A few years ago, a few other artists from around the world and I were commissioned to paint our own versions of Leonardo DaVinci’s Mona Lisa for an advertising campaign. In the end, the campaign didn’t launch for various reasons. I enjoyed making this. It’s actually acrylics on Arches watercolour paper but I followed the way the original may have been painted; colour glazed over a grisaille underpainting.
One of my daughters posed for me, making the ‘duck-face’.
The craquelure effect comes from a specialist varnish which is in itself quite tricky to use. It can go very wrong if you miss a bit.
I’ve spent some considerable amount of time delving into the world of economics, also known as, ‘The Dismal Science’. Here’s my explanation of the term, ‘Gross Domestic Product’. It’s gross; there’s a lot of it about; it’s all true. Just walk down the street and you’ll see the little bags of GDP left around by Generous Dog Proprietors. It is dismal.
Lately I’ve been looking though past blog posts to see how things were once. I haven’t ever done much for the children’s book market but I did try to promote myself in that area. This is a self-promotional piece in acrylics from 2006. I enjoyed the painting and also making up the little rhyme to go with it. I don’t think I’d do it this way now and would be far more likely to work digitally:
Once for the Childer. From 2006
My good rep in Toronto Three In A Box., produces a themed promotional book every year aimed at certain segments of the market. These books are branded as ‘Box Lunches’ and the current one is the fourth. Anyhuff, the theme this time is ‘Childhood’ and the attached pic is my contribution. I never saw myself as a children’s book illustrator so when I told Denis Goodbody of Adept Advertising he expressed surprise. He’s right, of course. Certainly what I do engages with the child inside of the reader -even at the level of the business/financial work that I do. Furthermore, my own lovely wife consistently points out my childish behaviour. Consider that we all grew up in our pre-school years with picture-books being our chief means of getting the sense out of print. We all have these absurd self-images and it’s about time we burst them. Perhaps we can meet up and burst each other’s absurd self-images. Say, next Wednesday? Good. see you then.
I enjoyed this project immensely. Obviously, you can’t have too many robots.
Kevin the Magnificent, King of all the ‘bots, He has multitude of them (that means lots and lots)
They spring out of his picture-books, And from amongst the toys, To do their monarch’s bidding, (That means lots of noise).
Who knows; it may go on to form part of a book itself…hmmm…
A digital vector illustration artwork for a book cover. Moggles & The Ninth Life.
Yes, yes, I know. I’m late for my flight. There are a couple of reasons why I’ve taken so long to enter the world of digital illustration. For one thing, I love to paint and get my hands dirty and smell the paint and feel the brush in my hand. I became an illustrator to be a painter who gets paid properly from time to time.
Another thing is, I did already try some years ago. For a while I used a program called Painter which promised to give painterly results but I struggled with it before giving up on it as I just couldn’t get the results I wanted.
Then, Adobe introduced their subscription by the month, which is fair enough but it banjaxed my chances of using it. That’s when I discovered the Affinity suite of products: The software company, Serif, obviously saw an opportunity provided by Adobe’s move to subscription and the resultant flight of irritated users. They’ve introduced two extremely comprehensive and professional applications that are developing apace. It’s true that neither of the programs have the complete set of bells and whistles provided by the standard-setting Adobe products but if you know what you want to achieve in your work, there’s almost nothing that a photographer or illustrator can’t do. Add to that, Serif’s Affinity Publisher, which is due for release in about a year’s time to compete with Adobe’s InDesign, and it will be possible to move away from Adobe and still produce industry-standard results.
A digital vector illustration artwork for a book cover in Outline Mode. Moggles & The Ninth Life.
So, illustrating this little ode to Affinity, is a cover illustration I did for a non-existent (as yet) children’s book. It’s made entirely in Affinity Designer and is a vector image. You can see something of how a vector image is made up in the above screenshot. I won’t go into the details of what that means except that I can reach into any part of this image and refine it, change it or remove it at will. Imagine trying to do that with a hand-painted illustration! This is the way things work with today’s illustration clients who have become used to making ‘after the fact’ changes, and I must change my way of working accordingly. Over and out.
The Luan Gallery is delighted to announce its winter exhibition for 2016 entitled Without the Words. Celebrating the art of illustration, Without the Words is a group exhibition selected especially for Luan Gallery which showcases the brightest talents of Irish Illustration today.
Showing works by a variety of artists, Without the Words includes samples by both established and high profile illustrators as well as emerging creative talents and forms a celebration of visual storytelling and the imagination. Without the Words is an exhibition inspired by a line from Emily Dickinson’s well loved poem: ‘Hope is the Thing with Feathers’.
Margaret Anne Suggs, Illustrators Ireland Promotions Officer says:
‘In most circumstances an illustrator will respond to a brief which is communicated either through written or spoken word. As supporters of visual literacy, Illustrators Ireland propose to tell our visual stories, putting the pictures first- without the words. Here we tell our stories; visually stimulating the imagination to respond by creating an individual narrative, not a prescribed story’.
Illustrators Ireland is a community of professional illustrators working together to actively promote the craft and art form that is illustration. Members offer a wealth of combined experience and amongst those exhibiting include Kate Greenaway Medalist and current Laureate na nÓg PJ Lynch, former Laureate na nÓg Niamh Sharkey, and 2016 CBI Book of the Year Nominee Lauren O’Neill. With over 40 members’ work on exhibition, visitors are invited to find their own narratives within the original works.
The show combines computer generated imagery with traditionally executed drawings to present an assortment of colourful scenes and images to ignite imagination and discussion.
Aedín McGinn, Luan Gallery says:
‘We are thrilled to present this exhibition and showcase the wonderful variety of works by Illustrators Ireland. Throughout the course of the exhibition, Luan Gallery is offering up its River Gallery space to a participatory project entitled ‘The Big Picture’ in conjunction with Laureate na nÓg PJ Lynch. Here, visitors to the exhibition will be invited to add their own illustrations directly to the wall, responding to the works on show and resulting in one large evolving time based mural. So come one, come all and draw on the gallery wall!’
Speakers at the official exhibition launch include: Aoife Murry from Children’s Books Ireland, Margaret Anne Suggs from Illustrators Ireland and PJ Lynch, current Laureate na nÓg.
The exhibition will open on November 5th at 6pm with a wine reception to which all are welcome and continues until 27th January 2017.
There’s an Illustrators Guild of Irelandgroup show coming up soon (I’ll keep you posted). It’ll be in the Luan gallery in Athlone to begin with but will then swim around the country. The IGI has done quite a bit of that kind of thing; it works a treat to get the membership known more widely.
I had the presence of mind to film part of the process of making this painting only at the outset -as usual, I then became embroiled in the little world I was creating and forgot about the camera. Still, that makes for a short, easy to view movie. It’s only a minute long although the artwork took about twelve hours to complete. There’s a bit of lively, upbeat jazz to help you with your viewing, so if you’re at work, do turn the volume down!
An acrylics on paper absurdist painting of a fish for an exhibition with the Illustrators Guild of Ireland and Luan Gallery in Athlone.
Speaking of nets; this art is for a curated show, so everyone has to submit their work for review, so there is the possibility of rejection and being thrown back in the lake. Fins crossed.
You’ve probably noticed that the background isn’t New York or London -I made it up, but it does have the big city feel about it. I fancied that the fish could be some kind of Don Draper figure, arriving in Manhattan to his ad agency. A big fish in a huge pond. After all, the piece does have a kind of fifties retro feel.
We just got back from France on a late flight last night. A long journey to Beauvais airport from Merlimont in 30º heat and back to half that in Dublin. Still, it’s great to be home, whatever the weather. A few weeks ago, I slammed the seat of my motorbike down on top of my lovely smartphone and, wait for it…then rode off for about twenty miles before I needed to call home and couldn’t find my phone. After going through the usual process of patting my pockets and shuffling around in small circles looking in the grass at the roadside, I realised what I’d done. There was my phone, wedged nicely at the hinge end of the seat. I stared at the mangled phone and made tiny sobbing noises for a while. I also uttered very many oaths and curse-words but to no avail.
The upshot is, I was mostly offline for the week in France, which turned out to be a good thing as I wasn’t peering into the screen looking for signs of work projects which weren’t there anyway. I used instead, an old Nokia phone which we keep as a backup for my frequent phone mishaps. I find it amazing how I’ve been seduced by the promise of always-on connectivity. I felt bereft because I couldn’t post anything to social media. Pathetic.
So, I’ve made a decision and it’s final: I’m going straight out this afternoon to buy another smartphone.
Below is a drawing from my sketchbook. It’s cross-hatched using a fine-line pen. I was leafing through a French copy of Graffiti Art Magazine and came across an artist from Catalonia who calls himself Popay. It’s difficult sifting through another language for details when you’re standing in the middle of a newsagent’s shop reading the magazines when they want you to actually buy one. After seeing the €7.90 price tag, I spent some time pretending to browse other magazines and then patting my pockets as if I’d forgotten my wallet, I exited the shop, replete with half-learned information. (The things I do for research, honestly: I should be awarded with l’Ordre national de la Légion d’honneur for services to art.) There were some drawings of Popay’s reproduced amongst all the colour work. I really liked them and that sparked off a series of sketches in my sketchbook.
I’ve been working for some time on a series of illustrations to be produced as prints. It’s an avenue that I’ve been exploring as a way out of the drudgery of ‘jobbing’ illustration. This is how I’ve been feeling for more than a year, now. Working for those who either lack the imagination to extrapolate from a simple sketch or who see artists’ skills as merely a way to realise their own ideas has palled. None of this is their fault, since they’re paying for a start and I’ve colluded in this state of affairs myself [I’ve willingly bought the snake oil salesman’s promises] but it is a strong indication that I’m really in the wrong end of the business.
Producing my own art for my own products is also fun, which is the bit that has been missing, of late. All art has to have a LARGE amount of the artist invested in it, if it is to be any good. If it doesn’t, it enters the world still-born; a lifeless conjoined monster of conflicting personas, likely to be shunned. You can’t, as many people seem to believe, micro-manage an artist’s work and expect it to shine. This is absolutely the very worst aspect of being an illustrator. I suspect that the same applies for designers and advertising creatives, copywriters or any ‘applied artist’.
So, this way if the idea fails, then it will have failed on my terms -because of my imagination, my drawing skill, my own efforts. So be it. If the idea succeeds, then I’ll reap the benefit -on levels much more important than the mere accrual of money. For me, illustration has been like a bottle of balm sold by the credible-sounding man in the white suit -just buy this and all your art troubles will be over! Become an illustrator and be an artist who actually gets paid! Strangle that snake oil salesman who lives inside your head -he’s full of empty bottles and unkeepable promises. Here’s my advice to any young artist thinking of becoming an illustrator: Think very very carefully -do you really want to make your much-loved hobby into your job? Perhaps, before embarking on your career, read ‘The E-Myth Revisited’ by Michael E. Gerber, then at least you might approach it with a plan in mind.
This wasn’t meant to depress -I’m excited about my art these days -but only art that is truly, or even largely, mine. I get more joy out of a small sale from my little still life studies than I ever did from a big illustration project because I know that a beautiful, personal connection has been made and that the love invested in the small painting generated love in return. As Paul McCartney wrote; In the end, the love you take is equal to the love you make.
After working with many students of illustration in mock interviews and role-plays, I’ve compiled this useful guide to meetings. It’s aimed squarely at those who are just starting out, to give them a good grounding in what they should know BEFORE meeting -and hints on how to present themselves when they do get face to face with a client. It will help in wasting less time and seeing the incredible value in illustration for your client AND you. This explains all the business stuff that we really don’t like as artists.
Just under 40 pages, It’s written in a witty and engaging way that’s more like a conversation in a pub than a textbook. I sincerely hope that this will fill in some of the blanks that face all of us when we embark on our careers in applied art.
Best of luck!