Initial Statement of Intent

Inside Text, Final Digipack and Completion of Brief

As Dan and the band hadn't given much thought to the inside cover of the EP, I took initiative and suggested hand-rendered text similar to that on the front/back of Mac Demarco's LPs. The band agreed with the concept and allowed me to do my thing.

I got the details from Dan and Lewis and wrote them out a few times with a berol marker, after which I scanned into photoshop and manipulated to white text on black background. After getting the ay-oh-kay with this I placed it into the digipack that Lewis had sent me.

Before sending the final files over, I sent Dan a lo-res JPEG of the file to make sure nothing needed correcting. He loved the final thing and gave me the go-ahead to send it over to Lewis. I've been lucky with this brief in the fact that Dan trusted me enough to pay the full amount for the EP artwork upfront too, which saved a lot of chasing around afterwards. Both him and Lewis seemed very impressed with my professionalism and efficient work ethic. All in all I think I turned this brief around in little over / under a week, which was a bit of a god-send for them given the unexpected drop out from their previous artist.

I've actually quite enjoyed this project, despite working in a way that's different to how I think I'd usually tackle a brief. As said before too, I've learnt a lot about compromising and adapting to clients wants and needs rather than my own. I found it fairly easy to do that in this context; perhaps because it feels more commercial than professional? I would definitely work with Dan and La Betes / Adult Teeth again!

Mock-Up to Date

 At this point, founder of Adult Teeth Recording Company, Lewis Young, became involved with the project. He wasn't dealing with the artistic direction side of the work but rather the practicalities. Lewis sent me a .psd template that would be sent off to print and create the final CD case as an object. I'm fairly familiar with templates, bleed lines etc so this wasn't too difficult to figure out.

I began placing the elements together onto the template. Around this time I also created the 'spine (?)' of the CD. We decided to just include the band name and recording company as they had on the spine of their previous EP.

I sent this over to both Dan and Lewis to check through, and sent a message to Dan inquiring if he had any thoughts on what he wanted the inside casing of the CD to look like.

Chosen Cover & Scratchy Alt

 Dan got back to me about the front and back covers of the CD, and as a band they decided to go with the white marker pen (first in issuu post).

While this is the one the band chose to go with as a team, Dan asked if I wouldn't mind cleaning up the 'scratchy' version also, and perhaps trying a purple colour gradient over the top it it.

When it came to the editing of the final CD cover, they wanted the colours to 'pop' a little more, and a purple undertone to be present throughout both images.

At this point I'm fairly happy with how the pieces are coming along. This type of illustration is something different to what I'd normally do, and working alongside a client with very specific ideas is teaching me a lot about responding to others needs. Personally, I currently prefer the purple gradient over the scratchy edition the most, however as they are the paying client, I'll await a response to see what needs to be done next.

Analogue Roughs on top of Photographs (La Bete EP)

Initial sketches/ ideas from La Bete Blooms (NOT MY WORK)

As previously stated, La Bete Blooms already had an idea in mind of what they wanted the front and back cover of their CD to look like. They wanted some 'sound wave' esque lines, and a limited colour palette of black, white and purple. 

As they'd mentioned they wanted the piece to have a much more DIY feel to it, I felt it appropriate to print out the original photographs and work directly on top of them.

As well as experimenting with line quality, I also tried varied media and processes. Though they had an idea in mind, I didn't feel too precious about this stage of image making, as they felt fairly open with how the final product was created. 

I sent these to Dan for review, with some additional notes next to each experiment to give a sense of clarity and context to each image.

La Bete Blooms; EP Brief & Rationale

The Client;

• Hull based band La Bete Blooms
• Been in discussion with client for a while about working with them on a live brief; self networked brief

The Brief;

• Post-punk band La Bete Blooms approached me recently in regards to creating a design for their upcoming EP 'I know it's nothing'. They had employed an artist to do this prior to asking me, however the illustrator was unable to complete the work within the time frame required. Having been in discussion with me over the past year about potentially collaborating on something, lead singer Dan Mawer reached out to me about designing the CD for their second EP. He already had a preliminary sketch of what he wanted the end product to look like, however wanted a much more DIY/punk aesthetic feel to the end product. I feel like this brief fit with my way of working well.

The Rationale;

• Building from OUIL505, I wanted to take on some more music driven briefs this year. As well as providing an opportunity for live work in my portfolio, this brief would also be paid work and allow me some insight into the relationship between musician/ illustrator within the design process.

SP3 PREP; Line Project

LINE PROJECT

Towards the end of last year, I began considering tattooing as a possible avenue of income post-uni. I've had very minimal experience tattooing myself and others to date, but it's not something I would willingly rule out at this point of my career. The work that really interests me is largely line based and monochromatic. Again what excites me about this possible avenue is the new space for illustration to live in. It doesn't always have to be on a page. Tattooing people for this module is of course unrealistic, however a project based on monochromic linework could be something worth pursuing.

IDEAS

At this point what I'd have as a final piece feels pretty vague. I'm unsure as to the subject matter or what the final piece would be, rather just the process in which it would be made; using considered linework and monochrome. Perhaps I could create a series of images and mock them up // transfer them onto different items // pieces of merchandise. Something to be uploaded to an online store perhaps? What other contexts could I put this work in? I've mentioned previously about being interested in large scale work, how about using this imagery to create a mural; something to sit on the side of buildings or along the corridors of indie bars and clubs. The main drive behind this project is the visual stylistics and imagery; is this a good thing? It would allow me the freedom to take the project wherever I wanted, though I must keep in mind to have a beneficial end goal. What can I learn from this project?

WHY THIS BRIEF

A lot of the illustrator-come-tattooists I follow on instagram also run online stores as well as working for tattoo studios. This side of self promotion and merchandising is something I want to expand for my own practice this year, and this project may help in looking at how other practitioners are currently doing that. It'd also help me in improving my own visual language and the linework within that, and the lack of definitive final outcomes at this stage would allow me to experiment. Do I want to make work that is big or small? On what surface area? All things to consider if I take this project further. 

SP3 PREP; Poster Project (Gigs?)

The Sesh Poster for LIFE, The Orielles, 

The Waives & John Copley (Done over Summer)

POSTER PROJECT

Thinking about how I'd like to further look into the music industry and the illustration within it, I've considered doing a poster project this year maybe centered around the theme of gig posters. Posters are something that seem relatively simple, however I've found through a few attempting the past they can be rather tricky things. There's a lot to consider in terms of composition, subject matter and colour schemes, and I think trying to tackle a poster project would help me to improve in these areas. I looked at alot of illustration throughout second year that was drastically different to the work I was looking at pre-uni and some of first year; and it was amazing. A lot of the work done for OZ Magazine really opened my eyes to how much you can push illustration and composition to make it work, and the graphics in poster design and leaflets throughout the 90s rave movement allowed me to fall in love with a kind of 'brutal graphics' (I'm not sure what the official term would be) that threw image and computer fonts together in a way that should have been hideous, but looked incredibly desirable. 

Bob Prodor - Gig Posters

Ben Barry - Screen Printed Gig Posters

IDEAS (?)

With this in mind, I've thought about doing a series of posters perhaps for a series of gigs // bands or perhaps even club nights. A friend of mine does the artwork for Hull Box Office, subsequently making all the posters and leaflets for the The Welly Club, FRUIT and The Polar Bear. A collection of his work can be found at  http://wellyflyers.tumblr.com/. I love the continuity in style, and the variation of compositions. Colour is also a huge thing I'd love to improve on this year, combining good linework with strong colour choices and compositions would surely make for some super great artwork. I've considered screen print for this project too, it's something I've dabbled with the past two years but still don't feel an expert on. To really take the time to crack screen print and produce some lovely pieces of artwork would feel top notch.

Carlos Hernandez - Gig Poster

Catharsis Print Studio (Milwaukee, Wisconsin) - Screen Printed Gig Posters

WHY THIS BRIEF?

To improve on skills and techniques I currently don't feel as confident in, eg colour, composition, screen print ect, while also looking into how illustration can be used in a music industry setting. Perhaps considering the different contexts that this project could sit in? A series of gig posters for a lofi band would be very different to those for a series of club posters for a house music night out.

SP3 PREP; Publication

KHADI PAPER Hardback Books // Rave Zine (OUIL501)

PUBLICATION BRIEF

The idea for this project stemmed from my final outcome in COP2. The module was one I really enjoyed, both in terms of research and practical, and though I loved making my final zine for submission, there was an idea for an alternative final piece that has continued to run around in my mind. I did at one point consider making a hardback book to house my illustrations in for my practical piece. I thought about possible materials and processes I could utilize to make the book something highly crafted and unique. It's an idea I didn't get to explore much due to a change in direction, but it's something I'd like to investigate further.

Melissa Castrillon; Two Wolves

Laura Middleton; Plants Don't Hug You Back

IDEAS

As mentioned before, this idea stemmed from my COP2 research into British Rave Culture from the late 1980s to early 1990s. The initial ideas for this book were embossed front and back cover on neon material, with perhaps a glow in the dark // UV // neon tape binding (sleeve). I thought about screen printing all of the images to make the piece even more refined, but the timescale I had wouldn't allow for this. It'd be nice to realyl sit down and spend time creating something polished and beautiful. Would I want it to be about the same subject matter (rave?) or something different? Consider these things!

Neon Materials

WHY THIS BRIEF?

As mentioned book binding is something I haven't been able to explore to the highest level of craft I would have wanted. This project would allow me to really get to grips with it and make something fantastic. The project would also allow for an element of research, something I rather enjoy. Could this project be expanded? What context would it sit in? As something for sale commercially? Something to sit in a gallery format? Would it be a part of a larger scale project into a specific chosen subject matter? These are possibilities I would have to tie down first. 

SP3 PREP; Feren's Open Exhibition

Ferens Open Exhibition (Official Video)

FERENS OPEN EXHIBITION 

I found out about this exhibition through a small article in the printed edition of the Hull Daily Mail. The Ferens art gallery Open Exhibition is something I've been aware of for a couple of years now, I wanted to enter in first year but lacked the time, and last year there wasn't a call for submissions due to the Gallery being refurbished ready for Hull City of Culture 2017. This year seems a perfect time to enter, given the 'City of Culture 2017' status, the pieces chosen will be exposed to a huge audience; as well as the opportunity to network, and sell artwork both at the exhibition launch and throughout.

You can submit up to three pieces in any format. The pieces will be submitted via an online website going live later this year, and the chosen work will then be transferred to Ferens Art Gallery ahead of the launch in early 2017. Exposure and other perks aside, it would also be a great privilege to have my work hung in my home city's gallery. I've always been close to my hometown, and maintaining that connection has been invaluable for the past two years, in regards to my artistic career. This would be a lovely project to succeed at.

News Article on Open Exhibition

IDEAS

In terms of subject matter and ideas of what to submit, right now I've love to do a series of large(ish) scale paintings that focus on my personal experiences growing up in Hull. Throughout the Summer I've had two opportunities for live painting, and I found the most recent (HSS'16) to be largely successful in terms of public feedback. I felt truly touched that so many people connected with the work and what I was trying to say. I've also really enjoyed the process of getting out of the sketchbook and off the paper onto something larger and crafted. It's fun to push my skills into new contexts such as this; how to craft work at a larger scale while maintaining the intimacy and emotion found in my smaller sketchier work. I'd love to finish this painting and submit it as one of the three pieces, creating two more in a similar theme for the Open Exhibition. 

(Unfinished) Painting for HSS'16

WHY THIS BRIEF?

As previously mentioned, I've enjoyed the process of making bigger work this Summer, to that which I made throughout the second year of this course. I worry that sometimes illustration feels confined to the pages of a book or paper hung as A3 posters on walls. The idea that illustration can exist outside of these contexts excites me. Why shouldn't illustration work sit in a gallery? I believe it can be just as powerful as Fine Art, perhaps it could be a more accessible alternative. I love getting an emotional response to the work I create and a gallery seems a good place to find the people who want to see it.

SP3 PREP; Secret 7"

http://secret-7.com/

SECRET SEVEN

As part of OUIL603 PREP I've selected 6 briefs// projects I'm interested in undertaking. The first brief I thought of for this module was Secret 7. I entered this competition last year, with a piece for each song, but none of them were selected for the final show. At the time it was a little disheartening, however looking back at the work now with almost 6 months away from it; I'm not entirely surprised. Looking at a lot of the winners of the competition reaffirmed my initial instinct with how I SHOULD have tackled the brief. Around the time of OUIL503, I had a lot of briefs going on with a lot of specific requirements; Secret 7 was a break from this, something I thought I would relish. BUT I found myself caught up in what I thought the judges would be looking for, rather than going with my gut. Somewhere along the line I forgot what attracted me to the brief in the first place, and while there were a couple of designs I liked, a few of them felt rushed and too pushed in a certain direction.

Secret-7 Outcome (OUIL503)

MEDIA

I also personally feel I relied too heavily on digital methods for this brief. Throughout the Summer months I feel I've become more in tune as to when and where to use my digital skills and when to revert to analog methods to provide the most suitable and beneficial results. It is good to utilize both, but in moderation and with consideration.

OUIL 505 Final Outcomes

My final outcomes for OUIL505 showcase how analog and digital methods can be used effectively to communicate a message whilst maintaining a sense of authenticity and individuality. I'd love to take what I learnt from this brief and apply it to Secret 7 this year. There is also a possibility of expanding this brief to a marketing campaign similar to that of OUIL505, though I really don't want to be repeating myself in the work I create.

WHY THIS BRIEF?

Not only is this a brief I enjoy, but one I feel I could excel at this year year; I learnt a lot from OUIL505, and being able to put that into practice in a live brief would be great. I'd also love to look into more illustration within the music scene this year, it's a niche that really interests me as a practitioner and one I've began working in (only locally) this Summer. Music is something that has always been a constant in my life alongside my art, and being able to combine the two is a dream come true. Secret 7 would be another great brief, alongside the few I've worked on over Summer, to add to a portfolio aimed at the music industry.

Note to self; Continue to explore illustration in the music scene.