My negotiated project

I-stop motion isn't the easiest program to use if you want the movements to flow very naturally so it was crucial that i carefully drew my character over and over again, perfectly, with slight changes to make it work. In total i drew over 60 images of the girl, which did take a lot of time but i was determined to make it work without looking clumsy so it was definitely worth it. As mentioned earlier i'm not the most patient of people but this project definitely tested me. Once i got into it and had set up all of my equipment, i really didn't want to stop but it made it difficult when the natural lighting began to change outside as it would have a big impact on the complexion and mood of the scene. This was important but also very frustrating as i would replay the previously created scenes and see a slight change in brightness so would therefore have to start over

To be honest, my negotiated project was something of a roller coaster ride. I decided to change my original idea of creating a children's pop up book of phobias and instead, create my own 30 second animation. I've always had a fascination for the whole animation process and have often wondered how much patience the creators must have to be able to make an arm and a leg move so delicately. Making a stop motion animation is a very arduous job. It requires a lot of patience to photograph dozens, even hundreds of images. In all honesty, i'm not the most patient of people but i will gain this with practice as i want the quality of my work to be of a high standard and it is a job prospect that i'd love to consider undergoing in the future aswell as children's book illustration.

Oliver Jeffers

Oliver jeffer's is an artist, illustrator and writer who is widely known for his picture books for children published by harpercolins UK and penguin USA. He has won numerous awards such as the Nestle Smarties book prize, the Blue peter book award and the Irish book award. His work first became an interest to me when i was introduced to one of his books called 'The Great Paper Caper', when life in the forest between a group of animals begins to change because of a timber thief stealing tree trunks to make a huge paper aeroplane. The reason why i find him so inspiring is because in some ways, his drawings are also very childlike. The simplicity of the drawings and powerful emotions make these drawings so moving, and the best pages are the big double spreads. But before even reading the book, the physical materials of the book itself invites readers to rip up the texts covers and recycle them for aeroplanes!
Jeffer's use of watercolour gives the simple pictures texture and shading which makes illustrations stand out from the crowd. During an interview with the Guardian, Jeffers said "even before entering the book, you are immediately aware of its warmth, its depth and its organic, wholemeal textures." I love how he uses lots of different types of paper because it gives texture to each element on the page and has more of an impact on the young reader as opposed to using to flat, bold colours which personally, i find quite boring. There are gorgeous dark blues and deep violets, people with cute stick legs, and lolly pop trees with a square or two layered over the top. I think what makes him different to many other illustrators is the fact that he also appeals to people of all ages, like the parent who is actually reading their child the story.

Oona Patterson

I am curious as to how other artists go about creating their work and what tools and spaces are needed in order to achieve their craft.

Oona Patterson is a paper artist, poet and story teller based in the UK. She creates the most intriguing, intricate and wonderful sculptural worlds out of paper to accompany her stories and poems.
Each and every section is delicately and precisely hand cut, and her attention to detail is phenomenal. You need to take the time to look closely at her work and allow your eyes to wander over the details of the surface of the paper in order to absorb all the tiny figures, creatures and landscapes.

Hi Oona, can you tell me what you design and make?
I make small sculptures, photographs and have recently started experimenting with animation.


What materials do you use?

For my sculptures I always use paper and most often paper that’s been used for other things already, such as books and newspapers.


How often would you spend at your workspace per day and do you find it enough or not enough (or even too much time)?

Not enough time at all!
I also work as a graphic designer/marketing assistant for a small derelict theatre. This job provides inspiration for my art, it is still creative and most importantly supports me financially. As a result however it has meant I can only really spend a maximum of 10 hours a week on artwork.


What would you change about your work space if you could?

My studio is in my house which has meant I need to keep it clean and tidy (I also share it with my boyfriend), really I would like to be surrounded by paper and mess.
It would also be nice to have a studio that puts on its own exhibitions to keep some outside pressure on me to create and exhibit.


The dream of many makers so what stops you from making those changes
At the moment I have the space at home to keep my work space close to me which means that I can maximise my time and get as much out of it as possible - which is what I need right now.


Do you have a view from a window and do you find it inspiring?

Yes and yes, I can see lots of trees and squirrels and birds.
I’ve always loved drawing and making trees, so the inspiration is right before my eyes.


End of interview.


Her work very much reminds me of Su Blackwell's, using paper from recycled books to construct these installations out of them. They seem to create little sets which are then photographed with lighting and consist of the same magical atmosphere that Su Blackwell's does.

Kate Slater

Me and Gemma collaborated for our James and the Giant Competition brief and as our final book cover set design included handmade elements, i thought some of her work could give us some more ideas. Here is some more of her work including children's books which appeal to me.


Quite recently as random as it sounds when i visited my dad's house, i decided to take a trip to the Yorkshire sculpture Park and as i arrived, a stunning paper bird installation stood right infront of me which really caught my eye. I'd briefly heard about Kate's work before so decided to track it down online to see what else she creates and even found she's made childrens books aswell. Kate Slater works with both flat collage and a combination of paper, cut-outs and wire, which she uses to create suspended, relief illustrations. Her 3D work on display inside the shop was one of the freshest, most inspiring things I've seen in a long time.

Getting in touch with my favourite children's book illustrator

I thought it would be a bit of a long shot trying to get in touch with Mr Jeffers as I thought he would be super busy but i was really glad that he acknowledged my email and sent me this short but appreciative reply:

Oliver Jeffers
To Katy Jones

Hello Katy,
Thanks for the email and the very kind words.
I have attached a document of FAQs which should cover all your questions.

Regards,

Oliver


06/12/2010
Reply

Katy Jones
To oliver@oliverjeffers.com

Dear Oliver,

My name is Katy Jones and I'm a student at Stockport college, currently studying illustration in my third year as a degree and I was wondering if I could ask you a few questions about your work as I could possibly be your number one fan! I have a presentation on who inspires/influences me and I thought it would be a good idea to see what inspires your work?

If it is possible for you to reply, I was wondering if i could kindly have your permission to show this email and your reply on my blog?

These are the questions I would really like to ask you:

1. What first triggered a passion for illustrating children's books?


2. What is your favourite all time children's book and why?


3. Have any aspects of any children's book you have read made you take note and subsequently then added to your own repertoire?


4. What qualities do prospective clients look for in a candidate?


and finally...!


5. What aspects of your work do you feel make you stand out from others in your field?


Thank you for taking the time to read my email, as I've said i'm a huge fan of your work and i'd love to hear any input or advice you have as illustrators.
I look forward to your reply,

Best wishes

Katy Jones

Stills taken from my animation..

Unfortunately, i wasn't able to upload my animation due to a technical error so instead i've added some still's to give you a brief idea as to what was involved. I had so many issues with the camera equipment which slowed my working progress down a hell of a lot so it took a huge wedge out of the precious time i had whilst creating it. Personally, i felt like i did work really hard creating the animation and was pleased with my final outcome seen as it has only been my second animation project at college. Obviosuly i wish i'd spent more time on the research side of the project but making the actual animation took up every spare bit of time i had with also having to prepare each element and draw them so carefully but I have learnt from my mistakes and will take this into account when i undergo my final major project.

Container Plus...

The image with the typewriter is one of my favourites as it looks as if all of the drawings and paper models are coming to life and about to walk off the page. We were set the task of creating illustrations based on the 7 x 7 book which i've written about in previous posts.


One of my biggest influences is Container Plus, a collaborative group who are based in London, currently with 3 people working together. Their work is a combination of illustrion, photography, set design and animation and they've produced work for an outstanding number of clients including Topshop, the Bafta's, London Design Festival etc...They also have experimented with their own personal projects for fun, which to me, is really admirable and it proves just how passionate they are for producing work. It shows they are willing and eager to push their ideas furthur and develop more skills. I think there is a big advantage in working collaboratively because you can learn from each other and exchange ideas but you can also allocate the skills you don't have over to someone else who is more experienced in that particular field. If you are working collaboratively, i think it is best to keep it to a minority and people you can rely on, because from past experience, the more people you add to your group, the more people you have to please. Louise, one of the members of Container Plus, came and delivered a speech and gave us an insight as to how collaborating with people works and what compromises and sacrifices you have to make. From listening to her helpful advice, i was quite excited by the prospect of working with someone and found it refreshing to be proven that it is possible for illustrators to work together even thought there are challenges you have to face.