“Defining an Illustrator’s skill set isn’t really about itemizing a practical set of

abilities...Rather it is defined largely through the lense of the individual Illustrator’s personality”.

- Darrel Rees, Author of How to be an Illustrator

Contents

Who am I?

The Creative Process Influences

Major Project

Getting Involved

Online Presence

Portfolio and Branding

What’s Next?

CV

Relevant and References

“I try to fight my way through these preconcept ions of what people have of what an i l l u s t r a t o r is…and try to find my way of show-ing you can be very mul t i - ta lented” -Sarah Illenberger

Who am I?

An Illustrator, a Theatre Enthusiast, an Ideas Generator, a People Person and a Dream-er are all things I associate with myself as a creative practitioner. Ever since I can re-member, I have had a strong inclination to try EVERYTHING. There is a family joke that as a child I never had a hobby that lasted long-er than a few months. However, as a crea-tive student, I considered my dissatisfaction with honing in on one skill as a positive at-tribute. This personal trait that had hindered me as a child drove me to develop a varia-tion of skills within my illustration practice.

Looking back over my time at The Arts Univer-sity at Bournemouth I have amalgamated tra-ditional drawing skills with a variation of mak-ing techniques including paper art, sculpture, prop making, installations and light projec-tion. What is identifiable within each of these is the consistent emphasis on line, shape and colour. These all come together to produce a collection of dramatic and colourful imagery.

Each project that I undertake is usu-ally driven by my love of stories, both those read about in books and those I’ve been told. Often I focus on texts that have been interpreted many times, but I en-joy revamping classic literature in a playful and often theatrical manner to make them relatable for a wide target audience. I see my work in the context of Theatre design and performance. In particular I tend to focus on the characters and their roles within a narrative. I aim to dramatise their characteristics through facial expression and movement in my images. Photogra-phy and art direction is an imperative tool in my practice, as I will often capture images of real people to aid my character building.

The Creative Process.My creative process is similar to that of a traditional theatre designer. Their aim for a production is create a world that is believable and relatable for the audi-ence. They achieve this by focusing in on a range of different research methods and making techniques that have in-spired my own practice.

ResearchI consider it important to focus in all aspects in and around a chosen text. I take delight in exploring the historical and social contexts behind a story. Often I make the effort to visit specific locations or museums to gather pri-mary research. I particularly enjoy that every project widens my knowledge on a range of subject matter including fashion, interiors and architecture, history and many more. In effect, my obsession with appropriate contexts im-proves my ability to immerse the audience into my images.

The SketchbookI have close attachment to my sketchbooks as they are filled with ideas, inspiration, initial drawings and development. I see them as a direct insight into my head. This means pages are often erratic and messy with scrawls of writing and random mark making. My sketchbook is almost always next to me when making an image for quick access to my previous thought process and idea generation.

The Making ProcessEach creative process invokes particular techniques. My practice celebrates analogue methods, as I am fascinated with the tactile quality of craft-based mediums. However I always employ digital processes such as photography and Adobe Photoshop to add a profes-sional finish to my images. My visual language originates from my distinctive mark making with black ink and brush. However, an interest in the theatre arts encouraged me to push my prac-tice towards three-dimensional outcomes. I found paper art an appropriate medium to experi-ment with and over time I have discovered that I am most comfortable creating images that combine both drawn and paper cut qualities.

My newest venture within my practice bridges the gap between the two and three-dimensional art. I have adopted layering techniques to create small-scale paper figures and furniture that have the potential to be placed in both set boxes and flat imagery. Real people inspire the characters I make, yet I aim to put my own mark on these interpretations stripping them of facial features and focusing in on accessories and garments to suggest their personality traits. To set myself apart from other paper artists, I aim to add a personal touch with painted papers and hand drawn details. I am happiest when in the midst of this particular making process. I have faith that this technique has the potential to be developed within a Theatre Design context.

Influences

Theatre, Theatre, Theatre!

Theatre has always been a strong passion of mine since I was a child. Yet, it only revealed itself as a possible approach to Illustration in level 5, as I began to discover whom I was making my work for and why.

To me, there is nothing more spectacular, provoking and inspiring than a theatre production. I love the whole experience of watching a stage performance and how it has the ability to take place in almost any environment. An audience can consist of a few or hundreds. Yet, I like the idea that once the per-formance has commenced the audience forgets their surroundings and become immersed into fictional world of drama, tragedy and romance.

Some of my favourite stage productions have had impressive set designs such as Ian McNeil’s design for An Inspector Calls and Eugene Lee’s design for Wicked. These sets weren’t only enchanting to look at but were imperative for the narrative itself. This is something that inspires the basis of my image making. With degree training in narrative structure and visual storytelling, I believe that Illustrators have the potential to mould their skills to suit theatre design, particularly as it has been proven before by artists such as David Hockney, Pablo Picasso and Su Blackwell. In my own practice I have also taken inspiration from Dadaist and modern experimental Theatre, taking into consideration how creative peo-ple can introduce new strategies of performance and design.

“[Theatre matters because] its part of our DNA...we’ve been telling stories since the dawn of time. We will always have a guy or a lady standing in front of other guys and ladies telling stories, and that’s what theatre is” – James McAvoy, Actor.

Literature

British novels and plays regularly inspire my creative process. This is often due to its ability to provoke a reader’s emotions and imagination. I have been known to explore literature by iconic writers such as Shakespeare and Austen. This is because they have created fascinating charac-ters that often find themselves in dramatic situations, from romantic to tragic. Also, the complexity of narrative structure in their writing invites creative such as myself to produce original and experi-mental interpretations of the original text.

I feel fortunate to have been in the company of some very interesting people in my life. It’s even more fortunate that many of these people are family members. I mostly grew up hear-ing about my Grandparents’ lives abroad between 1959-1997. Their stories of culture and social change are a vivid childhood memory and subsequently made me intrigued by other nationalities and they way that they lived. Their travels also had a tremendous influence on my parents who took my sister and I to a number of different countries including Morocco and Thailand. These trips were filled with cultural experiences, often taking trips to more desolate and traditional areas of countries. As a consequence I developed a desire to learn and educate myself on range of subjects including the arts, history and culture. These I believe is the grounding that I have build my creative practice upon.

Family and Childhood Experiences

Major Project

For the last project of my degree, I decided against looking to literature as a starting point. Instead I would put my understanding of narrative structure and character building to the test, by creating imagery based on my Grandparents’ lives abroad in the late 1950s. Aided with original photography and recorded memories as source material, I was able to have a deeper insight into my Grandparents’ experiences. My intentions were to encourage the viewer to have a voyeuristic experience and be encouraged to build upon what they see in an intimate and imaginative manner.

After the conflicts I faced with my making process during the Pre-major project, I decided to work with techniques that I felt most comfortable and developed in. My interests in Theatre Design drove me to find methods that gave my images a three-dimensional quality. This led me to combine layering techniques with focus on exaggerated colour, pattern to emphasise specific characteristics within each image. Consequently, I was able to apply to a number of different outcomes such as photographic postcards, dioramas and posters.

Getting Involved

Theatre Posters

During the course of the past year, I designed posters for two AUB Theatre productions, Cloud 9 and Persua-sion. These experiences were incred-ibly useful for setting up connections with other courses. Throughout each process I was in contact with the production team including the set and costume designers. I participated in meetings to share creative processes and to devise a poster design that complimented the look of the produc-tion. This most definitely was a learn-ing curve in my practice, as I often had to compromise on my designs, but overall improved it as I developed my professionalism for future commis-sions. Designing the posters also led to some further involvement in one of the productions, where I assisted the set designer painting the set, which again was further experience within the theatre industry.

I have been involved in many events and col-laborations in the past academic year. I have discovered that my practice thrives when work-ing alongside like-minded people and I am able to produce sucessful outcomes for tight dead-lines. These experiences has broadened my practice and I am determined to continue work-ing in collaborations to produce more exciting and creative work.

The Great Gatsby

At the end of the autumn term, a group of craft based illustrators that included Philip Bai-ley, Claire Edwardes, Abby Foord, Nicole Owen and myself, were commissioned to design and make several prop pieces for the AUB Staff party photo booth. It helped to build upon teamwork, organization and woodwork skills that are all imperative in a career in the thea-tre. Working with a specific client brief, we designed, made and painted the set in four days. This was the shortest time I had spent on any project and felt like a huge achievement. Overall this live project was a great opportunity to work alongside like-minded students and push my practice further towards my set design aspirations.

Muddled FanzinePaper art is a popular practice among my course mates. All of us work in different ways, yet our passion for the art brought us together to make something very exciting – a fanzine for other paper art lovers. Brought together by Phil Bailey, we decided on a ‘topsy-turvy’ theme, where images would be made from one colour, yet resemble an object associated with another. For the individual double page spread, I took the chance to once again explore light projection as I had in level 5. Using the overhead projector and red colour gels as tools, I created three images, two of these where showcased in the fanzine. The collaborative team also took two days to make a series of objects for the front cover of the fanzine, as well as putting together a short animation. The final zines were sold at events to help fundraise the High Noon grad show. Overall, this was a great opportunity to self-promote my practice and work alongside other artists with the similar passions.

‘I Made It With My Hands’ Exhibition 3rd – 5th April

In an effort to increase interest in our craft based practices, a group of us put on an exhibition at The Factory Studios in Boscombe. Enthusiastic to challenge myself, I saw an opportunity to collabo-rate with Joe Mackenzie, who also explores nostal-gic themes in his image making. I was intrigued to see how his collage compositions and my paper-layered characters could combine in a 3-dimen-sional outcome. We decided to construct a narrative based on gender role reversals in a 1950s home. The mini project was altogether spontaneous, with Joe and I elaborating on the imagery by playing off each other’s humour. The project required a lot of time management and compromise to ensure that we created the piece in short time period. I also had some experience with setting up the exhibition. This was great practice for considering the best method to present work for an event, as well as good preparation for the Graduate shows in Bournemouth and London. Altogether, this was a very successful venture that received a lot of positive feedback from peers and via my online presence. It also increased my confidence in my ability to work alongside another practitioner and my capability to construct set boxes. These are skills I can apply to my future career aspirations.

“Theatre design is not a lonely activity, in fact it is impossible to be a theatre designer on one’s own – it is to be done with other people” - Pamela Howard, What is Scenography

FundraisingHullabaloo

Throughout Level Six I have been a participant in the fundraiser event committee helping to organise, pro-mote and decorate all three events. Many of us in the committee were craft based illustrators and made use of our skills by transforming the Winchester Pub into an exotic world of colour paper flowers, leaves and a giant ‘H’. We also created paper masks and objects for a photo booth to raise extra money.

Each event had fantastic support from fellow illustra-tors, friends from other courses and also attracted members of the public. In total we raised £2,500 for the High Noon show in July. This was a massive achievement for everyone involved. Also, the group of us created a great rapport with the Winchester Pub and we hope to put on another event during the sum-mer.

Online Presence

WebsiteIn relation to the influence of the Theatre arts in my practice, I wanted my website to be an expe-rience for the viewer to indulge in. I chose to build my online portfolio on 4ormat, as despite my desire for a spectacular website, it has allowed me to keep the functions and background simple. This is to avoid detraction from the bright colours and atmospheric quality of the images. On the homepage, I have chosen several of my most successful images for visitors to view. This I intend on updating frequently to guarantee that potential clients are immediately shown the best of my abil-ity and experience in the industry. I have created technique specific categories presented as drop down menus for ease of use. From my own experience, I feel its important to have a simple and straightforward website to make a lasting first impression.

Instagram

The most resourceful mode of online self-promotion for my practice is Instagram. The platform has al-lowed my followers to gain an instant glimpse at my inspirations, working progress and various life experi-ences. I enjoy the simplicity of sharing only visuals that are often genuine and unpolished versions of my practice. As a result I have been able to connect with a range of practitioners and at times have received positive feedback from them.

Twitter and FacebookI have created accounts on both Facebook and Twit-ter, which I have branded the same to keep a consistent online profile. These online platforms allow me to update my profiles with current work and connect with other prac-titioners. To my knowledge, it was evident that Twitter offers many more job opportunities than Facebook. Therefore I will re-evaluate the advantages of a Facebook profile in sev-eral months.The two online platforms have most definitely boosted my confidence since receiving recognition from other practitioners and a cou-

Linkedin and Ideastap

For a professional online presence I have set up ac-counts on Linkedin and Ideastap. This is to enable potential employers and clients to view my CV and portfolio online as an alter-native to my website. I have found that Ideastap has been particularly useful in providing information on theatre gradu-ate jobs.

Portfolio and Branding

PortfolioFor my physical portfolio, I decided on a black Pratt portfolio book as opposed to a portfolio box. This I feel is more appropriate to my current practice and my future career path as a theatre designer. My portfolio consists of photographs, as my work will most definitely be too large to transport to meetings. Therefore, the book acts as a catalogue of skills that I could provide for employers. I feel there is also an editorial quality to my portfolio, and can suggest to a client how my work could be presented in marketing and press for the productions I work on.

Logo

Considering my practice covers a variety of illustrative approaches, I felt it was important to give myself a bold and memorable identity to put on emphasis on my theatrical approach to illustra-tion. I chose a theatre light as my logo and produced the image with the application of paper cutting and painterly techniques. The original logo is monotone, yet I have designed a range of colour versions to be applied to promotional materials.

Business CardsMuch emphasis is put on business cards for mak-ing a good first impression. This may be the first time that a potential client will see an image of my work. Therefore I decided to keep them simple but colourful, introducing a palette of four colours that often appear in my work: Blue, orange, pink and green. Each of these has a complimentary image on the alternate side. My current business cards have images from my major project. In conjunction with my website, I propose to update my business cards quarterly to ensure the client has instant ac-cess to my finest illustrations.

Press Packs

Post-graduation I will be sending out many CVs and job applications. I decided to keep my branding ideas simple and focus in on the theatrical approach to my practice. In reflection of my own visits to theatre, I decided to brand myself with pick ‘n’ mix sweets, limited edition postcards and post-ers. These can easily be produced in bulk and sent alongside CVs, covering letters and portfolios. I will be sending these press packs to clients I consider to be appropriate to my career aspirations.

Postcards

As a development in my major project, I produced a series of photographed images illustrating a few of the paper cut characters around and about Bournemouth town centre. These received a lot of interest among my peers and by Gina Cross on her portfolio review visit. This has provoked me to continue on with this mini project and pro-duce new images as I embark on different journeys.

What’s Next?After graduating from The Arts University at Bournemouth, I intend on biting the bullet and applying for theatre jobs. I am aware that I have a lot to learn before I will reach my goal of designing thea-tre productions. However, I plan on using my individuality, as an illustrator to my advantage. I feel I will be in the minority in comparison to the thousands of theatre design graduates. In preparation I devised a number of strategies to increase my chances of success.

Gaining more theatrical work experienceIn order to gain a developed understanding of how a theatre production operates from start to finish, I feel it is imperative that I experience an internship. At this current time I am preparing job applications for theatre companies, such as Cirque Bijou, who offer graduate internship schemes. The skills I’d develop on the said internship would most definitely increase my chances of a future in the industry. As an amateur in the industry, it will be important that I have the advice and support of trained professionals. I propose to offer my assistance to a number of smaller theatre companies as either a stagehand volunteer or to design posters. I plan to approach a selection of small theatre companies based both in London and Bristol. Alternatively, I will enquire into any opportunities with freelancers that work in the industry such as Paper Artist Su Blackwell and Lighting designer Anna Barrett. I hope to build a good rapport with them by showing my good workmanship and enthusi-asm for what I do. I hope that these contacts I make in the early stages of my career will support and help raise awareness of my practice.

Collaborative work

In the forseeable future, I intend on adding a series of self-initiated collaborative projects to my CV and professional profile. There a couple of projects I have already started planning such as an art direction project with fellow illustrator Abby Foord. This will be a collaboration of several artists including both illustrators and fine artists. We hope to design and make two rooms inside an empty shop window in Bournemouth. Dissimilar to my previous projects, this will be large scale and dealing with live performance. I feel projects such as these will show my potential as a budding Theatre Designer to potential clients and theatre companies.

Further Education

The biggest challenge I face within the industry is my lack of traditional training. I have re-searched into possible MA courses I could enroll in the near future. These include MA Sce-nography courses at The Bristol Old Vic Theatre School and Royal Central School of Speech and Drama. Both of these offers the opportunity to build upon creative skills and apply them to theatrical contexts. They also have benefits of specific workshops and industry links that will focus my practice and will strengthen my portfolio. Before pursuing further education, I would prefer to have some industry experience to ensure I take full advantage of the course, with a clear career path in mind.

Moving to where the work is

I have thoroughly enjoyed my time in Bournemouth and it feels bittersweet to leave a place I have grown as both a person and an artist. However it is evident that there are more Theatre job opportunities for art graduates within busier and more cosmopolitan areas of the country such as London and Bristol. As a recent graduate, I intend to apply to a number of jobs and internships within the industry. I am determined to stay as focused on my future aspirations as possible and I will be enthusiastic to move wherever the work is.

For the time being, I intend on moving in to my Parents’ house in Berkshire. There are plenty of transport links that can ensure I can be in London within 45 minutes. This is a temporary living situation, however I plan to make the most of the contacts I made in Reading last summer to my advantage to ensure local creative work.

Relevant Linkswww.emmasears.co.uk

http://www.emmasearsillustration-majorproject.blogspot.co.uk/

https://twitter.com/Emma_Sears

https://www.facebook.com/emmasearsillustration

https://www.linkedin.com/pub/emma-sears/87/ab1/24b

Based in the South West of England.E: helloemmasears@gmail.com

T: 07712184404www.emmasears.co.ukTwitter: @Emma_Sears

d.o.b: 21/06/1992“I am a recent Arts Graduate enthusiastic to expand on

my creative skills and gain valuable work experience in the Theatre and Performance Industry”.

ExperienceHullabaloo (Fundraiser Events in aid of High Noon Grad Show)Co-Events Organiser on Fundraiser events at The Winchester Pub, Bournemouth.The role also included making decorations for all three events.October 2013- Present

The Arts University at BournemouthProp designer and MakerCommissioned with a group of illustrators to make a series of photobooth props for a Great Gatsby themed event.December 2013

The Arts University at Bournemouth & Dorset Corset Theatre CompanyFreelance IllustratorPoster design for the production of Jane Austen’s Persuasion, Pavillion Dance, Bourne-mouth.December 2013

Reading Fringe FestivalFestival VolunteerA great experience networking with other people in the Theatre Arts industry and helping to market the events.July 2013

SkillsDrawing | Paper Art | Visual Storytelling | Prop Making | Photography | Microsoft Office | Adobe Suite | Premiere Pro | Full Driving License

Qualifications

Referees and Portfolio available via request.

The Arts University at BournemouthBA (Hons) IllustrationSept 2011- June 2014

Silversmithing and Wax carving (Short course)Jan- March 2014

Foundation Diploma in Art & DesignSept 2010- June 2011

BibliographyBristol Old Vic Theatre School (N.D.). Four Term in Theatre Design (MA). [Online] Available from: http://www.oldvic.ac.uk/four-term-professional-theatre-design.html. [Accessed 28th April 2014].

Cirque Bijou (2014). We are recruiting… [Online] Available from http://www.cirquebijou.co.uk/latest-news/news/we-are-recruiting.html. [Accessed 4th May 2014]

First Broadcast (2013). Here 2013: Sarah Illenberger. [Online] Available from: http://first-broad-cast.com/watch/sarah-illenberger/. [Accessed on 10th March 2014].

Howard, P (2009). What is Scenography?. Oxon: Routledge

OfiicialLondonTheatre (2013). Meet Oliviers Nominee James McAvoy. [Online] Available from: https://www.youtube.com/watch?v=KSFcoHlL07w. [Accessed December 2013].

Pecktal, L. (1995). Designing and Drawing for the Theatre. New York: McGraw- Hill.Rees, D (2008). How to be an Illustrator. London: Laurence King Publishing LTD.

Royal Central School of Speech and Drama (n.d.). MA Scenography. [Online] Available from: http://www.cssd.ac.uk/study/postgraduate/masters/ma-scenography. [Accessed 28th April

Image ReferencesPages 10-11

Blackwell, S. The Snow Queen at The Rose Theatre (Date Unknown). [Online Image] Available from: http://www.sublackwell.co.uk/portfolio-installations/. [Accessed 10th May 2014].

Unknown. Promotional Material for ‘An Inspector Calls’ New Theatre Cardiff (2009). [Online Im-age] Available from http://www.apieceofmonologue.com/2009/05/inspector-calls-at-new-thea-tre-cardiff.html. [Accessed 9th May 2014].

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Allstar/Walking Title. 1813- Jane Austen, Pride and Prejudice. (Date Unknown). [Online Image] Available from: http://www.theguardian.com/alcs-copyright/gallery/landmarks-moments-in-pub-lishing-and-copyright. [Accessed 10th May 2014].

Parker, O (1995). Othello. [Film]. USA/UK: Castle Rock Entertainment.

Page 14-15

A Midsummer Night’s Dream (2009). [Online Image] Available from http://www.telegraph.co.uk/journalists/charles-spencer/4308232/A-Midsummer-Nights-Dream-at-the-Novello-Theatre-re-view.html. [Accessed 10th May 2014].

Layered Window Graphics (n.d). [Online Image] Available from: http://www.pinterest.com/pin/105764291222771203/. [Accessed 10th May 2014].

Seidlitz, S. Drawing the backs of peoples heads during Hay festival. [Online Image] Available from: http://sergeseidlitz.tumblr.com/post/24534503036/drawing-the-backs-of-peoples-heads-during-hay. [Accessed My 2014]

The Love of Zero. (1927). [Online Image] Available from http://dangerousminds.net/comments/the_love_of_zero_robert_floreys_avant_garde_short_from_1927. [Accessed 10th May 2014].

UNIQLO x Undercover (2012). [Online Image]. Available from: http://juice.com.sg/archive/fash-ion/. [Accessed 10th May 2014].

Walters, C (1956). High Society [Film]. USA: Metro-Goldwyn-Mayer (MGM).

West Side Story. (n.d.). [Online Image] Available from: http://www.judaicine.fr/newnew/wp-con-tent/uploads/2013/09/west_side_story_1961-copie.jpg. [Accessed 10th May 2014].

1950s Gwen Verdon in New Girl (2014). [Online Image] Available from http://www.ebay.co.uk/itm/1950s-GWEN-VERDON-in-NEW-GIRL-in-TOWN-THEATRE-SOUVENIR-PROGRAM-/190830692665?pt=LH_DefaultDomain_0&hash=item2c6e654939. [Accessed 5th May 2014].

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Cirque Bijou. Battle for the Winds (2012). [Online Image] Available from: http://cirquebijou.co.uk/our-work/battle-for-the-winds/. [Accessed May 2014].

“Have a Wacky Wednesday”

- Julia Sears, Mother