Professional Development Portfolio by LauraHuartson

PROFESSIONAL DEVELOPMENT PORTFOLIO Laura Huartson

Professional Development Portfolio Masters Project 1 Arts University Bournemouth By Laura Huartson

CONTENTS PAGE STATEMENT OF PRACTICE CV SKILLS CHECK RESEARCH METHODS & METHODOLOGY REFLECTIVE DISCOURSE

Oxford - Pitt Rivers Museum New Forest Wildlife Centre Russell Cotes Museum The Gallery (AUB) Jerwood Drawing Prize 2017 The Tomb Of the Unknown Craftsmen by Grayson Perry Channel 4 Documentary: Grayson Perry: Who Are You? The Great Pottery Throwdown The Big Painting Challenge Lectures & Workshops Artist Research

CONTACTS WITH INDUSTRY EVALUATION OF STRATEGIES OF PRACTICE UNIT REFLECTION ON DEVELOPMENT OF PRACTICE MASTERS PROJECT ONE: Exploration Gouache Painting Coloured Pencil Monoprinting FINAL IMAGES

TUTORIAL FORMS TUTORIAL FEEDBACK BIBLIOGRAPHY

STATEMENT OF PRACTICE I am an illustrator currently living within the New Forest, Hampshire. I love reading, visiting museums, ornamental gardens and exhibitions. Narrative illustration is where my practice lies. Having grown up within the New Forest, the world around me aids my imagination and influences the stories within my work. Documentation within my sketchbooks on location is an important part of my practice; allowing me to explore, research and observe through drawing and mark making. Challenging myself within my work is what drives my practice; through experimenting with composition, perspective and cropping of my images. My practice involves a diverse range of materials, from the traditional methods of painting and coloured pencil, to the process of printmaking and digital work. LAURA HUARTSON www.laurahuartson.co.uk laurahuartson@hotmail.com

SKILLS CHECK Evaluation table of Skills

SKILL

ADOBE PHOTOSHOP

ADOBE ILLUSTRATOR

ADOBE INDESIGN

HOW GOOD AM I HOW AM I GOING WHAT HAVE I CURRENTLY TO IMPROVE LEARNT FROM UNIT 1

I am confident when using Adobe Photoshop to edit my images, and to colour digitally when I am able to have drawn initially beforehand. However, I would like to learn how to create my own brushes, and to become more comfortable painting digitally overall; including learning how to use gradients and texture within my work. Adobe Illustrator is a software I am still not confident with. Because of my knowledge of Photoshop, this has helped me a lot when trying to use the programme, but feel that I am not competent enough in Illustrator for it to be a skill that I can confidently say I have. Overall, I feel I am competent in InDesign, and find this one of the easier programmes to use. I have therefore used this to write my PDP in.

To improve my skills within Adobe Photoshop, I am going to attend JR’s Friday workshops, and watch online tutorials on Lynda.com and Youtube.

Having attended JR’s Photoshop workshop, I have learnt how to create my own brushes, as well as important tools to paint digitally, including the use of the blending and smudge tool. I hope to again carry this on into the Masters Unit 1, so I can carry on improving my skills to apply to my practice, and enable me to paint digitally successfully.

To improve my skills within Adobe Illustrator, I am going to attend JR’s Friday workshops, and watch online tutorials on Lynda.com and Youtube.

In regards to Adobe Illustrator, I am still not competent with the software. However, from attending JR’s workshop, I have realised that it is not as difficult as I remembered. I have found that my knowledge of Photoshop has made it easier for me when using the program, as I instinctively use short cuts, and understand what the tools do. Overall, I was already very confident with using Indesign, having decided to use the software for my PDP and have continued to do so. I did attend JR’s workshop however, and learnt how to make my text automatically wrap around my images, as well as other small things.

I will be attending JR’s InDesign workshop to pick up any information about the software that I may not have known.

PRINTMAKING

PAINTING

PHOTOGRAPHY

With Printmaking, I am confident with Lino cutting, but would like to explore further reduction printing, having never made one before. I would also like to refresh myself in Screen printing, and explore a variety of different types, such as CYMK. I also want to give monoprinting a go, to further my knowledge of different techniques within this area. I am competent at painting with watercolours, and used to be the same with acrylic paint before I left college. However, I would like to get back into acrylic painting and learn how to use gouache, to broaden my knowledge of different paints. I also would like to explore different ways to combine the material, to get the best out of each.

To learn the new printing techniques, and to refresh myself in ones I haven’t used in a while, I will speak to the Print Technicians to help me with the process of preparing my work, and the subsequent printing.

My photography is of a basic standard. However, having just brought a new Nikon D3400 camera, I hope to improve my skills throughout the year.

I will use Lynda.com’s online tutorials, as well as a photographer friend to help me learn how to use my new camera properly, to gain and better my photographic skills. I will also utilize the library, and visit the photography section.

To learn about Gouache painting and how to use it, I am going to attend Bridie Cheeseman’s workshop. With acrylic paint, I am going to use my project as a platform to get using it again, and will use books to learn more about the materials.

During the ‘Who Am I’ brief, I was able to have a go at reduction lino printing, mono printing and CMYK screen printing. I found my monoprinting to the most successful technique, and have decided to utilise this method again within the Masters Unit 1. I also really enjoyed the screen printing, which I would like to also explore further within this unit, but not so much in regards to CMYK printing, but a normal 2 or 3 colour print. Throughout the unit, I was able to carry on with my watercolour painting, and revisit my acrylic skills. Overall I found it much more difficult using acrylic then I had anticipated, and feel my work wasn’t as successful as I had hoped. However, after attending Bridie Cheesemans gouache workshop, I developed a real liking for the use of this type of paint, and much prefer this to the use of acrylic. This medium is an element I want to carry on within the Masters Project Unit. During this unit, I have begun to explore my photography skills, using my camera to photograph my handmade ceramic pieces. However, I feel I still need to learn the basics more fully, to know the best settings to use for what I want to take, and will so this by seeing the technicians and online tutorials.

With this type of printing, I am confident with the way it works, and how to prepare my images for me to be able to use it successfully with whatever amount of colours.

To improve my knowledge of this type of printing, I will both talk to Jenni, and explore online the different types of results that I can get from this method.

Within the previous unit, I managed to explore two types of Risograph printing, including that of a two colour print as well as a CMYK 4 colour print. Overall, my prints turned out to be successful and hope to again use this technique within this Masters Project One.

In terms of drawing, I would like to begin exploring methods and materials that I have not used before, or not as confident in as other certain materials.

I will attend workshops for in materials that I have not used before, and attend Life Drawing Class.

During the previous unit, I did not attend any of Sharons Drawing Masterclasses, which I regret not doing. During this unit, I will therefore attend a few of these sessions that would be beneficial to me, to further my drawing and skills at depicting the figure, both quickly and with time.

In terms of my presentation skills, I feel I am a clear speaker, and can get across what I hope too. However, I sometimes end up waffling, so need to make sure this does not happen so I can clearly get across what I want to say

To improve my presentation skills, I will practice plenty of times before I present, meaning I know exactly what I want to say, and keep within the allocated time.

Before starting this MA, I had already set up a website and connected a domain. However, I WEBSITE haven’t been productive (NEW SKILL ADDED) in keeping it up to date.

To improve my website, i will go to JR’s website workshop to go through any issues I may have with my website with him, as well as Zoe Sinclair’s workshop.

RISOGRAPH

DRAWING

PRESENTATION SKILLS

I will also attend Sharons drawing masterclass workshop, to learn new techniques in regards to the drawing of the figure.

During my first presentation, I was quite nervous about it, so practice many times beforehand so that i could speak fluently and concisely about my work and working process to reach my outcomes. Overall, my presentation went really well, and hope that I can do this once again for this Masters Project 1 by practicing beforehand.

RESEARCH METHODS METHODOLOGY

Gathering of evidence, theory and analysis of research processes

MY WORKING METHOD

When I begin a project and then throughout, I often use the same range of working methods together to investigate and interrogate my area of study, to allow for my work to grow and develop as I come to a conclusion within my project. This method of working as been really helpful in the creation of final works, and has an emphasis on the importance of research to underpin my practice.

MY METHODOLOGY When I start a project, I begin by analysing the brief, creating a mind map to jot down any ideas that I can think off related to the possible directions I could take within the project. Within my Masters project 1, I have chosen to explore decorative objects that have a history and a story behind them, and those which a narrative is depicted through there aesthetic design. I therefore begin to think, research and read about artists who have explored this area already. With regard to my current project, this was artists such as Chloe Regan, Laura Carlin and Grayson Perry, and the different books and publications on the subject including that of The Significant Object by Joshua Glenn and Rob Walker, and The Chinese Potter: A Practical History of Chinese Ceramics by Margaret Medley (Medley, 1976). I also begin to think about possible research trips for primary observation and documentation, which will go onto aid in the creation of my drawings, including that of the British Museum and The V&A Museum in London, The Russell Cotes Museum in Bournemouth and The Pitt Rivers Museum in Oxford. After this research, I can then begin to create my preliminary drawings and sketches that investigate my chosen subject, but constantly throughout questioning the suitability of my methods and materials, whilst carrying on finding inspiration from artists and their work to help me find ways of progressing. For my current project, I visited the Pitt Rivers Museum, The New Forest Wildlife Sanctuary and the Russell Cotes, taking photographs to reference back to and primary drawings to begin to inspire and influence both my preliminary drawings and final outcomes. When my idea is solid in my head, and can see which path I want to take my project on, I can then begin to create my final outcomes, constantly going back to my research and developmental drawings to produce the outcomes I am happy with. When I have finished my drawings, I can then test them on my audiences, seeing what they think about the final outcomes and whether the approach, colours and composition is working well. Taking the constructive criticism positively, I can then make any necessary changes to the work (still referring back to my research), and keep testing on my audience until I am happy that my intended subject and intention is conveyed through my imagery.

METHOD METHODOLOGY

Primary Research (Trips and Photography)

METHOD METHODOLOGY

Secondary research. To enrich and develop my research into the project I am working on, I often undertake secondary research; looking at artists, documentaries, articles, photography and imagery etc. The reason I use secondary research is that I can acquire imagery that I do not have myself, as well as learning new things about a subject Iâ&#x20AC;&#x2122;m not as familiar with, through research conducted by other people.

Whenever I begin a project, I always use Primary Research to help develop and inspire my ideas. I try and go on Research trips to gain primary photography and drawings on location to use as reference or inspiration within my project. For my current project, I took trips to the Pitt Rivers Museum, The Russell Cotes and The New Forest Wildlife Centre to help inspire my work and ideas. Because I am exploring these decorative objects with narrative and stories, the Russell Cotes and Pitt Rivers provided me with a huge range of these types of objects to look at draw. The Pitt Rivers displays archaeological and anthropological collections, those that explore the human activity and cultural changes. These include objects such as Shrunken heads, traditional tools and weapons from over time. I then visited the Russell Cotes Museum to see the items on display. These objects that can be found here are much more decorative pieces; items collected by the founder, Merton Russell-Cotes, during his foreign travels. Unlike at the Pitt Rivers, the objects here were much more aesthetically beautiful to be used as decoration pieces, whereas the Pitt Rivers collection often had a purpose, whether traditional and custom reasons or tools to be used. Visiting the actual museum allowed me to see the items up close. It enabled me to see the little details that a camera could not pick up, enriching my drawings.

I used secondary research to find the objects to paint for my preliminary paintings and drawings, specifically from the V&A’s online collection. Furthermore, using this online collection has enabled me to gather the information on the objects, to find out about where and when they were made, what the purpose of the object is and what narrative is depicted on its design. Secondary research is also important or me, as it enabled me to find out from the internet and within books, different type of ceramics from the different countries I am interested in, such as Japanese Satsuma vases, which I would not have necessarily found out about from Primary research.

METHOD METHODOLOGY

Documentaries To gain inspiration, I enjoy watching documentaries throughout my projects. For this particular project, I have watched the Channel 4, Grayson Perry’s Who Am I? series exploring identity and his response to peoples identities from a range of backgrounds. I watched this documentary because of the way Perry uses narrative and symbolism within his work, as well as the way he uses not just paper, but 3D objects as his canvas for responding to his subjects and there identities. I also watched the BBC series The Art of China, following Andrew Graham-Dixon’s voyage through Chinese art and the histories behind them. This was really inspiring for me because Chinese ceramics is an area of great interest to me within my project, so learning about these objects with histories and stories was very enriching. I also watched the Great Pottery Throwdown, not just because I enjoy the series, but to begin to learn about the different clays and techniques used to make many of the objects that I am studying. I also watched the Big Painting Challenge on the BBC, and learnt a variety of things about observational drawing and painting, and how important it is to really look at what it is your trying to capture, whether a landscape, an animal or an object.

METHOD METHODOLOGY

Books, Articles and Journals

METHOD METHODOLOGY

Artist Research To enrich my project, I always complete artist research, which I feel is a very important part of developing and influencing my projects and myself as an illustrator. Artist research helps me to better my understanding of what is current and contemporary, as well as discovering about those that have taken a similar exploration into my project subject. Within my Masters Project 1, I have explored practitioners from a range of disciplines, including fine art, illustration, sculpture, photography and ceramics. From this research I have gained inspiration on methods and materials used, different perspectives and compositions of imagery, and the way light and shadow is utilized within practitioners work. A selection of artists I have looked at that have influenced my work into the subject of objects and narrative are:

As with artist research and documentaries, reading around my subject within books, articles and journals has broadened my area of knowledge. Within this project, I have been inspired by many books exploring objects and there histories, including that of Grayson Perryâ&#x20AC;&#x2122;s The Tomb of the Unknown Craftsman, which explores his exhibition in collaborated with the British Museum, as well as Margaret Medleyâ&#x20AC;&#x2122;s The Chinese Potter, which explores a practical history of Chinese ceramics.

Chloe Regan Grayson Perr Alice Pattullo Laura Carlin Lei Xue Chisato Tambayashi

Oamul Lu Emma Bridgewater Juan Sanchez Cotan Charlotte Mei David Doran William Grill

Becca Stadlander Matt Adolfsson Henry Mattisse Owen Davey Marc Martin Pierre-Antoine Moelo

REFLECTIVE DISCOURSE

Museums, Exhibitions, Books, Documentaries, Lectures, Workshops.

OXFORD (07/03/17) PITT RIVERS MUSEUM

With the University, I took a trip to Oxford, visiting The Pitt Rivers Museum and Museum of Natural History. I began by exploring the Pitt Rivers Museum, gathering Primary research and photography of the different pottery and collections that were on display. I also completed some drawing on location. I was initially drawn to a water container with a bird decorated on the front. I enjoyed the simple design compared to the more decorative Chinese and Japanese ware I had been currently looking at. I then looked at an Italian bust, and tried to capture his stern expression within my drawing. I was also intrigued by the museums collection of Romanian Easter eggs, and the variety of different designs that were on them. These varied from eggs that were uniform in colours (Red and White and Black, Red and White), to more intricate and religious details and symbolism. I was also

intrigued by the huge selection of masks on display, with the variety of bright colours, facial expressions and sizes. I also found a bust of John Philips within the Museum of Natural History, and again tried to capture the essence of his character and expression. I also loved the contrast between this jug and vase that I found. I enjoyed how the jugs design reminded me of old cave paintings, compared to this more modern, 1940s design and its bold use of colour. Overall, I really enjoyed visiting the museum and looking at the range of objects on display. I hope to use my photographs and research gathered to pursue my monoprints again, and hopefully create a book that with incorporate the imagery inspire from this museum.

NEW FOREST WILDLIFE CENTRE (09/03/17) For a research trip, I took a visit to the New Forest Wildlife Centre in Ashurst, to gather primary research that I may then go onto use within my project. Because my final pieces are to be inspired by the British landscape, wildlife and plants, I felt this would be a good place to gather this research, as I could look and observe the British wildlife within the sanctuary. I hope to use this to influence my paintings and the imagery exploring my concept, and therefore use the animals I have seen here within to influence my imagery.

RUSSELL COTES (05/04/17) I first visited The Russell Cotes Museum during The Strategies of Practice Unit for the Who Am I brief. I came here to complete observational drawings of the objects, as they are very different to what I found within the Pitt Rivers Museum in Oxford. The objects at this museum are much more decorative compared to that of the Pitt Rivers. The objects here were collected by the founder, Mervin Russell Cotes throughout his trips around the world, and were used to decorate the rooms within the house. The first object I was drawn to was a bright red vase. I really loved the Asian influence within the design, and its strong use of colour. This is in contrast to a typically English vase that I also found within the museum. This vase is much more muted in colour, and has a much simpler design compared to that of the other. I really love this contrast between the items, something that I have tried to express within my imagery. I also completed some drawing of a couple of unknown busts, as this is an aspect I developed an interest in within the previous project.

THE GALLERY (ARTS UNIVERSITY BOURNEMOUTH) JERWOOD DRAWING PRIZE 2016 During the Exploration unit, we were lucky to have the Jerwood Drawing Prize visit and Exhibit the 2016 short listed artists within the Gallery at AUB. The Jerwood Drawing Prize is the largest and longest open exhibition for drawing in the UK. Overall, I really enjoyed many of the works on display, and found the variety of approaches and outcomes to contemporary drawing very interesting. One of my favourite drawings was one created by Aishan Yu. I really enjoyed her delicate pencil drawing, and the way that the form of this patterned cloth disappears Aishan Yu to a simple line drawing. I also enjoy the unUntitled (2016) usual visual elements she has incorporated, Pencil and Acrylic on card and her confidence to put this bright orange shape over this delicate and detailed drawing. Another of my favourite pieces was this concertina book created by Lottie Jackson-Eeles. Her visual approach to her drawing is aesthetically beautiful, combining pencil with fine liner pen and coloured pens. As Lottie describes on her website, Imagery Imaginary is a series of concertinas that explore â&#x20AC;&#x2DC;mapping the spaces in which I encounter in London, encouraging the viewer to navigate their way through the drawings and unravel the marks of a journey. These drawings are an attempt to illustrate my idyllic concept of urban space.â&#x20AC;&#x2122; (Jackson-Eeles, 2017). Her use of more intricate drawings of urban buildings Lottie Jackson-Eeles combined with coloured patterns Imagery imaginary, volume 6 (2016) and more abstract answers to her Mixed Media Concertina Book

environment creates a unique and authentic visual response. I was also intrigued by the work of Nicola Griellier and her series of works, ‘Snow Boy’, ‘Bird Girl’ and ‘Girl in a Red Dress’ (2016). I love the unity of the pieces, the way they fit together like one whole drawing, but can stand on there own as individuals. I really enjoy the energy of the work, her combination of both a line drawing and energetic shading. I also really like the mismatch of proportions, their large feet and short bodies. Her works are part of a series called Heads of State, a theme that ‘encompasses dressing up, playfulness, ageless characters, mystery, transition into adulthood, masks and taking on characters’. (Pegasus Art, 2016). In regards to her work, Nicola explains,

Not finishing a piece is important. If things are too complete, they lose their energy. The ugliness and unfinished-ness is important to my work at this point. [...] The costumes were fantastical, random, and I liked that. My drawing is vigorous, it’s loose. I work it quite hard, rubbing away, moving the lines around, and then suddenly the finished drawing appears. I like to see the trace of the original and accidental lines. You can’t create this effect with oil paint, but you can see every line in a drawing. When I work, I listen to the radio a lot - I like words, puns, humour....and this becomes visible in my quirky subjects. (ibid, 2016).

Nicola Grellier From Left to Right, Snow Boy (2016). Bird Girl, (2016). Girl in a Red Dress (2016) Charcoal on Paper

I was also fascinated by the work of Caroline Burraway, and her photo realistic charcoal drawing of a man’s face. Burraway’s work ‘aims to confront socio-cultural issues that lie at the core of modern society and with what lies hidden beneath in the everyday lived experience of the marginal individual and their relationship with the world they always already inhabit.’ (Albemarle Gallery, 2017). Through her drawing she invites us to look at a world that we would otherwise turn away from, one ravaged by war and poverty. By drawing just the face, we instantly connect to the person in the work, with his eyes conveyCaroline Burraway ing this sense of loneliness and pain that Untitled 18 (2015) Burraway aimed to imply. Furthermore, her Charcoal use of charcoal adds an organic feel to the image, and brings out this essence of a human that is living a challenging existence. Whilst looking around the exhibition I came across the work of Bruce Ingram. I wasn’t particularly keen on his submission, Studio Drift (2015). His work had me questioning whether I regarded this collage as a successful example of drawing. My own opinion in regards to drawing is that a drawing is a mark that is made physically on the page, whether that’s by a pencil, pen, a piece of charcoal, or digitally. For me, I find it difficult to say that this is what this piece is, as there doesn’t seem to be an element that he has drawn. Despite Ingram placing this distinct white line with string that’s alludes to the drawn line, I found it difficult to connect with and enjoy this shortlisted entry compared to the other works on display. Another piece of work from the Jerwood Drawing Prize Bruce Ingram Studio Drift (2015) Exhibition that I enjoyed was Punchcard Cardboard box, paper, string and map pins by Kristian Evju. ‘The Punchcard project is

an attempt to somehow mirror the cryptic or archaic in the things we do not understand’. (Evju, 2017). The way Evju combines hand drawn photo realistic pencil drawings with geometric patterns is an interesting approach to interpreting his concept, creating a set of original works that challenges the process of drawing. I also enjoy the fact he has placed his work into a circle, creating for me a more interesting composition and reflecting once again on his use of geometric shapes.

Kristian Evju Punchcard (2015) Pencil on Paper

PANEL DISCUSSION - What is Drawing? PANEL MEMBERS - Richard Waring (Course Leader BA Fine Art, AUB), Professor Sian Bowen (Professor of Drawing, AUB), Professor Anita Taylor (Founder of the Jerwood Drawing Prize), and Solveig Settemsdal (1st Prize Winner of Jerwood Drawing Prize 2016). For the opening of the Jerwood Drawing Prize, I attended the panel discussion, which explored the notion of ‘What is drawing?’ and ‘What makes a good drawing?’ As Professor Anita Taylor explained, to her, a good drawing is one that ‘leaves a trace’, one that ‘apprehends and captivates the viewer’. Professor Sian Bowen also explained that for herself, ‘a good drawing is one that is memorable’. and ‘one with a sense of presence and provokes questions.’ After the talk and during the end where we were given the opportunity to ask questions, I was intrigued about the discussion about how far the Jerwood Drawing prize is going to push its boundaries with what they will accept and class as a drawing. With the winner this year being Norwegian artist Solveig Settemsdal, who won with her video piece Singularity which follows a transformative process generated by white ink being suspended in a cube of gelatin, the question was very relevant. The panel argued that for a piece of work to be classed as Solveig Settemsdal a drawing, it needs to leave something behind, whethSingularity (2016) White Ink in Gelatine er that is a mark on a page or on a screen.

THE TOMB OF THE UNKNOWN CRAFTSMAN BY GRAYSON PERRY ‘ When I was young I had an imaginary civilization. Then I became an artist and my civilisation traded with the world and all its history. Now I am not so sure where mine stops and the world starts. Deep in the mountains of my mind there is a sacred place where there is a monument to a skill.’ Grayson Perry This book by Grayson Perry, explores his relationship with the British museum, and how the objects within this museum has influenced and inspired his own work. ‘The relationship between my personal themes and obsessions and the vastness of world culture as represented by the British Museum is like a narrow pilgrimage trail across an infinite plain.’ (Perry, 2011). For the first section of the book, it explores Perry’s childhood teddy bear; his ‘benign dictator’ and ‘surrogate father, rebel leader, fighter pilot and undefeated racing driver’. (p31). As according to Perry, the bear acted as a ‘transference mechanism to help me survive emotionally’ (Farndale, 2011). This personal connection to this object has influenced the narrative on his vase; The Near Death and Enlightenment of Alan Measles. His imaginary story explores his character whist serving ‘as a jet fighter pilot in the great psychic war’ (p33), and being shot down over Latvia. It explores him being dragged out by a local village women that includes the woman Claire (Perry’s real life alter ego) and nursed back to health. This naive approach Perry takes to the imFig 1. Grayson Perry age on the vase links to the connections with his The Near Death and Enlightenment childhood; its a very intimate response to a subof Alan Measles (2011) Glazed Ceramics ject matter that is very personal to Perry’s experi-

ences. Within the next section of the book, Perry explores his love of shrines. ‘Shrines to me embody the essence of what I do. I put significant artefacts in a special place for us to contemplate. The special place could be in your pocket, in a corner of your house or by a roadside, it could also be a contemporary art gallery or the British Museum.’ (p73). Perry’s Fig 2. Grayson Perry Fig 3. Grayson Perry work, ‘Shrine to Alan and Claire’, Shrine to Alan and Claire British Museum, Shrine (2011) uses influences from many of the Tibet, 1800 - 99 Glazed Ceramics Painted Wood and Stone artefacts that can be found within the museum. His work is a ‘shrine to integration’ (p80). It once again incorporates his childhood bear Alan Measles, which represents his ‘maleness’, as well as the female figure of Claire, representing his female side and feelings. Within the background is a female blacksmith (specifically female as ‘women are on the whole better at working with feelings’ (p80)), which Perry used as reference to marriage, but more specifically Gretna Green in Scotland which is famous for runaway weddings. The last section that I looked at was called exploring Souvenirs of Pilgrimage. ‘We all make journeys to see places or people that are significant to us. It is natural to want a keepsake of the trip to remind ourselves and show others. Pilgrims usually travel light so the souvenir may be only a badge, a photo or a signature’ (p123). Within his work he has this unknown figure carrying a range of objects on his back. As Perry suggests, ‘they carry the weight of many different cultures and conflicts as well as the domestic and familiar. (p131)’ However, we are once again made aware with the souvenir the figure of a bear, hinting again at this connection to Perry’s childhood, allowing his experiences Fig 4. Grayson Perry Our Father (2007) to be in his work and making it unique to him Cast Iron, oil paint and sting and authentic.

CHANNEL 4 DOCUMENTARY GRAYSON PERRY: WHO ARE YOU? Individuals (1/3) ‘ Portraits are some of the greatest art in history, and their a scary challenge for an artist. Your part psychologist and part detective, you hunt for clues to the inner life and everything you’ve seen you distil, and one single image is all you get. Get it right and that image tells you something that a thousand selfies never could.’ Grayson Perry (2014). Within this documentary, Grayson Perry examines identity and how we define ourselves. The portraits made of his subjects have then been exhibited within the National Portrait gallery. He has specifically chosen to bring a ‘ parade of the unusual and the troubled in amongst those seemingly imperious icons of British solidity’. One of the subjects Perry has explored is that of a young single mother called Kayleigh, who has recently converted to Islam after living a troubled life. Throughout, Kayleigh describes her history and her past love of shoes before she converted. This point was very important to Perry and the portrait that was to

Fig 5. Grayson Perry The Ashford Hijab (2014) Printed Silk

envolve. He decided not to focus on the clash of Islam and Christianity, but that of ‘ Islam vs Shopping’. He explained how the rest of Kayleigh’s generation are often buying their identity from the big branded retailers, an ‘alternative Mecca’, whereas Kayleigh has chosen to take a different identity by converting to Islam. This piece of work is my favourite of the series. Using digital methods of Photoshop, he has then had the work printed onto silk. I feel that her story is conveyed strongly within the work; her struggles in life and how she left behind ‘a world dominated by consumerism and binge drinking for a community of strong sisterhood’. (Sadler, 2015). The second person Perry explored was that of the politician Chris Huhne, who was at the time being investigated for getting his wife to take the blame for a speeding offence and the speeding points. Perry met the politician both before and after his time served in prison. ‘He was there as a powerful white male who potentially was going to lose some of that power. I was interested in what effect prison and that condemnation would have on his confiFig 6. Grayson Perry The Huhne Identity (2014) dence and identity.’ (Brown, 2014). The artist Glazed ceramic then met Huhne again after his two months in prison. In regards to his personality, Perry concurred from his interview with Huhne on the morning of his release that he was a ‘prime example of the white middle class, middle aged power elite’, having not changed his attitude since being in prison. Therefore, within his portrait, Perry wanted to focus on the vulnerability of Huhne’s personality. With his vase, he was inspired by Andy Warhols repeat patterning process, and therefore included into his patterning repeated motifs; the politician’s face and his personalised number plate just a couple used. Perry also went on to then purposefully smash the vase, and put it together again and repair it with the use of an ancient Chinese technique involving resin mixed with gold. ‘If Chris wouldn’t show cracks in his personality, then my portrait would!’ Overall, I found Perrys response to Chris Huhne’s personality very interesting. His use of repeat patterning gives off this impression that his personality will continue to be as it is, he hasn’t learnt from his mistakes despite his life changing experience.

Within this documentary, Grayson Perry also created the portrait of the TV presenter and celebrity Rylan Clark, someone who is famous for being famous. Perry’s portrait in response to his subject, explores the use of the Tudor miniature portraits, which were used to portray the celebrity of their times. This use of the traditional miniature portrait combined with a portrait of a modern celebrity using digital techniques to paint the image, brilliantly conveys Perry’s interpretation of who Rylan is. As Perry described in the documentary, he enjoyed the irony that ‘the biggest character that we are dealing with has the smallest portrait.’

Fig 7. Grayson Perry The Earl of Essez (2014) Glazed Enamel over Plaster of Paris

‘A Heroic statue of identity declaration’

Fig 8. Grayson Perry I am a Man (2014) Patinated brass

The last person that Perry explored within this first episode of the documentary was that of Jazz, a female to male transgender. Within his work, Perry aimed to show his thoughts on Jazz’s transition by creating a ‘Heroic statue’. As Perry explained himself, he wanted to create a statue that would be a declaration of his change, ‘declaring his manhood at the end of his transition.’ Perry also specifically chose to be influenced by Peter Pan for the statue, because this was a huge influence in Jazz’s childhood. ‘Peter Pan is a slippery figure of indeterminate gender and a resident image in art.’

GRAYSON PERRY: WHO ARE YOU? Modern Families (2/3) ‘ In the family portraits of the past I looked at, it was always an idealized version I was seeing. That’s not what life’s like for many of us now but I think our families are still strong an influence as they ever were.’ Grayson Perry (2014). For this second part of the documentary, Grayson Perry explores the modern family. The first family he meets is Jack and John, white gay male parents who have adopted a child of mixed ethnicity. When creating his pot, Perry decided that he wanted to depict his subjects as the idealised family. He then wanted to juxtapose them with the images of past and present idealised nuclear families to show the contrast between what used to be the norm, to the acceptance of this new emerging type of family that is more common and socially accepted in today’s society. In terms of the content of the imagery he has used within his pot, he has the family floating on a cloud; as Perry described, ‘a cloud of love’. His subject Jack described that Perry’s use of the pot got him thinking about identity and its fragility. ‘... Identity is fragile, and then what you leave from your identity is possibly a legacy of some kind of immortality’. Overall, Grayson Perry’s pot has challenged this idea of a normal happy family that everyone is supposed to have. It gets us questioning that its not only a traditional nuclear family with a male and female parent that can raise a happy child; but a family that will give love and support which will raise a child happily.

‘ One thing I discovered about identity is that it happens when we’re not looking, it happens when we’re most relaxed, it happens when it works. Our identity build up like layers on a sea bed in a kind of prehistoric ocean...very slowly accretion of layer upon layer of influence and that’s how identity happens’ Grayson Perry (2014).

Fig 9. Grayson Perry The Modern Family (2014) Glazed ceramic

Fig 10. Grayson Perry Jesus Army Money Box (2013) Glazed ceramic

Another family that Grayson met to create a portrait piece from was that of the Jesus Army at their annual Mass Easter Rally. Perry explains that exploring this group is ‘stretching the definition of a family to it’s limits.’ This group of people that he has visited call themselves a family, despite there being no biological relationship. Within this piece, Perry took inspiration from the groups Christian beliefs, by using this inspiration from one of the most commonly depicted scenes from the life of Jesus, the Lamentation (the death of Christ). Perry wanted to depict this patriarchal family that these people had built to replace what they didn’t have before. He chose to do this through a Chasse, a casket that would contain a relic of a saint. Reminiscent of the story of Jesus, Perry has explored this idea, but using the shared experiences of the members of the Jesus Army. Within the designs narrative, we see a tramp who is saved by the Jesus Army. We then see him baptised, but Perry has included a link to modern society with the inclusion of people taking pictures on their mobile phones and rock music to again reference this modern day Jesus Army. He has then placed one of the residents he

interviewed at the centre of the work, ‘surrounded by his new-found, holy family.’ I find this piece by Perry to be my favourite from this episode. The narrative is clear to see, and enjoy the fact it is pushing the boundaries in regards to what should be classed as a family. It’s a piece that gets you asking questions, and provokes a range of feelings as you work your way through the story. For me the piece argues that despite its religious views and the non biological relationship of unit, this is more of a family then that of some conventional families; the group is bringing together people who have suffered hardship in their lives and provides them with a loving and supportive group of people to help them through the rest. For the last family of the episode, Perry explored the issue of when we lose our identity. He visited Veronica and Christopher, the later who is suffering from early onset Alzheimer’s. Perry was fascinated by the way the disease

‘strips away our sense of identity, the kind of de-lamination of ourselves and our personality ... this is an all-encompassing condition in that eventually it will strip bare, scrumple up like a piece of cellophane and chuck in the bin every little bit of who we think we are.’ Within his portrait, Perry wanted to look at not just how the disease was affecting Christopher’s identity, but the effect it has had on Veronica’s as well. In regards to Perrys design, he has again chosen to create a pot, symbolic of a funeral urn, ’a funeral urn for memories.’ He has then incorporated this flying demon, who comes down and cuts up your memories. He has then cut into shards and collaged onto the vase copies of the couples favourite photos. He has also placed them under a blanket, a symbolism of protection and sheltering them from this loss of memories.

Fig 11 & 12. Grayson Perry Memory Jar (2014) Glazed ceramics and college

‘ ...in the end, it’s about Veronica and Christopher and their love for each other and the life that they’ve spent together, and the tragic havoc that dementia wreaks on a relationship.’ Grayson Perry (2014).

GRAYSON PERRY: WHO ARE YOU? Modern Tribes (3/3) Within this third and last episode of Grayson Perry’s Who are you? documentary, he has looked to explore these modern day tribes, people who are ‘bound’ together through mutual instances such as size or disability. ‘We like to think we’re individuals, that we’re modern and independent, but scratch the surface and we’re still shaped by the tribes we live in’. One of the ‘tribes’ that Perry met was that of the BBW’s, Big Beautiful Women. Because of the negative stereotypes linked with people who are obese, Grayson chose to depict them as ‘statuesque women’. These women, once ashamed of their identity and what people thought of them, are now confident with who they are having met other people in the same situation as them. There is a connection amongst these people that only these women understand, one that makes them stronger as a group. All of these factors influence Perry response to his portrait of their identity. ‘...for my portrait of this very modern group identity, it was to that most ancient image of a women’s body that I turned. The first image I thought of when I thought of the big women was the Willendorf Venus, that kind of absolutely primal, fecund, fertility goddess sort of thing.’ As well as celebrating the womens bodies, he has also incorporated into the dresses, imagery to highlight that despite this beauty, there are these huge health issues associated with being this size.

Fig 13. Grayson Perry Melanie, Georgina and Sarah (2014)

Fig 14. The Venus of Willendorf c. 28,000 B.C.E – 25,000 B.C.E

The last modern tribe that Perry looked at to create work for the Portrait Gallery was that of the deaf community. Within this section of the documentary, Perry discovered that central to this groups identity is that of language, and this idea that deafness is not a disability, but a culture. With his response, Perry tried to explore this idea of them ‘reasserting an identity around something that was seen as a disability.’ To do this he has been inspired by that of the punk and New Wave era. He has created a poster similar to what would be associated with a band, ‘an irony in it being a format associated with music.’ Overall, I feel that this is his least successful work compared to that of his other responses. Within his other piecs, I can see the link between his reasoning and his subjects, but I myself struggle to see this aspect within this screen print.

Fig 15. Grayson Perry Deafness a Culture not a Disability (2014) Silkscreen Print

WHAT HAVE I LEARNT FROM THESE DOCUMENTARIES? In regards to my practice, these documentaries from Grayson Perry have got me thinking more fully about how you explore narrative on a 3D object, and how to push my research further when thinking about this. When Perry thought about his own work and the creation of portraits, he spoke to the subjects to get to know them and there lifestyle. He listened to his subjects and interrogated within his mind what they thought their identity was to them, and then responded with what he believed their identity showed to him through what he had seen and heard within his investigation. ‘The work of making a portrait begins long before I get out my pens. I need to observe my subjects closely, at times when they’re most revealing in themselves.’ (Perry, 2014, Episode 3). Using these findings, he would look to explore them on his chosen ‘canvas’, through symbolism and sometimes through the depiction of significant events; whether in there own lives or that of historical events that Perry relates them to. The way Perry gets to know his subject is an aspect I feel I need to do within my own work.

BBC SERIES THE GREAT POTTERY THROWDOWN (SERIES 1&2) Throughout the Masters Project, I have been watching the current Great Pottery Throwdown to help inspire me with the type of pottery to look at and research. I also went back and watched series 1, to again inform and develop my understanding of ceramics even further. I have really enjoyed learning about the process of making ceramics, the properties of the different clays used, as well as the variety of different ways to add patterns and glazes to the pieces they make. Despite not making my own ceramics in this project from scratch like this, I may again make a couple of vases out of sculpey to then create my own narrative onto, as well as helping me to explore ways of representing a 3D object on a 2D space. I also really like the idea of either having my work printed onto ceramics such as plates, or looking at painting straight onto them myself.

BBC SERIES THE BIG PAINTING CHALLENGE Throughout the project, I have been watching the BBC series The Big Painting Challenge. As well as enjoying watching this type of series, the programme explores different ways of approaching painting within the different areas of the subject; still life, portraiture, and landscape painting, animals and movement. This has allowed me to discover new ways of approaching drawing and observation that I could use myself within my own work and at Life drawing. There was a clear emphazie on the looking aspect of observational painting. The more you look at what you are drawing, the more you begin to see the colours, shapes, perspective and proporation within what you are drawing, and the more accurate and reconisable your painting will then be.

Figure 16. Vincent Van Gogh Bedroom in Arles (1888) Oil on Canvas

LECTURES AND WORKSHOPS MONOPRINTING DRUMLEAF, BINDING & GOLD LEAF WORKSHOP (13/02/2017) Despite knowing the process behind Mono-printing, having completed a lot beforehand within the Strategies of Practice Unit, I chose to go ahead and join Jenniâ&#x20AC;&#x2122;s workshop, but use it to further and develop what I already know; to look at the creation of a two colour print. I had used colour before within my prints, but had never looked at making the colour specific to certain sections of the design. In the end I only managed to create one drawing due to the lack of space, and found the ink problematic compared to what I had used in the printroom. This meant that the lines were not as crisp as I had hoped, and found I was unable to get the shading I wanted, but enjoyed the effect of these two colours working together. For the afternoon, we then had a spontaneous workshop and learnt how to create a Drumleaf bound book, and then used gold leaf to add a quick design to the cover. Overall, I am really please with the way this type of bookbinding works, and hope to use this technique further with some of my tester books, and possibly with my final book if I bind it myself. I like how you are able to have a double page with imagery that is not ruined by the spine of the book, and also enjoyed the use of the gold leaf to add a point of interest on the cover.

DRAWING MASTERCLASS IN CRAB STUDIO: EXPLORING MOVEMENT AND GESTURAL DRAWING (16/02/2017) For the first time, I attended Sharonâ&#x20AC;&#x2122;s Drawing Masterclass within the Crab Drawing studio. We began by exploring how to capture movement by using a more gestural drawing approach, with the use of two coloured pencils strapped together. I found this approach successful at capturing within 3 minutes the whole figure, looking at not just an outline, but the curves and lines within the body as well. This approach is a strategy I will take forward again when I attend life drawing. After these warm up poses, we then began drawing to different music, including traditional Spanish music and a selection of John Lennon songs. After listening to the music to begin with, we then had to think about our choice of coloured paper and pencils, thinking about the atmosphere that the music evoked and how to depict that on the page. We also completed a collaborative exercise in groups of 4, and each using a different coloured pencil. We began by initially creating our own drawing, and then moved onto the next persons to see what we could add to theirs or correct anything that we thought needed it. Overall, I really enjoyed this exercise and the end result, with a combination of different colours and approaches evident in all the drawings. For the last exercise, we then began to look at line and tone. I really enjoyed this exercise as well, as it got us thinking about which parts of the drawing needed this gestural line, and where we could just explore the use of a smudged blend of tone. However, I did find the foreshortening quite problematic within these pieces, but it is an approach I would like to continue again throughout the life drawing classes I attend.

MARIA MIDDTURN: DIRECTED DOODLING (21/02/2017) Within this workshop, we begun by looking at artists including Nathaniel Russell, Camille Walala, Clay Hickson, Annu Kilperlainen, Seth Bogart and Laura Callaghan, to help inspire our creations. We were then given the brief to explore doodling, directed at what our current projects are exploring. We were asked to think about how we want our images to finish up being, whether a zine, concertina, or set of images that can be displayed on a wall etc, to add context to the work we produce. Because I am looking to create a book for my final piece for this project, I chose to create a zine, so that I had a physical outcome from the workshop to display. I decided to be experimental with my book, exploring collage and combining coloured paper with coloured pencils. My aim for the zine was to explore Chinese and Japanese pottery, experimenting with composition and scale within the work. I feel that I could have pushed the composition of my work further, as it is still very often a vase in the middle of the page, but I enjoyed my outcome and using a technique that I donâ&#x20AC;&#x2122;t normally use.

DRAWING MASTERCLASS IN CRAB STUDIO: DRAWING WARRIOR COSTUME (22/02/2017) Within this Masterclass session that I attended, we explored the process of drawing a clothed figure. We began by warming up with some gestural drawing again, a technique that I adapted to much quicker then before having done the same process within the other drawing session I attended. We then moved onto exploring the figure partially clothed in warrior costume, looking at how the clothes and props can help us with the perspective and proportions of the figure. I tried to again stay quite loose with my mark making, and also tried to draw bigger, which are both aspects I want to keep working on within the Life Drawing sessions I attend.

BRIDIE CHEESEMAN: COMPOSITION (28/02/2017) During this workshop, we explored how to improve our composition within our work, by undertaking various exercises with the use of some existing imagery we already have. Within, we explored a variety of techniques and approaches to composition, beginning with dividing up our page into subdivisions, making sure that the images we are using fits into each part of the sections. We then looked at the same technique again, but with the use of curved lines and then the use of repeat patterning. However, the exercise looking at changing the viewpoint of our image was really interesting, as it got me thinking about other ways of looking at my objects, and not just straight on.

BRIDIE CHEESEMAN: COMPOSITION (08/03/2017) Within this workshop, we explored different ways of approaching composition within our work, to see how we can improve the images we make. Using the book ‘Picture This: How Pictures Work’ by Molly Bang, we explored how certain shapes, colours and lines engage different emotions in the viewer, ‘Why are diagonals dramatic? Why are curves calming? Why does red feel hot and blue feel cold?’ (Bang, 2016). We then applied these ideas with some of our existing work, pushing this idea of composition and shape. Overall, I found this idea very interesting to think about, and will explore some of the ideas further within my work.

PEER WORKSHOPS: CONCERTINA (09/03/2017) One of the tasks during this current project was to design a workshop for our peers to take part in. Myself and a classmate I was paired with had the task of being the first! Together, we designed a concertina workshop, where we made and gave everyone a section of the book, and asked them to choose at random from a bowl a piece of paper which had a nature theme, and then a piece of paper with a random object. We then asked them to create a narrative story from this, using only the colours red, blue and green with the inclusion of black and white, to add uniformity to the work. For my own section, I picked out the words Jungle and Pencil. Using a gouache wash and coloured pencils, my narrative section explored a monkey who has stolen someone’s pencil. Overall, I really enjoyed the experience, and the fact everyone else really enjoyed it as well,

and were excited to see our end result. I also like my chosen medium and materials, the combination of a wash and coloured pencils, which is an aspect I’d like to develop and push further in the project with my subject matter.

LOU BONES: AOI (10/03/2017) For this lecture by the AOI membership manager Lou Bones, she discussed and covered all aspects about copyright, self promotion, and different aspects within illustration being your business. SELF PROMOTION - Within this section, Lou spoke about this idea of having ‘physical mailers’, agents, business’ and illustrators that you are interested in working with. She also spoke about the importance of social media, but explained that you should only use those you want to or not at all. ACCOUNTS - Lou also discussed the importance of keeping up to date with accounts for any illustration jobs you do. COPYRIGHT - Once again, the importance of copyright of an image was discussed in much detail throughout the lecture; including that of fees for clients and the usage of the illustration(s), and the importance of avoiding selling copyright of an image unless for a substantial amount. She also discussed protecting our images when posting online, with the use of a copyright symbol, and to upload low resolution files (72dpi). CONTRACTS - DO IT BEFORE THE ARTWORK!

PEER WORKSHOPS: PAINTING SHOES (16/03/2017) For the second of the peer led workshops, we were asked to pick a random word, and use this theme to create a patten on a pair of shoes we had brought along. I picked the theme of fruit, and using a mixture of acrylic paint and marker pens, I used a limited colour palette of purple, green and orange to create my design utalizing my theme. Overall, I really enjoyed this workshop, and had never painted onto shoes like this before. I enjoyed limiting myself with the 3 colour palette, and liked figuring out how to make the best of the space I had to work with, looking at how to make each shoe unique, but belong together as a pair.

MARINA MUNN: LECTURE AND WORKSHOP (22/03/2017) I found the lecture from the illustrator Marina Munn really interesting, learning about her experiences within the editorial market of the industry, and her view on the benefits of working with an agent. We then participated in a workshop, exploring composition and narrative, without having to worry about the quality of our actual drawing. We began by getting a range of books out of the library, exploring a range of subjects such as nature, astronomy and maps. Using these books as our sources for imagery, we then traced sections to push the composition of our work to create quick and interesting drawings.

PEER WORKSHOPS: BRANDING & BUISNESS CARDS (23/03/2017) For the third peer led workshop, we explored how important self promotion is for us if we want to be a freelance illustrator; making sure we keep using the same name each time and tagging ourself on the work we publish to make us first on the list online if our name is typed in. We also looked at designing our own business cards. I looked at making one in this workshop, but felt that I didnâ&#x20AC;&#x2122;t have the images from my current work at the moment that was fully representative of my practice. I currently have a business card, but by the end of this Masters degree and in time for the degree show, I hope to have made one that is more up to date.

MARIA MIDDTURN: ZINES & SELF PUBLISHING (28/03/2017) Within this workshop by Maria Middturn, she began by talking to us about self publishing, and important information about selling our work both online and within market stalls. She advised us that budgeting is very important; making 2030 zines and possibly selling out is better then printing 100 and risking not selling any. During the workshop we were then asked to produce a zine. I decided to look at decorative plates, exploring layouts composition and incorporating the design of the plates into the background. I really enjoyed this workshop, and hope to make more zines in the future.

SANDRINE BONINI (28/04/2017) ‘My job is to give life to the text’ Sandrine Bonini, 2017 I found the lecture by French illustration Sandrine Bonini really interesting to listen to. I found it interesting that she doesn’t have a particular style when it comes to her work. For example, when finishing her degree, paper cuts were her initially chosen material, but this changed when demand within the industry turned to digital techniques. This is apparent in her children’s book, La Batalille Contre Mon Lit, where she has chosen to use black, white and yellow as her colour palette. Within her other work however, she has moved back to traditional methods of watercolour. Bonini also spoke about her enjoyment of collaboration, how ‘sometimes a story is just to personal to tell yourself.’ (ibid, 2017). One of the most interesting part is her views on the Publishing industry withn France, and how many of the bigger publishers want a very solid and polished idea and story they then go on to publish the book. FRENCH PUBLISHERS RECOMMENDED -

Gallimard Hachette Livre MeMo Sarbacane Editions Hellium Editions

Edition Nathan Les Editions Albin Les Forurm’s Rouges L’agrume

ARTIST RESEARCH CHISATO TAMABAYASHI Chisato Tamabayashi is a London-based artist who creates a range of limited edition books using cut-outs, printing and pop-ups. I really enjoy the books that Chisato creates. Having been able to take part in a workshop with her during my 3rd year on the BA, and being able to see and hold her books myself, her unique and individual approach is very inspiring.

OWEN DAVEY

This first illustration was created by Owen Davey for The Atlantic magazine, to accompany the article ‘Make Athens Great Again’. It explores ‘Plato’s Despair over the execution of his mentor Socrates and his fear for the posturing Athenian society which had begun to feel great by association to their state’. (Davey, 2017). I love his limited colour pallet, and the narrative story he portrays on the vase so simply through the response to an article. I also enjoyed this piece of work from a selection he made for the Directory of Illustration #33 book. I again love his simple use of the vase, focusing purely on the narrative story that decorates the vase; a story focusing on the Ancient Greek story of Argus, a hundred eyed monster. This aspect of the narrative on the piece of ceramics being the most important thing is an approach I have been pursuing within my own work. However, I need to find this narrative that I would like to work with within my own project, and also like this idea of somehow using or incorporating digital techniques.

MATT ADOLFSSON As with the last project, I am really inspired by the detailed work from the illustrator Matt Adolfsson. However, for this project, I was really inspired by his ‘All in Line’ book, a collection of his First in Line, Second in Line and Third in Line Books, which are encased in a double sided jacket. I really like the format and aesthetic of the piece, and the way the books have

HENRI MATISSE I was recommended to look at the artist Henri Matisse because of his strong and bold use of colour, an aspect I was advised to look at and take on board within my own practice. Overall, I really enjoy Matisse’s work, and like that his still life subject is place within a context, something I hoped to take forward within my own work, having tendered to just paint the object with a plain background.

been bound with a coptic stitch technique. This nicely presented piece is has inspired me to think about my finished product, and how I would like my artist book/limited edition book to look like in its final form.

EMMA BRIDGEWATER I discovered the work of Emma Bridgewater from the BBC series The Great Pottery Throwdown. I really enjoy her use of simple repeat patterning, to create a contemporary design on the tableware she sells. This type of design is very different to the more traditional ceramic pieces I am looking at within my project, which have more narrative and stories to the designs. However, I enjoy the idea of somehow bringing repeated patterning into my work, whether that’s in the main piece or within the background of the drawing.

LAURA CARLIN I’m a big fan of the work of Laura Carlin. I am very familiar with her illustrations, including that of her book illustration such as her Folio Society work and children’s books, but I was less familiar with her ceramic work. Overall, I really enjoy the approach she takes to the ceramics, she doesn’t lose what makes her a brilliant illustrator when moving from the 2D page to a 3D object. I love her quite naive approach to the narrative of the pieces, an aspect I hope to be able to achieve myself for my project.

ALICE PATTULLO I discovered the work of Alice Pattullo from a friend who brought in her â&#x20AC;&#x2DC;A Bloomsbury Souvenirâ&#x20AC;&#x2122; concertina book. I loved how each page was visually different from the others, but there was uniformity in terms of the colours and patterns incorporated. I enjoyed how the images work together on the page, and the narrative and patterns she explores on the objects.

GRAYSON PERRY In terms of the work of Grayson Perry, I was especially intrigued by his ceramic pieces. Within his work, I enjoy the way he combines traditional ceramic vases and shapes, with bold, contemporary imagery, creating a unique and personal response. I really like the idea of trying this out myself, by making my own small vases like I did within the last unit, but applying a more contemporary approach to the aesthetic of the imagery; such as the landscape of where I am from, or exploring a type of narrative on the piece, to make it more individual and authentic. I like the idea of applying a 2D image onto a 3D dimensional space.

LEI XUE I discovered Lei Xue from the article Smashed Cans Sculptured in the traditional style of Ming Dynasty Porcelain. (Richman-Abdou, 2017). â&#x20AC;&#x2DC;Lei Xue often explores the innate tension between past tradition and modernity in his diverse body of workâ&#x20AC;&#x2122;. (ibid, 2017). It was written by Kelly Richman-Abdou for the online site My Modern Met, a site that celebrates creative ideas. Lei Xueâ&#x20AC;&#x2122;s work from the ongoing series titled Drinking Tea, explores traditional Chinese porcelain design, and placing these decorative motifs found on Ming Dynasty ceramics onto modern, discarded aluminium cans. I found this concept he has used to be really interesting and fascinating, the way he has created a mass produced, mundane object that is often discarded into something aesthetically beautiful with the intricate and delicate designs. He has also looked at this concept in reverse within another series of his works. Using a traditional shaped Ming Dynasty Chinese blue and white vase, he has painted onto it with cartoon characters from the animated series Looney Tunes, again adding a contemporary twist to a very traditional ceramic piece.

CHLOE REGAN I was really interested in the work that the illustrator Chloe Regan did in collaboration with the Museum of East Asian Art, and the subsequent exhibition Ways of Seeing. â&#x20AC;&#x2DC;Looking from different angles and observing details, standing from a distance as well as sitting close to the cabinets, Chloe Regan has created a series of drawings showing how she engages with unfamiliar works of art by focusing on their shape, the effect of light and shade as well as surface decoration and textureâ&#x20AC;&#x2122;. (The Museum of East Asian Art, 2017). What she explores here is similar to myself, but she has taken a much simpler approach to that of what I did with my project. I particularly enjoy the energy of her ink drawing of these male Chinese figures, and the way the character and appearance has been conveyed with the material. This simple approach and energy is an aspect I could learn from and apply to my own work.

CONTACTS WITH INDUSTRY ILLUSTRATION AND LITERARY FESTIVAL - TALBOT HEATH The MA illustration group were lucky enough to be approached by Alice Stevens (astevens@aub.ac.uk), senior lecturer on the BA Graphic Design course here at AUB, about the interest and possibility of running a stall and workshops over a two day period for The Illustration and Literary Festival at Talbot Heath School. The festival is a celebration of literature and illustration for children and young adults, featuring talks by a range of authors and illustrators. Since the Strategies of practice unit, we have had the opportunity to go to the school and have a look round at the facilities we will be able to use on the day, including the outside space, the woodlands and the Art studios. From this trip, we managed to finalise our workshops to utilize specifically the outside space that have been given to us. This includes Magic Story Stones which will appeal to a range of ages, allowing them to create a narrative sequences on there stones. We will also be creating Paper crowns which would appeal to a younger audience, where they will be creating a magical, woodland crown that explores the environment around them. As a way of registering people as they come in to the festival, we will also be providing a post it portrait activity, where people can draw there portrait, and also use a key word to describe themselves which will then be placed onto each side of a shed that can be found in the grounds. Our last workshop is the Dream tree. Visitors will be able to draw or write on to shaped paper, in response to narratives such as poems and stories or there surrounding environment, which will then be hung around the woodlands on the trees. This festival is a really good opportunity for me and my group to carry on our fundraising and selling our products to the general public, as well as to meet successful people from the industry; including Phillip Pullman, Johnny Meres and Raymond Briggs, who will be giving talks throughout the day. Furthermore, being given the opportunity to run a workshop that we as a group have designed will help me see if this is something I may like to do in the future myself.

AUB PRINT ROOM IN PRINT EXHIBITION (26th June -16th August 2017) Tracing the history and techniques of printmaking, this exhibition explores the extensive archive of student staff work collected over the last 30 years at AUB. Alongside the evolution of the print room itself from traditional processes to newer digital technologies, this exhibition showcases a variety of techniques such as Lithography, wood engraving, Etching, Collograph and Cyanotype. Curated by Andrew Stacey and Preeti Sood After completing some work for my project brief, I was asked by the printroom about the possibility of using and framing four of my prints to put on display within the AUB Printroom, as examples to other students of Monprinting and CMYK Screen Printing. Since then I have also found out that my work will also be placed into an exhibition that will be taking place at the university. This is another great opportunity for my work to be seen by the public, and is another great edition to put on my CV and on my website.

CMYK Screen Print

Monoprints

MY PEERS One of my biggest contacts is that of my peers, including those from the time I was on the BA Illustration course and those from my MA illustration group now at AUB. My peers offer opportunities for collaboration and collectives. With my MA group, we have already begun fundraising to be able to publish a professional publication to take to D&AD, to allow people within the industry to see the

work we produce. As a group, we created work for a Christmas market, and hope to further this with other stalls and fundraising ideas, and carrying on with these after University. We have also worked together as a group to come up with workshops ideas for the Talbot Health Literacy and Illustration festival, and will again be selling our work to raise money for the publication.

COMPETITIONS I have managed to gain contacts with industries because of the many competitions that are open to enter throughout the year. This includes: - The Folio Society (House of Illustration) - New Blood Awards (D&AD) - The Macmillan Prize

- Creative Conscience

- The Batsford Prize (Cass Art)

- The Prize for Illustration (AOI)

Unlike the previous project, I have managed to enter two competitions, including The Batsford Prize, and The Sketch Open 2017, and hope to continue to do so throughout the next project.

RABLEY DRAWING CENTRE SKETCH OPEN 2017 Within this sketchbook competition, the brief asked us to enter those that we believed challenged and pushed the boundaries of the sketchbook. I chose to submit my research sketchbook, as I felt that this was one of the strongest that I produced in the previous unit. I had also added new sketches from this Masters project 1 to make it even more current to my work. I have tried to chose images that I feel are really successful, and have begun to push these boundaries of the book. I have incorporated images that bleed over the double page, as well as those I find the most interesting visually. Despite not being selected, I hope to carry on submitting my work to this competition, as every competition entered is more people within the industry seeing my work, and possibly providing me with new opportunities.

THE BATSFORD PRIZE 2017 INTERPRETING NATURE For the Batsford competition, the brief asked us to submit work that shows innovative and well-crafted interpretations of nature, that reveals something about nature and our relationship to it. I had intended to submit a new drawing that looked at the impact of litter on our forests in a subtle way. However, focusing more on my project work, I ended up running out of time to finish this drawing, so chose to submit a couple I had created from the previous unit so that I could actually enter something. I chose a couple of pieces I was really happy with, which explored the colours of the new forest; both during the day and at night. I’m disappointed with myself that I didn’t finish my drawing on time, as it was a subject I am really interested in, but I’m glad that I did enter a couple of pieces of work in the end.

EVALUATION OF STRATEGIES OF PRACTICE UNIT

STRATEGIES OF PRACTICE: WHO AM I? EVALUATING THE UNIT Within the Strategies of Practise Unit, I took the very open brief to experiment with a variety of different materials, including Print making, digital techniques and traditional drawing materials that I have not used before or for a very long time. Furthermore, because of the different subjects within the Who am I brief, I was able to explore subjects that were new to me and had never drawn before. The project opened up a real interest in the narrative and history of objects, as well as a keen interest in Monoprinting and the use of gouache paint. THE SELF/PORTRAIT When I discovered this section of the brief exploring the self/portrait, I had been really unsure as to what to look at. I therefore went down the process of exploring nostalgia and twin identity through CMYK printmaking and Risograph printing. It was also within this section of the project that I began to experiment with the use of Monoprinting, a technique I knew about but had never used before. These prints were one of the aspects that was highlighted within my feedback as standing out above the rest. I therefore have decided to further this within the Masters Project 1. I hope to begin to further my skills in regards to the drawing and mark making, thinking more about why I am choosing a certain composition, and to begin to question if this is the right choice for what I am wanting to convey within the work. I also want to make sure I keep this sense of narrative within the prints, which I feel was achieved within these works exploring twin identity.

EXTERIOR/INTERIOR ARCHITECTURE Within this section of the project exploring Interiors/Exteriors, I focused on my local city of Southampton, exploring both the past and contemporary buildings. Using my sketchbook to create the drawing, I then resolved this within a risograph print looking at the combination of these two types of building as a united image. Overall, I was praised for my use of the sketchbook, and the way I have begun to push the boundaries of the page by exploring not just one image on each, but utilizing the whole page by having my exterior drawing spread over the whole area. This approach is again an aspect I will continue to do within my Masters Project 1,

LANDSCAPE/SEASCAPE Throughout the Landscape/Seascape Project, this was the first time that I began to experiment with the format of my sketchbook, making use of not just one side, but both sides of the book. It was also the first time I discovered a real liking for this specific sized sketchbook, and the quality of the watercolour paper that does not have a textured feel to it which I find with most watercolour paper. I therefore want to use this sketchbook again, but see the different sizes that I can get.

I was also praised for my images exploring the New Forest, the exploration of perspective, light, and composition, which may be another element that I want to take further within the new project. As well as these forest paintings, my reduction prints exploring the marina at night time was also praised. Despite enjoying this technique, I am not sure if this is something I will take on into the next project, as I am unsure of ways that I can further this technique and concept within my Masters Project.

STILL LIFE From my Still Life section of the project, my interest in the narrative of objects was referenced within my feedback, especially those taken from research trips to places like the Sea City museum in Southampton, and the Russell Cotes in Bournemouth. This history associated with the objects, and the decorative aspects that I explored within this part of the unit is what brought me to pursue further this concept within the Masters Project 1. However, I need to find within the new project, alternative ways to add backgrounds, environments and context to my images, as an aspect within this section that was criticised was the use of coloured paper, which is not always the solution.

REFLECTION ON DEVELOPMENT OF PRACTICE

MASTERS PROJECT ONE: EXPLORATION RESEARCH - GOUACHE PAINTING For my Masters Project One, I have decided to look at decorative ceramic objects such as vases, snuff bottles and tea sets, and explore through visual language the narrative and history of the objects I am looking at. My initial aim was to conclude the project with the creation of a Limited edition book that would be aimed at people visiting the museums that the objects are from, but chose in the end to create a set of cohesive prints that will be presented in a presentation box. I also wanted to explore composition more fully in my work, as well as the strength of colour that I used. I have chosen to use gouache paint as my material to create my main body of work. For the first piece I have made, I looked at a Japanese tea set from the V&A collection, which had a floral pattern on the surface of the objects. Within this piece I have tried to push further my composition and layout of my painting. Instead of drawing the objects as I could see them, I have zoomed in on them, which as resulted in the objects being cropped. Furthermore, when I added the shadow to the bottom of the teapot, it was brought up that I needed to be boulder with the application of colour, which is what I then went on to do.

When I created my next painting, I then began to explore these objects that have more of a narrative to the decorative design. Within the V&Aâ&#x20AC;&#x2122;s collection, I then found this decorative dish which was made in China and decorated in the Netherlands. It looks at two parrots sat on branches, one eating a cherry as the other looks on. Despite its simple narrative, it provokes many ideas as to whatâ&#x20AC;&#x2122;s going on. Is the parrot about to steal the other parrots cherry or is he just looking? I really enjoyed the use of limited colours, and took the green from this to influence the background colour of the painting. However, I was unsure as to the success of the plate

being centre of the image, and whether exploring the cropping would have been more successful. However, I enjoy the fact that you can see the whole plate, and feel that the use of cropping would have ruined this image. The next Gouache painting I created was this blue, white and green vase made in Jigdezhen, China between 1662-1675. I really love the narrative of this vase, the subtle depiction of â&#x20AC;&#x2DC;two drunken scholars being helped home by mocking servants under a summer moonâ&#x20AC;&#x2122;. (V&A, n.d). Instead of drawing the whole object like that of the dish, I again further explored the composition, cropping and zooming in of the object, by focusing in on the area of interest; the narrative. However, I still wanted to make sure that the object was again easily identifiable as a vase, as this is another important factor of what my project is exploring. So far this is one of my favourite paintings. I enjoyed the limited colours that reflect Chinese ceramics, the use of different shades of blue and white but with the subtle input of green and red. I feel that the gouache worked very well, as I enjoy the flat colour of the background, but also enjoy the effect of using the

paint like watercolour, which adds a sense of depth to the painting. For my next piece that explores an Iranian bottle, Ewer and vase, I again looked at the whole object instead of cropping the composition. The pots donâ&#x20AC;&#x2122;t have an obvious narrative, but enjoy how the chosen patterns and colours reflect where the vase in from. I feel that in this case this choice has worked well like it did for the painting of the dish. I enjoy the tiny details on the vases and the jug, the fact you need to look closely at the image to see the decoration. I again enjoy the muted background that has hints of pale blues and yellows within, as the main point of interest (the objects) stand out as the main focal point. Whilst exploring the V&Aâ&#x20AC;&#x2122;s collection of plates, I found one that explores 94 men and boys celebrating a procession. Because of the complexity of the original plate, I decided to take a section of the narrative. The amount of detail that is on the original design would have been time consuming to paint, and quite difficult within the sized sketchbook that I use. Within the composition of the painting, I have tried to

make it so that its identifiable as part of an object. In terms of the work, I really enjoyed the stylized aspect of the image, the different areas that have a story going on such as the man holding a horse, and one playing the tambourine. I feel that the cropping has worked well here, as its adds to a more focused image. However, I was initially worried that I had cropped the imaged so much that it may not necessarily be recognisable as being on a piece of ceramics. The next gouache painting I created is again from the V&A collection, and is a pair of vases by Kadenji Hayashi that explores both night and day designs. I really enjoy the contrasting colours, but the clear unity between them that shows how they work as a pair together. I also enjoy my chosen composition, as you are able to see both vases, but enough detail in each to keep it interesting and to look at and contrast. Overall, I am pleased with the outcome of this image, including the scale of the pots, the composition and the approach to the simple background with wash to add context to the piece, so the objects are not just floating in mid air. My next painting again explores the objects as a whole, a set of 3 vases by

Namikawa Yasayuki, made in 1880-1890, and held in the V&As collection. Overall, I am again really happy with the way this image has turned out. I enjoy that the simple background allows for the objects to be the main point of the image. I also like that I have managed to get a textured background, one that isnâ&#x20AC;&#x2122;t a flat colour, enabling you to see the brush marks and adds to the feeling of age within the pots. The next two images I created are my least favourite, as well as the ones that I feel are the least successful from my sketchbook. This first painting depicts two vases, one with a peacock amongst an array of leaves and flowers, and the other with the depiction of a bird flying down to two more sat on a branch. Overall, I feel that my choice of cropping has let the image down. I enjoy that the focal point of the peacock within the left hand vase is seen, but you have lost the patten with the right hand vase, therefore losing this important narrative that is within the design. Furthermore, both vases do not feel like a 3D object, therefore my concept of depicting a 3D object on a 2D space has not be fully fulfilled. This next painting I find unsuccessful is one that looked to depict part of a Chinese tea set. (1750). The design

on this set had the appearance of being painted with watercolour paint. On there own, I enjoy the pattern on the teapot and cup, but I don’t enjoy the way I have gone about depicting the object itself. I find the black line that was supposed to hint at the edge of the object very harsh, and once again believe that the whole image feel flat to look at, and unconvincing at being a 3D object. My last painting is that of a traditional Blue and White Chinese vase. It’s design incorporates a pattern know as ‘Hundred Antiques pattern’, a collections of symbols or motifs combined together to create a this one pattern. This type of pattern combines a collection of unrelated imagery to create one finished design that has a narrative feel. I also enjoy the use of a plain simple background, without the use of a wash of white to hint at this idea of the vase sat on something. I also like that it uses only different shades of blue, and then the white of the base colour of the vase. I am also glad that I have incorporated the whole vase in this case, as the object itself is a very interesting piece on its own, which would have been lost it I was to have cropped it. Overall, creating these Goache paintings has helped to inspire me when the time came to further my project, helping me with colours, composition and designs. This allowed me to begin to see what does and what doesn’t work within each image, enabling me to purse aspects within each painting that have worked successfully in conveying a 3D object on this 2D space.

RESEARCH - COLOURED PENCIL Whilst completing my more time consuming gouache painting, I also began to explore a range of ceramics using coloured pencil. I was really intrigued by these Chinese and Japanese traditional tea and coffee sets, that came with a uniquely shaped teapot and a collection of cups. I really enjoyed the different colours, patterns and shapes that these teapots took on. I also loved the fact that each teapot had there own individual, handle that was unique to the design. I therefore went on to create a series of these exploring the different varieties of tea pots.

JAPANESE SATSUMA VASES Whilst researching into a variety of vases, I came across these Japanese Satsuma vases. The word Satsuma is the region of Japan that these were made in. I really enjoyed the story behind them; they were created specifically to sell to Western markets and were not favoured by the Japanese people. In terms of the design, I love the use of the distinct vibrant colours of oranges, reds and greens that are used, as well as the use of repetitive elements from one vase to another, such as the swirls and rings around the heads of the figures. I also enjoy how the main image of the vase is framed within a border, with the use of a rich blue top and bottom, that is sometimes patterned. I hope to somehow use aspects in terms of the approach taken with this within my own final works.

RESEARCH - MONOPRINTING Because of the success of my Monoprinting from the last unit, I decided to again pursue this printing method further within this Masters Project 1. I started by looking at some objects from the V&A Museum in London. The first is a bust of an unknown women. I have looked at leaving space around the object to capture the interesting and unique marks made on the paper, but to also make sure that it is the object that is the main focal point. However, the Second object is a cast of Antonio Pollaiuolo, a bust of an unknown youth. Within this monoprint, I have begun to frame the figure, to then enable me to place it in a context. Within the image, you are then able to see the hint of other cabinets, and even the outline of another statue behind. For me this type of framing has added a different aesthetic appeal, compared to just having the image floating on the paper. I have then explored this more within two other prints; the first a figure of St Francis, and the second a bust of King Charles II. I once again enjoy the context added to both images, but feel these are not my most successful prints. They have come out much darker then I hoped, and have a lack of quality in the use of light and shadow that my first prints had.

After taking a trip to the Pitt Rivers museum, I then used the primary research gathered to again, make prints exploring the objects that were on display. The first monoprint I created was one made to depict the unusually cluttered display cabinets, compared to places like the V&A, who give a lot of space to there objects. I have therefore tried to show this with all these objects tightly packed together in the bottom right hand side of the page, with the space around to again indicate this. My next print then explored one of my favourite pieces in the museum, a charming little owl ornament. I decided to leave space around this object, and look at it from two angles, because the pattern on the object is visually inter-

esting on its own, which would have been lost with a background. The last monoprint explores the huge amount of masks that were on display throughout much of the museum. I find the variety of colours, facial expressions and appearances visually interesting as a reason to draw them. I have also deliberately thought about the composition of the image on the page. The masks go off the page to hint at this idea that, what you are seeing on the paper is only but a snipet of how many of these masks there actually is; there is more beyond what you can see here.

HANDMADE BOOK Having completed a range of monoprints for the project, I decided to then place them into a handmade, limited edition book, using the Drumleaf method of binding. I chose this method of binding as it added to the originality of the work. Monoprints are a one off process compared to other printing techniques, so this type of limited edition, more time consuming binding method keeps in with this one off type of process. I also used some gold leaf to add a simple design to the frontcover rather then have a full cover image. Overall, I am really please to see my monoprints within a context, rather then on there own as separate prints.

FINAL IMAGES For my final piece, I initially wanted to create a book that explored these objects and there narrative decoration. However, I felt that in the end this context didnâ&#x20AC;&#x2122;t suit the work as successfully as I had hoped. I therefore decided that my final piece would work better as a cohesive set of prints that will be displayed in a presentation box. Initially with this work, I found it difficult to progress from my gouache painting of objects to create my own designs that explored my own chosen narrative. In the end I decided to explore my own cultural experiences, and translate them onto the pots in terms of their decoration; exploring the British landscape, the animals, plants and flowers but still referencing the Chinese and Japanese style that drew me to these objects to begin with. I also decided to take inspiration in terms of the composition of my work from my previous paintings of the objects, exploring the cropping of the work as well as the whole object or objects. The first work I created took inspiration from a set of vases I found within the V&A collection, that explored Night and Day within its design. Using iconic symbols of the British landscape, such as the green countryside, cottages and animals, Iâ&#x20AC;&#x2122;ve created my own interpretation using this concept. Overall, I am really happy with the way this has turned out, and enjoy that despite the imagery being

very different in terms of colours etc, you can see that they belong together as a pair of vases. There is also this continuity with the use of repetitive elements such as the sun on one vase but the moon on the other. I have also made the composition of the design represent how the vase would look as a whole, so despite seeing two which represent different times of day, and we can only see half a vase, the whole design of the vases can actually be seen. I also enjoy the composition of the image, as this has added a more unique and authentic element to the work that I feel depicting the whole vases may not have done in this case.

For my second final piece, I have explored the view of the whole of my chosen object. This is a set of 3 Chinese vases that I looked at in my preliminary drawings, but have used British influences to put a new design onto the vase. I have used the colours I associate with the New Forest; browns, greens, yellows and oranges. In terms of the design, I chose to use a long tailed Tit instead of a Phoenix that the Chinese use in many of there designs. I also choose to depict British flowers, including Roses, Foxgloves, Poppies, Daffodils and Daisies. I have tried to keep with the Chinese style, as this is an aspect that has inspired me throughout the project. Overall, I am really happy with the way this image has turned out. I feel that it shows off elements of Britain well, but you can see the inspiration of Chinese ceramics.

For my third final piece, I have again looked to depict the whole object, but to be less obscure with the connection to British wildlife, plants and landscape. Within this piece I was inspired by the designs of Japanese Satsuma vases, the way there is patterned elements and then a focal image within the vase; often framed by a gold border and the use of a vivid blue glaze for both the top and bottom sections of the vase. From my initial painting, I have edited the work in Photoshop, brightening some areas up and darkening others to get more of a contrast between light and shadow. I found with my original painting, the image to be very muddy, which I felt affected the crispness of the painting and each element within. I feel that my final image is much stronger then it was to begin with, since having edited it within Photoshop. However, I believe that my focus of light and shadow can sometimes be my weakest point. This is an aspect that I need to improve and focus on within the next masters project. I also feel that my representation of the British landscape can sometimes be heavily influence by what I believe it to look like, rather then what it does. Therefore I need to improve further my research into my subject. I need to do more primary research and ob-

servational drawing, as despite this feature being a thoroughly important aspect in my practice and working method already, I need to look more closely at the subject I am studying.

For my next final piece, I have taken the Bottle, Ewer and vase from a study I completed in my preliminary drawings, and have again looked to focus on the iconic plants of Britain; specifically daffodils, daisies and roses. Their are currently many flowers starting to appear within gardens and the forest, and daffodils are a particularly prominent feature of British spring. I am really pleased with the way this piece looks, and the use of this British symbolism. However, I wonder if like my other similar painting, whether you would be able to associate this with British flowers or not. This is an aspect that I need to look at further within my work and be aware of within the next project. Overall, I am really happy with the way my final pieces have turned out. Having struggled extensively to figure out a narrative, whether to explore a novel, a poem or make up my own, settling on exploring my cultural influences was the right choice for me to further my project and my work. To have improved I feel that I could have looked further at the British landscape, completed more primary research of the landscape and looked and investigated the British symbolism further, to make sure that I have made a successful representation of what I aimed to do.

UNSUCCESSFUL FINAL IMAGES Whilst creating my final images, I also ended up creating some unsuccessful attempts when exploring and trying to convey my concept. One of these was this painting of an English Village Fete that was influenced by the Chinese plate exploring a traditional celebration. Whilst being influenced by the original painting I had done, I tried to get this across within my own interpretation. However, I didn’t at all enjoy this stylized approach, and the cartoon feel that my new version has evoked. One aspect that I did enjoy about this new version is the incorporation of more of the plate, hinting further at this idea that I am exploring this design on a 3D object, rather then just a depiction of an event that’s happening on the page. I also find the colours much stronger then that on the previous, another reason why I don’t enjoy this particular piece. For me the hats also do not work, this solid black shape seems to be out of place within the painting compared to the original. Despite it being unsuccessful, I enjoy the small details such as the bunting and the Morris dancers.

This next unsuccessful piece was initially inspired by my two paintings looking at traditional blue and white Chinese porcelain. My intention for this piece was to explore this ‘Hundred antiques pattern’ again, but refer back to this idea of Britishness, and icon symbolism of Britain, but also incorporating where I live in the New Forest. There is also the inclusion of a Tudor rose and daffodils to again link back to Britain. I really enjoyed the use of the different shades of blue in my original painting, but this success has not proceeded to follow within this attempt at a final piece. The vase feels much flatter then the smaller painting does, it doesn’t feel to me like this is a 3D object. I also don’t enjoy the patten that I have made, compared to the way it looked within my initial sketches. Despite this, this image would look out of place with my other final pieces anyway, because of the choice to use just blue and white within the painting.

T U T O R I AL FORMS

T U T O R I AL FEEDBACK

20/02/17 - Lisa Richardson Within this first tutorial for the Masters Project 1, I had gone along with a solid idea for my project. So far I had begun to create some imagery to start off exploring and pushing the composition within my work to further develop my practice. Throughout the tutorial, we discussed what it was that I wanted to communicate within my illustrations, what I want to make the viewer feel when they see my drawings and paintings. We also discussed what type of ceramics inspire and interest me. I am really drawn to the decorative elements of both Chinese and Japanese pottery, and was encouraged to look at Chinese and Japanese illustration to inspire me. As another option to explore throughout the project, I was advised to research the symbolism of motifs and look at exploring and developing where I come from and applying it in the style of Chinese and Japanese ceramics. We discussed how I was going to locate the objects to study, and agreed that primary research was a crucial factor. We then spoke about the possibility of creating a small book for every location I visit, starting with The Russell Cotes Museum in Bournemouth, and then the Pitt Rivers Museum in Oxford. I was also told to look at lighting and drama with my work, and to decide upon the scale of my work, whether thatâ&#x20AC;&#x2122;s working small within sketchbooks or at different sizes, and looking to work outside of my sketchbooks on good quality paper. 20/02/17 - Bridie Cheeseman After Bridieâ&#x20AC;&#x2122;s workshop, I signed up to have a tutorial with her so she could have a look at the work I had produced so far and my ideas, but I specifically wanted her to have a look at my Gouache paintings to get her thought on my choice of composition and if it is successful. We discussed how I need to think about different ways of making a 3D object work on a 2D space and what I want to convey within the work, as my concept is still not decided fully. We also spoke about the incorporation of a narrative within my work, and exploring more fully the history behind the chosen pieces. I was also worried about the composition of some of my paintings, and whether this central, face on approach is working, or whether is predictable and obvious. Overall, we discussed that there are other more interesting ways to approach my paintings in terms of composition, but the use of the simple compositional approach I have used so far works well to display the piece.

GROUP CRITIQUE 14/03/17 - Lisa Richardson and Gina Cross For the critique, we were asked to present 5 images to highlight where we were up to so far in the project. I took along with me some Gouache paintings from my sketchbook, a couple of examples of my Mono-prints and the work made during my trip to the Pitt Rivers Museum in Oxford. Overall, I had really positive feedback about my paintings. However, it was discussed that the paintings exploring viewpoints and composition more fully (zooming in on the details) were more interesting and exciting to look at. I was also advised to play around with exploring this zooming in on detail, mark making and paint handling to ‘command the page’. Also we discussed that I now need to begin and take control of my narrative, and think of one that will ‘seduce’ the viewer in to my paintings. Within the critique, we also discussed where potentially my illustrations would fit, with the idea of merchandising and as stand alone artwork were brought up. I was also told to look at artist such as Grayson Perry and Cotan, as well as the YouTuber Holly Exely.

14/03/17 - Gina Cross After the critique, I had a chat to Gina about my work so far. We discussed again about this need to find a narrative that I want to show within my drawings; what I want to communicate to my audience. This could be a story related to me, like that of the work of Grayson Perry, or do I want to depict that of other peoples stories? Gina also spoke to me about working larger, and experimenting with larger sketchbooks to see how scale with affect the impact of my work. 23/03/17 - Fran Norton Since the critique, I have really struggled to find a narrative to focus on within my work. As well as the limited edition book, I wanted to transfer some of my work onto plates, so I could see some of my designs in contexts and on the object. It was suggested for me to explore different plate designs from companies such as Habitat, Liberty’s, Conran Shop, Anthropologie, Frasano Designs, Rosenthal, and Oliver Bonas. It was also suggested that I look

18/04/17 - Fran Norton During the Easter Holidays, I had begun to use my paintings from my research into Chinese and Japanese ceramics, to influence my concluding imagery exploring my cultural influences on these vases. Up until this point, I had only managed to create one final piece I was happy with, and one that I was not. In regards to my final piece exploring the British landscape during the day and at night, it was discussed that my background colour was not right, so will use Photoshop to change this. Furthermore, it was discussed that my shadowing on the image needed to be much stronger, such as the shadowing of the houses on the ground etc. However, it was noted that I had achieved this more in regard to th night image, with the moonlight on the tops of the trees and houses, and the light from the window reflecting out onto the floor. It was also mentioned me to look further again at the work of Grayson Perry, but particularly his vases, and to think about it as a place where the narratives and stories can be told. I was also told to have a look at painting onto real vase, to see the impact that this has to paint my work onto a 3D object. 18/04/17 - Lisa Richardson Within this tutorial, I was able to have a further discussion about my work after talking to Fran in the morning. Whilst here I mentioned the fact I was worried that I wouldnâ&#x20AC;&#x2122;t be able to make enough work to create a book. However, we discussed that I can therefore submit my finals as a cohesive set of paintings that explore the British landscape, plants, wildlife and symbolism within my work, and incorporating somehow my interest in Japanese and Chinese ceramics. I was also once again told to watch the documentaries of Grayson Perry, including that of his Who are you? series, and one called In the Best Possible Taste. After having both these tutorials today, I feel much more confident about how I need to more my project forward, to create successful series of outcomes.

BIBLIOGRAPHY Albemarle Gallery. (2017). Caroline Burraway. [online]. Available from: http:// www.albemarlegallery.com/artists/caroline-burraway [Accessed 24th April 2017]. Bang, M. (2016). Picture This; How Pictures Work. San Francisco: Chronicle Books. Bodman, S. (2001) Artists’ book yearbook 2001-2002. Bristol: Impact Press. Bodman, S. (2005) Creating artists’ books. London: A. & C. Black. (Printmaking handbooks). Bodman, S. (2015) Artist’s book yearbook 2016-2017. Bristol: Impact Press. Buckley, C. (1990). Potters and Paintresses; Women Designers in the Pottery Industry 1870-1955. London; The Women’s Press. Castle Gate House Gallery (2017). The Earl of Essex by Grayson Perry. [online]. Available from: http://www.castlegatehouse.co.uk/pottery-for-sale/grayson-perry-ra/the-earl-of-essex/ [Accessed 3rd May 2017]. Channel 4. (2014). Grayson Perry: Who Are You?, Individuals. Episode 1. [online]. Available from: https://learningonscreen.ac.uk/ondemand/index.php/ prog/07E7C82B [Accessed 3rd May 2017] Channel 4. (2014). Grayson Perry: Who Are You?, Modern Families. Episode 2. [online]. Available from: https://learningonscreen.ac.uk/ondemand/index.php/ prog/07F1A11B [Accessed 6th May 2017]. Channel 4. (2014). Grayson Perry: Who Are You?, Modern Tribes. Episode 3. Available from: https://learningonscreen.ac.uk/ondemand/index.php/ prog/07F98116 [Accessed 6th May 2017] . Davey, O. (2017). Owen Davey Illustration. [online]. Available from: http://www.

owendavey.com/Making-Athens-Great-Again [Accessed 15th April 2017]. Farndale, N. (2011). Grayson perry is tired of living double life. The Telegraph. [online]. Available from: http://www.telegraph.co.uk/culture/art/8813146/Grayson-Perry-is-tired-of-living-a-double-life.html [Accessed 27th April 2017]. Gerry. (2014). Grayson Perryâ&#x20AC;&#x2122;s Who Are You? tells us who we are. [online]. Available from: https://gerryco23.wordpress.com/2014/11/29/grayson-perrys-who-areyou-tells-us-who-we-are/ [Accessed 5th May 2017]. Goldstein, R. (2017). Making Athens Great Again. [online]. The Atlantic. Available from: https://www.theatlantic.com/magazine/archive/2017/04/making-athensgreat-again/517791/ [Accessed 15th April 2017]. Hemming, C. (1989). British Landscape Painters: A History Gazetteer. London: Victor Gollancz Ltd. Huffington Post. (2015). Grayson Perry Who Are You? At National Portrait Gallery. [online]. Available from: http://www.huffingtonpost.co.uk/victoria-sadler/ grayson-perry-who-are-you_b_6125686.html [Accessed 3rd May 2017]. Jackson-Eeles, L. (2017). imagery imaginary - lottie jackson-eeles. [online]. Available from: http://www.lottieje.com/imagery-imaginary/4581478931 [Accessed 23rd April 2017]. Medley, M. (1976). The Chinese Potter: A Practical History of Chinese Ceramics. Oford: Phaidon Press Limited. Pegasus Art. (2017). Nicola Griellier - Shortlisted for The Jerwood Drawing Prize 2016. October 2016. News - Keep Up To Date With Pegasus Art. [online] Available from: http://www.pegasusart.co.uk/news.irs [Accessed 23rd April 2017]. Perry, G. (2011). The Tomb of the Unknown Craftsman. London: The British Museum Press. p31, p33, p73, p80, p123, p131

Schmidt, C. (2010). Print Workshop: Hand-Printing Techniques + Truly Original Projects. New York: Potter Craft. Southeby Parke Bernet. (1981). Modern and contemporary Chinese paintings and Chinese ceramics. New York: Sotheby Parke Bernet. Stern, H. (1976). Birds, Beasts, Blossoms, and Bugs: The Nature of Japan. New York: Harry N. Abrams. p93 Youtube. (2015). Sarah Bodman presents the work of Book Artists. [online]. Available from: https://www.youtube.com/watch?v=GzEg07CAlhc [Accessed 8th February 2017].

FIGURES

1. The Near Death and Enlightenment of Alan Measles: A Glazed ceramic vase. Perry, G. (2011). The Tomb of the Unknown Craftsman. London: The British Museum Press. p32 2. Shrine to Alan and Claire Perry, G. (2011). The Tomb of the Unknown Craftsman. London: The British Museum Press. p80 3. Shrine, Tibet (1800-99): Painted wood and stone Shrine Perry, G. (2011). The Tomb of the Unknown Craftsman. London: The British Museum Press. p76 4. Our Father. A cast Iron painted sculpture of figure and a dog. Perry, G. (2011). A cast Iron painted sculpture of figure and a dog. The Tomb of the Unknown Craftsman. London: The British Museum Press. p76 5. The Ashford Hijab Printed silk of women in a Hijab. (2014). [online image]. Available from: https:// normsonline.files.wordpress.com/2014/11/78471411_ashford_hijab.jpg [Accessed 3rd May 2017].

6. The Huhne Identity A glazed ceramic vase, with gold covered cracks. (2014). [online image]. Available from: https://gerryco23.files.wordpress.com/2014/11/grayson-perry-who-are-youthe-huhne-vase.jpg [Accessed 3rd May 2017]. 7. The Earl of Essex Digital portrait within an oval frame. (2014). [online image]. Available from: http:// images.huffingtonpost.com/2014-11-08-NPG_893_1336_TheEarlofEssex.jpg [Accessed 3rd May 2017]. 8. I am a Man Brass statue of figure blowing a horn. (2014). [online image]. Available form: https://gerryco23.files.wordpress.com/2014/11/grayson-perry-who-are-you-i-ama-man.jpg [Accessed 3rd May 2017]. 9. The Modern Family

Vase depicting a gay couple with a child. (2014). [online image]. Available from: http://www.telegraph.co.uk/inluxury/50974/1415377076637/12jpg/ALTERNATES/h585-var/12.jpg. [Accessed 3rd May 2017]. 10. Jesus Army Money Box.

A painted casse (casket). (2013). [online image]. Available from: https://artlogic-res.cloudinary.com/w_1400,h_1400,c_limit,f_auto,fl_lossy/artlogicstorage/ victoriamiro/images/view/a7d95ca7cbcd73f6f28426ef63ab441d75015d19.jpg. [Accessed 4th May]. 11. Memory Jar

A glazed ceramic Jar with two figures under a blanket. (2014). [online image]. Available from: http://farm8.static.flickr.com/7358/16181673199_308ae9a6cf. jpg. [Accessed 4th May]. 12. Memory Jar

A glazed ceramic jar with a demon like figure flying. (2014). [online image]. Available from: https://normsonline.files.wordpress.com/2014/11/gp405_memory_jar_2013_a_f2e8cd_mp.jpg. [Accessed 4th May]. 13. Melanie, Georgina and Sarah.

Ceramic figures of 3 women. (2014). [online image]. Available from: https://artandliquor.files.wordpress.com/2014/10/img_4246.jpg. [Accessed 4th May]. 14. The Venus of Willendorf Scultpure of a naked and obsese women figurine. (28,000 B.C.E â&#x20AC;&#x201C; 25,000 B.C.E). [online]. Available from: http://lh3.googleusercontent.com/DRcX4vmqwe8HhKPUbLDPQUgAoc2Evc1t9BGUlE40EPYnTnMWv3BpWb4mqhVy-31-KQ=s1200.[Accessed 5th May 2017]. 15. Deafness a Culture not a Disability. Screen print of hand with faces. (2014). [online image]. Available from:https:// gerryco23.files.wordpress.com/2014/11/grayson-perry-who-are-you-deafness-aculture-not-a-disability.jpg?w=725. [Accessed 4th May]. 16. Bedroom in Arles Oil painting on canvas of a bedroom. (1888). [online image]. Available from: https:// upload.wikimedia.org/wikipedia/commons/thumb/0/0b/Vincent_van_Gogh_-_The_ Bedroom_-_Google_Art_Project.jpg/226px-Vincent_van_Gogh_-_The_Bedroom_-_ Google_Art_Project.jpg [Accessed 4th April].