Archive for August, 2013

Drawn Together and Paper Works

Wednesday, August 7th, 2013

The 1066 Art Academy Gallery, High Street (inside Costa Coffee) Battle, TN33 0AE

Saturday 10 August- Saturday 31 August 2013

Opening times Thursday, Friday and Saturday 11am until 5pm

The 1066 Art Academy Gallery

Paperworks

The artwork to be exhibited will be based around the principle of Drawing.

Drawn Together exhibiting artists:
Rosalind Barker | Louisa Crispin | Leroy Henry | Tracy Jones | Sally Meakins | David Minton | Franny Swann
Drawing expresses how we see the world in its most direct art form. Juxtaposing seven artists this exhibition interweaves material, working methods and subject creating a delightful and interesting fusion of work to view and buy.

Paper Works exhibiting artists:
Lindsay Connors | Niki Campbell | Tracy Jones

A conceptual project working within the constraints of paper, the artists, who first came together at university, present exciting works to both challenge and inspire.

Contemporary Drawing Workshops: There are many methods of drawing and as part of this exhibition the artists will be running two contemporary drawing workshops on Sunday 18th and Sunday 25th August.

Southwark Arts Forum- Art at the Bridge #4

Wednesday, August 7th, 2013

London Illustrated

Tower Bridge Exhibition, Tower Bridge Road, London, SE1 2UP

Until 30 November 2013

Opening times 10am until 6pm

Tower Bridge Exhibition

+44 (0) 20 7403 3761

Southwark

'Tower Bridge 2011' by Andrew Stanford

This exhibition is the fourth exhibition to be held between The Tower Bridge Exhibition and Southwark Arts Forum.

This successful partnership was set up in 2011 as part of Tower Bridge’s ongoing commitment to engage with and acknowledge the talents of the local community; and these regular exhibitions provide an opportunity for artists to gain exposure to our international audience of approximately 2,000 visitors daily.

On display in the atmospheric Engine Rooms from 1st May – 30th November 2013, Art at the Bridge #4 extends the London theme of the popular ‘This is London exhibition, currently on view in the West Walkway, and explore the Landscapes and Elements that make the UK capital one of the most impressive cities of the world. Work from five rising stars of the Southwark Arts Forum – Andrew Stanford, Jaykoe, Simon Thomas, Stephen Ritter and Tony Berkman – is showcased, across a range of mediums, including paintings, prints, photos, drawings and mixed media.

Visitors will also receive a token, which they can use to vote for their favourite artwork in the Engine Rooms. The artist who receives the most tokens will be given the prestigious honour of raising Tower Bridge!

An evening with Shirley Hughes and Clara Vulliamy

Tuesday, August 6th, 2013

Waterstones Piccadilly

203- 206 Piccadilly, London, W1J 9HD

Wednesday 21 August at 6:30pm

Dixie O'Day

Join much loved author Shirley Hughes and her daughter Clara Vulliamy as they introduce their new book, Dixie O’Day. This is a unique oppertunity for adults interested in the world of children’s book illustration to hear how the two worked on this, their first collaboration. As well as talking about drawing inspiration from the 1950s, Shirley will read whilst Clara draws live on stage.

Tickets (including a glass of wine or soft drink):

£5/£3 AOI members when quoting “AOI member” via 0207 851 2419 or [email protected]

Changes to copyright exceptions

Friday, August 2nd, 2013

Report on Consultation on draft legislation July 2013

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UK Government believes that permitting the use of material that is in copyright by entities other the rights holder of those works, through the application of  ‘exceptions to copyright’, will help in boosting the British economy. These ‘permitted acts’ already exist in the form of some limited exceptions, such as use for ‘criticism and review’. The Government stated they wanted to find ‘a balance between the interests of rights holders, creators, consumers and users’.

Current existing exceptions to copyright include limited use of works for: non-commercial research and private study, criticism or review, reporting current events, judicial proceedings, teaching in schools and other educational establishments, and to help visually impaired people. Exceptions can currently be overridden by a contract.

Proposed expanded exceptions are for: Education, Quotation, Parody Criticism & Pastiche, Private copying, Research & private study, Data analytics for non-commercial research, Access for people with disabilities, Archiving & preservation and Public administration.

In its recent Modernising Copyright paper, the Government stated, ‘To ensure that permitted acts have the maximum positive impact, the Government wishes them to be clearly established and readily usable, and to deal effectively with current and emerging technologies. It wants to shift some of the current uncertainty about whether something can be done lawfully into a question of whether a licence is needed or not.’

Far from achieving this, the new proposed exceptions are likely to create a minefield of uncertainty, which could result in additional costs to individual rights-holders and to the creative industries at large, without providing any further immediate clarity for users of copyright material.

A major problem is that the definitions in the draft legislation are very vague. If phrases included like ‘teaching’, ’such as’ and ‘lawful acquisition’ are not specified, then they are left open to interpretation, and therefore potential abuse. Who will be able to say they are ‘teaching’ and therefore use works protected by copyright without paying for them? Anyone who opens a profit making educational establishment? An organisation with a vague ‘educational’ element to what they do? Rather than clear this up now, Government expects possible future court cases to define what the scope of the exception is. These would have to be brought by creators against those whom they believe are infringing their work under the guise of an exception to copyright.

This absence of definition will create business uncertainty for those whose works will be included in these exceptions; uncertainties for creators over how their artworks may be used, and the difficulties they will face if the only resort would be going to court to define those definitions. Few would have the financial resources to do so, as individual creators such as illustrators, are often living on a low income.

Government have said that these expanded exceptions may not be overridden by contract law, so a contract will not be able to prevent them.

AOI responses to the specific questions in the first batch of exceptions consultation will be available in full on the AOI site soon. We answered the following sections.

  • Private copying
  • Parody, caricature and pastiche
  • Quotation

Go here to read more

Illustration by Beth Walrond

Becoming a Successful Illustrator – book review

Friday, August 2nd, 2013

Becoming a Successful Illustrator

By Derek Brazell and Jo Davies

Published by Bloomsbury ISBN: 9782940447589

Review by Adam D’Costa

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Taking the leap into the professional world of illustration can seem an exciting yet daunting prospect. Becoming a Successful Illustrator focuses on the idea fact that creative talent needs to be backed up with business skills. The books covers the many aspects that a professional illustrator needs to think about in order to make a living off creating images. By exploring the key areas of the illustration business such as self-promotion, securing clients, contracts and finances this book concisely breaks the information down into clear sections and serves as an invaluable guide to good business practice in the illustration world.

Steve Simpson’s great cover illustration is a good sign of things to come. Alongside the information inside, the book is full of amazing and well chosen illustrations from the likes of Ellen Weinstein, Mark Smith and Anna Steinberg, highlighting the broad range of areas that illustration can be applied to, and how diverse the industry is The page layout is very clean and the book is very easy to navigate and find what you are looking for. The book is split into six chapters. The first explores the different fields that an illustrator can work within, and asks the reader to think about where their work fits in the commercial environment, what their USP is and who will buy their work.

…we are all unique, but replaceable, and, no matter how good we can get, there are scores of others ready to wear our shoes.”

- Paolo Rui, pg 39.

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The book goes deeper by providing spotlights on illustrators and commissioners of illustration which backs up the information being given. For example, there is one case study on Marcus Chin and how he works specifically for an editorial assignment, and then there is one on Ben Newman and how he has managed to apply his work to a variety of formats.

It then takes you through how to conduct yourself as a professional and to think broadly about where your work can fit not relying on one field such as editorial or one client. One of the great features of this books is that it doesn’t just approach subjects from the illustrator’s point of view. In the section about self-promotion, there are a couple of spotlights on professionals who commission illustrators. They discuss how they like to be approached when to do it, and to think about what best shows off your work and who you are. A running theme through this book is having a sense of direction to think about where you want to take your work.

‘Business and creativity are two sides of one coin to an illustrator really’.

- Stephen Collins, pg 140.

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The book goes on to discuss securing work, agents, and how to handle contracts which is to read them and stand up for yourself if you disagree with anything on them.

At the end of the book there are activities to really help the reader focus on setting themselves up as an illustrator. It poses questions as to whether your work is suitable for the type of clients you want to work for, exercises on costing and finances. It’s great how this book goes into specifics there are sample terms and conditions and even a sample invoice, and small detail but so useful if you’ve never made one before.

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There is a strong emphasis on the idea of being professional and how this can have an effect, not only on your own practice but on how other people and potential clients view you. It’s not solely about the work you produce. The book focuses on the individual but also about having responsibility for the industry as a whole every time you stand up for your rights you are standing up for illustrators rights.

A really useful book which gives you a sense of control over what the steps you need to take and think about in order to start making a living doing the thing you love. Plus it has lots of illustrations to look at.

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V&A Illustration Awards 2013

Thursday, August 1st, 2013

Gallery 74, V&A South Kensington, Cromwell Road, London, SW7 2RL

Until 1 December 2013

Opening times Monday to Thursday, Saturday and Sunday 10am until 5.45pm

Friday 10am until 10pm

V&A Museum

+44 (0)20 7942 2000

MoonungSong's Image at the V&A Illustration Awards

MoonungSong's Image, on Display at the V&A Illustration Awards

The V&A Illustration Awards celebrate the best illustration published over the last year. Original artwork from the best illustrated book, book cover, editorial illustration and student illustrator of the year are recognised.

The five winners of the 2013 V&A Illustration Awards were presented with their prizes at the awards ceremony on 3 June.

This year’s published category judges were artist and designer Lady Dyson, lighting designer Patrick Woodroffe, artist Lucy Woodroffe, editor of Stylist magazine Lisa Smosarski, and V&A Director of Design Moira Gemmill.

Judging the student entries were artist, illustrator, designer Matthew Richardson, who has won the Awards himself on two occasions, and designer and lecturer Peter Nencini.

A display of the winning Illustrations can be seen in Gallery 74 at the V&A.

Poster Art 150

Thursday, August 1st, 2013

London Underground’s Greatest Designs

London Transport Museum

Covent Garden Piazza, Covent Garden, London, WC2E 7BB

Until Tuesday 1 October 2013

Opening times Monday to Thursday, Saturday and Sunday 10am until 6pm

Friday 11am until 6pm

London Transport Museum

'There Is Still The Country', 1926, Dora M Batty.

'There Is Still The Country', 1926, Dora M Batty.

A pioneering patron of poster art, London Underground has developed a worldwide reputation for commissioning striking poster designs. Upon seeking out new illustrators and designers to create their posters from as early as 1908, London Underground has been responsible for launching the careers of some of the most celebrated poster artists to date.

This exhibition brings together 150 of the most iconic designs since the Tube’s first graphic poster commission in 1908. Visitors are invited to vote for their favourites and the most popular poster will be revealed at the end of the exhibition.

Well-known posters, including Keeps London Going by surrealist photographer Man Ray, are being featured alongside lesser-known gems.

There’s also a rare chance to view letter-press posters from the late 19th century.

The exhibition is part of a series of celebrations to mark the 150th anniversary of London Underground, the oldest subway in the world.
Review of the exhibition to come.

Londonprintstudio

Thursday, August 1st, 2013

Members Summer Exhibition 2013

425 Harrow Road London
W10 4RE

Until 31 August 2013

Opening times Tuesday – Saturday 10.30am until 5.30pm

londonprintstudio

020 8969 3247

Print from Summer Exhibition

Print from Summer Exhibition

londonprintstudio’s Members Summer Exhibition features some of London’s finest contemporary printmakers. All the artists featured in the exhibition work on their specialist equipment.

This exhibition contains works by forty current studio members and was selected by Murray Macaulay, Director of Christie’s Fine Art ‘Multiplied’ Fair. There are prints by young emerging artists and by established names. There is no theme – just a diversity of prints produced in different media – etching, lithography, intaglio, screen prints, woodcuts, letterpress and digital prints.

londonprintstudio has been a centre for printmakers since opening in 1974. Over the years it has worked with many artists including Lucian Freud and Liam Gillick. Creative collaboration is at the heart of the studio’s practice.

londonprintstudio is an artist-run, non profit professional artists studio, workspace, publisher and gallery. It provides fine art print and digital studios, a gallery dedicated to contemporary printmaking, a wide range of courses, and access to printmaking facilities and know how.

The full list of exhibiting printmakers can be found on the website.