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Contents
My Work Inspiration A Modern Illustrator... Freelance Checklist So How do I do it? How do I become an illustrator? Digital Means Physical Means What do I Want my Practice to Become What Now? CV Bibliography
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Illustration and the creation of narratives has always been a passion for me. Bournemouth University and the course have given me the tools and the opportunity to turn this love into a career. I’m looking forward to the challenge of tackling a notoriously difficult industry and creating a sustainable career.
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My Work As an illustrator I enjoy investigating emotive elements within narrative. Over the 3 years of this course I have found the most joy in drawing from stories. Using a multitude of media I try to capture the more sensitive components and apply my personal outlook. I look for raw foundations within a story and try to create drawings from that. My style, developed substantially over the last project, uses expressive and organic lines along with soft tonal qualities to create shape. I contrast detailed intricate areas with more abstract broad strokes to suggest sensation and personality. Depending on the focus, my work often uses abstract perspectives and bold forms to emphasise certain narrative qualities and emotions. Using these strong shapes my work often becomes graphical in its composition. I like to tackle dark and emotive subjects within my work. I find it fulfilling to investigate such themes and enjoy the exploration that comes with it. In reflection, it is important to broaden my source of subjects and narratives to make my images easier to access. Whilst there is most definitely a dedicated market for such images I understand the difficulty a viewer may have in approaching them. By varying my portfolio beyond these themes not only do I make my work accessible, but also I make myself more employable. Previous to my Major Project, I worked mainly in traditional mediums describing narratives often with thick bold paint and strong full shapes. A critique to this style was that it was often flat and too visually heavy. Going into my last brief I wanted to remedy 8
this issue and take my work to a more finished professional level. With my “Don’t Look Now” brief I have tackled this problem by applying texture and colour through digital mediums. I have gained a confidence in Photoshop and other programs that allows me to experiment and edit my work more then ever. My work is still expressive and emotive without being so raw. This has given me a confidence in my practice I didn’t have before.
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INSPIRATION
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Nearly anything can get me to draw. Often the objects or subjects that attract me the best have a weird narrative behind them. Literature is my main source of inspiration and is the cause of my interest in the creepy, abnormal and dark. I have always preferred strange tales growing up and nothing has changed now I am drawing them. Albert Camus’ “The Stranger” and Kafka’s “Metamorphosis” are two narratives that embody this slightly surreal, and creepy manner. Linked to this is my passionate, but uneducated, love for psychology and psychoanalysis. I have read through a collection of Carl Jung’s and other theorists’ work and can say they influence my own interpretation of thematic elements in narrative.
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The gothic, poignant and often emotional artistic retort to war poisoned and isolated Germany, with their expressionist movement, is perhaps my biggest single source of stimulus. The art is a huge inspiration to me with its common use of shape and line and graphic visual structure. The films of the time will never be matched for their integrity and veracity in dealing with some quite heavy intellectual themes, whilst their literature, such as with Kafka, is baffling and strangely charming all in the same measure.
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1. Kollwitzs, K. 1923, The Survivors, Charcoal, Berlin 2. Heckel, E. 1920, Sick Young Girl, Woodcut, D端sseldorf
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ME
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AN ILLUSTRATOR
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So how do I do it? How do I become an illustrator? And what even is an illustrator nowadays?
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A Modern Illustrator is‌
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A modern illustrator is much more then just an image-maker. With clients they often play a bigger role and offer a stylised voice and personality to stimulate products beyond the obvious visual elements. With the more self initiated projects, illustrators are finding themselves writing their own stories, transferring characters to all manner of purposes and using the talents used in image making in areas less recognisable. A modern illustrator is a jack-ofall-trades and can apply him or herself to anything. With freelance work a modern illustrator is an agent, accountant, creative and manager all in one. They must be aware of all related issues such as: applying to be self-employed through Revenue and customs, annual tax returns and the ability to claim for expenses.
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Freelance checklist
Register as self employed to HM Revenue & Customs Claim business expenses on materials and travel costs Accurate book keeping and accounting Pay income tax annually Check for possible special tax reliefs and allowances Investigate possible insurance
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So how do I become a modern illustrator?
Well, apart from running down the street flapping my arms and latest drawing madly above my head, how can I possibly get someone, somewhere to look at my work? And perhaps most importantly what can turn this passion into something defined and sustainable? For now there are two key words: promotion and presence. Today with a large part of our existence being either put up online or supported by digital platforms, it makes sense for my artwork to follow this movement, as it will support me in reaching out to as many people as possible. This can only be a good thing for future commissions and small sales of work. Identity is necessary for a working creative person (me!). It allows the creation of a distinguished expression and style, which can only be helpful to prospective clients. A cohesive vocal brand shows strength in style and a confidence in technique.
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Digital Means www.jamesconnell.tumblr.com
jwconnell - www.instagram.com/jwconnell
www.jamesconnellart.com
Admittedly I was a sceptic to the digital blogging platforms such as Tumblr and Instagram but after sifting through countless pictures of beaches, sunsets and food its evident there is a thriving community of artists. What makes these mediums essential for a “modern illustrator� is the communities they build. Through superb connectivity and the promotion of sharing, a healthy digital ecosystem is built with creativity at the centre. Audiences can be reached and built and possible clients can view work in multiple stages. If these mediums are my everyday platforms then my website is my professional face. Having this as the centre to my digital face will allow my professionally polished portfolio to be seen by all. My website should be consistently updated and kept fresh with new ideas and finished items.
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Physical Means To promote and present my self outside of the web I have my portfolio. This is the main component in interviews and meetings and must be, like the website, kept fresh and strong. It is important to treat it as an object and not just a collection of finished images. It is also vital to tailor it to the individual purpose. The branding I have created, and will continue to develop, must be used on all future items. This will reinforce my practice as a solid entity and plays an important role in publicity and advertisement. To ensure exposure and a professional appearance I have created some promotional materials. I have business cards, postcards, and I am in the process of getting small prints and posters made. These sorts of things allow the sale of my work and give me the chance to create an audience. All these have been created with profit in mind and bear my logo and branding.
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The sale of my work is an excellent way to fund my early practice and get exposure. I can sell prints and other small items quickly and easily through online markets (Etsy, Big Cartel, Artulis and New Blood Art). With crowd funding models (Kickstarter, Indiegogo, Rocket Hub and Crowdrise) I can try bigger projects and create an excitement around a project.
Student community An understated method of promotion is through the student community created by the course and one I am proud to say I am part of. The community built, will give me people to collaborate with in both personal and business endeavours. The connections I have created here are strong and can only help me be productive in the future. I will keep in contact with other students and propose future shared exhibitions and work projects; this will be a fantastic way to share an audience and get exposure in new areas.
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THE FUTURE
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What would I like my practice to become? I can see my work in the adult fiction and this is definitely a dream of mine. Ideally I would be freelance, creating short illustrated adult fiction with themes of personal interests. This authorial style of working is becoming more prominent amongst freelance illustrators with the viability of self-publication and the ease in exposing stories, ideas and books. To be a successful freelance practitioner I need to refine my craft and be aware of the relevant practices. This includes the boring but necessary things from tax returns, filing for insurance and invoicing clients. This is a liberating, yet strenuous, way of working and would be my dream. In contrast with this I could join an agency and receive steady workloads but without the freedom. This is a more sustainable way of working although is difficult to do straight from University. It would most likely require a few years freelancing before any agency look at my work. I am not set in my way of working and therefore don’t mind the context its presented in. I am open to all ways of working and I realise before I am established it’s unwise to not accept work on the basis of it being different or challenging. For this reason I am completely open to editorial work, graphical and computer based advertising along with fine art commissions. All publicity is good publicity.
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So, what now?
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The industry is an extremely competitive one and I am well aware of that fact. Whilst the digital age allows work to be viewed easily and quickly by clients and publishers it can be hard to stand out amongst the sheer volume of illustrators out there. I need to be sure in my practice and brave in my image making to confront this. I, as an illustrator, still feel incredibly young. There is still a hell of a lot of development to be done to push my practice to a professional level. Others on the course have matured quicker then I have but I feel I still need time. For this reason I will take the next year, supported by my part time work, and push my individual development and confidence. By giving myself this time, I intend to develop my interests, professionalise my work and create a stable proper platform from which I can, with any luck, create a sustainable illustration career. To keep myself on track over this next term I intend to produce personal work, seek commissions and enter competitions. Living in Devon will give me the opportunity to work with some fantastic natural scenery and I intend to use this to its fullest. I want to vary my attitude to image making and brighten up my visual approach. Whilst the subjects matters do not need to change, I think the style does.
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Competitions Competitions will be a good way to focus my work and also get it seen by industry professionals. I intend to do both briefs that suit me, and those that push my work, style and context. Being able to solely focus on these briefs will give me more confidence in my results, something that I lacked during my time in university. The Folio Society competition is tailored to me with its short and often dark adult narratives. My last project was something similar to its previous years and I would love to have a proper go at it. Other competitions include the Exeter Contemporary Open, Hiii Illustration International Competition and Graphis Design Annual.
http://www.houseofillustration.org.uk/get_involved/the-book-illustration-competition http://www.exeterphoenix.org.uk/events/call-for-entries-exeter-contemporary-open-2014/ http://www.graphiccompetitions.com/jump.php?contest=hiii-illustration-2014-international-competition http://www.graphis.com/competition/design-annual-2015/recent-winners/
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Exhibiting work I will also look into exhibiting in local art galleries, which will give me a reason to create work, and more importantly work with a finished professional edge. The galleries in question are The Plough and 14 The Gallery, both are local and will provide me with some excellent opportunities. Whilst they are priced expensively, for a solo exhibition, I could collaborate with other graduates or local artists.
http://www.theploughartscentre.org.uk/
http://www.14thegallery.co.uk/
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Post-Degree Courses
The Princes Drawing Trust – One Year – Drawing Course http://royaldrawingschool.org/ Falmouth – One Year – Authorial Illustration http://www.falmouth.ac.uk/illustrationma Manchester School of Art – One Year – Illustration http://www.art.mmu.ac.uk/postgraduate/ma-mfa-illustration/ Bournemouth – One Year – Illustration http://aub.ac.uk/courses/postgraduate/ma-illustration/
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After the next year I intend to apply for several Ma level courses. With a year out I will go into these with a much more defined style and attitude to my own practice. I fear if I were to go into these too quickly I would not sufficiently use the time and teaching. I have listed a selection of courses that will benefit my career and give me that last professional push. After doing an intensive week long life drawing course here last summer I would be excited about doing something longer. With a year to prepare my portfolio hopefully I give myself the best chance of getting in. Illustration, or in fact any creative industry, is extremely competitive and won’t work without determination and a few late nights. All I want from my passion is to say that in 10 years time I have truly given it a go, and can say that creating art is still an important part of my life.
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Bibliography Corinth, L. (1904). Charlotte Berend in a Deck Chair. Pastel and Charcoal on Grey Paper. Retrieved from URL: http://publishing.cdlib.org/ucpressebooks/view?docId=ft1t1nb1gf&doc. view=popup&fig.ent=http://publishing.cdlib.org/ucpressebooks/data/13030/gf/ft1t1nb1gf/ figures/ft1t1nb1gf_00084.jpg Corinth, L. (1921). The Kiss. Drypoint. Retrieved from URL: http://www.artgallery.nsw.gov. au/collection/works/456.1979/ Heckel, E. (1920). Sick Young Girl. Woodcut. Retrieved from URL: http://www.spaightwoodgalleries.com/Media/Heckel/Heckel_Krankes_madchen2.jpg Kandinsky, V. (1908). Murnau: Street with Woman. Oil on Cardboard. Retrieved from URL: http://chronoswatchmagazine.com/wp-content/uploads/2013/04/Kandinsky-Murnau.jpeg Kollwitz, K. (1923). The Survivors. Charcoal on paper. Retrieved from URL: http://uploads4. wikiart.org/images/kathe-kollwitz/not_detected_235978.jpg Lang, F. (1927). Metropolis. Film Still. Retrieved from URL: https://niels85.files.wordpress. com/2012/02/metropolis.jpg Lang, F. (1927). Metropolis. Film Still. Retrieved from URL: http://www.leninimports.com/ metropolis_masters_of_cinema_series_2010_atf_2_big.jpg Munch, E. (1895). Vampire II. Lithograph. Retrieved from URL: http://artnectar.com/ wp-content/uploads/2010/08/edvard_munch_vampire_print.png Munch, E. (1896). Attraction. Charcoal on Paper. Retrieved from URL: http://www.allpaintings.org/d/36966-2/Edvard+Munch+-+attachement+_attraction_+1896.jpg Murnau, F. (1922). Nosferatu. Film Still. Retrieved from URL: http://img2.wikia.nocookie. net/__cb20121008090331/spongebob/images/2/23/Nosferatu.jpg Murnau, F. (1922). Nosferatu. Film Still. Retrieved from URL: http://www.fact.co.uk/media/3164462/Nosferatu%204.jpeg Weine, R. (1920). The Cabinet of Dr. Caligari. Film Still. Retrieved from URL: http://scalarama.com/wp-content/uploads/cabinet_of_dr_caligari_poster_shop_new_2.jpg Weine, R. (1920). The Cabinet of Dr. Caligari. Film Still. Retrieved from URL: http://scalarama.com/wp-content/uploads/Annex-Veidt-Conrad-Cabinet-of-Dr.-Caligari_01.jpg 41
To Be Continued... 42