Progression assignment updated
- 2. What I expect In a Job: In terms of employment, ideally I would work under my own initiative, with my own scheduled working hours. I would not be dictated by a boss as I would be my own boss. I believe I have a firm grasp of self discipline; I care and worry about doing well and succeeding, therefore I believe pushing myself to work hard and to complete work to set deadlines would suit me. I would like some kind of home studio, where I can work on illustrations and such, and I would organise meetings with potential clients or email those wanting commissions through my computer. I am fairly unsocial, therefore having an independent job that does not demand major interaction with co-workers gives me freedom and forces me to guide myself. In order to achieve this kind of lifestyle I will need to continue to improve my illustrative skills, and train myself to be comfortable with negotiating freelance work with companies. In a University: In terms of university choice, ideally I would like to study at a place that has various facilities and supplies at their disposal. As I am looking into illustration and animation, I would expect the Uni to have an animation studio with state-of-the-art technology to attend to all mediums of animation, as well as a plethora of tools and materials to give me the most creative freedom in my illustrative development. As well as facilities, I would expect the university to have numerous study areas and a large library, as well as an art shop to accommodate my class equipment demands. I would also want the university to offer a range of extra-curricular activities (like sports of language courses). Most importantly, I would want the Uni to offer the specific courses that will lead me down on my desired career path, and the teachers of that course would need to be engaging, enthusiastic, and helpful (should I require guidance/contact time).
- 3. Unis that offer good courses As a specialist creative arts university, we have created a unique community for our students, where like-minded people can share in the creative process and inspire one another. Collaboration between courses is encouraged, with fine artists studying with budding filmmakers and fashion designers working alongside architects. In this way, our students benefit from exposure to a range of disciplines. Choosing to study with us will give you the freedom to discover your own personal style through a winning combination of industry-focused courses, state-of-the-art facilities, and inspirational expert staff. Illustration as a subject has expanded from traditional print to many forms of communication. This course offers you the broadest practical and critical exploration of both subjects and possibilities. It builds key skills in creative image communication, enabling your practice to be successful and develop in the direction you choose. Graduates consistently produce internationally recognised award-winning work. Illustration Animation BA (Hons) Illustration and Animation (Canterbury) Illustration (Farnham) The facilities at Kingston impressed me; they had a fully- fledged animation studio, as well as an auditorium that hosted the graduate student animations. The rooms displaying the student works were spacious and bright, and there was a large and technologically advanced workshop for 3D work (woodcutting/metal usage etc.). The campus is near Kingston Town and my home, and my father vouched for the University’s quality because he went there himself. The cafeteria was quite small, however I would rather spend my time socialising outside. The facilities at UCA in Epsom were slightly underwhelming; the majority of the rooms were heavily fashion based and I found it difficult to find the areas specific to the discipline of illustration or animation. However this was to be expected because the UCA has several different locations that all specialise in different areas of art; Canterbury is the Uni that offers the Illustration Animation course, and according to their website they have various facilities that allow for a range of art to be created. The Epsom campus was difficult to navigate, however the work on display (especially the fashion garments and student pieces from the Foundation course looked very professional and varied.
- 4. Degree Show- Kingston After visiting Kingston University’s Illustration Animation Degree show I realised the full extent of the facilities and pathways available within the course. Some students had fully focused on the animation side of the course and, as a result, produced a 2-5 minute short films. These short films were all vastly different in terms of narrative and medium; some films were made using stop-motion techniques and real props, some with hand drawn individual frames, and some using computer graphic technology (both two dimensional and three dimensional). The focus of each film was very different and was chosen by each student to fulfil a particular brief/talk about an issue. One film ,that was hand drawn then refined digitally, communicated the difficulties of having a mental disorder, and several other films were made in collaboration with the Royal Opera House as animated adverts. The promotional films were made using clay and stop-motion techniques, as well as digital 3D pieces. Walking through the more illustrative part of the degree show I noticed each candidate had interpreted ‘illustration’ in their own way; one student created a short comic book with a vinyl model of a character from the story, another student illustrated an existing novel and book cover with their own style and medium, another student created a series of art prints in ink that communicated a certain message, and many students produced short animations coupled with illustrative picture books and 3D figures. Lorna Scobie, a past graduate of the Illustration Animation course, produced an interactive children’s book called Bradley, as well as a gaming application for android/apple products based on the book. Currently, Lorna has launched a very successful career, has published two books, and has worked with high-end clients such as Waitrose and Wimbledon Tennis Club.
- 5. Degree Show- UCA After visiting the illustration degree show at UCA I realised that the course is far more vast than I previously imagined. The facilities and pathways available allowed every student to express themselves in their own individual way. From the examples on this slide you can see the range of approaches that each student has explored. Some students explored the digital art pathway; Josh Lewis, for example, digitally painted an ocean in a storm, Demetri Merry-Taylor used traditional pencil, Jenna Brown used a combination of black and red ink, and Emily Fluen used coloured and painted paper and other materials to create a collage piece as well as crafting an art doll. Each student created their pieces for different purposes, and produced a sketchbook of their journey towards their outcomes. The sketchbooks included initial sketches, annotated studies and prototypes that clearly showed me how they came to create their final works. The ocean piece was made to be sold as an art print, the pencil drawing as an illustration for an existing novel, the ink piece a graphic poster to demonstrate a particular message (the effect of domestic pressure, societal demands, and bullying), and the collage a promotional work for a clothing line website/poster. Each purpose and approach was very different for each student’s work, this interested me because this means that they were offered a lot of creative freedom for the tasks they were set. From top left to bottom right: Josh Lewis, Jenna Brown, Emily Fluen, Emily Fluen, Elizabeth Peters, Demetri Merry- Taylor
- 6. Course Comparison- Kingston Illustration Animation What the course entails (according to the official website): A daily studio-centred structure forms a working discipline, with choice of media from traditional image-making in drawing and painting to print, digital, interactive, and many 3D processes. Live, set or self-initiated projects are carefully timetabled to help understand individual, team and collaborative strategies. An integrated sequence of theory lectures and essays parallel studio themes, and culminate in Year 3's dissertation. Year 1 encourages an open-minded and exploratory approach to image making within a supportive critical environment. Students will be introduced to the key areas of illustration and animation – idea development, observation and research, image and content relationships. Drawing, animation, digital crafts, presentation techniques, life drawing and location workshops are all taught. There is an overseas field trip to a destination such as New York, Berlin, Florence or Venice supported with a travel bursary for eligible students. Year 2 gives students the freedom to explore different ways of communicating ideas, to critically challenge the subjects and develop their personal direction. Students will work on set and self-initiated projects that help develop the widest possible approach to creating effective solutions. Students may choose the option to specialise in animation. There is also the opportunity to study for a fourth year with an exciting choice of international exchange partner institutions and placements. Year 3 focuses on the development and resolution of personal work, with an awareness of professional practice and strategies. Students will explore a series of set and live assignments that inform the writing of an extended practice-defining self-initiated project. Industry research and engagement, web, portfolio and curatorial workshops, all help students find the best individual presentation. Specialist facilities include: • digital media workshops; • photography suite; • printmaking studio; • 3D materials workshop; • state-of-the-art filming environment and animation suite; and • architectural science and technology laboratory (ArchiLab). Entry Requirements: The preferred entry route for this course is for applicants to be taking a Foundation Diploma in Art & Design, or the recognised equivalent. Applicants will need a minimum of 112 tariff points from recognised level 3 qualifications. Plus GCSE (A*–C or comparable numeric scores under the newly reformed GCSE gradings): five subjects including English and Maths (Key Skills Level 2 may be used in lieu of GCSE English and Maths).
- 7. Course Comparison- UCA Illustration Farnham What this course entails (according to the official website): Illustrators have a unique way of seeing the world, then interpreting and communicating this visually to a wider audience – harnessing both the traditional processes of drawing, painting, collage, printmaking and book production, as well as new processes and moving image, such as ceramics, animation, photography and film. Our specialist Illustration course has a reputation for visual narrative and storytelling, underpinned by an understanding that the best illustrations are based on exciting, original ideas. On this course we place a real emphasis on visual experimentation, investigation and innovation, supported by the development of strong drawing and storytelling skills. Based in studios packed with industry-standard resources, you’ll also have access to an extensive range of facilities on campus for printmaking, book production, animation, Mac suites, digital printing, 3D workshops, textiles, photography and video. The course curriculum and delivery reflects recent trends in the creative industries for illustrators to be collaborative and flexible, initiating new opportunities for shared and individual work. You’ll be taught largely through studio-based projects and workshops, supported by regular tutorials and group reviews. There’s also a lively programme of visiting speakers, practical skills-based workshops, pop-up exhibitions and external visits. Along with your portfolio, the standard entry requirements for this course are: One of the following: 112 new UCAS tariff points (equivalent to 280 old UCAS tariff points), see accepted qualifications Pass at Foundation Diploma in Art & Design (Level 3 or 4) Distinction, Merit, Merit at BTEC Extended Diploma Merit at UAL Extended Diploma, Access Diploma And four GCSE passes at grade C or above, including English (or Functional Skills English/Key Skills Communication Level 2). Facilities: • Illustration studios; • Mac digital suites; • Printmaking studios; • Library Year one we’ll help you to develop an open-minded, flexible approach – not only to your work but also about what illustration is and could be. This is alongside the development of essential skills in idea development, printmaking, drawing, digital software, storytelling and bookmaking. In year two, with additional skills workshops, the emphasis will change to give you greater freedom to develop your work more uniquely, reflecting your own interests and enthusiasms. We’ll also encourage you to be more proactive and entrepreneurial, culminating in a student- led external exhibition. In year three your focus will be on the resolution of your personal approach to content and style, developing your creative skills and production to a high standard and preparing a professional portfolio. You’ll also participate in external competitions and shows, produce promotional work and develop an online presence, reflecting your ambitions for professional practice.
- 8. What this course entails (according to the official website): Reflective of current practice, our BA (Hons) Illustration & Animation course offers an ambitious and exploratory programme of study that will support you in developing a visual voice to communicate with defined audiences. Our course will encourage you to become an independent critical thinker and maker, exploring relationships between research and studio work, with a contemporary practice-led dissertation model. On this course we offer a holistic environment for developing your work, with small cohorts and tutored guidance at each stage, fostering diversity of practice. Along with your portfolio, the standard entry requirements for this course are: One of the following: 112 new UCAS tariff points (equivalent to 280 old UCAS tariff points), see accepted qualifications Pass at Foundation Diploma in Art & Design (Level 3 or 4) Distinction, Merit, Merit at BTEC Extended Diploma Merit at UAL Extended Diploma Access Diploma And four GCSE passes at grade C or above, including English (or Functional Skills English/Key Skills Communication Level 2). Course Comparison- UCA Illustration and Animation Canterbury In the first year, you'll be introduced to the University and the technical workshops and facilities available to you. On the course you’ll learn the technical and conceptual skills that will give you a solid foundation from which to explore your areas of specialist activity. The second year focus is on finding your own specialist way of working and you’ll be encouraged and supported to start working more independently. During this year you may also have the opportunity to complete an industry work placement or even study abroad. The third year will see you achieve a greater level of independence with self- managed research, study and practice, resulting in a final major project and a written dissertation. Facilities: • Printmaking studios • Digital media suites • Photography suites
- 9. Student opinions on Kingston and UCA "I have always had a passion for drawing and making my own images. However, it wasn't until my art foundation year that I realised illustration was the degree for me. In my first year we had a field trip to Lisbon, Portugal and that has been one of the main highlights of the course so far. Everyone was encouraged to produce some really strong work while having a good time. We are off to Krakow in Poland next. Another highlight was the History of Illustration module in my second year. I found the subject really interesting and inspiring. The lecturer really knows his stuff and manages to hold everyone's attention. All the lecturers are extremely helpful, teaching real skills that we can take further in our careers. Most make a point of becoming a friend, enabling us to talk to them about any problems or issues we might be having. There's also a great atmosphere among the students. We are always working in the studio, which means we bounce ideas off one another and build strong friendships, while the variety of projects push us further in our work. For me, university beats college hands down. I thought moving away from home was going to be tough, but everyone is in the same boat, and the whole experience has been easy. I haven't stopped enjoying myself. Away from the University, I've found Kingston is a really nice place; it's close enough to get to London, but you're not in the hustle and bustle. It's also a very student-based town with plenty to do. I am still deciding my long-term ambitions. Although illustration might seem like a small subject to go into, it really isn't, I am always learning new things." “What UCA delivers so successfully is a great environment to learn, to experiment and to develop. With its vast range of equipment at your disposal and hugely devoted tutors to guide you, there’s nothing you can’t achieve here” “From day one we were learning the core values of how important graphic design is in modern society. With support from the staff I was able to develop my creativity and experiment with different mediums. I really enjoyed screen printing, and by my final year I had focused my discipline on designing for print, such as maps and small publications.”
- 10. External links and opportunities for students Industry Partners at UCA: Design and Art Directors Association Far Far Away Books Association of Illustrators Nobrow Books GAS Art Agency / Gina Cross, artists’ and illustrators’ agent Ambit Magazine Penguin Books The Folio Society The V&A Comica Loop Magazine Ditto Press Nobrow Books The AOI Four Corners Books. The course attracts a variety of guest speakers, such as Rosy Nicolas, Tim Ellis, Tom Dowse, Graham Rawle, Gina Cross, The Association of Illustrators, Stephen Appleby, Olivier Kugler, Matilda Tristram and David Lemm. The degree is a member of the Association of Illustrators, which gives you access to notable industry practitioners, workshops, lectures and seminars by some of the top illustrators in the UK and Europe. Competitions and collaborations on the Illustration Animation course at Kingston: Vintage Books competition An annual competition is run by Vintage Books with final-year students on this course. Royal Opera House collaboration In 2014 students on this course worked with the Royal Opera House to create a series of short films on what opera is and how it is made. Many members of staff also work in relevant industry sectors. This means: •their teaching includes up-to-date professional experience; •they can tell you what life in industry is really like; and •they can help you balance creating inspiring, challenging work with meeting the needs of your client. For example, Walker Books' art director, Ben Norland, takes time out to work with Level 2 and Level 3 students. You will have the opportunity to study a foreign language, free of charge, during your time at the University on a not-for-credit basis as part of the Kingston Language Scheme. Options currently include: Arabic, French, German, Italian, Japanese, Mandarin, Portuguese, Russian and Spanish. (This language scheme particularly interests me as I am currently very invested in Japan and am teaching myself the language in my spare time). Most of our undergraduate courses support studying or working abroad through the University's Study Abroad or Erasmus programme.
- 11. Specific Art & Design Discipline- Illustration Illustration can cover a plethora of fields. The universal idea of what illustration is, is that it involves drawing, or creating art in some sense. An illustration is a graphic representation of a concept or ideal/idea in a creative format such as a drawing, sketch, painting, photograph etc; there are numerous ranges of approaches to illustration. Most often this art has been produced for a specific purpose, to a specific client. For example, most advertisements (e.g. posters) have been commissioned by illustrators to design them; these designs have been crafted to convey a deliberate message or mood. This design is what the public sees, and what the public’s first impression of the advertiser’s company is; this is very important as it can be the difference between a company’s success or failure. The ideas and values of those in the illustration industry are simple, create art for a specified audience, for a particular reason. Illustrations can be animations. Often illustrations act as compliments to types of texts; websites, books, advertisements, companies (logo) etc. whereas some illustrations work as stand-alone pieces to be sold as art prints, postcards, clothing, art books etc. Famous individuals in the field of illustration include: Quentin Blake, Tim Burton, Dr Seuss, Noelle Stevenson, Natasha Allegri, Emily Carroll, Brian O’Malley, and Philippa Rice.
- 12. ILLUSTRATION IS A VAST DISCIPLINE
- 13. Illustration Practitioner- Quentin Blake Quentin Blake was born in the suburbs of London in 1932 and has drawn ever since he can remember. He went to Chislehurst and Sidcup Grammar School, followed by National Service. Then he studied English at Downing College, Cambridge, going on to do a postgraduate teaching diploma at the University of London, followed by life-classes at Chelsea Art School. He has always made his living as an illustrator, as well as teaching for over twenty years at the Royal College of Art, where he was head of the Illustration department from 1978 to 1986. He was 16 when his first drawing was published in Punch, where the art editor pointed out that his rough sketches were better than the finished ones. This led him to develop the sense of inky spontaneity that makes us feel, as he puts it, “like something is happening now, and hasn’t finished yet”. He continued to draw for Punch, The Spectator and other magazines over many years, while at the same time entering the world of children's books with A Drink of Water by John Yeoman in 1960. He is known for his collaboration with writers such as Russell Hoban, Joan Aiken, Michael Rosen, John Yeoman and, most famously, Roald Dahl. He has also illustrated classic books, including A Christmas Carol and Candide and created much-loved characters of his own, including Mister Magnolia and Mrs Armitage. His books have won numerous prizes and awards, including the Whitbread Award, the Kate Greenaway Medal, the Emil/Kurt Maschler Award and the international Bologna Ragazzi Prize. He won the 2002 Hans Christian Andersen Award for Illustration, the highest international recognition given to creators of children's books. In 2004 Quentin Blake was awarded the 'Chevalier des Arts et des Lettres' by the French Government for services to literature and in 2007 he was made Officier in the same order. In 2014 he was admitted to the Legion d'Honneur, an honour accorded to few people who are not French nationals. He received a knighthood for 'services to illustration' in the New Year's Honours for 2013, and became an Honorary Freeman of the City of London in 2015. His rapid lines – described by Ghislaine Kenyon, who has known Blake for 18 years, as themselves “a kind of flight” – are part of the landscape of children’s literature: the dots for eyes, the retroussé noses, the flappy hands and flat, happy, feet. When Blake draws, writes Kenyon, his pen takes off with a “whoosh” and the paper becomes “a page of air” through which “hordes of flying things make their way”. Kenyon notes of Blake at his drawing board that his “whole being works unconsciously through his hand and pen”, and he seems “genuinely surprised” by what emerges. To enhance the element of surprise, he works with “dangerous” and “unpredictable” media such as scratchy Waverly nibs, reeds, quill pens, and watercolour pencils and water.
- 14. “I used to do drawings for the school magazine and also for Punch. I knew someone who drew for Punch and I started submitting drawings. I did get some little ones accepted when I was about sixteen or seventeen. That was a start. They paid me seven guineas each. Then when I was at Chelsea I got a regular job doing two drawings a week for Punch and I also started drawing for The Spectator. I began doing small drawings for them until they decided that they were going to have an illustrated cover, and I started doing that too. I suppose the first proper book I ever illustrated was while I was on National Service, before university. I spent three weeks illustrating a booklet - called English Parade. There was no alteration to my weekly pay-packet, but I was able to live at home and I was allowed to wear shoes instead of boots. From time to time I had to show my work to a lieutenant-colonel for his approval. A few moments of silence and then: "Very good, Sergeant Blake. But I think .. the grass in this one ought to be shorter." "Yes sir. I'll see to it, sir." "And I think the creases in these trousers might be sharper." Of course, the problem with making the grass shorter in drawings is that you can't cut it: you have to do the drawing again. But at least it was preparation for encounters with editors and committees, later on.” Most often, Blake’s art is coupled with something else, like posters or magazines, and most famously with children’s books. Quentin Blake’s art in Roald Dahl books is more than just a fun picture, the illustrations add to the words. I grew up reading Roald Dahl, and when I think of the stories, I think of Blake's drawings; they are iconic and nostalgic, they flesh out the stories, make the characters more tangible, real and relatable. The designs of the characters are simple but effective, memorable. The colours are occasionally watered down but also vibrant and exciting so that children remain engaged in the story with the visual prompts. The way in which Blake colours his illustrations is very loose and, arguable, messy, but it is to great effect; this looseness gives them a youthful playfulness that makes them friendly and unique.
- 15. Illustration Practitioner- Tove Jansson Jansson studied at University College of Arts, Crafts and Design in Stockholm in 1930– 33, the Graphic School of the Finnish Academy of Fine Arts in 1933–1937 and finally at L'École d'Adrien Holy and L'École des Beaux-Arts in Paris in 1938. She displayed a number of artworks in exhibitions during the 30s and early 40s, and her first solo exhibition was held in 1943. Tove Jansson grew up in an artistic household in Helsinki. Her father, a Swedish-speaking Finn, was a sculptor, her Swedish mother an illustrator. While her mother worked, Tove would sit by her side drawing her own pictures. She soon added words to the images. Her first book- Sara and Pelle and the Octopuses of the Water Sprite - was published when she was just 13. She later said that she had drawn the first Moomin after arguing with one of her brothers about the philosopher Immanuel Kant. She sketched "the ugliest creature imaginable" on the toilet wall and wrote under it "Kant". It was this ugly animal, or a plumper and friendlier version of it, that later brought her worldwide fame. Jansson studied art in Stockholm and Helsinki, then in Paris and Rome, returning to Helsinki just before the start of World War Two. "The war had a great effect on Tove and her family. One of her brothers, Per Olov, was in the war. They didn't know where he was, if he was safe, and if he was coming back," says Boel Westin, a friend of Jansson's for 20 years and a Professor of Literature at Stockholm University. Jansson's first Moomin book - The Moomins and the Great Flood - was published in 1945, at the end of this difficult and nerve-wracking period, with Comet in Moominland following soon afterwards. To be a success, a children's book series needs to create an entire world, and by 1949 the Moomins had been joined by a menagerie of snuffly creatures: Sniff, Snufkin, Little My, the Snork Maiden, Hattifatteners, Fillyjonk and so on. The books were hugely popular in Finland and Sweden. "Tove's anxiety and grief are embedded in the first two books. She was depressed during the war and this is mirrored in those books because they are about catastrophes," says Westin. "Writing a children's book about a great flood is not so common. In the Comet book, Moomintroll and Sniff go on this journey to find out when the comet is coming and if it's coming to Moominvalley. "There are descriptions of creatures leaving their homes. Just like here in Helsinki, people were leaving their homes for fear of the bombs. She captured that and put it in her books."
- 16. In many of Tove’s illustrations, you really get a sense of space, of scope and depth; in her highly detailed ink illustrations inside her books, she has clearly taken a great deal of time drawing each rock and how the wind curls the clouds in the sky, she makes every attempt to establish a real environment, one that you could almost step into. The densely detailed black and white scenes evoke a sinister atmosphere, an ominous mysterious tone, this makes the readers more visually involved with the book and intrigues them to not leave the world that Tove has sculpted. Her choice of medium for her book covers helps to convey the mood of the book- Unlike Blake, Jansson experimented with various mediums to evoke different effects: the chalky reflections of the water in Moominpappa At Sea. The deep oil painted blues in the sea convey a richness and real depth, and the perspective of the ocean piece suggests a vast tale of danger and exploration. In The Great Flood book cover, the misty humid effect of the ominous forest, the sooty inked creatures and watery, hazy forest suggests a tale of mystery and discovery. Tove also illustrated her own comic strips using simple inked line art and little shading, and made Moomin figurines out of felt, beads, and wiring. Both Blake and Jansson shared similarities in their work; their illustrations are additions to stories, and they are coupled with fantastical tales to engage the readers in a visual sense. Blake, however, puts an emphasis on character expression, originality, and movement, whereas Tove focussed on crafting a landscape in which her very simple characters from Moominvalley could be immersed in. Blake’s scratchy style and radical appliance of watery colours gives his illustrations a spontaneity and an energetic life that feeds itself into the stories they are with. Tove’s illustrations, especially those within her books, seem to be crafted with an accuracy and detail that forces the reader to feel in that world themselves; her characters boast far less expression, as they are far calmer and rational beings than Roald Dahl’s flamboyant and, occasionally wicked, ones. Both Blake and Jansson are masters at their craft, and both practitioners express themselves with very different mediums to suit the mood of the written materials their drawings compliment.
- 17. Poster design 1 For my initial poster design I thought about what interested me personally. I have always held great affection for Japan, so I thought about how I could include elements of the country in the poster. From watching Japanese documentaries and Japanese vlogs I developed an interest in Japanese city life, particularly the retail districts and crowded narrow alleys; the life and energy that they seemed to radiate gave me the idea to draw a Japanese-style retail street. I wanted to convey the excitement of the area, and this would hopefully suggest to the viewer that a career in illustration is just as energized and busy. I thought about composition, and wanted to give the impression that the viewer is included in the scene, that they feel they are walking down the street themselves, so the perspective gradually gets narrower towards the middle of the drawing. I wanted the colours to exhume a warmth and energy, so I restricted my palette to warming hues such as orange, red, pink, yellow, and light blue. When drawing this piece, I thought about Tove Jansson, and how she created detailed illustrations of her characters in various locations; for this drawing I wanted to create a real world with fine details and depth so that an observer could feel as if they could walk down the street themselves. Even though I am fairly pleased with the result of my design, I couldn’t help but feel slightly ‘closed in’ and claustrophobic looking at it, therefore I thought of a new concept for a poster instead.
- 18. Poster design 2 My second idea took on a completely different angle to the previous one. Away from consumerism and retail, I wanted to create a mood of relaxation, where you could take a breath and take in the beauty of the world around you. Aside from Japan, I have a deep love for the natural world and exploration, and I wanted to display this passion in my design. Growing up, my family and I went to Richmond Park, Bushy Park, and Kew Gardens all the time, and I always got a sense of adventure and peacefulness whenever we went, leaving behind the worries of the modern world and appreciating the great outdoors. In terms of composition, I wanted the design to have an ‘open’ feel, and the colours I chose were naturalistic and warm so that the observer could get a comfortable feel from the scene. For this idea, I wanted my poster to suggest a fantastical world of infinite possibility and exploration, this links to the field of illustration as the discipline is vast and exciting, and those who choose to go down that path (a leafy path shown in the poster) have a life of adventure and creativity ahead of them. I also experimented with ‘artistic effects’ on the computer to create a simpler, softer version of my illustration.
- 19. Post Uni Plan A - Being a freelance Illustrator My first progression choice would be to leave University and start a freelance career as an Illustrator. As an illustrator, you would produce drawings, paintings or diagrams that help make products more attractive or easier to understand. This could include books, book jackets, greetings cards, advertisements, packaging and detailed technical diagrams. If you are talented at drawing, and have creativity and imagination, this might be the perfect job for you. You’ll need to be creative while sticking to your customer's design brief. Time management is something you’ll need to use when meeting publication or client deadlines. Many professional illustrators have a degree in illustration or other art related degree subjects. If you are creative, have artistic talent and the determination to succeed you could still be successful in illustration without a degree. You may be able to specialise in one type of illustration, such as heritage illustration, designing pictures for guidebooks, leaflets or maps for stately homes and castles. You might also work in educational illustration designing websites, leaflets and publications for an academic institution. If you work freelance as a self-employed illustrator you will need business skills so you can market your goods and services. You’ll also need to develop the skills to deal with your own finances and build up and promote your own business.
- 20. To be an illustrator you will need: • excellent drawing skills • attention to detail • the ability to work to a customer brief • creativity and imagination • knowledge of computer graphics • the ability to manage your time and meet deadlines • technical knowledge of a specialist area (for some types of illustration) • good communication skills for making presentations and 'selling' ideas Your work would typically include: • discussing requirements or briefs with authors, editors or designers • negotiating prices and time scales • deciding on the right style for illustrations • creating illustrations using hand drawing, painting or computer design packages • speaking with the client and changing designs if necessary • making sure the work is completed within set budgets and deadlines You would usually arrange your own working hours, depending on your workload and the deadlines you have to meet. You could be based at home or in a studio, and may spend time visiting clients to market your work and discuss briefs. If you are involved in technical, scientific or engineering illustration you may also make site visits. As a freelance illustrator you would usually negotiate a fee for your services with your client. Some Illustrators employ an agent who would agree a fee on your behalf. Fees charged may depend on the time it would take you to complete the project. There is no fixed route to become an illustrator. Many illustrators have a degree in illustration or another art related subject. Even without a degree you can still be successful if you have artistic flair, creativity, a strong portfolio and employers like your work. Relevant degree subjects include: illustration fine art graphic design. As a freelance illustrator you will need to think of creative ways of getting your work noticed. You’ll also need to start building up a portfolio of your work to show prospective clients or for entry onto courses. Building a website or starting a blog where you can showcase your work is one way to get noticed. Social media such as Twitter is also a great way of connecting with the public and future customers. Many illustrators also produce promotional material such as postcards, graphic novels or comics to send out to customers and contacts in the industry. You could market your work by contacting relevant companies directly.
- 21. Post Uni Plan B - Being an animator My second progression choice would be to leave University and start a career in animation. Animators bring drawings or computer generated characters to life on screen. If you want to use your imagination, and have creative skills like drawing or modelling, this job could be perfect for you. To create an image that communicates with your audience, you’ll need patience and the ability to concentrate so that your work is accurate and has detail. You’ll also need good computer skills. Artistic talent is highly valued within the animation industry and you can still become an animator based on self-taught skills and experience. It's becoming more common for new animators to begin their careers by taking an animation or art- related course to develop their skills before looking for work. As an animator, your work could be used in animated films or television cartoons. It may also be used for adverts, computer games, websites and music videos. You could specialise in one of the following animation techniques: 2D hand-drawn or traditional, 2D computer-generated, 3D computer-generated imagery (CGI), stop-frame, stop-motion or model animation. Producing an animation involves many stages and processes. This can include generating ideas in the development stage to building models during production, and editing the final piece in post-production.
- 22. To become an animator, you will need skills in drawing, modelling or using computer animation packages. Some animators are self-taught, but many start by taking an animation or art-related course to develop their skills before looking for work. You would often start as an animation studio runner. You don't need qualifications to work in this role, although many people who start at this level are graduates. You could then progress to junior roles like storyboard assistant, digital painter, inbetweener or assistant animator. To become an animator, you will need to have: • creativity and imagination • good drawing or modelling skills • patience and concentration • acting skills to bring characters to life • accuracy and attention to detail • the ability to take direction good computer skills, preferably including graphics and animation software • communication and presentation skills • the ability to work under pressure and meet deadlines • good teamwork skills In terms of opportunities, you could work for large or small animation studios, computer games developers, interactive media designers, or post-production houses for animated film and TV titles and credits. Freelance fixed-term contracts are common. The main centres for animation in the UK are London, Bristol, Cardiff, Dundee and Manchester. CGI is the fastest growing sector of animation, but there is still a demand for people with good drawing skills. The more skills you can offer, the more employment options you will have. You do not have to necessarily start in a full animation position, you could join an animation studio and work as an inbetweener or storyboard artist, and work your way up.
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