Professional Practice By Laura Huartson
Professional Practice Arts University Bournemouth By Laura Huartson
CONTENTS 1. MY PRACTICE The Beginning! Final Major Project Inspiration
2. SELF PROMOTION Online Presence Website Blog Portfolio Behance AOI Business Cards
3. WHAT’S NEXT Career Plan After University Acceptance of Commission Example CV
4. BIBLIOGRAPHY & FIGURES
MY PRACTICE THE BEGINNING!
It was during my Foundation Diploma here at AUB, that I gained an interest in narrative illustration, and more specifically with children’s picture books. For my Final Project, I finished my Diploma by creating for the first time, one of my own that I both wrote and illustrated. From here on, narrative illustration has been my focus. When I first began the BA course in 2013, I initially struggled with defining myself and my work. As much as I enjoyed my experience within the first year, I didn’t enjoy the work I produced.
Once in the second year my practice developed; my confidence improved as I received both positive feedback and constructive criticism about the work I was producing. I began to make use of the studio space more, as well as the input from both my tutors and visiting practitioners, making sure I had tutorials whenever possible. It was then in the narrative unit that I created my own wordless picture book, about the plight of a Slow Loris. Once in the 3rd year, I decided to focus my attention on children’s picture books. I used the Pre-Major Project to look at the process of making a picture book; from character development, storyboarding, to finally finding a technique that I enjoy using to render my work. I love drawing with pencil, and would find that the charm of my initial pencil drawings would be lost when creating them into final pieces. Having seen the work of Briony May Smith and Emily Hughes, who combine pencil drawings and digital colour, I believed that this was the right way to go with my own practice. Using this technique, I created 3 final outcomes for my PMP. Being a new technique I’d never used before, it was very challenging to begin with, but the more I learnt about digital painting and the different techniques that could be used on Photoshop, the more I improved and found it easier.
FINAL MAJOR PROJECT My practice often begins with a research trip and my sketchbook. Visiting Compton Acres and Kew Gardens helped me begin to generate ideas and themes for my narrative. However, it wasn’t until I visited the New Forest Wildlife Sanctuary that I became inspired for my Final Major Project. I decided to write a 14 page children’s picture book about a squirrel who discovers his acorns have been stolen whilst preparing for winter. I initially started the project by storyboarding extensively, until 2 dummy books later, I was happy with my outcome. I initially started with the standard 12 page format, but with the help of Salvatore Rubbino, added two more pages to allow the book to flow better. One of the criticisms from my first project, was that the perspective on my pages were always the same, often straight on with the character facing the reader. I therefore wanted to address this within the composition of my pages, experimenting with close ups, distance shots, angles and perspective, something I feel I have achieved. I was also told that my approach to digital colouring was sometime very muddy, and that I utilised too much, browns and yellows. I feel that within my final major project, this has again improved each time I colour a page. Furthermore, because of the time I had to do it was much longer, I was able to return to my first pieces, and again improve. I also realised when I returned to my images that I was quite weak with the colour and its vibrancy, which became an important aspect that I have concentrated on for all my pages; be bold with my colour! Overall, I am really happy with what I have produced for my Final Major Project, and feel its a huge step forward from the last. Managing to finish my book in time meant that I was able to get it professionally printed by blurb. For it to be printed, I had to reduce the size from an A4 page to 15 x 23cm, which is considerably smaller then I had decided. However, I was able to print the pages separately afterwards to enable me to see what the pages would look like at the right size. However, I have had a lot of trouble when it came to print, with the images being much darker then what was on the screen. This is something I would want to solve if I had had the time to re-print my book.
INSPIRATION
INSPIRATION
My surroundings play an important part in inspiring my practice. Having grown up within the New Forest, I was never too far from the national park, often driving past roaming horses, pigs and donkeys. I also have access to woodlands, Calshot and Lepe Beach, the architectural ruins, monuments and Docks of Southampton, as well as living close to Hythe village, which has a marina and the oldest pier train in England. I enjoy drawing on location and consider it an important part of my practice when researching for a project. It often helps me generate initial ideas, or will play a part in underpinning my project, whether that’s the shape of the leaves, colour or composition. It also allows me to move away from the computer, using traditional methods to capture what’s in front of me with pencils, inks and paints.
ARTISTS
Fig 1. Oliver Jeffers Stuck (2011)
Fig 2. Shaun Tan Tales From Outer Suburbia (2011)
Artists, both historic and contemporary from a range of areas, inspire me and my practice, and influence the work I produce. I enjoy the work of JMW Turner, and attended an exhibition of his work at the Tate gallery in 2014. I love how atmospheric and striking his oil paintings are, compared to the delicate, subtle watercolours he would create in his sketchbook. I’m also inspired by the drawings of Leonardo Di Vinci, much more then his more famous paintings. Since buying a book full of his portraiture, scientific and engineering drawings, I have been intrigued by his precision and innovation. I’m also fascinated by his collection of water studies, how he captures the movement of running water and the patterns produced with accuracy. Being an avid reader of fiction, my first recollection of being fascinated by a picturebook was that of The Edge Chronicles series, specifically Beyond the Deepwoods. Written by Paul Stewart and illustrated by Chris Riddell, I was intrigued by Riddell’s delicate line drawings, to make the creation of these weird, repulsive creatures quite beautiful and fascinating to look at. The rich detail incorporated makes up for the lack of colour, and complements the
text perfectly. Since I’ve gained an interest in creating my own books, I have been inspired by the charming picture books of Oliver Jeffers, and the wordless narratives of Shaun Tan. The way they combine both traditional materials such as oils and watercolour with digital techniques in such a successful way is something I aspire to achieve myself. As well as artists and their work, Tzvetan Todorov narrative theory has influenced the way I write my stories. He argues that narrative always follows a 5 stage pattern. Beginning at an equilibrium, a place where everything is normal, this is then disrupted by an event, followed by the realisation by the characters that’s something gone wrong, leading to a quest to restore order, and once completed, a new equilibrium. This theory is followed within my own narratives, and used within my Major Project. I have followed this idea of the equilibrium being challenged, whereby squirrel realises he has had his acorns stolen. He then embarks on a quest to find the thief, which is then resolved at the end. (Culprit squirrel found and summer returns with the squirrels collecting acorns again).
Fig 3. JMW Turner Snow Storm (1842)
Fig 4. Chris Riddle The Edge Chronicles; Beyond The Deepwoods (1998)
THEORY
SELF P R O M OT I O N
ONLINE PRESENCE
The most important aspect in making my work be seen is through my online presence. Web exposure allows anyone interested in my work to look me up and access important information such as my contact details, and is a platform to showcase my portfolio and my best work. Furthermore, it also gives me the option to blog what I’m up to, to allow other people to follow what I’m doing, with sites such as tumblr or WordPress.
WEBSITE
Using Weebly to create my own website, I formatted it with a clean white background with dark grey text. On my homepage is three square thumbnails of a section of work from my books, which are linked to separate pages with the rest of the work specific to that narrative, including finals and developmental Page with all work from book. work. Furthermore, when on these pages, I have enabled the lightbox option, meaning that when the image is clicked, it enlarges onto a dark grey background. In terms of the tabs, I have chosen to place the buttons along the top and not the side, as I prefer the look of this on my site. I have also created a drop down menu, so that there is an alternative option to get to the pages, instead of always needing to be on the homepage. I have also included a page about myself, with a short personal bio. On this page I have placed events I have taken part in, such as the Neo-Futurist Bournemouth Exhibition to open the new drawing school at AUB, and the Bourne Into The Wild
Drop down menu for alternative option
Contact Page
Exhibition at the Factory Studios in Boscombe. I have also included a contact page, which has my email address, blog and a contact box linked to my email, to allow the public and potential clients a range of ways to get in contact with me. However, I haven’t placed my phone number, as I feel an email address is sufficient enough.
Image enlarged when pressed.
About page
‘Laura is a narrative illustrator, whose main interest is writing and illustrating her own children’s books. She loves reading, visiting museums, ornamental gardens and exhibitions, and also enjoys a game of darts. Having completed a Foundation in Art and Design at the Arts University Bournemouth, she carried on and is completed a BA in Illustration. Growing up with her twin sister within the New Forest in Hampshire, her surroundings and wildlife aids her imagination. Drawing within sketchbooks and on location is an important part of her practise, helping to influence and inspire her stories and characters.’
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BLOG
As well as a website, a blog is another way to enhance my online presence. Servers such as tumblr and WordPress are a good platform to allow people who like my work to follow my blog. Where my website will be an online portfolio, my blogs will allow people to see the developmental process behind my pieces, and my thoughts behind why I chose certain mediums or colours etc.
PORTFOLIO
For my portfolio, I have chosen the best work from both my Pre-Major and Major Project. My portfolio opens with my pre major project work, and starts with an image with my details such as my website and email underneath. Moving through the project, I then move onto the best pieces from my Major Project. I have kept everything in order so that the narrative of the story also flows through my portfolio as you look through the images.
BEHANCE
Fig 7.
Whilst applying for an MA, I was asked to submit my portfolio online. It was here I discovered Behance, an online portfolio site where you can upload your work into projects. It then allows people to view your work and leave feedback or give an appreciation. I have therefore set up my own account, and hope to use this as another way of getting my work seen. This is also another aspect that I can link from my website.
Fig 8.
AOI (ASSOCIATION OF ILLUSTRATORS)
Another option I will need to consider, is possibly getting a membership with AOI. For a student rate of ÂŁ76 for the year, It will allow me to have advise and assistance with any part of the commissioning process, such as fees and copyright issues.
BUSINESS CARDS
Business cards are another important tool to promote myself and my work. On them is important information, including any contact details and my website. For my own business cards, I created a few different designs, choosing to use the drawing of the tree. Buying these business cards means that I can send them out to people with any products I sell on my Etsy. Over time, as I produce more work, I will add to the collection with new work to keep them up to date. To print my business cards, I chose to use Vista Print, allowing me to buy 100 cards for ÂŁ7.99.
W H A T’ S N E X T!
CAREER PLAN
Once I finish University, in order for me to develop my practise I want to complete a Masters degree. Furthermore, from the 2016/17 year, it will be the first time the government will offer loans for students wishing to complete a Postgraduate degree, meaning I’ll have the opportunity of borrowing up to £10,000. (UCAS, 2016). Without this loan, it would have been unlikely for me to be able to complete a Masters straight away, because I would not have had sufficient funds up front to afford the tuition fees, plus pay for things such as living costs and materials etc. With this in mind, there are two options I have considered. The first option I have researched into is applying to Anglia Ruskin University in Cambridge for the MA course in Children’s Book Illustration. I believe this MA will enable me to learn and push my practice within children’s books even further, under the tuition of Martin Salisbury and with the strong contact links with Walker Books and Candlewick Press. In regards to this option, I will be taking at least a year out of University, where I hope to improve my portfolio and my skills within digital painting and traditional techniques whilst completing the application process. However, in terms of funds, I will have to consider how to use my loan. With the tuition fee being £8,100, it would take up a considerable amount of my loan, Fig 9. meaning I will have to find living costs, money for materials etc from elsewhere. Fig 10.
Fig 11. I would therefore have to look at adding to my existing savings account from a job both before and during the course, to allow me to build up my funds and have enough to sustain myself throughout the duration of the 18 month course. The second option I have considered is applying to the MA illustration course at Bournemouth. I feel that having focused solely on children’s books for much of my projects throughout the BA course, I want to not necessarily reinvent myself, but use this option to allow me to look at other areas of illustration that I’m really interested in but have neglected, such as printmaking. I still want to focus on narrative, but feel this course will allow me to break down and explore further the process of making a children’s book; looking at character development, settings and techniques to make my work much more interesting. Furthermore, I will be applying for this course to start the 2016/2017 year, meaning that I’ll be finishing the BA and hopefully starting the MA not long after. Furthermore, I’ll also have the option to carry on living at home, helping me to save on living costs, but will have to use part of my loan to fund my travel, a total of £16.60 a day (train, bus and parking cost).
Whether it’s between ending the BA course and starting the MA, or having to take at least a year out of University, I will be undertaking a range of activities to further my practice and develop my career. During my time off, I will take part in competitions such as the AOI, World illustration awards, the Folio Societies Book Illustration Awards, as well as Macmillan’s children’s book competition, which I have entered this year with my work from my Major Project. I will also continue drawing throughout the months to create work to sell on both my Etsy shop and Society 6. On my Etsy shop, I will look to sell prints of my drawings for between ten and fifteen pounds, as well as original lino prints for between fifteen and thirty, depending on the size. However, there is a listing fee for items of 14p and a 3.5 % transaction fee, but all in all, you get to keep most of the profit made on the item. In terms of Society 6, the benefits are that you can upload your work and the printing and sending of it is covered by the company. This means I will save money on the cost of printing, envelopes and postage. Furthermore, the company gives you the option of allowing your work to be sold on laptop cases, rugs, clocks and even leggings, creating more context for my work to be sold in. However, a considerable amount of money is taken from what you sell it for. For example, I recently sold a large A4 print for $25.50 (£17.88). However, I will only received £4 of it. Despite this, you
can choose how much profit you make, and I hope that the more I sell, the more I can then begin to put my work up in price. I will also try and get myself a job during the time off, whether that’s a summer job or more permanent one for the time being, so I can have some income to help support me and allow me to continue to purchase materials for my practise.
My work on Society 6. Placed onto different products
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AFTER UNIVERSITY!
AFTER UNIVERSITY
After University, I would love to have the opportunity to work with publishers such as Walker Books, Penguin and Flying Eye Books, publishing children’s picture books that I have both written and illustrated. However, I am worried about how unsustainable this option can be for many students who graduate, because of how competitive the market is. I feel that this is my ultimate goal, but education is also an area that is important to me, and would love to have the opportunity of working within Universities and colleges as a technician. To achieve both my aims, I need to make sure my portfolio is as strong as possible, so that I can be confident in my work when I contact publishers. However, I feel that completing an MA will also stand me in good stead when applying to work in Universities or colleges. To get me in the best place to become a technician, I will need to make sure I keep improving my knowledge of Photoshop and InDesign, and carry on learning Illustrator to give me as many skills as possible, taking online tutorials and courses. I’m open to the possibility of beginning work within a college on an A level course to improve my experience. Using my own experiences of taking an A level within the Art and Design field, my knowledge gained from the BA course in terms of the computer side, book binding and printmaking should allow me to offer skills that I feel are not utilized more within the A level subjects. Afterwards, I feel that I will be better equipped to apply to work within a University. Throughout my career, I again want to carry on selling
Fig 15.
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my work on Etsy and Society 6 to make some more money on the side. I will also look at the option of having my own, small shop within a local Boutique Village, a fairly new indoor shopping village that has opened up not far from where I live. Specifically for new businesses with a low rental cost of £39 per week for a 5ft by 8ft space, it is a good way of seeing how well my work may sell to the public. Furthermore, being only a 4 week contract, if I can’t cover costs then I have the option of leaving. Fig 18.
Fig 19.
ACCEPTANCE OF COMMISSION & CV
I created as an example, a mock up of an acceptance of commission form. I approached it as if I was commissioned to make my book for Flying Eye Book Publishers, to given me an idea of what to expect on one of these forms. I have then gone on to create my CV, highlighting my past grades, exhibitions I have been involved in, my skills and experience/volunteering.
BIBLIOGRAPHY
Anglia Ruskin University (nd). Children’s Book Illustration MA. [online]. Available from: http://www.anglia.ac.uk/study/postgraduate/childrens-book-illustration. [Accessed 8th April 2016] Arts University Bournemouth (nd). MA illustration courses. [online]. Avaliable from: http://aub.ac.uk/courses/postgraduate/ma-illustration/. [Accessed 8th April 2016] UCAS. (2016). Postgraduate fees and funding; New postgraduate loans for 2016. [online]. Avaliable from: https://www.ucas.com/ucas/postgraduate/finance-and-support/ postgraduate-fees-and-funding. [Accessed 7th April 2016] The Boutique Village. (n.d). Prices. [online] Available from: http://www.theboutiquevillage.com/#!pricing/c1o7p. [Accessed 11th April 2016].
FIGURES
Figure 1. Oliver Jeffers, Stuck (2011). Boy holding up Orangutan. [online image]. Available from: https://s-media-cache-ak0.pinimg.com/736x/22/a7/2e/22a72e6f8f49630da1e073e0a2aa4e1b.jpg. [Accessed 18th March 2016]. Figure 2. Tales From Outer Suburbia by Shaun Tan. Buffalo giving directions to little girl. [online image]. Available from: http://3.bp.blogspot.com/-ARnRiV-nwaM/TmN86MBN6uI/AAAAAAAAAY0/HPjQyg7bCqw/s1600/ST%2BThe%2BWater%2BBuffalo001.jpg [Accessed 18th March 2016]. Figure 3. Snow Storm by JMW Turner. (1842). Oil Painting of Boat in a Storm. [online image]. Available from: https://upload.wikimedia.org/wikipedia/commons/3/30/Joseph_ Mallord_William_Turner_-_Snow_Storm_-_Steam-Boat_off_a_Harbour’s_Mouth_-_ WGA23178.jpg [Accessed 18th March 2016]. Figure 4. The Edge Chronicles; Beyond the Deepwoods by Paul Stewart and Chris Riddle. A Halwwitoad. [online image]. Available from: https://awritersbookshelf.files.wordpress. com/2013/01/halitoad.jpg Figure 5. WordPress. WordPress Logo. (n.d). [online image]. Available from: https://s.w.org/ about/images/logos/wordpress-logo-simplified-rgb.png. [Accessed 28th April 2016]. Figure 6. Tumblr. Tumblr Logo. (n.d). [online image]. Available from: https://secure.assets. tumblr.com/images/logo_page/img_logo_bluebg_2x.png [Accessed 28th April 2016]. Figure 7. Behance. Behance Logo. (n.d). Available from: http://www.brandsoftheworld.com/ sites/default/files/styles/logo-thumbnail/public/032013/behance-be-logo-01.png?itok=f91tvdCQ. [Accessed 18th April 2016].
Figure 8. Association of Illustrators. Association of Illustrators logo. (n.d). [online Image]. Available from: http://www.theaoi.com/images/logo.png [Accessed 28th April 2016]. Figure 9. Children’s Book Illustration MA Course Fee. Screenshot of Anglia Ruskin’s MA children’s book course fee. (n.d). Available from: http://www.anglia.ac.uk/study/postgraduate/childrens-book-illustration. [Accessed 8th April 2016]
Figure 10. Children’s Book Illustration MA. Screenshot of Anglia Ruskin’s MA children’s book course description. (n.d). Available from: http://www.anglia.ac.uk/study/postgraduate/childrens-book-illustration. [Accessed 8th April 2016] Figure 11. MA Illustration Bournemouth. Screenshot of Course Fees. (n.d). [online]. Available from: http://aub.ac.uk/courses/postgraduate/ma-illustration/. [Accessed 8th April 2016]
Figure 12. The Book Illustration Competition (2016). The Book Illustration Competition logo. [online image]. Available from: http://competitions.houseofillustration.org.uk/book-illustration-competition-2016/ [Accessed 18th April 2016]. Figure 13. Association of Illustrators; The World Illustration Awards. (2016). AOI awards homepage. [online image] Available from: http://www.theaoi.com/awards/. [Accessed 18th April 2016]. Figure 14. The Macmillan Prize for Illustration (2016). Macmillan prize logo. [online image]. Available from: https://www.panmacmillan.com/macmillanprize [Accessed 18th April 2016]. Figure 15. Walker Books. Yellow Walker Books Logo. (n.d). [online image]. Available from: http://www.irishpublishingnews.com/wp-content/uploads/2012/09/WalkerLI.png. [Accessed 11th April 2016]. Figure 16. Flying Eye Books. Flying Eye Books Logo. (n.d). [online image]. Available from: http://100scopenotes.com/files/2013/03/Flying-Eye-Logo-e1363700695980-300x273.jpg. [Accessed 11th April 2016]. Figure 17. Penguin Books. Penguin Books Logo. (n.d). [online image]. Available from: http:// www.logodesignlove.com/images/classic/penguin-logo.jpg. [Accessed 11th April 2016]. Figure 18. Etsy. Etsy Logo. (n.d). [online Image]. Available from: http://apifortress.com/ wp-content/uploads/2015/08/etsy.jpg. [Accessed 18th April 2016]. Figure 19. Boutique Village. Screenshot of Boutique History. (n.d). [online]. Available from: http://www.theboutiquevillage.com/#!our-history/y2wf5. [Accessed 18th April 2016].