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About me
Statement / CV / Skills Professional contact professional practice
My experience Artists/Illustrators Visits lectures Videos Competition Tutorials
My work Project Methods
Bibliography
Statement I a m a n i l l u s t r a t o r f r o m Ta i w a n b a s e d i n Bournemouth, UK. Ornamentations, patterns, and vivid colour palettes are my primary inspirations. I am focusing on pattern designs which are designed for tile, , and packaging. Creating repeated patterns with playful spirit is my enjoyment. Also, I involve diverse drawing techniques which derive from both traditional and digital methods. My creative approaches are practice-based. The summary of the methods has three key points. Firstly, learning from the profession illustrators and imitate their techniques. The second is to put my experience into practice and training many times. The third is to adjust and surpass myself. I believe the clear working principle and desire of learning can lead me to the expert and mature world of illustration. Furthermore, my works purposefully reflect the formats of social media such as Instagram. So I tend to work on three images as a series.
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Sophia Ji 季 I
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sophiasartworks@gmail.com www.sophiaji.co.uk @sophiasartworks Hi! I'm Sophia, an illustrator from Taiwan based in Bournemouth, UK. My works involves both digital and draditional methods. Currently, I am focusing on tile pateern design.
Education
2014 - 2018 |
National Kaohsiung Normal University (BA Fine Art)
Pending | Arts University Bournemouth (MA Illustration)
Skill
●Pencil ●Gouache ●Collage ●Ink ●Photoshop ●Risograph ●Acrylic ●Watercolour ●Coloured Pencil ●llustrator ●Indesign
Employment
2016 2017
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Children’s art course — — — — — Xue Ling Tutorial School Wall paintings — — — — — Taiflex Scientific Company
Awards, Exhibitions and Curation
2014
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Hsing Tian Temple award winner
2016
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Professor Tai Prize Department exhibition
2014 2017 2017 2017 2017 2018 2018 2019
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Selected for Exchange exhibition Coordinator of class exhibition
Artistic Design of Art Festival in NKNU
Vice Coordinator of Graduation exhibition Exhibition in Art Taipei
The Graduation exhibition "Run,Passion,Run"
Installation of Drawings: British Pavilion at the Venice Biennale
for Architecture
"Watch This Space"
Skill Check Skill
Painting /Drawing
Adobe
Photoshop
Adobe Illustrator
Research
How good am I currently?
How could i improve?
I am familiar with Painting because of my Fine Art background. My previous graduation project was mixed material, which included When I start to use digital to be my main oil pastel, acrylic, and pencil, so I technique, I seldom use painting to usually painted in my BA course. complete my illustrations. The only thing Besides, pencil is my favorite I need to improve is to try to do more material, and I love to combine multiform skills and do the adventurous with water-based material to make experiments on exploring new techniques. the elegant texture. Also, I do some experiment on drawing like paint on ceramics and do collage on diversity materials. After the Folio Society competition, my skills became I think what I need is to strengthen the inbetter and better. I can finish depth skills, such as the adjustments of whole images with Photoshop and image, shortcut key, and arrangement of use the texture effects and brushes patterns. really well. I used to use AI to complete my works. However, I started to practice PS, and I full in love with Although I did many works by AI, the only digital drawing. The textures in tools I used is image tracing. PS are so amazing, and when I do I want to create the illustration entirely by the poster design, I will use AI to AI, so I need to learn direction handles well format my text. So I can handle to complete the professional AI works. two software and combine them to get excellent outcomes. As an MA student, the research is necessary for my project. I used library sources well in this unit, and The language is my biggest problem. I also talked to the librarian to ask Sometimes I cannot understand the for help about the reference and content for the first time, I need to read recommendation of books. twice to understand. That problem wastes Besides, I start to use the index to much time so that I need to spend more search the information quickly and time to finish my project. precise.
The length of the presentation is too short. I can complete a clear structure I need to lengthen my time because the and format. My pronouncement next presentation of MP2 is 20 minutes. Presentation i s b e t t e r t h a n b e f o r e . T h e That will be a big challenge for me. The vocabularies I used are more only thing I can do is add more content professional and precise. and describe more details of my works.
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Skill
How good am I currently?
How could i improve?
Because of building my website To contact agencies is my next step. I have in this unit, I start having some not contacted any companies and agencies contacts from other illustrators. now, so that should be a significant I usually use IG to contact them. improvement in the next unit. I can share my works with them easily, and they would post my Social works on their social media. Also, I attended massive illustration events such as Bologna fair to collect contact information and exchange my business card to them. I realized the patten’s arrangement The content behind decorative patterns is so I can design the simple patterns what I need to enrich. Creating dynamic for packagings and fabric. Also, and playful patter n designs with my Pattern design I am working on my tile projects, illustration skills is the aim of my future which include pattern design so I projects. can develop my own patterns. In this unit, I built my website Online shop and the format of my website and turned my IG account to be are two aim to do in the next unit. To commercial as well. After I built a engage my selling of tiles, I need to build website and commercial account, an online shop to promote my products. Promotional the feedback from my audiences I do not feel familiar with Weebly, so the are getting more and more. It is a website can’t be flexible to format. The great start to engage my business. data of web viewers don’t increase so much, so I need to find a way to raise my exposure rate. I can format the publication like I lack the experience of the printing magazine, portfolio, book. I had process. How to set the file for printing and published my Indesign works on how to the contact with printery are my Adobe Issuu. Well, use the necessary skills weakness. Indesign and learn from successful graphic works, I can complete my own publication.
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Professional contact
01. Competition
In this uni, I entered the Carmelite prize and So young magazine competition to challenge myself to complete the works in a limited time; that is why I keep joining the competitions. Also, I involved in this industry to meet more illustrators and collected much information from the competitions.
02.�GOT ART�
I am so lucky to take part in this event. I sold my merchandise in Social Tonic which is a pub in the town centre. I sold my zines, stickers and patches and many of my friends come to support my products. I love this event which provided a small area to exhibit amazing works from different students in AUB so I can meet other students not only the illustration’s students.
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The poster of Got Art
Two designs of patch as my products
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03. Bologna children’s book fair
In this massive event I got a lot of information from illustrators and publishers. Not only I got from them, but also I gave them my contact details. It had many large creator’s walls in the fair, illustrators can put their contact details on and publishers can find some potential talented illustrators to contact. Here are the posters and business cards I collected, 01. Eunyoung Oh IG: @lysel_9 02. Sara Quijano s. Web: saraquijanos.com 03. Elina Sildre Web: www.elinasildre.com 04. Anna Ring Web: anna-ring.com 05. Sarah Foster Web: sarahfosterillustration.com 06. VamĂlle Web: www.vamille.com 07Naomi Nakajima Web: naomisan.net 08. Didzis Upens Web: www.behance.net/didthis 09. Joonas Sildre Web: joonassildre.tumblr.com
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-The posters I collected in fair
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Professional practice 01.Promoting of Instagram
After Octavia’s lecture, I transferred my illustration account into the business account, which has insights to analyze the interaction and audience of your account. Here are several periods that shows the data. Interactions What are the interactions? This set of insight measures the actions that people take when they engage with my account. 17 April - 23 April (Quantity of Interactions:53) Key Change: 21 April has an increase because I posted my works of the Carmelite prize, and it increases steadily until Tuesday. I also changed my portfolio photon this day. 22 April - 28 April (Quantity of Interactions:106) Key change: 27 April I posted my serial tile design, and it has a dramatically rise to about 25 people and keep rising to 37 people on Sunday. 27 April - 3 May (Quantity of Interactions:133) After the last tile posts, my data on interaction keeps steady. In this week, my interaction has 133 people, which is an improvement. Audience(Locations, age range, and gender) 89% of my audience comes from Taiwan, especially coming from my home town, Kaohsiung. The other 11% are from Bournemouth. Furthermore, the age range of the audience focuses on 18-24 years old, which means my audience is in my generation. Besides, most of my audience is women, approximately 79%.
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17 April - 23 April
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22 April - 28 April
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27 April - 3 May
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Conclusion:
Many posts can increase the expose rate and rise the interaction, but one post only can maintain the interaction 2~3 days only. Also, the best period of the day to post is 3 p.m ~5 p.m. After I used the business account, I start to consider which type of works can attract more audience and find a balance between me and the audiences. Also, I learned the composition of the portfolio and the tactics of management from successful Instagramers and added more information which includes the link of my website and AUB account in my bio which is the first place people can meet me. Besides, I have not paid for the promotion on Instagram, and I plan to promote one post, which can catch more people’s attention. I had seen Tim promote his zine on IG and it showed a sound effect and got a high rate of exposure.
Instagram: https://www.instagram.com/sophiasartworks/
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02.website
Before I went to Bologna fair, I created my website and uploaded my portfolio. I used the Weebly, which is friendly use. I analyzed the backstage of my website, the unique visits about 118 per month and pages visits 296 per month. The total rate is not amazing, but the daily visits rate increases slightly. I continue to improve some function like the online shop or the descriptions for each image. After I produce some merchandise, I plan to create an online shop to collect some customers and start my freelance career.
www.sophiaji.co.uk
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03.portfolio and postcard
I prepared little portfolios and postcards for Bologna. Portfolio: Although I did many traditional drawings in the last uni, I chose all of my digital works in my portfolio. The portfolio includes both traditional and digital works to represent diversity techniques. I also showed the narrative and commercial illustration to fit different publishers and agencies. Postcard: Risograph is effective well in many copies, so it is suitable for printing the posters, zines, and postcards. I printed in red and light blue, which are very well matched. The only problem is that ink blots easily with sweaty palms.
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My Experience
Artist /Illustrator Event Type: Artist research Name: Laura Carlin Description: Laura is an illustrator and ceramicist who base in London. Her solo exhibition was an epic works in 2016; the theme is about the history of London which represented by a 650 tile mural. According to Heart agency (n.d), “Ceramics and her personal work provide Laura with the opportunity to explore themes in history, battles, warfare, and iconography that she has been fascinated with since childhood”. The influence of childhood is similar to Polly Fern who also creates the ceramics and potteries which based on her children’s experience and she transformed the intangible feelings into the unique visual language. Not only the ceramics but also the children’s books, Laura shows the childlike naivety and elegant elements through the color palettes, composition, and characters. “A world of your own” (2014) is an inspired book for children and adults. The main idea of this book is to convey the audience that you do not see things in the same way as everyone else. To define what kinds of artworks are right or wrong makes children insecure. Laura used many drawing methods to emphasize the importance of creation and the freedom of choosing diversity art styles which cannot be judged. Furthermore, Laura completed visuals first and also tested the different versions of the same spread at the same time. She mentioned that this method could help her to stop the pressure of thinking about the perfect outcomes. Quotes: “Like so many illustration students, I felt pressured/obsessed by the need to find my own ‘style.’ It took me a while to realize that it’s not about a style, but working out what and how you want to communicate through your images”. 22
Reflections Laura’s works reminded me that the illustrator could also represent fine art. “The history of London” is one of my favorite, the exquisite use of the story panel which represented on tiles is impressive. When I designed the pattern of tiles, I was limited by the square, and my images couldn't connect smooth. However, Laura used small continuous elements to structure the big picture and the stories can be read separately or together. Furthermore, the playful competition let Laura’s tiles be loose but really strong. To be flexible and keep the focus on the big picture rather than the details is what I need to learn from Laura.
London Life Laura Carlin
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-Luara Carlin's worksCeramic plates( houses/ swimming) Sketches of A World Of Your Own File your life away!
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-Luara Carlin's children's books and book cover design F1:Le Grand Meaulnes by Alain Fournier(book cover design) F2:The promise F3:King of the sky F4:One image of "The promise"
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F1 F3
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Event Type: Artist research Name:Polly Fern Description: Fern is an artist and ceramicist who base in Norwich, most of her works connect with the histories, childhood stories and narrative of life style. Childlike refine patterns and the elegant color palette make her works to be unique and stand out. According to Fern (2015), her inspirations are from the locals and the everyday stories. She spent her childhood in Norfolk countryside so she had a series pottery of the farm theme. Most of her work used the vintage color and use the classic layout which are influenced by the antique ceramics. Different with the old style, Fern strong her unique visual language to transferred the antique into modern illustration. Also, to keep the steady high quality shows the commercial trend and the family friendly themes satisfied with most of customers. Quotes:”My work is inspired and informed by traditional ceramic shapes, however my pieces are built using slabs of clay and then lyrically decorated, resulting in a modern take on traditional vessels”. Reflections: The tile series is one of my favorite, Fern let each piece of tile to be a panel of the narrative, and diversity shapes can represent or implied the different space, also, they are both fascinating when it assemble together or separated. Each artwork is a continuation of one big piece, this concept leaves room for one’s imagination through story telling. My aim is to build more on this idea through further research practice by making prototypes. The collage element be showed in her ceramic works, topiary garden platter, which is similar with the antique photo frame. The combination of traditional and modern style is my works’ aim. However, my works is too save because focussing on the symmetric and tidy composition rather than the interesting random combination. The flexibility of the visual language is what I need to learn and realize in my works.
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Polly Fern 27
Visits Event Type: Trip Date: 3rd-4th Apr Name: Bologna children’s book fair Description: Before this trip, I prepared many things to face my first Bologna illustration fair and couldn’t wait to share my works with illustrators from all over the world. I was very excited because Taiwan does not have such a massive event to promote the value of the illustration industry and I am so glad that I was part of it. The exhibition venue contained a wide range of styles from Asia to Europe. The styles can be recognized by the background and colour tone, images style and themes. For example, the educational significance of Russian illustration stands out; next to the main article, there is a lot of small panels with bonus knowledge which relate to the main content. Also, the illustrators have a colourful collage style which connects words in these educational books. The advantage of Russian style is that it is suitable for 5-8 year old children to get information at once and these books can create a wide range of knowledge which can also connect with the school subjects. The drawback is the crowded layout, too much information on one page. If I was a child, I cannot focus on the main article, and I don’t know where I should start. Korean illustrators present varied styles and experimental styles as well. Most of the works show the low-saturation colour and the theme is about human relationship and emotion. In my opinion, the low-saturation is influenced by the high latitude. These kinds of colour I have seen in the UK, but I have never seen them in Taiwan. The theme of human relationship is more like Asian style which describes a lot of family love and human emotion. It is different from the European illustrators who do more exciting themes like animal stories or entertaining experimental books. I bought two books in the exhibition from different countries which are Italy and Poland. The main reason I chose these two books is the style of painting. Their commonality is a strong visual language and riveting texture. E POI is made by Editions Icinori which is founded 28
by Mayumi Otero and Raphael Urwiller. Also, this book was the winner of the Best Children’s Publisher of the year 2017 (BOP). There is no dialogue and text in the whole story and it uses the serial images to represent dynamic scenes. Furthermore, the colour and character design are fascinating. Editions Icinori is involved in risograph; I can see their many previous works were made by risograph and they also used this technique in this children’s book. The end of the book is my favourite part. It is a wall of characters which are represented by using the frames. It is similar to my idea of painting frames in the last unit, but theirs is more refined and delicate. The limited colours, unusual layout and outstanding characters make it successful. The book ‘Kominaiarz/Piekarz’ from Poland has two characters which are a chimney sweeper and a baker. It can be read both from the front and the back. The visual language is clear and amusing, and the storyline is straightforward to let the child understand. The exciting parts are the contrast of colours (red, black, white) and the comical coincidence between the two characters. This book seems silly, but it is real life. For example, I also need to try at least three times to plug the USB into the computer.
E POI Editions Icinori
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Finally, I have some feedback from the Taiwan Pavilion. Honestly, the visual design of the Taiwan Pavilion is gorgeous and elegant, and it also represents the popular young-generation style in Taiwan. Many excellent illustrators involved this massive fair, including my favourite illustrators, Page Tsou, Inca Pan and Teng Yu. It is glad that Page Tsou and Ministry of Culture invited many outstanding illustrators and supported them to share amazing works with the world.
Taiwan pavilion in Bologna fair 30
Besides the positive feelings, I observed some negative side. Support the local illustrators is my concept of maintaining the healthy illustrators’ industry, but it seems that Taiwan Pavilion didn’t realize this concept. Before the fair begins, I contacted a Taiwanese illustrator, Cindy Wume, who was one of my favourite illustrators, and I ask her could I share my portfolio with her and get some feedback. However, when we start the conversation, I felt a little uncomfortable because she was using her phone rather than focus on our conversation. However, Sarah. W had a similar situation. She asked them the question of the publishers’ information, and they didn’t give a proper response and refuse her directly. After we left from the avenue, Sarah and I reviewed today’s experience, both of us expect someday we can exhibit our works in Bologna and when we become someone’s model of illustrator, we should be humble and polite to answer the questions, and even we are not the teacher but we are also the role of education. Honestly, this fair didn’t give me an amazing experience as I thought, not only the Taiwan Pavilion, some of the publishers were too commercial and not friendly to the freshman like us. To sum up, visiting the Bologna fair was my dream and I am so glad I can collect so many illustrators information and works from there. 01
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01.Post card 02. Business card 03. Little portfolio 04. Riso zine
03 04 My preparation for Cindy Wume 31
The dialogue with Cindy:
Cindy: Your portfolio was not consistent, there are too many different styles that I cannot define your style. A successful illustrator should have a standout and distinctive style, you should develop your unique style. I: This portfolio aims to represent diversity style to show my wide range of styles and also prove I can satisfy with different customers group. Cindy: Furthermore, the composition is an important thing you need to consider. Most of your images are in square and in a similar size, maybe you can do some experiments on a different scale. If I were you, I will try the more interesting layout to vivid my portfolio, use the spread to make your characters to be more amused. I: Yes, that is a big problem for me and I will try the new methods to do better! Still learning and each new method needs time to practice maturely. Thank you so much! Could I ask you about the agency of illustrator? Could you give me some advice on this field? Cindy: My agency is Pickled Ink Agency, they found me at my graduate exhibition. For me, the agency can help you to contact customs and handle the contract, I don’t need to worry about the cases. But the quantity of case is not enough, I do some illustration lecture and workshop as well. Besides, I recommend you to think twice if you want to find the famous agency. Because they have tons of illustrators, it is hard to get so many cases. I: oh I see, I will consider that. However, I still want to find a reputable agency I like. I know what you said may happen, but I want to give a chance to prove myself even I cannot get so many cases. Three years ago, I saw the Taiwanese illustrators include Cindy attended the Bologna exhibition, and they were exploring the new world and bring back to Taiwan. Because of the inspiration, I decided to be one of them and start to involve this new field. After three years, I am in the UK studying my MA Illustration course and first time to show them my works to get some feedback. Time is amazing! So glad I grow up enough to chase my dream. I don’t know where am I after three years, but it is so exciting to expect future which I am creating.
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My preparation for BCBF
01. Little portfolios - 40 copies 02. Business card - 40 copies 03. Post card - 200 copies 04. Zine - 10 copies 05. The list of the publishers and agency 06. The stimulant conversation with publishers and agency I also prepared the dialogues which will be used in the fair. A.How can I start a conversation with people? Hi! / Good morning/ Afternoon! [if busy] Sorry to bother you… I was wondering if I could talk to you fora few minutes, if you have time? [I’m approaching you because] I really like the style of the illustrators you represent I’m Sophia. [nice to meet you - handshake] I’m doing my MA at an arts university in England. I was wondering if I could show you my portfolio to get some advice or feedback on the direction of my work/practice. I know your agency is/does…(the points I love)…so your advice would be really appreciated. As you can see, my portfolio includes both commercial and children books style. I am wondering which direction to take. I combine traditional and digital techniques: I use pencil drawings and color them digitally. B. How can I make the great ending? By the way, you’re welcome to keep this portfolio - my contact details are here on the front if you are ever interested in commissioning me.And you can take one my zines as well as (a souvenir) as another example of my work. Do you have a business card I could take away? Sorry, could I take your contact details, please? Could you write/jot them down for me? Thanksever so much for your time. It was really nice chatting to you. It was really nice to meet you. I’ll be in touch. I really appreciate your advice/feedback. [handshake] Bye! Have a good/nice day! Enjoy the exhibition! 34
C. When someone refused my works or they don’t like, how can I persuade them to take a look? [If super busy and not interested] - could I just leave a postcard with you and I’ll pop/come back later. When might be a good time to pop/ come back? D. The questions agencies might ask me… Have you done any professional work before? Any commissions? How long have you been drawing? How long did this take to draw?
Su in Italy / Digital / 2019
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Event Type: Trip Date: 11th- 15th Feb Name: Lisbon trip Description: This was an incredible journey, and I love the exoticism of Portugal. The free time was the best part that we can decide where we can visit and explore slowly and deeply. The first day, we had the artist visit, we visit the LX Factory which is the area where contains many artist studios and the favorite spot for the young generation in local. Madalena Bastos is the artist we visited; her works are playful and dynamic, blending traditional and digital to create vivid color images. The visitors usually come to her studio to see the working process or purchase the merchandise, so this space is the combination of shop and studio where is multi-function. It is a healthy industry construction which maintains the education place for the new illustrations. Bastos mentioned that the diversity artists gather together in LX Factory and she can get much information from here and not only the knowledge of illustration. In Taiwan, we have Pier-2 Art Center where has many galleries and performance spaces provide for art agency, performer and art students. However, LX Factory is more friendly use than Pier-2 Art center, only the group or high-classed exhibition have bigger chance to apply the place in Pier-2 Art center. It means that the freelancers or single studios would not have the exhibition and chance to share their works to more people. It is not healthy when it only has high- level art; the diversity of art is the most important to train people’s taste and evoke people’s aesthetic. Next distention is the SUMP where were we met Planeta Tangerina, which is the book publisher and design agency. It is so excited to appreciate tons of posters in SUMP, using the innovative way to produce the playful layout and visual language is what I admire. The main style of the poster in SUMP is simple and clear. The itinerary for the next three days is all about the attraction. My favorite is Alfama where have many characteristic houses and alleys. I can't convey my feeling through the words, Alfama is a fantastic place and I felt tranquil and satisfied. I took many photos to record the scene.
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SUMP / Digital / 2019
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The wall in Lisbon / Digital / 2019 38
Alfama / Digital / 2019 39
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Sketches / Coloured pencil / 2019
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Lectures
Event Type: Lecture Date: 26th Apr Lecturer: Lucy Volpin Reference: Description: Lucy had published two picture books, and she has been an illustrator for seven years since she graduated. Shaun Tan and Jon Klassen are her favorite illustrators, and she realized that she usually appreciates the works which are different from her works. According to Lucy, "you do not always suit what you like". That means people are multifaceted; we always learn from other people and try to improve and reflect yourself. Furthermore, Lucy admires, who has the perfect and exquisite sketchbooks, she always has the untidy sketch, but she said:" Each creative process is different and that is ok". A student asked her: Is that normal if sometimes I hate my works? Lucy said that it is normal and she will turn off the social media when she has this bad mood or when she during the creative process. Social media is useful to promote your works and to learn new things. However, it may let you compare with other artists rather than focus on your works. "children's books are more difficult to create than books for adults". Lucy shared some key points to help us with publishing children's book. 01. Do I need an agent? L: Because I just had agency in the last six months, I am not familiar with the agent so much. However, I think you don't need an agency to publish. Before I have an agency, I already published two picture books by myself. I visited the traditional publisher and decided all the details, and I believe you can publish by yourself if you don't have agency. 02. When should I submit my works to the publisher? L: Do not submit in April, October, and March. These three months are the busiest period for publishers. Because the Bologna illustration fair is on April, London book fair is on March, and LIBER international book fair is in October. Finally, Lucy shared the process of her children's book Crocodile. She said the colour of the first version was in earthy, but the Bright 48
publisher recommended her to change the colour into higher saturation, which can catch children's eyes easily. Lucy delighted with the outcome, and she had involved in this project for two years. However, it is a long journey but enriches her spirit. Quotes: "Children's books are more difficult to create than books for adults." "You don't always suit what you like" "Keep your mind and body healthy" Images: Reflection: I know children's books are more complicated than books for an adult, so I have refused to do the children's book. I studied my BA degree in the teacher training school, so I know the importance of education and how deep the influence on children. I am afraid to involve education if I am not good enough, so I came here to learn illustration and try to be the freelancer and temporarily give up my education qualifications. It is not a positive way to evade everything about education because of my fear, but I cannot face my fear at the moment. I guess my fear comes from my self-abasement. Sometimes I hate my works and denied myself and I debate that if I am not mature enough, how can I bring happiness and educational significance to children? I agree with Lucy's concept, and she always brings me positive feelings and attitude. Turn off social media is an excellent way to avoid the awful mood. I heard an aspect from my teacher, the reason why I don't like my works is I always narrow my sight, so I only focus on some unimportant details instead of appreciating the big picture. After this lecture, I realized my weakness side of my soul and get useful feedback to help me in my future.
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Videos
Event Type: Video Published date: 3 December 2018 Name: 6 ways I make money as an illustrator Illustrator: Holly Exley Reference: Description: Holly mentioned six way to make money as a freelancer. she have a few different ways that she bring the incomes, and she thinks those are important things to try as a freelancer. Because the unstable incomes resources, freelancer better have other options to keep income coming in. 01. Client works The biggest way that a freelance illustrator can make money is through client works which is the biggest chunk of her income in a year. Magazine, brands, publisher and small or large businesses are her main source of clients. Positive: 01. Working with clients has the potential to be quite a high earner. especially if you work with large clients who have a much bigger budget. 02. You can learn a lot by speaking with different clients and understanding what they would like from working with you. 03. It is a great way to build your portfolio and attract new clients. Negative: 01. The fast turnaround and the unpredictability. You might not have work for a couple of weeks and then suddenly you are presented with a huge project which means you need to reorganize your entire schedule or you have to work weekends evenings and drop everything to client works. 02. The problem of chasing payments If the payments still not in your account and you have to speak to the accounts department and forward your invoice. 02. ETSY shop Exley have had ETSY shop since 2011 but it hasn’t always been a reliable source of income. 50
Positive: 01. Once you’ve got everything in your shop and organized it can be a really time effective way to make money. 02. It is rewarding to interact with customers and to hear from happy customers. 03. The freedom to create your own project and product Negative: 01. The responsibility that comes with shipping orders. It is your responsibility to ship your products but then the responsibility is put on the delivery service and the Postal service. The situation you might have is your orders have been lost or they’ve been damaged or they’ve been returned to me for some unknown reasons. It is powerless sometimes because it is not your fault but you still let your customers down. 02. You need to have money in your bank account in order to make money 03. Private commissions Private commission means the customer come to you for a painting to put in their home so not for public use. Positive: 01. No negotiations on fees or contracts Because you have the listing in my ETSY shop there is the price and you have all the terms about how long it’s going to take me to do. Negative: 01.The responsibility of sending an original piece of artwork in the post and usually across the world. 04. Content creation Content creation likes this video on Youtube. Positive: 01. Having an audience I can connect with because being an illustrator is a very lonely profession 02. You can learning new skills about how to edit videos. Negative: 01. The amount of time you have to put in to having a Youtube channel. 05. Sponsored content Occasionally Exley is contacted by brands and they want to work 51
together and I’ll make a video for them mentioning their product. Positive: 01. You can learn new skill and what particular clients might want from me and how to make a successful sponsored content 02. It is good to connect with your clients again in a different way. 06. Illustration fair Positive: 01. You can meet new people and other illustrators and it is only place that you get to meet customers face to face. Negative: 01. If you live far away from anywhere that would have an illustration fair, so you have to travel and pay for travel and accommodation and stall hire. Images: Reflections: Exley’s advices and suggestions are really useful and sincere. To be a freelance illustrator is my future career direction, but it is not much and clear information in Taiwan. Except engaging the Youtube channel, I can explore the other four ways. However, I had experiences of having commissions from both public and private clients in Taiwan. The most clients are really nice and they respect your profession, but some clients are a little tricky. I need to understand what they want and try to find a balance between their requirements and my professional opinions. As Exley mentioned she can learn from customs a lot of things but sometimes you might feel powerless if the situation is not what you thought. Furthermore, the online shop is what I want to engage in when I produce enough products. Actually, I prefer to hire a stand to sell my works and face to face with my customs. I can get the feedbacks from audiences directly and I also can share ideas with them. However, to expand the range of my customs, the online shop would be a good tool to explore new audience.
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Competition
Event Type: competition Name: The Carmelite prize Description: The aim that I entered the Carmelite prize is to test my ability and make sure my aspiration. The process was not easy and many details needed to be considered. I read the text of the story first and tried to imagine the images and then I focused on the background setting and character designs. Because in the story, “Zebracadabra”, there are many animal characters, and the story is based on the magical world. I chose Africa to be my story background. I started with the research of species in Madagascar where has many endemic species. The baobab tree, traveler’s palm, and dragon tree are the major plants in my scene. The main character is a naughty magician who loves to use his magical ability to spell on other animals, so I designed a children’s appearance for the main character. When I decided all the elements for the story, I started to draw the layout and arrange the text and images. This stage was the most difficult for me, but I enjoyed it. When I designed the full illustration in a spread, it was hard to locate my text, and I also needed to consider the length of the text to adjust my layout. Another challenge was the animal’s design. I don’t usually draw animals and the animals in this story have a humanistic personality, so let animals’ gesture imitate human beings was a tricky process for me. Furthermore, I used two different color palettes to separate the characters and background. The high saturation palette was for main characters who lead the direction of visual. The low saturation palette was for the background which played the second rule in whole images. I used different saturation of colors to strong the perspective. This experience means a lot to me. It was incredible that I could finish four final images and the other eleven roughs for children’s book. I realized that to illustrate the books for children is always more complicated than illustrate the books for adult. However, after finished this work, I found that I don’t hate to do children’s book, but I need time to enrich myself and have enough abilities to complete a book which can inspire and educate children. 54
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Gestures of Zebracadabra
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The plants & animals
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Event Type: Competition Name: So young magazine Description: It is my first time to join the commercial competition. The deadline was close when I decided to submit my works, so I challenged myself to complete in limited time. This situation is quite similar to the reality. Many experienced illustrators said some magazines or brands would ask you to submit works within one day. The brief is to illustrate a song or members of one band, in any style I prefer. I chose “The beach boys” to be my content. To illustrate precisely, I started by searching their songs, images, and background to identify my style and color palettes. My favorite song is “Surfin’ U.S.A” (1963), which represented the spirit of surf rock. The relaxed and lively melody inspired me to use a high saturation color. The birthplace of surf rock, Southern California, where is a dreamlike vacation place have Palm trees, fantastic sunset, gorgeous seaboard, and dense colors in my imagination. Also, I reorganized the images from their album's cover to create their gesture. In this practice, I used many textures on different layers to make illustrations more refine. I really satisfied with my outcome, and I can feel that I keep improving in each practice. It has a big difference between my old works and new works, my new works have more details and the composition is focused and strong.
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Tutorials
Event Type: Tutorial Date: 13th Mar Tutor: Lisa Richardson & Richard 62
Description: The key point: 01. Good use of competition 02. V&A submission has to jump out as a thumbnail. 03. Good mix of media and color pencils 04. Try and more complicated images 05. Think about how to make my portfolio more consistent 06. Having the right vehicle to bring my style together 07. Try to create my own product and packaging 08. I could make a map with my trips experience Reflections I showed the works of The Carmelite prize and several commercial illustrations to tutors. I enjoyed the process of doing the competition, and I learned o a lot within a short time. However, I never think about the tactics for submissions, and I looked so unprofessional and did not go in the right direction in the contemporary illustration’s world. Doing my favorite topic and techniques is what I focused on. In Taiwan, many fine artists do the investigation of trend and target on the market. This phenomenon is good for identifying what kinds of arts will be needed in the market. The disadvantage is that the types of works will be boring and too commercial; diversity works maintain the healthy art world with many fresh ideas. I prefer to appreciate various styles rather than similar works. Also, I agreed with the submissions have to jump out as a thumbnail. That is the concept of the importance of the big picture which I consider carefully when I am creating. Maybe that is the reason I make my images so simple and not complicated. It is a big challenge for me to create an illustration with both clear visual langue and sophisticated layout. About the consistent portfolio, Richard recommended me to identify my style and find the future direction of my illustration. It is similar advice I got from Bologna fair so consistent styles would be helpful for me to contact agencies and target audience easily. Besides, the idea of doing my own products or packaging designs is in my plan. In this unit, I had lots of works to do, and I need to learn step by step. For me, the MA course is a bridge to connect with junior Sophia and professional Sophia. What I learned in AUB, I must use in my future career. However, I just need time to observe and practice. I am not a smart student, but I am a hard-working student. 63
Event Type: Tutorial Date:1st May Tutor: Lisa Richardson Description: This tutorial helped my project a lot. I booked this tutorial after I came through the down period, and I already did the new project, which is about tile designs. 64
Here are the key points: 01. What can you do with your specific illustration skills in terms of tile design? 02. Clarify what it is your work to communicate. 03. How do I want the viewer to feel? 04. It is important to understand the symbolism. 05. Considerate on the development of my visual language. Recommendatory researches: 01. Charlotte Mei (Ceramicist / Illustrator) Web: https://www.charlottemei.com 02. Paul Blow(Illustrator)(Good to learn his color palette) Web:http://www.paulblow.com 03. Laura Carlin (Ceramicist / Illustrator) Web:http://www.lauracarlin.com 04. Delft tiles (A significant style in tile’s world) Reflections: My biggest weakness is too fearful to do adventurous works. After this tutorial, I reviewed the main aim of the MA course. I know I am the person who loves to simplify thinkings and feel happiness from those pure and straightforward ideas. However, I realized that deepening thinking is not only a power to push ahead with my project and also the way to enrich my life. Fortunately, I found the connection between tile and me. As I said in the paragraph of the main project, because of my childhood memory, tiles contain the spirits of joy and creation, which I want to bring to my audiences as well. I want my viewer can feel joy and pure feelings from my works. Rather than the critic thinkings, I prefer to convey happiness and innocent elements in my works. Because life is a struggle for most of the people sometimes, I hope my audiences could be relaxing when they see my works. Also, I agree that creating works cannot without the content, but it has an exception. The random sketches which I draw a lot and they do not have content and concept; the sketch is a daily habit, and it is not relaxing if I have to start with a concept or a brief. In addition, the symbolistic images are common in old Taiwanese tiles. To develop symbolism is in my project as well. I drew the pomegranate in my basic pattern, which means more children, jujube is usually be sent as a gift in wedding and to wish couples could have children soon. However, I didn’t put symbolistic elements in my final project; the landscape and characters are what I focus on puzzle tiles. 65
My Works
Project
Tile's pattern design 01.Brief
Last time I mentioned that the direction of MP1 is commercial type. However, after I investigated the commercial artists and works and debated what I really wanted, I realized that I didn’t want to limit myself to focusing on commercial illustration. Because of my hesitancy, I started to review my previous portfolio and tried to figure out what my works’ common characteristics were. The colour, pattern and decorative objects are the elements I usually used in my works and I can use them really well, so I decided to do the tile design which can include gorgeous color of glaze, repeated pattern and decorative use. Furthermore, the other reason I chose tile is the influence from my family. My mother is an interior designer and I usually accompanied her to choose the patterns of wallpaper, tiles, carpet and color of paint when I was child. That time cultivated in me a sensitivity of vivid color and refined ornamentals. Developing the experimental patterns is the aim of MP1. From classic to modern patterns with narrative, I learned the geometric permutation from the old style and used it to create the new style which represents the illustration spirit. The purpose of this project is to promote the tile design in Taiwan. The tile designer is an uncommon job in Taiwan. However, Taiwan had the trend of using tiles between 1915~1935 and in that period Taiwan developed its own unique style and learned from Japan. I plan to bring the new tile design to evoke Taiwanese appreciation of tiles.
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The previous commercial works / Digital /2019
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02. Research
Tile design is the new area for me, to learn the history of tiles is my first step. I chose three significant periods which include Delft tile (16th), Victorian tile (18th) and Carter & Co. (19th) to be my major research. Most impression of Delft tiles must be in blue and white color. However, according to Austwick (1980, p17), “The early Dutch tiles were extremely colorful and much influenced by the Spanish reliance on geometric form”. Because of tiring of the restraints, the Netherlands developed the new methods which learnt from China. Baker(2015) mentions, “Most of the tiles are colored blue to imitate the style of Chinese porcelain, which had become popular as a result of Dutch trade with China”. Furthermore, most of the content of Delftware was traditional characteristic styles. Baker (2015) states that “The paintings depicted on the tiles are rudimentary compared to modern day designs, yet elegant in their simplicity”. Also, most of tiles were functional use in this period. According to Memory of the Netherlands(n.d), Tiles are heat-proof and easy to clean, which makes them highly suitable as a decoration for the rear wall of a fireplace. It was difficult to heat houses at the time, so tiles were also ideal for covering the damp walls. The decorated Delft tiles were introduce to England in about 1630. however, because of the difference materials between Netherlands and England, English Delft took about a century to produce successfully and quality. Austwick (1980, p17) mentions that “The relatively soft sandy body of Dutch tiles could easily be ground to fit into awkward places, whereas English tiles were hard and could only be shaped with difficultly”. At about this time some successful potters brought the techniques and moved from London to Liverpool, Bristol, Glasgow. Baker(2015) pointed out that As demand grew, the production of Delft tiles ceased to take the form of a specialized enterprise between master and apprentice, but instead was manufactured in factories, the most famous of which were based in Bristol and Liverpool. It means the tile was not a luxury item and remained accessible to most of population. Geometric and encaustic tiles which can be traced back to the Middle Ages appeared again in Victorian era. Herbert Minton who interested in the lost art of inlaid resurged the encaustic tiles. The method of 70
producing encaustic tile is totally different with Delft tiles’. According to Ceramic tiles distributors(CTD)(2018), “…they were made by layering different colours of clay, but commanded a considerable price tag only afforded by the rich, meaning a more cost-effective means of production was needed”. So Minton produced single color instead of multiple colors, also, because of the Industrial Revolution, the process became more economical. Poole in Dorset was excellent clay bed and also had boats and rails to brought other raw materials easily. In the story of tile manufacture in Poole, we have four significant people who were involving the tile industry in 1800s. John Ridgway who opened the Architectural Pottery Co. with his associates. This company focus on working with the architects. William De Morgan was a well known tile designer who used tons of blank tiles to turn his experimental work into lustre glazes. T.W.Walker who was the chief technician of the Architectural Pottery Co. left to established his own company. However, his works were colorful but ordinary and his company was soon in serious financial crisis. Jesse Carter bought Walker’s company and started to engage the tile business. According to Austwick(1980, p73), “…the company began to produce its famous tile murals in public houses, hotels and large public buildings”.
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03. Preparation
To practice step by step, I started with the basic patterns and tried to developed my new patterns. I decided to use digital drawing combined with hand drawing to be my main technique of practice. The resource in library played the important rule in preparation stage. Also, I prepared the real blank ceramic plate to simulate the final outcomes. Here is my preparation list: Books 01.Grafton, Carol Belanger. Old English Tile Designs - for Artists and Crafts People, 1985. This book helped me to learn the rule of pattern’s arrangement and style within the Victorian era. Patterns in this book are all black and white which are easy to reuse and edit in computer. 02. Austwick, J., and B. Austwick. Decorated Tile: An Illustrated History of English Tile-Making and Design, 1980. This book helped me on the history of tiles. Learning knowledge from history is important to my future developments. History is a good teacher who can show mw the right path to the success, also I can base on basic principles and combine with contemporary concepts to create the new works. Watercolour, acrylic, PVC and ceramic plate These materials helped me to work on the test of diversity colour palettes. Photoshop and graphics tablet Most of my works are finished by Photoshop after the initial ideas came out. The direction of the tile design: My initial ideas is to do the old styles digitally to recreate the old Taiwanese tiles.
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04. Outcomes
The basic patterns:
-Taiwanese food series-
In this stage, I focus on learning the rules of pattern’s arrangement. The reflection, rotation, and translation are the main rules I used in my tiles. According to the exhibition (2019), Dimensions - The mathematics of symmetry and space, in the Ashmolean Museum, Translation: If a tile looks the same after the pattern has been shifted along, then it has translational symmetry. Rotation: If a shape looks the same after it has been rotated a certain degree, it has rotational symmetry. Reflection: A 2D shape has reflectional symmetry if you can draw a line which acts as a mirror so that half the shape is the reflection of the other half. Also, The theme I chose all based on Taiwan. It included indigenous species and common fruits. The fruit series: This was my first test in the tile practice. I was so glad for starting a new project which combined with my favorite things. I chose common Taiwanese fruits which are in simple shapes to combine with geometric Victorian tiles. Because I was fascinated by old Taiwanese tiles which have the diversity of fruits and plants to symbolize or convey the spirits of Taiwanese culture, I wanted to imitate the old style from my country and experience the making process of tile design. The color I used is reddish brown which is the color of soil and native; also the color reflects the rural lifestyle 80 years ago in Taiwan.
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-Taiwanese pheasant-
This pattern was inspired to banknote which represent many indigenous species which includes blackberry lily, creeping liriope, Taiwanese pheasant and Taiwan jewel orchid. To arrange them in one pattern is a complicated process. The difficulty is the way to simplify the complex shape, and I also need to recolor them to make the visual more consistent.
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Narrative patterns:
In this practice, I tried to make my patterns become a fusion of old style and new style. I followed the old style of arrangement between 1918-1935. My characters are the elements of a new style which vivified my tiles. C.F.A Voysey is a pattern designer who is my muse to my patterns. According to V&A(n.d), “The resulting objects - simple yet elegant, often enhanced by beautiful and symbolic decoration - were considered revolutionary in their time and continue to enchant audiences today�. I love this pattern (1918) so much, the mild color tone and balance composition are so charming. He used simplified shapes to represent the dynamic leopard in an exotic scene. I realized that why Voysey’s color can be consistent and balanced. The secret is on his sketch, he used five basic colors and mixed them to create four more colors, so he has nine colors as a complex color palette but harmonious. This method is similar to Risograph, which can overlay four colors to create a smooth color level.
C.F.A Voysey 1918 76
C . F. A V o y s e y ' s colour palette
C.F.A Voysey
My sketch of Voysey's pattern 77
I based on Voysey’s pattern to develop a new pattern. I attempted to represent the contemporary illustration by digital drawing. Actually, the initial idea is not great enough so I adjusted the type of the plants and the size of characters to make the visual language clearer.
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Initial sketches / Watercolour
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The Delft tile also inspired me a lot. I chose the color palette from Delft tile and used the geometric patterns which came from Victorian tiles and also combined with my contemporary characters. I made my character as a square which can balance the circle around him so the structure of this pattern is stable. Also, I got much positive feedback of this pattern. One of my feedback is from Sarah.W. She recommended me that I can make this pattern more dynamic by using diversity gestures and combining with the specific elements to convey narrative.
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The ceramic with my characters
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I created these four images which based on the different types of water. I enjoyed the creative process, which was flexible and imaginable. The storyline is about the missing main characters so we can’t find the characters and there are search and rescue in the images. I love to illustrate the story which looks empty, but it has many bonus need to be fund. Furthermore, I used the traditional Chinese concept of three distances in “Ocean" which represented the horizontal distance. It let mountain separate to make the effect of expanding space.
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Ocean
Fog
Cloud
Lake
Ocean
NI Zan's work
Expanding space
Vanishing point
The reality of perspective 83
Puzzle tile:
After the practice of narrative patterns, I was debating the deeper connection between tiles and me. In my childhood memory, tiles contain feelings of playful and relaxing. Because I used to use watercolor to draw on the tile during the bath time, I attempted to bring the spirit of joy and creation in my project. Having the freedom to arrange and expand landscapes is so exciting. I created a forest landscape by five elements and used the other three elements to open a new ocean area. Also, the desert is created by six elements. These are initial sketches and I will complete more details and more landscape to form a massive world. The density of elements in one tile needs to adjust. To avoid a monotonous visual effect, I need to place characters randomly for loose layout and use vivid colours to maintain the playful images. The elements:
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Desert
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Plan of MP2
My final project aims to develop more landscapes and realize my tiles. To expand the themes of puzzle tile, I will focus on researching different landscapes and try to play with vibrant colors and layout. The puzzle tile is flexible, so it is suitable for testing diversity themes with different color palettes and arrangement of perspective.
-My contact list for MP2
01. Home Thrown studio Web: www.homethrownstudio.com 02. Fay Troote Web: faytrooteillustration.com
-Creative ambitions:
01. From naive to refine and professional (Visual language, composition, colour palette, concept) 02. The importance of concept - Creation can’t only be decorative Because tile without content is only for decoration. I don't want my tile to be empty so the content is essential. 03. Make my portfolio more consistent The last unit, we explored varies technics and styles to satisfied with different audiences. However, to be a professional illustrator better have a consistent portfolio to identify my style. 04. Keep my mood positive In this unit, I had more barriers than the last time I had, and I felt too weak to do illustration. That is so horrible when I lost the direction. so the positive attitude is necessary for my life.
-Future Career Aspirations
01.Have a studio or a shop to promote illustration and engage in the selling of tiles 02. Cooperate with other industries to expand the range of usage 89
Methods/Methodology Methods: -Clarifying the subject and starting point of the project I was trying to investigate the options of works which I can explore in this project. How can I decide the practice options of the project? To identify my interests and imagine the outcome of the practice are my main approaches. Having a conversation with tutors or friends and reviewing the artist list are the secondary approaches which are accompanied by major approaches. Also, all decisions would base on the aim of the project and connect with my learning desire. -Investigative processes To have a wild-ranging and integral knowledge base, I took photographies, notes, sketches, and read articles to collect the materials which would be used in my project. Materials include the style of images, color palettes, character designs, and drawing techniques. -Put my ideas and investigative materials into practice I usually use pencil to draw down the initial images and write down several descriptions of works. Also, my primary materials which I collected in the last process play the important rule on completing the first version of works. -Review and debate Whether I complete the successful works or not, I will review the quality of works and debate the deeper connection between works and me. My intuition, which represents the sensibility and the feedbacks from tutors, which represent the rationality, are two factors to influence the direction of adjustment. -Adjust and improve Base on the feedbacks from tutors or peers, I can evaluate myself and decide the better adjustments. I will not accept all feedbacks because everyone is different and we all have different aspects of artworks. That means my work doesn’t live in someone’s concept but is part of 90
me. Because my work is part of me, I know clearly what is my weakness and what I should improve. -Evaluation of the final result When works reach the integral quality, that is the time for evaluation. What is the standard of integral quality? The color palette, composition, details, and content are four elements which I consider about. My esthetic leads the first stage of evaluation but it usually has no problem because I have adjusted before. The second stage of evaluation is the reflection from social media. After I post my works on social media, my audiences will give me some advice or new ideas to my works so I can base on those ideas to improve my old works or start a new project. The third stage of evaluation is to share my works with other illustrators. Because of the same field, they can give me objective and more professional advice. I found the inspiration of learning method is similar to AlphaGO. AlphaGo is a computer program that plays the board game GO. It used the Monte Carlo tree search algorithm to learn. The details of the program are too complicated but I was inspired by the three simple processes of learning from AlphaGO. Stage 1: Do extensive training, both from the computer and human play. Also, learn from the best player and imitate the actives. Stage 2: Start the self-play game Stage 3: Adjust and surpass Those simple rules that I learned from AlphaGo and used in my practice, also the three stages of AlphaGO correlate with my methods. Stage 1 is realized in the last unit, I practice many works and learn from many professional illustrators also imitate their styles to explore my styles. Stage 2 is a debate and review, I debate myself to find a deeper connection with my works and also review the quality of works by myself. Stage 3 is the same as one of my method. To fix problems and improve are necessary to get a better result.
Methodology
The practice-based methodology was chosen for this practice on the exploration of the master’s project 1, which connects with the final project. 91
Bibliography -Anon (2012). Paul Bommer’s Delft Tiles | Spitalfields Life. [online]. Available from: http:// spitalfieldslife.com/2012/04/23/paul-bommers-delft-tiles/ [Accessed 17 May 2019]. -Anon (2015). Laura Carlin: Behind the Scenes of A World of Your Own. Pen and Oink [online]. Available from: https://penandoink.com/2015/04/23/laura-carlin-behind-thescenes-of-a-world-of-your-own/ [Accessed 17 May 2019]. -Anon (2016). Polly Fern’s Ceramics Tell Charming Stories of Everyday People. [online]. Available from: https://www.brwnpaperbag.com/2016/07/28/polly-fern/ [Accessed 19 May 2019]. -Austwick, J. and Austwick, B. (1980). The decorated tile: an illustrated history of English tile-making and design. London. -Birtwell, C. and Lutyens, D. (2011). Celia Birtwell. 1. publ. London: Quadrille Publ. -Baker. C(2015). The Evolution of Dutch Delft Tiles. [online]. Available from:https:// hhscollections.wordpress.com/2015/10/20/the-evolution-of-dutch-delft-tiles/ [Accessed 16 May 2019]. -Brandon-Jones, J., Voysey, C.F.A., Art Gallery and Museum, Wolverhampton Art Gallery and Glasgow City Art Gallery (eds.) (1978). C.F.A. Voysey: architect and designer ; 1857 1941 ; catalogue of an exhibition held at the Art Gallery and Museum, Brighton from July 11 to Sept. 3. 1978; Art Gallery, Wolverhampton from January 8 to February 12.1979; City Art Gallery, Glasgow from April 5 to May 27. 1979. 1. ed. London: Lund Humphries. -Brookshier, K. (2018). Method vs. methodology: understanding the difference [online]. Available from: https://uxdesign.cc/method-vs-methodology-whats-the-difference9cc755c2e69d [Accessed 19 May 2019]. -Ceramic Tile Distributors (2018). Victorian Geometric Floor Tiles History [online]. Available from: https://www.ctdtiles.co.uk/p-7622-victorian-geometric-tiles-history.aspx [Accessed 18 May 2019]. -Coggins. T (2017). A Brief History of Delftware Pottery [online]. Available from: https:// theculturetrip.com/europe/the-netherlands/articles/a-brief-history-of-delftware-pottery/ [Accessed 19 May 2019]. -Grafton, C.B. and Haberly, L. (eds.) (1985). Old English tile designs for artists and craftspeople. Dover pictorial archive series. New York: Dover Publications. -Granada tile (2018). The History of Ceramic Encaustic Tiles [online]. Available from: https://www.granadatile.com/blog/the-history-of-ceramic-encaustic-tiles/ [Accessed 16 May 2019].
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-Hagerman. M (n.d.). An Incredibly Brief History of Delft Tiles [online]. Available from: http://www.madelinehagerman.com/1/post/2016/11/an-incredibly-brief-history-of-delfttiles.html [Accessed 18 May 2019]. -Heart Agency (n.d.). Biography - LAURA CARLIN - Heart Agency [online]. Available from: https://www.heartagency.com/artists/laura-carlin/biography/ [Accessed 17 May 2019]. -Hannula, M., Suoranta, J. and Vadén, T. (2005). Artistic research: theories, methods and practices. Helsinki : Gothenburg, Sweden: Academy of Fine Arts ; University of Gothenburg/Art Monitor. -Hassell. L (2016). Interview with Laura Carlin [online]. Available from:http://inkygoodness. com/features/offset-sheffield-interview-laura-carlin/ [Accessed 17 May 2019]. -Kumar, R. (2012). Research methodology: a step-by-step guide for beginners. 3. ed., reprinted. Los Angeles: Sage Publ. -Memory of the Netherlands (n.d). History of the Dutch tile [online]. Available from:https://www.geheugenvannederland.nl/en/geheugen/pages/collectie/ De+tegelcollectie/Geschiedenis+van+de+Nederlandse+tegel [Accessed 16 May 2019]. -Polly Fern(n.d.). Polly Fern [online]. Available from: https://pollyfern.com/ [Accessed 19 May 2019]. -Quinn. B (2012). Great illuminated alphabet by illustrative duo Icinori [online]. Available from: https://www.itsnicethat.com/articles/icinori [Accessed 16 May 2019]. -The Virtual Museum of Poole Pottery (n.d.). Carters Tiles [online]. Available from: https://www.pooleimages.co.uk/carters-tiles [Accessed 16 May 2019]. -The AOI (n.d.). The AOI - Paul Bommer [online]. Available from: https://theaoi.com/ wia/2006-paul-bommer/ [Accessed 17 May 2019]. -The New Craftsmen (n.d.). Laura Carlin | Illustrator & Ceramicist I The New Craftsmen [online]. Available from: https://www.thenewcraftsmen.com/makers/laura-carlin [Accessed 17 May 2019]. -V&A (n.d.). C.F.A. Voysey - Arts & Crafts Designer [online]. Available from: https://www. vam.ac.uk/shop/c-f-a-voysey-arts-and-crafts-designer-143744.html [Accessed 18 May 2019]. -Wisker, G. (2001). The postgraduate research handbook: succeed with your MA, MPhil, EdD and PhD. Palgrave study guides. Basingstoke: Palgrave.
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