Rachel McAree Professional Practice by Rachel McAree Illustration

Rachel McAree Professional Practice 1

Contents What I do Inspiration for my practice Projects Competition and live briefs Getting out there Future Plans C.V. Image reference Bibliography

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7 15 25 38 41 53 59 60 64

Fig. 1 - Fig 6, l(eft hand page) McAree

What I do

Fig. 7, (last page) McAree Fig. 8, (Right hand page) McAree

Iâ&#x20AC;&#x2122;m an illustrator who thinks and narrates

I like to question people through my work

take characters and combine them with an

and also why Iâ&#x20AC;&#x2122;ve chosen to illustrate it in that

predominantly through portraiture. I like to

and make them think about what it means

idea I have about them. This can make my

certain way.

work quite abstract and emotive. I like to use

The emotional themes I interpret are the

many mediums to achieve this, especially in

main interest for me as Iâ&#x20AC;&#x2122;m fascinated my

the early stages of my practice, but find that

psychological and emotional issues. I try

when it comes to realizing my work I tend to

to make my audience empathize with my

use graphite, charcoal or ink.

illustration and what they are trying to

communicate whether that be depression, vanity, aging, anxiety, etc. ‘illustration

can establish a deep connection with its

audience, working by a process of ‘empathy’ in order to gain and retain the reader’s

retain.’ (Moszkowicz, 2014, pg. 49) I hope to show things through a certain light

people haven’t seen before. For instance, my final major project has its roots in the main character, Blanche’s mental health. I want

my illustration to reflect this important issue through sympathetic imagery, but imagery that is also dark and challenging.

I’m also aware that whenever I’m making

work, it has to keep its message while also be

aesthetically pleasing to the viewer; it can’t be merely, ‘style over content, function following form.’(Zeegan, 2012)

With Illustrators becoming more and more inter-disciplinary, it’s important that my

Fig. 9, (left hand page) McAree Fig. 10, (right hand page) McAree

work reflects this. Illustration is no longer picture books alone, with artists such as Jean Jullien who are creating 3D and 2D, print and digital, static and moving images. The possibilities are

becoming broader for how creatives can push and develop their work. This is something that I must consider in order to keep my work contemporary and exciting.

Fig. 11 (top left) Jullien, no. 1 play Fig. 12 (top right) Jullien, no. 2 Tapis Inopia Fig. 13 (mid left) Jullien, no. 3Play Fig. 14 (bottom left) Jullien, no. 4 Kiblind Fig. 15 (bottom right) Jullien, no. 5 Ralf

Inspiration â&#x20AC;&#x2DC; Regardless of the technique used, the portrait artist is capable of depicting their object of study, telling a story, and going beyond the simple act of drawing a faceâ&#x20AC;&#x2122; (Wiedemann, 2011, pg. 7)

Fig. 16, (top right) Arthur Rackman, Dark Garden Fig. 17, (bottom right) Christina Mrozik, Nestlings, 2013

Main inspirations for my practice are strong emotive narratives, whether this comes

from a book, play, poem or film. I like to

use human emotion to engage my audience, as itâ&#x20AC;&#x2122;s something universal that affects us. I also seem drawn to portraiture because of these interests. Films in particular inspire me to look at new perspectives and how

composition can inform a narrative. Directors such as Park Chan-wook and Jean Marc

VallĂŠe seem to capture emotion in such an

intriguing and sometimes disturbing way and I aim to bring this effect to my own work.

Fig. 18, (above) Guy Denning, 2011 Fig. 19, (right page, top left) Jaeyeol Han, Passersby, The boy without the glasses, 2013 Fig. 20, (right page, top right) Franz Xaver Messerschmidt, The Vexed Man 1771-83 Fig. 21, (right page, bottom) Hello Von, Semblance, 2009

Fig. 22, (left page, top) Jenny Saville, 2014 Fig. 23, (left page, bottom) Carne Griffiths, Fly Fig. 24, (right page, top) Park Chan-Wook, (2013) Stoker Fig. 25, (right page, bottom) Jean Marc VallĂŠe, (2014) Dallas buyers club

Another main inspiration for me was the time I spent on visual communication. It

gave me skills regarding typography, design and bookbinding, which have helped me to reinforce visual language and how we read and interpret not only images, but their context and design.

Fig. 26 (left hand page) Damien Palefroi, (2012-13) no. 1 Micachu & the shapes - Kwes at Festsaal Kreuzberg Fig. 27 (top of right hand page) Sam Winston, (no date) Dictionary Fig. 28 (right hand page, bottom left) Damien Palefroi, (2012-13) no. 2 Batalj release party at West Germany Fig. 29 (right hand page, bottom right) Damien Palefroi, (2012-13) no. 3 Schnaak, Opa at West Germany

Projects ‘I don’t think I’ve ever set out to make a painting as it eventually turns out. I know it sounds strange but each piece is like an adventure.’ (Quinn, L. An Interview with Guy Denning, 2011)

Fig. 30 (right hand page) McAree

The beginning of my final year was daunting but I knew it was a good opportunity to

explore what kind of illustrator I wanted

to be. Initially, I was attracted to capturing people who were unaware they were being observed. This involved lots of reportage

imagery, but I noticed my main interest was when people were talking. Peopleâ&#x20AC;&#x2122;s faces are the immediate visual response to thinking

and answering questions. Trying to decipher

these expressions was the fun part. From one face, you could create a narrative of what

that person is thinking or saying and how

they are feeling. Although I discovered a lot

about how I was interested in expressions and their emotions, I was lacking any substantial context for my project as a whole.

Fig. 31 (whole page) McAree

Furthermore, when I began my Final

Major project I wanted to keep in mind the underlying context of my work. I knew that

this would also benefit me in terms of leaving university as most jobs and commissions

involve working towards a context. With this in mind, I tried to think of written narratives

and poems that would help to achieve context while also allowing me to further explore my

fascination with psychological and emotional themes.

However one particular aspect I struggled

with on my major project was deciding what media to use to create a cohesive dialogue.

Although I experimented a lot, this took up a lot of the initial project time.

However, once Iâ&#x20AC;&#x2122;d forced myself to be decisive I had the confidence to enjoy creating my illustrations.

Fig. 32 - 34 (both pages) McAree

When I set out this final project I was also aware that illustrated books with mature

themes are not commercially accepted among adult literature.

I wanted to use this project to query this, exploring why there isnâ&#x20AC;&#x2122;t more space for

illustrated adult fiction. For instance, The

Folio Society produce illustrated literature

aimed at adults. One example of an illustrator who has produced images for the book â&#x20AC;&#x2DC;A

Clockwork Orangeâ&#x20AC;&#x2122; (an adult fiction book)

is Ben Jones. These findings support my idea that there is a potential market for bespoke adult illustrated fiction. And I believe this

is where my final piece would fit in terms of contemporary illustration at the moment.

Inspiration for my final major project

included many broad-disciplinary artists and how they tackle style, substance and

communication. Key inspiration in the initial stages of my project were expressive artists such as Arnulf Rainer, Jenny Saville and

Marlene Dumas. But as I narrowed down

key themes, and mediums I wanted to use,

my inspiration shifted to illustrators such as HelloVon and Christina Mrozik for there

use of medium, and how they use graphite in abstract and detailed ways.

In ways I believe that my major project relates to mental health and self-image. Lots of

people, particularly women, deal with self-

image problems and how we’re supposed to

look. I think this is why the final illustrations became abstract portraits. ‘Portraits, are

therefore, a vehicle for expressing an artist’s view’ (Heller, 2011, pg. 10)

The aspect of mental health is an issue in our society, so for that reason I think the main

themes in my project are incredibly relevant

to contemporary issues today, and that’s what

I wanted to portray through my portrait style illustrations.

Fig. 35-36 (left hand page) Ben Jones, (2015) A Clockwork Orange Fig. 37 (right hand page) Arnulf Rainer, (1971) (untitled) face farce

Fig. 38-40 (both pages) McAree

This year I was also lucky enough to visit

Paris. It was such a fun week and was great for creating instantaneous drawings.

In particular there was an amazing exhibition called ‘du Fete Graphisme’. It showcased lots of bright illustrations as well as a whole floor dedicated to book cover designs.

But no trip with university is free of a project – although our brief didn’t really feel like

work! It was to document our experience so that on our return we could feature in

an exhibition in our studio. The exhibition was quite relaxed but it was great because we could see what others had chosen to

document while we were on the same trip.

Fig. 41 (left hand page) McAree Fig. 42 (Right hand page, top) McAree’s photography Fig. 43 (right hand page, bottom) McAree’s photography

As part of this unit I wanted to enter

competitions and part in live briefs. One competition I entered was the reportage competition and others that I still wish to enter are The Sheffield Book Prize,

the Glyndebourne competition and the

Cheltenham illustration award. I know the importance of getting my work seen by as many people as possible, even if I’m not

successful with my entries. It’s also good

practice for answering briefs and creating work that a prospective client would use.

Another live project I’ve been lucky enough

to work on is for some t-shirt designs for an up and coming band ‘Little Brother Eli’. I

received this commission because they had seen my work on my illustration Facebook page – So this is already proof that social

networking is important in getting my work seen and having an online presence.

Fig. 44 - 46 (both pages) McAree

Getting out there... ‘At it’s best, illustration is a language unto itself – a visual reflection on current affairs, a meditation on the human condition and a cue for laughter. At it’s worst, illustration is noise.’ (Zbihlyj, 2006, cited by Hyland, p. 11)

Like I mentioned earlier, social and online platforms are vital in expanding my audience and

getting my work out there. With so many opportunities for online presence I’ve made sure that my work can be seen in a well-presented and professional way appropriate for the different

online platforms. Having my work on digital networks also helps to keep me organized so that I can keep my work up to date and looking the best it can.

My FaceBook page is really useful in terms of having an informal feel about it, it’s a social and

friendly atmosphere and people who like my page will see my updates and know what I’ve been up to. It’s also a nice informal way to communicate with possible clients or fellow artists for collaboration purposes.

My blog is incredibly informal and is such

not only my own work, but also, it’s good for

and when. The ability to view my achieve

quick to re-blog posts of interest or relevance

a good way of logging what I’ve been doing

artist’s research/inspiration and it’s easy and

enables me to pin point how I’ve progressed

to my practice.

and developed work. It’s also great for logging

Pinterest is also something that allows

me to be inspired by art from all genres:

photography, sculpture, tattoo’s, illustrations, paintings, book designs etc. It also easily

shows what i’m interested in and like tumblr I flip back through lots of pins to see what

i’ve found interesting. I’m also going to start

uploading my own imagery so that others can pin it and boost it’s views.

Creating a website for my practice was also a first for me this year. Although Iâ&#x20AC;&#x2122;m not

incredibly gifted with coding and creating

websites, it was a really worthwhile experience because my website is going to be the equivalent of an online portfolio and the hub of my other social platforms and contact information. It has to look professional and organized to best showcase my work while also

keeping true to my practice. Furthermore, the

workshop where we wrote our own biography helped me to show my personality, as well as staying professional.

Another way I can get my work seen is by

practice was creating a brand for myself.

online magazines so that they are aware

enforce my brand as an illustrator. Having a

proactively contacting blogs, websites and

This makes me recognizable and will help to

of my individual practice. Specific places I

brand also helps to reach more people, as it’s

want to contact are Ape on the Moon and

simple and quick to recognize. It’s also vital

BOOOOOOOM. Another interesting illus-

for promotional reasons (e.g. business cards,

tration blog that I’m planning on contacting

promo postcards, website etc)

is ‘Illustration Friday’. They post a topic every

Also, when I start to work, signing up with

week and then illustrators enter. The chosen

AOI will make me more employable as it’s a

illustration is then posted on their various

well-known and trusted organization. It will

social platforms, so it would be a really good

also help me in terms of legal and financial

way to try and get myself known.

queries I may have.

Another main component for my professional

My portfolio is my main tangible way to

an understanding of my style. I also got some

meetings. This I had to also carefully design

meeting I had. It was great to have someone

showcase my work to clients in interviews and

really helpful feedback from the heart agency

and tailor so that it would suit target clients

in the industry see my work. I now know that

that I would like to work for. Establishing

when I finish university, it would be good for

a good flow will also aid itâ&#x20AC;&#x2122;s readability, and

me to hone in on my style more, and make

make it easier for prospective clients to gain

more example of how I like to work.

Future Plans ‘Go for broke…every single time.’ (Bartlett, 2014, edited by wiedemann, pg. 48)

When it comes to making decisions about my

skills that would benefit me in a school

future and how I want to use my practice I’m

environment.

at a crossroads. I’m torn between carrying on my practice and reaching audiences so that I

This doesn’t mean that I won’t keep working

emotional issues.

which direction I want to go in, and teaching

can challenge people about psychological and

on my practice but this is my chance to find

Or, on the other hand, venture towards

is something I feel more serious about at the

a teaching route, which would be a more

moment.

direct way of helping young people see how

In terms of my practice, I feel I still need

illustration and art can communicate.

time to refine my style as an illustrator, and get more confident as I’ve only been on

Trying to make this decision has been really

the illustration course for a year and half !

difficult for me, but I think I’ve finally got

To do this I will need to keep up to date,

an idea of how I’m going to progress after

and in the loop with what is happening in

university. Immediately after finishing my

the illustration industry by subscribing to

final major unit, I’m going to be proactive

YouTube channels such as ‘big heads’ and

with contacting blogs and websites to both

also following illustration magazines and

hone in on my style, but also to start getting

blogs online such as ‘juxtapose’, ‘varoom’ and

my work seen more. But alongside this, I

‘wrap’. This is important because it will show

will be applying to art technician jobs in

me what is currently fashionable and how

secondary schools. Hopefully, this experience

illustrators are getting there work seen.

will help me to then decide whether I want to obtain a postgraduate PgC. I’ve already been researching qualifications for art technician

jobs, and I feel confident that I have adequate

I’m also still considering applying to the

‘Princes Drawing School’ in the next couple of years, as pencil drawing is still my most passionate form of image making and it

would be such an amazing year, professionally, if I was lucky enough to be successful.

I also want to keep in touch with fellow

students that I’ve met while at university.

Leaving university is going to be daunting as it is, but knowing that I can still contact and

work with fellow students going through the

same things is only going to help me find my feet and grow in creativity.

Contact info Email:

rachelmcaree@hotmail.co.uk

Telephone:

07500930330

Website:

cargocollective.com/rachelmcaree illustration

Facebook:

https://www.facebook.com/rachel mcareeillustration

RacheL McAree Illustration

CURRICULUM VITAE Personal and Contact Details:

Mobile: 07500930330 Website:http://cargocollective.com/rachelmcareeillustration Email: rachelmcaree@hotmail.co.uk Facebook:www.facebook.com/rachelmcareeillustration

Education:

BA (HONS) Illustration Arts University Bournemouth 2012 - 2015 Art Foundation Diploma: Distinction Abingdon College 2011 - 2012 A Levels: B, C, C Bartholomew School 2009 - 2011

Biography:

Iâ&#x20AC;&#x2122;m an image maker/visual communicator from Oxford. I studied a BA Honors Degree in Illustration at the Arts University Bournemouth and graduated in 2015. My main inspirations are psychological themes, in particular, human emotions. I like to create imagery using mixed media in a way that reflects the message and theme of my work. I also likes to experiment with typography and bookbinding and how this plays a part in my practice. Contexts for my work are mainly editorial, book-cover designs and posters.

Skills:

Comfortable with various software including: Photoshop, illustrator, InDesign and AfterEffects Bookbinding knowledge Typography and Layout Good communication and Listening skills

Work Experience:

6 days work experience at Mccdesign in Hanborough, Oxfordshire, as an assistant designer, working on live briefs such as posters and flyers. June 2013

Worked on a live commission to design t-shirts for a band. Involved working to a brief, updating progress, and professional communication. April 2015

Reference:

Garry Peasley: Designer at mccdesign telephone: 01993 883803 59 Email: gaz@mccdesign.com

Joel Lardner: University Tutor Email: jlardner@aub.ac.uk

Image reference Fig. 1- Fig. 10

McAree, R (2014-15) Personal collection of work Fig. 11

Jean Jullien, (no date) Play. no. 1 [online image] available from: http://www.jeanjullien.com/ work-187-play.html accessed on 25th April 2015 Fig. 12

Jean Jullien, (no date) Tapis Inopia. no. 2 [online image] available from: http://www.jeanjullien. com/work-181-tapis-inopia.html accessed on 25th April 2015 Fig. 13

Jean Jullien, (no date) Play. no 3 [online image] available from: http://www.jeanjullien.com/ work-187-play.html accessed 25th April 2015 Fig. 14

Jean Jullien, (no date) Kiblind. no. 4 [online image] available from: http://www.jeanjullien.com/ work-182-kiblind.html accessed 25th April 2015 Fig. 15

Jean jullien, (no date) Ralf. no. 5 [online image] available from: http://www.jeanjullien.com/ work-180-ralf.html accessed 25th April 2015 Fig. 16

Arthur Rackman, Dark Garden, no date. [online image] available from https://www.pinterest. com/pin/48554502208617498/ accessed on 24th April 2015

Fig. 17

Christina Mrozik, Nestlings, 2013 [online image] available from:

http://christinamrozik.com/portfolio-item/nestlings/ accessed on 24th April 2015 Fig. 18

Guy Denning, 2011. no name [online image] available from: https://www.pinterest.com/ pin/375698793886048057/ accessed on 24th April 2015 Fig. 19

Jaeyeol Han, Passersby, 2013, The boy without the glasses, [online image] available from: http:// www.peripheralsurveys.com/ps--la-boh%C3%A8me-jaeyeol-han-gallery-passersby,-the-boywithout-the-glasses.html accessed on 24th April 2015 Fig. 20

Franz Xaver Messerschmidt, 1771-83, The Vexed Man [online image] available from: http:// www.deborahfeller.com/news-and-views/?p=526 accessed on 24th April 2015 Fig. 21

Hello Von, 2009, Semblance, [online image] available from: http://semblance.hellovon.com/ accessed on 24th April 2015 Fig. 22

Jenny Saville, 2014 [online image] available from: https://ngpopgun.wordpress. com/2014/12/21/jenny-saville/ accessed on 24th April 2015 Fig. 23

Carne Griffiths, no date. Fly, [online image] available from: http://www.carnegriffiths. com/#!galery/cjg9 accessed on 24th April 2015 Fig. 24

Park Chan-Wook, (2013) Stoker, [online image] available from: http://www.thekingbulletin. com/stoker-park-chan-wook/ accessed on 25th April 2015

Fig. 25

Jean Marc VallĂŠe, (2014) Dallas buyers club, [online image] available from: http://bplusmov-

ieblog.com/2014/03/01/my-favorite-moments-in-the-2013-best-picture-nominees-dallas-buyers-club/ accessed on 25th April 2015 Fig. 26

damien palefroi, (2012-13) no. 1 Micachu & the shapes - Kwes at Festsaal Kreuzberg [online image] available from: http://www.damientran.com/Poster-archive-2012-2013 accessed 25th April 2015-04-25 Fig. 27

Sam Winston, (no date) Dictionary, [online image] available from: http://www.samwinston. com/editions/dictionary-story-book accessed 25th April 2015 Fig. 28

damien palefroi, (2012-13) no. 2 Batalj release party at West Germany [online image] available from: http://www.damientran.com/Poster-archive-2012-2013 accessed 25th April 2015-04-25 Fig. 29

damien palefroi, (2012-13) no. 3 Schnaak, Opa at West Germany [online image] available from: http://www.damientran.com/Poster-archive-2012-2013 accessed 25th April 2015-04-25 Fig. 30 - 34

McAree, R. (2014-15) Personal collection of work Fig. 35 - 36

Ben Jones, (2015) A Clockwork Orange [online image] available from: http://www.foliosociety. com/book/CKO/clockwork-orange accessed 25th April 2015 Fig. 37

Arnulf Rainer, (1971) (untitled) face farce. [online image] available from: http://www.tate.org. uk/art/artists/arnulf-rainer-1813 accessed 25th April 2015

Bibliograpgy Heller, S. (2011) Illustration Now! Porrtraits. Germany: TASCHEN Hyland, A. (2010) The picture book. Mini edition. London: Laurence King Publishing Moszkowicz, J. (2014) Varoomlab journal issue one, Papers for Boundaries: Making and breaking

illustrationâ&#x20AC;&#x2122;s frontiers. [pdf ] London: Varoom. Available from http://www.varoom-mag.com/wpcontent/uploads/2012/02/VaroomLabJournal_IssueOne.pdf [accessed 23rd April 2015]

Quinn, L. (2011) HiFructose, An interview with Guy Denning. [online] available from: http:// hifructose.com/2011/01/30/an-interview-with-guy-denning/ [accessed on 24th April 2015] Wiedemann, J. (2011) Illustration Now! Porrtraits. Germany: TASCHEN Wiedemann, J. (2014) Illustration Now: 5. Italy: TASCHEN Zeegan, L. (2012) Creative Review Blog, Where is the content? Where is the comment? [online]

available from: http://www.creativereview.co.uk/cr-blog/2012/february/where-is-the-content [accessed 23rd April 2015]