Visiting Practitioners: Group portfolio feedback

On 20/04/2016 I went to Cake and Doodle and asked if any of the illustrators there could take a look at my portfolio and give me a bit of feedback. Most of my feedback came from Luis Gainzarain who is a Graphic Designer and comic artist from spain and Marta Gonzalez 

Luque who is a freelance photographer who also dabbles in illustration and animation.

Feedback from Luis Gainzarain

You should think a bit on the Why? What? and Where?

Why do you do the work you do? Is it self expressive? Does it have a message? Are you pursuing a stylistic ideal?

What are you going to do to convey what your work is about? What form will best convey what your work is about? What audience do you need to market your work to? (Who will appreciate what it is about).

Where can your artwork go? Where is your audience going to be? Where will your work be seen by the right people?

There isn't a right or wrong answer to these questions you just need to know what your answers are so you can take a step in the right direction.

Reflecting on the feedback

For why I create my work I would say it is primarily self expressive but I would also say I was pursuing a stylistic ideal but I have gotten to a place where I am happy with my style but I still like to play with different mediums it keeps my work fresh and exciting. 

Not all my work has a message behind it and I've come to terms with that. I think in the illustration world right now creating decorative work is frowned upon and seen as fluff in a way. But maybe I just want to create bright and cheerful work sometimes that doesn't particularly have a hard hitting message behind it, I don't think it is wrong to do. There is a Japanese principle called "ma" and I think ma can explain why I do my work the way I do. Ma is the space inbetween the action, if you want to see ma in practice Studio Ghibli is a great example. So my work which is mostly for decoration is my ma as you will, it is the break I need from my hard hitting work. In terms of studio ghibli ma comes after important parts of the story to help the information sink in and to transition to the next plot point. Ma comes in the form of mundane details for example a girl has a hard day at school lots of bizarre things happen. The ma could be she goes home and runs a bath and just goes about her normal routine before she is thrown into the next set of ordeals.

 But I do also create work that does have meaning to it, I mostly focus on mental health and opening up that conversation and making the whole subject less taboo. That work is often very introspective and it takes a lot of energy to translate it into an image.

The what for me it to make prints, to make stories and t-shirts, I basically want to make the topic of mental health as accessible as possible. The more people are exposed to it the easier it becomes to talk about it. And I want to approach my decorative work in the same way, if someone wants to wear my designs doesn't want to wear a t-shirt about mental health instead they want something a bit lighter in tone I can also supply my customers that option. My main audience is 13-25 I think the younger end of my audience will like my work for it's style and the older end will appreciate the message behind some of my pieces.

I think in terms of where I could sell or display my work I think there is quite a few pathways I can explore. Comic conventions are where I have had the most success up till now and I think with me producing t-shirt they are going to continue to be one of the best places to sell. I've had varying levels of success when it comes to selling my work locally, children and teenagers are my main buyers when I sell locally. I have recently started to see a raise in street artists taking an interest in my work and I feel like paste up's might be a good way to reach that audience. I think selling my work online could work if I concentrate on actively advertising, as of now I have had no success with it but I think that is all down to me not giving my etsy and redbubble enough exposure.

Marta Gonzalez

Sometimes you need to experiment with platforms and what you are creating, the best thing you could do is just try things to see what is a viable option or not. And I would recommend just getting a regular job first because it helps you develop as a person and helps you gain confidence.

(when I mentioned Fig Taylor and her feedback regarding my work) Even professionals can give bad advice sometimes, just because one person tells you something won't work for you doesn't mean they are right. I don't see why you couldn't do editorial illustration for more alternative magazines. Don't let one person tell you what you can or can't do.

What might be unpopular now might be popular next week or next month, trends change so don't base your decision on where you want to go with your work on what is popular right now. What is selling now might fade out of fashion in a few months, what has faded out of fashion a few mouths or years ago might have a resurgence. If it is selling even if it's not selling much keep doing it, if it isn't selling at all that's when you need to consider shaking things up a bit. Just keep doing what you love doing and keep developing it.

Reflecting on the feedback

I think Marta really helped me realise that just because my style isn't popular with art directors at the moment it doesn't mean it never will, and maybe it's not worth worrying about how popular or unpopular my style is. Sometimes you just need to go with the flow.

Other thoughts

When I mentioned Fig Taylor I quickly found the people who did know of or have encountered her have a rather low opinion of her. One woman said when she was a student Fig Taylor gave her feedback and she said it was useless to her and ended up being completely off. She said Fig had been out of the industry for too long and didn't really have much of a grasp on what is currently popular. and to take what she had to say about my work and what direction I should take it with a pinch of salt She also said Fig was the one approaching universities to do these feedback sessions not the otherway round which it's a very good sign. 

Future self: Grief Project

Future self: Grief Project 

My future self project is about grief and the grieving process and specifically helping children and young teens recognize where they are emotionally in the process. This will help aid parents and maybe even school counsellors.

My initial idea was to make a book based off a poem I was writing about the stages of grief, but upon further research I found breaking it down into a linear clear cut process for example

1. Denial 
2. Anger 
3. Bargaining 
4. Depression 
5. Acceptance

Can actually do more harm than good.

No one experiences loss in the same way. Some people might skip certain emotional states, some might experience additional emotions and some may revisit certain stages. I don't want my work to pigeonhole people into believing there is only one correct way of grieving. The only incorrect way of grieving is not letting yourself go through the process. So keeping this in mind I reconsidered the book and/or booklet idea because it is too linear, and I have been considering making cards instead. I am still fine tuning how they are going to work but right now I am thinking of having 3 types of cards.

• Character cards
• Tip cards 
• Blank cards

Character cards will have a personification of the emotion for example Anger on them with the name of the emotion. The child will pick out the card/s which reflects how they are feeling, the descriptions of each emotion will be listed in a booklet which will come with the cards. Parents can get their children to redraw everyday or the children can display the cards on the fridge, their bedroom door, on a notice board ect and change them when they feel the need.

Tip cards are for what the child can do to experience the emotion in a healthy way, for example anger can cause problems if not dealt with correctly especially with school age children and teens.

Blank cards are for if the child or teen is experiencing an emotion that isn't on any of the pre existing cards. I'm including these because as I said everyone experiences loss differently and I want to try and keep all bases covered.

What kind of grief are these cards for?

I wanted to keep the cards so they can be used in any situation that involves loss. This could be loss of a pet, loss of a friendship or relationship, familial breakdown (divorce) and the loss of family members.

Other outcomes?

The other outcomes I want to make are

• Booklets
• Stickers 
• Rag dolls
• Clothing/Textiles

Doki Doki Festival

Saturday last week I sold my artwork at my first anime convention. DokiDoki before this year was held in Manchester every two years, but is now running every year in November.

This year was more of a trial run for me so I could see how others set up and what sells, it defiantly helped seeing how others dress there stalls and how I can improve on presentation. But I did manage to make nearly £70 (£69.50) to be precise which was a nice bonus.

I have a lot of friends in this community I had actually interacted with some of the other artists who were trading prior to the event. It was great to interact with my target audience properly for the first time, I got some great feedback on prices and what I should focus on in the future. 

I will defiantly be doing it again next year, it was a really enjoyable experience.   

Overthinking worriers are natural artists?

New Research Says Overthinking Worriers Are Probably Creative Geniuses

 I was reading this article because I am a chronic over thinker and I suffer from anxiety so it caught my attention. Also I am always interested in research about mental health and creativity. I remember someone asked me once if I thought that my trade off for being creative was my health and I think in a way that is true. My mental health has been a problem for over half of my life, before my mental health started to decline I wouldn't say I was particularly talented creatively, yeah I drew a proper stick man before any of my classmates in nursery but noting spectacular.

I remember becoming engrossed with art around 11 years old, this was also around the same time I started experiencing anxiety and a little later on depression. Being creative was for me the most natural cause of action especially when I was younger because I didn't know exactly what I was experiencing yet so I found ways to represent it through art.

So in a way I didn't find this article enlightening but more reaffirming what I had believed to be true for many years. It was comforting in an odd kind of way.

Brighter city project reflection

In this post I am going to reflect on my tales of the city project I have dubbed the #Brightercityproject, for this project I made teru teru bozu's which translates to shine shine monk in Japanese which are traditionally made out of white paper or cloth and resemble ghosts. The cloth or paper dolls are considered amulets that bring good weather (or rain if hung upside down) and were/are commonly used by farmers trying to insure the correct weather conditions for their crops. They started becoming pouplar for urban dwellers in the edo period, Traditionally if the weather is indeed good the day after the teru teru bozu is displayed then eyes would be drawn on them, this is comparable to the Japanese tradition of the daruma in which you have a daruma statue you draw in one eye when you have made your wish and draw in the second eye when the wish has been completed. So I made the teru teru bozu as a metaphor for bringing happiness and I tried to achive this by leaving encouraging messages and words of wisdom on pieces of card hung from the teru teru bozu.

So was the project a success? Short answer not from what I can tell. I attached a hash tag #Brightercityproject to the teru teru bozu but nothing has come up when I search that tag.

Do you think there is something you could have done to make the project more successful?
I could have made more and hung them in more heavily occupied places but I got too nervous to hang them in densely populated places. I liked what I did though putting them in less traveled places quite a few in darker corners of alleyways and places like that because it seemed more apt and like it made more of a statement.

I also made a video of all of the places I put them and hoping people can see by the video why I decided to place each message in the place I had put them. I am not disappointed with the outcome of this project in a strange way part of me didn't want to gain from it more than I have done by taking pictures and drawing from my inspiration to do this. It was supposed to be a selfless act if I got too much back from it, it wouldn't feel selfless anymore.

If I was to do it again what would I do differently?
I would probably think more about the construction because the string even though it looked pretty was so hard to get to work and on one of the teru teru bozu it kept coming undone. Apart from that I am satisfied with how the project went.

The future

Recently I have been feeling the pressure to really find a definite route I want to take my art and I have decided after degree to purse a career in a tattooing, I considered this before I started this degree I was even offered an apprenticeship and I let the opportunity pass me by because I wasn't confident enough in my artwork.

Now I have had time to think about it I have something unique to offer when it comes to style and I want to try and practice specifically doing work which will computationally lend itself to tattoo's. As far as tattoo styles I like I am a fan of "new school tattoos".

Image from checkoutmyink

Image from oquevemporai.wordpress.com

Image from flickr

Tattoo by Autumn Tierney

Image from geeksaresexy

by Mina at Hawk and Sparrows in Malmö, Sweden.

Image from poundedink.com

by Kelly Dotty

I like new school tattoo's due the the vibrancy of the colours and how bold an beautiful they are. And I feel it really fits with the style I have established.

It maybe seen as a trend in tattooing but I am also really fond of the look of watercolour style tattoo's.

Image from huffingtonpost

Image from 1337tattoos.com

By Gene Coffey

Image from www.cuded.com

I love the fluidity of the linework (if applicable) in watercolour tattoo's, and again I love the vibrancy of the colours they use. The line's in watercolour tattoo's are varied some lines are think and bold, others look like brush and ink and some are swift and wispy.

1,2,3

This post is about three of the best pieces of advice I have been given since starting the course some of these will not be a piece of advice per say more of a turn in the right direction.

1. The zine making workshop

In the zine workshop I learned that working on pages which already had some preexisting texture or image on really help one overcome blank page anxiety or new sketchbook anxiety. I am someone who can get very hung up on their work and want every page to be perfect while in the zine the perfection is that it isn't perfect it has misspells, it has sketches done on lined paper, receipts, napkins, photocopies from things that inspired you through out. for me I think it is the perfect way to document and brainstorm (and kick a sketchbook buying addiction). There is something wonderful about making it yourself, selecting the papers and the binding. It's like having a little nugget of personality. Personally next year I want to do away with having sketchbooks and just bind my own zine style sketchbooks I think it really helped me with my process when it came to Alice's Adventures in Wonderland.

2. Be a flaneur

There are so many things you miss when you have your mind set on a destination, enjoy just taking everything in and being purposefully lost. I made another post called Ode to Manchester which really explains in depth what happened when I was being a flaneur in Manchester during my Tales of The City project. I class Manchester as my hometown over Salford and I was surprised by how much of Manchester I have never seen before despite spending a lot of time there over the years. What really grabbed me was how much of Manchester juxtaposes, I saw posh bars next to dingy alleyways and crumbling walls of old factories. Austerity and prosperity dwelling right next door to one another, I felt like if the bars could speak they would be gloating.

3. Don't be afraid to take on more than you can chew (sometimes)

I have a habit of doing very ambitious projects, I feel like a cat with nine lives just managing to pull through every time. The good thing about having ambitious projects is it keeps you engaged because you have to stay engaged or the project will crumble, it forces you to make use of all the time you have. It's stressful but seeing the final outcomes is a great feeling.

Difficulty getting interviews

I have lost count of the amount of artists I have tried to contact just to name a few who have not replied Erik Jones, Glenn Arthur and Camilla D'errico who said she would answer my questions and never got back then I contacted an artist I have bought artwork form before called Destiny Blue  and this is what I got back.

Any responses other than answering my questions was pointing me towards a previously done Q&A or an FAQ.

Also a lot of artists I wanted to contact didn't have a contact email that I could find and on there facebook pages had taken off the option to inbox them. I am starting to feel very apprehensive about if I will get my final interview and if they interviews I have done will be seen as being suitable. I have tried my best in interview people who's work inspires me but they seem quite hard to get a hold of. 

Cyber bullying and anti bullying briefs

Today is my deadline for my second unit which included two briefs. One on cyber bullying and one live brief on rasing awareness in schools about bullying.

For my cyber bullying brief I made two posters and a zine. I am not happy with the quality of content I produced and if given more time I would have restarted it all. The cyber bullying bleed into my live brief, I used one of the characters I had made in the first project as the main protagonist in my animatic/animation. I was much happier with the outcomes in this project, I feel project 1 just got turned into part of the process of project 3 (the anti bullying brief). This could have been avoided if I had chosen a none bullying related subject for project 1.

There is several things I wanted to include in my unit hand in but I may not have the time.

1. A booklet full of helplines an what each one deals with.

2. A page on Lucy (my main protagonist) to help the kid empathise/sympathise with her.

3. Some talking points for the cadets to expand on during their presentation.

4. To have more finished animation.

I felt very strongly about both briefs because I have faced both regular and cyber bullying. I always wanted to find a way to share my stories and have them benefit others. What concerns me about bullying is that a lot of adults view it as character building, severe bullying is not character building it is character destroying. I really wanted to make that clear to parents.