Archive for December, 2014

AOI Holiday times

Tuesday, December 23rd, 2014

We’d like to wish our members an enjoyable holiday period. The AOI office will be closed from:

6pm on Tuesday 23rd December 2014 – 10am on Monday 5th January 2015


Remember the Pricing Survey and other information is available through the AOI website Members Area at any time.

If you have any questions on the World Illustration Awards 2015 please contact [email protected] and we will get back to you after 6th January.

We would like to thank members for their support during 2014 and wish a successful new year ahead for all.

Christmas wrapping by Amy Higgins

Illustrating Alice – book review

Monday, December 22nd, 2014

Various contributors

Artists’ Choice Editions Inky Parrot Press ISBN 978-0-9558343-7-0

Review by Derek Brazell


In what must have been a substantial undertaking, Artist’s Choice Editions have corralled a multitude of Alice in Wonderland and Through the Looking Glass interpretations into Illustrating Alice, with essays from experts and illustrators from several countries, including Poland, Russia, Brazil, China, UK and France on how the Alice stories have been approached by illustrators and their publishers.

Copyright for Lewis Carroll’s Alice in Wonderland expired in 1907, and a large number of editions have followed, many hot on the heels of that date. Richard Newnham even queries questionable Alice copyright issues in China and Taiwan in discussing a version published in Mongolia, in his section on Alice in China. With the new editions starting in the early 20th Century, it’s intriguing to watch Alice’s costume revised as time passes, through pinafores and leg-of-mutton sleeves to miniskirts and fishnet stockings (in the case of Ruvanti’s Eighties looking depiction).


Seeing such a number of approaches to Alice, from Alison Jay’s conventionally appealing, to the coy Japanese stylings of Trevor Brown, makes the several more scratchy approaches stand out: Ralph Steadman’s spiky line drawings remove any cosiness, and Mervyn Peake adds his usual depth of character to Carroll’s creations.

Later in the book individual illustrators offer comment on their motivations and how they tackled the artwork, pointing out the pleasure, but also intimidation, in illustrating such a well known and illustrious publication. Helen Oxenbury describes how the memory of Tenniel’s depiction of Alice made her own vision hard to grasp until she saw a child whilst on a picnic of her own, whose unselfconsciousness gave her a view of what her own Alice could be. John Vernon Lord discusses the Hatter’s hat, and Emma Chichester Clark enthuses on the subtlety of Tenniel’s images, “I love peculiarity made ordinary. It’s my favourite kind of joke”. DeLoss McGraw confirms, “I learned early that you must accept the illustrator John Tenniel along with the author, in order to grasp ‘Alice’ as an inspiration for painting”.


Perhaps in these sections, a concentration on several images from that artist’s interpretation would have been beneficial to the reader, as although one of their images is shown, the others on the spread depict various versions of the same scene in the book from several other illustrators.

Illustrating Alice is an absorbing book to dip into, and will set any illustrator pondering on what their own Alice, Queen of Hearts and Hatter might look like. In spite of a few images printed in low resolution and an overall cramming of illustrations, the book shows the breadth of visual approaches to these most fascinating of stories, and backs it up with informative writing on the subject.


You may also be interested in these book reviews:

Good Old Drawing G.O.D.

A Life In Illustration

Worst In Show – book review

Friday, December 19th, 2014

Written by William Bee, illustrated by Kate Hindley

Published by Walker Books Ltd ISBN 978-4063-3869-0

Review by Sarah Gordon


The narrative in Worst In Show centers around a boy called Albert and his pet monster Sidney. Sidney is not quite the scary, smelly, hair-raising monster that is expected of him by others. We follow their experience entering the ʻBest Pet Monster in the World Competitionʼ and the challenges they must undertake, alongside their fellow competitors. Rounds include the Hairiest Wart, the Most Parasites, the Smelliest Fart and the Hottest Breath, all of which Sidney the monster fails to place anything above last. However, the competition takes a surprising turn, when a new record is set involving Albert and his “big, cuddly and loveable pet monster”.

spread 3

I test ran this book whilst babysitting and it’s no surprise that anything involving smelly farts, bottoms, monsters and dragons is an immediate attention grabber and entertainer. Whilst reading to the two children, aged 3 and 6 years, we stumbled across some phrases and words that required more than a brief explanation. “Whatʼs a parasite?” “whats a wart?” “do they mean spot?” “whats a dignitary?”…. Ok, so now youʼve thrown me too. Iʼm sure there could have been a number of child friendly, replacement words for a ʻdignitaryʼ person and I do believe that in some places, the storyline is more wordy than it essentially needs to be in order to grab a young audience.


The illustrations by Kate Hindley are packed with character and expression. The colour palette is relatively dark, meaning there isnʼt a great deal of eye catching vibrancy in dim bedtime lighting. We did however thoroughly enjoy the varying characters and their appearances, outfits and detail. Our favourite element to the book had to be the fold out section that opened up into a double sized layout, after the drum roll and at the moment of the stories climax.


You may also be interested in this book review:

A Bed for Bear

Intimate – Miss Led talk

Friday, December 19th, 2014

The Printspace, 74 Kingsland Road, London, E2

Talk: 2pm


AOI member, Miss Led, will be presenting an illustrated talk covering areas of her diverse portfolio, to include materials and process, sustaining motivation, challenges and personal development across self initiated and client projects.

To follow will be an informal Q&A session and prints will be available from the Intimate show

Payback pays out almost £5 million in royalties

Wednesday, December 17th, 2014

DACS pays 23,000 visual artists and artist estates almost £5 million in Payback royalties

A record 23,000 visual artists and artist estates claimed almost £5 million in Payback royalties from DACS in 2014. Payments are currently being rolled out, with most artists expected to receive their royalties just in time for Christmas.

Once again, DACS is seeing more artists and estates benefit from Payback royalties than ever before. The royalties are an important income source for artists, and with individual payments ranging from £25 to £5,046, Payback supports vital expenses including studio rent, artist materials and equipment.

Photographer Robert James Maclese said on Twitter: “Thank you @DACSforArtists for the donation to my new camera fund #ChristmasComesEveryYear”

Whiteism tweeted: “Our #payback14 money came today from @DACSforArtists, nearly enough to pay our studio rent for three months!”

Fine artist Richard Stone tweeted: “Received my royalties from @DACSforArtists today, nice surprise, but more importantly, representing empowering recognition for artists.”

Daniel Rudd, Artists’ Services Manager at DACS, said: 

“The staggering increase in claims this year demonstrates the enormous reach of Payback, and the demand for royalties when so many visual artists and their estates are seeing their incomes cut due to financial austerity and reductions in public funding.

 We are delighted that, with the introduction of Payback membership this year, we can formally consult with Payback claimants on issues concerning their rights, and importantly, safeguard their existing and future royalties.”

Payback is an annual scheme managed by DACS. It is open to visual artists and estates for all types of published artwork, from fine art and photography to design and illustration.

Wilfrid Wood’s ‘Dogs’

Tuesday, December 16th, 2014

Until 31 January 2015

Beach London
, 20 Cheshire St, 
E2 6EH. Open from 10-6, Tuesday through Sunday. By appointment Mondays


This show is made up of a new series of wooden sculptures by the Hackney-based artist. As well as portraits of a number of ‘celebrity’ mutts – such as Jiff The Pomeranian – the show will also feature a number of Dogs who bear a human-like resemblance…

Pictoplasma – Character Portraits – book review

Tuesday, December 16th, 2014

Edited by Peter Thaler and Lars Denicke

Published by Pictoplasma Publishing ISBN 978-3-942245-06-7

Review by Maia Fjord


The newest Pictoplasma Character Portraits compilation book is out, and with more than 600 artworks and individual character studies by 200 international artists it describes itself as “The Ultimate Source Book of Postdigital Portraiture for Character Designers, Connoisseurs and the Creatively Curious”.


The books begins with an introductory conversation that brings the artists together with image theorists, cultural historians, psychologists, roboticists, cryptozoologists, media theorists and advertisers, which can also be found in Spanish and German at the back of the book. This lengthy interview-style conversation covers several fascinating points, and it is particularly interesting to read the opinions of professionals with different areas of expertise. These opening pages are filled with intriguing concepts that really make you think (and potentially further consider your own practice), such as whether or not a fictional character can have a soul.


After the opening text, the compilation of character portraits begins, and readers are free to flick through a huge collection of characters of all different shapes, sizes, colours and materials. I found the variety of mediums the characters have been created in especially interesting – the book covers character design in everything from paintings to installation pieces, street art to graphic digital art, toy design to drawings, and knitting to glass blowing. The featured characters vary from one end of the spectrum to the next – there are so many varieties that it would be impossible to attempt to sum up the content. Suffice to say, the book showcases a giant compilation of bright, expressive, colourful (or at times not so colourful) characters, all bursting with their own unique personalities. The last part of the book also includes a selection of ‘Character Selfies’ from this year’s Pictoplasma festival, which are all really distinctive and fun.

Screen shot 2014-12-12 at 11.35.35

Overall, this huge compilation is filled with over 400 pages of incredibly inspiring imagery and characters, and the variety in design and personality throughout means that there’s something for every aspiring or established character artist to enjoy. As I progressed through the book, I found that the urge to do some character design was building at an extraordinary rate, and by the time I had finished I was very enthused to immediately create something (or someone) of my own.

Screen shot 2014-12-12 at 11.35.15

You may also be interested in these book reviews

Illustration Now! 5

Understanding Illustration

Can you help protect Payback income?

Tuesday, December 16th, 2014

Are you one of the many illustrators who have recently received your annual Payback Royalties distributed by DACS? These cover secondary uses of your images, such as photocopying, and they may be under threat; resulting in a reduction in your income from Payback. But you can help.

Payback royalties derive from licences that are negotiated by the Copyright Licensing Agency (CLA), and DACS shares these royalties with other parties such as publishers  – which amount to over £4 million per year for Payback claimants.

Payments are made as part of a long-standing agreement between DACS and the CLA, but CLA have told DACS that they believe that they are no longer bound by this agreement. DACS has insisted that the existing agreement must continue until its scheduled end date of September 2017, to help manage the transition to any new arrangements and protect claimants incomes in the interim. So far the CLA has not accepted this.  This dispute has the potential to affect Payback in 2015 and beyond.

To help support Payback please:

1.     Agree to be part of the sample group for AOI and DACS to collect all the data necessary to assert the rights of visual artists in a valuation exercise currently being carried out by the CLA.

2.     Send AOI any examples of where publishers may have pressed you to waive or sign away your secondary rights. These rights include reproduction by photocopying or scanning. This might have been in a contract or licence, or in an email.

Contact Derek Brazell Email at the AOI to let him know you would like to participate in the sample group, or to send on evidence of pressure to give up secondary rights (all treated in confidence).

Together AOI, Association of PhotographersEPUKNational Union of Journalists and DACS are fighting to protect your rights and the additional income Payback generates for you. We know how important this is for you; please help us.


Soonchild – book review

Thursday, December 11th, 2014

Written by Russell Hoban, illustrated by Alexis Deacon

Published by Walker Books ISBN 9781406344189

Hardback released March 2012, paperback released 1 January 2015

Review by Maia Fjord


Soonchild is a young adult novel recommended for ages 14+, and is one of the last books written by Russell Hoban before he passed away. The narrative is inspired by and based on Inuit mythology, and centres around Sixteen-Face John, a shaman from “the cold, cold north” who has lost his way in a modern world of magazines and coca-cola. When his daughter Soonchild refuses to be born because she cannot hear the ‘World Songs’ which coax unborn children into the world with their promises of all the beauty it holds, John must begin a shamanistic quest to retrieve them.


Alexis Deacon has provided expressive black and white illustrations throughout the book. His bold use of light and dark makes a big impression, and the colourlessness of the imagery invokes the coldness of the environment well. The illustrations can safely be considered just as important in forming the narrative as the text. Consequently Soonchild feels like a hugely collaborative effort- without Deacon’s imagery adding to the text, the story and overall feel of the book would simply not be the same. At times the book takes on an almost graphic novel-like quality, as illustration takes over completely from the written word to form sections of the narrative. These wordless sections are often left deliberately vague and thus very open to interpretation, which suits the dreamlike nature of the story.


This dreamlike quality is also reflected in the way that the illustrations are placed within the book. Deacon’s loose pencil and ink drawings flow across the page and interact with the text. Some pages are without pictures, some feature spot illustrations, and every now and then it is a joy to turn the page and reveal a full double page illustration.


The looseness of the pencil-work also tends to give the characters in Soonchild a certain vagueness, which allows the reader’s imagination to mentally add to and adapt their features and thus create a totally individual perception of them when reading. Throughout the book, this was a quality that I very much appreciated- it seems that illustrated books can sometimes steal the joy that comes from forming your own unique mental image of the characters and environments.


Although intriguing, at times the narrative of Soonchild may be hard for young readers to follow. A large part of the book documents John’s journey through a shamanistic dream, and so the story changes in the same way that a dream can suddenly shift. The unreality of it all is wonderful to experience, but it can be hard to keep up- but then again, that’s how John feels throughout his travels.


Overall, although this eerie and beautiful novel may be a difficult read for the young audience that it’s intended for, it’s definitely worth a try. The inherent strangeness of the story and the way in which it develops stands out in today’s young fiction market, and makes it an enjoyable read for an adult audience as well. With stunning visuals, the paperback edition of Soonchild is still a beautiful object, and a little more practical for those who want to read when out and about.


Pictoplasma Berlin 2015 – Form Follows Empathy

Thursday, December 11th, 2014

International Festival and Conference on Contemporary Character Design


Babylon am Rosa Luxemburg Platz, PLATOON Kunsthalle, Silent Green, Urban Spree and numerous art spaces throughout Berlin

Wednesday 29 April – Sunday 3 May 2015

Each spring, Pictoplasma transforms Berlin into the international meeting point for a diverse scene of artists and creatives. The annual Festival showcases latest trends in fine and urban arts, illustration, animation film and graphic design. Creators and producers meet for an unconventional conference, screenings bring the latest animation to the big screen, and exhibitions invite the general public to experience original works and character craftsmanship. For its 11th edition, Pictoplasma Berlin re-invents itself with an all new, five day programme of lectures, screenings, exhibitions and networking. Spring 2015 awaits with more than 40 artist presentations, 100+ animations and a carefully curated exhibition of character driven art. New is the addition of a forum to enhance networking between high-level producers from various industries and attending talents. Workshops, animation screenings, performances, exhibitions and presentations are clustered around a central conference, in which leading artists of today give insight into their creative process of perceiving and designing characters.

As an underlying motif throughout the Festival, the 2015 edition takes a fresh approach towards anthropomorphic fundamentals: the title Form Follows Empathy breaks with the modernist credo of functionalism and puts the empathic perception at the base of any interaction, inquiring if, and how images can direct the attention of the viewer to create a strong emotional bond with objects.