Supporting other artists

In looking at the whole area of working as an illustrator/writer, I have identified the following three main areas that I wish to specialise in:

       * writing and supporting artists through my professional writing skills

·      * working as a freelance illustrator for magazines, whilst developing children’s book (writing and    illustrating) work, getting it ready for publishers and self publishing (my ultimate goal, but obviously being a realist knowing that this can take a long time) 

       * working as a community artist with local museums/schools encouraging children with the art of writing/creative illustration to fit in with the new Creative Curriculum plan the government is implementing

I     In the past week I have written a press release to support two fellow artists in Stroud who are hosting a joint exhibition at the Lansdown Gallery in March. I sent this to my contacts at Stroud Life and Stroud News and Journal to help with publicising the event. This week I was also contacted by another artist, asking how much I charge to write press releases, so this confirms it is an area of expertise I can help with. I recognise that artists want to get on with what they know best - painting, sculpting, writing, creating, drawing etc. They are not so hot on publicising their events and talents so it something I recognise that I can help with.

EARTHLY CONCERNS

One takes a lively bold approach; the other is more considered and tonal. Their styles may be different, but artists Nigel Westaway and Christina Rice both work with Stroud's landscape in their own unique way.

Earthly Concerns at the Lansdown Gallery, which runs from Tuesday, March 10th until Saturday March 15^th, celebrates the countryside and buildings of the five valleys.

Colour and light are key aspects of their refreshing oil and acrylic paintings which have a natural organic feel to them, reflecting the painters’ spontaneous and individual responses.   

Nigel's energetic, vibrant compositions compliment Chris's earthy palette and tonal play.

"We live in such a diverse landscape. Both of us are drawn to work with this, whether for its beauty or for its symbolic value,” says Nigel, who will also have some wood carvings on display.

"We hope people will find their own interpretation of our work and go away uplifted."

Earthly Concerns by Nigel Westaway and Christina Rice is on show at the Lansdown Gallery from March 10-15, 9.30am-5pm.

Nigel Westaway

Christina Rice

More press coverage

My Museum project appeared in the Stroud News and Journal today, which would have amused my grandmother. It helps to be able to write press releases and be able to provide information when needed, so when asked by Matty, the arts writer, if I could send an image and some details, I was ready. Kitty and the museum have been celebrated, and hopefully the miniature card collection will continue. I hope to return tomorrow to see if my mum, Jan (Kitty's daughter) can find the objects little Kitty has been visiting.

To see article on line follow the link: http://www.stroudnewsandjournal.co.uk/whats_on/arts/11021286.Introducing_the_Kitty_cards__ndash__illustrator_rsquo_s_way_of_celebrating_Nan_rsquo_s_life/

The trial of the Kitty Trail

One of the valuable lessons I have learnt about myself in doing my artist residency is that I have to have a purpose to what I am doing. The Museum is about encouraging people to engage with the objects on show as well as informing them about the historial context and providing an insight into how man lived and operated years ago. By providing a trail for the children to really look at the objects, I am fulfilling part of the museum's mission goals. Doing a residency is not only about understanding how you as an artist works, but it is also about understanding the key goals of the place you are working in. On a small scale, I fel I have achieved this with the Kitty Trail. It has become an exhibition of some of the work I have done, yet it provides a focal point for children - and parents to use to engage with the objects on display. Hopefully it will give them the opportunity to look at and find out about something they didn't know before.

Before I launched the trail, I thought it wise to test it thoroughly first. So I sent my youngest three daughters - Kitty's great grandaughters - on the case. As a result of struggling with three of the objects, we were then able to make slight changes and add in the room numbers and a couple of clues for the really tricky ones.

Megan, Rosie and Kezia - Kitty's greatgrandaughters follow her trail

 It encouraged team work, investigation skills and lots of fun - exactly what I wanted it to achieve. And when the trail was finished - the reward was a Kitty sticker: a reminder of the objects they had seen and a miniature piece of artwork which in itself was part of a collection. One day I hope to put the entire set of illustrations into a miniature book with a narrative, whilst referencing the objects that inspired the work.

Rosie and Kezia - Kitty's youngest great grandaughters receive their Kitty sticker on completion of the trail.

  

The Complexities of Copyright

Understanding copyright

An essential part of working professionally as an illustrator is understanding copyright. Found Georgina Hounsome's talk on copyright really useful. Having looked at it from a writer/journalist's point of view over my working life, it was interesting to see how internet, social media and the copyright law itself has changed over the years. When I first started working copyright lasted a lifetime and 50 years before it was released into the public domain. Now it is 70 years.

Who owns copyright?

Everything that is created is copyrighted, but there are certain groups such as Copy Left who are battling to push for the defending and not stifling of creativity. In a short video, one quote which stood out was this: "knowledge should not be locked up. If you want to see further, you need to be able to climb on the shoulders of giants."

The Illustrator's Guide to Law and Business

*  copyright law stops people copying other people's work, unless the creator of the work sells his/her copyright

*  unless you are an employee, you own the copyright – a person on work experience invented the tick for NIKE but didn’t own the copyright

*  copyright lasts for a life time and 70 years after death before being released in public domain (unless someone buys the copyright)

*  Copyright does not apply to similarities that happen by chance or accidentally incorporate someone's work eg photograph capturing a piece of art work on wall

*  Sculptures in public places are not copyrighted, but plans for buildings are

Three major tips

*  best not to sell copyright; read contracts carefully

*  Always use own reference material

*  If you want to use someone else's work, ask permission and get it in writing

Always ask "am I passing off an idea as my own?"

Penalties

*  if someone steals one of your images or you use someone else's there are penalties:

*  Guilty party would have to pay license fee, possibly profits for the job or in worse case scenario destroy the work.

How to keep your own copyright

*  only grant permission for specific use and bare in mins purpose, territory and time frame

Photographs

*  not allowed to copy a photograph off the internet. You can use it for information, but copying someone else's photograph is copyright

FAIR USE - you can use images for teaching, reviews, commentary, research, library archiving etc

Creative Commons - an organisation that has relicensed some works that you can use in some way

Attribution - can use but need to recognise original author

Share Alike - can use but publish under same copyright as original

Non-commercial - can use for personal use only

No derivative words

Copy Left - you can use any image that they have produced as long as you don't copyright that image. Maintains a freedom to create and to continue to create

Where to find copyright free references

*  Wikicommons - copyright sign with a cross through it

*  Morgue File - free reference imagery

*  Dover Publications - anthologies of  Edwardian illustrations etc. You can use up to 10 from each book free of charge

To protect images on blog, best way is to use low res so it can't be printed.

As Georgina concluded, perhaps the key point in all this is getting THE BALANCE BETWEEN BEING CAREFUL AND TRUSTING PEOPLE

Encouraging children to engage with museum objects for half term

The more I spend time engaging with the objects at the Museum in the Park, the more I am inspired by the stories they represent. As a child I loved going to museums and entered the annual quiz three years in a row, which made me really look at what was on show. With half term coming up and this dreadful weather to contend with, I thought putting together a Kitty Trail for the children would bring a little fun and colour. And for those who attempt it, there will be a Kitty sticker to take away.

 

It's a balancing act!

Although the week's residency has finished, it has been extended for as long as the Kitty Card project takes. My next task will be to put together a worksheet together for half term to give children a chance to find out where Kitty has been. I may even hide her in the museum for them to spot her for real.
In the meantime, I have set aside a few hours on a Friday to continue the residency. It has been very useful to talk to fellow artists who have also carried out a residency to see what they learnt from their experiences. I asked Georgina Hounsome the following questions which she kindly answered to gain another insight from a printmaker's point of view.

What benefits have you gained from doing your artist residencies?

I enjoy working for a concentrated time with no distractions or barriers. It’s quite a privilege to be allowed the space and time to fully focus on personal work but this concentrated engagement really helps push my work forward- I engage with it on a much deeper level because I have the time to do so. I also enjoy working in a different space as this helps to form and inform my work. I've met really great people from doing the residencies and made useful connections. I find residencies also help with confidence- both in my work and in future applications for other projects.

How has it changed your work?

I have a much stronger portfolio of self-initiated projects and my work has developed in different ways. I often spend more time researching on residencies and this helps develop my storytelling/narrative skills. In terms of technical ability, I have more time to draw so I feel that my drawing skills have been extended. The location of the residency tends to have a direct influence on the content and tone of the work. I am inspired by different aspects of the locations and information that is revealed through the research stage.

What advice would you give to other illustrators embarking on a residency?

Be prepared- check out where the residency is and what is around the area, how much things cost, what the transport links are like, language barriers, expectations of residency organisers. I would advise working collaboratively- go with someone else as it can be a bit daunting/lonely. I always go with Alex Higlett who I work collaboratively with. Some of the residencies on ResArtis for example can be in quite isolated places- its more relaxing if there is someone you know with you. If you are scared, you probably wont be able to work well! Some residencies offer apartments/houses with room for partners/family. Start off small and local perhaps. You will probably have to propose a project- make this something you really want to do.

What medium did you use whilst on your residency?

I mainly draw, take photographs and research in museums, places of interest and through books. I tend to take all this information, create a book and then print this book using silkscreen when I get back to the uk.

I heartily agree with Georgina with the fact that this residency is developing my storytelling skills. By engaging a tiny figure with an historic artefact, a shift takes place. No longer is it a piece of history, it becomes a catalyst for a creative tale sparked from this object, which may have no resemblance to its former use. The more I work, the more I realise I need this time to develop my drawing skills, and by spending time absorbed in the act of drawing, my imagination is allowed to take over and lead me. I am wondering whether my drawings could lend themselves to a printing medium of sorts - possibly silk screen or lithograph. It is worth pursuing. Also this self-initiated project will hopefully build up an interesting collection of images for my own professional portfolio.

Here is where Kitty ended up today!