Contextual Research - Jonathan Hultén

Jonathan Hulten is a Grammy award winning guitarist, multi-instrumentalist and illustrator from Sweden . Tribulation and his own solo work, taking inspiration from his religious upbringing in a church, inspiration in nature (he cites trees, mountains and the sea as influences that call to him), the Art Deco movement, vaudeville, performance art, horror movies, heavy and death metal music and gothic subculture. He designs all of the vinyl artwork, gig posters and printed ephemera for Tribulation and his solo project using ink pen and editing in Photoshop; marrying the digital and the analogue. 

He has a multidisciplinary and open practice combining music, illustration and graphic design, costume, makeup and performance. I like that it's such an open discipline where everything translates and centres around his music.

He is heavily informed by metal music and horror movies which makes him relevant to my emerging practice and the direction I would like to go in my professional career. 

I particularly like his simple shapes and colour palette, often working with cream, black and red, and very elongated forms reminiscent of Art Deco and all the things that symbolises including elegance, culture, sophistication and youth. 

More and more I am becoming inspired and informed by music in my practice and n longer enjoying children's book illustration like I once did. It no longer brings me the comfort that it once did, I find only pain where an old interest lies that reminds me of when I was happy before my trauma. Music is now my comfort blanket.

The Beatles

 

Over the duration of the quarantine and self isolating, I needed an escape and something to focus on from being stuck inside. I've always wanted to explore The Beatles' back catalogue but never had the time to do so - now I had plenty of time! I really found myself transported to another era through their early, muffled recordings of positive, catchy pop rock, to folk and soul, to outright psychedelia and art rock. They were the soundtrack to swinging 60s culture, the ultimate trendsetters and had an interesting linear progression; going from 4 young clean-cut local boys who evolved their image and sound informed by their experiences of travelling the world and experimenting with drugs. Their later compositions became more innovative, more lush, with multiple layers of playful sounds creating an intriguing ambience. It gave me a nostalgia of an era I wasn't even alive in and reinvigorated my interest in life and learning.

I saw parallels of their progression in myself of how I started out my practice as someone staying within the rules and not exploring beyond what was comfortable, to then being changed by life experiences, age and travelling, and a need to express myself in a more loose language.

I learned about the history of the vinyl covers for each record and how it informed a visual language of its own. The "Rubber Soul" era particularly interests me both musically and artistically. It was the first record of theirs not to feature their name, a testament to how big they had become. The font was created by Charles Front who was influenced by the album name and produced something akin to the globules from a rubber tree - starting narrow and then filling out. The rounded letters used on the sleeve established a style that became ubiquitous in psychedelic designs and a staple of poster art for the flower power generation. The elongated photo was entirely an accident when photographer Robert Freeman projected the image for the band onto cardboard but it fell slightly backwards.

This history of the vinyl is intriguing and showcases how the Beatles continued to test the limits during this time - something I wish to do with my practice.

LAUIL502: Studio Brief 1 - Study Task 2 (100 Word Reflection)

 Sam Dunn's work sits strongly within the arts and design sector, proudly showcasing a vast portfolio of print, sculpt and merchandise for brands, bands and her own personal shop. She has a strong online presence through her website, blog, Tumblr and instagram. Sam's practice is of great interest to me through our shared love of music, enjoying the same bands, sub-culture and aesthetics. Looking to Sam is relevant to my own professional development to see an illustrator, with similar interests and influences, applying blended analogue and digital approaches to a range of products for band merchandise and music magazines.

Own personal reflection (203 words)

Receiving Sam's answers and hearing her journey through her professional career has inspired me to really make my dream a reality. While our personal battles are different, and Sam doesn't struggle with blindness or a lack of motivation due to personal circumstances, creating a steady flow of work over the years, our love of music unites us and inspires us to create to sound. I didn't quite get the answers I was expecting with the AOI or contact list questions but we are all individual and there's no strict set of rules on how to be an illustrator. This does not stop me from making good use of these tools and resources while I am still developing my practice. Sam's strong work ethic and tireless production of applied illustrations to products in a landscape I'm genuinely interested in motivates me but also challenges me. Sam would become competition to potential jobs for myself and I need to be able to create as much frequent output with a strong, individual voice that is easily recognisable and can be applied to a range of items. I need to have as strong of an online presence and to consider having an agent to help find jobs. 

LAUIL502: Studio Brief 1 - Study Task 2 (Interview with Sam Dunn)

 

• How long have you been illustrating for? When did you realise you wanted to do this full time as a job?

I loved drawing from a young age, but started doing it more seriously at college when I began working on posters and t-shirts for bands. I decided that after school I wanted to do illustration as a career so I went to a local college to study Graphic Design, Illustration and Photography (Cleveland College of Art and Design) and then university (Central Saint Martins College of Art and Design).

• How would you describe your practice?

For more projects I use a mixture of traditional and digital techniques. Some projects are fully digital if the timing is tight or there are lots of assets required. I usually start by sketching a rough idea with my Wacom tablet which I can then print out and draw over by hand. Once it's finished, I can scan it back in and add colour and details digitally. I love hand-drawn work the most but digital is very convenient.

• Who are your influences, both art and otherwise? What kind of things inspire your work?

My influences are broadly based on lots of things I like, mostly music. Hard rock and metal is my soundtrack. I also like folk art, skateboard graphics, kitsch, spooky stuff... It's a mist mash of all those things and more!

• How did paid jobs start for you and how did you get your foot in the door to illustrate prints for Kerrang!, music record sleeves and band merchandise?

I started doing work for smaller bands through online sites like myspace whilst I was in college and for bands that my friends were in. I then built up a little portfolio and just kept going from there throughout uni until I graduated. Smaller work then developed into bigger pieces for more well-established bands.

• Did you create a contact list of who would be important and beneficial to your career?

I don't think I created a list but I did email lots of artists ad designers whose work I liked while I waste college and uni so I could get an idea of how they worked too!

• Is having an online presence integral to getting seen and getting work?

In this times I think it definitely helps, but it is also strong word of mouth that is still really important and getting your name put in front of the right people can be a great way to get work. 

• Do you think it's important to be near London for jobs or is that idea of being near the capital changing?

I'm still on the edge of London but I think it's become less important to live here for work, especially as the current situation has proven with a lot of people working remotely from home. Although London may have lots of in-house creative jobs, illustrators can work globally online so it shouldn't matter where you live in the end.

• What keeps your practice new and exciting for you? How do you tackle artists' block?

I just try and do my best and make things I enjoy. There is no point if I am not having fun with it! I love working for bands as I've always loved music, so adding to their list of art is always an honour. If I don't feel like creating then I play games (Animal Crossing has become my favourite during quarantine!), watch TV, do some gardening etc. and try not to force myself as nothing good usually comes out of that. 

• How do you find paid briefs to work on? Do you approach clients or do they approach you?

Clients usually approach me now but I've also e-mailed clients when I've got an idea or I think my work would be good for them. I also have an illustration agent (Everyone Agency) who finds work too, so it's a mixture of both.

• How do you approach a brief? What is your way of working?

• I usually start by sketching rough ideas and gathering research. Once I'm happy with the sketch I share with the client and we decide if there's anything else to add. If it's all good to go I begin the final, either by hand or digitally depending on the outcome.

• Do you enjoy creating work for personal use or do you strictly see this as a job? One of the things I have struggled with is associating illustration with education and find it hard to do anything in my personal time get enjoyment out of it.

I still do personal pieces when I can so I can try new things and also just to put down ideas I've had that haven't been suitable for clients. I sometimes group my personal work into work that could be sold through my shop, so I see a personal project as a chance to create something I've been wanting to, like a wall flag, zine, pin, new print, etc. That way it's still personal but still has a purpose. 

• What has been the most rewarding brief / project for you?

As you know, I always love working with Ghost as I loved the band before I started working with them so it's a total honour to do shirts for them. I also loved pitching ideas to AFI who are my all time favourite band. The ideas didn't go ahead but to hear fellow fans saying they like them meant a lot. I also loved doing the Twitter x Woman's project last year which was painted as a huge mural on the street I used to live on in London, so that was surreal!

• Have you had to do other jobs outside of illustrating to support yourself financially?

When I graduated I started working in advertising for a few years, first as a full time job then freelance alongside my illustration. Sometimes I still take on graphic design jobs, as I still enjoy it, if the right project comes along.

• Are you a part of the AOI (Association of illustrators) and do you find those resources beneficial?

I actually haven't signed up or had an AOI membership before so I'm not too sure. I've heard it can be great for pricing and help with questions so it is probably beneficial! 

• How do you value your work and your prices for commissions?

I have to take into account the time it will take, the usage (will it be a he campaign or is it a local brand/band?) and also look at industry rates so that it's fair overall. 

• What are your plans for the future?

Hopefully just to keep working as I am, with bands, brands and individuals who like my work and want to make something fun. I've started a new side project called Cast By Night, which I have just finished the logo and website for, where I will be creating handmade silver jewellery. It's something I've aways wanted to try out.

• What other questions do you think I should be asking as someone moving into the final year of an illustration degree?

Ooooo, I think you're doing great with what you'd like to find out so far! These have been great questions. I'm not sure what else I'd add other than best of luck and keep going with your studies! I hope that's ok and answers all your questions!

Children's Books are no longer interesting me

 

I've really grappled with this notion throughout LAUIL504 Applied Illustration... Children' books are no longer interesting or relevant t me.

I chose the Carmelite Prize competition brief to try and rekindle some magic and love for something I was once so passionate about in Access to HE and Level 4. I loved children's books as an educational tool for children, teaching them life morals and / or history, culture, society, technology in a fun and playful visual way that could easily be digested. They were a huge comfort to me and I loved delving into different worlds as a form of escapism with my favourite characters. Children's books felt like one giant hug r a big blanket and the prospect of going into that world as an emerging practitioner excited me to no end. I had a "gentleman's agreement" with Walker Books to work on expanding my Pearly Kings and Queens zine from the visual narratives module in Level 4 into a full-blown children's book; teaching of British heritage, charity, selflessness and compassion for others.

Undertaking this brief, however, has shown me that the magic is no longer there. I have simply changed and grown as a person over these past few years with the trauma I have dealt with, with my health and losing my support system of a family, and my interests have evolved over this period when I needed comfort in other ways. Primarily music and sub-culture. 

Lesson learned: You cannot force yourself to produce work that you don't enjoy and I have learned this the hard way.

Going forward, I would like to develop my professional practice into producing responses to experiential art, being informed by music, using illustration to educate about mental illness. I now have a broader range of options surrounding my practice and I'm no longer limited into one category of illustrating for children. I have a much bigger audience. I would like to become more multidisciplinary. This excites me for Level 6 and the new horizons in my practice as a professional. I want to make illustration relevant and enjoyable for myself first and foremost. 

LAUIL502: Studio Brief 1 - PP2 Contact Report

• Who do you want to contact:

I would like to contact Sam Dunn, a multidisciplinary illustrator working digitally, three dimensionally and in analogue with lino, who has created a variety of products for bands, artists and music magazines (sam-dunn.com)

• Why do you want to contact them:

Sam has a strong interest in music like me which informs her practice and has created merchandise and visual branding for some of my favourite bands such as Ghost, HIM and Mastadon. She has created a variety of products including t-shirts, record sleeves, Covid masks and prints for them. I admire her strong work ethic and would like to know more about what it's like to work with a band and a magazine - especially ones that I grew up reading and admire greatly.

• How are you going to contact them:

Sam has a contact form on her website as well as an instagram that I can message her on as we both follow each other. This means it won't go to her outbox!

• What do you want to know:

I would like to know how she got her foot in the door of illustrating for big music magazines like Kerrang! and Metal Hammer, whether it's important to have an agent, how she approaches her briefs, how she tackles artist block, whether she is a part of the AOI and how she finds jobs.

• What impact will this have on your studies and practice:

I hope that a connection with Sam can be the start of something positive in the illustration and music industries, and that her answers will inspire me to follow this route with creating tangible products from my own illustrations that other music fans can enjoy and find value in. Music is very special and powerful.