Crit with Matt

Time Management

We had to fill out these time management sheets in order to realise all of the things we have to do and how to fit it in to our lives and balance. I can see why it can be helpful however they do not work for me and the only thing I need to make sure I time manage is printing final pieces off in time in order for them to look professional. This is something I just need to make sure I book in the print room at the beginning of the project.

Super Superficial

In London over Christmas break I discovered the shop Super Superficial and I loved the illustrations in there. One was of a Pelican, known for standing on its one leg, with four legs, on a T-shirt. I loved the simplicity but originality in the works along with the skill, colour and compisition used; it is definitely somewhere I will visit again. It inspires my own personal and professional practice as it is a prime example as to how illustration can be something experimental and wearable. The pieces are fun and it is a good point to keep in mind that my illustrations can just be simple and fun whilst still being effective.
http://supersuperficial.com/v2/index.php

by Thomas Matthews

"We've all had moments of lethargy, Clive." He didn't so much as blink, maintaining a stern disposition. "I know things have been difficult lately but you cant stay, sat on Thom's head. It's not Normal." Clive didn't care about 'normal'. He didn't care about anything. He's a cat.

The Archive of Modern Conflict presents The Great Refusal, Protesting 1948-1984

During the Christmas break I visited the Southbank Centre in London to check out The Great Refusal, Protesting 1948-1984 exhibition for inspiration for my COP essay which I was researching influential illustrations because of and in reaction to changing culture. I thought this was a very relevant exhibition to visit as it was packed full of the artwork, photography, posters and magazines used during times of revolt and protest and it came in many different forms for many different purposes including propaganda and instructions (regarding to what to do under nuclear attack).

In the aftermath of World War II, the spectre of atomic holocaust, coupled with profound changes in politics and society, brought about new forms of protest. In the West, these took on a distinctly existential and hedonistic flavour. Drugs, rioting, revolution and humour became the essential roots of the young generation.

The title of this exhibition pays homage to the notion of 'the Great Refusal', described in the 1960s by political philosopher Herbert Marcuse. Expressed in a variety of forms, this amounted to a widespread refusal to accept establishment values and 'things as they are' as well as social injustice. (There was a photograph of a trashed powerful political party members office which was used to evidence how his office got fixed and re-decorated within a matter of days whilst Britains poor were living in slums just like his trashed office without a moments consideration.)

As time has passed the nature of this refusal has become ever harder to explain. Where ethical issues ended and party time began in this era remain relatively unexplored territories.

It makes me reconsider what art is. This exhibition made me see it as an act of peaceful protest- instead of terrorism or reacting to something you have a passionate opinion about in a detrimental way- produce art and affect others opinions and aim to change the world through the power of silence and through the power of allowing people to use your art to trigger the change in their own opinion.

LCA -Keep Your Timber Limber (Works on Paper) exhibition

In the summer I visited the LCA gallery in London and saw the Keep Your Timber Limber (Works on Paper) exhibition curated by Sarah McCrory. It 'explores how artists since the 1940s to the present day have used drawing to address ideas critical and current to their time, ranging from the politics of gender and sexuality to feminist issues, war, censorship and race. Stretching from fashion to erotica, the works can all be viewed as being in some way transgressive, employing traditional and commercial drawing techniques to challenge specific social, political or stylistic conventions.'

The exhibition contains the work of eight artists: Judith Bernstein, Tom of Finland, George Grosz, Margaret Harrison, Mike Kuchar, Cary Kwok, Antonio Lopez and Marlene McCarty.

Fashion illustration by Antonio Lopez

Cary Kwok. Buddjism 2010. Ink on paper 29.7 x 21 cm / 11.7 x 8.3 in unframed

As courageous and clever his is in taking on a subject matter so unheard of in art, (a point when the 'powerful and dominant' man as known throughout history, is at his weekest) I just cant get over his skill in technique. I absolutely love this illustration as the colour used is so rich and the materials and way he has drawn the portrait is so meticulous and detailed it amazes the viewer:

The Pillars of Society by George Grosz

The exhibition draws on the way artists turned to the commercial realms of comics, fashion and illustration to revitalize drawing within the visual arts- many of the works in Keep Your Timber Limber (Works on Paper) were originally produced for a commercial context. One common aspect of these varied practices is a high level of technical skill - these are artist who often confounded critics of their subject matter owing to their deft and high skilled technical abilities. Choosing to step outside the boundaries or social acceptability, the works in the exhibition comprise modest proposals and trenchant political gestures.

Captain America by Margaret Harrison

This exhibition affected me as it proved to me that art is a place where all subject matter can be and must be looked upon. A lot of the pieces didn't even shock me that much which just shows that through looking at artworks like this a lot more things have gradually become accepted, or at least respected in art culture. It shows how important touching upon controversial issues are in art because it is not someone talking at you; it is presenting a scene or an image for the audience to draw their own thoughts and opinions. However as illustrators we have the power to include symbols and metaphors, and put together many different components to portray our own opinions or convey a particular message or meaning in the art.

Judith-Bernstein-FUCKED-BY-NUMBER-Rendering-for-ICA-London-Mural-2013-Charcoal-on-Paper-32-x-48-Inches

Tom of Finland - Good Clean Fun

Mike Kuchar

Marlene McCarty

Marlene McCarty

One panel of a 4-part mural series, this depicts Shanda Sharer and Melinda Loveless, Toni Lawrence, Hope Rippey and Laurie Tackett. Sharer was 12, and killed by the four other girls, an act of jealousy and revenge instigated by Melinda Loveless because of the attention her lover, another teen girl, paid to Shanda. The events are frightening, chilling, and it's as if the drawings' being unfinished and the hidden details revealed hint at what's concealed and the horror of the events.

I find Marlene McCarty's work really visually interesting and uncomfortable, this article gives some more insight into the illustrator:
http://www.theweeklings.com/jkabat/2012/09/16/marlene-mccarty-what-lies-between-the-lines/

Matthew Bourne's Swan Lake

Over the Christmas break I went to see Matthew Bourne's Swan Lake in Sadler's Wells. It was a great ballet and provided a new and controversial take on the well known Swan Lake. The entire time my eyes were captivated by the beauty and skill of the dancers and choreographers as well as the scenes, lighting, music and costumes; and so was my brain in continuously seeking imagery and symbols in order to link and understand the dance to the story. Matthew Bourne takes the story of the importance of love over rules and power and shed's a whole new light on it. He uses both men and women in the piece yet the chorus is only men; I feel this is greatly linked to providing the audience with an abundance of male beauty in the theme that any love is powerful and should be thought of as more important than any rules or laws put into place in stopping people from expressing themselves. Dance is a great form of expression as is art and personally I believe that ballet is an art form especially when combined with the scenes, music and costuming to create such amazing imagery. it is the forms and shapes that are produced by individual dancers and them as a group which allow the audience to feel and to be moved or affected by the work. This ballet is seen as very controversial and I love it as I think it is extremely relevant at a time when gay rights are a major topic around the world and although many people in the western 21st Century can see that it is purely love and nothing but; many countries and individuals are punishing those willing to express their sexuality.
This ballet I'm sure left some less liberal members of the audience feeling uncomfortable and I think this is a great thing in art and in illustration I feel this is important too; in order to affect people and change or challenge peoples opinions or even just to allow them to reflect on topics; you must provide artwork that is not just safe but that means something.
In regard to the beauty of the dance choreography, costumes and scene; the lighting, textures, materials and colours greatly affected the experience for the audience. I will keep these factors in mind when creating illustrations as it is important to create an experience when looking at artwork; you want the audience to see or feel something.

TED Talks

I watched this YouTube video, one from the TED Talks channel, and I thought it was extremely appropriate for thinking about illustration as a practice and as a career. Dan Pink talks about three fundamental points being the key to motivation, these are; autonomy, mastery and purpose.
Autonomy is the urge to direct our own lives.
Mastery is the desire to continue getting better at something that matters.
Purpose is the yearning to do what we do in the service of something larger than ourselves.
In terms of illustration I feel that these are key in being productive but also keeping the passion and love of the subject alive. Autonomy: as long as I direct my time wisely and towards productivity I will be able to make art for the love of it and not through pressure or force. Mastery: illustration as an industry is full of inspiration; artists and work continue to amaze with skill and creativity and give me something to aim for and to motivate me to improve my own skills. Purpose: the briefs, employers and commissions all provide a purpose; illustration is a collaboration with a message that must be conveyed, so it is always part of something bigger than just one persons picture.
These are all important to me in improving my personal and professional practice as an illustrator.