Le Grand Meaulnes, published by The Folio Society
• What was around you visually when you were younger?
• What is it that inspires you, what do you like?
• What makes you sad/laugh/what should I make in my work?
• Looking at your work from an outsider's perspective can be difficult - identify what works, and what doesn't. Or get another pair of eyes to do this.
• Laura kept work in sketchbooks throughout her studies, but this didn't apply to outside illustration, didn't reach an audience or viewership.
• Try unusual routes to contact people and make things happen. Be selective and appropriate with who you contact.
Ten Days in Tokyo, self published
• Ten Days in Tokyo - enlarged sketchbook pages and made into a book using an architectural photocopier.
• With the book, she learned to edit work, and omit what wasn't important. Thinking of page order, compositions...
• The illusion that creatives are always inspired isn't true. Laura keeps folders of images, books, photographs, historical images, that inspire her. Eclectic inspirations keep things interesting.
• Sense of play - Saul Steinberg, Picasso. Harnessing this gets harder as you get older.
Anton Chekhov Collected Stories, published by The Folio Society
• Not everything should be illustrated - sometimes the visual would ruin what the imagination could depict. This applies to books, poems, etc. Sometimes words are sufficient.
• Social media - Laura chooses not to use this and admits it isn't her strength. It's needed, but doesn't work for her.
• Editing process - laying out work, physically or in storyboards, helps you to see the completed project (usually with books, or series of images)
• Artistic devices, processes, and mediums to keep up the energy and intrigue when making. New ways of doing things, new methods of creating images and working.
"Don't sell your soul" • "Make work with integrity" • "Nothing is final"
No comments:
Post a Comment