Are We There Yet?: Finding Joy in the Journey

ARE WE THERE

YET? FINDING JOY IN THE JOURNEY

LISA AMBROSE

Hartford Art School - University of Hartford Low Residency MFA in Illustration Illustration ILS 970

Lisa Ambrose

Hartford ID #14972306

FINAL THESIS PROJECT

Are We There Yet?: Finding Joy in the Journey Limited Residency MFA, Illustration, Summer 2013 Submitted in partial fulfillment of the requirement for the degree of Master of Fine Arts Hartford Art School, University of Hartford

Defense Date: Defense Committee: Advisor: Doug Andersen Committee Chair: Committee Member: Committee Member: Committee Member:

Are We There Yet?: Finding Joy in the Journey TABLE OF CONTENTS Introduction

1

Inspiration

4

PART I - TRAVEL POSTERS Process

16

The Work

23

PART II - VINTAGE VACATION Process

26

The Work

30

Marketing

36

Press Release

38

The Program

39

Conclusion

43

Biography

44

Bibliography

46

1 Introduction Like most children, I enjoyed visiting the ice cream parlor on hot summer afternoons. However, when faced with the abundance of flavor choices I was simply unable to decide. Except for perhaps the aberration that is blue superman ice cream, I desired them all. While many would relish the opportunity to choose from such a wide variety of options, I found the experience quite overwhelming. Thus, after everyone else made their selections and waited not-so-patiently for my decision, I could only manage an exasperated, “vanilla.� Feeling there was insufficient time for me to successfully wrestle with the myriad of choices before me, I merely settled on the safe, easy option. While a perfectly acceptable choice, because it was selected with less than complete commitment, every taste of vanilla was accompanied by the thought that another flavor might have been more satisfying.

Selecting a thesis subject has

reminded me of those frustrating experiences in the ice cream parlor. Ensuring that this time I did not settle on vanilla has been a significant challenge.

Honestly, I have yet to master the skill of prompt decision making. This trait is largely inherent, but was further cultivated, or exacerbated if you will, during my years training and working as an engineer (see Fig. 1). While engineering and illustration are in many ways dissimilar, my artistic training has thus far failed to lessen or moderate this Figure 1 George Jarvis, title unknown, 1989, particular shortcoming. My artistic interests are numerous and I possess a considerable

photograph. My problem-solving skills, though very useful in developing mechanical solutions, can sometimes prove distracting when applied to the process of creating art.

2 motivation to discover the aspects of the illustration profession that best suit my needs. When combined with the realization that I have only begun the process of discovering my artistic talents and preferences, the result is a bit of an attention deficit response in my art making. I am all too often disposed toward a distracting “but what if I did this differently?� inquiry that causes me to digress from my present work to explore all too numerous variations and alternatives. While such has often revealed new ideas or improved methods of expressing previously arrived at ideas, it has just as often resulted in my becoming significantly waylaid. In short, this tendency is as facilitative as it is inhibiting, as exhilarating as it is exasperating.

I was compelled to confront this tendency during the very first week of my Hartford experience when presented with the dream project assignment

by Alice Carter (b.1947) and Dennis Nolan (b.1945). I struggled a great deal with the project and over the course of the week had to acknowledge that my decision to create illustrations for the 14th century poem Sir Gawain and the Green Knight (see Fig. 2) was based on my desire to create one particular illustration and not an entire series of works.

Essentially,

I

had

unwisely

selected a subject or theme in Figure 2 Lisa Ambrose, Green Knight Thumbnails, 2011, prismacolor marker on paper. Although challenging, the dream project introduced techniques I could implement to improve the compositional and narrative aspects of my illustrations.

which I was not entirely interested or committed. In other words, I had unknowingly selected vanilla,

yet again. The resulting ambivalence and frustration I experienced greatly hampered my creative process as well as my final work product. While I completed the project to the best of my ability, I was determined to discover

3 a method or manner of working to avoid encountering this hurdle yet again. Relying on the creative problem-solving skills I developed as an engineer, I contemplated a possible solution.

The largest obstacle to completing that initial dream project was that the subject I selected was not one for which I felt great affinity.

Accordingly, I determined that

going forward it might be better to select subjects to which I felt particularly attracted.

Thus began my task of documenting the many things in which I find delight, Figure 3 Lisa Ambrose, 200 Things, 2011, felttipped pen.

Creating this list has been so

including colors, artists, mediums, styles, helpful that I now include it as an introductory hobbies and collections. I further examined

assignment in the senior portfolio class I teach.

the objects in my studio, home and other familiar places and included in my list those items which held meaning and significance. The result was a list of 200 items from which I could draw inspiration (see Fig. 3). Moreover, as I constructed the list, a plan evolved by which I would select items from my list and combine them in some way to come up with novel ideas that I could later develop into various projects.

As the thrust of my previous artistic training and, therefore, my current portfolio, tended toward the realm of fine art I resolved to use my thesis as a way to explore different ideas and methods of working as well as to broaden my portfolio with work directed more toward a viable illustration market. This determination proved more difficult than I initially anticipated, however. Specifically, despite possessing great enthusiasm for many projects conceived from my inspirations list, most such projects had

4 to be discarded because they did not embody a high degree of marketability.

In the end, I was able to conceive and develop a project that combined several of my interests, but which also satisfied my self-imposed marketability qualification. The process by which I selected a thesis topic was certainly difficult and although multiple potential projects were discarded along the way, I in no way consider those efforts to be failures. While I have set aside such projects for the moment, they nevertheless possess merit and will be considered for future purposes.

Inspiration Growing up, there were three things that I loved more than anything else in the world: reading, horses and most of all drawing. I drew whenever I was able and did not limit myself to traditional surfaces. I sketched on my homework papers, paper my mother brought home from work (see Fig.4), the inside of cereal boxes and when practical drawing surfaces did not present themselves I sought out non-traditional surfaces such as the back of a yellow velvet rocking chair three days after it was purchased in 1974. My teachers recognized my artistic inclinations and regularly encouraged me

Figure 4 Lisa Ambrose, Happy Merry Christmas, 1976, graphite and crayon. With few toys available during this difficult time, the opportunity to portray my childhood fancies on the paper scraps my mother would bring home from work kept me entertained and out of trouble. Even more importantly, however, this activity provided an outlet for my imagination and an early love for artistic expression.

5 to include art in my assignments. While I was generally content to depict the world in a fairly age appropriate manner, I often became very serious about achieving accuracy in my drawings. For example, in second grade, when assigned a project concerning ocean dwelling creatures, I was content to depict fish as simple oval goldfish with triangle tails. I was determined that such childlike depictions were completely unacceptable, however, as regarded the accompanying shark. To ensure that my depiction of the shark was as accurate as possible, I insisted on using reference images of a hammerhead shark from an encyclopedia.

When learning to read I did not as quickly as my peers make the connection between phonics and reading. However, when I finally realized their relationship, I developed into a voracious reader whose skills quickly progressed. I was soon reading at an advanced level and allowed to choose books reserved for older students. One of the first “advanced reader” books I selected was Jean Slaughter Doty’s Summer Pony. While the story certainly spoke to the horse-crazy girl I had become, the illustrations by Sam Savitt (19172000) were of particular fascination (see Fig. 5).

My enjoyment of this particular book was so great that I checked out the book multiple times simply to look at the illustrations. The librarian eventually discouraged me from monopolizing the book, reminding me that other students would also enjoy reading it. Before surrendering Summer Pony for

Figure 5 Sam Savitt, Summer Pony, 1973,

good, however, I held the pages to a window so I graphite, interior illustration for Summer Pony by Jean Slaughter Doty. I have always

could trace the illustrations onto paper, enabling been fascinated by Savitt’s ability to portray dramatic movement and emotion

me to contemplate the illustrations whenever using only simple, gestural lines.

6 I chose. I eventually checked out every book in the library illustrated

by Savitt and carefully traced onto paper every one of his illustrations. I desperately wanted to draw with the same fluent, expressive line Savitt had mastered and though I have never quite managed to recreate his seemingly effortless drawing style, these early tracings were crucial to my early artistic development.

Over the years I have been attracted to and influenced by an endless number of artists and illustrators, but until recently was unable to identify the elements common to their work. It was not until I began to write my reaction papers and more critically evaluate their subjects that dynamic compositions, dramatic contrast and bold, saturated colors began to emerge as common themes in my artistic preferences. This realization enabled me to discern the connection between my fascination with the flattened, decorative illustrations of Alphonse Mucha (18601939) (see Fig. 6), the dramatic and highly realistic paintings of Michelangelo Merisi da Caravaggio (1571-1610) (see Fig. 7) as Figure 6 Alphonse Mucha, La Topaze, 1900, lithograph, from his Precious Stones series. Mucha is widely celebrated for his ability to orchestrate delicate, organic shapes and elaborate patterns into stunning, dynamic compositions.

well as the gestural, figurative works of Henri de Toulouse-Lautrec (1864-1901) (see Fig. 8) .

7

Figure 7 Michelangelo Merisi da Caravaggio, Saint Jerome Writing, 1605-1606, oil on canvas. By employing strong contrast broken by bits of vivid color, Caravaggio was able to impart a powerful theatrical sense of light to his paintings.

Figure 8 Henri de Toulouse-Lautrec, In the Salon at the Rue des Moulins, 1894, oil on canvas. Toulouse-Lautrec’s use of active compositions and brilliant color conveys a sense of movement in even his most tranquil works.

8 In determining a subject for my thesis project, I first considered my newly discovered passion for American mid-century lifestyle illustrators.

Through Murray Tinkelman’s

(b. 1933) comprehensive History in Context lectures, I gained great appreciation for the incredible compositional skills of artists such as Coby Whitmore (1913-1988) (see Fig. 9) and Jon Whitcomb (1906-1988) (see Fig. 10) and Figure 9 Coby Whitmore, Sincerely, Willis wanted to further study their works. I thought to combine a sense of the retro sensibility that marked illustrations of this period with imagery

Wade, November 1954, oil on canvas, illustration for Ladies’ Home Journal.

Whitmore was adept at the manipulation of compositional framing elements to effectively highlight the importance of the women in his illustrations.

referencing mythological stories of various cultures. Accordingly, I contemplated paintings depicting

everyday

scenarios

with

heavy

allusions to mythological stories. I was indeed excited about this project and worked for several weeks developing concepts. Unfortunately, after working through ideas for several works in the series, and even completing one such painting (see Fig. 11), I realized that this project did not contain enough of the commerciality I was Figure 10 seeking. Although I believed a market for this work existed, I nevertheless concluded that this

Jon Whitcomb, A One-Day Marriage to the Actress Mary Brian, 1939, gouache. The design sense that is revealed in Whitcomb’s work is enhanced by his skills in depicting beautiful women.

concept was better suited to a series of fine art works than a serious start to a marketable illustration portfolio. I was in no way discouraged, however.

Instead, I have determined that this particular series will be a self-motivated project that I will continue to pursue separate from my thesis work.

9

Figure 11 Lisa Ambrose, Seasonal Portrait of a Persephonic Resurrection, 2012, oil on canvas. To depict Cerberus as a three-headed creature was too literal an interpretation for this work. I wanted my mythological references to be a bit more subtle so I planned to use a trio of poodles . The remaining two poodles will be added as time permits.

10 My admiration of pulp fiction artists such as Hugh J. Ward (19091945) (see Fig. 12), Norman Saunders (1907-1989) (see Fig. 13) and Walter M. Baumhofer (1904-1987) (see Fig. 14) greatly influenced my second attempt at selecting a thesis topic. Many artists of this genre were masters in the use of composition, contrast and color, traits that I admire and struggle to portray in my own work. Persuaded that further research and practice

Figure 12 Hugh J. Ward, Evil Flame, 1936, oil on canvas, cover illustration for Spicy Mystery Stories.

Figure 13 Norman Saunders, title unknown, 1939, oil, cover illustration for Marvel Science Stories.

Figure 14 Walter M. Baumhofer, Red Snow, 1935, oil on canvas, cover illustration for Doc Savage Magazine.

in these areas would be of tremendous benefit to my development as an artist and illustrator, I was confident that such could form the basis of my graduate thesis. This time, I settled on an unlikely combination of subjects by mingling my interests in pulp fiction covers, figurative works, dramatic posters and opera. Envisioning a series of opera posters in a pulp cover style, I immediately began to reacquaint myself with the storylines of my favorite operas. As my research progressed, I began to see this concept was not nearly as farfetched as I originally suspected. The oftentimes outlandish scenarios of opera were not so dissimilar to the wild tales of pulp fiction.

However, in discussing the subject with other opera enthusiasts I began to

11 receive an alarming amount of negative feedback. This response, led me to realize that my pursuit of a style of work so unlike the generally accepted norm for this particular market could severely limit the scope of my thesis and, therefore, my resulting portfolio. Although I wanted to further develop the idea, I begrudgingly accepted its limited potential for use. Nevertheless, I determined that although this project would not give me the results I was looking for in a thesis project it was something I could pursue quite possibly on a more limited scale in the future.

Despite expending so much energy, both physical and creative, I again found myself standing at square one of my thesis selection process.

Staying true to my plan, I again returned to my inspiration list for additional ideas. In so doing, I recognized my inclusion of Red Nose Studios and was immediately enthusiastic. I enjoy working three-dimensionally and greatly admire the whimsical, eclectic style that Chris Sickels (b. 1974) utilizes in his illustrations (see Fig. 15). This particular entry also served to remind me of a project from the previous summer that I had envisioned in this style.

On the way to our first children’s book session with Ted Lewin (b.1935) and

Figure 15 Chris Sickels, Hatfield’s Fuse, 2009, found-object sculpture, label illustration for Blasted Church Vineyards. I discovered Sickels’ work after developing an interest in three-dimensional illustrations. His skill in creating amusing and beautifully composed imagery using found objects is a source of great facination to me.

12 Betsy Lewin (b.1937), in our inaugural Hartford Illustration MFA summer contact period, the phrase, “Trista May Antonia Spouts opened her mouth and brambles came out,” flashed through my head. So intrigued was I with the idea of brambles representing mean, nasty words that I hurriedly wrote the phrase down. It was far too late to use this new revelation for the Lewins’ class, but I was nevertheless fascinated by the idea and set it aside for future consideration. Following that moment of inspiration, I was unable to pursue the “brambles book” farther than a few lines. I had the great fortune, however, of receiving a scholarship for an art residency in Harrington, Maine directly following our second Hartford summer session.

I hoped to

utilize my opportunity at the residency to further develop the remainder of the brambles story, but given my limited amount of time, my attempts were less than successful. While I was quite enthusiastic about this potential project, I did not want to Figure 16 diminish its potential through hasty completion.

Lisa Ambrose, Vintage Photo Discovery, 2012, photograph. This discovery provided a number of interesting photographs, many more than can be incorporated into this project. The images that I cannot utilize for this portion of my thesis have been set aside for use in future projects.

It was only when I unearthed some interesting photos in a Maine antique store (see Fig. 16), that I finally gave myself permission to set this book idea aside, if only for the time being. Old black and white photographs are most certainly on my inspiration list. The photographs I located in the antique store, which appeared to depict family vacations, immediately reminded me of the work of Amy DeVoogd (b. 1965) a Hartford MFA graduate. I have long been captivated by DeVoogd’s ability to combine images

13 to create simple, yet interesting illustrations (see Fig. 17). Accordingly, I thought it possible to utilize the antique store photographs to create a series of simplified paintings with abstracted backgrounds that reflected a limited palette. I felt the sense of nostalgia these photographs suggested might be useful in creating illustrations for use in various licensing contexts. Before I could make the commitment to this project, however, I thought it best to attempt to work in the style I envisioned. Using photos I had Figure 17 Amy DeVoogd, Ferry Building Farmer’s Market, 2011, acrylic, personal work.

DeVoogd’s work reveals her keen designer’s eye and intuitive sense of color.

taken while in Pasadena and Fort Worth, my first attempt was not entirely unsatisfactory. The figures were simplified as I had intended, but I did not feel the background was abstracted nearly enough.

I was looking to create an

image with flatter, more deliberate brushstrokes similar to those employed by Joseph Christian Leyendecker

(1874-1951)

(see

Fig.

18).

Persevering, I made a second attempt the result of which was exactly what I was seeking. While I believed this to be an interesting project, I did not immediately consider it appropriate for my thesis. However, as I further considered the basis of this project its conceptual merits and Figure 18 Joseph Christian Leyendecker, First Airplane Ride, August 1909, oil on canvas, cover for Collier’s. As a result of his distinctive mark making, Leyendecker has become one of the most recognizeable illustrators of all time.

commercial viability revealed themselves. Not surprisingly, my attitude toward the project quickly shifted and I determined to include this

14 as part of my thesis. I was not confident, however, that an entire thesis could be accomplished from this concept. Thus, my search for appropriate thesis subjects continued.

Figure 19 Edmund Dulac, Fisherman and the Genie, 1906, watercolor and gouache, interior illustration for Sinbad’s Discovery of the Genie.

Figure 20 John Baizley, Blue, 2009, ink and watercolor, cover illustration for Baroness’ album Blue. Baizley’s drawings have a very updated feel despite the influence of Alphonse Mucha on his work and the traditional mediums that he uses to create them.

Just as I was really beginning to feel the deadline for my thesis looming, I discovered The Children’s Bluebird by Maurice Maeterlinck (18621949). The book was adapted from a play by Maeterlinck and contains several interesting and unusual characters. After perusing this unfamiliar tale, I thought it might serve as an interesting source for my thesis work. As a chapter book, I imagined this as the sort of book a parent would read as a continuing bedtime story. Accordingly, I felt that its illustrations needed to interest children and adults alike. I adore the illustrations of Edmund Dulac (1882-1953) and although his particular style might have been appropriate for a book of this nature (see Fig 19), I thought that a more modern approach, similar to that of John Baizley (b. 1978) (see Fig. 20), would be more suitable.

15 Prior to beginning my formal artistic training, the majority of my work consisted of inked marker drawings, but I have subsequently developed a proficiency in watercolor. I believed the combination of watercolor and ink would be one with which I would be comfortable. My attempts were, unfortunately, less than successful.

I was not pleased with the colors and shapes that emerged in my watercolor efforts and an attempt to use markers instead of watercolor imparted an unsatisfactory plastic feel to my images. Determined to make this idea work, I decided to make one more attempt using ink Figure 21 Gregory Manchess, The Satan Factory, 2008, and digital color. I was dissatisfied, however, with my efforts and after

oil on board, cover illustration for The Satan Factory by Thomas E. Sniegoski. The painting style of Manchess launched my enthusiasm for direct painting methods and this illustration was the first of his works to catch my notice.

more than a half-dozen attempts I was forced to conclude that this project was not appropriate for present purposes.

Frustrated, I was quickly running out of time and options. About this time, I had begun work on my New York reaction piece and was thrilled with its progress. Completed in oils, a medium with which I am quite comfortable, this piece was painted in a style that also combined the semiabstracted backgrounds I had used in my studies for the vintage photograph project. The work was also influenced by the strong, visible brushstrokes in the masterfully painted works of Gregory Manchess (b. ?) (see Fig. 21). I so

16 enjoyed the process of completing this piece, not to mention my satisfaction with the final result that I wanted to paint more such works. I concluded that by creating works that depict recognizable landmarks dominated by an animal with which that particular locale is associated, such works could be marketed as tourist posters or similar items. I determined to combine this project with the aforementioned vintage vacation photograph project, as such would incorporate similar vacation themes and utilize similar painting styles. Quite honestly, I had not been this excited about any previous attempts to identify a thesis subject. I had finally discovered a thesis project that suited me perfectly!

Part 1: Travel Posters Process The reaction piece that sparked the idea for this portion of my thesis project was influenced by a number of experiences during the November 2012 Hartford contact period in New York City.

Specifically, the view of the city from the top of the Empire State Building, the resemblance I noted between the lights of the city and the stars of the evening sky, experiencing the Byzantine religious paintings displayed in the Metropolitan Museum of Art, and witnessing the city’s burgeoning urban poultry movement (see Fig. 22). While seemingly unrelated, these particular influences were by far the experiences I found most compelling. Had I Figure 22 Lisa Ambrose, Urban Poultry: Kindling Sustainable Agriculture in Metroplitan Communities, 2013, oil on hardbord.

This work was informed by several disparate influences and I was pleased with the final result of the project.

attempted to develop an illustration associated with New York City without first experiencing the city, the result would have likely been clichĂŠ and devoid

17 of substance. For my thesis project, however, I wanted to create images that appealed to residents and visitors alike. To accomplish this result, it was necessary that I experience firsthand each location that I would be depicting.

For this portion of my thesis, I selected six destinations which I have visited previously: Portland, Maine; San Francisco, California; Fort Worth, Texas; New York City, New York; Louisville, Kentucky; and Custer State Park, South Dakota (see Fig. 23). I traveled to several of these locations as a participant in the Hartford program and as a result have already produced reaction pieces regarding my experiences. As these experiences are fresh in my mind, I have decided to incorporate certain of them in this project.

I soon realized, however, that given the limited time remaining it would not be possible to complete the entire series prior to my thesis exhibition.

Despite this circumstance, my confidence in the marketability of this project has not diminished and I intend to complete, in the very near future, the remaining pieces in this series.

Figure 23 Lisa Ambrose, Initial Travel Poster Sketches, 2013, graphite.

18 To more clearly illustrate the process by which I developed this aspect of my thesis project, a discussion of how I developed one of the aforementioned posters would perhaps be beneficial. To begin, I wanted each poster to be comprised of an interesting sky and recognizable buildings, monuments or natural structures as well as an animal associated with the city or general area. For example, Portland Head Light, is not in the city of Portland proper, but rather, is located in nearby Cape Elizabeth. However, because it is associated with Portland and is a popular landmark, I concluded it was appropriate for this project. Selecting the animal to be included in this piece was not difficult as lobsters are generally associated with the state of Maine. With this initial background, I began my thumbnails.

My original plan was to also include some sort of religious reference as I had done in my New York reaction piece. As discussed below however, this decision required that I consider the impact, intended or otherwise of such imagery.

Even

though they only turn red when cooked, lobsters 24 L. M. Sharma, Lord Shiva, are generally depicted in this color which irritates Figure 1960s-1970s, poster colors on mounted board, for calendar. Portrayls of Shiva vary

inhabitants of Maine. I wanted to depict a live widely, but many depict him tinted blue and lobster and with respect to religious references,

endowed with multiple arms.

I considered the imagery of Shiva, a deity in the Hindu religion. Shiva is often depicted as a blue hued being with multiple arms (see Fig. 24) and following this vein I determined that my lobster would likewise be blue. While rare, blue lobsters

Figure 25 Leslie Ricker, Blue Lobster, 2002,

actually exist (see Fig. 25). Thus, while the depiction photograph. An estimated 1 in 2 million of the lobster in this particular work is influenced

lobsters possess the genetic mutation that results in the rare, blue coloration.

19

Figure 26 Lisa Ambrose, Portland Sketches, 2013, graphite. Since my introduction to the visual thought process of creating thumbnails, I am constantly amazed at the improvements on initial ideas that can be accomplished simply by the use of this uncomplicated technique.

by religious symbolism, it is not without a basis in the natural world.

After completing multiple thumbnails (see Fig. 26), I began to wonder whether the shapes I was planning for the lobster were even physically possible. Unaware of the scope and limitations of lobster movement, I thought it best to explore such firsthand. Accordingly, I persuaded my husband to prepare a lobster dinner, but before such I availed myself of the opportunity to conduct a photography session with the lobster in question which I decided to name “Kyle” (see Fig. 27). By so doing, I realized that a lobster’s range of movement was much less than I assumed. I also discovered Figure 27 Lisa Ambrose, Kyle, 2013, photograph. This photography session revealed that lobsters possess a

that the meditating position I had very limited range of motion.

20 envisioned was not optimal because lobsters resemble an alien from this particular vantage point. I also struggled with the realization that depicting the lobster in an upright position diverted the viewer’s eye away from the lighthouse, another important element in the image. This forced me to consider alternative poses or postures in which to depict the lobster. I also began to realize that the inclusion of overt religious references may present certain marketing disadvantages. For example, such imagery may offend some viewers and may diminish the potential market for such a piece. Instead, I decided that using more subtle references, susceptible of both religious and secular interpretation, would permit the inclusion of a narrative, albeit less direct, without creating undue offense.

As a result, I began to more closely examine the symbology associated with Shiva in an attempt to discover alternative imagery by which to convey my intended narrative.

Two

possibilities were immediately apparent, the crescent moon and serpents, both of which adorn Shiva in most depictions.

Although a crescent moon would be acceptable in this piece, I found the inclusion of serpents would be inconsistent Figure 28 Alexander Jamieson, Serpens - Celestial Atlas, 1822, medium unknown, published by G & W.B. Whittakers. Divided by the constellation Ophiuchus, Serpens is unique in that it is a constellation broken into two parts.

with the intended tone and use of the work. However, I solved this difficulty by depicting the

piece with a night sky which enabled me to include the crescent moon as well as the constellation Serpens which alludes to the serpents Shiva wears around his neck (see Fig. 28).

21 While attractive, the depiction of a true night sky in this particular poster posed certain difficulties. Specifically, I considered including such skies in several of the remaining posters, but was concerned that the resulting lack of variety in this regard would limit the marketability of this series. Accordingly, I explored whether I could modify the Portland poster to lessen this concern. I concluded that revising the piece to depict an early sunrise addressed this concern and, moreover, resulted in an image in which the lobster does not appear to be fading into the background of a dark sky.

Photographing and handling a live lobster was one of the best things I could have done for this project. Creating some sort of arched, flowing shape was going to be difficult with a creature that had such limited movement and by taking numerous reference images I was able to develop shapes that I felt worked in the composition. Placing the crescent moon near the lighthouse allowed me to create interaction between the lobster and the lighthouse. I was concerned, however, that this interaction not convey any sense of menace. I was able to avoid such with a few adjustments in the placement of the figures which gives an impression of the lobster plucking the moon from the sky. In combination with the sunrise background, this action contributes to the narrative tone I intended for the work.

After

creative

brainstorming

for the poster concept was complete, I Figure 29 Lisa Ambrose, Final Be Claws I Said So Sketch, 2013, graphite. This sketch provides the final

finalized my sketch (see Fig. 29) and layout from which reference images can be developed.

22 created an Adobe Photoshop compilation of references (see Fig. 30). I determined that these pieces should be produced as 24 x 18 inch posters as this would allow me the necessary space to create the type of visible brushstrokes I was seeking and would also allow for quality reproduction at most sizes. I gessoed and toned a hardbord substrate and projected my sketch after which the task of painting began.

To keep

the initial painting matte for scanning purposes, I used only a Figure 30 Lisa Ambrose, Be Claws I Said So Reference, 2013, photoshop. I use Photoshop compilations like this one to develop my basic shapes. Colors are then pulled from individual references and adjusted to suit the image.

small amount of turpeniod as a medium. Turpeniod also allows me to activate the underpainting

as I lay in the flattened brushstrokes. I tend to paint in sections, working from back to front in the composition, and final adjustments are then added throughout the composition when the work is near completion to help unify the piece. When dry, the works were then scanned at 600dpi in multiple pieces and the scans then manipulated using Adobe Photoshop to create the final digital image.

23 Part 1: Travel Posters The Work

Figure 31 Lisa Ambrose, Be Claws I Said So, 2013, oil on hardbord.

24

Figure 32 Lisa Ambrose, Lion at the Gate, 2013, oil on hardbord.

25 Part 2: Vintage Vacation Process The process for this portion of my thesis was far less conceptual in nature and based more on the actual physical process of image making.

I was able to work through the initial stages of the process using photographic references I obtained while in Pasadena (see Fig. 34) and Fort Worth (see Fig. 35). While I had in my mind a general idea of how I would approach this particular project, exploring such using my Pasadena and Fort Worth images revealed certain ways in which I

Figure 33 Lisa Ambrose, Denouement at Dusk, 2012, oil on hardbord. While I was pleased with the color and techniques I utilized in this first painting, I was unable to achieve the precise effect I had intended.

could more quickly produce higher quality illustrations.

I then selected a few of the vintage photographs that I felt best suited the vacation concept of this project.

I desired images

that depicted interesting figurative postures from different seasons of the year as such would allow for a variety of backgrounds and be compatible with several different color palettes.

With the chosen photographs set aside, I then began the process of sketching compositions.

Figure 34 Lisa Ambrose, Destination Delayed, 2012, oil on hardbord. This second attempt resulted in exactly the effect I was seeking and I concluded that, with only a few minor adjustments, this approach would be appropriate for the applications I was considering.

26

Figure 35 Jacqueline Decker, Seasons , 2009, watercolor, gouache and graphite. I am grateful that in her presentation, Decker provided valuable information on an illustration market that I had not previously encountered.

In the very first Hartford summer session, Jacqueline Decker (b. 1962) was one of the guest speakers. Decker spoke about the development of her illustration style and her eventual initiation into the world of licensing (see Fig. 36). As a result of Decker’s presentation, I made the decision to attend the Figure 36 Lisa Ambrose, Canyonside Assistants Sketch, 2013, graphite. Sketches like this one were transferred to

Surtex licensing and marketing boards to serve as a roadmap for the next stage...painting! convention the following spring. One of the convention workshops I attended addressed the topic of creating a design with licensing in mind. Specifically, the speaker asserted that the best images for licensing purposes are ones which can be used both vertically and horizontally. With this direction in mind, I completed my sketches on tracing paper which allowed for ease of manipulation. While the figures were depicted in a rather detailed manner, the backgrounds were indicated more generally (see Fig. 37).

27 Once the composition was constructed, I began the process of determining a color palette for each image (see Fig. 38). The intended palettes were established only as a starting point. I understood that there would be some color mixing involved as I laid brushstrokes over the flat backgrounds which would result in a few “stray� colors, but I wanted to develop a color mood for each piece. I was looking to create fairly limited palettes for each illustration and determined that pre-planning would best accomplish this. I scanned the sketches and using Adobe Photoshop developed a color comp for each so that I had a framework from which to begin.

Figure 37 Lisa Ambrose, Got Spinach? Color Palette, 2013, Adobe Photoshop. Color comps, such as this, provide a efficient method of eliminating costly mistakes in the later stages of an illustration.

Unfortunately I was late in discovering the importance and impact of this stage of image development.

28 This project was also painted on gessoed hardbord. The gesso was then toned using a wash of turpeniod and color wiped on with a rag after which I projected my sketch. While I normally work from the background to the foreground, on these illustrations I painted the base shapes for each figure first before then painting in the background. I worked in this manner because I wanted the brushstrokes in

the

background

to

compliment the shapes of each figure and in most cases, frame it.

Figure 38 Lisa Ambrose, Brushstrokes, 2013, oil and graphite on

Basic hardbord. Working wet brushstrokes into partially dry underlayers

shapes were laid in and

allows the paint colors to mix. This method more easily produces harmonious colors than can be achieved by mixing colors separately.

then flat, square brushstrokes painted over the top using turpeniod as a medium (see Fig. 39). I intended these pieces to have a handmade feel, but felt it important that certain brushstrokes be adjusted to maintain a flattened, square appearance. Specifically, the more dominant brushstrokes were cleaned up and when complete and dry, these works were scanned at 600 dpi to provide high quality digital images.

29

Part 2: Vintage Vacation The Work

Figure 39 Lisa Ambrose, Got Spinach?, 2013, oil on hardbord.

30

Figure 40 Lisa Ambrose, Snowbuddies’ Business, 2013, oil on hardbord.

31

Figure 41 Lisa Ambrose, Canyonside Assistants, 2013, oil on hardbord.

32

Figure 42 Lisa Ambrose, Intentcity, 2013, oil on hardbord.

33

Figure 43 Lisa Ambrose, Wave Reviews, 2013, oil on hardbord.

34

Figure 44 Lisa Ambrose, Taken for Granite, 2013, oil on hardbord.

35 Marketing As Decker spoke about her transition to licensing, I was astounded that I had not previously learned about this particular illustration market. I found intriguing the concept of creating work in which I was interested and then seeking out an appropriate market for such. Success is often susceptible of multiple definitions, depending on the context and circumstances. One measure of success, in my view, is to attain a status professionally which allows me to decline projects without incurring financial hardship or damaging relationships with my clients. Therefore, the opportunity to create work for a market that would afford the potential to choose the projects that interest me is very appealing. Given my interest in learning more about licensing, I began researching the Surtex licensing and marketing convention to be held the following spring. I was unsure about attending this convention until I realized that it would also benefit my teaching aspirations. Accordingly,

Figure 45 Lisa Ambrose, Surtex Convention Displays, 2012, photograph.

I attended the Surtex Surtex provided valuable insight into the various methods used to convention in May 2012.

present art for licensing purposes. With so many artists and designers in attendance, effective presentation is critical to attracting potential buyers.

This educational experience allowed me to explore the myriad ways that illustrations created for the purposes of licensing were presented and marketed (see Fig. 46). While at Surtex, I also attended several workshops including Basics of Art Licensing Part I and Part II and Understanding Legal Basics during which I learned a great deal of valuable information. Before

36 attending the convention, I assumed that the type of work I tend to create would not be applicable to licensing. I was pleased to discover, however, that there exist potential markets for my style of illustration. I further realized that the work completed for this thesis was potentially licensable for use as cards, posters, prints, shirts, fabrics and quite possibly several other applications.

The National Stationary Show was simultaneously taking place which enabled me to learn about even more potential applications and uses for my work. One hurdle to participating in these markets, however, is that purchasers are unlikely to consider partnering with an artist whose portfolio contains less than 15-20 relevant collections. While I could not use my thesis project to create this volume of work, I determined to use my thesis as an opportunity to begin a few collections that I could later expand upon. In this regard, my goal is to create a body of work sufficient to merit attending the 2014 Surtex convention as an exhibitor.

In addition to the potential licensing use of my thesis works, the originals of this series can also be submitted to galleries. I believe the galleries most likely to be interested in the travel series, as well as the vintage vacation works, will be ones in or near areas that are frequented by tourists.

As I add work to this series I will begin seeking venues to market the original paintings.

37

Hartford Art School - University of Hartford

200 Bloomfield Avenue, West Hartford, CT 06117 PHONE: (860)768-4090 FAX: (860)768-5159 WEB: www.joseloffgallery.org GALLERY HOURS: Tues-Fri 11-4, Sat-Sun 12-4

FOR IMMEDIATE RELEASE: June 1, 2013 LISA AMBROSE ASKS THE QUESTION...

ARE WE THERE YET? Exhibition Dates: July 9 - July 19, 2013 Closing Exhibition: Friday, July 19, 2013, 5:00 p.m. – 6:45 p.m The Joseloff Gallery, located in the Harry Jack Gray Center of the Hartford Art School will present the work of Lisa Ambrose as part of the Hartford Art School Low-Residency MFA in Illustration Class of 2013 Thesis Exhibition.

In this new series of works, Ambrose attempts a two-phase exploration of simplified mark making through a vehicle of decorative, travel-themed illustrations. Are We There Yet? highlights paintings greatly influenced by the artist’s recent travels. These works, which imply subtle narratives, are presented alongside a companion series of paintings inspired by a collection of vintage vacation photographs Ambrose recently discovered. Employing square, flattened brushstrokes to add texture and contrast to simplified shapes, Ambrose has attempted to transform these vacation photos into works that invoke a sense of playfulness and nostalgia.

With respect to this Exhibition, Ambrose remarked, “these works represent both the culmination of my formal artistic training as well as the beginning of my journey as a professional illustrator. I am very excited to display my work alongside so many other talented artists and illustrators. The variety and quality of work in this Exhibition is simply outstanding.”

For more information about the exhibition contact the Joseloff Gallery (860)768-4090 or joseloff@hartford.edu

38 The Program I was attracted to engineering for several reasons and initially enjoyed my work. After working for fifteen years in the engineering field (see Fig. 47), however, I had become quite disillusioned at the direction my professional life had taken and concluded that a career change was necessary.

Figure 46 Mike Costello, 2001 Chevy Silverado Dash, 2008, photograph. The passenger side air vent (far right) of this truck model was one of the products I designed during my time as an automotive design engineer. Because the aesthetics of each project were generally pre-determined by the manufacturer, my work consisted primarily of problem solving and mechanical and production based modeling.

While I knew, in my heart of hearts, the career path I wanted to pursue, I was not yet ready to embrace such. Afraid to pursue my dreams of becoming an artist, on the ground that such was impractical, I instead considered becoming a veterinarian, a nurse, or, unbelievably in retrospect, a paralegal.

These options, like my decision to pursue engineering, were careers which I deemed to be sufficiently practical. I was, to put it mildly, so very wrong.

While practicality is a legitimate consideration when choosing a career path, it simply cannot become the paramount or overriding concern for reasons

39 which are now quite obvious to me. Fortunately for me, my husband navigated a similar dilemma prior to our meeting. Understanding what I was experiencing, my husband afforded me the time and consideration necessary for me to traverse similar shoals and arrive at the decision which he knew all along, and I subsequently realized, was best, attending Kendall College of Art and Design to study illustration. While I am stubborn enough to have accomplished my artistic goals completely on my own, my husband’s many efforts have made this journey much easier and so much more enjoyable. While I initially experienced much regret that I had not pursued art professionally many years ago, I soon came to realize that the success I am presently enjoying is not simply a function of, for lack of a better phrase, technical ability, but is instead a reflection of who I am as a person. I am a much different person now than I was 20 years ago. Thus, had I originally pursued art instead of

engineering,

success,

or

artistic

professional

fulfillment, was certainly not guaranteed. As comics attest, Figure 47 Lisa Ambrose, Christmas Goats, 2005, ink and marker.

This greeting card design is a typical example of my personal drawing style prior to attending Kendall’s illustration program. I drew animals almost exclusively and spent many hours meticulously adjusting the line weights of my cartoon drawings before finally adding color.

timing is everything, and all things considered my timing appears to have been dead on.

Until my pursuit of an undergraduate degree at Kendall College of Art and Design, I had very little training and adhered to the subjects and mediums with which I was familiar. My drawing experiences were limited to animals, rendered in ink, marker or a #2 pencil (see Fig. 48). However,

40 my time at Kendall opened my eyes to new possibilities and I discovered talents I did not know I possessed (see Fig. 49).

In the spring of 2008, Murray

Tinkelman

arrived

at Kendall, slide reels in tow, to share with students the history of illustration. During his presentation, Tinkelman spoke about the Hartford Low Residency MFA in Illustration.

I was excited to hear of such an

amazing

program

and

filed away this knowledge for,

hopefully,

During

my

future

use.

Figure 48 Lisa Ambrose, Thai-trade on the Khlong Damnoen

undergraduate Saduak, 2008, watercolor. I developed good technical skills while

studies at Kendall, I focused

at Kendall. I still felt that something was missing and hoped that I could find that during my time at Hartford...I was not disappointed.

on developing my technical skills. As I neared graduation, however, I realized that while I possessed strong technical skills, I had not yet become an illustrator. To use a musical metaphor, I felt as if I had been trained to play the notes but not make the music. Believing that I needed additional instruction to become a better illustrator, I began to consider graduate programs. I immediately considered the Hartford program as I believed it would provide the necessary motivation and direction. I was sorely disappointed, however, when I discovered that without sufficient illustration experience it was unlikely I would qualify for the program. I was, to put it mildly, heartbroken. However, with much encouragement from my husband

41 and incessant pestering from Kendall professor Jon McDonald (b. 1946), I applied to the Hartford program. I was so nervous about the acceptance call from director Murray Tinkelman that I dropped the phone‌twice.

When I arrived at Hartford I felt terribly out of place in the company of such talented illustrators. Little did I know that this group of people would stimulate my creative spirit in ways I never imagined and would provide such heartfelt encouragement. I likewise never imagined that my classmates would quickly become some of my most beloved friends (see Fig. 50). My classmates are individuals to which I can turn when I need advice, prodding, an audience or even a shoulder to cry on. We have shared ideas, techniques, drinks, meals, housing and plenty of laughs. This group of brilliant illustrators has become an important network and a source of great inspiration.

Figure 49 Paul Cochran, Visit to the Museum of the Moving Image, 2012, photograph. The program’s contact periods provided an opportunity to further cement what I hope will become lifelong friendships.

42 As I walked into my very first Hartford class I received a phone call from Jon McDonald asking me to teach illustration courses at Kendall beginning that fall. Quite honestly, I had no idea where to begin planning for such and, furthermore, was overwhelmed at the prospect of so quickly transitioning from student to instructor. However, the opportunity to teach allowed me to begin my Hartford courses with a new perspective and I was able to glean valuable insight regarding teaching methods and assignments not only from the incredibly talented and accomplished cast of illustration professionals leading the Hartford MFA program, but also from my fellow students. This program has played an integral role in my growth as an illustrator and my success as an educator.

Conclusion During my all too brief time in the Hartford MFA program, I have grown and matured in a multitude of ways some of which I am only now just beginning to realize. Through the numerous concrete experiences this program affords, my confidence in my artistic abilities and judgment has increased exponentially. Moreover, I am departing with numerous ideas for future projects which will further broaden my personal and artistic horizons. Of even greater value, however, is the knowledge that I will not be making this journey alone, but will instead be joined by the many friends and mentors I have been fortunate to meet over the course of the previous two years. Content no longer to settle for vanilla, I hereby emerge from my chrysalis prepared and eager to find my place in the illustration community.

43 Biography Education

Hartford Art School - Hartford, Connecticut 2011 to 2013, M.F.A. - Illustration

Kendall College of Art & Design - Grand Rapids, Michigan 2007 to 2011, B.F.A. - Illustration Major, Painting Minor

Studio Art Centers International - Florence, Italy Summer 2010 - Batik focus

Western Michigan University - Kalamazoo, Michigan 1989 to 1991 - Engineering Graphics focus

Siena Heights University - Adrian, Michigan 1988 to 1989 - Graphic Design focus

Professional

Illustration Adjunct Faculty - 2011 to present Kendall College of Art & Design, Grand Rapids, Michigan Senior Portfolio, Life Drawing IV, Poster Design, Print Media

Continuing Studies Instructor - 2011 to present Kendall College of Art & Design, Grand Rapids, Michigan Drawing on the Town, College Level Drawing

Residencies

Golden Apple Artist Residency - July 2012 Scholarship Award Recipient Harrington, Maine

Lectures, Community Involvement and Related Experience

Live Painting Demonstration - February 2013 Live Coverage UICA - Grand Rapids, Michigan

Juror - November 2012 Northern Exposure XIX, William Boniface Fine Arts Center - Escanaba, Michigan

Workshop - November 2012 Harnessing Creative Thinking to Maximize Efficiency William Boniface Fine Arts Center - Escanaba, Michigan

Live Painting Demonstration - August 2012 Kid Art Fest Grand Rapids Children’s Museum - Grand Rapids, MI

44 Select Honors

Mentor Award 16th Annual Winter Festival Juried Art Exhibition, 2013 Great Lakes Dental Award 16th Annual Winter Festival Juried Art Exhibition, 2013 Patron Award 25th Northern National Juried Art Exhibition, 2012 Juror’s Recognition Award 26th West Michigan Regional Juried Exhibition, 2012 First Place 15th Annual Winter Festival Juried Art Exhibition, 2012 Award of Excellence in Portraying the Human Form 15th Annual Winter Festival Juried Art Exhibition, 2012 Maria Aguilar Memorial Award 25th West Michigan Regional Juried Exhibition, 2011 Studio Excellence Award for Illustration Kendall College of Art & Design Grand Rapids, Michigan, 2011 Best in Show 25th West Michigan Regional Juried Exhibition, 2011 Juror’s Recognition Award 25th West Michigan Regional Art Competition, 2011 Third Place 14th Annual Winter Festival Juried Art Exhibition, 2011 Muskegon Museum of Art Merit Award 14th Annual Winter Festival Juried Art Exhibit, 2011

Select Exhibitions

Festival 2013 Regional Arts Juried Exhibition Grand Rapids Press Building - Grand Rapids, Michigan, 2013 85th Annual Muskegon Regional Juried Exhibition Muskegon Museum of Art - Muskegon, Michigan, 2013 Emerging West Michigan Painters Portland Community Arts Council - Portland, Michigan, 2013 National Watercolor Society All Member Juried Exhibition National Watercolor Society - San Pedro, California, 2013 Ignition: National Juried Exhbition Spark Workshop Brooklyn - Brooklyn, New York, 2013 The Power of Portraits: Statewide Juried Exhibition Ella Sharp Museum - Jackson, Michigan, 2013 16th Annual Winter Festival Juried Art Exhibition Uptown Gallery - Grand Haven, Michigan, 2013 Start Making Sense: The 23rd Members Open Museum of American Illustration - New York, New York, 2013 25th Annual Northern National Juried Art Exhibition Nicolet College Art Gallery - Rhinelander, Wisconsin, 2012 51st Annual Greater Michigan Juried Art Exhibition Alden B. Dow Museum - Midland, Michigan, 2012 Festival 2012 Regional Arts Juried Exhibition Grand Rapids Press Building - Grand Rapids, Michigan, 2012 84th Annual Muskegon Regional Juried Exhibition Muskegon Museum of Art - Muskegon, Michigan, 2012 Lancaster County Art Assoc. National Juried Exhibition LCAA - Strasburg, Pennsylvania, 2012 Magnitude 7.8 National Juried Exhibition Manifest Gallery - Cincinnati, Ohio, 2012 26th Annual West Michigan Regional Juried Exhibition Lowell Area Arts Council - Lowell, Michigan, 2012 15th Annual Winter Festival Juried Art Exhibition Uptown Gallery - Grand Haven, Michigan, 2012 3rd Annual National Figurative Exhibition Lore Degenstein Gallery - Selinsgrove, Pennsylvania, 2011 Being Human National Juried Exhibition Union Street Gallery - Chicago Heights, Illinois, 2011

45 Bibliography Figure 1 Jarvis, George. Title unknown. 1989. Photograph. Personal collection.

Figure 2 Ambrose, Lisa. Green Knight Thumbnails. 2011. Prismacolor marker.

Figure 3 Ambrose, Lisa. 200 Things. 2011. Felt-tipped pen.

Figure 4 Ambrose, Lisa. Happy Merry Christmas. 1976. Graphite and crayon.

Figure 5 Savitt, Sam. Title unknown. 1973. Summer Pony. By Jean Slaughter Doty.

New York: Macmillan, 1973. 112. Print.

Figure 6 Mucha, Alphonse. Topaz. 1900. WikiPaintings. 08 Sept. 2012. Web. 20 Apr. 2013. <http://www.wikipaintings.org/en/alphonse-mucha/topaz>.

Figure 7 Caravaggio, Michelangelo Merisi Da. Saint Jerome Writing. 1605-1606.

Zwinglius Redivivus. 24 Sept. 2012. Web. 20 Apr. 2013. <http://zwingliusredivivus.wordpress.com/2012/09/24/quote-of-the-day-308/>.

Figure 8 Toulouse-Lautrec, Henri De. In the Salon at the Rue Des Moulins. 1894.

WikimediaCommon. 21 May 2005. Web. 20 Apr. 2013. <http://commons. wikimedia.org/wiki/File:Henri_de_Toulouse-Lautrec_012.jpg>.

Figure 9 Whitmore, Coby. Sincerely, Willis Wade. 1954. Ruby Lane. 27 Apr. 2013.

Web. 28 Apr. 2013. <http://www.rubylane.com/item/688247-119/American-Art-Coby-WHITMORE-1954>.

Figure 10 Whitcomb, Jon. A One-Day Marriage to the Actress Mary Brian. 1939.

Large Size Paintings. 2 Nov. 2010. Web. 21 Apr. 2013. <http://largesizepaintings.blogspot.com/2010/11/jon-whitcomb-1906-1988.html >.

46 Figure 11 Ambrose, Lisa. Seasonal Portrait of a Persephonic Resurrection. 2012. Oil on canvas.

Figure 12 Ward, Hugh J. Evil Flame. 1936. H. J. Ward. By David Saunders. 1st ed.

Saint Louis: Illustrated, 2010. 70. Print.

Figure 13 Saunders, Norman. Title unknown. 1939. Norman Saunders. By David Saunders. 1st ed. Saint Louis: Illustrated, 2008. 65. Print.

Figure 14 Baumhofer, Walter. Red Snow. 1935. Savage Tales: Pulp of the Week. Comp.

Pete Miller. 8 Apr. 2011. Web. 21 Apr. 2013. <http://docsavagetales.blogspot.com/2011/04/pulp-of-week-doc-savage-24.html>.

Figure 15 Sickels, Chris. Hatfield’s Fuse. 2010. Red Nose Studio. Chris Sickels. 26 Mar. 2010. Web. 23 Apr. 2012. <http://www.rednosestudio.com/blog.htm>.

Figure 16 Ambrose, Lisa. Vintage Photo Discovery. 2012. Photograph.

Figure 17 DeVoogd, Amy. Ferry Building Farmer’s Market. 2011. Amy DeVoogd Illustration. 20 Mar. 2013. Web. 23 Apr. 2013. <http://devoogd.com/Ferry-Building-Farmer-s-Market>.

Figure 18 Leyendecker, Joseph Christian. First Airplane Ride. 1909. The Kelly Collection of American Illustration Art. 18 Mar. 2013. Web. 23 Apr. 2013. <http:// thekellycollection.org/a_leye02.htm>.

Figure 19 Dulac, Edmund. The Fisherman and the Genie. 1906. Edgecase. Ed. Eoghan Hickey. 12 Dec. 2012. Web. 23 Apr. 2013. <http://eoghanhickey.wordpress. com/2012/10/08/the-fisherman-and-the-afreet/edmund_dulac/>.

Figure 20 Baizley, John D. Blue. 2009. A Perfect Monster. 14 Nov. 2011. Web. 24 Apr. 2013. <http://aperfectmonster.com/page/7/>.

47 Figure 21 Manchess, Gregory. The Satan Factory. 2008. Spectrum 16: The Best in Contemporary Fantastic Art. Ed. Cathy Fenner and Arnie Fenner. Nevada City: Underwood, 2009. 83. Print.

Figure 22 Ambrose, Lisa. Urban Poultry: Kindling Sustainable Agriculture in Metropolitan Communities. 2013. Oil on hardbord.

Figure 23 Ambrose, Lisa. Initial Travel Poster Sketches. 2013. Graphite.

Figure 24 L. M., Sharma. Lord Shiva. 1960s-70. Art Remixx. 20 Apr. 2013.

Web. 25 Apr. 2013. <http://www.artremixx.com/searchResults1. php?a=1&start=12#>.

Figure 25 Ricker, Leslie. Blue Lobster. 2002. Photograph. Lobster Institute. 02 Apr. 2002. Web. 24 Apr. 2013. <http://kodiak.asap.um.maine.edu/lobster/photoofmonth/april02.htm>.

Figure 26 Ambrose, Lisa. Portland Sketches. 2013. Graphite.

Figure 27 Ambrose, Lisa. Kyle. 2013. Photograph.

Figure 28 Jamieson, Alexander. Serpens - Celestial Atlas. 1822. Mexican Skies. Web. 26 Apr. 2013. <http://mexicanskies.com/constellations/serpens.htm>.

Figure 29 Ambrose, Lisa. Final Be Claws I Said So Sketch. 2013. Graphite.

Figure 30 Ambrose, Lisa. Be Claws I Said So Reference. 2013. Photoshop.

Figure 31- 32 Ambrose, Lisa. Travel Posters. 2013. Oil on hardbord.

48 Figure 33 Ambrose, Lisa. Denouement at Dusk. 2012. Oil on hardbord.

Figure 34 Ambrose, Lisa. Destination Delayed. 2012. Oil on hardbord.

Figure 35 Decker, Jacqueline. Seasons. 2009. Jacqueline Decker Designs. 05 July 2010.

Web. 30 Apr. 2013.

Figure 36 Ambrose, Lisa. Canyonside Assistants Sketch. 2013. Graphite.

Figure 37 Ambrose, Lisa. Got Spinach? Color Palette. 2013. Adobe Photoshop.

Figure 38 Ambrose, Lisa. Brushstrokes. 2013. Oil and graphite on hardbord.

Figure 39-44 Ambrose, Lisa. Vintage Vacation. 2013. Oil on hardbord.

Figure 45 Ambrose, Lisa. Surtex Convention Displays . 2012. Photograph.

Figure 46 Costello, Mike. 2001 Chevy Silverado Dash. 2008. Photograph. Personal collection.

Figure 47 Ambrose, Lisa. Christmas Goats. 2005. Ink and marker.

Figure 48 Ambrose, Lisa. Thai-trade on the Khlong Damnoen Saduak . 2008. Watercolor.

Figure 49 Cochran, Paul. Visit to the Museum of the Moving Image . 2012. Photograph. Personal Collection.

49

For Russ I cannot find the appropriate words to express my appreciation for your dedication and endless support. It is your sacrifices that made this journey possible and your encouragement that kept me on track. For these very reasons, I consider this accomplishment to be yours as much as mine. Thank you for seeing what was in my heart before I knew it myself.

Accomplishment of a heartâ&#x20AC;&#x2122;s hidden dream fullfilled... and itâ&#x20AC;&#x2122;s all your fault.