Hi Mark,
I have been admiring your work. I am in my final year at Stockport College. I do appreciate that you're probably busy, but I wonder if you'd mind answering a few questions......
Obviously you're unafraid of using vibrant colours, is your intention to shock the viewer with the vividness?
Nope- my pallette comes from my distorted view on Americana. It stems from candy wrappers, Saturday morning cartoons and varsity sports.
Do you work alone or have a team assisting you? And what is your opinion on this?
I work alone. For me it works best and I have complete control of my work aesthetic. If I come up with a grand concept that would need a Warholesque factory setup then I guess I would. It gives me more satisfaction to know all the work involved was created purely by me. I'm open to collaboration though if the right opportunity arose.
You use various mediums, do you have a preffered way of working? If so why is this your preference?
I have various methods due to the final output. If I need to do a magazine cover with editable elements, then it's pointless painting it. It needs to be A scalable vector file. For personal work, I like using aerosol and ink on paper or canvas due to the way the two work together. The colours pop and people look twice. They often think it's screenprinted. Rings true to the old method of making cartoons also with flat cell paint and ink.
Would you recommend using agencies straight after graduating?
Everyone has a different path. Whatever works for the individual.
Do you do promote yourself in any other way than through the internet?
Yes- magazines, t-shirts, collabs, my agent...
I especially like your skateboard works for Blueprint, how do you decide whether or not to use symmetry?
I don't think too hard about it. I wanted to do my take on a already distinct aesthetic of Blueprint. They use a lot of symmetry in their graphics... The concept usually drives my forms. The way I execute it is my aesthetic. You have to use both to create interesting work
Thank you very much for your time.
Yours sincerely,
James Peters.
Thursday, 8 July 2010
Patrick Hruby
Hi Patrick,
You caught my attention with your 'A - Frame' illustration as I like the clever way you utilise simple shapes to emulate the objects.
I will be shortly graduating from Stockport College and I appreciate you are probably busy, but I wondered if you could posibly answer a few questions regarding your work for my personal blog.
Obviously shapes form the forefront of your work, have you always worked incorporating this system?
Early on in my education I experimented with a lot of approaches and styles. It wasn't until I got really involved with printmaking that I really solidified the system
Seemingly, plants, buildings and animals are the main focal points of your work, why? Do the shapes correlate with the objects?
Plants, animals, and buildings are obvious choices for the geometric system that I use. But I always enjoy the challenge of interpreting something new. For instance I just finished a children's book with AMMO Books (American Modern Books) about the circus, and I had to illustrate lots of people which I hadn't done a lot in my work before.
Do you find it difficult to maintain the simplicity of your work?
There is a bit of difficulty in any reductive style. I feel like there is an additional difficulty in what I do because there is a decorative aspect of my work that is in opposition to the idea of simplicity. It's maintaining the balance between the two so that they compliment each other that's the most difficult.
Children must love your work does it appeal as well to adults?
I've only just graduated and I haven't been out in the "real" world all that long, but so far I have done work that spans from the New York Times to Children's Books, I would like to think that this means that my work has wide appeal.
Would you recommend using agencies straight from University?
Going with an agency is a totally personal choice. I think the most important thing is to find an agency that works for you. I was lucky enough to get a recommendation to Friend and Johnson which ended up to be a great fit. All in all I think the most important thing is to have a plan on how you are going to get your work in front of Art Directors. Whether that's with an agent, through ad-base, or spending some time copying addresses in the magazine section at Borders.
How important is symmetry to you?
Symmetry is a powerful design tool. It holds a lot of historical meaning. There is something almost religious about it. Similarly a lot of folk art is symmetrical or at least has elements of symmetry. Lastly, it is impossible to ignore the symmetry of nature, which is a focal point in my work. That being said, I am not completely committed to symmetry and I use it only when I feel that it helps or supports the concept of a piece. Sometimes I will abandon it all together for a more dynamic composition.
Many thanks for you time,
Yours sincerely,
James Peters.
Monday, 5 July 2010
Ben Newman
I asked Ben some questions and he kindly replied.
[1] How was your first experience of commissioned work and what impact did it have on your work?
My first commission came in my last year at University and I had to illustrate a poem about love. The excitement of seeing your work in print never gets boring. It can sometimes be frustrating though when your illustration gets altered just before it goes to print and you are unaware of the changes until you see the finish article. Luckily, that doesn’t happen too often.
[2] You carefully use contrasting colours to emphasize lift, do you plan this initially?
Yes, very much so. I’m obsessed with colour and I always want my images to ping and sizzle by using a vibrant palette.
[3] What is your preferred media and how do you finalise your images?
Everything I design is drawn by hand and traced on a light box. I use the computer to finalise my images and ready them for whichever medium they need to be printing in i.e. screen-printing, digital, litho, etc.
[4] Do clients tend to be flexible in their requirements or do they have specific briefs/ideas?
It ranges dramatically. Most jobs I’ve done for AD agencies are very, very specific so you mainly concentrate on the aesthetic rather than the concept. Some clients will just give me a loose theme and then I go from there. Nobrow are my only client that give me pretty much complete and total control over my projects and that’s why I love working for them so much.
[5] Have you approached clients directly, or have you always relied upon agencies for work due to the recession?
Luckily, clients approach me but I leave most of the contact work to my agent. I do portfolio runs around some of the London agencies from time to time.
[6] Do you have any tips on what clients want to hear? i.e. (reassurances)?
Don’t wait for them to ask questions. Talk confidently and humbly about your work but don’t waffle on for too long. Clients see heaps of portfolios all the time so be direct, positive and amicable.
www.bennewman.co.uk
www.benhasapencil.blogspot.com
Wednesday, 30 June 2010
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Thursday, 24 June 2010
Comparing artworks - Geometric Forms
Intro
In this blog post, I intend to compare and contrast two artists' practices and working methods of art. These being Halley’s “Acrylic, metal and Day-Glo acrylic and Roll a Tex on canvas CUSeeMe 1995” and Kandinsky's “Swinging 1925 oil on board” with particular focus on the layout and colour use. I will compare each to my work “TOOLBOT” image.
Peter Halley
Peter Halley was born and works in New York City. He studied at Yale and New Orleans Universities respectively. Since 1980 he has worked in his home town.
Halley held his own exhibitions in most, displaying his work in galleries around the world.
For over twenty five years Peter Halley has been fascinated in the use of geometric shapes to explore social space, in what he descibes as “prisons” and “cells” showing relationships between them. He has been a prolific writer on this subject and art in general, winning an award for his critical writing, which he makes extra money doing for magazines. This is an area I would like to develop as an illustrator studying this topic.
Kandinsky
Kandinsky also explores geometric pattern and is well known as an painter. I am particularly fascinated by the way he responds to music with colour and shape [synesthesia].
Me
I work with geometric shapes and try to create cleverly built imagery in a similar way to Kandinsky - relating to patterns in music but also involves space between griding and layering.
Images
Artist: Peter Halley
Venue: Sammlung Goetz (Goetz Collection)
Medium: Acrylic, Day-Glo and Roll-a-Tex on canvas
Creation Date: 1995
Swinging, 1925
Schaukeln
Kandinsky
Oil on board, Painting
support: 705 x 502 mm frame: 954 x 750 x 80 mm
Purchased 1979
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Illustion degree show - Stockport
Tool bot
Card on foamcore, cut and reworked at A1 scale.
James Peters
Compare and contrast
Each of us have used different media and all relate to different topics but what unites them all is shape forms. All however are construted in a simmilar way but have differing moods about them. Peter Halley for instance has emulated a dark structured atmosphere where as Kandinsky has made a dream like atmosphere. This is because mood can be changed by colour and pattern fairly easily.
In this blog post, I intend to compare and contrast two artists' practices and working methods of art. These being Halley’s “Acrylic, metal and Day-Glo acrylic and Roll a Tex on canvas CUSeeMe 1995” and Kandinsky's “Swinging 1925 oil on board” with particular focus on the layout and colour use. I will compare each to my work “TOOLBOT” image.
Peter Halley
Peter Halley was born and works in New York City. He studied at Yale and New Orleans Universities respectively. Since 1980 he has worked in his home town.
Halley held his own exhibitions in most, displaying his work in galleries around the world.
For over twenty five years Peter Halley has been fascinated in the use of geometric shapes to explore social space, in what he descibes as “prisons” and “cells” showing relationships between them. He has been a prolific writer on this subject and art in general, winning an award for his critical writing, which he makes extra money doing for magazines. This is an area I would like to develop as an illustrator studying this topic.
Kandinsky
Kandinsky also explores geometric pattern and is well known as an painter. I am particularly fascinated by the way he responds to music with colour and shape [synesthesia].
Me
I work with geometric shapes and try to create cleverly built imagery in a similar way to Kandinsky - relating to patterns in music but also involves space between griding and layering.
Images
Artist: Peter Halley
Venue: Sammlung Goetz (Goetz Collection)
Medium: Acrylic, Day-Glo and Roll-a-Tex on canvas
Creation Date: 1995
Swinging, 1925
Schaukeln
Kandinsky
Oil on board, Painting
support: 705 x 502 mm frame: 954 x 750 x 80 mm
Purchased 1979
.jpg)
Illustion degree show - Stockport
Tool bot
Card on foamcore, cut and reworked at A1 scale.
James Peters
Compare and contrast
Each of us have used different media and all relate to different topics but what unites them all is shape forms. All however are construted in a simmilar way but have differing moods about them. Peter Halley for instance has emulated a dark structured atmosphere where as Kandinsky has made a dream like atmosphere. This is because mood can be changed by colour and pattern fairly easily.
Lone wolf or Gang warfare
I chose this field of research as I feel it will enable me to gain an understanding of the pros and cons in setting up a group studio, in contrast to going it alone, comparing both sides of the argument.
Firstly a change in the way companies work with illustrators, it has radically changed as employers need guaranteed reliability. Now to gain trust, collaborative groups or small illustration teams are emerging to take more control of the market. I have had talks with my colleagues about making a group website and feel it is an immediate way to attract more business.
When working as a team, one main advantage is versatility for example Maa Designs in Leicester, specializes in Digital illustration, Book Illustrations, Cartoon Drawings, Medical illustration, Portrait illustrations, Fashion illustrations and will do just about any other type of illustration you want. They boast that 100% of people who use their company use them again and are completely satisfied with their products. This shows how grouping a team and banding together make a strong work force that dominates the market.
A disadvantage in a team is selling individuality, Ste Mack is a classic example of a freelancer who works from home and promotes himself through a plain and simple website. Selling individuality is important to an illustrator and is a key aspect of self promotion. I recognize that I have a weakness in verbal communication and working as part of a team can enhance communication skills’.
Freelancers can find work through networking their skills according to an anonymous source Rylo, G (2010) states that a
“Versatile agency model can help a freelancer land jobs that require targeted, specific experience and skills outside the scope of one individual.”
By being versatile and networking they don’t have to be part of a big company yet strong relationships can exist Rylo, G (2010)
“Freelancers and clients may form a relationship based on mutual needs and the professionalism and competence of both parties.”
Not everyone is suited to being a freelancer according to Rylo
“Being a freelancer requires discipline and self-motivation”
There are certain jobs that would require other people on the team such as advertising, as people who specialise in graphic design and animation skills are there to help. Would one person be able to do such tasks? Most likely not! Would he/she need to join forces with other freelancers because there is no reason why they can’t and still be known as a freelancer? More than likely as it would lighten the load! If this were to happen would it be a self-managed team or a project team, would they work together on more than one occasion, effectively forming an interdependent team and thus collaborating to solve problems.
Regarding harmony within the team’s work studio, it generally works best when artists are familiar with one another and have faith and expectations in one another, however increasingly in 'Drop-in' shared type studios are forming where they take turns on equipment at alloted time periods, but the obvious disadvantage here being that if you need assistance with something, having others input would be more logical in this instance rather than struggling alone with time constraints.
A thing that can make a team stand out from a freelancer is variation, Vormittag from Contain Plus often is given unconventional projects, and notably tells of problems that emerge
"Every time we tackle unknown areas, we have to work on unknown surfaces, deal with lighting, fabrics, durable printing, three-dimensional thinking... almost every job brings a new challenge,"
I interpret this statement to mean that a cohesive team will be able to brain-storm notions, identify potential problems, debate over what does and doesn't work, and how any project could be improved.
As a conclusion I have decided that freelancing is about individuality and is a good way to promote you. A freelancer’s money earned goes to themselves alone unless you have set up an agent or other middle man. A team however is about sharing these things... profits, jobs, skills, equipment, websites and so on. I think both have benefits and think it would be best to work as both, one person could not build a city but one person could help.
References
http://www.articleco.com/Article/FreelanceWritingJobs-----Crafty-System-To-Make-Cash-Or-Yet-One-More-Discouraging-Piece-Of-Junk-/264130 accessed 15/07/10Article By: Georg Rylo The Article Company
http://www.containerplus.co.uk/publications/CA_septoct2006.htm
Computer Arts 127, Sept 2006: by Nick Spence
No Limits Design
Firstly a change in the way companies work with illustrators, it has radically changed as employers need guaranteed reliability. Now to gain trust, collaborative groups or small illustration teams are emerging to take more control of the market. I have had talks with my colleagues about making a group website and feel it is an immediate way to attract more business.
When working as a team, one main advantage is versatility for example Maa Designs in Leicester, specializes in Digital illustration, Book Illustrations, Cartoon Drawings, Medical illustration, Portrait illustrations, Fashion illustrations and will do just about any other type of illustration you want. They boast that 100% of people who use their company use them again and are completely satisfied with their products. This shows how grouping a team and banding together make a strong work force that dominates the market.
A disadvantage in a team is selling individuality, Ste Mack is a classic example of a freelancer who works from home and promotes himself through a plain and simple website. Selling individuality is important to an illustrator and is a key aspect of self promotion. I recognize that I have a weakness in verbal communication and working as part of a team can enhance communication skills’.
Freelancers can find work through networking their skills according to an anonymous source Rylo, G (2010) states that a
“Versatile agency model can help a freelancer land jobs that require targeted, specific experience and skills outside the scope of one individual.”
By being versatile and networking they don’t have to be part of a big company yet strong relationships can exist Rylo, G (2010)
“Freelancers and clients may form a relationship based on mutual needs and the professionalism and competence of both parties.”
Not everyone is suited to being a freelancer according to Rylo
“Being a freelancer requires discipline and self-motivation”
There are certain jobs that would require other people on the team such as advertising, as people who specialise in graphic design and animation skills are there to help. Would one person be able to do such tasks? Most likely not! Would he/she need to join forces with other freelancers because there is no reason why they can’t and still be known as a freelancer? More than likely as it would lighten the load! If this were to happen would it be a self-managed team or a project team, would they work together on more than one occasion, effectively forming an interdependent team and thus collaborating to solve problems.
Regarding harmony within the team’s work studio, it generally works best when artists are familiar with one another and have faith and expectations in one another, however increasingly in 'Drop-in' shared type studios are forming where they take turns on equipment at alloted time periods, but the obvious disadvantage here being that if you need assistance with something, having others input would be more logical in this instance rather than struggling alone with time constraints.
A thing that can make a team stand out from a freelancer is variation, Vormittag from Contain Plus often is given unconventional projects, and notably tells of problems that emerge
"Every time we tackle unknown areas, we have to work on unknown surfaces, deal with lighting, fabrics, durable printing, three-dimensional thinking... almost every job brings a new challenge,"
I interpret this statement to mean that a cohesive team will be able to brain-storm notions, identify potential problems, debate over what does and doesn't work, and how any project could be improved.
As a conclusion I have decided that freelancing is about individuality and is a good way to promote you. A freelancer’s money earned goes to themselves alone unless you have set up an agent or other middle man. A team however is about sharing these things... profits, jobs, skills, equipment, websites and so on. I think both have benefits and think it would be best to work as both, one person could not build a city but one person could help.
References
http://www.articleco.com/Article/FreelanceWritingJobs-----Crafty-System-To-Make-Cash-Or-Yet-One-More-Discouraging-Piece-Of-Junk-/264130 accessed 15/07/10Article By: Georg Rylo The Article Company
http://www.containerplus.co.uk/publications/CA_septoct2006.htm
Computer Arts 127, Sept 2006: by Nick Spence
No Limits Design
Wednesday, 5 May 2010
Graphic design typefaces
In this image, depth is created by the light green, it is lifted forward and as an obsvation this is becauce the amount of area is larger than the red areas.
Red and green are complmentry colours but in this image the colours are fighting for dominance and the green usually wins. Its interesting that most of the colour green is mostly on the left as we read left to right and red is a dominant colour that we are stongly drawn towards.
I have been carfuly selecting colour pallete triplets, like in this image I too have used a comlmentry colour choice, purple and orange these colours worked and the thrid colour was peach to lift and seperate them in parts. I will strive to use complmentery colour in this way in the future and will take notes when image like this appear in day to day life.
Some of this text would be hard to read on it own, such as the letter M and W as the letter forms are much less defined. This would work as an embossment as the leterforms and shapes are simplized and suitable. Its almost like bauhaus meets bubble type. (lol) The form is fragmented and makes it difficult to read, leaving things ambiguous and limited information. This is an aesthetic quality I would like to achive in my work.
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