Cargo Website Development

I have been constantly changing my cargo site recently, tweaking bits and pieces to get it looking how i want it! Sometimes it goes well and sometimes it doesn't, as i am not a master coder, but i think it is getting there. 

Took ages to get the banner to line up!

Used the CSS inspector to change the colour of the text, spacing and boundary boxes of the thumbnails.

I changed the margins of the thumbnails to make the images sit closer together but i don't really like it so i have changed it back.

I resized my thumbnails to capture better parts of the original images. 

Creative CV

To create a CV i would be happy to send to a client I needed my regular CV for all of the information. I used my old CV as a basis to make a template for my new CV.

There was alot of information that was not needed on my CV and i also needed to adapt some of it, such as the skills, to make them more appropriate for a creative CV.

When I could clearly see the information i needed i started to make some layout designs and templates.
I also did some research into other creative CV's, what information they included and how other artists have used the space with illustrations to promote themselves as best as possible. These are the examples that stood out the most for me on Pinterest:

I really like the illustration on this CV and the text is cool but I don't think there is enough information on it. No name?! 

I like how the illustration interacts with the text on this CV and the texture of the paper. The font is quite regular but apart from that i think it is quite good. 

Love the illustrations on this CV and it is one of very few i found on coloured paper. I like the typography and the use of symbols to identify the persons skill levels. 

Although this one looks a bit rough it is one of my favourites. It is all hand drawn which appeals to me because it is mainly how i work. The illustrations fit in nicely and work well to break up the page, shame it isn't a colour version. 

 Taking these into account, i started to place each of the separate elements of my CV into photoshop. I also made a new version of my treehouse illustration to put on it and used my own hand written text for the titles.

 First go...I centered the text but it created a lot of white spaces which were awkward to fill.

I like this version better than the first with the text aligned on the left but there are still alot of white spaces which are bugging me!

I decided to start again and created some simple block shapes on photoshop to help me arrange my CV. I changed the opacity of the shapes so that they didn't stand out too much and i really like the effect. I tried with the tree illustration on the left and the right to see which i preferred and i definitely think i prefer it on the left.
There were a few things to change after this but mainly lining things up more precisely and shortening some of the sentences. I am really happy with the outcome and although i know i will probably adapt it in the future i am pleased with how it looks for the moment.

Indie Practices: Stage 2

Brief:  Self initiated project in which to interpret the theme boats in any way we choose. I chose sharks!

I researched into species of sharks to see which i wanted to make then i researched into the process of resin model making and other artists who use this process in their work.

It was expensive but really really rewarding. I am happy with the results, although there are not as many as i would of hoped there would be. This is something i would think about if i came to do another self initiated project. I would plan my time more effectively in order to create as many successful products as possible without compromising the artwork or integrity of the models.

Critical Evaluation.

Within this module I have taken somewhat of a risk when I decided to create 3D objects. I have always had an interest in model making, in particular 3D animation, but I thought that I was better at drawing and never really explored it much further. With the intention to sell in mind, I could of played it safe by creating some 2D illustrations and applying them to various mediums but I really wanted to push myself and see what I could achieve. I am so glad that I challenged myself with this project; it has been educational and really rewarding.

I began by researching, as always. I already had an idea of using sharks from stage 1 so I did some more research into different species, making notes and drawing from reference images. From this I chose the species which had the nicest shapes and then began to think more about the making process. I researched into other artists who used resin to create art toys etc. Past students, specifically Laura Weeks, was a great person look at. Her resin models are beautiful and they reflect her illustration style too. I looked at artists like Amanda Visell also. Her models were also reflective of her illustrative style and they were packaged really simply but still looked high end and enticing enough to want to buy many of them!

Creating resin models is a process of many parts so it was important to have some semblance of structure at the beginning so I could plan my time effectively (and so I could make the most productive use of the college resources as possible). I didn’t mind having this structure in place as I like to know what I am doing from day to day and to have a clear goal to aspire to.

Early on in the project Me, Leah and Jack had decided we each wanted to create something from resin for Stage 2 so we ordered some silicone between us and had it in time to begin the making process. We didn’t realise, however, that we did not have enough silicone to complete all of the moulds we had. As learning curves go, this was a big one but I am confident now that if I were to make some more resin toys I would know how much silicone I would need and could buy it accordingly. Thanks in large part to Ben’s help, we were able to each make at least one mould with our silicone and some extra. I was lucky because I intended to make badges and they required only a one part mould, thus using less silicone so I was able to make two complete moulds.

Regarding the timetable, I unfortunately did not factor in that I had to work the first week of the Easter holidays which was the only time really that we could come in and make the moulds/cast the resin models. Fortunately though, I work at the college so I was able to come up during each break and after 4pm to get everything done. This said, I would not have got this far without Jack and Leah’s help, they were great!

Even with all of these circumstances the process itself was not too arduous. I would definitely think about using it in the future and creating more 3D models in my future practice.

Although it may have seemed like a lot of money at first, it was worth investing in some materials for this project. When divided between how many sellable units I have made, the overall price does not seem too bad and some of the materials I can use again. I also now have the added benefit of experience and am confident I could use this process in the future with little problems.

Due to the nature of my models (being hand sculpted, hand cast, hand painted and hand packaged) I can price my models and badges at a reasonable price but still make a profit.

This was my first time casting resin models properly and a few of the models I deemed not sellable. This was expected and anticipated as I used these slightly imperfect models to practice painting on a 3D surface. I was nervous about this as I am so used to working on a flat surface but I found I could adapt and simply tried to apply my drawing style to my painting. The more models I painted the more confident I grew with using a paintbrush and I feel that if I continue to paint then my skills will hopefully improve even more.

Although I ended up changing the colour tones a bit, I was more than happy with my experiments. They were by no means perfect but if the pattern was completely symmetrical and neat, it wouldn’t reflect my style or how I work! I like the organic shapes that formed and the quality of the linework achieved with a paintbrush.

Due to the nature of the patterns I designed it took a while to paint each model. I could finish 2 or 3 in an evening which still left me time (to think about prints and packaging etc) but the problem arose that that my paint would dry up each time and I would have to mix some more. This meant that the colours vary slightly from shark to shark. If I were creating more multiples of these models this would prove much more of a problem but I think, due to the unique nature of my models, that I can get away with each one being slightly different! If I were doing them again, and in multiple, I would look for ready mixed colours to keep them all the same.

If I had the time to extend this project I would perhaps look into using different colours. This way people could pick a model with a colour preference in mind. I believe this would make the models even more individual but it would also give them a little bit more character.

I am happy though with the two grey tones I chose. If there were no patterns then the sharks would be nothing more than miniature shark models but with the patterns they feel much more collectable, valuable and much more like an unique art toy.

Indie Practices: Stage 1

Brief: taking a theme (boats) and using it as a starting point to design a product (notebooks). 

I chose to begin with a subject approach and did some research into the character of Nancy Blackett. 

She is a creation of Arthur Ransome in his children's book series named Swallows and Amazons. 

I experimented with different techniques at first but they didn't really work so i chose to create a notebook cover digitally from hand drawn elements. 

I tried to keep the nautical theme alive within this project and think i definitely succeeded! I am really happy with the packaging and the notebooks themselves, though a little bit thin, feel like they reflect the theme quite well. 

Self Employment

Registering as Self Employed:
This can be done on the HMRC webiste (Her Majesty's Revenue and Customs). You need to register online for business taxes and the sooner the better or you will incur charges. After you register you fill out a self assessment form which contains details of your earnings and income during the last tax year (April to April) and this in turn will be used by HMRC to calculate how much tax you need to pay.

Organisations to help small start up businesses:
The HMRC website has a lot of internal and external links to sites which contain help and advice about support, finance, loans and grants. The government website (gov.uk) also has a breadth of links for people setting up a new business and has it's own section which tells you if you are entitled to government backed loans or grants.
http://businessinyou.bis.gov.uk is a link to a site which is all about the campaign to inspire people to start their own businesses and also has other links to sites which provide help and advice.  The campaign has many partners encouraging this new way of working including: Start Up Britain, the Confederation of British Industry, the Federation of Small Businesses and many many more.
For more specialised advice for us illustrators the AOI are full of advice and knowledge about being a self employed illustrator.

Earnings before being taxed:

I took this table from the HMRC website, it displays how much tax you pay depending on how much you earn. There are different methods of paying tax but as a self employed illustrator this will be through the annual self assessment. 

As well as income tax, self employed people must pay a National Insurance contribution. This is usually Class 2 (flat rate of £2.70 a week) however this can change depending on how much you earn. 

Copyright for Illustrators

Copyright issues:
When it comes to my own work, various copyright issues could arise if I do not check. For instance, if I use a photographic reference source for an illustration lots of legal issues could ensue so I must remember to either just use a portion of a reference image or go out and find my own references where possible.
In another way, I need to make sure I protect my own work with the right paperwork so that my images cannot be used without permission.
Past work:
I looked back over my work to see whether there were, unintentionally, any possible copyright infringements.

The only thing I could think of really was my Hallmark ideas. I used Jon Klassen as a major influence on the characterisation of my illustration for this project. Although there is no copyright law which protects a 'style' there are rules about 'passing off' but I don't think this applies to me as i rendered the character from my head, added details, colours and textures which are very different to Klassen's style of working and also I made sure i referenced his work alongside mine to show what my inspiration was.




Style:
As I said, a 'style' is not protected by law but it could bring about a lot of problems in the future if not referenced properly. My style of illustration is still quite varied but I suppose i would say some of it is quite similar to Tom Gauld's style:

But, i have always listed him as an influence on my artwork and used my own references for characters etc. Also, my style changes alot for different projects so it is now more of an amalgamation of different ways of illustrating.
                                             






Protecting copyrights:
I have done some investigation and thanks in a very large part to the wisdom of the AOI, i think i now know a lot more about copyright and how i can protect my images. Firstly, never ever assign copyright of images to someone else unless it is for ALOT of money! (Also, if i did do this it must be in writing or else it is void). So, for the most part i need to retain copyright of my images (which is mine from the moment i put pencil to paper) and when i enter into an agreement with a commissioner for an image the correct paperwork needs to be read, signed and kept safe. The AOI has a free version of an Acceptance of Commission form which is universal and illustrators are encouraged to use it which is great and if there are any problems with it the AOI are online and the website has a lot of help and advice.
By using a form either i have created, or the version from the AOI, i know there are no hidden catches in the Terms and Conditions about ownership etc and that i am protected by this contract.

Infringing on other people's copyrights:
I referred to this vaguely earlier but the best way for me to ensure that i do not infringe on other people's copyrights is to use my own sources images/references and acknowledge the work of others where needed. In some cases i might be able to get permission to use certain source photographs and certainly with the internet it makes it very easy to ask permission to use references from other websites etc. Also, I need to remember to ask permission before using links to other people's websites. If i do not do these things I could risk my reputation as an illustrator, my work would be useless and i would have a lot of legal issues to deal with including some hefty fines.

Rights Grabs:
Rights Grabs are attempts by commissioners to force illustrators to assign the copyright to them, waive their moral rights and, sometimes, hand over the entire ownership of their work.

Royalty Agreements:
Royalty Agreements tend to be a more complicated type of commissioned work than 'one off' commissions because they are designed to last for a much longer amount of time. The agreement consists of the Illustrator (or creative person) agreeing to create images and the publisher then fronts the money for the project and also gives their expertise in manufacturing, marketing and distributing the finished work. From the profits, the illustrator then gets a share of the proceeds (royalties). This type of agreement usually lasts for the length of the copyright period.

The AOI Code of Ethics and Professional Conduct:

AOI Code of Ethics and Professional Conduct

At all times, business shall be conducted competently, with integrity and honesty. Good communication between the illustrator and client is encouraged at all times. For example, a client should inform the illustrator of a cancelled meeting in good time. Any envisaged problems over the style or content of artwork should be aired as soon as possible. Mutual respect comes from common place dialogue.

When accepting a commission the illustrator should ensure that clients are aware of the extent of the rights they are purchasing. If no contract has been supplied by the client, the illustrator should provide written confirmation of engagement which includes this information. Licensing illustration and sending terms of trade are normally thought of as a protection for the illustrator; but it is in the interests of both sides that terms are clear. The client is entitled to know what right they have bought , and to have the information in writing for future reference. The illustrator has at least as much responsibility as the client to ensure that this happens.

The illustrator shall treat all information relating to their client’s business as confidential. Advertising jobs, both below and above the line, can be a particularly sensitive area in this respect, especially at the presentation stage when the agency/design group may well be pitching against others.

Illustrators who intend to be away from their normal place of work for more than a full working day should inform any client for whom they are currently working. This is a good rule to adhere to even if the illustrator is working on a long job and not expecting the client to be in touch. It can be very unnerving for a client to find they cannot contact an illustrator and cannot find out when he/she will be back at work.

The illustrator shall not subcontract work without the agreement of the client except in areas of illustration where this is customary (e.g. storyboards). This has been a problem in the area of realistic illustration, where styles are less distinguisable, clients, quite rightly, object.

Once the client has approved a rough, the illustrator should not make significant changes at artwork stage without prior approval. The artist may feel that there is an obvious improvement that can be made, but from the client's point of view commissioning illustration is already an unpredictable process, and sudden changes at artwork stage will only add to the client's nervousness about the outcome, and may affect their willingness to use illustration in the future.

If an illustrator is given an open brief there must be, as far as possible, a proper understanding of the boundaries of the illustrator’s creativity. This avoids time unnecessarily spent making huge changes at rough stage. Artwork should be of similar style and standard to that already approved in the artist’s portfolio, unless otherwise agreed with the client. The illustrator may charge a reasonable fee for significant alterations which were not in the original brief, however, the illustrator may not charge extra fees for alterations which are the fault of the artist, nor for trivial alterations.The illustrator must use their best endeavors to deliver work on time and if they anticipate any delay, must inform the client at the first opportunity.By the nature of things illustrators cannot subcontract work and a great deal of money may hang on delivery of a piece of work, particularly in advertising. In principle, once an artist has agreed to do a job, he/she can be sued for failing to deliver on time if this has damaged the client unless the artist is actually incapacitated by illness or some other unavoidable cause.

The illustrator must not licence artwork to a third party during the currency of an existing licence unless agreed with the client. In addition advertising illustration should not be re-licensed to a third party after the expiry of the licence if such action is likely to be detrimental to the client’s business. The chief purpose of the licence is to prevent the client from using the work for uses it has not paid for. An image should only be re-licenced to third parties once the original client has finished with it, and in the case of advertising special care is needed. This does not apply to areas such as card design, where simultaneous licencing for different products is customary.

Illustrators working on advertising or promotional illustration should not knowingly work simultaneously for clients who are in direct competition with one another without the agreement of both. In the case of conflict, the illustrator should accept the commission of the first comer. The illustrator must not act recklessly to endanger the relationship between an intermediary (e.g. design group or advertising agency) and its client. In particular, the illustrator should inform the intermediary before taking any legal action against its client and give it a reasonable opportunity to settle the matter itself. Conduct to other Artists and to Agents. Illustrators shall not set out to copy the work or imitate the style of another illustrator, and may not accept commissions so to do. However, emulation of and influence by another artist is permissable. Illustrators must at all times bear in mind the reputation of their agency and the other artists represented by it and act accordingly. Illustrators must honour agreements with their agents and in particular any agreement about exclusivity of representation. If a potential client refuses to deal through an agent, illustrators should accept the commission only after obtaining the agreement of their agent. Illustrators should not discuss money or deadlines with a client if represented by an agent unless otherwise agreed. Illustrators must inform their agent if they intend to be away from their normal place of work for a full working day or more. The illustrator must inform their agent immediately of any anticipated delay in delivery.

Speculative Work Illustrators should not undertake speculative work without a fee except in the case of self-generated work.

I took this from the AOI website in the members area. 

References: 

www.theaoi.com

The Illustrators Guide to Law and Business Practice, Simon Stern. AOI. 2008.

Hallmark- final designs

I finished my designs and created some samples of wrapping paper to include on my design board.

I got some great feedback from the Hallmark ladies, they both commented on the environmentally friendly feel to my work and were positive about the research i did into certain illustrators and some of the Hallmark card ranges in America.

Hallmark brief

The aim of this brief: to create a concept card range or signature idea which showcases our illustrative/mixed media capabilities and skill sets.
Required: interpretation of the greetings card market, use of colour and composition, use of materials and processes and diversity (showing how the range could be used on different products, i.e. wrapping paper, bags, stationary etc.

Surprisingly, i found the research side of this brief more difficult than other projects. In retrospect, this is probably because i came up with my idea before i did too much research and so this didn't inform my design process as much as it should have.
Despite the research hiccup, i found some trending patterns, colours and concepts which enhance my idea and overall i am happy with the outcome.

I developed this character which i plan to use on a range of cards in the same pose but with different objects depending on the occasion (birthdays, christmas etc). I was inspired alot by Jon Klassen's style of illustration and by lots of illustrated greetings cards i found on Pinterest.

I decided to use brown paper because another feature of my card range would be it's recycled nature and eco-friendly connotations. This in itself is another trend.

I also plan to create a wrapping paper sample based on this concept. watch this space!

Stage 2- YCN competition brief

Stage 2 for Illustrative Practices: 

Had to choose a competition brief to answer creatively with the intention of first giving in the outcomes for grading before adapting them if needed and then entering them.
I chose one of the briefs put forward by YCN, this was to create or update the back of some cereal packaging for 'Bear'.

I researched the brand, other packaging on the market and did some thematic research into some of the topics i could illustrate on the packaging.

Bear currently allocates one letter of the alphabet to each cereal packet, incorporating fun facts and interactive elements to really stimulate children and their interest at breakfast time.

I chose to carry on along the same sort of theme but exchanged the letters of the alphabet for the letter sounds of the Phonics alphabet. This is the main way children are taught to read, speak and listen across the country and i thought by adding these there is a greater number of creative possibilities to work with (there are 42!).

All of the themes i researched to illustrate on the packets pertain to the natural world. I think it is important to make children aware of the world around them and also i think this idea fits in well with what the Bear brand already enforce in the current products and their working ethos.

1. AI is for Rainforest.

I chose the rainforest because i could imagine it easily in my head and it had a great scope for adding lots of animals and lots of fun, interesting facts that i thought would appeal to children.
I chose to colour all of my designs on photoshop mainly because i am trying to get better at it, and i really like working this way at the moment, but also because i think this medium is the best way to adhere to the brand aesthetics.

I am really pleased with the outcome of this design. I have tweaked it since our presentation and group crit sessions by changing the composition so there wasn't too many gaps and changing the text too as it wasn't very readable before. It think the colours work well (i tried to use colours they had used before, with a few more added) and the animals are realistic to an extent but also characterised enough for children to enjoy. 

2. AR is for Arctic. 

Sticking with the natural, environmental theme i went for something children might not know too much about. Theres not a lot of colour in this design but i think that helps with enhancing the properties of the arctic landscape! 

                                                 

I really love the layers at the bottom of the design, i think it adds a great sense of depth and more things to look at and think about for the children. However, when i look at the design now i think it maybe needs to have a bit more detail, or some other narrative happening as i don't think there is enough on there to hold someones interest for very long! This is something i might adapt before i send it off for the YCN deadline. 

3. OI is for Oil. 

This was the first design i came up with and i just did not realise at the time how similar it would be to the Arctic illustration until i came to colour them. The content is different enough i think, even with the layers at the bottom because they tell a different story and they also create a running narrative and creative piece of linework which runs through all of the images. This was a conscious decision and i am glad i did it, i think it brings a new element of collectivity to the images and this is the kind of thing they were asking for in the brief, something to make children really excited to get the new box, something which makes it more than just a piece of packaging. 

I also really like the facts that i found for this illustration as i think they are things which will capture children's interests. However, i do think that i could have included some more (like my last design) and perhaps some more narrative in the ocean as the middle section is quite empty besides the text. 

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Although there are a few things i realise i could/will change about my images, overall i am pleased with the way they have turned out. I think/hope they are along the lines of what the brief was asking for and I think they can be appreciated a bit more when seen in context...

Adapted editorial 10

Based on the suggestions from the critique, I have adapted my chosen editorial and i am now really happy with the outcome. It took longer than i thought it would but i suppose i have just learnt to use the layers properly in photoshop for next time!!

In the critique session the general feedback was positive but i needed to neaten up the bottom edge of the image and take out a few unnecessary elements.