New Work and another Favour…

Two things, firstly I have entered another image into the Creative Safari competition! Treat Time!

If you like this or my other entry, please do share it at the following links. The more exposure it gets, the  better right? So do me a solid yeah fellas? (you COULD SHARE BOTH if you’re feeling really nice!)

New entry!

Bear entry!

In payment for this, I’ve done some new things i though I’d share with you before popping them onto the folio. Here are a few new images for you to gander at:

It's Saturday!


There’s some more coming this week too, so stay tuned and stay cool.

Peace out Friends!

A Very important Post and Definitely NOT any kind of Procrastination

Want to see a thing?

I’ve actually been sitting on this one for a while, but thought, as I desperately do NOT want to get involved with my summer project, I’d go ahead and load it up for your viewing pleasure.

It’s not procrastination okay? I’m providing a service.

yeah, alright.

But those of you who have been with me for a while, will remember when I actually DID my university work and didn’t simply ignore it in favour of baked goods and birthday presents. One such example of this was one of my last illustration projects in which I produced a set of sequential linocut prints (to be found hiding here).

In the end, they were presented on a board in a simple layout. I had wanted the images themselves to do the work in terms of communicating the story without the distraction of any further, novel presentation.

But you know me, why make one set of prints when you can do TWO?

And since this project, the duplicate prints had just been sitting about in tissue, getting a little bored and generally feeling a little abandoned (I don’t know that they did feel this way. I never asked them, but it seems like a plausible emotion for an inanimate object to have.)

And that was how they stayed, sad and forgotten.

BUT THEN I had to move out! And suddenly there was a whole wealth of jobs and thing that I really, really, desperately did NOT want to do. And suddenly I couldn’t take the fact they were so, very forgotten. They didn’t deserve such a fate, it was really, really important that I get out all my book binding equipment and allow the little prints the glory they were owed!

And that decision DEFINITELY wasn’t procrastination. The Prints were in NEED! It HAD to be taken care of immediately, and all those silly, little things on the to do list, things like packing and locating various vital documents and repairing any damage in the room I may, conceivably be charged for, could all just wait while I took care of the really important stuff.

I take the welfare of my work very seriously.

So I did a wee bit of book binding. A concertina book, so when you stretch the whole thing out, you can still view the images in sequence, and the story is not lost or interrupted by the physical act of page turning.

The Prints travel down, like a hanging.

I wanted the book as a product to communicate all the research I’d done for the project and adhere to the thematic choices I’d made when designing the prints. It had centred around this wooden mask and I wanted the element of natural to come across, hence my decision to use earthy tones and loosely knotted rope for the belly band.

The choice of title had been a factor I laboured over, probably more than I should. In the end, I had decided on Knots for three reasons. Firstly, as the theme of wood had been such a strong factor in the creation of the project, it refers to the knots you get in the bark of a tree. A lot of my supporting sketchbook had been drawings of these and woodgrains, so it seemed very appropriate. Secondly, the story had to convey an element of home, something I had dealt with by showing our little character flying off to find home in an airship very reminiscent of an old galleon, the captains of which would measure a distance in knots. And thirdly, the object I had been asked to base my story around had been a mask, two images of which show the creature untying the string knots of, in order to remove it and fashion it into the figurehead for his journey.

It’s a one off, firstly as I only had one more copy of the prints to use, and secondly because it took me so frickin’ long . But it’s got quite a nice, handmade feel to it. Quite different from the heavily photoshopped stuff I usually crack out.

It’s nice to have a change sometimes.

Definitely time well spent.



Sometimes at Uni, I do things FOR Uni!

In light of the exciting developments that have been taking place outside of the university environment (things like Comiket, my review and MY NEW SHOP WHICH I JUST DON’T THINK I’VE GONE ON ABOUT ENOUGH), I’ve done an excellent job at neglecting the work I’ve been doing within the big, ol’, yellow institution.

This post will be an attempt to correct these wrong-doing by bringing you a little snippet of creativity from the life of University.

You know, that place I spend 80% of my time. The reason I live here. That one.

Doesn’t even involve photocopiers.

So, we’ve been working on two, comparatively short projects that, although required separate outcomes, held a common theme and were (presumably) designed to feed off of each other to an extent. In short, we started with an object that we were then to expand on and extend into an environment of our chosing. (There were many more restrictions than that, but we won’t get into that just now.)

Naturally, me being me, I chose a COMPLETELY terrifying wooden mask of a human face and, naturally, me being me, decided to create a completely terrifying wooden creature to wear it.

In a nutshell. Give or take a bit of research.

Our outcomes were to be a sequential narrative, for which we had to convey this sense of movement in 9 panels (something I think my all night comic-making-athon may have put me in good stead for), and a soundless animation of 15 seconds or more. Simples.

It’s been, for the most part, good fun. The Animation comes first in the saga of the weird Tree Creature. It’s jerky, it’s rushed, it’s wibbly and just generally a bit crap and so, totally not worth the amount of time sunk into it’s creation. But the more I watch those meager little 24 seconds, the more I love it. Like a really ugly kitten. Or a child who just can’t get his head around potty training.It’s my first ever start stop animation and so I feel I’m entitled to a bit of forgiving in terms of the craft. It’s made by my own fair hands and therefore, by default, I’ll love it always. If only as a milestone in my creative journey.

And even if it does leave a little poo on the proverbial carpet every time I watch it.

My static image sequence, while still rushed and far from perfect, had the advantage of being a practice I was familiar with. In an attempt to communicate this driving theme of the mask’s wooden texture, I made the (pretty foolish to be honest) decision to linocut my sequence in three colours which, due to the restrictions of the process and size of my lino, added a simple bleakness to the images and lost a lot of potential detail. As I’ve said, just a little too often about my work before, they’re not the greatest feat of printmaking known to man, but time played a restricting factor that forced the simplification of imagery down to the point to see here.

While I loathe to consider them a direct sequel to the animation (due to my own personal gripes regarding the film industry), they could be considered to continue the narrative previously explored, and therefore should really be seen second. You know, seeing as they were offered as a joint brief and all.

I might consider them a spin-off. Maybe.

Originally I’d planned to bind them into a concertina book, sandwiched between a hard front and back cover. I have two prints of each image, so it’s something I could still well do, but actually, in terms of the movement between image to image as a sequence, the simple grid of 9 works rather well. They break up well into columns of 3 and I think that adds a nice pace to the movement that could easily be lost in the transition into a bound document. There’s a certain stillness to the images that I’d worry would be compromised to an extent if they were to be viewed in one, continuous line. As much as I love books and book binding.

And I do.

So there’s a little taste of what a Bath Spa student has to offer. Wooden Creeps and wibbly frames. Top-Notch talent only in that school doncha know.

Bugger, I was hoping to keep this post short so my flatmate doesn’t laugh at the cyber-typing-diarohea from which I suffer, but I seem to have had another attack.

Sorry about that fellas.

Over and Out.