It‘s a sketchbook and my learning diary

Month: January 2023

The audience for the work and how it is disseminated

Illustrators’ work is mainly disseminated through publications, exhibitions and social media platforms. For example, Mary Herbert, a London-based artist whose work I admire, is mainly disseminated through exhibitions and social media platforms, and in 2022 her work was exhibited in seven exhibitions, including drawing attention to The Emerging British Artists, to raise She has participated in seven exhibitions in 2022, participating in exhibitions to raise the profile of the artist in the industry and attracting new audiences quickly. In addition, she posts and updates her work through her personal website and Instagram, attracting more followers.

I share an article from an interview she gave to Elephant Magazine that she talks about how she incorporates the senses of the external and internal worlds into her images and some of the states of consciousness she is in when creating them. The purpose of dissemination is to enable the work to be better involved in art sales, exhibitions, and illustrations for publications.

Mary Herbert, Passing, 2021
Mary Herbert website:http://mary-herbert.com

My current plan is to target my work for children and women, and I will be experimenting with illustrated books and art illustrations. So I will be focusing on these two groups in terms of subject matter and narrative emotion, and of course publications and exhibitions are forms of expression I need to consider.

Some reflections on Qiu Zhijie’s exhibition

♦ Would a viewer who can read Chinese and is familiar with traditional ink painting react to the exhibition in the same way as a viewer who cannot read the text on the paintings and knows nothing about the type of materials used?

When looking at Qiu Zhijie’s works, it is really helpful to be able to read the words in the work (in both Chinese and English), as each set of words in the picture is a concept that the artist wants to convey, and these concepts represent both his perception of the world and his view of the world and the universe.

One of the words on one of the paintings is ‘security’, a word written in the centre of a mountainous area, and when you see the words and the image you are reminded of being wrapped up in your surroundings, which is a very strong feeling.

 

♦ The international careers of Qiu Zhijie, Lara Favaretto and Nina Pereg. If your ambition is to work with galleries in the future, what can you learn from the career progression of the artists on show?

On the one hand, I would like my work to be involved in book publishing, on the other hand, I would like to have some artworks to work with galleries, these are two important directions for the future development of my work. If working with a gallery I think the work needs to add more to the narrative of the picture itself, a series of concepts and studies would be beneficial.

 

♦ Is Qiu Zhijie’s work illustration or fine art? Or neither?

Depending on the interpretation of the audience, I think his work could be calligraphy, art, illustration work or even something else. Because the work is not monolithic in its conceptual expression of art, it is very rich and readable. I think the artist himself does not want to solidify the work in a single form, which is what makes a mature artist great.

🧨 Chinese Lunar New Year Paintings

Although I was not able to be with my family this year, I painted and wrote Chinese New Year scrolls and put them on the door of my flat, which is a traditional custom to symbolize the goodness of the new year. The year 2023 is the year of the rabbit, so I painted a rabbit on the New Year’s painting.

In the morning I had a video call with my family and my daughter passed on New Year wishes to me, and in the evening I made dumplings, dumplings, and other Chinese dishes with my roommate.

To be honest, I was very homesick for my mum and daughter today.

Sketches at the Anatomical Musuem, 20 Jan 2023

        

——The sketch on the left is

AM02-Model(Thoracic and Head)

Materials: Chalk-pastel, Coloured pencils, Charcoal

Size:13.5*21 cm

 

——The sketch on the right is

Cast of King Robert the Bruce’s skull (1274-1329)

Materials: Chalk-pastel, Coloured pencils, Charcoal

Size:13.5*21 cm

Some reflections on the AIMS for Design Studio

♦ What professional skills do you need to develop this semester?

In my illustration, the overall story structure and the storytelling of the visual images is something I am not very good at the moment, including the pacing of some of the story developments. Whether the illustration is created as a storybook or not, the narrative nature of the subject is still the core and first step in the creation. I want my work to be more readable, which is difficult and challenging because it involves another area of expertise, literature, prose or poetry. I will refer to the structure of some short stories or essays, and I will also try to write a short story myself.

 

♦ What technical skills do you need to develop this semester?

I will still be doing most of my work by hand-painted creation this term, having been more used to mixed-media painting. I have been working with watercolour, coloured pencils and pencils, but recently I have been experimenting with new materials such as soft pastel and crayon in my life sketches and I have been surprised by how much I have enjoyed working with them.

 

♦ What creative skills do you need to develop this semester?

I wanted to try some special compositional forms based on the theme to break the conventional picture perspective and create something as playful as possible based on the theme of the project.

 

♦  What does it mean to propose, justify and undertake an advanced illustration project?

I believe that advanced illustration projects, which incorporate both simple and complex touches, the dots and lines between images and text, are the visual space that illustrators need to develop. Undertaking an advanced illustration project means that the creator needs to have researched and thought about the narrative, the visuals, the audience, and even the format of the product launch and sales scenarios. What creators need to have is the ability to synthesize the creative process, not just the ability to draw a good picture.

Good work speaks for itself and the viewer’s eye is guided. The creator needs to build a coherent picture that resonates with the viewer, and the character or atmosphere that connects with the character will naturally be drawn in.

 

♦ How can you resolve an illustration project this semester?

♦ How can you manage and structure an illustration project this semester?

♦  What are the critical aims, objectives and methods relevant to your work and proposed projects?

I have put these three questions together to answer.

In the second term I will embark on a fuller and more in-depth project which is an extension of the first term’s ‘Auld Lang Syne music illustration’, a story about Scottish culture and emotion, and a story about friendship, and I will create A picture book with 10-15 illustrations. This term I will be working on the story idea, sketching the images (characters, scenes, colour scheme), experimenting with different painting techniques and deciding on a final approach, and finally completing 3-5 complete images. I think there is a good chance that this project will be part of my final project.

I made an initial time plan ——
Background research and story structure: 4 weeks
Characters and sketches: 4 weeks
Part of the complete picture: 4 weeks

 

Illustration Mini-exhibition ✨

The second semester has begun!

 

image 1 My works

For the exhibition, I have chosen to showcase my handmade illustration book Autumn is a Tree.

Books, poetry, and illustration to input the reader an integrated experience of what it is like to read. Stroking the rough bark of the tree and opening the pages, reading and perceiving the text and illustrations through sight and touch, it is as if I am standing next to the tree and the faint smell of plants on the pages is like a botanical soup made by my grandmother in the kitchen. I will continue to use multi-sensory thinking in my future work to explore more effective ways of conveying information and emotion.

 

image 2 Vicky’s works

Vicky’s work has a very strong visual language and an artist’s own style. I think she breaks the boundary between illustration and pure art, building a strong narrative mood through the different states/expressions of the characters, etc. The audience for the work I think is more female, as they are more equipped with sensual and delicate emotions, and Vicky’s work is more suitable for entering exhibition spaces or illustrating magazines and poetry.

 

image 3 Ellie’s works

Ellie’s illustrations are very natural and relaxing, and you can feel through the images that the artist loves life and nature. The images have a fresh, beautiful, lived-in feel to them.
I think that a walk or a trip will bring more inspiration to this artist, and there are bound to be some surprises with more different perspectives. You could also try to add 1-2 more mediums to the painting process, such as pastels and colored pencils to enrich the detail and readability of the images.

Illustrators such as Kirsten Sims, Daniela Sosa, and Liana Jegers are recommended to follow their work.

 

 

 

 

 

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