Visiting Professional | Laura Carlin

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"

Print Stuff, York

It's Art, Karen attended Print Stuff in York, representing 5 of us from the course. It was my first experience being a stallholder at this type of event. 

In the weeks running up to the fair, a lot of hard work was put in from all of us involved. I took it as an excuse to go into the print room more, and create additional screen printed stock for myself. As well as generating extra copies of publications I'd made previously.

After creating, packaging, pricing, promoting, and finishing up smaller details the actual event rolled around quite quickly.

IMPRESSIONS

Overall it was a positive experience. Displaying my own work publicly, chatting with both visitors and other exhibitors as well as people with creative experience. However not many sales were made.

Of course this did knock my confidence in some ways, and I thought of factors as to why this could be; did people just want to buy smaller products for less money? did I price things too expensively? Were people just not interested? Was it just the wrong audience or place for me? I wasn't sure.

I definitely left with a few things to think about.

THOUGHTS AFTER

PRICING - This was a subject that cropped up a lot throughout the day. When I was pricing my own stock, I took my time and considered the following:

- The medium (screenprint - edition number, zine - how many pages?)
- Production costs (both my time and own expenses)
- Production labour (pulling layers of ink on a screen, cutting, stapling, packaging - all done by myself and by hand)
- Longevity (e.g. screenprints are archival and last forever, viewed as a 'high quality' print, a digital print will fade over time)

At the fair there was an instance of an established designer/collective selling a publication - on decent stock, with a decent amount of pages, for £3. Although this could have been old stock they wanted to get rid of, I wondered if the price even covered production costs. I was selling my own 20-page digitally printed zine for £4. 

I think pricing is something that can be really detrimental to yourself and others if not done correctly. Although it would be impossible if not difficult to standardise pricing. If people sell things for cheap, the general audience will value these things cheaply.


BEST SELLERS - It was interesting to see what types of items sold well or were asked most about by visitors. T-shirts and wearable goods proved popular. And a lot of sellers displayed enamel pins, which are in high demand with lots of people.

This made me think, do I take this into account when making my own products? Should this impact on the type of work I create? If I do, does this cheapen it?

In some ways it goes two ways: consider what sells, as it could boost your sales and point more people to your work. But does jumping on a bandwagon just perpetuate some things?

It's Art, Karen

IT'S ART, KAREN

A few months ago when I applied to exhibit at Print Stuff, as a few of us were sharing a table we needed a name to represent all of us so the organisers could name us collectively on their site. The name began as something I came up with jokingly but I've really began to enjoy it and what it means.

In the weeks running up to the print fair I created a temporary landing page for the group of participants in the form of a tumblr page. I also created a number of small promotional images and short clips to generate interest/acknowledgment of It's Art, Karen.

During the print fair people really seemed to engage with the name and kept asking what it meant and where it started. Stickers with the slogan on proved popular too. I think people liked the sarcastic/joking/tongue-in-cheek tone of it all.

At the end of the day I decided to set up an instagram for it. I may or may not continue to use this in future, however it has became a very tiny art platform that I could expand on if I want. Without meaning to I've created a mini-brand which is something I wouldn't usually set out to do. I think the general idea behind it is to support artists/peers/myself in a non-professionally professional way.

My own reasoning for it is that it's very diy, which I think transfers across from my own practice too. It doesn't take itself too seriously and is a sort of justification of what I'm doing and other people are doing. I don't want this to eclipse what I'm doing individually as a practitioner, but maybe just accompany or amplify it.

LAU Student Profile

I had the opportunity to answer questions and have some images of my work featured on the university website. It was nice to be considered, and it allowed me to refelect on my practice as well as my time here at LAU. It was my first ever celebrity interview, and it was interesting having to think of myself as a student, soon-to-be alumni, and a professional of sorts.

The completed profile can be found here. These are my answers...

Why did you choose Leeds Arts University?

Having never visited Leeds before, I chose Leeds Arts University mainly because of the course. The focus on the studio environment, the smaller intake of students as well as it being the only specialist arts university in the North were all deciding factors.

What made you select BA (Hons) Illustration?

At previous levels of study I had to take either graphics or fine art, whereas illustration bridges the gap between design and art. Illustration encompasses an interesting mix of autonomous, personal projects and industry-based, external work. It was the open-ended nature of the course with a focus on exploratory image-making that appealed to me.

What do you really enjoy about your course and the University?

The small community feeling is definitely something unique to Leeds Arts University that I enjoy. I have friends who have studied academic courses, and they can attend lectures with up to 300 other students and not get that contact time with tutors or even get to know their peers. Apart from that, the facilities (from printmaking to computer software) are accessible and there to get the most out of, and the staff and technicians are always willing to help and encourage you.

What do you plan to do after university?

I wish to continue my artistic practice, seeking out opportunities for residencies, creative schemes and exhibitions. Working alongside an arts organisation as well as exploring the potential of curation, exhibitions as well as small scale publishing for myself are long-term goals that I want to work towards. I want to create and maintain artistic networks and connections, and hopefully set something up outside of London!

What makes Leeds a good place to study?

Leeds has a really good arts scene with events, venues, and exhibitions cropping up all of the time. There always seems to be new things happening which not only makes it an exciting place to live but to get involved with creatively, especially as someone with an interest in the arts.

Presentation Prep

Where do you see yourself now as an illustrator?

• Developed an interest in independent publications/zines/self-publishing as well as exhibitions.
• Tone is surreal, humorous, non-linear, insular but open to people to if they want, research driven at times.
• Illustrator, leaning to artist at times. Experimental in aesthetic and approach.

Do people know you are here?



Where are you directing them to see your work?

Instagram, website, tumblr (used as a sketchbook/archive), print fairs, events, exhibitions

Are you getting any feedback?

• People have reached out for zine trades, circulating small self-made publications
• Accepted into live briefs, open submissions
• Accepted application to print fairs
• Opportunities to participate as well as setup exhibitions

You have had 3 years to develop your talent so far, what do you feel you have achieved?

• Practical skills - Print making, publication making, new ways of working, mixed media and combining/experimenting with media, digital skills

• Outlook - Confidence in non-representational work, being comfortable with enjoying the type of work that I appreciate (for myself and others), realising that there are commercial niches for the type of visual art/illustration I am interested in without it having to be dilluted to suit a certain market, audience, etc.

How do you see this; achievement, slog or useful?

An achievement that has taken a lot of hard work. Not only has it developed the obvious things like knowledge of skills, or knowledge of creative industry, but also moulded my values and views on illustration as well as what's meaningful and important to me in terms of art.

What will your final PPP Presentation contain and why is it important?

• Image-based - visually interesting for viewers, not relying on scripts and text

• Tone - tone of voice that is true to me. humour, personal, my work and external factors that have influenced and impacted my output

• Physical object - thinking about making a pamphlet or some sort of physical object for those in the audience. Adds another dimension, a souvenir, something funny and tactile.

• Moving image - worth considering, as it would break up a usually static presentation

Why do you need to present yourself?

It's important to consolidate everything, and see it clearly for myself. So I can make sense of what I'm doing and why.

Can you see this presentation having any other uses?

• Practice for future pitches and presentations, which need you to discuss work and intentions confidently.

• Content will have been thought about if not written down, could use for website bio, articles, blog posts, etc.


Feedback

• Interests in publications and curating - professional, taking control

• Active in print fairs - participating

• Brontleroy - existing in the physical realm

• Confidence - not worrying, there are commercial niches. There's a place for this.

• Ideas for presentation - sat at desk demo-ing? process, cutting and collaging, live art for the audience while presentation runs in background. Unfiltered pamphlets, take away for audience members.

BALTIC Gateshead | Pester & Rossi

Infinity Pitch by Pester and Rossi [link]

This exhibition was also on during the visit, by collaborating artists Ruby Pester and Nadia Rossi. It was an installation, art exhibition, and collaborative workshop all in one.

Visitors were encouraged to get involved and cover the space in artwork using the provided materials, coloured tapes, scissors, paper, and stickers.

The result by the end of the three weeks was a room filled with 'murals' made by everyone that visited, children and adults alike.

Similarly with the Sofia Stevi exhibition, the chance to become involved with the artwork and the space is exciting as galleries are usually very distant and sterile spaces.

I've started to develop an interest in exhibitions and the potential of art shows. An artist that is both a maker and curator is an interesting cross-over of roles to me, and this occurs when exhibitions are set up and this level of creative freedom is allowed. It's a sort of editing process, which also ties in with my interest in publications too.

My small contribution pictured on the BALTIC website ☆

BALTIC Gateshead | Sofia Stevi

turning forty winks into a decade by Sofia Stevi [link]

While I was home for Easter I visited the BALTIC and saw this exhibition by artist Sofia Stevi. It was of interest to me because not only did it fit with traditional ideas of fine art / art in a gallery setting, there was also an illustrative feeling to her paintings which I hadn't seen before in somewhere like this.

Her exhibition included canvas paintings, paintings on cotton sheets, as well as a room dedicated to her own 'artist books' made of cuttings of these sheets, sewn by hand. They were displayed on a large table with gloves for visitors to sit and read them.

This participatory element set this show apart from others I have seen at this gallery. People could sit and get involved with the work aside from just looking at it on a wall.

It also fitted with my interest in publications and artist books. These books became artworks in their own right. 

The work resonated with me because of its diy ethos (she painted on cotton sheets because it was cheaper and easier to get a hold of than canvas) and the experimental approach that she seemed to take on.