Andy Pavitt is currently working at Big Orange studios in London, the studio itself houses 7-8 people, all with their own working space, this collaboration of people, enables each of them to be exchanging ideas and thoughts. For these reasons, I believe it can be quite successful, working together, not necessarily as a collaboration but when your stuck for an idea, or a view of your work, your always have a professional opinion.
Pavitts imagery is created based upon pattern and form. I admire the way he constructs his pieces, I feel they have a dynamic appeal, due to his large clean shapes and bold colour palette. His designs are simple but effective. His work varies from editorial illustration to his own range of card designs. For me his work is elegantly simple and communicates an idea instantly with his use of eyecatching colours, his shapes and vignette type designs are wonderous as illustrations because of their simplicity. Inspired by 'scandinavian designs of the 50's and 60's', Pavitt 'applies pattern and humour of Stig Lindberg and sublime shapes and forms of ceramic and glass artist Tapio Wirrkela.
Last year I attended a lecture which Andy Pavitt directed, and I mailed him a few points about his work,
-When developing ideas for an illustration brief I will start with sketching as I find this the quickest way of getting something going. I should stress that I always draw even when it's crap, and not write ideas down, as concepts and metaphors etc very much present themselves from the drawing process. I know the vogue is to scribble a load of notes down but I have found this very much hinders visual ideas from happening.
The drawing might just be shapes or forms that suggest a route through. When I have something that has a strong enough idea I might begin to develop it on the computer but find it always helps if I continue doodling as I go.
FROM READING THIS, I KNEW THAT MY WORK WAS INITIALLY CREATED FROM NOTES SCRIBBLED DOWN, AND FOR A WHILE IT WAS WORKING, BUT LIKE PAVITT STATED DESIGNS DONT HAVE ROOM TO BREATHE WITHIN NOTS AND SOMETIMES A METAPHOR EMERGES IF YOU EXPERIMENT WITH DESIGN, ALWAYS AT THE READY WITH A PENCIL IN YOUR HAND, FROM PAVITTS COMMENTS AND SOME WISE WORDS FROM ANDY MARTIN WHO CAME TO WORK WITH US FOR A FEW DAYS, I CAME TO REALISE THE DIFFERENCE A DOODLE MADE( EVEN A BAD ONE AT TIMES) TO THE UPLEAD OF MY ILLUSTRATIONS, DESPITE BEING MIXED MEDIA BASED AND LETTING THE IDEAS GENERATION COME FROM A CUT AND PASTE TECHNIQUE OF CUT UP PHOTOCOPIES AND GATHERED EPHEMERA, THE ROUGH WAS ALWAYS BETTER!!
-I think it's really useful to surround myself with inspirations and artists work I admire. A scrap book of ideas or a mood board ( I hate that term but it's true I guess) is good.
For me it has always been important to look at images outside the world of Illustration, eg. Sculptors, Architects, Fabrics, Ceramics, Fashion.
I think perhaps if one gets too close to other illustrators work it can stifle your own approach somewhat. The british designers Robin and Lucienne Day have always been a big inspiration and they are both into their 90's now and recently I have been looking at Ben Nicholson's wonderful drawings.
-I think favourite jobs often start out as the most difficult or challenging briefs that then develop into a real learning process. A good example was a poster design for the Association of Illustrators with a completely open brief (often the hardest)
In conjunction with the client I developed an idea based around the constellations which we called look up. With an initial starting point of a sketch of a bears head for urse major it slowly transformed into a hunting narrative representing a whole variety of constellations. A great mix of fun and challenging fitting everything together to fold into four separate pieces.
-My path from student to illustration and design was a strange one. I started from a fine art degree so painting was my thing. Making contacts and getting appointments as an illustrator isn't so hard it's keeping the momentum going and not getting disheartened that's more difficult.
- My advice is to develop as many areas of alternative application for your work, try to view illustration in the wildest possible design context and you will get more work. (So being open to anything really) Second, always be proffessional and if possible never turn a job in late or for that matter turn a job down. Illustration is a commercial art, so at some point you will do a job that your not entirely happy with (don't worry to much as you will be on another job soon enough) and you can make that a great one.
Kind Regards,
Andrew.
Pavitts imagery is created based upon pattern and form. I admire the way he constructs his pieces, I feel they have a dynamic appeal, due to his large clean shapes and bold colour palette. His designs are simple but effective. His work varies from editorial illustration to his own range of card designs. For me his work is elegantly simple and communicates an idea instantly with his use of eyecatching colours, his shapes and vignette type designs are wonderous as illustrations because of their simplicity. Inspired by 'scandinavian designs of the 50's and 60's', Pavitt 'applies pattern and humour of Stig Lindberg and sublime shapes and forms of ceramic and glass artist Tapio Wirrkela.
Last year I attended a lecture which Andy Pavitt directed, and I mailed him a few points about his work,
- How do you begin the developement of your ideas when designing an illustration?
-When developing ideas for an illustration brief I will start with sketching as I find this the quickest way of getting something going. I should stress that I always draw even when it's crap, and not write ideas down, as concepts and metaphors etc very much present themselves from the drawing process. I know the vogue is to scribble a load of notes down but I have found this very much hinders visual ideas from happening.
The drawing might just be shapes or forms that suggest a route through. When I have something that has a strong enough idea I might begin to develop it on the computer but find it always helps if I continue doodling as I go.
FROM READING THIS, I KNEW THAT MY WORK WAS INITIALLY CREATED FROM NOTES SCRIBBLED DOWN, AND FOR A WHILE IT WAS WORKING, BUT LIKE PAVITT STATED DESIGNS DONT HAVE ROOM TO BREATHE WITHIN NOTS AND SOMETIMES A METAPHOR EMERGES IF YOU EXPERIMENT WITH DESIGN, ALWAYS AT THE READY WITH A PENCIL IN YOUR HAND, FROM PAVITTS COMMENTS AND SOME WISE WORDS FROM ANDY MARTIN WHO CAME TO WORK WITH US FOR A FEW DAYS, I CAME TO REALISE THE DIFFERENCE A DOODLE MADE( EVEN A BAD ONE AT TIMES) TO THE UPLEAD OF MY ILLUSTRATIONS, DESPITE BEING MIXED MEDIA BASED AND LETTING THE IDEAS GENERATION COME FROM A CUT AND PASTE TECHNIQUE OF CUT UP PHOTOCOPIES AND GATHERED EPHEMERA, THE ROUGH WAS ALWAYS BETTER!!
- Who and what inspires you inspires you?
-I think it's really useful to surround myself with inspirations and artists work I admire. A scrap book of ideas or a mood board ( I hate that term but it's true I guess) is good.
For me it has always been important to look at images outside the world of Illustration, eg. Sculptors, Architects, Fabrics, Ceramics, Fashion.
I think perhaps if one gets too close to other illustrators work it can stifle your own approach somewhat. The british designers Robin and Lucienne Day have always been a big inspiration and they are both into their 90's now and recently I have been looking at Ben Nicholson's wonderful drawings.
- Have you had any favourite jobs?
-I think favourite jobs often start out as the most difficult or challenging briefs that then develop into a real learning process. A good example was a poster design for the Association of Illustrators with a completely open brief (often the hardest)
In conjunction with the client I developed an idea based around the constellations which we called look up. With an initial starting point of a sketch of a bears head for urse major it slowly transformed into a hunting narrative representing a whole variety of constellations. A great mix of fun and challenging fitting everything together to fold into four separate pieces.
- Can you establish the path from being a student to becoming an illustrator/designer?
-My path from student to illustration and design was a strange one. I started from a fine art degree so painting was my thing. Making contacts and getting appointments as an illustrator isn't so hard it's keeping the momentum going and not getting disheartened that's more difficult.
- What advice would you offer an aspiring Illustrator?
- My advice is to develop as many areas of alternative application for your work, try to view illustration in the wildest possible design context and you will get more work. (So being open to anything really) Second, always be proffessional and if possible never turn a job in late or for that matter turn a job down. Illustration is a commercial art, so at some point you will do a job that your not entirely happy with (don't worry to much as you will be on another job soon enough) and you can make that a great one.
Kind Regards,
Andrew.
Whilst I was in London, I was Lucky enough to arrange a meet with Pavitt and a few other members from Big Orange studios to have a portfolio briefing, of which, he thankfully had a browse through my work and gave sufficient feedback. Again in relation to his work as he was browsing through, he picked out an illustration, which in my eyes was only an element, I wouldn't hav classed it as an illustration, a train, with textured ephemera and he said the simplicity is what gives it its meaning, there was no need for anything more.
I have more recently sent him another email with a few questions about the design industry and his view on 'success and failure when trying to establish yourself in the design industry' as well as a few others questioning how he got his work heard about, what he did to promote himself.
You may not remember me, I came to visit you in London with a few friends from Stockport College, for a tour around your studio and a portfolio briefing. As part of my degree, I need to build up information about Illustrators/ Designers and the Design Industry.
I know how busy you must be, but was wondering if I could have your opinion on the six questions below?
I need to get as many opinions as possible.. It would be phenomenal if any of your colleagues at Big Orange (only if they had a spare few minutes) could answer any of the questions of which they have time for, I would be ever so grateful!
p.s. I am developing the type from the letterpress stamps I 'borrowed from you'. I shall send you a few designs, as promised, when I get my brief finished!
Do you think it is better working in a studio with other Illustrators who you can share your ideas with, as opposed to 'your own private space'? if so why?
What would you say makes the difference between success and failure when trying to establish yourself in the design industry?
What was the easiest way to establish and promote yourself within the wide world of Illustration?
Did you conform to a style that was around at the time you first got commissioned?
What advice would you offer an aspiring Illustrator?
Thankyou so much for your time, I look forward to hearing from you!
Regards,
Sarah Hilton.
Im just waiting for the reply.
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