chelseacarrillustration-blog

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Potential Client List

As part of my Illustration Survive Guide, I was asked to make a list of potential clients. As I am hoping to go into making gig posters I used this opportunity to make a list of bands I would love to work with. I looked for bands that commissioned a lot of posters already and suited my style, ie they used other illustrators whose imagery was similar to mine in terms of subjects, color, compositions, and texture.

The process taught me a lot about how you get in contact with bands and how this is changing. Some bands heavily use social media and represent themselves and for these bands, you can contact them with a message on their social media. However, most bands have management and decisions such as which illustrators to use usually goes through them in order to maintain the image of the band. When you are starting out you contact the management first and once in a while one will take a chance on you until you have a portfolio built up and began to get noticed and in mind for future posters. 

Having said this it is also important to make posters for bands just starting out, most often for free, in order to gain experience and develop your skills as well as to build up a portfolio. The best plan is to do both things simultaneously. 

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Best Professional Practice Talk: Laura Carlin

Laura Carlin is an award-winning London based ceramicist and illustrator, whose eye-catching designs and quirky sculptures have developed a cult following in the UK and abroad. Laura’s accolades include winning the Bratislava children’s book illustration awards, the first Brit to hold this title in 20 years. She has won the Quentin Blake Illustration Prize two years in a row whilst studying for her master’s at the Royal College of Art.

During her talk, she spoke about the importance of being playful and that nothing is out of bounds. She argued that we are products of our childhood and that we should not always work to get popularity and follow what is in fashion. 

She talked about the freedom of being a child, being able to play free from the concept of work or the distractions of day to day life. When she was young she loved drawing pictures and telling stories. At university, she loved making sketchbooks and twisted briefs to fit what she wanted to do. 

When Carlin finished her BA she still had no idea what an illustrator was. Fir her MA she went to China for 10 days and was terrified but it forced her to begin thinking about what she wanted to tell an audience. She learned to take everything that was not important out. She edited and ordered her drawings from the trip and tried to tell a visual story, creating some images after the fact. 

She also spoke about creating images that brought the viewer in but did not explain everything, especially when illustrating difficult subjects, as it can be better to let the reader do the work. She stated that that not all things need an image. When it comes to illustrating texts she spoke about how it is better to show atmosphere than a literal interpretation. 

images from http://www.lauracarlin.com

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Portfolio Review Summary

Portfolio reviews have been one of the most difficult things I have had to do as part of my final year as I have found it challenging to put my work out there, in the wider world, and hear what others think of it. However, I have found the process to be extremely helpful as it has given me multiple new perspectives on what I do, what works, what does not work, and what needs improving on, as well as insight into how clients view me and how I would want to be viewed. 

Most reviews have given me three strong suits, from their perspectives, and three examples of what jumped out at them as not working. The way they did this made me feel a lot more at ease, and less like they were just criticizing me. I felt like the feedback was constructive and that the things they pointed out did not mean my work was bad but that my work needed a few improvements.

 The following is my portfolio review via email from Mel Kadel

Hi Chelsea, I really enjoyed looking through your work! The first things that come to mind are: -Your work has a really nice balance of classic and contemporary imagery.It has one foot in the past, but also feels current.  It’s relevant and timeless at the same time.That’s an exciting outcome.   -It’s also narrative and iconic at the same time, which I really love.For example, “Female Representations in Art”.  You use just a few elements, which creates something bold, but the piece feels intricate and cared for and leaves room for interpretation. -You have a strong personal style that carries through the whole portfolio.I think overall this might be most important.  They all have your stamp on them which goes a long way when people/clients are inundated with looking at work.After looking at everything, I’m left with a strong idea of what you do and how you approach making images.  It’s memorable. -Your process has a lot to do with what I said above.  The mix of hand drawing and additional textures are really nice.It’s an interesting process that involves classic illustration with digital work.  That speaks to me.  It’s a mix of tools but your hand is one of them. -On a personal note, I love the color palette.  And your b&w pieces are really strong! -It’s very hard for me to criticize in general.  So please don’t take this as “I don’t like”.But the last 2 images don’t feel the same to me as the rest of the work.  The execution is wonderful, but the feelings don’t reach as far as the others.  I don’t get the “Chelsea" feeling I get from the rest.Skulls/guitars and things like that are hard in that way.  Because they are common subjects, they become challenging to reinvent with our own styles.They are really nice looking, but I don’t feel your hand or heart as much as the others ——— When I was creating a portfolio in school my style was all over the place.If I look back, I can start to see a personal style bubbling back then, but generally, my drawings looked like I was filling Illustration assignments.So, I think it’s really cool to see you creating a language and technique so evolved at this point.I think it’s intelligent, curious, and thoughtful work. x Mel

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Tutorial Feedback: Semester 2

Feedback from project 2

My feedback from my second project was very positive. The tutors believed that my work showed evidence of my thought process, that I had drawn from reference and that I had identified a niche market. 

They also identified that I had worked on perfecting the screen printing process through trial and error. 

And also that I had used less literal and obvious imagery for the bands in some cases.

However, they were wary that I focus on an idea quickly and without much questioning. They suggested that this might be both a good thing and a bad thing as I may leave myself without room to explore. In addition, they felt that I could have pushed some ideas further. 

The tutors went on to advise me that I need to ensure that the background and the image support each other and that I look at type to match the posters. 

In addition, they would like to see me stop and think about things more before pushing ahead with an image. 

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Tutorial Feedback: Semester 1

Illustrator /Authorstrator Proposal/Brief 2017

Musical Family Trees

When speaking with Barney Ibbotson about my proposal for project two I was given a fair amount of feedback on how to improve my plans as well as some feedback on the initial outcomes. 

Barney spoke to me about how to make my project titles more specific, as I had just titled it ‘gig posters’, and I should try to be more like a mini description of what I plan to do, changing it to ‘Gig posters Based on Musical Family Trees’.

He went on to say that my overall proposal was strong:

In response to the musical family tree theme, I plan to create a series of posters. For each genre, I will start with a poster design for an influencer band, for example, The Pixies, and then move onto designing posters for three or four of the bands that have been influenced by them, such as Weezer, Muse, and Radiohead. My aim is to explore the world of poster design for Gigs and events. I am hoping to create posters, which communicate the overall look, feel genre, lyrics, and issues expressed by each band. It is my plan to also improve my design skills and part of this process, such as the use of space, integrating text, the weight of line, color, and texture, as well as my digital skills. I plan to analyze my work at each stage, especially the final poster outcomes, in order to improve my next design. I will then put my designs back into to the musical family tree in order to highlight the links between the designs and the bands. The bands should work together and have strong visual links, looking like part of a larger whole in my portfolio, using simple bold images and strong harmonious colors.

Next, we discussed how the project relates to my wider goals. I had originally only written one line. Barney advised me to relate it to my career goals and to be more passionate about where I see myself after graduation. 

I have chosen to work on the musical family tree as I have a strong interest in music and have wanted to work with gig poster design for a while but have not known where to start. This project has given me the push I have needed in order to really explore the subject. I would love to go into designing limited edition music posters, created for events, as a career as I feel it best suits my skills and it is a subject I would never get bored of as I am always searching for and discovering new bands and my mind always created images as I listen to music and discover more about the bands and songs. It is a subject which always holds some fascination for me. I have already contacted some gig poster designers and added their responses to my blog and I also plan to contact some local bands to get more grips more with the actual process of designing posters for a client as I understand that the band's input is a large part of designing a poster. I also understand that some poster designers don’t depend on gig posters alone as a form of income. Many designers become known for being linked to particular musicians and bands and will create many, if not all, the posters for their shows.

I was asked to be more specific in my areas of research as I had only stated I would be looking at band imagery:

I will be looking at the work of poster artist that I admire such as Jermaine Rogers, Tara McPhearson, Dan McCarthy, and Dan Stiles. I will also be researching each band, its overall look and the lyrics they use. The design of the poster has to communicate the band and who they are, the genre they fit into, their look, and their music, specifically how it makes you feel. For each poster, I will have to consider how the text, image and textures and colors fit into the bands aesthetic. I am hoping my style will come through in my designs in order to make them different from other artist work and also to make them stand out, however, I am used to using women in my illustrations, and so my general interpretation and other design elements will have to get across that this work is my own. Each poster will be a step further into understanding the screen printing process, such as how to mix colors, create layers, and experimentations with paper stock, such as weights, grains, and tones.

He was happy with the context (audience, purpose, place)

The audience that my designs will be aimed at will be the fans of each, individual, band and to a lesser extent, fans of poster art. These kinds of posters would usually only be seen at events and sold there, but also, at times, on the artist's website depending on what deal what struck for the posters. The posters are usually A2 in size but can also be A3. Some posters may be featured in books and magazines, or may be used to advertise the event on the street, but rarely. Those looking to buy them would only be individuals already interested in the band. The posters act as a tether to the event, a link between the gig and the person who went to see it.

Finally, I was asked to expand on my deliverables, to isolate elements to create, for example, stickers, badges, t-shirts, and postcards:

I will start by producing A3 screen printed and risograph posters, around 10 of each until I discern which process suits the designs better. I will be producing 5 designs initially before moving on to the next musical family tree. I will also be incorporating the images into the family trees. Each band/design will result in a printed poster. I then plan to use the designs, or elements of the design, to produce t-shirts, sticker, and postcards, or any other relatable band merchandise.

For the work I had produced so far Barney advised me not to overuse textures but that I had improved greatly digitally. 

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Dan McCarthy, Interview.

Dan McCarthy is an amazing poster artist who uses lines and space to draw the eye. His work is dark and atmospheric but also delicate, with an otherworldly feel.

1. What are your favourite tools to use when making posters? What do you like to draw with? Is there anything in particular that has made your work better?

My favourite tools are pencils and ink. I usually draw with micron pens 005, 05, 08 and I like to use sumi ink with a brush for blacking out large areas. For a long time I hand pulled my prints. Around 10 years ago I got a semi-automatic press and it makes the printing process move a long a lot quicker and less painful. So, I think my Press made my work a lot better.

2. Have you had to make posters for bands you don't particularly connect with, if so how have you gotten over this hurdle?

Yes. when I was first starting out, I would say yes to everything and some jobs included bands I didn’t really like to listen to or even know about. At that time I was just excited to be getting paid to do something that I really loved, so it wasn’t too hard to get over the hurdle. Once I started gaining a few more followers, I started getting jobs that I was excited about and kept me busy. I was able to pick and choose which jobs I wanted to do and which ones I didn’t want to do.

3. What is the best thing you learned, that has really helped you progress as an artist or in terms of being noticed?

I think the biggest thing that has progressed my art and so many other artists is the ability to post your work on-line (instagram etc.) and share it with the world. before the internet (like when I was a teenager), it was so much more difficult to get your work seen and now it’s so easy to just put it out there. It is really awesome to see artists you admire, post their work and techniques, I feel like it has pushed artists to really hone their skills.

4. What one piece of advice would you give to someone who wants to go into making posters for bands?

Always make time to work on your own ideas that excite you, free of any band/manager approvals. the more of your own work that you have in your portfolio, the more jobs that will come to you that fit your style that you enjoy doing.

5. What has been your biggest hurdle?

I think my biggest hurdle is the occasional self doubt. I think most artist go through times like this and it can be hard. I learned the best thing to do is just slow down, take a day off and try remember what it is you like to create. Then, just create something the next day. text can be troubling for me too. I tend to approach it in one of two ways - I either try to incorporate it in the actual art, like graffiti on a build or carved into a rock. or, group all the text together creating a rectangle block, sort of like a book cover.

I want to say a big thank you to Dan for his amazing answers.

All images can be found on his website:

http://danmccarthy.bigcartel.com/products

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Dan Stiles, Interview

I recently discovered the amazing world of gig posters, and with it some amazing artists. One such artist is Dan Stiles. Dan has collaborated with everyone from indie bands to major corporations in creating posters, identities, advertising, custom packaging, and limited edition collectable art and merchandise. His clients range from Arctic Monkeys, Sonic Youth, and Wilco to the X Games, IBM, and Nickelodeon. He draws from a broad swath of influences including skateboard graphics, album covers, modern art, children’s books, comics, psychedelia, and vintage advertising. 

1. What are your favourite tools to use when making posters? What do you like to draw with? Is there anything in particular that has made your work better?

Paper and pencil, Adobe illustrator. Sometimes finishing touches with Photoshop. The process of screen-printing has taught me to maximize the impact of minimal colors and minimal details. 

2. Have you had to make posters for bands you don't particularly connect with, if so how have you gotten over this hurdle?

I listen to similar bands that I do like. It happens pretty regularly. 

3. What is the best thing you learned, that has really helped you progress as an artist or in terms of being noticed?

Develop your own style. This takes time, you need to make a lot of stuff and eventually your own flavour emerges. Make more stuff, all the time. Learn from others, but don't simply imitate. 

4. What one piece of advice would you give to someone who wants to go into making posters for bands? 

Don't expect to start with Radiohead. Start with your roommates shitty cover band and work your way up from there. It takes time, which is fine, because you need that time and practice to get good. 

5. What has been your biggest hurdle?

The biggest hurdle is making money while doing the work you actually want to be doing, not just taking work for the $. 

p.s. take a type class in the graphic design department. Typography is skill that is hard to teach yourself. Most illustrators are terrible at it. 

I would like to say a big thank you to Dan for taking the time and consideration to answer my questions.

All images are taken form his website:

http://www.danstiles.com/

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Skills Audit

As this is my third and final year of university it is time to prepare for being out in the real world as an illustrator, and so this year I plan to implement practical changes to address the issues which I feel will have a direct impact on my future.

The first is that I would like to look more at my work and see the areas which need improving, and then actually carrying out those changes. I find that when I have finished a piece I tend to just consider it done and move onto the next thing, rather than looking fr areas which may need improvement. When I do see things that may need changing I will also tend to just leave the piece how it is either for fear of ruining it or because I want to move on. I think I would improve greatly if I went back to finalize and polish my work.

The second area I would like to improve on is putting myself out there for criticism and taking that criticism as it will help me to be more critical of my work myself and help me to understand how others see my work. The more I understand about how my work is perceived the better I will be at planning and seeing it in context.

The third area for improvement is my lack o digital skills and my desire to be able to better prepare work digitally. To learn the proper practices for Photoshop, how to create a digital image, but also how to make a piece scan accurately and how to make sure what is on the screen is what is being printed.

The fourth area is more to do with real world knowledge. I would like to learn this year how illustrators get clients, work out fees, join agencies, and all the other issues that come with being an illustrator as I have always been primarily and artist who completes commissions and holds exhibitions. The illustrator world is alien to me and I fear if I do not find out these things I will be lost once I leave university.

The fifth and final point is that I would like to work out how an illustrator meets people and markets themselves as social media does not seem to be the key in this issue. This will probably be the hardest as I don’t even know where to start.

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Manchester Whitworth: Raqib Shaw.

I fist saw Shaw’s work in 2013 a Manchester Art gallery (the central one) and I was mesmerized. Never did I think such a lofty art gallery would dedicate an entire floor to a exhibition of work containing shiny enamel, glitter, rhinestones and some other very unusual things. It was wonderful, so when I found out that his work would be in Manchester again I could not wait to see it. 

His work really is something that must be seen in person. Just looking at it on a screen or in a book, no matter how good the quality, can not get across the way it impacts you with the bright colors, immense details, and above all the way it sparkles as you walk around the room.

However, his work also reminds me of Hieronymus Bosch and The Garden of Earthly Delights with its use of color, a composition which draws the eye to each little happening, and the way in which it seem innocent from a distance, and then you get closer. The Jewel like surfaces mask the  intense violent and sexual nature of much of the imagery.  Shaw’s series of works similarly titled ‘Garden of Earthly Delights’ celebrate a society free of any moral restraint.

https://en.wikipedia.org/wiki/The_Garden_of_Earthly_Delights

I as for his techniques, he uses industrial enamel and metallic enamel paints, creating pools with gold inlay, and adding detail with a porcupine brush.Add this to the use of rhinestones and you can see tat it can pay off to experiment and take your own path with your work as long as it is relevant, For Shaw these techniques were born from those used to decorate vases and the traditional methods add to the feeling of a historical epic being played out on the walls of the gallery, almost like something you could find in a far off temple. 

His work is amazing to see in person, but be warned it is not for the faint-hearted and you may get a bit of a shock if you look too close.

Images from http://whitecube.com/artists/raqib_shaw/

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I wish I’d done this (2)

This is the work of  Miho Hirano. When I first saw this I instantly fell in love. It is everything I wish I could do. Her work has an uncomplicated power, as she merges women with nature,  through the use of soft colors and fluid brushstrokes.  Each of Hirano’s paintings emote a melancholic longing. 

Her work both reminds me of the Pre-Raphaelites. (in order Hirano, Pre-Raphaelites)

http://www.telegraph.co.uk/culture/art/art-features/9517270/Pre-Raphaelites-Tate-Britain-exhibition-visions-that-tell-us-who-we-are.html

The use of the space, tone and de-saturated colors create a beautifully peaceful atmosphere, as if you are peering through a fog, or looking at a dream world, where things are soft and floating. 

The hair in the artist’s pieces reflects sensuality and creates the identity of her subjects, adorned with flowers that attract bees and hummingbirds, representing her power of seduction, rebellion, freedom, and natural sexuality.

From her work I think I could learn to look at space more as I have very set way of placing images and could play with the placing of images much more. I would also like to try using much more de-saturated colors as I always use very bright and vibrant colors. Overall I would like my work to look more free and less rigid. 

Images from http://mihohirano.strikingly.com/

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Liverpool Walker Art Gallery: Alphonse Mucha-In Quest of Beauty

During a recent visit to The Walker Art Gallery in Liverpool I visited the  Alphonse Mucha Exhibition and was blown away. This is an artist I was not previously familiar with, but really should of been considering he is known to be one of the most prominent artists of the Art Nouveau movement. His work at first did look a little familiar but I simply put this down to Gismonda, the artist’s first poster design for the actress Sarah Bernhardt.

http://www.muchafoundation.org/gallery/themes/theme/sarah-bernhardt/object/21

However when I later researched the artist I found that his work may have looked so familiar for many more reasons. His work has influenced a wide range of artists for a wide range of subjects, including artwork for graphic novels, Grateful Dead posters, and tattoo art.

https://www.comixology.com/Dejah-Thoris-and-the-White-Apes-of-Mars/digital-comic/34381

http://leitorcabuloso.com.br/2016/01/top-posteres-de-filmes-famosos-em-art-nouveau/

http://bcb-board.co.uk/phpBB2/viewtopic.php?t=134137

In a addition certain elements are very similar to the work of one of my favorite artists. This is Mucha’s  The 4 Flowers (Right to left - Carnation, Iris, Lily and Rose).

http://largesizepaintings.blogspot.co.uk/2010/12/alfons-mucha-1860-1939.html

And this is  Audrey Kawasaki ‘s Art Nouveau style work. You can see similarities in the color and tone, the subject matter, the use of different line weights, the use of blank space, and the compositions.

http://honestlywtf.com/art/audrey-kawasaki/

The exhibition itself explores the work of the artist around the theme of beauty as this was the core principle underlying his artistic philosophy. it was Mucha’s belief that beautiful works of art should improve the quality of peoples lives. He wrote:

‘I was happy to be involved in art for the people and not for private drawing rooms. It was inexpensive, accessible to the general public, and it found a home in poor families as well as in more affluent circles.’

I am so happy I visited the gallery and discovered something new as it has sparked a new interest in me as well as helping me learn something about one of my favorite artists that, despite all me research, I had not known before. 

http://www.alfonsmucha.org/the-complete-works.html

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123!

The three best pieces of advice I have been given this year. 

1. The first and always number one piece of advice is to be nice!! Although the advice was originally given to me in the format of don’t be a ...... no one will like it and you wont get hired, the core of the message still stands. If you are a positive and kind person and actually show that you are respectful, interesting, polite, and listening you are much more likely to get jobs, get referred for other jobs, stay in client’s memories, and just in general do better. Who you are matters just as much as your work sometimes and it can make the difference. I know, especially when I was younger, I was rude as a defensive mechanism, not realizing that everyone saw through it and I was just putting people off. I still turn to this mode as default when I am nervous, but it is important I stop myself or that will become my lasting impression. Also a positive mind shows through in work. If you are willing to open up better ideas will come through tan if you are just trying to look cool and interesting. 

2. Take an interest in the world. This one is half advice from one person and half from another. A woman with a stall next to mine, who had once been a university art teacher, told me that you have to keep up with trends, notice what is going on and think about where it will lead because, at the end of the day, you have to at least make some money to survive. Her argument was that she had been doing fairs for years, because she loved 1970′s jewelry, but different decades were better sellers at different times, and so she changed her stock accordingly. She told me to create work I loved, but also be aware that I need to keep up with the rest of the world and not stay in my own little bubble of what I want to do. The other half is to take notice of what is going on in the real world, watch the news, listen to the radio, have interests that are part of the real world. I, like most people have a tendency to turn of to the world, to forget the news, to not bother reading papers, to listen to bad music instead of podcasts, watch terrible t.v. instead of watching documentaries, and just generally not really doing anything to feed my brain, and the result is that I have nothing to say, both verbally and visually. This is something that I need to remain aware as it is important at times to create work that is a reflection of the world and that people can identify with.

3. Don’t give up. This piece of advice came from an adviser and it is important in two ways. The first is that when you feel like giving up on anything, unless it is causing you to be unhappy in some way, it is probably best to carry on and keep trying. You can have a break, but don’t just let go of something that you started for a reason. I recently had a patch were I tried to make myself happier by running away and living my life differently, but at the end of the day the world is still there and I am not proving anything by giving up on my goals. The only way to get what you want is to fight even when you feel like you cant. The second is that even when you cant be bothered or you are not feeling the love for a certain piece of work try to look at it form different angles, and do the best you can with it. keep working on a piece to turn it around to something that reflects you, something you can be proud of, or you will have a portfolio full of work that is not the best you can so or is a poor reflection of you and your style. I have often created work I have not liked just to get it done but it has stuck with me, especially when it is out in the wold as representation of the best I can do.

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I wish I’d done this.

Manabu Ikeda‘s Ink and Pen piece Rebirth took 3.5 years to complete, working 10 hours a day, and if nothing else I wish I had that amount of time or commitment for completing just one piece.

It was created as a response to the 2011 Tōhoku earthquake and tsunami that set off the Fukushima nuclear disaster, a visual representation of the struggle between man and nature, a theme historically at the core of Japanese art. 

When I was holding my first exhibition a fellow artist once asked me if I was going to create something really big, considering my pieces are mostly A3 with a few A2 pieces, but not many. I do not work big. In addition, most pieces take me a day or less to complete. Two days at most. So the idea of spending years on one piece is unfathomable to me. 

When I tell people this they are usually shocked. I think this is most probably because of a preconceived notion most people have about art. When, in school, we learn about famous artists, who worked mainly with oil paints, they often took months or years to create great masterpieces. I equally equate time spent with greatness, something worthy of attention. 

However the size of the piece, 13′ by 10′, and the time spent on it have paid off and it does pack a punch, looking absolutely immense in terms of detail. Ikeds states that  “My goal is to faithfully express my view of the world in my composition, but I don’t intentionally depict detailed images,” he explains. “Because I see details when I observe things, rather than the whole, I find pen and ink to be the best tools to express how I see them.”. 

The closer you look the more you see. At first the piece looks just like a cherry blossom tree and a wave, then more details of the destruction emerge, and look even closer and you will see the details of people looking to survive, using the carcasses of airplanes to plant vegetables or rebuilding homes on the tree itself.

From this piece I have learnt three things. Firstly, that a little more time spent o a piece, when appropriate can, add a lot of depth to a piece, as more thought is put in and ideas are greater developed.  Secondly more detail can help get meaning across more clearly. Even though there also has to be a balance, as most of the work I complete is time sensitive, and three years is not always realistic, nor is immense detail I think I could look more at the way I use my time, not just rushing to complete the most basic thing I can do to fulfill the brief. Third is thinking about the way in which I see things, do I see the world in immense, textured detail or do I see it as simple shapes or outlines, and, whatever the answer is, what is the right tool to convey that. 

http://www.thisiscolossal.com/2016/11/rebirth-manabu-ikeda/

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Talking with Practitioners: OMOCAT

OMOCAT is an Asian-American artist-owned online store started by the artist known as OMOCAT in 2011, which started working from a bedroom computer. 

Over the years OMOCAT has accumulated an international fan-base and the name has consequently evolved into a full-fledged artist-brand. 

OMOCAT is now creating art and designing products which are retailing in both the U.S. and Japan. 

Her illustrations, comics, and clothing are heavily influenced by Japanese media and pop culture.  Her clients also include Crypton (Vocaloid), Bandai Namco (Tamagotchi), Pokemon, Coca-Cola, Namco, WhatPumpkin, Amazon Studios, 6PtHarness, Fangamer, Sanshee, Fakku!

OMOCAT SHOP strives to inspire others to follow their dreams and remind them that it is possible to overcome difficult obstacles and personal challenges in order to live by doing what you love. 

She wants you to know that even in this world where you are told to stop watching cartoons and grow up, told that anime isn't real art and games are only for the lazy, told that you have to pretend to be someone else to be accepted, and where dreams are carefully crafted and then revealed to have a strict time limit, that it is possible to live by doing what you love. 

1. What led you to creating a clothing line? Opposed to the usual line of making products to support income from illustration jobs. I would love to create something just as wonderful one day. I think ever since I was young, I knew the only way I could make a living was through art. After some experience in the art world, it always struck me that artists didn't profit as much as they could from work that they create. For instance, shirt designs were always paid as a flat fee to the artists with no royalties or sustainable payment. It does makes sense, since the company is the one who has to keep the business running while the artist only has to work for as long as it takes to complete the artwork. Even still, I always had the thought of something like “I can do that too” when it came to running a business (although I didn’t want to refer to myself as a “businessperson” at the time). I kind of stumbled upon creating a clothing brand and business by accident. I just wanted to do something fun, new, and exciting, and my art style lended itself well to screen-printing because I like working with bright and flat colors. It just seemed like a perfect match. At the time, I was a really big fan of Harajuku fashion because it represented freedom of expression and creativity, but there were hardly any brands representing anime on clothing even in Japan, so it seemed like a really fresh and new concept. Along the way, I realized that I don’t only like to draw images, but I also like to design webpages, take photographs, and almost everything else that comes with building a brand. Since then, I’ve been described as an entrepreneur which wasn’t something that I associated myself with, but is more describing of what I like to do than solely being an artist probably.

2. Has it been a struggle to live doing what you love or have you found it freeing? I would say the answer would have to be both. It’s absolutely wonderful to be able to be able to do what you love, and since I’ve been doing this before I graduated college, it’s really hard for me to truly understand how my career would be in another setting. The struggle is mostly the result of pressure, because when you feel so lucky and blessed and given such a wonderful opportunity, you always feel like you should be accomplishing or doing more than you are. Also, deciding to grow a brand and own a company instead of being just an artist comes with sacrifices, as I am not able to draw as much as I want to and have to deal with the business side of things. However, this is a small price to pay, as running a business creates a platform for me to create more in the long run. I also feel that if I had stuck to being just an artist, I would not have learned or grown as much as I have as a person.

3. Was it hard to establish yourself and your website? What was the biggest break you had? I think my biggest break was just being able to recognize the opportunities that were given to me. When I started my blog, Tumblr had just started gaining traction, and before then, there was no way to easily share images with so many people instantaneously. I think my decision to utilize that platform to share my artwork was probably the best decision I’ve made as far as establishing my brand name (at the time, username.) Artist online shops at that time were also very scarce, so I just happened to catch the very beginning of the online-artist shop movement and decided to push that idea as far as I could. When I started, I actually drew mostly fan art, but it didn’t line up with me morally to create a business solely based off other artist’s creations, so at some point, I decided I would stop making fan art, and focus my efforts on creating my own identity.

4. Where do you draw inspiration from and what do you do when you get stuck? When I was growing up, anime and video games were a big influence to me artistically and I spent a lot of time creating worlds in my head, so sometimes I create things that I imagined when I was younger. Sometimes I take existing tropes and try to put my own twist on it (NURSEBUNNY). I also really enjoy using problem solving to create an image: for instance, I’ll tell myself to create a compelling image with only 2 ink colors (like WIDOWBOY) or 3 colors (like FISHBOY). When it comes down to it, I create images I simply think are “compelling” or “cool”. Lately as I’m delving more and more into fashion and merchandise, I’ve also been thinking about how my images and products apply to real life as well. When I get stuck, I find the best way to handle the situation is to take a step back. Most of my problems come from thinking too much, so I find that simplifying my thoughts and writing a list of things that I like and don’t like helps a lot.

5. Apart from drawing and handling the website and sales what is the biggest part of your job? Would you say social media is a large part of what you do? Since last year, I have hired a general manager to run the online shop and an event manager to go to conventions and showcases, but I am still a big part of the company and make the final decisions on everything. Right now, the biggest part of my job is managing employees and planning photoshoots. Also for the past few years, I’ve been working on my video game OMORI, so I do the artwork, write, and manage the team there as well.

You can find her on her Artist site:

http://omo-cat.com/home/

Her blog:

http://www.omocat-blog.com/

Her Facebook:

https://www.facebook.com/officialomocat

And of course you have to look at her shop:

http://www.omocat-shop.com/

Thank you so much to OMOCAT for her thoughtful and kind reply. She is a true inspiration for female illustrators. 

[chelseacarrillustration-blog]

Talking with Practitioners: Mel Kadel

Mel Kadel is an artist who I first came across in 2014 in Juztapoz Magazine, and I have loved her work ever since.

She creates ink drawings on hand stained and torn paper. 

Her work has featured on Album covers, Wine bottles, Murals, Clothing, and Magazine covers.

She also has many personal projects, including designing a protest poster for the recent women's march in America, and has displayed her work in numerous  Art Galleries. 

I asked Her a series of questions about her work and she was wonderful enough to reply.

1. Your style is very distinctive, I find it very calming even though my mind is telling me there is something quite busy and off kilter happening. Is it something that has come naturally to you, or is it something that you have consciously worked towards, knowing what you wanted it to look like and then setting out to master that look?

Thank you.  I often feel a little off kilter when I start a new piece, and then I get into a meditative state once I know where it’s heading.  So I’m glad it feels calming to you.For me, developing the style I have, has happened over a long period of time.  Choosing little bits when something feels “right’, and then trying to expand on that. Even though I’ve experimented with many different mediums by now, I find myself always going back to basic pen & ink.  Maybe the limited materials I use helped define the way my work has evolved.Over time I’ve narrowed down a process on how I like to approach work, so that in itself helps create an overall style, just by the nature of a repeated process.But throwing that process off is always helpful, so you don’t find yourself on auto pilot.  How we approach our art and the many little choices we make when we create an image, says a lot about our personalities.  But to go back to your question, my style is something I consciously work towards even though it’s a familiar process at this point. If it’s going to continue to evolve, then there has to be an awareness of steps and exploring new directions, so taking what you do well and working hard to make that better is how I see it.

2. You have had your work applied to such a wide range of formats, such as vinyl sleeves, bottle labels, murals, clothing, and the list goes on. Have you ever found a brief to just stop you in your tracks, thinking it was overwhelming, or do you find each new venture exciting? How do you get past those moments where you feel like you cant do something?

I really love that art is capable of reaching so many more people than I alone can.  For example, those wine labels got to sit on people’s dinner tables and shared at parties all over the country.  They went inside homes and situations that are outside the art world.  That’s so much more exciting than my usual outlet, which is taking a drawing from my apartment and hanging it in on the wall of a little gallery.  Don’t get me wrong, I love working with galleries and having shows is my biggest focus, but the reach is often limited and predictable.  As I try to apply my work to different projects, I’m just trying my best to see where it can work and live, beyond my desk.  So, i’m not overwhelmed at all, just trying new things and aware that not all of them will work out.  A lot of the projects I create, I make on my own.  For example, making tea towels, sourcing the fabric & printing, and paying for all the steps to make it happen.  So when freelance work comes around and someone is doing all the leg work but wanting you to apply the art, it always makes me feel fortunate.  As far as getting past those terrible moments when I don’t feel like I can do it, that is the reality of being outside our comfort zones.  That never gets easy, but it does become an emotion you get slightly use to experiencing.  I did a mural a few months ago that had my stomach in a tangle for the first few days.  I was working on a scale beyond anything I’ve ever done, with materials I rarely use, so the whole thing felt foreign.  But after I got over a certain hump, it was an incredible experience, and an emotional payoff that I don’t find in my usual process.  My advice for getting past those moments:  No feeling lasts that long.  Even when we’re on a high, we will eventually come down.  So the same goes for when we feel scared or low, eventually we’ll feel on top of things again.  It’s natural self preservation to keep getting through our mental jams.

3.Leading on from this, what else would you be really excited to do? Where would you love to see your work? Do you set yourself goals like this or do you just see where the flow takes you?

Maybe I answered some of this above.  But I would picture doing a little of both.  To continue creating my own projects and goals, but to also let my art take me places if the right opportunities arise.  I want to make fabric, clothes, animations, and a ton of other things, but until those opportunities come up, I’ll chip away at producing and accomplishing what I can on my own.  In the end, all these things will really just be an extension of continuing making drawings and creating a narrative, but hopefully giving it a larger world to live in.

4. I really loved your recent Her Rights Unite poster and T-shirt. Do you often create work for projects just because you are passionate about the issues behind them?

Thanks.  This was the first time I created something for such a specific political reason.  For more than a decade my work has involved, almost exclusively, female characters.  With that, my work includes a lot of narratives about women and their connection to each other and the world.  So as the march approached, it was completely essential for me creatively to create an image that could be a part of that day.  It was all very last minute, but It connected me to that day in a way I never predicted.  

5. What drives you to keep making work? What motivated you? Do you ever have to do work you don’t feel passionate about just to pay the bills?

For me, making work inspires making more work.  One idea leads to the next, as long as I keep up the momentum.  Drawing usually takes my mind off of worrying, so with all the doubt that there is in making art, I find it better to keep busy.What motivated me when to draw when I was young, has probably changed quite a bit.  But one thing that hasn’t changed is the challenge of starting with a blank piece of paper, and trying to make something out of it.  So there is that motivational self-challenge going on, but as the years go by, I’ve been more inspired to create a world that communicates and reaches more people somehow.  Kind of like those wine labels and other projects.  I struggle with getting freelance work, there are a lot of really slow months, so paying the bills is always on my mind.  Figuring out how to keep going has become part of my creative process.   Having an online store is pretty new for me.  Releasing prints that are affordable but still special and handmade.  Working on multiple projects at one time.  And yes, sometimes taking jobs that I don’t feel passionate about.  I think it’s a really hard road because no art career looks like another.  Everyone’s choices and experiences are truly unique.  I love the curiosity of what might happen in the future and how the work might evolve, so on a good day, that excitement keeps things going.

Mel is an amazing artist and I am so greatful for her answers.

Please go find her on her website:

http://melkadel.com/

or follow her on Instagram:

https://www.instagram.com/melkadel/

[chelseacarrillustration-blog]

Talking with Practitioners: Barney Ibbotson

Barney is an Illustrator with over 15 years experience working from Manchester. 

His specialism is  Illustration, with an emphasis on line, pattern, detail and colour. His work has been used in marketing, publishing, branding and advertising, in the form of murals, album covers, animation and motion graphics, presentation graphics, children's books, icons, logos, leaflets, loyalty cards, flyers, menus, and posters. 

He also exhibits personal work and enjoys collaborations with other creative people.

His clients include BBC, Alliance Manchester Business School, Electronic Arts, Manchester School of Art, Dorling Kindersley, KnowledgePoint360, Sage, Matmi, WSP Group.

I asked him a series of questions about his work and his answers are below.

Q1. Your Bio says that you has worked in both permanent and freelance, which do you prefer and why? 

A1. Well I've not worked as part of an agency, but I have worked as a graphic designer in a full-time role. While there are advantages to being full-time, such as a regular wage and other financial benefits, I prefer the freedom and flexibility that being freelance gives me. I can work when and where I choose, and my workload is more varied.

Q2. You have work for both small and large clients. What is the difference between the two? 

A2. With smaller clients there is often a smaller budget, but the relationship between you and them is sometimes closer. It can be quicker to get things done and to get paid because there aren't loads of departments to deal with. Often large companies will take at least 30 days to pay me, sometimes more.

Q3. What has been your biggest challenge in establishing yourself and getting noticed? A3. I think all of it is a challenge. From finding a way of working that works commercially, to getting a regular flow of work, setting your rate, understanding how long you need to work on a project, promoting your work, balancing multiple projects at a time, dealing with difficult clients, etc. The most important part is being able to attract regular clients who pay you well enough to make a living from. I've always had a steady flow of work, but at the beginning I'd end up doing a lot of work for not much money, and nowadays I'm more conscious of how valuable my time is, and I charge accordingly.

Q4.  Do you think you was prepared to enter the world of illustration after university or was it a learning curve? A4. I definitely wasn't prepared to enter the illustration world after University. I was pretty clueless, to be honest. I took a fairly long-winded path to the world of freelance illustration. I worked in temporary admin roles, then had a couple of design-related jobs, and was in a band. My illustration became sidelined almost to a hobby on the side. it was only when I left my design job and my band split up that I had the time, energy and confidence to pursue it as a career. Even then, it took a few years to build.

Q5.  What project have you been proudest of and why? A5. I'm most proud of the stained glass style windows that I designed for Flow Creative. http://www.barneyibbotson.com/#/flow-windows/ It was a really fun project to work on in a style and format that I love, and it all came together very well, plus the client loves them. It was a challenge creating integrated patterns that told a story, and that worked together as a set of windows. They were printed onto vinyl and applied to the windows of the studio, and they look fantastic now with the light pouring through them. You can also see them from the street so they act as a great little advertisement for my work!

Finn can be found on his website, where all the images above can be found:

http://www.barneyibbotson.com/

And on Facebook where you should follow him:

https://www.facebook.com/barneyibbotsonillustration/

[chelseacarrillustration-blog]

Talking with Practitioners: Finn Campbell-Notman

Finn was born in London, and has since lived and worked in San Francisco, Bruxelles, Andalusia, Barcelona, and England.

He studied Fine Art at Wolverhampton and at Bristol, and received a First Class B.A (Hons) in Illustration from Falmouth College of Art. He also, at The Royal College of Art in London, studied for his two year multi-disciplinary M.A.7

Finn has been a professional illustrator since 2001, with a global profile ans a style that is instantly recognizable. His work has been recognized for its exquisite draftsmanship, warm harmonic tones and balanced compositions.

He has consulted on and contributed his knowledge and expertise to documentaries, academic courses, articles and publications worldwide. His research into aesthetic and academic theory and practice results in work both rich in history and beauty.

I asked Finn a series of questions based on his work. The answers as he gave them are below.

Q1: Having traveled and worked all over the world how would you say working in England compares, or is it the same wherever you go? Would you say there is more competition for jobs in the UK? A1: Finding commissions anywhere is hugely competitive, now more than ever (just as it is in any field). This is particularly so with Illustration and especially so in the UK for three reasons: First there are, I think, perhaps too many Illustration courses training a hell of lot of illustrators. Combine this glut with the second reason; that there are far fewer, let's say traditional publications of every type and those publications that do use illustration are paying much less than they used to, principally because photography is so ubiquitous, quick and cheap to commission (the third reason). This is exactly the same in most other places and thus the advice I'd give to any illustrator starting out is this: given what I've said above an illustrator has to think internationally - yes approach as many art directors and commissioners in the UK and try to visit them in person but also promote and push your work to Art Directors everywhere you can. The good thing now of course is that while online publishing has diminished tradition publishing one can be in contact and work for clients the world over from any location (so long as you have a fast internet connection) - and that was my aim when studying - to develop a practice that was not location specific Q2:   Would you say your research into academic theory has helped develop your work? A2:   Absolutely and to a large degree my work is as it is as a result of this. Read widely and read plenty. Always be curious, always challenge orthodoxies and always question your own assumptions.   Q3: What was it like entering the world of illustration? Did you have a clear plan or have you just waited to see where the journey would take you? A3: A bit of both and I had a totally naive idea that I would have a steady stream of work and earnings because, simply put, having been a fine artist previously (as I am now more than an illustrator) I thought illustration was a simpler more pragmatic and vocational application of artistic ability. None of which is the case. However my aims were, as I said above,  to develop a non-location specific practice, and also to find 'style' that was unlike everything else  that was out there (that meant consciously eschewing the slick Ai illustrated style appearing like a rash then)-that was my own and lastly, with that get an agent to do the promotion, legwork and accounting side of things so that I could just get on with the work from wherever I happened to be- a beach hut, a forest etc- all of which I did. As you can see I was being quite clear and pragmatic to allow the journey to happen. Q4: Travel seems quite important to you. Has this always been something you have wanted or has it been a lucky perk of the job? A4: Travel is vastly over-rated as an end in itself. Put it this way I've never really been on 'holiday' or travelling to 'see the world' for the simple seeing of it - that's tourism. I've lived in a few places now and indeed when growing up we moved a hell of a lot so it's kind of my nature to keep moving. As I say I made sure to allow the possibility. With that comes a downside or two: making a living solely from illustration is sometimes making no living at all and just getting by. If one wants security, a mortgage etc  then illustration is no game to get involved in. Even for the most successful illustrators fashions and commissioning tastes change, the publishing industry changes and so on. There are very few 'name' illustrators and they became so by sheer happenstance and a lot of them will have had periods of no work, others of a glut and many many commissions that were awful. What I would say about travel is that it has enriched my cultural and social awareness and the work is enriched by that - it's an ongoing process - always to try to make better work, to keep developing. One way to survive all the pitfalls is to make sure ones works ones own - that you are it it and it is you, that it does not try to be modish (to follow stylistic fashions) but stems from who you are and is an expression of this. In short my thing, if it is a thing, is that I can (and have) draw anything, any place from any period ; if the image is to be of India, during the Raj with a cast of 30 characters who age over the duration of the story then no problem (The Raj Quartet novels by Paul Scott for the Folio Society) that's the scenario. The questions is what do I bring to it, how do I respond to the story personally and express that through the work. Q5 What one thing has driven your career more than anything else? A5: Within Illustration - a determined pragmatism combined with an attitude of no compromise - resulting in several impasses with wrongheaded Art Directors. Recently I was asked to do some illustrations and provide written feedback for training Art Directors based on their Briefs at a major publishers. Payback time!  (think I may have the 'difficult' reputation btw) … It was a great opportunity though to try to shape how art directors commission for a big publisher because in my experience the majority of (bad) ADs basically want the illustrator to draw exactly what's in their heads - and that's  a near impossible task. So what I basically said to them was this:  you're hiring the illustrator for their imagination and ability to create, not to replace your lack of it - allow them to use it and you will have better work as a result. Everybody wants to be artistic, to be thought of being creative because their is the idea that to be so is to be free, liberated, fully self -expressed and so on. Garbage. It's mostly  hard graft and a lifelong attempt to make the next piece better than the last: that hoary old chestnut 'to fail and fail better next time' is very true and it's the only drive worth mentioning really. Thing is, it has little to do with the idea of a  'career' - more, it's a way of life.

I would like to thank Finn very much for his thoughtful responses and taking the time to reply.

He can be found on his website:

http://www.finncampbellnotman.com/

Or you should follow him on Facebook:

https://www.facebook.com/Finn-Campbell-Notman-Artist-176454759115017/