Katy Harrald Professional Practice AUB Illustration 2014

Katy Harrald

Professional Practice

Arts University Bournemouth Ba Illustration 2014

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Contents

Introduction Why Illustration?

Science & Practice Museums, Reading & Documentaries Heritage & Legacy Monochrome Accuracy Complexity Pre- Major Project Final Major Project Working Process Self- Initiated Projects Offices ‘Explore’ Botany

Inspirations Self- Promotion Online Presence Business Cards Promotional Packs Bio’s The Portfolio

Interview with Gina Cross Post Graduation Invoice Masters Useful Links

Introduction

The past academic year has not been without its trials and tribulations; but with an equal mix of exciting new ideas; this Professional Practice booklet will provide, above all, an honest reflection of my last year in degree education. I hope to shed light on any questions surrounding my work and practice, reflect honestly and critically, and explain my plans for life post graduation.

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Why Illustration?

Whereas many degree subjects require a specific focal point, illustrators need a wealth of knowledge to impart upon others through the use of images, combining a visual talent with an observant mind. An introduction as to why I chose illustration is a hard task without sounding like a broken record. Simply, I have a love for academia and illustration offers too many possibilities to express these in visually engaging and exciting manners. My practice is driven by the need to tell stories, impart knowledge and reinforce the importance of being interested in history, science and art as a collective entity. For years I was enamoured with the idea that one day I could be a working illustrator with the freedom to indulge in as many interests as I desired. Although my time is torn between many interests, I am at my most comfortable when preoccupied with a pencil and sketchbook. For years I admired those adorning the walls of galleries and museums, marvelled at their skill and craftsmanship.

Although a far cry from the greats of the Renaissance or Rococo, it was these masters who were the driving force behind my dedication to becoming an illustrator and improving my craft.

University education has provided me with the knowledge, experience and confidence to take on the challenging and demanding market.

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Science & Practice

Often you will find me engrossed in science books, I don’t profess to understand everything I have read, but nonetheless, the stories and theories I have read over the years have become a huge inspiration in my work. Although art and science are seemingly on opposite ends of the academic spectrum, they share a sense of imagination that drives their progress. This similarity between the two subjects helps when trying to explain to others how I feel neither subject deserves precedence over the other.

I have held the belief that nothing is stranger than the truth for many years, as much as I enjoy fiction and tales of the imagined and mythical, the wonders of human achievement for me are even more spectacular.

The stories, theories and accounts of scientific history are helped indefinitely by the wonderful historic objects. The fascination I have with these objects is not only due to their role of importance in human history, but the beauty with which they were created. Many of the tubes, vials and machines were gilded and decorated as any dear household memento; with an odd blend of utility and elegance.

Leonardo Da Vinci may be an obvious choice of favourite artist or most inspirational historical figure, but to me, his breadth of knowledge and in fact any Polymath I find inspirational. I am the proud owner of many books dedicated to exploring his papers, but in particular the pencil sketches of anatomy, flowers and machinery. His graphic works embody the convergence of art and science; the deftness of his drawings, although trying to understand the mechanics of the human body or perpetual motion, have a sense of intelligent beauty. From even the briefest of glances one can gather the extreme rare variety he held in interests. It is his body of work that drives me to study the workings of the universe and yet continue to try and perfect or simply improve the art of drawing. Only through hard work and perseverance do people succeed in achieving their dreams and ambitions. Easily witnessed in Da Vinci’s excessive studies of grazing animals in preparation for the ‘Battle of Anghiari’; or indeed the many hours Mary Anning spent exploring the Jurassic Coast to further our knowledge of prehistoric life. Both contributing greatly to human history, science and art expression. I’m aware that the illustration market is extremely competitive, and the illustrators that succeed are the ones with a love for illustration, hard work and dedication.

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Museums, Reading & Documentaries Rather than turning to contemporary illustrators for inspiration, my work benefits more from visiting museums, attending lectures and remaining critically and theoretically aware by reading and watching documentaries. I would far rather take inspiration from the exceptional tales of the past and the brilliance of the everyday. Placing importance on knowledge and education animates my practice and imagination. The Bournemouth Natural Science Society has been the catalyst for many of my images, with their wide variety of lectures and guest speakers. From ‘Da Vinci’s medical illustrations’, to the ‘Angular momentum problem in the early universe’; not only have I have learnt a great deal and met some wonderfully clever and interesting individuals, I have found new areas of interest which I endeavour to explore in my work. Regular trips to London and Oxford for museum visits has had relatively the same effect. Throughout my degree I have savoured being able to tailor these past times into my work, combining many areas of study with illustration.

I try in vain to maintain an eclectic library of books, embracing the great detective novels of Agatha Christie and Arthur Conan Doyle, the wonders of scientific writings by Stephen Hawking, Michio Kaku etc… , catalogues of Da Vinci’s sketches and the beauty of Fragonard’s paintings. Interspersed with a backlog of New Scientist. New Scientist in particular is a wonderful example of using illustration to highlight and enhance the written word.

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Heritage & Legacy I like using pencils. A pencil illustration for me has a sense of honesty and clarity that cannot be hidden through excessive styling. A pencil illustration is the bare bones of artistic expression, underlined with a sense of history and illustrative heritage. Although laced with tradition, amongst all the digital art in the media realm, pencil illustration has the opportunity to express a sense of the contemporary. A pencil is a relatable tool for any practitioner, or indeed anybody who wishes to write or draw; some of the most iconic and memorable artists utilised graphite. Using the same tools as the great illustrators of the past instils in me a sense of heritage to my craft.

Monochrome Like any fashion or creative industry, illustration often suffers from fashionable colour variations from season to season. The beauty I find in monochromatic imagery is its ability to transcend time and audience preferences. A black and white image will be as relatable in one hundred years time as it is one month after its original creation. The utilisation of graphite in my illustrations is all about tradition, a link to illustration lineage and image creation history- keeping the images monochrome accentuates this aspect of my work.

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Accuracy To strive for 100% accuracy does have its limitations and downfalls, but as the balance of my work often hangs on the research element I have come to appreciate these limitations.

Nonetheless, striving for this level of accuracy is something which still plays a large role in my research process. The internet, for all its foibles, has become a great source of research, but not so much as to replace books or first hand observation. For the objects I can observe myself, I would far rather utilise observational drawing, i.e: flora, buildings and facial expressions. My research process has experienced many changes, especially in the last year, wherein I have been tailoring research for each image and streamlining through establishing a thumbnail before hand. It ensures the time spent in libraries and online is economic.

Complexity My choice of visual reference material has largely become governed by the complexity of the images within. Although a far cry from any illustrative practice in the contemporary market, I have long been inspired and in awe of those adorning the walls of the great English galleries such as The National Gallery and The Tate. Artists whose imagery, of complex nature, demands attention and appreciation for not only the skill and perseverance; but for the attention to detail and the obvious love each artist had for their craft. An effective image, for me, is one in which the artist or illustrator offers enough for the eye to dance around, exhibiting something new with each passing glance. A traditional artist who I feel perfectly embodies this inspiration is that of Hans Holbein the Younger. In particular the method of occupying the image with objects that represent the sitter, the story or subject.

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Pre- Major project

The Pre- major Project was a convergence of the two main interests I hold in life. I endeavoured to bring to light the heros of British Science, but more importantly the unsung heroes through image creation. Within the Pre- Major Project, I was partly exploring the use of objects to portray a person, playing on the idea that a persons belongings can tell more of a story. Forging links between illustration, tradition and scientific history is a reoccurring theme in my work; and when allowed to nourish these interests I believe I produce my most effective work. If the Pre- Major Project taught me anything it taught me how much I love to draw objects. Scientific history provides a plethora of interesting and visually stunning objects of extreme historical importance. This was the first project where I felt truly engaged with the subject matter and truly interested and excited by the research material on offer to me. This was a stepping stone to the Major Project and developing my work in a professional manner.

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Final Major Project The representation of scientists, their equipment, methods and history had proven to be of considerable interest to me. Critically reflecting on previous work lead to a well-informed decision to continue this work to finish Level 6. I enjoyed the almost monotonous process spending hours defining the life of each British icon. It was a subject with which I would not tire easily, and with plenty more left to explore.

To increase the aesthetic variety and help establish my work in a more professional context I widened my illustrative scope, allowing for more lyrical abstract imagery dispersed within accurate representations. Opening the possibilities for what I could illustrate helped to identify my illustrative practice in more than one sector. I played with imagery of narrative purpose, images that touched on the editorial and the reportage; I would not like to graduate with one illustration sector in mind, rather an open ended view as to where I could situate myself.

The Major Project stretched my creative practice and work ethic far more than previous units.

The quantity of work produced increased significantly, as I learnt how to streamline my research and experimentation, and developed a way I was comfortable working. My work benefitted greatly from an online blog, I received helpful feedback from an online audience, which has prompted me to use my other blogs on a more regular basis and continue to share and promote my work.

In the final stages of the Major Project I discovered more the difficulties with reproducing graphite images, spending many hours in Photoshop trying the retain the hand drawn qualities but with a professional finish. When the need for printing arose, I gained valuable knowledge over printing methods and handling and how difficult it can be to achieve the desired quality and design values from screen to paper.

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Finishing

To execute my final University project in the most professional manner I could muster, every small aspect needed to be well considered and defined. The work I was completing was directed towards a final printed and bound outcome. I spent a couple of weeks typing small accompanying paragraphs, and designing the InDesign file in a simple layout akin to that of any encyclopedia. The simplicity of the written word trying not to detract from the illustrated focus. As an illustrator, knowing how images interact with text is imperative, still relatively new to type face design and usage; I chose simple type faces. At the bookbinders I enjoyed being able to tailor all choices to my liking, including the paper weight, binding materials, foil lettering and end pages. The choices I made in regards to finishing, were to reflect the design as a tome of education and academic celebration.

To present my work at the AUB show and our graduate show ‘High Noon’ in London, I had a selection of my final images framed. The paper I chose retained the hand- drawn quality of the originals, and the images I chose were the most successful from feedback from peers and tutors.

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Working Process

For me, a working process is something that is tailored for an individual. Whereas some people dive headfirst into creating imagery and self- expression; my working process centres rather heavily on research aspects. It has taken a few years to become comfortable with a more professional manner in which to work, and even now as graduation approaches I am still in essence finding my most effective process.

I find I work best when I have a solid interest on which to initiate further research. Whether this be, science, mathematics, medieval architecture, spy novels; etc... a grounded genuine interest allows for constant inspiration, and ensures I never tire of the subject matter.

The initial stages of further reading and research is accompanied by small annotated thumbnails and sporadic illustrations to keep me practically aware.

Further reading ranges from related text books, artist annuals and magazines, newspapers, journals and novels. At risk of sounding too big for my boots, I believe I have at least the research and drawing skills integrated down to a fine relationship. Picking out relevant information to aid later on.

Without becoming overwhelmed and constrained by an end product vision, a brief plan helps to define how I spend the remainder of the time limit and ensures I complete all I wish. The remainder of my time is divided between experiments in composition, thumbnailing, planning and eventually drawing up the final image.

I am aware that not all commissions will be tailored to my personal interests, but I do pride myself on being able to absorb large amounts of information and learning as much as possible; even from the most seemingly mundane subjects.

Self- Initiated Projects If I am to discuss myself in a personal, reflective and yet somehow distanced critical fashion; I can at least say I am inquisitive. It is my love for all areas of study that drives the passion I have for imparting knowledge and stories through images. Although I have been strictly focused on my project work this academic year, I have allowed myself the occasional side project to aid in developing my practice and defining who I am as an illustrator.

Although not a perfect reflection of working as an illustrator outside of education, having side projects has helped me to understand deadlines and be strict with my practice. These self- initiated and side projects have helped to open up my practice and help me to see my work in other contexts. Not only this, but they have helped to refine how I work and the type of work I can see myself producing in the future. I have learnt from trying to complete two projects side by side, and ensuring each is of the utmost definition I can muster.

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Offices The summer before University Level 6 began I allowed myself to catch up with all the leisure reading I had so craved in the previous terms. Agatha Christie, Arthur Conan Doyle, George MacDonald Fraser etc.... As the majority of my work is centered around fact and history, keeping my mind open to fictional narrative and wonderful tales of English eccentricities and accentuated stereotypes inspired three intricate illustrations. These three portraits were a small homage to the English eccentrics of history. Playing on the stereotypes of English past times and history, adding smoking pipes, typewriters, tea pots, and grandfather clocks etc‌ There is slight cognitive dissonance with these three images, as I do not thoroughly enjoy the anthropomorphised nature of many contemporary animal illustrations. I did however enjoy celebrating my heritage and playing on these stereotypes of brandy- drinking library dwellers, and the traditional English taverns and pubs. In recent years there has been an influx of successful illustration centred around English, and playing on this fashion was perhaps fickle, but as I understand the length it takes to become established in the industry for now I am happy to produce images that resonate well online.

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‘Explore’ Alongside a few fellow students, I was involved in a small gallery exhibition to raise funds for our graduate show in London. As a collection of illustrators whose work differs greatly, the cohesion was found in the word ‘explore’. Following the previous positive responses from the animal office spaces, this was to be a small extension of that work. Playing on the human traits of animals has historically been proven to work well across multiple audiences and generations.

With illustrators such as Beatrix Potter and Sir John Tenniel reaping great success and acclaim with Peter Rabbit and Alice in Wonderland respectively. The inspiration for the image came after watching the BBC documentary ‘Hidden Kingdoms’ in which the surprisingly dangerous life of the humble chipmunk was brought to light. The addition of a telescope, satchel and pocket watch played on the idea of a great explorer, converging with a traditional composition and aesthetics. At this point, attention to line weight and difference of tones and textures became imperative; helping me to produce works of more clarity observable from distance and stands up to close scrutiny.

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Botany The importance of location drawing has become increasingly vital to my practice. An observant mind is a crucial skill for any visual artist, and now time spent away from linear projects is dedicated alongside continuous reading, in training my eye for detail. In the few dry days available during the typically wet English summer, I have spent a considerable amount of time sketching from my back garden. Whether it be exploring the architecture of lavender or the delicate petals of a chrysanthemum blossom. Quick sketches break the monotony of perfected imagery, with more lyrical abstractions of shapes and almost poetic responses to flora and fauna.

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Inspirations

Having a wide variety of interests and inspirations helps to open up new possibilities for projects and work, and keeps me on my toes; always wanting to work and experiment on something new. Rather than influencing the aesthetics of my work, I am more inspired to impart what I have learnt, or experienced. Whether this be visiting a cathedral and wanting to illustrate the vastness of the vaulted ceilings or visiting the ‘Museum of the History of Science’ and feeling the need to celebrate the beauty of the antique equipment. Hans Holbein’s use of symbolism has had a major influence of my work, especially this last year as I experiment with expressing people and subjects through objects. I enjoy the work whose craftsman has spent many an hour or year delicately detailing with a sense of adoration.

Creating work, which appears to be of another era or evoke the feel and atmosphere from a point in history, is an exciting prospect for my work. To help aid in this, I regularly take inspiration from old engravings and etchings, and the scientific illustrations of Leonardo da Vinci.

Self- Promotion

I do not profess to love social media, but I understand the vital role it plays in keeping connected to other practitioners, agencies, art buyers and the general market for image sales.

The seemingly exponential increase in social media sites year on year has placed further emphasis on online presence. The notion of promoting my work is rather alien to me. Whereas University education is a constant defence of choices and critique from trusted peers and tutors, promotion externally is telling people what you do is great; which contradicts with all my English sensibilities. However, I understand the necessity, for if I do not exist online, then my work seems not to exist at all.

With more and more social media sites manifesting every year, each proclaiming to be more useful and important than the next; it has been a hard task to limit the use of all, choosing a select few that enhance and act as a platform for my work; providing only benefits.

For years now, I have been a regular user of Tumblr. Its simple mechanics and wide variety of users has had its benefits, and I have enjoyed greatly the response from audiences globally, increasing my followers steadily.

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It has a sense of community wherein one can connect to people of like- mindedness and follow many blogs of interest and use.

Some illustrators find success in selling their work on tshirts, cards, mugs, stationery and the like. Until I feel well established, I shall be using the services of Society6.

Indeed, one does not gain much money from their services, but I feel it an appropriate step forward seeing my work in a more consumerist market.

I approached self- promotion and website design as I approach how I portray myself in the every day. As a relatively straight-laced individual, I feel the simplicity of my work is its strength and should be emphasised by the web design. Through the use of simple type faces, layout and mechanics, I feel I have accentuated my work’s features effectively. My online portfolio reflects my work, and who I am as a person, drawing on professionalism and consistency. I understand the worries people have when no colour has been used, but I wouldn’t feel that colour would benefit my work or be a true reflection of the work I want to create.

Website/ Online Portfolio

Blog

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Society 6 Shop

Issuu

www.katyharrald.com www.hrhflossie.tumblr.com www.society6.com/katyharrald www.issuu.com/katyharrald

Business Cards

My first attempt at the creation of business cards has been a relative success, the images have printed as I envisioned them, with crops of work completed within the Final Major Project.

The cropped images highlight areas of work with minute levels of detail imstead of full images.

I have kept the information minimalist and the design and layout as standard as any business card, with fonts and colour mimicking that of my online presence. For ease of use, I have kept them as the standard size and weight, to fit in anyone’s wallet or card holder. There is still room for improvement as they may not be the most exciting images to have used. This summer I hope to produce work that may work better on a smaller scale, and will form a more rounded description of my work and who I am as an illustrator.

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Postcards and Promotional Packs The approaching summer I plan to contact as many potential clients, agencies and organisations as possible. Within the promotional packs I hope to send will be a postcard featuring one or two select images. After reading in depth many interviews with agency directors and company art buyers, their general preferred method of delivery is a simple, and well printed postcard that they can keep on their desk or pinned to a wall. Promotional materials can be a significant drain on resources and time, for this reason I have designed a range of possibly 5 or 6 A6 postcards. For the moment, the images I have chosen are taken from the Final Major Project, but there may come a time when I produce work I feel would be more effective in this context. Due to the low cost of simple one- sided printing, I may not be too perturbed by the idea of constantly updating this method of delivery.

The images I choose have to perfectly reflect what my work is about and highlight the qualities I wish to portray within my work. I will attempt to print these postcards on paper that will reflect the hand- drawn qualities of my work.

Within the promotional pack, I may also include a business card.

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Bio’s

In preparation for graduation, we were given the opportunity to receive help from Hayley Potter writing our artist bio’s. Condensing who we are, and our work into one sentence, a paragraph and a page; which could then be used on websites, blogs, features or sent to clients within promotional packs. I found it incredibly difficult to talk about myself, and the main aspects of my work, but am happy I have made head way, and I can continue to update these descriptions as and when my work changes and evolves. Although I remain concerned about the lack of colour in my work, and the possibility it may be detrimental to my contacting efforts, I have tried to explain simply why I feel monochromatic works could play in my favour; and hinting at why a client may want to utilise this fact. I also brought light to my love for academia, lectures and my growing library of eclectic inspirations; placing emphasis on the large presence reading and research play in my working process.

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Drawing from an ever- growing library of text books, Katy Harrald, an illustrator from the New Forest; completes her monochromatic graphite works in the most detailed and accurate manner achievable.

Katy Harrald is an illustrator based in the New Forest. Her illustrations often play with use of line weight and tonal qualities of graphite; frequently combining multiple textures and patterns with shading. The majority of her work is centred on scientific history, and the convergence of art with maths and science, producing images of equipment, portraits, and collections of objects. A growing library of text books and historical replicas coupled with dedicated attendance to lectures and museums, and a penchant for research, provides a multitude of inspirational subjects for her monochromatic works.

Substance over style may not seem the best way to approach a creative occupation, but maybe that’s what could set me apart. I have tried, over many years to expand my personal library, including many an encyclopaedia and text book. Being able in times of artists block, to reignite the passion I have for knowledge and learning. Interspersed with artists books by Quentin Blake, Fragonard, Byzantine Illumination, and everything in-between; it’s these tomes of knowledge, fact and history that fuels my want to draw. By dedicating myself to monthly lectures, I ensure I remain academically focused and remain in constant supply of interesting subjects. Whether it be on the respiratory systems of insects, the angular momentum problem in the early universe or the technical drawings of Leonardo da Vinci, I always find new areas to explore visually and indulge in.

Ensuring I remain academically challenged has played a major role in my perpetual want to sketch. The majority of my work focuses on the convergence of illustration with science and maths, hopefully forging, no matter how minute, a link between the difficult concepts or history of science with illustrations to captivate or inspire an audience. The dedicated research and work by these influential people in both art and science has kept me working towards the best work I can produce, and push the boundaries of my practice every day.

With a sketch pad and a pencil, I am at my most comfortable. Whether I am studying the Pre- Raphaelite’s in the National Gallery, and exploring their language of flowers; deconstructing key stones in a Medieval Church; or discovering the equipment used by prominent scientists in the RI. I see my work as a visual celebration of fact, that although requires a level of accuracy, still requires an illustrator’s input. Sitting in historic buildings, dwarfed by vaulted and high ribbed ceilings, or marvelling at exquisite collections of beautiful artefacts from by- gone era’s. The Royal Institute in London, National Motor Museum, Museum of the History of Science, Ashmolean, British Museum; have proven their use and importance for my work providing continuous encouragement to produce work that is both academically informative and visually dynamic.

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Inspiration comes in the form of the engravers, etchers and artists, whose work adorns the walls of museums. Looking at things other than words has proved invaluable in furthering my understanding of line, light and composition. The Renaissance and Rococo, etchings, Hans Holbein, and the unmistakable works of Sir John Tenniel provide a continuous challenge in terms of artistic interpretation in contrast to the beauty of anatomical studies and technical drawings.

My work is more often than not, monochromatic, thus not tied down to fashionable colours; and limitless as to a specific audience. A singular choice of colour, or lack of, transcends fashions and boundaries of age. The use of graphite allows me to use both dramatic line work and detailed realistic tonal studies; believing for my illustrations, detail is the key. To keep the viewer interested, I keep the eye moving. I am always on the look out for new ways to utilise graphite; for example, exploring the strategies of intaglio to produce depth and dramatic lighting.

In many of my images, I endeavour to leave visual clues, and levels of objects and details to leave time for a viewer to linger. Hopefully, with each passing glance, finding something new and interesting. My love for cluttered and busy images has had a profound effect on the way I work. My work isn’t confined to the constraints of shapes or sizes, using the objects or subjects to frame itself.

At the risk of sounding like a broken record, drawing was my first love, even fighting against the pull of palaeontology, forensics, dentistry and engineering.

For the foreseeable future at least, I hope to keep absorbing knowledge like a kitchen sponge, and producing works which inspire and entertain.

The Portfolio

I view my work as employing very traditional methodologies, and for this reason, the presentation of my portfolio reflects this. Much like the promotion of my work in the digital realm, every aspect had to reflect who I am as a practitioner. As a new graduate, quality over quantity is the most important aspect, choosing 10 images which work well together and form a linear transition between each piece. I chose images that I could talk about easily and felt they were my strongest pieces to date. I do not feel that any piece is so terrible that it would drag my portfolio down; and chose my strongest work for the beginning and end to hopefully leave a positive lasting impression.

Every aspect of how I have presented my work has been chosen to draw attention to these aspects. It was important in the reproduction of my images to maintain the hand drawn quality, with no excessive use of Photoshop; it occurs often that I like the mistakes and smudges and rough edges where the graphite has not retained it’s sharpness. The paper I chose for printing has a light grain that helps to maintain the textures of the original, and printing in b&w upholds the sense of tradition.

The summer after graduation will be spent working on my portfolio, defining the choice of images and targeting it more towards potential and dream clients.

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Interview with Gina Cross Towards the end of the last academic year I had the opportunity to meet Gina Cross, art representative and curator. It was an opportunity to practice delivering the contents of my portfolio to an industry insider and a chance to gain invaluable feedback and advice. I chose to speak simply and concise about my work with a general overview of what I was interested in, and explained further a few of the pieces that were perhaps rather abstract. Gina Cross noted that my work was very niche, and to help aid in the process of gaining work after graduation, I needed to carefully tailor my portfolio and target the right people. After having explained that I do not have a clear career path in view, and that I am open to all areas of the illustration industry, whether it be narrative work, educational or editorial; she explained that although my work may not be suitable for general children’s book publishing, it might be worthwhile to contact companies similar to the Folio Society. Also, to research publishers of historical accounts and novels would be in my interest.

She asked the sore question of whether I had any presence in social media, I tried to convey that although I understand the importance facebook and twitter can hold, I do not feel these sites would add anything to my work.

She noted that although this may be the case, a twitter account is an easy way for followers to know that you are still active and still producing work. It is also an easy way to follow other practitioners, who they are gaining work from, agents, clients and collectives. You gain real time announcements of competition briefs and notifications from people of interest.

Towards the end of the interview I queried the etiquette in regards to contacting clients. She informed me that it is imperative to send both physical work, i.e. a promotional pack, and a follow up e-mail. The follow up e-mail should be to double check that they have received your work and you get a reply, whether it be a positive or negative response. When sending an e-mail to a potential contact, always do the legwork to find out the art buyer/ director’s name; and address the e-mail thusly. This can make the difference between having your e-mail deleted automatically, versus having it read.

From this interview, I understand the changes that may possibly need to be made to my portfolio, and the need to alter my list of potential contacts. Hopefully in the future, I will have the opportunity to present my portfolio of work again, except next time I hope to explain my work further and be able to talk more easily about it. I will continue to question the use of twitter, but will no doubt set up an account before graduation.

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Post Graduation Like all recent graduates it takes time and experience to become accustomed and well initiated into the illustration industry. To ensure I remain creatively active, I plan to continue the work ethic I held throughout University education. I will continue to utilise my sketchbook as a visual log of ideas and observational studies, and helping to aid in self- initiated projects. I feel I have made significant headway in the design and construction of my website and portfolio, and will use the summer to advance this as best I can. I will need to ensure my website holds its own in a competitive industry, utilising ease of navigation with slight individuality. I will continue to tailor my online presence to the clients I wish to gain work from. I predict that the summer is a busy time for agencies and art directors/ buyers who are no doubt inundated with promotional packs, letters and e-mails from recent graduates. I am in two minds whether to join this crowd or wait until the following moths of September and October, which will leave me time in the summer to prepare fully.

Whilst compiling a list of the dream agencies and clients, I happened across a number of well known and acclaimed websites, blogs and collectives who regularly feature student and illustrative work. To pursue this would be both a confidence boost and small glimpse into the industry. It could possibly help to increase traffic to my blog and gain more dedicated followers.

I will continue to promote my work through online blogs, and contacting the relevant people but will keep it targeted and appropriate.

I am in the process of setting up a twitter account, and I plan to continue to use this website to keep up to date with agencies, and people of illustrative importance.

To help aid finacially I shall take a part- time job to supplement the materials and equipment I will need. I hope to take a part- time job in a local gallery or museum, so as to remain within the ‘artistic loop’ even at the most basic level.

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Katy Harrald Your Address 1 Address Street Address Hampshire BHXX XXX Contact Name Client Name 1 Address Square Address London WC1 XXX Date XX.XX.XXX Invoice 000001 Order XXXXX Job XXXXX

Invoice Commissioned by (Commissioner name)

A description of the job for client, detailing the size and use of the illustration, etc. for a numbered edition of a particular magazine [for example].

First one- time use, UK only, 90 days exclusively [or description of use being licensed].

Agreed Fee VAT Total

£XXX.XX £XX.XX £XXX.XX

Payment is now due. Please make cheques payable to Katy Harrald.

Copyright and artwork remain the property of the artist unless otherwise stated. This fee is for above stated usages only. Any additional usage would need to be negotiated and agreed.

Grant of rights is conditioned on payment in full.

Terms: Strictly 30 days.

Plans for the future & Masters The prospect of life post- graduation feels bitter sweet. After three years training to become an illustrator I feel mentally prepared to take on the challenging and exciting world of illustration; but at the same time nervous as to what exists beyond institutes of education. I feel extremely comfortable in education, and enjoy the learning process of any subject, working to deadlines and having to spend hours researching minute details. The history of art and the painters of traditional masterpieces have had more influence over my work than that of contemporary practitioners. Alongside marvelling at the complexity with which they are executed, the techniques and history behind each painting is of considerable interest to me. I am particularly interested in pursuing a masters after graduation in the conservation of art. The summer post graduation there are a couple of open days I have booked to attend to give myself a better understanding of course structure, outline and to learn about the institution. The courses I have booked open days for have stood out for their course structure, resources and work opportunities. The work is not directly linked to illustration, but the interest I hold for the subject is too great to leave alone. I will however continue to prepare myself professionally as an illustrator as this is still the number one priority I hold at the present.

UAL Camberwell Ual University of the arts London: Camberwell Ma Conservation http://www.arts.ac.uk/camberwell/courses/postgraduate/ma-conservation/ Two year course, Full time Two distinct path ways: Art on paper or Books and Archival Materials ÂŁ4,250 per year Start Date: September 2014-04-28 Application Route: Direct to the Graduate School Application Deadline: 1st July 2014 Strong connections to: The British Library, Kew Gardens, London Museum, London Metropolitan Archives, National Maritime Museum, Tate, V&A Museum, Wellcome Trust Open Day: 20th May 2014 1600-1800 58

The Courtauld Institute of Art Postgraduate Diploma in the Conservation of Easel paintings Three Year Course Full time ÂŁ8,275 per year Application route: Direct to the Institute Start Date: September 2016 http://www.courtauld.ac.uk/degreeprogrammes/admissions Open Day: 14th November 2014 Scholarships and funding available: http://www.courtauld.ac.uk/degreeprogrammes/admissions/postgraduate-funding/scholarships

Ma in Conservation of Wall Paintings Three Year Course Full time ÂŁ6,230 per year Application route: Direct to the Institute Start Date: September 2016 http://www.courtauld.ac.uk/degreeprogrammes/admissions Open Day: 14th November 2014 Scholarships and funding available: http://www.courtauld.ac.uk/degreeprogrammes/admissions/postgraduate-funding/scholarships Conservation and Technology Open Days: to be confirmed To book separate open days: opendays@courtauld.ac.uk

Advice: Art Directions www.creativepeptalk.com Association of Illustrators www.theaoi.com Freelance UK www.freelanceuk.com Intellectual Property Office www.ipo.gov.uk/home The Design Cubicle www.thedesigncubicle.com Ulancer www.ulancer.com Training & Talks: Adobe TV www.tv.adobe.com D&AD www.dandad.org/en/training Lynda www.lynda.com Typo www.typotalks.com

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Events: Glug www.glugevents.com House of illustration www.houseofillustration.org.uk Offset Design Festival www.iloveoffset.com Pick Me Up www.somersethouse.org.uk/pickmeup Reasons to be Creative www.reasons.to The London Illustration Fair www.thelondonillustrationfair.co.uk Finances & Funding: HMRC www.hmrc.gov.uk/selfemployed Ideas Tap www.ideastap.com Princes Trust www.princes-trust.org.uk Xero www.xero.com Zoho Online Invoicing www.zoho.com/invoice

Art and Illustration Blogs & Websites: Art Directors Club www.adcglobal.org/blog Art Directions www.creativepeptalk.com Boom www.booooooom.com Change the Thought: www.changethethought.com/category/illustration Computer Arts www.computerarts.co.uk Creative boom www.creativeboom.co.uk Creative Review www.creativereview.co.uk

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FormFiftyFive www.formfiftyfive.com Guild of Natural Science Illustrators www.gnsi.org Illustration Friday www.illustrationfriday.com Illustration Mundo www.illustrationmundo.com It’s Nice That www.itsnicethat.com Thumbtackpress www.thumbtackpress.com YCN www.ycn.org

Agencies: Central Illustration www.centralillustration.com Handsome Frank www.handsomefrank.com Rush www.agencyrush.com Society of Illustrators: www.societyillustrators.org Art Directors and Submissions: Ammo Magazine www.ammomagazine.co.uk (Take Part Form) www.ammomagazine.co.uk/contact Creative Review www.creativereview.co.uk/feed ‘Submit your work’ Folio Society www.foliosociety.com Art Director- Sheri Gee Fuel Your Illustration www.fuelyourillustration.com Illustration Friday www.illustrationfriday.com/editorial-submissions 64

Juxtapoz www.juxtapoz.com Art Director- Brent Gentile brent@juxtapoz.com New Scientist www.newscientist.com Art Editor- Craig Mackie Penguin www.penguin.co.uk Art Director- John Hamilton Studio Pensom www.studiopensom.com/home.php Varoom www.varoom-mag.com Editor- John O’reilly editor@varoom-mag.com We Heart It www.weheartit.com Wrap magazine www.wrapmagazine.com Submissions- wrapsubmissions@gmail.com

Suppliers: Bookends www.bookendsonline.co.uk/art-department.html Cass Art www.cassart.co.uk Frank Herring & Sons www.frankherringandsons.com London Graphics Centre www.londongraphics.co.uk New Forest Stationers www.nfs.gb.com

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Finishing: Classic Pictures www.classicpictureframers.co.uk P.J. Wellman Bookbinders www.pjwellman.co.uk Wessex Pictures www.wessexpictures.com/wessex_fine_art.html

Bibliography

‘Inspirations’- p.36 Da Vinci, L. c.1496, Rhombicuboctahedron [drawing] [image online] Available at: http://www.georgehart.com/cccg/rpgm.html [Accessed: 5th April 2014].

Da Vinci, L. c.1489, View of a skull [drawing] [image online] Available at: http://www.drawingsofleonardo.org/ [Accessed: 12th April 2014].

Choo, R. 2012, Natural History Museum [electronic print] Available at: http://travel.nationalgeographic.com/travel/365-photos/natural-history-museum-london/ [Accessed: 12th May 2014].

Fragonard, J. 1767, The Swing [oils] [image online] Available at: http://en.wikipedia.org/wiki/File:Fragonard,_The_Swing.jpg [Accessed: 12th May 2014].

Hogarth, W. 1735, A Rake’s Progress (plate 7) [etching] [image online] Available at: http://www.tate.org.uk/art/artworks/hogarth-a-rakes-progress-plate7-t01793 [Accessed: 4th May 2014].

Hogarth, W. 1751, Beer Street [etching] [image online] Available at: https://www.britishmuseum.org/explore/highlights/highlight_objects/pd/w/william_hogarth,_beer_street.aspx [Accessed: 6th April 2k14].

Holbein, H the Younger, 1533, The Ambassadors [oils] [image online] Available at: http://en.wikipedia.org/wiki/File:Hans_Holbein_the_Younger_-_ The_Ambassadors_-_Google_Art_Project.jpg [Accessed: 12th May 2014].

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Le Pautre, J. 1645, Vase in a Cartouche [etching] [image online] Available at: http://www.arthermitage.org/Jean-Le-Pautre/Vase-in-a-Cartouche. html [Accessed: 12th May 2014].

Museum of the History of Science X2 Redoute, P.J. 1987, Rosa [print]. Redoute’s fairest flowers. London: Herbert Press Stratton, H. 1899, Illustration in a collection of Anderson’s Fairy tales [drawing] [image online] Available at: http://commons.wikimedia.org/wiki/File:Page_129_illustration_in_ fairy_tales_of_Andersen_(Stratton).png [Accessed: 12th May 2014].

The Book of Kells, c.800 AD [illustration] [image online] Available at: http://oldroadsoncetraveled.blogspot.co.uk/2013/05/the-book-ofkells.html [Accessed: 12th May 2014].

The Enigma Machine n.d. [image online] Available at: http://www.bbc.co.uk/history/topics/enigma [Accessed: 6th April 2014].

The Royal Institution Winchester Cathedral

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Katy Harrald 2014 AUB Illustration

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