For my focus of this brief I chose product and packaging; this area woudl allow me to explore elements of 3D illustration work within a context. At the moment I'm a little unsure of where I want my work to fit, whether it be something more gallery//exhibition based or something more commercially viable such as toys // figurines. I'm hoping through extended research I will get a better idea of what I want my work to represent and how I want to communicate it.
Charlotte Mei
An illustrator I've been familiar with for quite a while, there is something about Mei's work that always strikes a chord with me. In relation to this brief, what I've really honed in on with her work is how she applies her illustrations to a range of contexts and formats while still retaining a consistent tone of voice and 'series' like feel to her work. The idea of making illustrations and then applying them to products is something that interests me a lot; finding new ways of pushing my work into tangible objects is something I want to capitalise on throughout this module; the transition from 2D illustrations into 3D contexts.
From a professional practice point of view Mei also appeals to me for the way she works. A lot of her briefs are self initiated and both her and her friend Grace Helmer regularly put on exhibitions, it's inspiring to think that illustration can be seen in a gallery format, and not just on the pages of books and posters.
Rosie Brand
Brand's practice appeals to me in a similar way to Mei's. Creating both 3D and 2D illustrations that carry through the same tone of voice in an exhibition format, it's great to see illustration out there in exhibitions. As stated earlier, I'm not yet sure whether I want to take my work in a more gallery//exhibition space format with the products for sale, or whether I want to tailor the work to something more commercial and merchandise based.
Practically, what I enjoy about both Brand and Mei's ceramic works is how they are informed by the way they draw and vice versa. The ceramics themselves have a sense of rawness about them that I really love, exploring and pushing shape and form with the 3D media allows for a new way of looking at image making; something I would like to try out.
Izziyana Suhaimi
Suhaimi's work is very different to a lot of illustrators I've looked at for this module, whether she would even define herself as a Fine Artist, Illustrator or Textile worker I wouldn't know, but her work spoke to me for the emotive qualities it possesses. Throughout my time at LCA I've found that one of my skills within illustration is being able to communicate emotions, the personal and romanticised text of Suhaimi's "Let's Talk About Everything" really resonated with the way I go about making personally driven projects, and this is something I want to feed into this brief. Whether I choose an exhibition format or a more commercial one, I want the work to have some grounding in real world human emotions and feelings, succinctly communicated to the audience.
Yan Ruilin
It took a long time to finally track down the artist behind the wonderful wooden sculptures I stumbled upon on pinterest, Ruilin's work is beautifully simple and engaging. Through a considered use of shape and materials, Ruilin communicates character in way that is accessible for folk of any age or background. The high level of craft and finish each of his pieces embody is also astounding. Not only the type of media worked in, but how it's worked with, will be something to really consider when making my own 3D illustrations.
Melula Shoes
I chose to reference Melula shoes for this task because they really opened my eyes as the the breadth of formats illustration can be applied to. When I would first think of illustration products they would usually be that of stationary, home-wares, merchandise ect. But more niche applications of illustration are starting to open up. Where do I want my illustrations to sit in the modern world? In a time when images can be applied to almost anything I must consider and narrow down what MY images will be applied to. If I feel the body positivity is something I don't really want to continue with then what theme DO I want to explore? It is integral that I lock down a theme soon as that will inform what my illustration is applied to later down the line.
Hand Over Your Fairy Cakes
Another example of how vastly illustration can be applied in the context of products. Hand over your fairy cakes is an independent online shop focusing on merchandise stemmed from illustration, into the 3D tangible world. They also show that illustration can still carry a message even after going through the process of becoming commercial, and that that is something people value and will pay money for. Should my work be like a campaign? And if so what for? Do I have a message?
Pole Toko
Working with a similar media to Ruilin, PoleToko is a company that focuses on producing handmade wooden sculptures for commercial sale. Practicing both online and with their own shop in China and stockists in Paris, PoleToko's creations are charming and utterly collectible. Having a strong sense of consistent simplified character, the range works as it has a tone of voice that once applied can be broadened into new ranges//sculptures//animals. Having a consistent working method in this project will allow for easier application onto a number of products and range.
Helena Covell
I originally chose to look at Covell's work because of it's pattern qualities (See sketchbook for more pattern examples) and how she applied her character driven illustration to pattern that could then be applied to packaging. If I want to create a kind of 3D figure that could be displayed or sold, I would have to consider how I wanted to package this product as well. Having a repeating illustrated pattern of the figure itself could be one way of going about this. Simplified character work is also something I'd like to explore in this brief and Covell's work shows a breadth in how simple characters can be both aesthetically pleasing while still communicating a feeling or emotion.
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