Final Major Project

Ink serpent silhouettes for potentially arranging into images. The snake is infamously connoted with Sin and evil, and provides an immediately recognisable form.

A collection of limbs- these can be separated and used individually as desired.

In addition to trips to Manchester, I spent some time in Glasgow and made use of this by photographing scenes and things of interest to be used in the project. The following are a couple of examples of elements which may be used to layer and create destroyed scenery, particularly for the foreground:

This example shows how such components may be used:

Portfolio Review - Suzanne Mills

I recently contacted the talented practitioner Suzanne Mills for a review; Suzanne is a freelance illustrator who is currently employed as a trainee artist for a new animated children's show on Nick Jr. Her work can be viewed here: http://www.behance.net/zanillustration

Her comments were as followed: 'Your artwork tends to have dark themes, with imagery commonly used in Gothic art such as ravens and skulls. The gouache painting of the brightly coloured skulls in the flower garden is the most distinctive because of the colour - perhaps more vibrant colour should be used in your work more. I personally find it preferable to the drab, muted palette used for the raven paintings.

I think the photography in London is interesting, there's a very textured appearance to the vivid colours reflected on the pavement. This effect makes me think of them more as illustration than photography in a way.

The photo composite textures are interesting - they appear to be detailed photographs of natural textures such as bark of pigmentation in leaves. I'm not sure whether the unusual colours were introduced in Photoshop or not, but they make for intriguing textures which could be further worked into to create illustration or be used as versatile textures for stock texture websites such as Lost and Taken.(http://lostandtaken.com/about-lost-and-taken/)'

Thanks again for taking the time to review my work. The interpretation of the reflection photos as alike to illustrations is interesting in the context of the blurred line between specialisations, and the ever-changing definitions set by individuals. Lost and Taken is a useful resource I was previously unaware of, definitely worth browsing through.

Final Major Project

The following are a couple of examples of inked textures added into arrangements:

**PLEASE NOTE THAT THE COLOURS ARE UNFORTUNATELY CHANGED WHEN UPLOADED HERE, AND DO NOT APPEAR AS SUCH ON THE ORIGINALS**

The latter piece was created after advice on adding variety to the selection of images, such as inside buildings. I feel the textures work well to transform the environment, with the compositional angles already lending an intimidating feel.

Further examples of ink work:

After a review of my work so far, I am looking to add further elements to my environments that suggest story, and generate interest (along the lines of the insects in a previous post). Mystery and drama are strong elements that can be created with subtle additions, often implying rather than revealing. My discussion with Greg Leach was helpful in respect to this. I have looked to the work of Geoff Grandfield for his techniques in this regard, due to his strong use of stylised composition, and silhouette, implied narrative and minimalistic story-telling. Interesting examples of his work:

http://geoffgrandfield.co.uk/

Final Major Project

For the next step with my images I started filling a sketchbook with ink painting work in order to create a variety of elements to be used in my arrangements. I started with purpose-drawn features to work with specific surroundings, like this piece:

**PLEASE NOTE THAT THE COLOURS ARE UNFORTUNATELY CHANGED WHEN UPLOADED HERE, AND DO NOT APPEAR AS SUCH ON THE ORIGINALS**

The crack in the earth was drawn at a perspective matching the environment photo, and then photographed at a correlating angle, to add depth of field.

Another example of specific elements added in:

This piece depicts a biblical-inspired plague, a means of adding action and motion to a piece in a more subtle form than the first piece with the obvious giant demonic figure. It was constructed by combining two different city photos. I chose angles that slightly mismatched to give an uneasy feeling for the viewer. The following are the individual drawn elements: 

The swarm was cloned and layered multiple times, with appropriate motion-blur added to different areas. The large individual insect serves in illustrate what the swarm implies, while adding another moving element to draw the eye. 

In addition to specific features, I then started to fill the sketchpad with random mark-making to generate texturing and detail for use within the digital composites, based on feedback and suggestions. The process of adding in and freely-arranging textures to images worked successfully for the Age UK brief, so I hoped to further this technique. The following are some examples:

Website

I have constructed my website, using Cargo-Collective for its clear, minimal presentation that allows for easy categorisation from a creator's standpoint, and simple navigation for visitors. Its format is simple to add to and maintain, which makes it ideal for me.

www.MatCoffey.co.uk

Final Major Project

I continued the photo arranging and editing as illustrated previously, to depict scenes of destruction around the world- this time more subtle, with no obvious cause.

**PLEASE NOTE THAT THE COLOURS ARE UNFORTUNATELY CHANGED WHEN UPLOADED HERE, AND DO NOT APPEAR AS SUCH ON THE ORIGINALS**

This piece features the German Reichstag, the addition of smoke digitally drawn.

This piece made use of a Czech church along with a photo in the foreground put out of focus to give the impression of proximity to the camera. The idea with this piece was to show that even holy places aren't spared from the forces of Hell.


I discovered while researching that another artist working with the apocalyptic scenery theme coincidentally also has a number of Manchester-based pieces. James Chadderton, citing games and films of the genre as influences, has digitally re-imagined familiar and iconic Manchester scenes in a devastated, barren and ghostly post-apocalyptic state.

http://jameschaddertonart.co.uk/

Chadderton has since produced more works featuring other locations in this vein for Electronic Arts as game concept art. His images are fascinating and inspiring, I aim however to arrange my own environments in addition to identifiable and well-known locations in order to give the impression of a global event.

Portfolio Review - Greg Leach

It was suggested by my tutors that I approach Greg Leach, Photography tutor and Critical Theorist, for a portfolio review from the perspective of someone particularly knowledgeable in areas to which my work currently relates to (As also suggested by Fig). More than half of the images in my portfolio are photography, so this made sense. He kindly agreed to meet me and look through it, and gave the following feedback: He was positive about the quality of the photography work in general (focussing on this side of my work as per our initial discussion), Specifically, he noted my use of angles and also dynamic light and shadow in the black and white city photos, and also commented as to the aesthetics of the final page of coloured photo-composite textures; he felt they were interesting, asking as to their construction and offered some interpretations as to how they appeared to him. This engaging and slightly enigmatic quality is exactly what I would hope for with such images. After the more specific commentary, Greg addressed my approach with photography more broadly and described the selection of images as reminiscent of a 'Magpie' approach, each piece interesting yet somewhat disparate and reflective (pun unintended) of different intentions / aspects of the medium (e.g. incidental documentary, or intentionally sought aesthetics). This observation is ultimately on-point, partially because of my very open approach to the subject at this point and lack of specific direction, but also as a product of the fact that I have intentionally tried to present variety in my choices- this issue may be resolved if I were to construct a separate and more substantial portfolio specifically for photography, containing more examples of each variety of photo. That way, the impression that differing photos have 'come from nowhere' so to speak will no longer be the case, as solid themes will be apparent. His advice in this respect also was to take a more 'grounded' approach and work to briefs and constraints (whether set by myself or others) in order to demonstrate skills in response to criteria, and to show the use of interesting visuals and compositions to convey concepts and ideas, not just necessarily appeal to the eye. I already feel that certain concepts and themes have organically arisen in my photography through reflecting retrospectively and seeing patterns emerge, but I agree that setting out with intention is the next step forward. The review was insightful and helpful, and I look forward to taking the next steps with this advice in mind.

Final Major Project

After deciding to focus on environment for the project, I set out taking photos and gathering useful images from my own archives, having planned to use photography as a key element before even deciding on a project theme. I have predominantly taken pictures around Manchester for use in my images, although I also gathered some of my own older photos from elsewhere to use. The first piece I put together was this:

**PLEASE NOTE THAT THE COLOURS ARE UNFORTUNATELY CHANGED WHEN UPLOADED HERE, AND DO NOT APPEAR AS SUCH ON THE ORIGINALS**

In the book, the demons causing havoc are described as doing so invisibly, but I took creative freedom in depicting one in a vague but ominous form. It is a pencil drawing, digitally-silhouetted and implemented into a composite of three photos in Photoshop. I altered colouration and lighting for atmosphere, and then made use of blurring to replicate lens blur and give a sense of depth, while also enhancing the mysterious aspect of the looming figure (Not apparent on this version, compromised in the upload to the blog).

The piece's components are as follows: 

I think the outcome of this arrangement worked well- I received positive feedback over it, with advise to consider more subtle additions to photos however. This is approach understandable and also correlates with the book's narrative.

Hopes, Fears and Opportunities 2

Last year, a group discussion was held entitled 'Hopes, Fears and Opportunities' in which we collectively discussed our thoughts and concerns relating to all aspects of our creative careers (as students and beyond). The main 'fears' of mine I identified regarding the course and my potential career in the creative industry in general included: Producing work that isn't of a commercial-friendly or marketable nature, not having a consistent style or distinctive visual identity, and successfully completing the then-impending 8000 word dissertation.

In terms of marketable work, it was discussed amongst the group that the best approach was to simply continue to produce imagery in whatever style or form best befit our personal preferences, based on the logic that to try to change what you're producing in order to please an audience whose interests are likely ever-changing can be a futile pursuit. Furthermore, developing your own work organically is the best way to maintain originality, rather than artificially changing what you do in order to have your work sell. With this in mind, I have continued to create work based off themes and visuals that interest me through the 'Authorstrator' approach, with a variety of experimentation with technique and media that aren't necessarily commercially viable without a lot of further refinement.

On the matter of consistency of style, similar to the above point, the group consensus was not to be too concerned with this, and to allow it to develop naturally. Therefore, I have continued experimenting in my work without limiting myself for the sake of creating a visual consistency, as I have not yet found an aspect of illustration I am truly comfortable with.

The latter of my previously mentioned concerns was being able to write my dissertation alongside carrying out my other work. This was successfully completed in January, and though I have yet to find out the mark I have received for it, I am confident in the outcome and take pride in it- I feel I wrote the piece to the best of my ability, without compromising its quality for the sake of spending more time on my art. Equally, my work running alongside the dissertation went well and did not suffer as a result of the timing- I feel I managed my time well.

My primary aim at the time of writing the first 'Hopes and Fears' post was relating to the Final Major Project- to bring together my interests in a project showcasing a selection of technique and subject matter. This project is now well under way and has proven difficult and challenging as a result of various factors, but I feel it reflects well the themes and aesthetics typical of my work. In terms of technique and media, I am utilising (or have experimented with) multiple approaches combined to bring the end result.

In terms of graduation, I have no specific plan or aim for afterwards, though I can say with confidence at this point that any foreseeable creative career will likely be relating to photography. It is the basis of my current and final project and has been my 'go-to' medium for a while now, I feel it is the specialism in which my skills lay. I have already set out to gather advice on the matter, and will take some time post-graduation to decide where I would like to take things next.

Final Major Project

After deciding on the text for my project and reading through it completely, it turned out that the novel focuses on the events of the supernatural apocalypse only briefly (the last few pages of the whole book) and in a general manner, instead placing emphasis on the overarching theme and consequential plot twist (God is dead, an unstoppable force has been unleashed). Although this initially appeared to undermine my reasons for having chosen the book to base the project on in the first place, I realised that it in fact just meant I had creative freedom with which to depict the dramatic events. Part of my reason for choosing this particular book over others was its unique premise, and the fact that unlike many, this one had not yet had a film-adaptation through which people's perceptions are set- another factor aiding with the freedom to take it in any direction. As a result of a lack of directly-relevant and descriptive text pertaining to how the events unfolded, I decided to approach the project looking at the book as more of a starting point and source of inspiration for a concept, rather than attempting to 'illustrate' it as such.

For my initial work having read the book, I intended on focusing on character design in terms of the demons and creatures of Hell unleashed in the story, and basing the project on that for the most part. To work with I compiled a list of demons mentioned in the book, and set to work on sketches. A classification of demons from the 16th century associated seven primary demons with each of the Seven Deadly Sins, an idea that inspired me to create a character for each. Because each demon has a human form, I felt the idea of each possessing a mask representing the sin would be interesting. This is shown in the first photo:

Each drawing is a basic concept for the demon Belphegor to which 'Sloth' is attributed, a sin characterised by spiritual or emotional apathy, laziness and the wasting of God-given abilities. To represent this idea I experimented with a lack of senses, aesthetics implying self-imposed deprivation. The second from the right on the bottom row was inspired by feline eyes, as cats are typically lazy and apathetic in nature, with eyes that lack emotion. The intention was to create pages like this for each sin, then develop select ideas from there, though after feedback I decided to take things in another direction.

I started instead drawing interpretations of characters mentioned. I was advised to think more about the intended overall aesthetic (less visually-contextless designs) and illustrate accordingly, so I changed from this also in a final move away from focus on character and on to environment. 

Portfolio review - Fig Taylor

Recently, Fig Taylor, Portfolio Consultant at the Association of Illustrators and author of 'How to Create a Portfolio and Get Hired' visited college to give a talk on this subject, advising us on various aspects of dealing with portfolios from content and arrangement to who to contact, and what to expect from a review. Interesting points she covered included starting and finishing a portfolio with strong pieces for greater impact, only including types of work you can and want to continue, and how a typical portfolio presentation will be swift and with minimal feedback whether successful or not. After the general talk she subsequently individually spoke to each of us and reviewed our work, letting us know what she felt worked well, and suggesting what could be done differently.

Addressing my portfolio, Fig acknowledged the identifiable themes / motifs (For example the birds in both illustration and photographs) evident in my selection of images as a good aspect. My balanced selection of monochromatic and colour pieces was also praised- I prefer to work with black and white, but as she explained to another student, evidence of ability with colour is important to most. In the end, she suggested I seek out reviews from practitioners experienced in photography for more knowledgeable, in-depth and specific feedback relating to that half of the portfolio- she was positive about the imagery, but understandably felt unable to further comment on them, being predominantly experienced with traditional illustration.

Final Major Project

When planning my Final Major Project, I initially spent some time deliberating over multiple potential ideas, each of a different nature. My only personal criteria to start with was that the project would either be entirely or mostly photographic, a decision I made by the end of the previous project due to positive feedback and advice on that side of the work. While narrowing down themes and ideas, dystopia and apocalyptic scenarios / environments arose as a possibility from considering working with the documentation of urban decay. I sought out a list of films, literature and games of the aforementioned genres looking for interesting ideas, one of which stood out in terms of premise for its supernatural basis: a novel entitled 'Black Easter' by James Blish. 

The book was written in 1968, the concept being the existence of God, magic, and supernatural forces in a modern-day world. In the story, an arms-dealer with a sociopathic obsession for chaos and the desire for infamy seeks the help of a black magician to orchestrate a day of global terror. His intention is to summon all of Hell's demons to Earth to wreak havoc for a single day, on the understanding that he himself will be safe, and that the demons must return as specified. The demons are summoned and reign freely, with seemingly-inexplicable destruction occurring around the world as the dark force invisibly fulfils its purpose. However, as the time comes for Hell's creatures to return, the commands of their summoner are ignored and they refuse to co-operate- divine laws no longer bind them, for they announce that God is dead. 

Holden & Sons Lecture

Last Tuesday's lecture was presented by Peter Holden, founder of creative marketing company Holden & Sons (http://www.holdenandsons.com/). He talked about the nature and history of H&S, particularly emphasising the personal family-business approach which he believes to be important- he showed how their website reflects this, with a section for introducing each member of the team and their skills and interests. After showing examples of their work (adverts produced for various purposes), he began to explain his ideas and values behind it all- In a similar vein to the message of Robert Urquhart, he stated how innovation does not come from focus on one area. He pointed out that many significant developments and ideas in certain areas are often brought about by people in others. He described having ideas as seeing the same thing others see and thinking something different, an idea that applies well in particular to photography. A suggestion of his that's also quite relevant to me is to not "kill ideas too soon"- to try to investigate all possibilities, which is sometimes something I could probably benefit from trying harder with. Other ideas and advice of his I felt worth writing down:

• "Be distinctive"- Peter explained how "people buy people", and that the way you present yourself (from as literally as the way you dress to how you act) is important in being memorable and making an impression.
• "Be inquisitive"- "Learn to love questions, not answers". Maintaining interest is key to maintaining drive and motivation, as well as for generating ideas.
• "Be clever- don't be TOO clever"- Creativity and innovation are good, but don't go 'over people's heads'. 
• "STEAL! It's not where you take things from, it's where you take them to"- this idea reflects the notion that no one can truly be original now, but that's fine; take ideas and improve them.

The lecture was definitely insightful and further re-enforced ideas proposed by previous speakers from another perspective.

Robert Urquhart Lecture

Recently, Creative Communicator and University of the Arts London lecturer Robert Urquhart presented a lecture in college. Robert is a master of multi-specialism, working as a writer, editor, reporter, curator and lecturer. His talk was interesting for the fact that it centred on this multi-faceted approach to the creative industry, encouraging us to consider a similarly versatile path. He said jokingly about how he had "worked with everything apart from opera" and spoke about the benefits of proficiency in various fields, instructing us to always "try new things" and "do more than you are told to do" in terms of what we learn. He explained that in addition to potentially making the difference that results in you being hired over another for a job, this approach also helps in that "life is impossible to predict", and therefore an array of skills you may not usually need could later prove useful. The latter point I particularly identified with, having changed from an unrelated career path to art in a last minute manner, and then further realising my greater ability in photography after undertaking illustration. Robert also advised that making friends and contacts is useful and part of the key to success, and that "empathy, clarity and persuasion" are valuable skills to possess while dealing with others in all areas. As part of his presentation, he showed examples of unconventional works created by others and proceeded to offer his perspective as to what he find interesting about them, and what makes them of value to him. The lecture was interesting, entertaining, and reassuring in it's general message that it's OK to have no specific set direction or plan, just that we should strive to learn and improve in whatever ways we can. This message is especially relevant to myself, with my ongoing effort to improve in multiple skills.

Portfolio Review - Megan Thomas

The second portfolio review was carried out in-person with Illustrator Megan Thomas (http://www.megan-thomas.com/) who was assigned to me to give advice and help about the course and my work. She kindly wrote up some feedback after the review session, which is as follows:

As I mentioned to you on tuesday, I feel your watercolour work is definitely your strongest out of your illustrations. The marks, particularly on the baby raven piece, are very nice. I'd suggest playing around with the medium even more and let the watercolour take control for you. You can get some really interesting textures and marks out of watercolours if you really let the medium do what it wants. I'd recommend trying techniques such was painting on wet paper, painting on dry paper, wet/dry brush and using things like salt (to absorb) and wire brush (to add texture), etc. There are a lot of books out there that have pages and pages full of watercolour techniques for you to explore. They're such a versatile medium. I think playing around more with your solid washes, such as the background on the raven/banner image would be beneficial, I especially thing wetting your paper first and really letting the paint flow in it's own way would really add a lot to the piece without distracting from the strong silhouette of the banner and bird.

I think your ink/biro drawings have a lot of potential. I'd recommend trying ink and nibs to vary the line making a bit more. I think with the faces, you don't need to add so many lines, such as the lines around the womans mouth, unless they're very character specific and tell the story of the character. Maybe try bigger strokes (if you end up using nibs and ink) for the shadows and make your lines more varied. If you keep using biro, maybe try making your hatching and lines more varied - more or less pen pressure, finer hatching, etc.

I know when you're still finding your way of working it can be time consuming to play with different media but it's worth it in the long run.

A note on your gouache pieces - more of a comment on composition than the medium (as we already discussed this on tuesday) - on your skull and rose piece, watch your shadows. It appears your light source is coming from top left but your rose shadow is casting towards the skull and your skull in the field needs more depth around the skull to show it's sitting within vegetation and the fact the moon appears behind it. This also applies to the trees. I don't know if the lacking depth of field in the skull/field piece is the cause, but scale is also an issue. I know sometimes scale can be skewered for the sake of creativity but I think it just looks out of place on this image. Just things to be careful with, because they can really make or break a piece.

Thanks again for the advice!

Portfolio Review - David Julian

For one of my Portfolio reviews, I contacted David Julian (http://davidjulian.com/Bio/1/): self-described photographer, illustrator and educator. I sought his opinion because his work appeals to me (especially the black and white photography) in addition to the fact he specialises in both fields that I'm interested in practising. As well as the review, I asked for his thoughts on working with the two and how he sees himself in relation to them. I received the following response he had kindly taken the time to put together:

"WOW, you can handle several styles in many media. This gives you a distinctive edge, as you can work in any one, a favorite one you are pulled towards— or merge them as the subject calls you to.

I am especially fond of the B+W photos, as your balance of shadow and light and choice of POV is spot on for each subject.
They say that message are often in the shadows. In your case, the light: Did you notice the second-read elements of the once-proud World Trade Center's 'Twin Towers' in your shot of the Empire State Building? Awesome.

The ink+guache crow feeding is one of my faves. The unexplained red on the mother... (in my interpretation) as if she is wounded, or symbolic of the poison in her passed-on foods.
I like that most of your painter work leaves a lot to the viewer to interpret. This style is especially good for book covers, editorials, should you choose to develop it.

You are also fascinated with birds. I am keen on them as you have seen, using them as organic forms in a man-made world, or simply as elements of beauty and wonder.

The swallow feeding sequence is great. How lucky you are to witness that from a window~!

Regarding my mixed focus in my work....
It has been a blessing and a mini-curse.

The blessing is that I am free to explore two mediums with different voices, and one also informs and enables deep experimentation in the other.
I began drawing surrealistic work, used a camera to document nature and travel, and soon found the digital darkroom as my experimental lab.
You are also in that uniquely fluid place of parallel growth.
Someday you might try adding hand-wrought media to your photographic prints, or try digital collage.
Also: to learn what others are doing professionally, look up the illustrator's gallery websites, such as 

illustration, stock illustration, new illustration portal, illustrators, spot illustration, Illustration Directory

and

WORKBOOK Photography & Illustration Portfolios, Creative Contact Database

Note the consistency of style within a portfolio. This has been a challenge for me, as I have three styles in Illustration, and a few in Photography— too much to manage at market at the same time. yet doing any one for too long bores me, and I respond differently to different subjects. In the end, my clients refer to the style they want from me at any one point.

My mini-curse is that I cannot say : I am a photographer without adding I am an illustrator, and I am a teacher (and an Assemblage artist, entomologist and inventor)
Confuses my marketing, causing many more plates to be in the air at one than I often can manage!
Renaissance artists we are! But I would not, could not give up any of it. My ADD mind loves the wonder of capabilities as well as the conflict of prioritized time.

My advice is to find a mentor or two-- someone you admire who you can work for and learn from.
Growing up, I was forbidden to be an artist, so I left home and went 'underground' for years. I never sought a mentor after school, toiling alone to "stay fresh and unique" so i told myself.
It was just my fear of being moulded or told I wan't good enough. Self-psychological rubbish.

Advice: Find a mentor who can teach you something new. Move on if they cannot."


-Thanks again for the feedback, insights and advice.