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NATHAN HACKETT

PRACTICE


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CONTENTS PAGE .....................................................................................................................

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INTRODUCTION

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Methodology

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Design Buddy

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Crayon

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Given Brief

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Paper Cinema

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D and AD Awards

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Portfolio

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Web Presence

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Research

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Aspirations


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MY PRACTICE What i need to change

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Bespoke

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Out of Sight

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Self initiated

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Tlk Talks

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Influences

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Self Promotion

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Working Space

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Attitude

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Making it happen

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OPTIMISM IS A STR FOR MAKING A BETTE FUTURE. BECAUSE UN YOU BELIEVE THAT TH FUTURE CAN BE BETT ARE UNLIKELY TO STE AND TAKE RESPONSIB FOR MAKING IT SO -Noam Chomsky


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RATEGY ER NLESS HE TER, YOU EP UP BILITY

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INTRODUCTION ..................................................................................................................... Choosing to study illustration has been one of the best decisions I have ever made. I have come to this conclusion without any sizeable success, and in my time at studying at the AUCB, I have suffered hard lessons, agonised long hours over sometimes trivial dilemmas, and complained liberally. Despite this, I think that it is one of my biggest achievements to embrace the discipline that I love. My comfort is in knowing that it is not in its rewards why I admire illustration, but for its ideology that fuels my optimism and aspirations that has moulded my consequentially flawed self. I now consider it an irreplaceable part of my identity.

Illustration does not offer any concrete stability but fulfils with its possibilities. It has offered me residence in its ranks alongside some of the greatest, most talented people I’d ever imagined meeting. For this, I am both thankful and proud.


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MY PRACTICE .....................................................................................................................

#1 C’est la vie, stop complaining. Or, how something I thought was catastrophic turned out pretty okay in the end.

At the beginning of this year, smelting my unbacked-up laptop hard-drive into a metal Broken Hard cube and losing my projects sketchbooks made me depressed and nihilistic as I struggled to keep up with what I had missed. Moreover, it’s one of the most important lessons I have learnt unintentionally on this course and I’d recommend doing the same to anybody dissatisfied with their works progress. Up until then, my work in the past years I think was always going in a direction that I was unhappy with. Some of the work I liked, but at times I felt reluctant to develop it in the direction it was heading. From some misguided, reckless ideology that the illustrations I was doing were missing the mark was because I was heroically misunderstood I overcome in an instant. Maybe from the self-pity I had I psychologically tried to reconcile myself with that was wrong with the work. The realisation that


P.11 MY PRACTICE ..................................................................................................................... whatever I produce is transitory until I reach a conclusive standard that I am happy with enabled me to look at the situation with a chance to renew my practice.

The work that I cherished was destroyed, along with any old habits. My practice was reevaluated, and I decided that d-drive I wanted to start being less selfish with my illustrations and start looking more extrovertly into who my illustrations were for. The process made me realise that I wanted to have my work appreciated, and so the work I am producing now I am much more satisfied with and willing to share.


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MY PRACTICE .....................................................................................................................

“

To design means forcing

ourselves to unlearn what we believe we already know, patiently to take apart the mechanisms behind our reflexes and to acknowledge the mystery and stupefying complexity of everyday gestures like switching off a light of turning on a tap -Alain De Botton

�


P.13 MY PRACTICE .....................................................................................................................

#2 Illustrations I make defines who I am. So do it comfortably.

Illustrations I make defines who I am. So do it comfortably. My prior hesitance professional practice was challenged by Hayley Potter in a workshop when we were asked to define ourselves and our practice, first in a statement and then in a sentence.


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MY PRACTICE .....................................................................................................................

From Hayley’s Workshop - Nathan Hackett is a British illustrator and visual artist whose work has developed a pedantic personality and a labored attention to detail from a love and frustration in creating. Having exhausted all he can absorb from the suburbs of Birmingham, Nathan graduated from the Arts University College in Bournemouth underneath the guidance of working artists such as David Callow, Joel Lardner and Marcus Oakley before graduating in 2012. Having worked and curated on several self initiated exhibitions in that time; he has developed an interest in literature, old cinema and comic books; particularly the social critiques of George Orwell. This inspires his work in subversive and satirical narratives to express psychological and political conflict. His illustrations often feature monochromatic mark-making in pencil and ink to create intricate or three dimensional compositions that are informed by the spaces and shapes around us. To create these narratives, he employs the use of the dominating architectural landscapes and urban concrete structures we have become accustomed to as an interpretation of the nature of existing and living in its environment. Whilst being engaged in the ongoing evolution of his work, Nathan is also interested in the process of collaborative exercises within the creative community and values the importance of theoretical understanding in creating. He is currently investigating the nature and impulses of creatives to create in a project, which involves interviewing recent graduates and producing artworks inspired by elements of their character. When creating these illustrations, Nathan micro sleeps on bathroom breaks and will drink inhuman amounts of coffee, which results in a handshake that is too enthusiastic.

...

His illustrations often feature monochromatic mark-making in pencil and ink to create intricate or three dimensional compositions that are informed by the spaces and shapes around us.


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MY PRACTICE .....................................................................................................................

Before, I always recoiled from the illustration terminology of ‘style’, thinking that it cheapened a lot of peoples practice which I think may have been born from my lack of coherency between projects. Much better would it be to trade a style rather than a way of thinking, because that is what identifies us. However, I was wrong and short-sighted. Often my projects have been scatterbrained because I hadn’t given what I was doing the time to develop and evolve. I enjoy new things, and there is much left in illustration to explore but I feel that now I have more confidence to instill an

identity into how I work. I had never considered the science in thinking of an appropriate style to best articulate an expression, and because of this I don’t think I properly thought about what I wanted to say overall. Not one image is an isolated anomaly. The illustrators I admire have become potent with their meaning that has been made accessible through a series of a way of working. You become versed in reading their images the more you see; it was the simplicity in sequential progression I have been missing when wanting to express ideas through my work.


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MY PRACTICE .....................................................................................................................

Whatever you believe you can do, begin it. Boldness has genius, power and magic in it

Goethe


P.17 Methodology ..................................................................................................................... #3 Sometimes, I’m not that bad at stuff

My uncertainty and hesitation from my own inadequacies were regressive to my work. My work has always been laborious, and I work to create intensity in the craftsmanship of the image. I enjoy that, but it meant that I was too scared to show people my work and I have an awful habit of hiding as much as I can away. Life drawing has proven to me to be a therapy in building up my confidence again. In life drawing, there is a freedom in making imperfect monsters. It’s not judgemental, but explorative. I have realised that I’m very quick at picking things up. I try and learn as much as I can, and I think my meekness has turned to arrogance when I say I genuinely don’t think there is anything I couldn’t do if I tried hard.

And some things are still too horrible to show


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Methodology .....................................................................................................................

Drawing will always be your first love

Clare Scully

Drawing has always been a majoring factor in my work, and it’s something I have always been good at. I like to see where I can change these drawings or adapt them into different things. I enjoy working digitally to explore how they can change the composition and emphasis of the drawings.

It’s just an extra step in reaching the final image.

Within the last project, I have also explored a lot with how I can collage different drawings and marks together to make the images. At the moment, they are monochromatic because I felt this was the strongest point I was at and


P.19 Methodology .....................................................................................................................

it suits the surreal concrete coldness of the project, but I hope this is a stepping stone to something progressing into a way of integrating more elements to my way of working. Graphite and ink are still giving me a lot of different qualities I am getting excited about, and am opening up a lot of possibilities.

Another important development in this project has been previously, I would have been obsessively reworking the same image several times. Joel has taught me in the feedback from the last project not to re-do the same image so many times. I think I am disallowing myself happy accidents by working that way, and so this project I have tried to work in a linear perpetual way with more editorial-like time limits to myself for each page (which I enjoy a lot more). I have always been envious of people who get by without any struggle, and I think it’s taken me a long time to realise all this, but with a lot of help I’ve had I am still lucky.


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The thing I don’t understand is why so often one hears discussion of the fruits of human labour as if it’s all the creation of some alien race. -Chris Ware


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#4 If it’s bad, it’s bad. It is what it is, but well done for learning I am also particularly good at mistakes.


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What i need to change .....................................................................................................................

#5 Be discerning

The etching workshop I had with Marisol helped me a lot in my mark making and also considerations in composition. Her work I felt didn’t follow etching denotations or etching typical qualities, but referred to a more painterly approach. Her drawings were theatrical, and dominating. She told me that just because a shadow isn’t realistically there doesn’t mean it doesn’t belong there. I think this theatrical view to an image has helped me progress into what I feel is making my images much more enjoyable to look at. One of my overriding criticisms last year was to be more discerning, and now I’m trying to relay this in the philosophy of my image making. Just because an image is complex, doesn’t mean it has to have so many complicating elements fighting. My work more recently is employing a better way of storytelling that hides as much as it reveals, and this I think is key in what I want my illustrations to describe.


P.23 What i need to change ..................................................................................................................... #6 Create images respecting an audience

I want the viewer to meet me half way. It is almost hypocritical to think of myself as a preacher when I am unsure of so many things myself. Images are not closed facts but about intrigue and a provocation in thinking. Otherwise, why bother looking at it?

...it isn’t a fine art introspection, it always addresses a situation -Quinten Blake


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Design Buddy .....................................................................................................................

#7 Illustration is special. My work is special.

At my first design buddy meeting, I was horrified at the suggestion that I could sell my work as stock images. He smiled at my youthful, optimistic morality but to me, every stock image sold is an illustrator with one less commission.


P.25 Design Buddy .....................................................................................................................

I have thought about this, and the words have stuck with me, but why am I so against it? Illustrations are made for a thing. It is hardwired to act and function for its target and that is what makes it special. Any illustration

practice should work from that premise: knowing that it is unique.


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P.27 Design Buddy ..................................................................................................................... #8 Decide already! My design buddy has urged me to find the sector I would appeal to. Since then I have tried to be a lot more proactive in researching publishers, agencies, companies, magazines etc. and have begun to compile a database of potential people to contact. I hadn’t thought about specialising until then, and I decided that I’d first like to try more narrative work. I realise that I enjoy reading, comics and films, and until recently my writing and illustrating has remained separate. When I sought a tutorial with storyboarder Tony Chance, he told me he can’t understand how you could make a career out of illustration without

writing or storytelling. Although I don’t agree, it must help, so I have been trying to make a portfolio with a more narrative storytelling slant. If there was anything else that I wanted to do I could always work hard on alternative portfolios.

Nothing is so

exhausting as indecision, and nothing is so futile. -Bertrand Russell

Design Buddy Scheme condensed to 5 quick and easy notes 1. 2.3. 4. 5.

-appeal be persistent/politely annoy -cold call-send things -get as much feedback as you can -research first


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No amount of skilful invention can replace the essential element of the imagination. Edward Hopper.

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Bespoke .....................................................................................................................

#9 some people won’t appreciate what you are doing, but it’s still for them.

The most cynical I have ever been on illustration was helping to invigilate the fine art courses project at the lower gardens last year. I thought the public were rude and inconsiderate in my most polite phrasing, and it saddened my resolve to do anything. I thought why should I do anything for them if they won’t appreciate it? Bespoke however, was a great exercise in curating, and particularly made me want to


P.31 Bespoke ..................................................................................................................... create work for them again. I enjoy collaborating with other people in exhibitions, and want curating events such as this to become a more prominent part in my practice. When I have sold work before, I have a tendency to under-value

what I have made because it always seems like a favour. Now I have begun to see the realistic pricing of work. Not asking for too much or too little, just fairness.


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Bespoke .....................................................................................................................


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Crayon .....................................................................................................................


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Out of Sight .....................................................................................................................

#10 It’s important to share

Out of Sight was a group collaboration of 40 people from a range of different course areas. What I think is important as an illustrator, is constant interaction. Ideas need to be shared, and any creative discipline should be recognised as part of the same family. I have enjoyed the AUCB’S eclectic course structure, and would like my work to feed in and out from different courses to enable more possibilities for my work in different avenues. Out of Sight was all about instigating a conversation in

alternative places. For me, it awakened a feeling that my practice needs to seek an audience, because I have the capacity to show them something they’d want to see. I took on a lot of the jobs in this project to ensure its success, and it taught me a lot in how to contact people for funding, how to organise and create an event, advertising, curating, designing, debating, collaboration and health and safety forms. Having done this, it has made me eager to plan other projects as well as reliance to the idea. Illustration can be used as a tool for community building, and is worth the effort.


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Given Brief .....................................................................................................................

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Confidence is what y understand the problem

Woody Allen

#11 Am I talking to myself here? At the beginning of this year for my negotiated practice, I decided to try following a given brief from the folio society in designing three in book illustrations and a front cover for The Bloody Chamber. I decided to do this because I thought that for an illustrator, I have an ironic personality that likes to shy away from showing people work. I thought that if I was given a brief, it would encourage me to start thinking of making images in and for a context rather than introverted images. I think a lot of illustration as a freelancing independent businessman, a lot of the time there will be an assortment of briefs and I think that competitions are good practice for that.


P.39 Folio Society .....................................................................................................................

you have before you m.

�

I don’t think the process is reliable at all, but the seeking of briefs, and being attuned to these will help me become a more socially aware professional illustrator that isn’t lost in his own thoughts in isolation. The lecture from Leigh Clarke was critical in my belief that work is better when it confronts or seeks an audience. The intractability in his work makes it accessible to an otherwise aristocratic gallery going few.


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P.41 Self Initiated Projects ..................................................................................................................... #12 Keeping busy = Drudging forward. In illustration, I think it’s important to keep busy so that your practice does not lose momentum. I like to always keep notes and books full of ideas and stories that I think I could use whenever I have a chance to. Some things I have come across that are too difficult to ignore. When I was looking through my friends old photographs of her family in Romania, a lot of them were during the communist regime of old farm houses and soldiers. I couldn’t resist piecing these together to making a George Orwell book cover for Animal Farm. I want to make these into a series of other George Orwell inspired images for fun. I think that I want in my practice to always be working and never waiting. One of the fears I have, and one of the risks of leaving university for a lot of students I think is that you lose the sense temporarily of objectives to keep and as a result remain stationary without any progression. After university and our exhibition at Free Range, I thought it would be a good idea to organise another exhibition just after during summer with my peers, if only to have that as a goal to be working towards for the sake of avoiding lethargic idleness. I think there is a lot of integrity in working hard and trying. Illustration faces a lot of obstructions and insecurities, and it is only on the testimony of some of the leading illustrators effort that the discipline succeeds in remaining relevant.


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P.43 Self Initiated Projects .....................................................................................................................

“

When it comes to the pinch, human beings are heroic George Orwell

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P.45 Paper Cinema ..................................................................................................................... #13 Be thankful there is a lot of possibilities because of your own inventiveness During the paper cinema workshop last year with Nick Beard, I think that has been one of the most powerful lessons in the diversity of illustration. I saw his performance at the Bournemouth light night this year, and it was great to see how it attracted an audience as a spectacle in a public place. If ever the feeling of working towards an indistinct future, I find security in knowing of the already ubiquitous variations of illustration possible. There is so many things to do and so many things to try, my practice can only be built upon by embracing these new nuances through technology and looking ahead of what the field of illustration may hold. Adaption is key, and we should remain undivided amongst our co-illustrators in order to achieve that. Creating possibilities, or the potential for things in my portfolio will now be one of my biggest challenges, and I hope in the near future to make a new animation that have written that I will be happy with and make it easier to brag about. I think I can do it, and I have all the tools available for making something worthy of my portfolio.


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Tlk Talks .....................................................................................................................

#14 illustration is a business. Begin to act like it is

I used to hate thinking or talking about business or networking. At the beginning it made illustration feel like work and It seemed to be hollow and egotistical, but it seems like it is one of the more unavoidable blunt matter of facts that I’m going to have to stomach if I want my illustrations to be noticed. I have been to a couple of meet draw events now and respect the value of community in creative industries for business. Salesmanship is inherently unavoidable as a necessity in illustration, and while I have always tried to be honest and

sincere whilst talking about my work, so long as I make the right connections with people I am interested in and want to connect I’ll still be authentic as a practitioner.

I’m just

everybody e -J.D Salinger


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Tlk Talks .....................................................................................................................

#15 Have an ego

I have learnt that I’ll have to speak up about my work and stay committed to who and what I want to work for by seeking those friendships and building a rapport with people who are in sync with my work for mutual benefits.

sick of ego, ego, ego. My own and

else’s.


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My 4 part plan to a good day

-wake up -make coffee -draw -go to bed


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D and AD Awards .....................................................................................................................

#16 The bigger picture

Sometimes I like knowing that there is a lot of people out there like me, at other times, It’s ominous, but then, achievement isn’t anything if it’s just me competing. I’ve stop shying away from challenges that are realistically improbable because the existence of some courageous ability I have somewhere is probable. Maybe I’d buy lottery tickets if there was an element of skill, because that is something I have an influence over.


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Influences .....................................................................................................................

#17 inspiration agitates a something that makes things happen

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so A richness of sources is needed in order to engage with a wider world. Art should be awkward, difficult and aggressive. Images have layers of interwoven masses of fragments, pieces and snippets from everything. What inspires me and what I react to are difficult to acutely summarise from a course that encourages absorbing as much as you can from as many things as you can and celebrates eclectic diversity and interaction between students. Marcus Oakley talked about the importance of collecting things that you like, and I collect snippets of layouts and pictures from magazines, newspapers and book scan to appropriate in my own work after his lecture. I have always been a big consumer of books, comics and films, and research into my projects topic is a huge factor into the methodology of my work. It is only after research that I feel comfortable to explore the theme more visually. The images I create are always experiments of exploration into technical or theoretical subjects I want to learn more about.

-Alb


“

P.53 Influences .....................................................................................................................

Creativity is knowing how to hide your

ources

bert Einstein

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Illustration theory has affected the way I look at images and understand them. I find myself enjoying more the content of illustrations and the multi layered composition of things I recognise. Illustrations excite me best when I am able to follow journey of the thinking patterns of the illustrator. My favourite illustrators and artists that have influenced me tend always have evidence of hardship in the images. I enjoy meticulous images, and it is something that I am striving towards.


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Influences .....................................................................................................................


P.55 Influences ..................................................................................................................... In particular, George Perec and his writings on the evaluation of space have influenced me and consequent works since reading ‘Species of Spaces and other Pieces’, as well as George Orwell who I consider to be one of the greatest social critics.

“Question your tea spoons ” -George Perec


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Influences .....................................................................................................................

I have always liked sketching buildings and the structures and shapes they can have as dominating entities has featured in my work recently. The principles and philosophy of urbanised, cosmopolitan cities is a subject I like because of the gritty, unforgiving bluntness the spaces symbolism connotes to. This view may appear cynical, but I don’t think it is: it’s just inspiration to fight against our given context.


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Influences .....................................................................................................................


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Influences .....................................................................................................................

#18 The bittersweet beauty of feedback

Being on a course with like-minded people has proved invaluable to my development as an illustrator. I love looking at my friends work, and the studio has been a place to critique, praise and engage with each other’s work that affects work directly, and has helped me to understand and appreciate everybody’s different disciplines. As a microcosm, the course has been good practice to become aware of my own practice in relation to the inspiring works around me. You begin to fill in the gaps with your own works niches and by direct interaction it inspires a thinking that questions what I have to offer that other people don’t. Sojung Kim

Natasha Durly

Sam


P.59 Influences ..................................................................................................................... Louise Byng

Grogan

Kate Rowland Anthony Nil

Emily Hughes


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Self Promotion .....................................................................................................................

#19 Success isn’t cheap

The AOI released a figure that almost 75% of illustrators spend over £100 a year on self-promotion, and most often closer to £500. I realise that I am only a student and self-promotion is going to be a big factor in the coming months that would help determine my success as an illustrator. I don’t want to be waiting around for opportunities, so have been thinking how my work for the last project can be adapted into business cards, postcards and stickers to create some sort of branding and the silent auction as well as tutorials have proven to be a good venue to test what material to try. I’ve been trying to think how my work can fit different formats. Hayley Potter in her workshop asked us what we wanted, and what we have to offer. She said that a good promotional material provokes a response, is unique and consistent with your identity. I plan to collect illustrators together into a mailing list so that subscribers organically grow aware of not only the illustrator they subscribed to but the collaborators of the newsletter. I think selfpublishing and sending out postcards, small gifts, badges and booklets and developing a mass of work for an online shop will always be a necessity in my practice.


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Self Promotion .....................................................................................................................

At first I plan to see how this ethic of put as much energy as I can afford until it pays off goes. I want to avoid primarily agent representation if I can do it myself to begin with, because realistically as a recently graduated student I won’t have developed that much respect in the field and Holly Wales in her lecture warned that many agents are busy representing everybody else as well.


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Portfolio .....................................................................................................................

#20 I can control how I am interpreted

I have two portfolios, one a PDF so potential clients can download a copy for future reference, and a bone fide paper portfolio because of the quarks of old fashioned meat-space. I think it’s a good idea to always offer extra on my website, and through the professional display of my work in both formats I’ve tried to gear towards what I want to do or what I feel best communicates a narrative that describes who I am. I think it’s a good idea as well to always be changing the portfolio and keeping all the copies I get printed so that I can always appropriately re-

assess work through critique and advice that makes a stronger and more succinct guide to my practice, as well as a profile of an illustrator that keeps generating creative work. The presentation of work I have to put a lot of work into. Following Joel Lardner’s lecture on framing, I think I need to put a lot more investigation into the materials of surfaces that I plan to be using because I want to suggest an understanding of my work as a professional valued piece that I think it is currently lacking.


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Portfolio .....................................................................................................................


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P.65 Web Presence ..................................................................................................................... #21 keep people updated

more forgiving than a website. Web presence is an unavoidable reality to modern illustration, and a great way to share and talk about work through many social media websites. Exposure and utilising these resources to inform about fresh developments keeps me connected. The great thing about the variety of websites is that they talk about work in different ways and to different audiences. The in formalised presentation of work in a blog communicates a development, and a space for public progress in my practice that is a lot

Becoming ubiquitous as an illustrator requires discourse in as many social mediums as is available. The presence of me as an illustrator I think builds on the presentation of a formula that can be recognised across these mediums. I’m building relationships and interacting with new friends.


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Web Presence .....................................................................................................................


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Web Presence .....................................................................................................................


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Web Presence .....................................................................................................................

Eighty percent of success is showing up.

Woody Allen


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Web Presence .....................................................................................................................

nathanhackett.co.uk


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Working Space .....................................................................................................................

#22 The importance of a healthy context I think one of the advantages of coming from an art unappreciating family is that I value the environment that promotes the will to create things. One of the priorities I have when finishing university is to earn money and move to a place where I will be surrounded by a good atmosphere of understanding and supportive artistic clique I can benefit from. I like my working space to be messy, and full of activity so I am not limited in my thinking. My desk is a second home, but any busy atmosphere where I can blend in and draw I feel equally comfortable in. I will miss the working studio space that the university has

given me, and it is something I aim to re-create or join one day.


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Research .....................................................................................................................

#23 feeling helps thinking

I hate approaching projects unprepared. I have been guilty of spending too much of my time researching so that I feel more confident in approaching an image. Research offers me a reassurance in my approach and a confidence in my deployment. Holly Wales in her lecture taught about the benefits of allowing spontaneous responses to tackle a project. Salvatore Rubbino in a tutorial with me told me to ‘allow the task and the mediums to speak to you’. Holly Wales and Salvatores ‘what if’ philosophy is contrary to my usual way of working but by learning through making with my own new experimentation on impulse has helped open new avenues of possibilities. Responding to how a thing looks creates a more organic natural progression of an images conclusion. I think that their work has been a wise lesson in the importance of always seeking new methods and staying ahead of your commercial practice.


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Attitude .....................................................................................................................

#24 Be persistant or ‘politely annoying’

The work shop with copywriter Joan Ellis I found was fun and encouraging. Her predictions of advertising as a medium for illustrations resurgence, to compensate for its neglect in recent years and her advice on how to approach would be employers and all fell under the two rules of -Don’t be cynical -Don’t give up


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Aspirations .....................................................................................................................

#25 Look forward

What I want to be and who I am are two different things. However, after 3 years, I finally feel that where I am going is in the right direction, and with this renewed confidence I know that it will pay off with hard work and good luck.

My aspirations as an illustrator are to have fun, collaborate with more people and interact with people through my illustrations. I want to see my work published and break into the industry to live a modest life doing what I love.


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Making it happen .....................................................................................................................

#26 Be stubborn I think that my priorities within the next few months will be to keep building promotional material and a portfolio I feel comfortable with. After FreeRange, I plan to organise an exhibition and perhaps a publication with some other illustrating friends so that we’ll have a foreseeable goal to anticipate to help avoid a lapse in effort in our professions. After that, in the next year, I hope to get a job to temporarily earn money whilst working as much as I can as an illustrator and seeking commissions and clients through cold calling, promotional material and emailing. As soon as I have enough money through work or funding, I hope to move to

a city with an artistic buzz that will keep me motivated and stimulated. I want to draw and write and absorb. Hopefully, after my year out, I want to apply to masters courses, perhaps at the AUCB because I feel comfortable here and trust the institution. I want to take the year out to give myself a chance to develop independently for a while, but I still feel that I have not peaked to a seasoned, polished standard I can achieve in comparison to other people on the course who already have seem to have found an assured way of working. I hope that a master’s degree will help progress my practice through further development in an academic context.


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Making it happen ..................................................................................................................... After that re-alignment, it’s no more excuses and an all-out offensive on my professional career.

#27 Survival is a great motivator

Summary -Do exhibitions -Earn money -Do masters degree


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“

Everything is vague to a degree you do not realize until you have tried to make it precise

-Bertrand Russell

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Professional Practice