What really drives my practice is a pursuit of adventure, and using drawing to explore a place or a time which I cannot visit physically. The notion of us being a small part of an infinite universe is something that has fascinated and bewildered me since I was small. As I am not lucky enough to possess a mathematical, scientific mind, I turn to drawing in order to explore these ideas and gain a certain understanding. I believe that science is a truly universal subject that everyone can benefit from, and I see my work as a vehicle to promote a wider interest. Furthermore, I think the modern world has become increasingly anaesthetised to information – we are very quick to forget events and achievements. A major theme within my work is trying to connect with the sense of excitement surrounding space exploration, which was particularly present during the 50s & 60s. Because my generation missed out on the beginnings of the shuttle programme as well as the space race, I feel the need to create my own, if imaginary, memories around the subject I am so interested in. Science is an unendingly surprising and exciting subject; however I don’t believe it is always visually represented in a way that reflects that. Science and art are two subjects that, in my mind, are very unnecessarily culturally separated. Within this past year, I have begun to explore the crossover of these subjects, and I will continue to expand upon that, post- graduation. At the beginning of this
year, I felt quite lost in the realm of possibility; too much reading and not enough drawing. I have learnt that over-thinking interferes with, and slows, my creative process. I have noticed this past year that I do not often look to other illustrators for inspiration. I find that I benefit more from interactive experiences, such as visiting museums, travelling, or reading. Although there are many illustrators whose work I admire, I do not necessarily look to them for visual inspiration. The internet, despite its vast advantages, is a place where I can easily get lost and distracted. Seeing work in its physical form is much more beneficial. I have found that online sites such as Tumblr and Pinterest are useful for collating online imagery that interests me, and serve as a kind of visual bank if ever I am stuck.
The aesthetics of my work are a revolt against the way science is largely visually represented in society today. The use of vector graphics and CGI are, I believe, partly responsible for the representation of science in mainstream media as a cold, exclusive subject. By using an inky, imperfect line, I hope to emphasise the more human side of science. My process means there is a capacity for error, and it emphasises the playful inquisitive nature we had as children, and should still have now.
At first glance, it seems impossible that a single person would know how to use a complex machine such as this. What does it do? It appears as an unrecognisable mass of buttons, wires and screens. But on closer inspection, the drawing has clearly emerged entirely from the mind, as part of a continuous, instinctive process, and the purpose of the machine’s existence is in fact the performance of a menial task.
My work focuses heavily on space exploration and the relationship between human & machine. I have tried endlessly to avoid using imagery or styles already associated with these subjects, such as diagrams and infographics, which have a cold, alienating presence. By using watercolour and inks, I have created images that have a warmer, more engaging and hand made aesthetic. Personally, I have always found space exploration utterly fascinating, and I am particularly intrigued with the small details that are lost in the bigger picture. Humourous anecdotes, events and photographs reveal interesting stories and give the audience a chance at relating to what is, as a whole, often beyond our comprehension. I also try to bring a strong sense of emotion into my work - it is something often left out of historical documentation, especially regarding science and technology. The Apollo missions, for example, are widely seen to be technical or scientific achievements over cultural or emotional ones. Within my illustration I have tried to use humour to engage and entertain the viewer. This is often through use of hand-rendered text as well as subject content. My lettering is a lo-fi, playful twist on the often serious, utilitarian subject of space exploration.
Favourite Space Anecdote Whilst trying to start the engine of the lunar ascent module on Apollo 11, Buzz Aldrin snapped the key. So he used a pen to start the ignition instead.
Having an online presence is second nature to my generation, and an invaluable self promotional tool. Regarding social media platforms such as twitter and blogger, I am very aware that potential clients may look to these sites for a reflection of my personality. For that reason, I try and achieve a sensible balance of personal and professional content. Twitter is a great site for networking and for getting to know potential clients and contacts on a friendly, informal basis, but I use it also to promote my portfolio, so I always think carefully about language and content in order to create a good impression. My blog is used as a visual diary, a fairly informal site which shows working process, smaller projects, day-to-day drawings which I wouldn’t necessarily include in a portfolio. I feel like my blog reflects my working ethic – it is regularly updated, and shows clients that I am busy & hardworking. In the past, I have received commissions and orders through my blog, for work that I would not necessarily have thought would be of interest – it seems that the more work people can see, the better. I have found Etsy a successful venture for the sale of my illustration products. Since opening my store in late 2011, I have received wholesale orders for products and prints through the site, alongside many individual orders. As a result, my work is now being sold in other online stores and a couple of shops around the country. Although this is not especially how I want to work as an illustrator, it is a really effective way to get work seen and receive commission, too.
kateillustrates.blogspot.com
twitter.com/helloiamkate
www.katerowland.co.uk
etsy.com/kateslittleestore Over the past year I have worked to create an online brand identity; I think that continuity is key when it comes to creating a memorable online presence. The headers on my portfolio site, blog and Etsy store are visually alike, using the same hand rendered style and colours. My little paper-cut rocket has unknowingly become a logo of sorts, as a favicon, alongside the headers and on business cards. This continuity creates a linked community for my work, and I like to see them as part of one encompassing body, rather than each site being disparate from the other.
After graduation, I will have an editable, physical portfolio, which will enable me to professionally present my work to companies and individuals, as well as accessible online and PDF portfolios to send via email. I will also have a range of items to send as mail outs, to design and illustration agencies, art directors and shops. These mail outs are presented in screenprinted envelopes, containing examples of my work in postcard form, business cards and examples of my illustrated products such as badges and zines. These will reflect the playful nature of my work, and show off my presentation and design skills.
In future, I plan to be able to produce higher quality promotional work – for example, business cards and postcards that are lithograph printed would reproduce the hand made quality of my work. I have also experimented with lino cut stamps, which would make it possible to make my own promotional work at home. I also thought of sending out my work in a vacuum packed silver envelope, to reflect the themes of space exploration within my practice. This is something I will further explore in years to come.
The website is a platform for promoting my illustration, and is likely to be the first impression clients recieve. I used Cargo to create my website, which is great for me as its easy to update, looks simple and shows off my work well. In the future I would like to have a more custom website, but this is something I can work on in future, when I have more time, money and knowledge of HTML and CSS.
The presentation of my work, both in its physical form and online, is something I have had to work at over my time at uni. As my work is hand-rendered, reproducing it digitally can often be challenging. Despite physical quality in its original form, bad presentation of work online looks highly unprofessional and unappealing. When I photograph or scan work, I try to suggest, if not maintain, their texture and surface quality.
I still need to improve my photography skills, especially I will not have such extensive access to help once I have left AUCB. I have learnt the importance of a clean, white background and to always use natural light to best photograph work. Storing work in good conditions is something I have not excelled at during my time here. Due to lack of space and, admittedly, forgetfulness, some of my work has suffered. Once I have graduated, I will consider the preservation of my work as highest priority. The use of good quality portfolios and protective sleeves will ensure the work is kept in good condition. Thanks to Joel Lardner and my design buddy David Burton, I have learnt a fair deal about framing work. As well as excellent for presentation, framing work well also ensures it is kept safely and in great condition. A lot of my illustration has been made with the intention for it to be published in a book of some kind. I have always enjoyed book binding, and have experimented with zinemaking, hand stitching and concertina binding (right). This is something I will carry on with after graduation, as it is a great way to sell, as well as present, illustration.
Competitions are a great means of exposing my work to the public, as well as a chance to create work around a completely different subject matter. My entry for the D&AD Student Illustration competition was a step away from my usual style of working, and a change of medium and subject matter. It is refreshing to know that I am able to approach work differently if needs be. This year I also entered the V&A Illustration awards, the NSS Student Poster Campaign (runner up) and the Uncover South West film festival, where I won a chance to work with The Eden Project, creating a viral video.
Working amoing other students in the AUCB illustration studio has been one of my most valued learning experiences at university. The chance to work as part of a creative whole, recieving and giving encouragement, advice and constructive criticism, has helped me to develop as an illustrator and strengthen my practice. It is also a inspiring environment - seeing other students’ work improve and evolve keeps me on my toes. My awareness of my own practice, as well as others, has improved through sharing a space with fellow students. Regularly speaking aloud about my work has given me a good sense of perspective, and I can now distance myself from my work if needs be. One of my greatest fears about being a freelance illustrator is the isolation and introversy that can arise from working alone.
The Design Buddy scheme has given me an insightful window into how a creative business works. My buddy, David Burton, is the ‘Head of Innovation’ at the web design company Redweb, which is probably the best job title ever. His knowledge and enthusiasm for printmaking, new technology and science has been a great help to my work, and through him I have been put in contact with other creative directors, designers and shop owners. I have also been able to gain an insight on how companies such as theirs would hire young designers, and what they would expect from a portfolio and interview. Without a doubt, the best part of this experience was being able to talk about my work in a non-university environment – getting feedback and advice from a different perspective has been very helpful and inspiring.
TLK Summary - Be persistent, but not pushy - Make impressive mail outs - Don’t make a run-of-the-mill CV - Rejection is part of the par - Do your research - Network and maintain contacts
In the summer of 2011, two friends and I decided to set up Howl, a local creative platform and publication, in order to overcome our hometown resentment and soon-to-be post-graduation blues. We describe Chingford as an ‘inbetween place’, due to its location on the lonely edges of North East London. Whilst London has a very rich creative scene, these are often concentrated in certain postcodes, and we wanted something closer to home.
We self-published the first quarterly issue in February 2012, and it encompasses creative work from illustrators, writers, artists, musicians, designers, poets and photographers. This is an exciting project with real longevity, that will hopefully develop into a fully fledged publication over the coming years. It also gives me a great chance to work with creatives in other disciplines, and to expand upon my knowledge and practice.
I am very aware that the illustration world is a highly competitive one, and I do not expect an easy ride to illustrative fame! However, I believe that determination and a hardworking attitude are my two greatest friends. Practically (and financially), it would be unwise to believe that I can begin my freelance career with immediate effect. My plan is to continue pursuing an illustration career, whilst funding my way with a part time job or pain internship. I am also going to continue selling products on Etsy, as well as setting up my own shop through my website, which will hopefully generate more interest and opportunities. I have already won a competition to make a viral video for The Eden Project this summer, as well as having an independent shop in Liverpool stocking a range of my prints and products. Once I have graduated, I can pursue opportunities such as these more actively, and hopefully things will snowball. I will to continue to make and develop my work, inspired by my interests and uninfluenced by trend and fashion. Throughout uni I have tried to avoid pigeon-holing my practice – I have never actively pursued a ‘style’ of illustration, nor spent too long with one particular subject matter or medium. I had previous doubts about this practice, for fear of
being inconsistent and fickle. However, I now know that these were good decisions to make – I am now a versatile, adaptive and happy illustrator, working in a way I know and love. Turning my hand to new processes is something I must do in order to keep my creative perspective fresh and interesting. Although I fundamentally see myself as an illustrator, I am keen to further explore printmaking and design based practice. Although I have highly enjoyed printmaking at university, I have tried to avoid using print to too much of an extent. This is mainly due to the real life practicalities once I have graduated. It is unlikely that I will be able to have regular access to printmaking facilities for quite some time; and I did not want this to hinder my practice in any way, or limit the amount of work I may receive. However, as I will be based in London after graduating, there is plenty of opportunity to gain access to print studios such as Print Club London, so in the long term it is something I am keen to further explore. I enjoy exhibiting my work, and the recent popularisation of the graphic arts/ illustration market provides opportunities for previously ‘commercial’ artists to expand their
potential. This years Pick Me Up at Somerset House was an excellent example of that; I was lucky enough to work alongside the oneman letterpress studio, A Two Pipe Problem, where I got to meet interesting people from a variety of agencies, book stores, galleries and collectives. As a result of this, I will definitely be sending my portfolio and promotional items to places such as Soma Gallery, Beach London and Tenderpixel, to name a few.
My involvement in several group exhibitions over the past 3 years, such as ‘Out of Sight’, a student organised show in an underground car park in Bournemouth, and our group shows at Boscanova in Boscombe, have been an interesting learning curve. It is a satisfying process, to be a part of the preparation of a space, the hanging and curation of the work, and despite the temporary state of the exhibitions, they make a lasting impression on those who see them.
I will definitely continue to seek out new opportunities to exhibit my work postgraduation, especially group exhibitions and zine fairs.
When I leave university, my plan is to move back in with my parents in London and work from my little studio shed at the bottom of the garden. I will fund my illustrative adventures with a part-time job, hopefully in a partially creative environment, and continue to make self-published zines, illustration products and work that I love!
After graduation, the most essential part of my development as an illustrator will be keeping busy. Even a few weeks of no drawing or making will completely throw me off-balance. I have a notebook, in which I keep ideas for future projects, and hopefully, this means I will never be stuck or uninspired. I have also learnt the value of collecting images and things that I like. When I step back and look at all these things, it helps me form a solid idea of my interests and direction. A good reference library is always inspirational.