Lois Netter: Long Beach Island New Jersey
NETTER, L. (2014) ‘Brief notes on reportage drawing. Visual language and the Creative agenda of the Reportage Artist’. TRACEY, Drawing in situ. (feb 2014)[online]. Available at: http://eprints.port.ac.uk/19890/1/Louis_Netter_TRACEY_Journal_DIS_2014.pdf
[Accessed 16 October 2016].
KRESS,G, and VAN LEEUWEN, T (2006). Reading Images; the Grammar of Visual Design second edition. london, New York. Routledge
Lois Netter is a reportage artist, studying for a PhD at Portsmouth University. This paper was published for TRACEY as part of the Drawing and Visualization research programme, Feb 2014.
Netter looks at the particular drawing challenges facing a reportage artist and how these require the development of a personal schematic visual language.
He explains how the response to the subject is as much about editing and imagination, as about documentation of place and subject. Essential sketchbook drawing as an aide memoire combines with this personal set of symbols to enable the reportage artist to work at speed. Ronald Searle’s Japanese prisoner of war drawings are used as an example. The second part of the paper looks at the communicative value of the sketched line (as opposed to a reworked drawing), and how mistakes, overdrawing and suggestion, engage the viewer. George Grosz and Mario Minchiello are examples. Finally Netter explains the process of composition and compilation of images to make a drawing, and how he uses line quality to imply character.
Netter makes valid points about developing a personal language and about the value of drawing constantly in a sketchbook. The paper also poses some important questions for the reader, though not explicitly. Drawing on location requires a memory bank of shorthand symbols, which is definitely improved and enlarged with practice in the field. The skill comes with editing what is seen. Obviously all drawn images are symbols and metaphors for life (Kress and VanLeeuwen 2006 p 8), but there is a difference between re using a shorthand image, and searching for visual language which represents what is before you? Netter states that reportage is as much about invention. How much can you invent before it ceases to be reportage?
This book explores the topology of spaces. It examines how spaces are categorized and delineated through sets and sub sets. It begins with a personal space and a bed, then bedroom, apartment, and so on until it mentions the small planet of George Perec, No 2817, named in 1984 (p.96).
Within this written structure are textual stylizations that help describe the concepts; calligrams and taxonomies, stage dialogue, and indexes. This creative and inventive use of form is characteristic of Perec's work.
The book is a gift for illustrators and language students, a lesson in lateral thinking about space. There are often playful, practical exercises and suggestions for further thought. I wonder whether Rachel Gannon read the chapter on ‘The Apartment’ (p.26), before embarking on her month long residency at Luton Airport, and indeed Auge, before he wrote about non-places in 1992.
PEREC, G. (1974) Species of Spaces. [online]. Penguin. Available from https://monoskop.org/images/b/b0/Perec_Georges_Species_of_Spaces_and_Other_Pieces.pdf. [Accessed: 10/10/2016]
Bo Soremsky and Der Kachelmann-Prozess
Bo Soremsky is a Berlin based reportage artist. His recent Masters thesis looks at future possibilities in reportage drawing, in particular focusing on interactivity and non-linear narrative.
Jorg Kachelmann is a popular weatherman, and involved in a legal trial. Der Kachelmann –prozess, is Soremsky’s method of recording this trial as a reportage artist. During the trial Soremsky drew as much as he was allowed, some information he had to retrieve from newspaper reports, witness statements and visits to relevant places, as the courtroom was closed to him. Gathering information in this way, from various sources led him to the conclusion that a non-linear, interactive resource was the most comprehensive way to document the trial.
Viewers can select the participants, read their testimonies, and compare the available facts (and fictions). It is subjective and reflects in a way, how a judge would hear evidence.
Digital technology is a perfect vehicle for reportage illustration. Drawings offer an emotive and experiential account of events and can emphasise and comment as well as document. In addition, sound, animation, photography, maps and text can complement the information. A nonlinear reading allows for multiple stories and relationships to become clearer.
Part of my research into a narrative of South Shields has resulted in bringing together stories (audio), maps and illustrations to ‘place’ the narrative in specific locations and give an overview of their relationships to each other. This approach has much potential for future projects.
Reportager (2012) ‘Reportager’: Projects: Bo Soremsky: ‘Passengers’ and ‘der Kachelmann-Prozess’: Research group and Programme at the school of creative arts, university of the west of England.[online]
Available from: http://reportager.uwe.ac.uk/projects12/soremsky/kachelmann.htm [Accessed: 8 November 2016].
Experimental map of South Shields; 2016, I thought about linking the drawings and stories in a similar way.
''Chapter 3 Placing Nostalgia: The Process of Returning and Remaking Home By Allison Hui
In Tonya K. Davidson, Ondine Park and Rob Shields (eds.) (2011) Ecologies of Affect: placing nostalgia, desire, and hope (pp. 65-84). Waterloo: Wilfred Laurier University Press
This study looks at the relationship nostalgia has with place and time. It looks at the very particular way nostalgia is experienced by expatriates who move away from home and then return. A methodology used is a survey of their travel diaries. The study identifies three components to the generation of nostalgia. It describes a material house/ space, how this becomes a virtual home (when the subject travels away), and finally, it examines the act of 're-placing', when the subject returns. Re-placing means becoming reaquainted with the materiality of the place and adjusting this relationship with the nostalgic memory. Hui suggests that nostalgia is created and nurtured when this space between what is real and what is remembered is experienced.
A second method is to use ‘Linked’, an art installation, as a case study to investigate how place, space the real and the virtual, come together. This examines how nostalgic loss is felt both by those who have been displaced, and also by those who have never visited the site before.
Hui does clearly point to alternative definitions of space and place by other authors, and so reveals the personal perspective of her theory.
This is a key text for the development of my project, dealing as it does with the evolution of virtual place, nostalgia and memory.
Anne Howeson, Kings Cross Railway shed, 2015
Exhibition: Present and the Past: Renovation and revival in Kings Cross Central. 40 Cross Street, Islington. 16th September-1st October 2015.
Kings Cross/ St Pancreas was the biggest area of urban regeneration in Europe when Anne Howeson was commissioned to make a series of drawings commenting on the changes.
To illustrate the history and the passing of time, Anne used archival prints of the area, which came from The Foundling Museum, The London Metropolitan archives and the Museum of London. She incorporated them into her work by manipulating their content through drawing and erasure. They became palimpsests, which explore memory, fiction and documentary (Howeson 2015)
In an interview which she gave to the online Design show, ‘Section D’, she discussed why and how she made the work.
Anne has always explored the idea of place in her work, and as a local to Kings Cross, wanted to record some of the transition in the area. She was invited to use the archival prints following an exhibition at the Guardian.
She began each drawing with the print as a starting point, and explained how this was like having a conversation with the artist. The work has a strong narrative, and as she rubbed out and added her own interpretation, she imagined what could have been there. She mentions passages in Dickens, where he describes dust heaps, and so she draws these in. It’s unclear what is fact and what is fiction. She talks about the work being a palimpsest, not only of physical layering, but in a historical sense. She also talks about "strange repeated moments" (Section D 2015), and compares the outrage at the opening of a new line in 1850, to the Crossrail protests today.
Cath Donaldson,Westoe Colliery, work in progress, October 2016, digital and conte/ charcoal.
In my project research, I have been looking at the depiction and recollection of place, in memory and history. I began with my childhood homes, and earliest recollections of South Shields where I lived until I was three. A central memory is one of the smells of coal and of the sea. The coal mine closed in 1993.
To try and illustrate this I experimented with drawing and google maps, drawing a blackened coalmine, collaged with the mock Georgian, mass-designed housing estate that has been built on the site. To suggest the industrial, vital nature of the mine, I used aggressive mark making and tonal contrast. By comparison, there is a uniform blandness to the new build. This is a very early experiment, and the only visually pleasing part of the image is the foreground, however I do think the idea has potential for development.
ANNE HOWESON (2015) Imagining Kings Cross solo show [online] Available at http://www.annehoweson.com/current-work/ [accessed October 20th 2016]
SECTION D (10/02/2015) From South Korea to Kings Cross [online] Available at https://monocle.com/radio/shows/section-d/174/ [accessed October 20th 2016]
Howeson interview from 18.58-28-33 minutes
Oliver Jeffers: Oil dipped portrait 2012
BARWICK, T. (2015)’She’s lost control.’ Varoomlab [online] (3)pp.47-55
Available at: http://theaoi.com/varoom-mag/wp-content/uploads/2015/04/VaroomLab-Journal-Issue-3-Interpretation.pdf (Accessed: 18 October 2016)
She’s lost control
This paper explores the concept of the ‘glitch', and compares digital glitches to mistakes made with traditional tools and methods. It examines how error and chance play a part in the development of a personal visual language, no matter how the images are made. It is a study of Barwicks’ own illustration practice and his methods of choosing materials that give maximum chance of unpredictability. The study also lists other illustrators who work in a similar fashion, with a closer look at the practices of Oliver Jeffers and Ralph Steadman.
Forced mistakes and unpredictable outcomes, are the result of control being taken away from the maker (whether by a mathematical programme, or a material process). Successful outcomes also rely on the skill and virtuosity of the creator, and the ability to judge and exploit errors.
This idea is extended to other creative fields, and likens an illustrator to a footballer or musician. All play within a set of rules, but play in an intuitive, skillful way to produce a new and exciting experience.
This study is relevant to my own practice, which explores chance and error through the use of traditional drawing materials. The extension of this approach, using digital technology is something that I will be exploring in the future.
See previous blog post, (16/10/16) ‘The last two months’.
'What am I doing in my work? that's has been a tough question these last months, given that the reason for the MA is to explore new visual languages and ways of working.
This summer I have spent drawing, that is how I make images for the most part. I don't often work digitally, preferring the tactile pull of chalk/ pencil on paper. I am aware of the limitations of my 'usual' medium - pastel, chalk, pencil; you have to work big, it's tricky to scan, it smudges easily, but it is good for 'on the spot' drawing.
Recently, and in preparation for the MA, I started using other mediums, a Wacom tablet, coloured pencil, collage, in a bid to extend my visual language and to better describe my intentions.
Movement, controlled accidents, and layering are typical of the way I have been drawing. There are a few reasons for this. Firstly, I draw a lot in my sketchbook. The pencil line is searching (not always 'correct'), but it does wander over the subject, and tries to express form and emotion or character. This quality, gives a truth and immediacy to the drawing, and it's a quality which I try and capture in my illustrations.
This doesn't feel like an aquired 'style', because it's come from a lot of observational drawing. It is more a shorthand visual language that has developed as a way of working over a long period of time. Louis Netter, a reportage artist who is currently studying for a PhD/MPhil at the Royal College has written about his illlustration practicehas said that "drawing from life is a process of invention and modification of drawn marks that collectively imbue the work with an individual voice" (Netter, L. 2014). Some of my work, particularly the buildings, start with a chaos of marks, or an underpainting of colour which has an engineered randomness.
I'll then pull together detail, and emphasise some of the accidents. It is a technique that works well with the medium.
My first degree was in Graphic Design, and my tutor was Terry Dowling. Varoom claimed him as a founding father of radical contemporary illustration (Shaughnessy, A.(2007),'Abusing the Process', Varoom (5) pp 72-85. He introduced me to illustrators like Sue Coe, Anne Howeson, Chloe Cheese, and animators the Quay brothers (who came and taught a bit of animation). George Grosz was another influence.
NETTER, L. (2014) Drawing and Visualisation research: Brief notes on reportage drawing, visual language and the creative agenda of the artist.[online].
Available at: http://eprints.port.ac.uk/19890/1/Louis_Netter_TRACEY_Journal_DIS_2014.pdf (Accessed: 16 October 2016).
Shaughnessy, A.(2007), 'Abusing the process' Varoom, 5 pp72-85
For this project, I am investigating the idea of ‘place’. To help clarify ideas, it seemed obvious to begin by drawing the place I’m in, and through these drawings, investigate some of the different kinds of ‘places’ that exist. If the end product is an illustration, then it makes sense to think through drawing.
I decided to begin this way after reading Rachel Gannon’s paper ‘Being there, conversational drawing in a non-place” (Gannon, 2013, pp. 68-77)
The ‘Non-place’ project began as a month long residency at Luton Airport in August 1995. The brief was to record and document the space, travellers and staff as they went about their business, and to end with an exhibition at the airport.
The drawings came from an initial interest in documentary, but during the process, the focus became one of the experience of drawing, and the experience of ‘drawing as thinking, not thought’ (Gannon 2013,p.69).
She uses the dictionary definition of ‘drawn’, being drawn into a conversation, as a description of the way she works,
‘not a conversation with someone I know but with a stranger. Someone I am struggling to get to know, searching for common ground (Gannon 2013,p.72).
I visit the local shopping Mall to make some drawings. It’s a good example of a non-place (Auge, 1995), and is full of people passing through, passing time, and waiting. Also, like the airport, Photography is forbidden (also so is drawing, but I find that out later).
Drawing from life, gives a first hand account of the place. It is time based, so I’m recording 5 seconds -5 minutes in the lives of other people. Most of them are waiting for about the same length of time. Rachel refers to Berger’s idea that ‘photography stops time, whilst drawing encompasses it’. Drawings that take longer than the moment witnessed, are more a product of memory. (Gannon 2013,p.73). I only draw while they are in front of me.
I prefer to draw from life. Photographic reference is often necessary when making an illustration, but if it’s possible I’ll always to try to collect reference for drawings from observation. It is easier to filter out unnecessary information, and to select at that point what the emphasis is going to be. I can take what I need and supplement later with a photo. I am also making notes for my blog so my written recording is simultaneous with the visual.
I began as an observer, not in their ‘place’. However, once, eye contact and occasionally, conversation has begun, my relationship changes with them and their place.
Have I broken my own 4th wall? I am aware that I don’t want to change the relationship of observer and observed and that this affects whom I choose as subject. For example, singles and couples are usually absorbed in themselves and each other, whereas someone in a larger group will often disengage and also become an observer (and watch me).
Perhaps this is what Rachel means when she writes about Fabians ‘denial of coevalness’ (Gannon, 2013 p73). His notion is that in the field of anthropology, there is a contradiction between people viewed as contemporaries and in dialogue, and those that are seen as ‘other’ and separate – and not inhabiting the same time and space as the observer.
To try and understand this (and test myself), I drew a lot closer than I normally would and stood in clear view.
All but two subjects were aware I was drawing them, three smiled (two at me, one to themselves, one got annoyed I think) and the rest ignored me. They all carried on as if I wasn’t there, and didn’t appear to modify their behaviour in any way.
My conclusion is that there are two ways to approach on site drawing. Eiither dive in, become involved and be part of the event, or be a detached observer, collecting information. If I have permission to draw, then the first approach will yield the most information, but it needs more courage.
Gannon, R. (2013) ‘Being there: Conversational drawing in a non-place’, VAroomLab, (2).
Auge, M. translated by John Howe (1995),’Non-places: Introduction to an anthropology of Supermodernity’, Verso, London New York
Scary girl, a graphic novel by Nathan Jurevicius
Illustrated Worlds: A paper presented by Richard Levesley and Mark Bosward, as part of the Varoomlab symposium ‘Spatialising Illustration’ at Swansea Metropolitan University, Jan 2013.
The intended audiences are students, practitioners, researchers and academics.
'Illustrated Worlds' examines how illustrators develop and realize their own authorial voice through the creation of personal worlds, and how the development of this individual visual language contributes to education, to the illustration profession and to commercial success.
The authors wrote this in the context of their own practices, both as educators and illustrators and conducted primary research through emailed interviews with a range of professional illustrators. Research also looks at case studies; Graham Rawles ‘Lost Consonents”, Graham Carters multidisciplinary work, and Scary Girl by Nathan Jurevicius.
It is a useful study in that it clarifies how an illustrator uses a personal set of ‘rules’, coupled with symbols and signifiers that resonate with the audience, and which are from real experience, and how these give authority and credibility to an imagined world.
From an educational point of view, the idea that self initiated work and commissioned work can have a close and symbiotic relationship, is a positive message, and one which could encourage students to take more risks with their work.
It also suggests that this approach engenders greater multi platform and cross-disciplinary opportunities (i.e. animation, interactive media and toys).
The interview evidence supports the claim that many art directors do want to buy into an illustrators personal world. However, the study doesn’t fully examine the limitations (if any) that this could bring – typecasting and a narrowing of opportunity for example.
Bosward, M. and Levesley, R. (2016) '"Illustrated worlds," VaroomLab, (2), pp.91- 105
Character toy from Scary Girl by Nathan Jurevicius
All of these women have the same name as me. One of them describes herself as a lovable bitch, another is a UK Lecturer, a lifestyle writer, a graphic designer, a round the world sailor, a film maker, a woman who sells islands, an executive coach, and a lawyer who 'knows her way round a kitchen'.
Emboldened by my recent coloured pencil drawings, I've had a go with Painless Parker, a real life dentist showman. With showgirls, cocaine and a horse drawn dental chair, he plied his trade throughout the USA in the late 1800s. Wearing his tooth necklace (357 pulled out all on one day), he would stand on the flatbed wagon, amidst dancing nurses and buglers. His clients would be offered a choice of whisky or cocaine before the extraction. In 1915, he changed his first name (Edgar) to 'Painless' to circumvent advertising laws. His bucket of teeth can still be seen at the Historical Dental Museum in Philadelphia www.atlasobscura.com/places/historical-dental-museum. There's just been one book written, now out of print, The early adventures of Painless Parker by Peter M. Pronych and Arden G. Chisten. It's out of print now but apparently Dr Christen, one of the authors, may still have some copies of the book . Dr. Christen via e-mail at firstname.lastname@example.org.
This set of drawings was originally insired by Toronto based artist Amanda Happe (accent on the last e). In the book 'Creative UNblock', she wrote,
“I challenge you to make something and leave it somewhere public — somewhere it might be found. Something not too grand or careful, but honest and perhaps lovely. When you’re creating it, think about one person happening upon it. Make them a message. If you enjoy this feeling of caring about something without feeling precious about it, do it again. And again.”
There's a stray cat that sits under my car every morning. He sees off the others, who all have their own bit of territory. If I leave the front door open too long, he thinks he's welcome.
We all know these cats, and usually ignore them. I decided to draw their portraits and leave them around the place we live. I wanted to celebrate their individual character and (perhaps) encourage others to give them a bit of thought.
and here's where I put them.......
and on the back...'please look after me'. They all went within the hour, so I think I'll do some more.
These two are the latest additions to my 'circus of the magnificent' series. it's a very loose title for a bunch of drawings and paintings about people with unique talents. The narrative that has built up, and which connects all these performers is as important as realising the portraits. I haven't discovered the identity of the snake charmer (if that's what she is), but I know she is reclusive, elusive and shy. The other character is much more worldly, and is the sister of the underwater acrobat. She also looks after the costumes.
I'm trying a technique which came about by accident ( as often happens for the best), and am keeping the ghost of a terrible painting that was originally started. Now I know this, next time I' ll plan this in. I like the history, random marks and extra information this gives......and that's Mojo Jojo in the background......
Whenever I get stuck with my work, or as is the case today, I'm stuck and waiting for paint to dry, it's very good to keep drawing - anything at all.
This was inspired by a word prompt from the 'Illustration Friday' challenge.
The word this week is 'Nostalgia'. I have two reasons to do this.... I've a giant box of new coloured pencils I want to try (so not how I normally work), and the last two paintings have been in oil, so I want something fast - I'm taking a big step outside my comfort zone.
These two ladies are regulars at the Westfield social club and this is their story.....
The Westfield is a working mens club in Newcastle. If you go with these old ladies, you don't buy a drink at the bar because they each carry a different spirit in their handbags (which are on their knees under the table). They've had a drink and are waiting for the meat raffle to be called.
“Departure’ is an exhibition currently at Warehouse421 from 4th May - 4th September 2016. On May 5th, the Spanish sculptor, Xavier Mascaro came to discuss his work and show us round the gallery. Mascaro builds boats. Outside the gallery sits an 18 metre iron ship which radiates heat from a day in the desert sun. Part of the experience is the reaction to the elements, as the weathering changes the work. Mascaro says ‘I love how metal ages, how time leaves an imprint on it, recording races of blows and oxidation’.
Inside the gallery, there is a fleet of 26 individual but similar ships, on a smaller scale. The theme is one of mobility and departure. They are made in sections, so there is almost as much absence as there is material. This fragmentation encourages the audience to complete the sculpture with their imagination. It isn’t clear whether the boats are discarded wrecks or in the process of being built. Xavier explained that the boats are also intended as a source of hope, and of a journey about to begin. This is partly implied by the use of sailcloth on each one, as it is a temporary evidence of life and the cover is symbolic of protection. However, in practicality the cover is not sufficient to protect and the material is useless as a sail, so that again presents a contradiction…and of course the boats can’t float. The boats, seen together as a fleet also ask the viewer to consider migration or exodus, and invites the construction of a personal narrative. Alongside the sculptures, Xavier has presented a documentation of his process. He is inspired very much by ancient shipbuilding - Phoenician, Egyptian and Chinese but also by Greek mythology, and feels a strong connection to the historical craft. He uses industrial foundries to cast the pieces because this connection to shipbuilding and craftsmanship is very important to him. He actively encourages ‘accidents’ in the process and some of these accidents can be clearly seen in the sculptures. For example, when casting the 18 metre ship, the molten iron exploded out of the cast and sent a plume of hot metal, which became an unexpected but beautiful, violent addition to the work. Xavier has also included preparatory sketches and photographs which show him working out structure and form. They are very much working drawings and have a practical end and so give a real insight into his process. There are plenty of mathematical notes too, although he jokingly said that they may not all be accurate maths! It’s an expensive mistake to buy the wrong amount of iron.
Gallery421 is situated in Mina Port and is housed in two warehouses which overlook the fishing harbour. Across the road lie rows of abandoned Dhows. Huge boats, lying on their sides with their prows pointing to the sky. They are also weathered and broken and bear comparison to Mascaros fleet next door. If you didn’t know, then you would assume ‘Departure' was made specifically for this location.
Abu Dhabi has a two thousand year old history of pearl fishing and relied on the sea for the livelihood of it’s people. The fishing season was traditionally in the four months of summer, and when the men were away, families would often move to the coast on camels with their belongings. Poems were sometimes sent from the men, to their wives during this time. Part of the exhibition illustrates this connection, with a collection of Emirati poems which reflect the endurance and difficulties the fishermen and their families faced. Some are new and others historical but they all describe absence, loss and hope.
My move to Abu Dhabi was measured in weight. I had to choose, from my roomfuls of books back home, just a small selection to make the three and a half thousand mile journey in a shipping crate . The internet has much information (so only Delia and Nigella made the cut from the cookery books), but it is no replacement for the books, pamphlets, and journals that have been collected over a lifetime.
These may well be full of obsolete and out of date content, but they are a rich resource of nostalgic comfort. I know each page, and can find any image, so it's easy to cross reference and connect disparate and random images and information. New additions to the collection just give more depth. This personal archive really does inform and (often) drives my work.
Its loss has made me feel a bit ungrounded and rudderless.
You don't need to tell a design student to collect stuff, I imagine it's hard wired in, but a bit of advice would be to scan and record, draw from and photograph.
I wish I'd made a record of the 1940’s type primers, and 1950s sewing patterns, the brilliantly designed 1958 trade book on printing technology (dull but gorgeous), that are all boxed up on the other side of the world.
A pictorial history of the Talkies, Daniel Bloom, 1958, Spring Books, London. One of the books which made the journey.
Just signed up for the 100 days project and have committed to make something every day for 100 days, and to share on Instagram. So there's the challenge, even when I have total failure days, to publicly post what I have done, every single day until Tuesday July 14th.
The project was originally inspired by Michael Bierut, a design teacher at Yale School of Art. Each student had to repeat one action each day for 100 days - students danced, wrote, and made drawings and films. Last year Elle Luna and the great discontent began a social media version to band together people with a creative and common purpose.
https://instagram.com/catxballou/ if you want to have a look.
It's not about the finished thing, but the process, the showing up and making, so here goes.
This is a short video I made for my A level students. We've been making typefaces from all kinds of found materials and I wanted to show them how to use the liquify filter in Photoshop on some of the objects they have collected. I used a feather for this one.
My nightbug pattern was inspired by a visit to the Insect and butterfly house at London zoo. I hate insects and spiders and I've never been able to go into the bug houses without my eyes closed for much of the time (walking in the middle). My idea was to try and draw some of them, objectifying them as beautiful delicate specimens (not fast winged predators intent on flying into my hair). I used dip pen and ink for most of the drawings plus a yellow ochre wash mixed with a bit of PVA. I tried drawing on parcel paper and the pages of an old book too.
I looked too at victorian encyclopaedias, and fell in love with the etchings in the 1851 'Iconographic encyclopaedia of science, literature and Art'.
Quite excited to see this printed. I'm just waiting on the swatches to check the colours are ok. When it's done, it can be bought from my Spoonflower shop (or click on the link in my portfolio) in grey and blue.
I've been on a huge learning curve this summer with both creativelive and the ladies from Moyo magazine, though the deadlines have been tough, and the hours long. I've met a supportive bunch of designers who have kept up the criticism throughout (it's like being back at college).
I'm going to share some of my process here over the next few days because I want to keep a record of how its going, and it's always good to see where things come from.
just discovered Creativelive courses, which are free and online. https://www.creativelive.com/
I've signed up to a surface pattern course which is on next week and streamed live from the States. Obviously it means 5pm until midnight each day (you can buy them if you don't want to stay up).
This week the tempting offerings include, guerilla film making, heroic public speaking and writing metal music. There's a few strangely titled ones including a course in ugly sweater design (taught by a taxidermist). There' s always stuff on Adobe, craft and design and being better at your business, if you want to play it safe.