More end of year show proposals



The first is a more space efficient version of the other proposals in this post.
After speaking with Fred it was really clear that I needed to contextualise what I do more directly into my part of the show, with the guardian covers being a great way to do this, but also I needed to show the diverstiy of approaches I have. I wasnt sure wether or not I should do this before, whch is why I stuck to exhibting one approach, but it was too limiting and kind of pidgeon holed me.

We discussed me having a mac as part of the display too with a slideshow which could help elaborate on the publication and editorial based illustration I produce and help to sell it in its proper context, in product shots.



This version wouldnt take up much space, just under 3 a0 banners worth, but it has my branding large on it, again im not sure if this one is working too well which is why I proposed the one below as well, the one below is a little more eye catching and "engaging" for a viewer. The work still looks a bit "bitty on the above and below proposals..




This to me looks like a solid proposal, I have a range of stuff that is well contextualised all from one project up, with an impact banner that works better than others I have proposed, with elaborated work in context and product shots.  I really like this proposal, I hope it works the way I think it does.

I'm going to put together a PDF slideshow for the mac, I'll post that up by tomorrow evening.

End of Year show proposal


The top set are most recent, and I like the three on the right best, I think the branding works well in the centre of the show composition, with the little stationary shelves underneath. I tried to show a "wow banner" something that would hopefully grab viewers attention, then a poject banner, which gives an elaborated look into my work, and then a branded stationary board with mini portfolios that people could take away so they remember my work. That approach seems to work alot better than the idea below, which just looks like a low budget art gallery. good stuff!

Computer arts mini feature





Im in next months issue of computer arts! cant believe it happened really but here we are. It involved me contacting them and submitting work, and then.. waiting really! Wait I did and im so glad its there. As far as I know, I'm also getting a page in next months AMMO magazine, but I dont know when thats due to be available. Hopefully this will get me some exposure anyway, featured people also get a profile on the computer arts website, so that will be awesome when its there.

YIPEE!

Link To PPD Blog

http://j-packham08112-ppd.blogspot.com/

fmp boards





OUGD 303 module evaluation

The final, major project on bagd is done! 

This for me was a hard module, with a lot going on in it, making it hard to keep track of the briefs I was doing, but I feel that I have worked harder than ever and have managed to be relatively organised more so towards the end  I am producing stronger work, but because I have had to be time efficient with my illustration, I have set in place a way to keep constantly improving my work after the course ends. I can honestly say I am proud of myself for remaining strong willed for the last few weeks to ensure I got this module done properly. The application of most briefs is something I'm not totally happy about this module, but the products I have tried to make sure were all consistantly strong, suppose I dd this to make sure I would have strong illustration for my portfolio.

The first three statement of intent drafts were unfocused, and didnt really challenge the way I percieved myself or make me question my motives. Producing a simple and strong rationale was the result of some long hard thought and has contributed to my development over this module.

CONCEPT DRIVEN ILLUSTRATOR FOR PRINT.

 I wanted to operate primarily as an illustrator throughout this module, because I felt with that being what I want to persue, I needed to start understanding how and what I can apply my illustration to. This is where i recognised that my illustration works well in publication formats and hand printed materials, but I also wanted to basically see if i could work effectively towards producing other deliverables, eg clothing and music related formats like album art. (something more commercially viable) I know it sounds cliche but its something I have never really fully exploited and felt the need. This was a decision I made based on the previous module where I started producing digital illustration, which I realised had a lot of potential for me to apply images to contexts I hadnt maybe had the opportunity to do before because of my lack of knowledge on the subject. I did almost jeoprodise this realisation by volunteering to work on a yearbook. I am not pleased about my lack of direction in making this decision when it is looked at from the perspective i mentioned previously. Although I know that at the time of making this decision, I was still wavering on wether or not I should grab the illustration bull by the horns, because I still felt it a really risky thing to do with my track record of not being totally aware of the application or concept development of my illustration. Despite this lack of judgement, I am happy that I persued illustration in a much more dedicated way.

I have seen a big change in the way I am working recently, I think part of that is because I have a bit of a better awareness of what others will think of my work in my head, and I can use this as almost a quality control over my work. It is in no way perfect yet, but I know that this will come with time, and it feels like it is solidly with me. This sort of quality control is what I have been applying when working for the client on brief 3 I produced on this module. This awareness has definately come late, but i would not have the approach I can now build on if it wasnt for all the crits, feedback with tutors and collaboration / live brief opportunities of this last three years. Something I am still not good at is documenting my work on the blog. It is something I have consistantly found a struggle, and I think that is because I have been impatient in telling the story of my work, and spent too much time doing it.  Its a shame because when I do apply myself to the blog and really focus, I produce extensive, thorough posts about whatever I am doing at the time. 

The most extensively documented brief is the guardian brief I did, which is strange because with this brief it was the application of product that I was really proud of, but in other briefs it has been the product I have been proud of. I've learnt that the application of illustration is half of the process, and ill considered application, leads to a weak end result. (Operation nothing module submission, this was weak because I focused too much on the client brief and neglected properly developing a strong concept for a range and its application). I have learnt now, finally, that concept development is something I should really use to push my illustration, because at the moment I feel the concepts for my work are normally weaker than the aesthetic. An equally strong concept behind my aesthetic would start to benefit my work alot. I feel like some blinkers have only recently (in the last month) left my eyes. That is where I feel I am at the moment.

I think that gathering the research for my design context is what initiated a more aware sense of what I am doing as an illustrator, what I hope to achieve and what I want my work to be. I noticed that alot of illustrators I was looking at werent much older than me, maybe a year out of education and were getting features in magazines I read. I decided I needed to up my standard of work and to try get features too. I managed to get two features in computer arts and ammo, which i am stoked about! and is showing me how working hard and being dedicated to my work bears reward. PPD has also been something that I have really enjoyed doing throughout this module, its definately been a good healthy experience. I had to re- evaluate how I did what I wanted to do as an illustrator, and then how I wanted to appear to people in relation to my work - for example my online portfolio and branding. I just wanted to come across as friendly and inject a bit of imagination into the presentation of these things. Its not perfect and never will be, but all I can really do is keep adjusting it based on the new things I am learning about myself and my place in industry.

All I have for this course is appreciation and gratitude. I think at times I havent been as dedicated as I should have been and havent often been able to see things that were right in front of my eye balls. But, and its a big but - its learning all these things that has made me ready to operate as a freelance illustrator at least part time, but I do now know that illustration is my passion, and could be my job if I keep at it. 

Last module, I already feel strange, I'll be starting a live brief on monday so at least I'll be keeping relatively busy. I have totally gotten used to the pace of life on our course and it feels strange to be able to now go and execute all tha plans and experience, that this course has given me to carve myself a career. 

My plan for the next year is to pick up client work by promoting myself through publications and online - whilst undertaking a large self directed project which with some dedication, planning and promoting will result in a private exhibition. I have my work cut out for me!

Thanks, its been a great experience.

Jonny


Brief 2: Guardian G2

Another illustration & range extension for operation nothing brief




Design Context Publication

inspirational quotes for design context

“On the odd occasion (if you’re really lucky) you get a great client who really makes the project, that collaboration can be the perfect catalyst. However when it comes to putting on events, exhibition’s etc i like to collaborate as much as possible.”

“I used to only want to be thought of as an illustrator because most people I knew that called themselves artists were full of baloney. I guess I feel like if I’m working on commercial stuff then I’m working as an illustrator and if I’m sitting down to paint or draw just for the sake of making something then I’m working as an artist. Two hats, same skull.”

“The holy grail is to spend less time making the picture than it takes people to look at it.”

“I’ve had more than my fair share of non-payment and loss of artworks. Most galleries are run by morons who don’t give a fuck about selling your work. They’re way more interested in throwing an arty party every month than developing your name and collector base.”

“If something looks nice and the subject matter is ‘nice’, as much as people are drawn to it, the attraction tends to stop there. Equally with an image that works only to offend or confront the viewer will only really illicit one sort of response.”

“I can start with some sketches, drawings or paintings and rework the graphics on my computer or I start directly on my computer. There is not just ONE good way to make art.”

“Images are the midwives between experience and language. The miracle of image making, even a rudimentary scribble or doodle, is that it helps birth a story that holds countless memories and emotions.” 

“If you are working with a client I you have put the client’s message across within your Illustration. However, when I paint or illustrate for exhibitions or self initiated pieces I love the thought of taking the viewer into a different surreal world.”

“There are different levels of success. You could be a recognised artist in your field, your art could be known throughout town, or even the country. I see my own success in baby steps. Reach for a goal, then hit it and create a new goal.”


“You always have to anticipate the trends instead of following them if you want to have some credibility with your target. And this, is our job.”

“’Images that are in public space that aren’t advertising reawaken a sense of wonder.”

“We approach our clients and colleagues with the utmost honesty and operate a ‘NO BULL SHIT’ policy both in an out of the office! Frankly we chose this line of work to pursue our dreams and creative vision, not to ‘BOSCH BOSCH’ wheel and deal.”

“It’s important to study other artists and absorb every piece of art that you love, and to BE influenced by it, but simultaneously, because all art is so personal, you need to be able to let go and trust yourself to do your own thing, no matter how good or shitty it may be, as long as it’s your own.”

“Different people get different things out of  images. It doesn’t matter what it’s about, all that matters is how it makes you feel.”

“Even if you can’t draw, do a little doodle or rip an illustration from a magazine - these visuals will help bring your idea to life.”

MR Gauky, Loch Ness, Sam flores

Mr Gauky:

“I was born in Yorkshire and at the naive age of 4, I was taken on a day trip to dales by my parents. Its still unknown whether they got distracted by the lush surroundings and completely forgot about me or their plan was to abandon me and leave me to fend for myself. I stumbled around the dales aimlessly for what seemed like days, until I came across a tribe of very hairy creatures called Slouches, they took an instant shining to me and took me in as one of their own. They taught me the ways of the dales and introduced me to art, I developed these skills and spent most of my days painting their portraits. Many years passed by and now I draw, paint, digitize, print and sculpt a powerful gang of misfits and creatures for myself and others.”













Loch Ness:

“I’m an Illustrator/Artist who currently lives in Bristol, UK and is the brains behind Loch Ness Illustrations, the psychedelic passage through my surreal images and quirky characters. I merged from Bristol’s vibrant Art scene, with my free flowing psychedelic imagery and unique characters have got me recognition by commercial clients and many people from around the world. Apart from Illustration I’m also fond of Graphic Design, Graffiti/Street Art and Photography.”




Sam Flores:

“Sam Flores is an American painter. He has displayed in the United States, Canada, Singapore, Japan and throughout Europe.”










Emil Kozak, Mike giant, shepard fairey

Emil Kozak:

“Emil Kozak Studio is a Barcelona based creative studio focusing on art direction, brand/identity development, graphic design, illustration and communication for a wide range of international clients. The studio was established in 2003, and has since then been working withthe most well-known and influencial brands in arts, culture, fashion and entertainment. All the visual work is always created by Emil Kozak.”









Mike Giant:

“Birth. Upstate New York. Drawing. New Mexico. BMX bikes. Heavy Metal. Skateboarding. Punk rock. Hip-hop. Thailand. College. Dishwasher. Raves. Lorelei. First tattoo. San Francisco. Dharma. Think Skateboards. Angi. London. Adult bookstore. Computer animation. Tattooing. New York City. Newskool. Skullz Press. Everlasting. Track bikes. Brooke and Leia. Tokyo. Tattoo 13. Plum Village. Albuquerque. Stay Gold. REBEL8. Manifestations. Ordained minister. Megan. 36. Amsterdam. Right here. Right now.”









Shepard fairey:


“The OBEY sticker campaign can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as “the process of letting things manifest themselves.” Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation.”