Newstatesman vist- notes from talk.

• Long dense features 
• political / cultural half and half.
• commission more illustrators than photography.
• people who find a different way to get her attention.
• different and inivoitive.
• Job title , names check everything. 
• have a direction - focus strengths.
• new statesman - Ralph steadman- constantly working.
• reads the magazine.
• work in collaboration in with the magazine.
• Kill fee- up to half of the paying fee or not at all.
• depends on how well the job was done.
• context is important- layout too.
• elle décoration.
• keep badgering.
• social media good for capturing attention.
• A- forman -peck.
• shipiegal front cover. 
• illustrators guidance - illustrations can be reused , adapt it slightly. 
• ROUGHS!

AOI- Association of Illustrators.

• Non profit trade association whose membership numbers 2000 from over 40 countries world wide.
• Voice to provide support for illustrators, copyright, pricing ,ethical standers. 
• Self promotion - website, image bases website.
• Nate Kitch
• Blog- keep regularly updated.
• you should do things like social media well or not at all.
• Do personal projects- DO IT!!
• chance to do your dream brief.
• Social media:
• twitter
• facebook
• instergram.
• Marc Martin 
• Behance -blog
• A6-A5 postcards- images send them out.
• send appropriate individual stuff to different contacts.
• Bunkinlist.com
• AOI client directories.
• Accounts: Have to be your own book keeper you are a business.
• Keep up to date accounts 
• Retain all claimable receipts.
• Keep paper work involved with every job
• reverser for income tax with 3 months of starting.
• Cultural expenditure- you can claim back expenses on that.
• Copyright - Protects any work by a creator 
• It lasts for 70 yrs after creators death.
• dose not require a c.
• No copyright in an idea or style.
• Copying a ' substantial' part of a work infringes copyright. 
• Copying one key image from the work, no matter the size could infringe.
• create your own stock libery
• reference in figments.
• you don't want to assign your work to the client!
• you really need to check for that , you can lend them the image unless they offer you into the thousands.
• your original artwork is yours.
• Moral rights-
• Rights to be identified to you.
• right of integrity
• right to not have your work falsely attributed.
• moral rights are automatic but can be waived.
• rights online.
• Low resolution flies (72dpi) and has as part of a file name.
• use c symbol on every page / blog; social media.
• read terms and conditions of websites social media image use filenames 'orphan works are easily appropriated online.
• always read the terms and conditions.
• Contracts 
• written good 
• verbal not good
• every business agreement needs a contract.
• you need to make it fair.
• make sure there are kill fees!
• you needs to get paid for that work .
• contractually agreed.
• keep everything , contracts, invoices, emails.
• contracts -
• it is for the client to understand what they are getting. 
• DO NOT EVER WORK FOR FREE!
• Pricing and money- 
• editorial pricing
• clients- consumer magazines - trade mags newspapers, blogs, size of clients abc.org.uk.
• usage- print , print and digital.
• territory - can vary.
• vic lee- check out
• lisa maltby - screen print. 

YSP- Yorkshire sculpture park.

 I decided to vist the Yorkshire sculpture because I noticed a gap in the art that I look at. I have found that recently that I am just looking into illustration and I think that I know that I need to be looking at all art in order to understand it and bring that way of thinking or making into your own practise.
I tend to work big and build up my work in separate pieces so sculpture is seems a logical art form for me to look at as it is a art form that is planned and then pieced together.

Looking at some of these sculptures above reminded me in particular of the power of shape and how it can be manipulated to fit into many forms. Also with colour, in the image across, I loved how bright and viberant and sticking the colours are especially the yellow on the arm , I also like the religious context behind it , it is an interesting and fresh approach.

This next sculpture was a pointe and very meaningful piece in which is a collaboration between artist Asha Munn and the criminal justice system and working with inmates to build bird houses, representing the human built nature.
I really like this piece because the artist has collaborated with people who would benefit from it. Helping them create a positive thing and for there emphasis to be on that is really important. Using art to help and support people who may need it.  

Rifle papers and co - Wonderland collection

I really like this particular collection of fabrics from Rifle Papers and Co. It is titles 'Wonderland' , based on the story 'Alice in Wonderland' which is a story that has been illustrated many times. However the reason I like these is that it is a new way of applying the storey and some of the illustrations/ patterns that feature on them don't fit with the identifiable elements of the tale.
The above fabric (black and gold) dose have some of the more obvious elements such as Alice and the rabbit but the designer has approached it in a way of a tapestry so a narrative is running through it which adds that extra element. It is still heavily pattern based so can be made into clothing e.c.t but still has a heavy illustrated element with text helping to tell the story of the images.


The light pink fabric is an example of what I mean by adding a different view point to the story. It has taken a less key character in the story and made it the main feature of the design. But with this fabric the design has made it a lot more pattern based and smaller motifs help to make up this pattern. These fabrics as a collection could appeal to a really wide audience but I can see it being used for young children's clothing perhaps or could be made into wrapping papers.

Designing fabrics and surface pattern design is something that I really want to investigate more and am really keen to do. I hope that if I get the opportunity to explore this it will improve my design skills but also I will gain a stronger understanding of printing onto fabric and which fabrics are best to use for the different designs.

Industry Professionals who I want to contact.

My work: my practise has now formed into a print based practise. I use a variety of print techniques in which to make the work for example Lino, photoshop screen. I have also started to play around with colour and have found that it really boosts my work , adds meaning and adds the the strength of the aesthetic.
Scale is something that I have yet to address but I would like to work bigger.
So when looking for Industry professionals I wanted to find someone that specialised in the part of industry I am interested in for example book covers and editorial images. And that would accept print but I would also like to find out how print works in a digital world.

Industry Professionals.
4 at the moment but print club London I would really like to do a placement at , to get an idea of how a professional print studio runs and what kind of briefs they are set. I have people from publishing, agencies, editorial and process.
Penguin and New York times are my first point of call. I want to find out why penguin have such a texted based covers and is print still a current and relevant process that interests people? How do publishers work from a free lances illustrators perspective?

Marthe Armitage.

Marthe Armitage is a Lino printer and pattern maker. All her patterns are hand cut and printed using the process of Lino printing.

She seems to use very traditional methods of image making , and she cuts all the features in the image including characters on the same piece of Lino. No digital process involved . Then create the different colour layers on sperate sheets. But this must be a pain staking process as having to makes sure the different layers line up and match with out using photoshop is really hard  and getting pin point accuracy is a skill mastered. I also like particularly with the image below how you get the little strands of white that come through from the stock. It still maintains the hand made aesthetic.  Her colour Palette as well is lovely. She uses well controlled pastel colours and this contrasted with the darker colours used for the outlines balances the image well.
Armitage depicts mainly natural plants and arcutectors with in the images, these seem to be her main source of inspiration. But as in the image below she also show scenes with characters. This add another level to the image and gives it a narrative to work within.  And having a small narrative within the patterns also adds a charm to the piece. I absolutely love her work and admire her skills at analog printing. Her composition enhance the fun playful mood that is happening in the scene within and her use of colour. The quality of line produced through her cuts and the patterns that they create.

And once applied to a product for example her packaging for Jo Malone , makes of a really appealing product and the design makes it so.

Video below shows process into making the products and the image above.

People who I would like to contact.

From interviewing a person from industry I want to gain a better understanding of how print and more analog methods can exist within contemporary illustration. Weather people still want it and why? What the viewer or director tend to look for in work and the different ways in which the work would be seen.  I have enjoyed book based briefs especially and want to know more about publishing. I also would like to interview someone who has opinions or creates work on current political and social issues as in previous modules these kind of topic have been the driving force and it would be interesting to see what they take into account about the issues and how they then generate that into imagery. There practise essentially.

Jim Stoddart - Penguin art director.
Print club London - Print studio.- Want to try an get an internship there.
Little white lies- art director.
Mark Hearld - artist.
Heart agency.
Pushkin press- Adam Freudenheim, publisher and managing director.

Stab in the dark but worth a try:

New York times- art director - Matt Willey.
Caitlin Moran- feminist theory writer- Very strong options surrounding feminism. current issue that I believe needs addressing more within creative industries.
Grayson Perry- artist- people based work.- works with social issues and expresses thought issues and his own opinion through his work.