Tuesday, 28 March 2017

Collective: Field Trip

My initial ideas were too wacky and ambitious. Although it would be a lot of fun to propose these outrageous plans, they would be too complex for us to cover in one presentation. We are illustrators and our skills are in ILLUSTRATION. We can of course propose working with other tradespeople etc but it would be much simpler to present a collective product that we could produce competently.

We decided that a publication would be a better idea. This would be simple and relevant for all of our work. We could all contribute to a publication that would celebrate our work and our practice.

Examples of collectives we were interested in:


Printed Pages, It's Nice That.
A collection of illustration, articles and content in a physical magazine.
Similar in context, sold in Colours May Vary. Contemporary and bought by creatives.



Cabinet Magazine, A Quarterly of Art and Culture.
Themes, interpretations, topics. Similar in content to how we intend to tackle unusual subjects through research and document them all in one publication.

A publication would not stop me from making. It could actually be better for my practice since it would expose my unusual and atypical approach to illustration to a wider audience. Less specialised and niche, a broader context and perhaps more interesting in a publication where you'd expect to see illustrations. It would be a platform for our work.


Several brainstorms later, we established that a shared interest in our group is research. A passion for finding things and a curious nature brings our work together. 
This is where the name 'Field Trip' came into being. We want our publication to be an exploration of topics in each issue that we could each investigate and interpret in illustrations.

There was some discussion about audience. Some of the group thought that our publication would be suitable for all ages, which I understand in that our content may have a broad appeal and be inclusive to a range of demographics but I think it's important to have a clear intended audience to aim towards.

Mabgate - Level 5 Show Prep

We're going to have a show at the end of level 5 with Animation and Graphic Design! Exciting and a great opportunity to exhibit, network and have a good time.
It would be a perfect opportunity to invite some professionals or even those we are interviewing for creative reports.
I'm not quite sure if there's going to be a theme or what kind of work I'd like to show. I don't know whether I'll make something NEW or use something I've made this year.


I'd like to make something new and specifically made for the space. Check out this big cardboard Eagle currently on show! It would be fantastic to make something HUGE and IMPRESSIVE but this is a shared show and a small space to fit us all in so we need to be considerate and fair. I do think some people will probably end up with 'better' spaces and more space than others, it's just the way these things go but I want to be fair and just have a small space for a couple of pieces, like everyone else. IT'S NOT ONE PERSON'S SHOW, IT'S EVERYONE'S and we need to use the space wisely.

Mabgate is in a very run down area of Leeds and I didn't feel safe walking there (mostly because I was worried I'd get lost). One of those graffiti, scabby streets, just not what I'm used to. The space seemed very Hipster and grunge...  hmm... I think I imagined something a bit smarter/more formal but maybe this is a good thing, less officious.
It's hard to imagine how it will look with our work in there but I'm sure we can make something groovy with it. It's a pretty dynamic space and they have moving wall partitions so we can change it up and project videos too.

I didn't volunteer to help organise the event because I don't think I'll have time and I don't want to have the responsibility of chasing up people who are late to submit etc. but I wish the best of luck to those organising, it will be a good experience and could even be a career path - event organising, gallery staff or show curation. I don't like events if they're after tea time and involve alcohol so probably not one for me.

Friday, 24 March 2017

RIPON HORNBLOWER


Custom order for Iain.
Every night at 9 o'clock, all year round, the Ripon Hornblower still 'sets the night watch' at the four corners of the obelisk in the Market Square: a proud City tradition.
Iain asked for me to make a Ripon Hornblower, an ancient tradition in our tiny city in which the hornblower blows his horn every night at 9pm. 

I made his little horn with clay but I have seen some brilliant metal miniature instruments that I'd like to try some time.

Iain loved his hornblower, it's his favourite doll so far and he took it to meet the current hornblower on the market square.



COLLECTIVE IDEAS

Collective with Bronte, Siobhan, Neneh, Mary and Beth. A lovely group of friends with shared interests in character and narrative. I'm excited to see what we can make together with six illustrative heads!
We're meeting today at 9.30 but I had some quick thoughts on the bus this morning that I needed to jot down before I forgot them:
Witch club/coven - arty ladies sharing magic
A theme park/adventure park (like Forbidden Corner), including rides, tunnels and themed areas/parks
A toy shop (art dolls, plushes, ceramics, etc - very me but perhaps not suited to everyone's practice)
Gardens - fountains, sculptures park, pedalo boats, forest trails, bandstands, benches,
Art zoo (not sure where I'm going with this but it sounds fun)
Art allotment - a big place for artists to grow projects together, annual harvest.
Art boutique - silly arty clothes
Circus - a travelling troupe of artists making drawings and doing tricks in tents
Theatrical performance
Ice cream truck (I've just always wanted to run an ice cream truck)
Hot air balloon (I've just always wanted to go in one!)

Lots of these are quite out there and weird but I thought it would be more interesting to curate an experience/adventure together than just a publication of an exhibition alone. With six heads there is so much we could do so why not aim high/dream big?

My friends at Brighton Uni studying Illustration do all sorts of weird things, including end of term performances. I love performing and think we could have loads of fun with this if we just think out of the 'illustration' box a little!

Monday, 20 March 2017

Precious Pantovola

Precious from Bright Side Studios on Vimeo.

I looked at Pantovola's textile art dolls earlier in the year, but I've just found this animation that she was involved with.

Described as: A stop motion, puppet animation film. A story of sadness, melancholia, hope and friendship. On his lonely hilltop Bragi the sad clown cries tears of pearls at night. Mystified by their magic Precious collects the pearls. She threads them into necklaces that hang heavy round her neck. One night when the moon is full Precious and Bragi meet.
A collaboration between Pantovola, Alabaster dePlume and Bright Side Studios.
Pantovola's dolls make beautiful products but it is so much more exciting to see them moving and performing their stories. I think this is a really great direction for Pantovola which involves her love and previous experience of performance. This is an enchanting video and I think it's really exciting, it shows the power of collaboration and the many opportunities that are availbale from working across disciplines!

Collectives - Inspiration

Finding examples of collectives. I know most people on illustration will be making publications and print-based collectives, but me being the odd one, I've found some toy collectives and model-making groups that I'd love to learn more about and even join / set up my own collective in this field.

Maybe there are some stop-motion or puppet enthusiasts in Animation? I'd like to stick with illustrators because I have loads of friends on this course who have already asked if I'd like to form a collective but I don't want to be pushy with my 3D ideas. I think it would be good for me to branch out and find collaborators in other courses but I am still a little nervous about doing so. How would I find people? Maybe a post on the LCA collaborations page on Facebook: "Hi, I want to start a collective for puppets and toys. Who's in?"

Chris Ryniak and Amanda Louise Spayd


Chris Ryniak and Amanda Louise Spayd do lots of collaborating together and exhibit their work in collective shows. They both make weird and wonderful art toys for collectors.
Since they both fall into the same 'pop surrealist, 'art toy' genres, it's likely that fans of one artist will be interested in the other. The toys harmonise with each other and although they are very different in character, material and construction methods, they do look like they belong to the same genre and art style, especially when these shows have a specific theme that both artists work towards e.g. 'migration', 'unseen forces' and 'harvest moon'.


Bindlewood is their collective shop where you can buy work from either artist.
Exhibiting as a collective is beneficial to both of the artists because it gives them exposure to the other artist's fan base and also works as a support network where Amanda and Chris can share advice, concerns and expenses.

Circus Posterus & Stranger Factory

 I find it reassuring and exciting that there are places where my dolls and toys like them can exist and be celebrated as works of art.
Circus Posterus is a collective formed in 2000 and established as an official business in 2007 by Kathie Olivas and Brandt Peters. Their aim was to utilise the diverse backgrounds of their varied members (fine artists, printmakers, toy makers) and help artists to build their markets.


Amanda Louise Spayd and Chris Ryniak are both members of Circus Posterus and exhibit with them frequently. They are probably the most well-recognised and successful artists in the collective, which helps smaller/lesser known artists in the collective to gain exposure and build their fanbase by exhibiting with them.
Stranger Factory is a gallery created by Circus Posterus specialising in lowbrow pop surrealist work, especially toys.


Designer Con / Toy Con / Monsters and Misfits


Events and exhibitions where collectors, stockists and fans of toys/dolls will go.
RohNoh who was on this course last year exhibited at ToyCon in London this year and had a great time! Chance to connect, network and sell!

Sunday, 19 March 2017

Mary Queen of Scots


Custom order for Iain, regular customer at Stuff 4 Offices. Every time he comes to collect a doll, he orders another one! Trying to keep a good relationship with him because he's such a great customer to me and he's a huge fan of my dolls. He posts his dolls to a Ripon Facebook group 'Blow Your Horn Ripon', showing off what I've made for him and he goes around the town with dolls in his bag to show friends.

This one is Mary Queen of Scots. Like the Anne Boleyn doll, he wanted Mary to have a decapitated head.

 

Iain gives me pretty much free reign over how the dolls look and what I do with the request, but because Iain is really knowledgable about Mary Queen of Scots I wanted to make sure that my doll was accurate. I did a lot of research into her so that I knew what she should look like, what her personality was like and how she died.


I am really happy with how Mary turned out. She looks royal and regal as well as sad and decapitated. The crown was just a tiny top on a bead in my jewellery stash but it worked perfectly as a crown (even though it's tiny!)

She looked a little too much like Anne since I used a very similar red hair - I added those little pearls and a cotton cap to make her look older and more powerful than Anne.

Emailing Samantha Bryan


Samantha Bryan lives and works in Sheffield which isn't far from Leeds. I'm a great fan of her handcrafted fairies and seeing them for sale at The Yorkshire Sculpture Park was probably the moment when I realised that I could sell my dolls.


It would be great to go and meet Samantha Bryan and I suggested that the meeting could be a 'faefolk alliance', form a meeting in fair form where my dolls go to her studio to make friends with her fairies. I'm not sure if this was too informal and forward, but judging by her Facebook/social media updates, she regularly speaks as though her fairies are real and gives them all names/personalities so I don't think my approach was inappropriate.

She has a studio next door to Cari Morton (Cari and Carl) who was a tutor on the Fashion course on my Foundation, so this may be a way in!
I wish she had an actual email address so I could send her a direct email, I don't trust these website message boards. I do have the address of her studio though, so I could drop by or post a pixie to her!

Friday, 17 March 2017

Emailing Long Nose Puppets



Dear Polly and Katherine,
I am a 21-year old university student studying illustration at Leeds College of Art in England. I am so inspired by your productions and the scale of your puppets, it's so exciting to see illustration existing beyond paper! I am really interested in puppetry and how illustration crosses over into the world of performance; reading about your company and how you started it after studying illustration together gave me confidence that I am still an illustrator and that model-making and 3D performance can be illustration too.
Would you be willing to answer some questions about your practice? I want to know more about how you work and how you got to where you are now. It would be brilliant to interview you, visit your studio or just an email conversation, a Skype call or good old snail mail would be fantastic too. It would be an honour to hear from either of you, just to answer a few questions about what you do and get a glimpse into your world of Long Nose Puppets!
Thank you so much for your time,
Regards,
Jay Stelling

jaystellingdesign@live.co.uk
www.j-stelling1518.blogspot.co.uk
Instagram @jaystellingdesign
www.facebook.com/jaystellingdesign

Thursday, 16 March 2017

Emailing the Frouds





REPLY FROM CHRIS SICKELS

A reply from Chris Sickels this morning to say that he can't answer my questions until April since he's going away for a few weeks. A real shame because I was excited to speak to him but April might be a bit too late for me to get started on my report using his answers... I would still like to speak to him, but I should probably email other practitioners instead!

hello Jay, 
sorry for my delay to your inquiry. 
i will be heading out of town for a bit, but if you wouldn’t mind send me another note in April, i could then give you a proper reply. 
thanks
chris

Monday, 13 March 2017

OUT OF ORDER


It's exciting to see how the Level 6's have progressed since last year and this is such a great opportunity for them.
Colours May Vary is a brilliant space and I'm sure that they'll get lots of visitors!


Their Instagram has caught my attention, they focus a different student every couple of days and link over to their social media account. This is something we should consider when we do our exhibition!

Saturday, 4 March 2017

Cathy Cassidy Feature

Cathy Cassidy featured me on her blog!
A children's/middle-grade author whose stories I loved as a 12/13/14 year old. A little bit starstruck when Cathy messaged me on Facebook and asked if I would like to write a blog post for her. She gets fans and readers to write for her all the time, including my little sister, about subjects like friendship, school, fashion etc. But she asked me to write about my dolls because she loves them.
I must remember to send her a doll as a thank you.

http://cathycassidydreamcatcher.blogspot.co.uk/2017/03/jay-treasure-seeker.html


Friday, 3 March 2017

Custom Doll Order - Anne Boleyn

 

A doll for Iain. He asked for Anne Boleyn with her head chopped off for a friend of his who is a History teacher. I spent a long time making her delicate outfit and arranging her hair so it was really strange to then LITERALLY CUT HER HEAD OFF, but whatever the customer wants the customer can have!






Added some blood and half-stuck the head back on. Such a weird thing to do, to chop off her head, but it worked and it's certainly DIFFERENT! It's what Iain wanted and he was soooo pleased with her.

He actually asked for a Mary Queen of Scots when he came to collect this one. This man is brilliant and he has so many ideas of interesting dolls he wants! Much more fun to do the research into these historical and literary figures than to work form someone's photo of their niece etc!

When I get time over summer I'd like to choose some popular figures of my own to sell on Etsy as pre-made dolls (not made to order). DOLLS I WANT TO MAKE.



Custom Doll Order - Second Shakespeare


A customer called Iain (not IAN who runs Stuff 4 Offices) asked for a Shakespeare identical to the previous one I made for another customer. Job done! Enjoying making real historical figures. Iain showed his to the people at the Little Ripon Bookshop and they said they'd love to buy any if I do some more literary characters!


Potential customers or stockists! Characters I could make...
Pippi Longstocking
Harry Potter / Hermione / Ron
Where's Wally
Alice in Wonderland (etc - PROUD RIPON CONNECTION TO LEWIS CAROLL)
Dorothy Gale (Oz)

Custom Doll Order - Daisy & Horse


I don't know much about horses, they actually scare me a little bit. A customer asked if I could make a horse in the smaller scale (5 inch dolls) with a doll riding it.
They sent a reference photo of the girl and the horse, but I found it really difficult to get the size proportions right between girl and horse.

I don't think it's bad for my first attempt at a horse, especially since they needed it for a birthday so I had a tight deadline (3 days when I ask for 3-5). I wouldn't CHOOSE to make a horse again (they're weird creatures, sorry) but I know that I can do something like a wonky donkey if someone does request one.


Custom Doll Order - Clara & Biscuit

 

A girl and her dog. The dog looks strange and isn't furry, (I should have used fur or sculpted more texture into the body) so I was really worried that when Clara's mum came to collect the doll she would be disappointed, but she was so pleased with both Clara and Biscuit!


It's strange to think that people are waking up on their birthdays and receiving a doll I'VE MADE as a present. I wonder how people react to that... a little doll that looks like them made by an art student.
It's brilliant, I'm getting so many customers at the moment and people always want them as gifts for friends and family.

--------------------------

James suggested that I should send one to a YouTuber to gain more exposure but I don't know how to feel about that. It would probably get lots of exposure since they have huge fanbases and they unpack post in videos, but I don't really watch YouTube videos or have any YouTubers I really like so I wouldn't feel genuine doing so... maybe I could send one to someone I DO like/follow on social media?
Musicians?

Wednesday, 1 March 2017

The Association of Illustrators

Lou Bones - Membership Manager for The AOI
The AOI is a not-for-profit organisation which serves to protect illustrators, encourage industry standards, and promote and improve the work of illustrators. The AOI has over 2,000 members across the world who pay a yearly subscription fee to the service.
Lou came in to talk to us about professional illustration practice (accounts and legal) and encourage us to join the AOI. We were provided with examples of contract forms and leaflets about becoming a member, including a special reduced rate for students.


Self-promotion
Website: Lou discussed the importance of self-promotion as an illustrator, including having your own professional website. We should get one as soon as we can because it is a solid place to link all of our portfolios and social media pages together, a point of contact for comissioners to find us.
A website should have a relevant domain name (i.e. www.loubones.co.uk), should be simple, functional and professional. If someone is looking at your website they should be able to see everything immediately without clicking anywhere.
Websites can include a link to your blog, which will show visistors what your latest work has been, more up to date than your website. 
Contact details should be easy-to-find and obvious on your website. Don't use contact forms, these are for big businesses are are used to deter people from contacting them directly. 
Include a copyright line at the bottom e.g. 'all work copyright Jay Stelling 2017'
Start collectives: Join forces with other creatives to share ideas, promote your work together as a team of artists.
Personal Projects: do personal projects to get the work that you want to do more of. When clients see the kind of work you've enjoyed they will know what kind of standard to expect/what kind of work to offer you.
Social Networking: Instagram is the most important and valuable social networking app. Commissioners and clients will have one too. Get one, use one and keep it separate from your personal page (unless your artist page is a personal approach).
Behance, Flicker, LinkedIn and The Dots are portfolio sites where you can connect and upload work. HAVE AS MANY AS YOU CAN.
The sites you use, the way you upload will vary depending on the artist, the brand, the person, the approach. 
Networking: Don't say sir or madam, make your contacts personal. Research exactly who you want to work for and who you need to speak to.

Accounts
You are a business - conduct yourself as one.
Do not work for free, this devalues your own work and the illustration industry.
Register for income tax within three months of starting
Keep up to date accounts, keep all paperwork involved with each job and retain all claimable receipts including cultural expenditure such as cinema/theatre.

Copyright
Does not require the c symbol. It lasts 70 years after the creator's death.
Licensing is lending clients the right to copy for x amount of time.
Assigning copyright to the client means you can't use it EVER, they own it. If they do want this they should be paying tens of thousands of pounds, since they are paying for the 70 years after your death too. Say NO, BUT THIS IS THE LICENSE I CAN OFFER.
Moral rights: right of paternity, right of integrity. Moral rights are automatic but can be waived (i.e. copyright assignment)

Contracts
Can be written or verbal. They are legally binding - including cancellation fees, who it is going to, what it will be used for, when, and for how much. Every single use of your work should be charged for. Always quote accurately because this is an agreement.
Illustrators do not work on a day fee/hourly rate WE LICENSE OUR ARTWORK!
Briefs can be vague but you need to know details about your client because this will impact the scale of the project/usage of your artwork/the cost of the job. The size of the client is based on circulation 
re-licensing is where you lend client the right to use again for a different application/amount of time after the initial contract ends.

Colours May Vary Visit

Colours May Vary is owned by Becky and Andy, who grew up together in the same town.
It's a very personal project of Becky and Andy's, which I think is important in their company's ethos and values. They invested a lot into this business together and it has become a social environment as well as just a retail venture for them.

Andy worked in record shops until he was told to get a real job. He studied a degree in Art History, which prepared him for his part-time position as an art librarian here at Leeds College of Art. The connection between LCA Library and CMV is largely formed by Andy, who buys books for the library that he has enjoyed at the shop and vice/versa, he also knows about the talent in the college and can promote the shop's events within the college.


Becky did a degree in Art History, then worked at Habitat with an interest in homewares and product design. She then moved into a jewellery design company and worked up to head designer. This experience in the creative side of the industry provided Becky with knowledge of what exists in the market, what makes a product successful, as well as how to run a business.

Both Becky and Andy worked in retail backgrounds and studied the same course at different establishments, different times. They started business late, but had learned a lot by the time they got there. They wish they had started earlier but knew that they wouldn't have been prepared.
Becky and Andy have different tastes and interests within art. Becky is most excited by ceramics and stationery, whilst Andy is more interested in print and publishing. Together they filled a house with art they admired and when Becky was made redundant she used her money to open a shop in Leeds with Andy.
According to Becky, Colours May Vary was introduced out of 'necessity'. The pair were sick of travelling to London and Manchester to find the products they wanted for themselves, that just weren't available in Leeds. Their mission with CMV was to create a space that didn't exist in Leeds at the time.

They described the shop as being 'experimental', 'social' and all about 'collaboration', in stark contrast to a lot of other art/book shops which they found 'austere', 'samey', 'expected'. Colours May Vary was invented to be different and was born in response to the lack of creative places in Leeds at the time (Habitat closed down, Borders the bookshop had disappeared).



CMV also hosts exhibitions and events. They don't just sell work, they celebrate the work of artists like Felt Mistress (whom I saw at their show last year) in their large window and this brings in more customers to their shop too. Artists have to pay to use the space, but their approach is about providing a platform for experiments, so they do try to encourage both renowned artists like Felt Mistress and first-time shows. Again, these are not just commercial but social events; hosting gatherings/celebrations at the shop brings a sense of community to CMV.

A huge part of their stock selection revolves around the concept that Becky and Andy are their own audience. They only stock things that they like or would want to buy.
In an effort for their shop to be unique, they find products from around the world. They do support local artists and source many of their products in the area of Leeds, but they have to keep up to date with what's happening in the industry around the globe. They have to know the trends and anticipate what's happening in the industry, be prepared for what might happen next.

Buying habits change, and the political forecast over the last year has had a huge impact on commercial trade. Brexit caused import charges and exchange rates to increase, and the couple explained how this has affected their business, 'It's unavoidable' but it has affected everyone in retail and they just have to work through it.


What Sells? 
  • Magic Pencils (because they are very cheap, around £2, very small and novelty - a token small purchase for visitors, especially since you may feel you have to buy something in such a small, independent shop)
  • Toucan Print (high price but very impressive - 4 colour print, not digital. Consumers at the moment value the handmade quality and effort of hand printed products)
  • Ceramic Ghosts (tactile, object, foreign, exciting and unusual. One of a kind)
  • Varoom (rebooted, better quality than it was before)
Andy discussed the need for products to be produced in a medium/technique that is appropriate for its audience, content and purpose. For example, even though screen prints are so popular, it is possible to create a bad screen print. The artist has to have integrity and pushing a design through a screen doesn't mean it will work better in this format than it would as a digital print. 
The process of production is just as important as the design itself, so if you want to make a personal and creative artists' book, do not use a generic printing platform like Blurb, print and bind it yourself!


Becky and Andy are really friendly individuals and extend their social/family attitudes to speaking to customers, having conversations and encouraging artists (including students) to come in show them work. They can offer professional advice, feedback, recommendations and may want to stock your work. It's reassuring to hear that they are so open about this, because it's quite difficult to access professional opinions without fearing you are interfering, unwanted or wasting your time. Becky and Andy offer constructive feedback with the aim of helping artists to improve and be stock-ready. Even if they don't really like your work or necessarily feel it is right for their shop at that moment, their knowledge could be useful. They suggested that we bring things in to show them, but since the shop can be busy, that we should continue the conversation via email and leave products with them to look at closely.

They said that opening the shop has been a steep learning curve. At first, no one knew they were there. They are frequently asked WHY HERE - since their shop is out of the city centre and customers have to cross a six-lane road to get to it - why here and not another shop? It has a huge window, which is what they wanted, but the location is not ideal. It does, however, separate them from the mainstream high street. In recent years Leeds has started expanding, with Victoria Gate very close by, meaning that more shops/businesses are reaching their way now too.
They have quiet months/busy months, which is inevitable in retail, but they have survived by being innovative and engaging with their bold window displays.