By 22nd March:
Initial ideas for: Personal Presence, identity and considerations for an embryonic 'promo' pack.
Research I have been working on and what my thoughts are:
Task 1:
What should my identity convey about me?
Is it actually important to have an identity as an illustrator?
What could be included in my pack and why?
What am I wanting to achieve by producing promotional items?
What do I want to achieve? How?
Methods I can employ to instigate my Network approach? (how/where/when)
How may it be helpful to me as an emerging talent?
Wednesday 25 February 2015
Tuesday 24 February 2015
Exhibition: Off the Page
After our exhibition we had a discussion in groups about the benefits of creating the showcase of all our work in Colours May Vary and what worked well.
I think we all agreed this was a great experience and helped us grasp the lengths and preparation that go into creating and hosting an exhibition. This is really important information to have for the future. It also helped us to see our work in a professional environment and have an idea of how the work we produce may or may not work for this format and context. I think my work was a bit too small for an exhibition and would look better framed however we were unable to use nails to hang them up so I was unable to do this!
Wednesday 18 February 2015
Exhibition: The Ashmolean: William Blake
When I visited Oxford I went to see the William Blake exhibition at the Ashmolean. It was amazing to see the prints and drawings up close and the details and line work was amazing,
This major exhibition focuses on the extraordinary life and work of William Blake (1757–1827), printmaker, painter and revolutionary poet of the prophetic books. It examines his formation as an artist, apprenticeship as an engraver, and his maturity during the 1790s when he was at the height of his powers as both an artist and revolutionary poet. We also explore his influence on the young artist-printmakers who gathered around him in the last years of his life, including Samuel Palmer, George Richmond and Edward Calvert.
One of the most popular English artists, William Blake is still one of the least understood. His radical politics were reflected in his extraordinary technical innovations, especially in the field of printmaking and the illuminated book. This exhibition brings together more than 90 of Blake’s most celebrated works and offers new insights into his remarkable originality and influence.
At a young age William Blake showed artistic promise and, at the age of 15, was apprenticed to James Basire, the official engraver to the Society of Antiquaries. Under Basire’s tutelage, Blake was sent out to study London’s gothic churches and, most particularly, the monuments and decorations in Westminster Abbey – an experience which was to prove formative for his later style and imagery. The first section of the exhibition looks at Blake’s early work, exemplifying his already unorthodox approach.
After studying at the Antique School of the Royal Academy, Blake opened a print shop with his former apprentice colleague, James Parker, and from this point he began to associate with the leading writers and intellectuals of radical politics such as Mary Wollstonecraft and Thomas Paine, who gathered at the house of publisher, Joseph Johnson. Blake was soon producing prints of startling originality, which anticipate by nearly a century the monotypes made by artists such as Edgar Degas from the 1880s onwards. The exhibition examines Blake’s technical innovations in the creation of his illuminated books, which brought a new sophistication to colour printing. Among the works on display are several of the most extraordinary illuminated books, including The Marriage of Heaven and Hell, and a complete set of the plates fromEurope: A Prophecy, together with some of the finest separate plates, among them Nebuchadnezzar andNewton.
Apprentice and Master will also look at Blake’s later career when, encouraged by his friendship with the young artist, John Linnell, he developed an interest in the great artist-printmakers of the Renaissance such as Albrecht Dürer and Lucas van Leyden. It was Linnell who commissioned the last of Blake’s great series of watercolours, the illustrations to the Book of Job and to Dante. It was these works, and above all the small woodcut illustrations to Virgil’s Pastorals, which inspired the young artists Samuel Palmer, George Richmond, and Edward Calvert, known as the Ancients. During the last three years of his life, they visited Blake and his wife in their two-room flat off the Strand. This exhibition juxtaposes many of the works the Ancients would have seen on these visits, with their own early works. Among the most notable are Palmer’s greatest creations, the six sepia drawings of 1825; and Calvert’s exquisite woodcuts of the late 1820s.
William Blake: Apprentice and Master has been curated by Dr Michael Phillips, Centre for Eighteenth Century Studies, University of York; and Mr Colin Harrison, Senior Curator of European Art, Ashmolean Museum.
Exhibitions: MoMA Oxford: Love is Enough - William Morris & Andy Warhol
Love is Enough
William Morris & Andy Warhol, Curated by Jeremy Deller.
Love is Enough brings together two artists who, through their all-consuming drive to share their ideas with a mass audience, their obsessive personalities and their innate sense of what we would now call branding, left an indelible mark on the nineteenth and twentieth centuries.
William Morris and Andy Warhol are not the most obvious of bedfellows. They came from different eras, social backgrounds and countries. Yet when viewed from the perspective of a contemporary artist such as Jeremy Deller, who refers to both as major inspirations in his own work, their varied practices begin to connect in several distinctive areas.
Love is Enough examines four points of connectivity. Beginning with a comparison of their individual mythologies and the personalities - both fictional and real - that influenced their early lives, Deller assembles a world entitled 'Camelot' (after the name given to the ill-fated Kennedy presidency and King Arthur's legendary court); populated by movie stars alongside the 'Knights of the Round Table'.
The next area examines the artists' political motivations and pursuits. In one of the texts for this publication, in conversation Eric Shiner- Director of The Andy Warhol Museum in Pittsburgh, Pennsylvania - describes Warhol as a 'liberal fiscal conservative'. Morris on the other hand, is well known for describing his conversion to Socialism as 'crossing the river of fire'. The works in this section look at how politics - described by Deller as their 'Hopes and Fears for Art' - because a fascination for both artists, albeit with contrasting degrees of application and emotional investment.
Inevitably, both artists turned their individual practices into lines, products and ranges, which could be aimed at specific clientele and produced in large quantities.
Equally, they both shared a colourful life in print. Warhol initiated Interview magazine as a means of meeting famous people whose portraits he would hope to paint. Morris established The Commonweal, as a vehicle for many of his political beliefs. Both produced multiple publications, many of which were elaborate and complex in their construction and design and where they found their voice.
Lastly, their mutual love of pattern and iconography inspired by nature is explored in a visually intense section entitled 'Flower Power'. A combination of tools, sketches, collages and finished work directly explores the power of nature. Both artists used specifically used flowers- and their abstraction - in repeat designs for wallpapers, textiles and prints, purposefully employing image- making as a device for masking out or papering over the ugly mechanics of the industrial worlds they both lived in.
William Morris & Andy Warhol, Curated by Jeremy Deller.
Love is Enough brings together two artists who, through their all-consuming drive to share their ideas with a mass audience, their obsessive personalities and their innate sense of what we would now call branding, left an indelible mark on the nineteenth and twentieth centuries.
William Morris and Andy Warhol are not the most obvious of bedfellows. They came from different eras, social backgrounds and countries. Yet when viewed from the perspective of a contemporary artist such as Jeremy Deller, who refers to both as major inspirations in his own work, their varied practices begin to connect in several distinctive areas.
Love is Enough examines four points of connectivity. Beginning with a comparison of their individual mythologies and the personalities - both fictional and real - that influenced their early lives, Deller assembles a world entitled 'Camelot' (after the name given to the ill-fated Kennedy presidency and King Arthur's legendary court); populated by movie stars alongside the 'Knights of the Round Table'.
The next area examines the artists' political motivations and pursuits. In one of the texts for this publication, in conversation Eric Shiner- Director of The Andy Warhol Museum in Pittsburgh, Pennsylvania - describes Warhol as a 'liberal fiscal conservative'. Morris on the other hand, is well known for describing his conversion to Socialism as 'crossing the river of fire'. The works in this section look at how politics - described by Deller as their 'Hopes and Fears for Art' - because a fascination for both artists, albeit with contrasting degrees of application and emotional investment.
Inevitably, both artists turned their individual practices into lines, products and ranges, which could be aimed at specific clientele and produced in large quantities.
Equally, they both shared a colourful life in print. Warhol initiated Interview magazine as a means of meeting famous people whose portraits he would hope to paint. Morris established The Commonweal, as a vehicle for many of his political beliefs. Both produced multiple publications, many of which were elaborate and complex in their construction and design and where they found their voice.
Lastly, their mutual love of pattern and iconography inspired by nature is explored in a visually intense section entitled 'Flower Power'. A combination of tools, sketches, collages and finished work directly explores the power of nature. Both artists used specifically used flowers- and their abstraction - in repeat designs for wallpapers, textiles and prints, purposefully employing image- making as a device for masking out or papering over the ugly mechanics of the industrial worlds they both lived in.
Tuesday 17 February 2015
Wednesday 11 February 2015
Brands: Illustrated People
http://www.illustratedpeople.com/features/ip-print-lab/
I love their look books full of pattern and colour.
IP Era 2 lookbook:
http://www.illustratedpeople.com/features/lookbook/ip-era-2/
Phoebe X P lookbook:
Tate Britain SS14
http://www.illustratedpeople.com/features/lookbook/tate-2/
Generation X:
http://www.illustratedpeople.com/features/lookbook/generation-x/
London Youth:
http://www.illustratedpeople.com/features/lookbook/london-youth/
Stain Glass Story AW13:
SS13 Campaign Film:
AW12 Campaign Film:
I love their look books full of pattern and colour.
IP Era 2 lookbook:
http://www.illustratedpeople.com/features/lookbook/ip-era-2/
Phoebe X P lookbook:
Tate Britain SS14
http://www.illustratedpeople.com/features/lookbook/tate-2/
Generation X:
http://www.illustratedpeople.com/features/lookbook/generation-x/
London Youth:
http://www.illustratedpeople.com/features/lookbook/london-youth/
Stain Glass Story AW13:
SS13 Campaign Film:
AW12 Campaign Film:
Monday 9 February 2015
Artist Research: Endre Penovac
I really like this artists use of watercolour and the way he uses this media to portray textures, movement and depth.
Brand/Artist Research: Illustrated People
http://www.illustratedpeople.com/
 |
| This image inspired me to create my own illustration using pinks in coloured pencils and pen to achieve the fun and flamboyant texture of her jacket. |
I have been a fan of this clothing brand for a long time because I love the way they use colour combinations and bring together catwalk style with high street trends from all over the world (for example Pheobe's range inspired by Japanese high street fashion). I love the bright colours and illustrations on the patterned clothing.
Brand Research: Maison Valentino
 |
| Brisbane model Grace Simmons channels modern water nymph in Maison Valentino's SS15 campaign. |
Ad Campaigns for SS15!
https://i-d.vice.com/en_gb/article/springsummer-15-ad-campaigns-part-four
http://www.valentino.com/gb
Emojji Art!!!
https://i-d.vice.com/en_gb/article/yung-jake-is-crafting-emoji-art-out-of-your-favourite-celebrities
http://instagram.com/yungjake/
Brand Research: Yves Saint Laurent Exhibition
http://www.vogue.co.uk/news/2015/01/19/yves-saint-laurent-exhibition-the-bowes-museum-durham
Charlie Hebdo: Creative Response
I think it's really cool how other artists have created work in defiance to the terrible crimes that were committed on the staff of Charlie Hebdo. They are reinforcing their freedom of speech and the hope in the industry continuing stronger than ever.
MR. Man Bun
I really like how our generation was bought up on Mr. Man books and somebody has used this figure to make fun of our generation of lads embracing the new man bun look!
Anthropologie
I think this is such a good interactive idea! I would love to create my own versions of these.
I generally just love the colour and materials in Anthropology too.
Mahiki
Creative way of branding a bar and designing drinks and packaging etc. We are buying into the experience… not just the alcohol.
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