. (2019). Washi Tape Collage Tutorial: Cutting Washi [photograph].

Collingwood, C. (2019). Washi Tape Collage Tutorial: Materials [photograph].

Collingwood, C. (2019). Washi Tape Collage Tutorial: Small Detailing [photograph].

Collingwood, C. (2019). Washi Tape Collage Tutorial: Translucent Line Art Detail [photograph].

Collingwood, C. (2019). Washi Tape Swatch Book [photograph].

Fox and Star UK. (n.d.). Fox and Star UK – Cute stationery suppliers [online]. Available at: https://www.thefoxandstar.co.uk  [Accessed 28 Jan 2019].

Fox and Star UK. (n.d.). Fox and Star UK – MT ex Bird Egg Washi Tape [online]. Available at: https://www.thefoxandstar.co.uk  [Accessed 28 Jan 2019].

Licudine, May Ann. (n.d.). Mall Licudine (@shardula) – Instagram photos and videos. [online] Available at: https://www.instagram.com/shardula/ [Accessed 28 Jan 2019].

Michaels. (n.d.). Michaels Stores – Art Supplies [online]. Available at: https://www.michaels.com  [Accessed 28 Jan 2019].

MiSoPaper. (n.d.). MiSoPaper – Home [online]. Available at: https://misopaper.co.uk  [Accessed 28 Jan 2019].

Paperchase. (n.d.). Paperchase GB [online]. Available at: https://www.paperchase.com/en_gb/  [Accessed 28 Jan 2019].

research

Concept Development Progress

Now that I’ve signed off the Penguin Student Award and Printmaking projects, I can finally dedicate my focus to the Concept Development project- I’ve already conducted a bit of artist research late last year (my post about it is here), so this has already given me a good foundation on which to design my concepts~

For this project, I need to produce as much development/concept material as possible for the upcoming Animation Production project in Semester 2. This includes character/environment designs, storyboards, narrative info, and other supporting material that will be of use to me in the coming months.

I’m starting with the character designs, since I feel that this aspect is the most important, and therefore want to get this done first. I’ll be designing a human young female character (who’ll serve as the centric narrative device), as well as a more visually intricate anthropomorphic deer, who’ll act as an ‘opposite’ character, with contrasting design aesthetics, environment and colour palette. I’ve made two concept boards with palettes and existing artwork that mirror what I want to portray for each of these two characters… a few pics below from each board (all referenced at the end of this post):

screen shot 2019-01-25 at 12.28.04
Top left: Figure a. Top right: Figure b. Bottom left: Figure c. Bottom right: Figure d.
screen shot 2019-01-25 at 12.27.14
Top left: Figure e. Top right: Figure f. Bottom left: Figure g. Bottom right: Figure h.

Using these images and palettes as a loose style guide will help me to design characters that will complement these visual concepts, while also using my notes on personality and traits that I’ve written up in my sketchbook.

I always find it useful to map out key persona information before designing my character, as I often have a good idea of how I want them to act before I bring them to life on paper- this allows me to incorporate design elements into their aesthetic that support their individual personalities.

I’ll post next week with some character development sketches ♥


References

h. Heikkala, L. (n.d.). Pond [Ink].

e. Jansson, T. (n.d.). The Moomins concept art [Graphite, watercolour].

a. Ma Van As, Y. (2018). After School Violin Lessons [Digital].

c. Mountain Lumber. (n.d.). Reclaimed Antique Hickory [Photograph]. Available at: http://www.mountainlumber.com/portfolio_page/reclaimed-antique-hickory/ [Accessed 1 Dec 2018].

d. Rockefeller, M. (n.d.). Paul’s Cabin [Digital].

f. Studio Ghibli. (2010). Concept art from The Borrower Arrietty [Watercolour].

g. Studio Ghibli. (2010). Screen capture from The Borrower Arrietty [Animated feature].

b. Studio Ghibli. (2010). Concept art from Kiki’s Delivery Service [Watercolour].

about, inspiration

Design Philosophies

Late last week I was tasked with creating a set of ‘philosophies’ that define my practice as an illustrator. These can be about design narrative/context, visual aesthetics, workflow or personal preferences during the entire process.

This was much more challenging than it seemed- honestly I think I’m still building up to having a very distinct design aesthetic, but I definitely have a strong idea of what I want my work to portray in my head. The two don’t always come together in the final image (yet), but my process has a few unique facets to it that help me create my work.

The final list can be found here, as well as via the top menu bar: Info -> Design Philosophies.

Hopefully these shed some more light on my practice and design criteria, as I don’t often talk about it personally. I suppose that’s the point of a blog though~

inspiration, research, SWOT/Target Setting

Concept Development – Project Beginnings

This new week means the start of a new project- quite the relief! As much as I enjoyed the riso project, it was very overwhelming learning literally an ENTIRELY new process, from the design basics to the niggly little details surrounding printing and technical issues. I’m not completely done with riso printing, however- I still hope to use it more actively in the new year, especially for print editions to sell at final show.

Onto the new project- Character and Narrative Development! As much as this represents its own set of experimental challenges, I’m hoping it’ll be a little more of a gradual learning curve, rather than the ‘throw myself in the deep end’ approach of the riso printing process ^^”

Thus far, I’m deep into the research portion of my workflow- since this project has been on my mind for a very long time (read: years), I already had quite a good vision of what the aesthetics of the environments and characters will look like. As such, my list of existing artist inspiration is long! To name a few, Nicole Gustafsson, Taryn Knight and Heikala are some of the most influential people I’ve looked at (examples of their work below.)

Screen Shot 2018-11-22 at 18.04.29.png
Left to right: Heikala, 2018. Gustafsson, 2018. Knight, 2018.

More on this in my artist research file, but I especially love Gustafsson’s work with anthropomorphic characters- this will be a big source of inspiration for my deer-man character. A similar simplified art style like Heikala’s work would work well for the animation, as I must always be mindful of the level of detail in the imagery- while I’ve timetabled quite a few weeks to realise the project, I don’t want to overwhelm myself with detail in the work.

I want the piece to have a warm, familiar feel with a woodsy colour palette for the most part- with warmer, organic tones for the deer-man and more youthful, fresh colours for the centric female character. More details on character, aesthetic and the more technical side of my project are documented in my initial mind map:

IMG_7944.jpg
My initial mood board for the project- gathers all my thinkings into one place! (Collingwood, 2018).

For the rest of the week, I’m aiming to make some mood boards that can portray my intentions for aesthetic, colour and character design in a very strong way- I often struggle to find faith in my initial ideas, especially when pitching them to other people, so I’m hoping a few mood boards that are well put together will aid me from the outset. (…did I also mention that mood boards are an excellent prop to hide behind during formal presentations…?)

In addition, I often like to fully flesh out my characters with MBTI personalities and trait lists… all part of my process to feel more connected to my characters. This will be the main focus of next week.

More soon ♥

 


References

Collingwood, C. (2018). Personal Project 2: Initial Mind Map.

Gustafsson, N. (2018). Shiba Spellcaster [Acrylic].

Heikkala, L. (2018). Astrochemist [Ink].

Knight, T. (2018). Untitled [Watercolour].

inspiration

3 Ways to Enhance Your Artwork

When exhibiting artwork (especially when the art is for sale), it’s important to consider new and interesting ways to add interest in order to capture the viewer’s attention, possibly increasing sales in an exceedingly competitive sector of the creative industry.

Of course, this isn’t from a purely business point of view, as the result must also compliment the artwork and be aesthetically pleasing. I love to add things on top of artwork, particularly runs of prints, as it adds a handmade touch that makes each piece unique.

Here are my 3 favourite ways to do this~

1- Surface Embellishment

I’m a big fan of glittery things- anything that sparkles or shifts in the light is sure to catch the eye of a bypasser, whether they like it or not! If the imagery is suited to it, adding a little bit of glitter or other embellishment can really make the difference between run of the mill art, and something people will buy.

I bought a piece from one of my favourite artists (@m_atelier on Instagram, more info in my references), and she jazzed up the art with tiny star shaped sequins before mailing it to me. As it fit well with the other imagery in the work, it looked lovely and created a sense of personalisation and preciousness.

Another example of surface embellishment is using patterned paper or washi tape- @shardula uses this technique quite often, with gorgeous results that add detail and intricacy to the artwork. I suppose I use this technique myself in some of my artwork- I like to digitally overlay patterns as a replacement for colour (see the Artwork tab for examples of this), which is a similar process.

Screen Shot 2018-12-06 at 21.51.06.png
Left: Lopez (2017). Right: Licudine (2018). 

2- Metallic Overlays

This form of embellishment can come from specially made inks or pens, as well as gold leaf or gold foils- each of these methods is best suited to different applications, so it’s up to you to find out which is best for your artwork. Foils can be added to fabric, which can add ‘a little something extra’ to screen printed tote bags or t-shirts, or they can be applied on top of prints using heat or screen-printed glue.

In terms of physical printed or traditional artwork, I find it best to use either pre-filled ink pens (my favourite is the Sakura Touch-Pen Fine, available here in all sorts of finishes), or nib-pens/fine brushes with inks such as the Winsor and Newton metallic calligraphy inks (link here), which are slightly more opaque and concentrated (but are a little harder to get the hang of).

Use metallic embellishment to add highlights or extra detail to the art- again, some of my favourite examples are from artists such as Sibylline Meynet (@sibylline_m) and Feefal (@feefal), shown below:

Screen Shot 2018-12-06 at 22.24.15.png
Left: Feefal (2018). Right: Meynet (2016). 

3- Proper Packaging

If the art is hand-pulled and won’t be produced again in the same format, you can market the pieces as a ‘limited run’ by numbering and signing them individually on the border of the art. Doing this adds value to the work, as numbered editions are considered the highest quality pieces from a run of prints (e.g. risograph, screen print, etc).

If art is being offered for sale, the general consensus is to sign numbered editions in the border of the art, and printed/mass produced prints inside the actual artwork (e.g. in the bottom corner of the piece, as long as it does not detract from the overall image). Always use pencil when numbering/signing artwork in the border, as this cannot be reproduced by printing!

By investing in some fitted cellophane bags, you can protect artwork from fingerprints or creases when selling, as well as add to the value. Mounting the artwork can also add to the overall appeal, as presentation of artwork is important when vying against competing illustrators. Additionally, including a business card with each print, or making a special branded stamp or sticker to seal the packet can add a sense of professionalism.

 

All of these techniques can help set your art apart from the rest aesthetically, as well as increasing value which in turn will allow you to make a little bit more profit on a piece.

I hope this was slightly helpful… of course the quality of the artwork is second to none when it comes to a successful illustrator, so consider this above all else ♥

 


References

Cass Art (n.d.). Winsor and Newton Ink [online]. Available at: https://www.cassart.co.uk/drawing/calligraphy/calligraphy_ink/winsor_newton_ink.htm?productid=1609&utm_source=google&utm_medium=base&gclid=EAIaIQobChMIlPOX15qM3wIVCEPTCh2__AkXEAQYAyABEgKbQPD_BwE [Accessed 3 Dec 2018].

Cult Pens (n.d.). Sakura Pen-Touch Fine. [online]. Available at: https://www.cultpens.com/i/q/SK21037/sakura-pen-touch-fine?gclid=EAIaIQobChMIoavCs5mM3wIVQeJ3Ch3cEgMdEAQYASABEgLa4fD_BwE [Accessed 3 Dec 2018].

Feefal. (n.d.). Instagram – @feefal [online]. Available at: https://www.instagram.com/feefal/ [Accessed 3 Dec 2018].

Feefal (2018). Untitled [Ink].

Licudine, M. (n.d.). Instagram – @shardula [online]. Available at: https://www.instagram.com/shardula/ [Accessed 3 Dec 2018].

Licudine, M. (2018). Golden [Mixed media].

Lopez, M. (n.d.) Instagram – @m_atelier [online]. Available at: https://www.instagram.com/m_atelier/ [Accessed 3 Dec 2018].

Lopez, M. (2017). Pavonis [Watercolour, ink].

Meynet, S. (n.d.). Instagram – @sibylline_m [online]. Available at: https://www.instagram.com/sibylline_m/ [Accessed 3 Dec 2018].

Meynet, S (2016). Mermay 2016 [Ink].