Professional Practice
Contents Inspiration and background
Freelancing
Why do I love printmaking?
Commissions
Current Practice
Fingerprint Club
Medium Decisions
Press
Visual Identity
Collaborations
Observation feeds imagination
Contacts
Professionalism in finish
Post Graduation
What do I like to Illustrate
Its all come to an end
Theory of practice
Portfolio
The Craftsman
Self Promotion
Personal Touch
Exhibitions
Professional approach
Find me online
Figure list Figure 1 De La Salle and the Martyrs Blanchard, M (2010) [online image] [Available at https://www.facebook.com/photo.php?fbid=101665639864313&set=a.101665603197650.3893.100000626336481&type=3&theater] [Accessed 04th May 2014] Figure 2 The Risen Christ at Emmaus Blanchard, M (2007) [online image] [Available from https://www.facebook.com/photo.php?fbid=101669836530560&set=a.101668986530645.3903.100000626336481&type=3&theater] [Accessed 04th May 2014] Figure 3 Self: In someone else’s clothes Butler, J (n.d) [online image] [Available from http://www.jasonbutler.info/portraits/adults/] [Accessed 04th May 2014] Figure 4 Martin Butler, J (n.d) [online image] [Available from http://www.jasonbutler.info/portraits/adults/] [Accessed 04th May 2014] Figure 5 Image from A Song Without words Ward, L. (1936) [online image] [Available from http://www.wikipaintings.org/en/lynd-ward/not-detected-272515] [Accessed 7th May 2014] Figure 6 Image from Ward, L (1932) [online image] Available from http://www.wikipaintings.org/en/lynd-ward/not-detected-272515#supersized-artistPaintings-272549 [Accessed 7th May 2014] Figure 7 Image from Frankenstein Ward, L (1934) [online image] [Available from http://www.wikipaintings.org/en/lynd-ward/not-detected-272515#supersized-artistPaintings-272494] [Accessed 10th May 2014] Figure 8 Passion of a man Masereel, F (1918) [online image] [Available from http://en.wikipedia.org/wiki/File:Frans_Masereel_%281919%29_Passionate_Journey_urination_page.jpg] [Accessed 12th May 2014] Figure 9 Passion of a man Masereel, F (1919) [online image] [Available from http://en.wikipedia.org/wiki/File:Frans_Masereel_%281918%29_Die_Passion_Eines_Menschen_22.jpg] [Accessed 12th May 2014] Figure 10 The Passion of a Man, Page 2 Masereel, F (1919) [online image] [Available from http://vls.wikipedia.org/wiki/Ofbeeldienge:Die_Passion_ Eines_Menschen_02.jpg] [Accessed May 14th 2014] Figure 11. Untitled People of Print (2014)[online image]Available from http://www.peopleofprint.com [Accessed 12th May 2014]
Figure 12 Untitled Double Elephant print workshop (2014) [online image] [Available from http://www.doubleelephant.org.uk/] [Accessed 12th May 2014] Figure 13 Neo print fair Neo artists. (2014) [online image] [Available from http://www.artlyst.com/events/call-for-entries-neoprintfair-2014-the-market-place] [Accessed 09th May 2014] Figure 14 Untitled Creative Conscience Awards (2014) [online image] [Available from http://www.creative-conscience.co.uk/ home] [Accessed 08th May 2014] Figure 15 Untitled Derwent Prize (2014) [online image] [Available from http://www.derwent-artprize.com/] [Accessed 11th May 2014] Figure 16 Untitled Unbinding the book (2014) [online image] [Available from http://www.unbindingthebook.com/] [Accessed 08th May 2014] Figure 17 Original student art competition Jersey.Moore Stephens (2014) [online image] [Available from http://jersey.moorestephens.com/studentartexhibition.aspx] [Addessed 10th May 2014] Figure 18 Fingerprint Club Waudby, M. (2013). [online image] Available from http://cargocollective.com/fingerprintclub/Matt-Waudby [Accessed Mon 12th May 2014) Figure 19 Untitled Flux Art (2014) [online image] [Available from https://www.facebook.com/photo.php?fbid=621611027921180&set=pcb.621611104587839&type=1&theater] [Accessed 10th May 2014] Figure 20 Untitled Flux Art (2014) [online image] [Available from https://www.facebook.com/photo.php?fbid=621610701254546&set=pcb.621611104587839&type=1&theater] [Accessed 10th May 2014] Figure 21 Screenshot of Article Gosling, E (2013) [online image] [Available from http://www.designweek.co.uk/whats-on/illustration-students-bring-hand-printing-to-bournemouth-echo-print-room/3036364.article] [Accessed 12th May 2014] Figure 22 Screenshot of Article 2 Gosling, E (2013) [online image] [Available from http://www.designweek.co.uk/whats-on/illustration-students-bring-hand-printing-to-bournemouth-echo-print-room/3036364.article] [Accessed 12th May 2014]
Inspiration and background (Fig 1) “De La Salle and the Martyrs” Mark Blanchard, (2010) Oil on canvas (Fig 2) “The Risen Christ at Emmaus.” Mark Blanchard, (2007) Oil on canvas
I feel my artistic finds its roots in my artistic education; at school, being taught by prolific figurative painter Mark Blanchard, along side visiting tutors such as Jason Butler ( a fantastic portrait and figurative painter) was truly inspiring. Undoubtedly being surrounded by such artists lead to my placing high esteem and value on technical drawing, with a particular focus on the human form. At school I was taught drawing, painting, perspective and proportion with an outcome of traditional oil painting. As I progressed further into my Artistic education the painterly work, laborious in nature, no longer suited my practice. Since that time to the present, I became obsessed with drawing. Drawing has become the primary means of image production in my practice.
(Fig 3) “Self: In Someone Else’s Clothes’ Jason Butler, (n.d) Oil painting (Fig 4) “Martin” Jason Butler, (n.d) Watercolour
Fig. 1
Fig. 2
Fig. 3
Fig. 4
During my second year of BA Hons Illustration IllustrationI found Printmaking; from the moment of pulling my first lino print I was hooked. I continued to explore printmaking and other processes available to me. Printmaking has a history and tradition around it, much similar to the teaching I recieved prior to university (by traditional Mark Blanchard), therefore naturally attracting me to it.
Images from wordless novels in Wood Engraving by Lynd Ward
Fig. 5
Ward, L (1936)
Fig. 6
Ward, L (1932)
Fig. 7
Ward (1934)
Printmaking is about process and craftsmanship, not just a beautiful outcome. This is definitely part of my identity as an artist; I enjoy craftmanship and feeling part of the history and lineage of the medium. Whilst researching into Narrative theory, I found the work of Lynd Ward and Frans Masereel. Both Ward and and Masereel worked in relief print to create wordless novels. Hugely inspired and with an existing love of print, my exploration into wordless narrative began here.
Images from a novel in Woodcuts by Frans Masereel
Fig. 8
Masereel (1918)
Fig. 9
Masereel (1919)
Fig. 10
Masereel (1919) The passion of a man page 2
(Below, Right) My Pre-major project work, wordless narative entitled “The Tradedy of Johnny Cade”
My practice continued in this fashion, for a time. Wordless Narrative has been a fantastic platform for my entire practice to evolve from. It is more than just creating images in an order, much consideration need to be taken. It is about balance, pace, encoding, implication, but most importantly not overloading; and all of this much happening within each image and the sequence as a whole.
Why do I love printmaking? Printmaking is theraputic in nature, getting on witt the process, perfecting it and repeating it, relaxes me and feeds my productivity. I value craftsmanship and I like the ritual in the process; being literally hands on wiht my work enables a deeper connection with what I am creating, making it more believable.
"Lithography is a contact sport." - Walmsey cited by geary 2009
Printmaking is an integral part of my practice, that personally, I could not bear to loose. It has been a means of narrative and stand alone image creation and embodies the craftsmanship values I hold so dear in my work. The hands on nature of working in print attracts me, being physically involved in the creation of an image from conception through to printing appeals to my physicality. After a long day printing, I go home and I ache, I really feel what I have been doing all day, its great.
“If you like doing something, isn’t it better if it takes a long time?” -Bull cited by baronforum.org 2012
Current practice Recently I have become committed to image creation through drawing. Drawing has always been an integral component to my practice but not always the outcome. Whilst ineavatibly continuing to print, hand drawn imagery has become, as intended the primary focus of my major project. I decided to just draw, draw some more, and then just keep drawing, letting my project take its own course. It just happened that colour pencil was the medium I used for storyboarding throughout my narrative work, getting a feel for colours, balance, lights and darks; I just allowed this to continue and evolve further throughout this major project and my heavier focus on drawing. I really feel colour pencil creates a different working mindset for me, as it was originally used for my creation of quick storyboarding, I become less tactile and the imagery is looser and more gestural, a quality which received positive feedback. I have been aiming for more immediacy in my drawing, taking the middle ground, between my gestural storyboarding and overworked technical drawing, to take an effective middle ground. My journey from here became largely about how to draw the imagery I was visualising as final pieces. The loose gestural working was complimented, however was personally not quite within my comfort zone, coming from a technical drawing background and of late being used to crisp, clean prints. So I have worked toward a compromise, of more technically correct drawing coloured and lined a freely as possible to achieve a looser aesthetic, carrying more atmosphere. Co-inciding with this new emphasis on drawing I began changing my focus in the printroom as well. Experimenting and progressing with the discipline of Plate Lithography. This technique suits the drawn line perfectly and the high contrast finish I like to much from mediums like woodcut are similarly achievable. As well as printing multiple layers, Lithography is capable of beautifully carrying tonal drawing in just one layer of print. The process is similar to drawing, building up tonal areas, it focuses a heavy involvment in the placing of light and dark, for a beautiful luminous finish. (Below) Colour bencil drawing from Major project narrative - Gestural/Technical comprimise. (Right) A1 Lithographic print of the same scene.
Monochrome Vs. Colour - Medium Decisions This often comes up in my personal reflection of my work. Much of the prints I create (woodcut in particular) are monochrome. The effect created from printing in such a way is striking and the high contrast aesthetic is something that really appeals to me. This high contrast working is informed by my drawing and visa versa; even when dealing with colour I like to have a full range of contrast to create more effective imagery. I have always appreciated black and white imagery; we see the world in colour every day, seeing something in black and white I find very striking and expressive. That being said I find comfort in the expressive mark making of pencil colour, it frees up my work for a more gestural approach to the technical drawing I am so used to.The recent heavy introduction of colour has been something I have intergrated into my practice in the major project. Showing my potential using full colour imagery.
“If you can’t do it in black and white, all the color in the world is not going to help.” - Malone cited by Giles 2009
“For me, drawing is a way of navigating the imagination, and it remains the fundamental vehicle of my practice. Drawing allows me to be at my most inventive.� - (Sikander, S, 2009)
“With my pictures, what I hope is that it encourages the reader to imagine more pictures of his own.� - Quentin Blake
(cited 2014 brainyquote.com)
Visual Identity A style is something that I still do not overly consider in the making of my work. I would say the visual identity of my work lies more in the traits in imagery I produce, rather than how I make them. I would describe my visual identity as gritty, dramatic, theatrical, dynamic perspectives, with atmospheric lighting and a high contrast aesthetic. I believe in technical skill, and in drawing what is there, what is real (if its not real I would strive to make it pretty damn believable). Quite simply observation is key, my work is fed by real life observations and emotions; observation of people, interaction and narrative.
Observation feeds imagination I have undertaken these recent figurative studies to inform more of my work, drawing from models, from life, is key. I will continue to draw from life, observation, both in the field and in classes, it is invaluable.
“Draw what you see, not what you think you see� A frequent saying by my school art teacher, Mark Blanchard.
Professionalism in Finish I have always strived for a well presented outcome to whatever project I am undertaking. Previous to the major unit I bound hand covered, sewed and bound the narratives I produced. Being craftsman-like in nature this is a way of personally getting back in touch with the work after having it digitally printed. For the binding of my narrative in this major project however, I located a book binding spcailist in Poole, dorset. Whilst I enjoy the hands on nature of binding the book I felt it would be more professionable, reliable and durable (seeing as the book will be on exhibition at the Embassy Tea Gallery in July) to have it hand bound by a professional. A beautiful book cloth with gold foiled tooling on the cover (to be covered with a dust jacket illustrated cover)
(Below)Punching the spine to sew - Bound myself for “The Trajedy of Johnny Cade” (Right) Professionally hand bound, hardback of Major project “The Child is my Warrant”
Pages pre-binding for my wordless narrative in woodcut - “The Trajedy of johnny Cade”
What do I like to Illustrate? As I have mentioned earlier, I feed off of observation, emotion and lifes situations. I thoroughly enjoy creating wordless narratives, trying to convey a story visually within a space. In particular, stories that move me, that pull at the heart strings or raise goose bumps on the arms, they dont need to be epic, but just resinate with me. These types of stories make the best sequential imagery in my opinion; and keep me engaged and emotionally connected to the work I am creating. I want people to look at my work and just feel compelled to turn the page, emphasising with my characters in some way or another. I have always been a fan of dramatic stories and this comes across in my work; If only I had been a fan of comedy, my work might not be so dark. If the image is not a sequential piece, I want them to look at it longer, stare at it and feel the story behing the scene or the person, interpret the message.
(Above) Narrative double spread from my wordless novel “The Child is My warrant “
(Right) Some of my tools of the trade. My hand-made Swiss tools for Woodcutting.
Theory/ Ideology of Practice Thematically, my work, weahter sequential or stand alone imagery, has always been based around or includes the human figure. Even when I am working on a landscape piece, I like to look at the work as a study on the absence of human presence (self reassurance). If its not a figurative piece, its a narrative about human interaction or human situations. My point being, it is that which inspires me and comes through thematically in my work, the everyday things, the mundane iteractions, dramatic social situations, to the epic journeys people/figures go on. Observation and first hand drawing fuel this fire, as well as personal experience. My work tends to take from personal experience and have a more serious tone, I like atmospheric artwork and dramatic, goosebumps educing stories. I try to create narratives that enngage the viewers empathetic side, reminscent of their own experiences or feelings. I think this just shows personally the level at which I engage with my own work, and I want people viewing it to do the same. Understandably therefore narrative suits this and feels natural to me. This is where Storyboarding comes in, linking hand in hand with the dramatic nature of the work I produce and the stories I tell. It helps me thing of dynamic or theatrical compositions, striking pages that catch the eye. This helps me produce interesting views page after page, with emotion and/or interesting perspective (something I consider absolutely key) The Craftsman Working by hand is another important choice for me; a sense of pride in craftsmanship is evident in my work. Whilst I utilise a computer for post production editing or preparation for digital printing or book design, a hand created aesthetic is something I have always valued (often returning to hand bound books to retrieve some craftsmanship). I become rather obsessed with technique; completing it, perfecting it becomes part of my practice; repeating it is theraputic (this particularly in printmaking). Craftsmanship is evident in the methodical, ritualistic approach I take to my practice, both in printmaking and in the hand draw. It was only recently pointed out to me that this might be due to a feeling of lineage in my way of working. That I feel linked to the history behind the work. I definitely think this is true, I have always valued what is considered a more traditional means of working, learning from masters and master craftsman.
The Personal Touch. As I mentioned I like to create narrative based on personal experience; during this project I have began the creation of some personal work alongside my “The Child is My Warrant Narrative”. The narrative is centred around the life of an old lady and her dog; surrounded by memorabelia and family photos, a sad, rather mundane tale. The idea for the narrative is based on personal experience, witnessing grieving process. This example is merely trying to illustrate the kind of emotion and intention I put in my narratives. I chose not to directly persue the narrative as part of my major project and just work on it from time to time, learning from it; putting the same believabiliy and personal connection into “The Child is My warrant”
“Storytelling is storytelling. Good stories need compelling characters and interesting conflicts. That's the bottom line no matter what medium you're writing for.� MacHale cited by brainyquote.com
“Storytelling is ultimately a creative act of pattern recognition. Through characters, plot and setting, a writer creates places where previously invisible truths become visible. Or the storyteller posits a series of dots that the reader can connect.� Douglas Coupland cited by brainyquote.com
Professional approach Alongside trying to obtain commissions I have been applying to competitions, exhibitions and oppertunities, to raise awareness of my practice and promote myself in a professional environment
Fig. 11
I have been submitting work and artist bio’s to websites and creative blogs, most notebly for myself, People of Print. In which I am hoping to be featured in the coming weeks and will be joining their directory. The directory will be published internationally as a hardback coffee table book by Thames and Hudson and I have been invited after my initial submission to become part of this. This with the intention of promoting my pritmaking, in particular, my plate Lithography work.
My directory image submitted to People Of Print.
http://www.peopleofprint.com http://www.neoartists.co.uk http://www.doubleelephant.org.uk/
Fig. 12 Also promoting my printmaking I applied for the upcoming residency and commission in the Double Elephant print workshop. The residency ends in commissioned work being exhibited. As a new contemporary illustrator/printmaker I hope there is something a little different I can potentially bring to the scene. This residency focuses upon the mixing of medium, creation of hybrid printing being challenged; hopefully wiht my background in woodcut and other processes sampled, I can fit the bill.
I have also, applied for the Neo Print Fair and the Neo Print prize. If accepted onto either there is a high chance of selling work, in a print orientated environment. Showing other professionals in print what I can do and learning some more along the way.
Fig. 13
Fig. 14
Outside Printmaking I have also submitted my recent narrative “The Child is My Warrant” to other competitions to further my professioanl pressence. My submission for the Creative Conscience awards was into the Illustration and animation category. I thought the creative conscience awards to be an interesting outlet for my narrative as it has the potential to carry a rather poingnantly delivered message on ecological awareness. The narrative is set in a post apocalyptuic landscape, but with no direct implication of how it occured speculation over the viisuals can easily lead to the notion of a ravaged planet, depletion of resources and lawlessness. I proposed the narrative could stand as a “what if?” or, “if we dont change...” I will also be selecting work and working toward the creation of new work for submission to the derwent drawing prize (submission 9th June).
Fig. 15
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Fig. 17
Challenging what a book can be I have submitted a proposal to extend my wordless narrative I have undertaken for this major unit, “The Child Is My Warrant”. In doing this I stand the chance to exhibit the bespoke outcome in the in both New York and
“Indie publishing platform Blurb and visual arts studio Jotta are working together this year to commission 12 artists and designers to create original books or book installations that will celebrate the art of books, book-making and illustrated story telling” Well if that brief doesn’t just seem perfect, I dont know what is. I submitted an explaination of my proposal with example artwork of my practice and the narrative.
Freelancing I will be aiming to freelance for work in three areas, printmaking commissions, continuing to explore and self publish narrative and also storyboarding. Storyboards are something I have been producing quite extensively over the past couple of years, no more so in the last unit where, hundreds of storyboards have been put together for my primary narrative and other narrative ideas. To some I worry that this may seem like trying to do to much. But these are things that I do as part of my process, I may not produce storyboards for a final piece, storyboarding has never been a final outcome, but my narratives are carrying the same message and the storyboards used in planning are essential. Stoaryboarding seems like and extra avenue, completely in tie with my practice to attract extra commissions. I will be seeking commercial and private commissions for all aspects of my practice keeping an open mind to new challenges that clients may present; storyboarding, indie publishing, portraiture, anything will be welcome.
Commissions During the course of the year I have continued to sell prints and promote the sale of my prints. I have been practicing the art of editioning, being extremely carefull and professional throughout the editioning process to ensure top quality prints on top quality paper, with as little imperfection as possible. This its self has been quite the experience, getting completely involved in the mindset of a professional. printmaker.
(Above) Selling prints at one of the many Boscombe Arts fairs I have been part of (Right) Editioning a recent Lithographic print
Fig. 18
Fingerprintclub Collective is a small collective of printmakers I am a part of. Last year we undertook a large scale project to provide artwork for The Print Room Restaurant in Bournemouth’s centre. It was a fantastic experience, working to deadlines, high quality finishes of pribts, papers and framing, and working to a budget.
Fig. 19
Fig. 20
Press The Print Room project also generated a bit of press, being mentioned in the Bournemoith Echo, and (Below) an article on Design Week’s website.
Fig. 21
Fig. 22 Screen Shots from The Design Week article by Emily Gosling (2013)
Collaboration My most recent collaboration has been with fellow illustrator annd fellow Jersey born, Sam Carney. We have desired to work together for some time; coming up with the appropriate topic of Jersey landscapes. Working on a large scale Lithographic print of the Ecrehoes in Jersey.
Working together, drawing together, from visualisation of ideas to the multilayered print (above).
Contacts Furthermore, in preperation for life as a professional, i have taken the initiative to go otu and meet practitioners operating professionally, interviewing them, making contacts and learning about how someone else does what they do. At the Pick Me Up event at Summerset House I met Print Collective from the USA, Fatherless
David Menard from Fatherless
(Right) A trip to Print Club London meeting artists and meeting most importantly Rare Kind Agency owner, David Samuel.
All photographs on this page are taken by Myself.
(Top) I visited East London Printmakers - meeting Liz Collini, fine artist and screen printer (Bottom) I was also fortunate enought to meet the amazingly talented Artist in Residence Toshihiko Ikeda
I visited gallery, print and artwork dealership The Fine Art Society London, and their AMD Gordon Cooke, who was brilliant and infinitely helpful about the professional world of printing.
All photographs on this page are taken by Myself.
Post Graduation: After graduating, as I mentioned earlier I have been applying to various print residencies with the hope of gaining further experience in print workshops, however, should these applications proove unsuccessful, printmaking will obviously still feature in my work as I indipendantly progress. I will continue to apply to various residencies and oppertunities as they arise. Freelancing is my primary aim for post-graduation, taking up any other oppertunities that I might locate along the way.I will continue creating narratives and aim to self publish or achieve professional publishing. Additionally, figurative studies have been a love of mine throughout my entire artistic career and this is something I feel I can really offer as part of my freelance working. in conjunction with this therefore along side other commissions I will be open to and marketing myself toward commissions for portraiture. Primarily however, I will be marketing myself as a narrative illustrator; I have tailored my website and portfolio to place a high emphasis on this narrative way of working that I can offer. With narrative work being first followed by Lithographic and print work; I want visitors to my site to engage with my narrative work first. Its all come to an end: Having now come to the end of my Ba Hons Illustration course I still feel there is development needed in my practice, and this really daunted me feeling this way for a while. Until I realised this is probably more common that not, rather inevitable actually, If I felt like a finished article now, where would I be in years to come, stail and bored no doubt. I feel I will be continuously developing, evolving experimenting and pushing my work in new directions to stay fresh from an outside perspective but for my own sanity as well. This being said I am comfortable with my work, but I am my own worst critic. I am headstrong and have my values that I am firm on; regarding craftsmanship, tradition and beautiful hand forged artwork. These engrained ideals will keep a continuity in my work throughout the upcoming artistic journey as a freelance artist. On a brighter less critical note, I feel this course and in particular this last unit has prepared me forprogress outside educatio. I know what type of imagery I create and the different means I use to do so successfully.
“It’s a dangerous business, going out your door. You step onto the road, and if you don’t keep your feet, there’s no knowing where you might be swept off to.” J.R.R Tolkein (2004, p 65)
“Not all those who wonder are lost� - J.R.R Tolkein (2004, p163)
Tolkein has been a huge inspiration throughout my life. I have what some would deem a rather unhealthy obsession with his Literary work, and the respective theatrical adaptions (along with everything and anything else I can get my hands on). Tolkein was introduced to me at a young age, through a battle strategy game, later, picking up The Hobbit I was immediately hooked; this is where I believe a love of strong narrative takes place. Not just in Tolkeins work howevevr, I have always been a huge film fan; epic and fantasy movies in particular really strike a chord with me. My appreciation for this area of narrative really resonated with me during my production process; from the story I tell, to how I tell it, to the individual images of each sequence.
“Drawing teaches habits of close observat Susanna Clarke, Jonathan Strange & Mr Norrell (2004, p691)
tion that will always be useful.�
Portfolio I have chosen to present my work both online in the form of a website and as a physical A3 box portfolio. My website contains imagery from all areas of discipline I specialise in, narrative, printmaking, drawing. However, my hard copy portfolio I want to tailer toward my narrative work. I feel the situation most important for my work to be physicall infront of the clients is my narrative work at interview; any potential narrative commissions would benefit from hard copies of spreads for the potential of my work to be fully taken in.
Examples of narrative imagery selected for physical portfolio
(Right, printing of Lithograph self portrait, my largest lithograph to date printed onto A0 quality GF Smith paper) Whilst printmaking is also important to witness first hand, the large scale of my most recent and important (to me) prints make them impractical for a portfolio presentation. These could be requested to be seen, or seen first hand at exhibition, or on my wenbsite along with my other work. Additionally I feel the printmaking in this fashion is more of s personal exploration and not the primary commercial focus of my practice that would benefit my portfolio. Any print that cannot be cut down suitably for placement in the physical portfolio will not be included. I feel printing digitally looses the impression, the printed aesthetic that is so important to analogue printing, so it would be silly to do so.
Self Promotion Alongside the building of my website and professional twitter and tumblr, I have been making promotional bussiness cards and postcards. I have been sending variations of these out to various companies looking for work, rangin from narrative work, stoaryboarding, to printmaking.
(Top), Back of promo postcards (Bottom) The 8 designs used for fron of promo postcards
(Right) My work on exhibition at the “I made it with my hands exhibition” at The Factory Studios in April.
A farwell to the Ba Illustration course and the real beginning of my professional practice I have been writing this professional practice with a rather daunting end to my degree coming ever closer. The end of my degree will mark the real beginning of my professional practice, a scary, but exciting thought; I would be lieing if the thought of relying solely on my art work for a living didnt scare me. That being said, I turn to Tolkein once more for some grounding words of wisdom, reminding us that money isn’t everything;
“If more of us valued food and cheer and song above hoarded gold, it would be a merries world.” J.R.R. Tolkein (1995, p346)
However, should a pot of gold become readily available, it would be delightfull. Otherwise, more realistically, I will take solace in my bread and butter, or beans on toast dinners and continue to explore and develop my practice.
Exhibitions: Open space Gallery - March 12th 2013 I Made It With My Hands - April 3rd - 5th 2014 Finger Print Club - The Print Room Bournemouth (May 2013 - Present) Upcoming: Embassy Tea Gallery London - AUB Ba Hons Illustration - 30th June - 4th July 2014
Find me online: Professional www.lukemacmaster.com http://cargocollective.com/fingerprintclub/Luke-MacMaster https://twitter.com/LukeMacmaster lukemacmaster.tumblr.com Research and Sketchbook lukemacmajorproject.blogspot.co.uk http://www.pinterest.com/lmac1320/luke-macmajor-project/
Bibliography Baronforum.org (2012) Chromoxylographers of the world - Unite! [online] Available at http:// www.barenforum.org/intro.html [Accessed 12th May 2014] Butler, J. (2013) Jason Butler. [online] Available from: http://www.jasonbutler.info/ [Accessed 12 May 2014] Clarke, S. (2004) Jonathan Strange and Mr Norrell. London. Bloomsbury Publishing. D. J. MacHale. (n.d.). BrainyQuote.com. Available at http://www.brainyquote.com/quotes/ quotes/d/djmachal522325.html [Accessed 12th May 2014] Douglas Coupland. (n.d.). BrainyQuote.com Available at Web site: http://www.brainyquote. com/quotes/quotes/d/douglascou583169.html [Accesed 12th May 2014] Geary, N (2009) Printmaking quotes [online] Available at http://art.utk.edu/printmaking/printmaking_quotes.pdf [Accessed 12th May 2014] Gosling, E (2013) Illustration students bring hand-printing to Bournemouth Echo Print Room. Design Week. [Online]. Mon 22nd April 2013. Available from: http://www.designweek. co.uk/whats-on/illustration-students-bring-hand-printing-to-bournemouth-echo-printroom/3036364.article. [Accessed: Mon 12th May 2014] Quentin Blake. (n.d.). BrainyQuote.com. Retrieved May 12, 2014, [online] Available at http:// www.brainyquote.com/quotes/quotes/q/quentinbla527125.html [Accessed 12th May 2014] Sikander, S (2009) Artist Shahzia Sikander on how she draws. [online] 19th September 2009. Available from: http://www.theguardian.com/artanddesign/2009/sep/19/shahzia-sikander-howshe-draws [Accessed Mon 12th May 2014] Tolkein, J (1995) The Hobbit. (5th Ed.) London: Harper Collins Publishers Tolkein, J. (2004) The Fellowship Of The Ring. (50th Anniversary ed.) London: Harper Collins Publishers