I am pleased that My Julia is part of the Bald Archies and traveling Australia.
Tuesday, February 28, 2012
Monday, February 27, 2012
Illustrator Australia Outline Mag interview
Interview Joanne Brooker
1. Tell us about your background and how you got started in caricature and illustration.
I remember being fascinated with draining from the age of five. I drew all the time on anything I could find, desk, school books, my arms! As my teachers were always in front of me at school, I drew them. I think this was my early training for drawing caricatures of politicians. Luckily my teachers liked my caricatures and were very supportive. I can’t the same of all the politicians I have drawn!
In 1988, I finished Commercial Art training and started working in various art related jobs. In 1991, I joined the Australian Cartoonists Association and though them I met Tony Champ who was the editorial illustrator with Qld Newspapers at the time. I thought his job as an illustrator was amazing so I decided this was for me. Through sheer nerve I talked the editor to giving me a job as an in house artist that lasted for ten years! It was fast, stressful, demanding and the most wonderful work for an illustrator. To see my artwork in print was always a thrill.
2. You're currently featured in the National Museum of Australia's Behind the lines exhibition. In your opinion, what role does political satire play in the reporting of news and public issues?
I lived in the UAE for two years and Kuwait for a year. I also travelled alone through Iran and South America meeting local cartoonists. Although we are aware of the censorship for cartoonists in these countries, the idea that a government can imprison or murder a cartoonist for his/her artwork seems ludicrous here in Australia. Living in these countries has made me very aware of the power of the political cartoon. Caricature can capture more about character than many powerful people care to have shown. In Australia we take these freedoms for granted and sometimes, I think, we forget how valuable political cartooning is in the media. I hope that there will be a new generation of political artists in the future and this art form won’t be lost.
3. Can you walk us through your creative process?
An editorial illustration requires an image that grabs attention and captures the strongest ideas within the story. I can call on a variety of styles from realistic, graphic, cartoon, caricature, line work or computer work as suits. I have a vast collection of reference books and magazines and if I don’t have what I need, I can find it online.
For a caricature I look for a good clear image that reflects something of that person character. Once I have the elements orgnaised I can sketch up in a matter of minutes. Painting in acrylics takes an afternoon, oils a few days. Line work art is done in an hour. Many years of working to a deadline has made me a very fast artist!
Most of my clients find me online so a lot of my artwork is scanned and emailed to them so it makes no difference if they are the other side of the world or next door. This is a very fast and efficient way to work.
4. What would your dream job or commission entail?
I have actually lived my dream jobs! Through my work I have travelled to China three times working in fourteen cities in all the provinces. I have worked in Bolivia, Dubai, Kuwait, South East Asia and India meeting artists from all walks of life and cultures. I have drawn hundreds of people from all over the world in some amazing places.
I have travelled all over Australia as an artist and had a wonderful time.
But if I were to choose a dream commission at this stage, I would like to paint a series of portrait oil paintings of famous Australians and have them exhibited.
5. Do you have any advice for other illustrators?
To be a professional illustrator you need to learn as many styles and techniques as you can master. This greatly increases your ability to service a larger client base. Always treat your art as a product that is a reflection of your time and talents and charge accordingly. Always be professional and treat clients respectfully as they will pass on their experience with you to others. Illustrators need to support each other not work against each other. The only person that wins in a price war between artists is the client.
Remember you have a lifetime to learn, practise and enjoy being an artist. There is no cut off point, any retirement, no limits. To be paid to do what you love is the greatest way to work. To use your art to expand your life is a great privilege.
1. Tell us about your background and how you got started in caricature and illustration.
I remember being fascinated with draining from the age of five. I drew all the time on anything I could find, desk, school books, my arms! As my teachers were always in front of me at school, I drew them. I think this was my early training for drawing caricatures of politicians. Luckily my teachers liked my caricatures and were very supportive. I can’t the same of all the politicians I have drawn!
In 1988, I finished Commercial Art training and started working in various art related jobs. In 1991, I joined the Australian Cartoonists Association and though them I met Tony Champ who was the editorial illustrator with Qld Newspapers at the time. I thought his job as an illustrator was amazing so I decided this was for me. Through sheer nerve I talked the editor to giving me a job as an in house artist that lasted for ten years! It was fast, stressful, demanding and the most wonderful work for an illustrator. To see my artwork in print was always a thrill.
2. You're currently featured in the National Museum of Australia's Behind the lines exhibition. In your opinion, what role does political satire play in the reporting of news and public issues?
I lived in the UAE for two years and Kuwait for a year. I also travelled alone through Iran and South America meeting local cartoonists. Although we are aware of the censorship for cartoonists in these countries, the idea that a government can imprison or murder a cartoonist for his/her artwork seems ludicrous here in Australia. Living in these countries has made me very aware of the power of the political cartoon. Caricature can capture more about character than many powerful people care to have shown. In Australia we take these freedoms for granted and sometimes, I think, we forget how valuable political cartooning is in the media. I hope that there will be a new generation of political artists in the future and this art form won’t be lost.
3. Can you walk us through your creative process?
An editorial illustration requires an image that grabs attention and captures the strongest ideas within the story. I can call on a variety of styles from realistic, graphic, cartoon, caricature, line work or computer work as suits. I have a vast collection of reference books and magazines and if I don’t have what I need, I can find it online.
For a caricature I look for a good clear image that reflects something of that person character. Once I have the elements orgnaised I can sketch up in a matter of minutes. Painting in acrylics takes an afternoon, oils a few days. Line work art is done in an hour. Many years of working to a deadline has made me a very fast artist!
Most of my clients find me online so a lot of my artwork is scanned and emailed to them so it makes no difference if they are the other side of the world or next door. This is a very fast and efficient way to work.
4. What would your dream job or commission entail?
I have actually lived my dream jobs! Through my work I have travelled to China three times working in fourteen cities in all the provinces. I have worked in Bolivia, Dubai, Kuwait, South East Asia and India meeting artists from all walks of life and cultures. I have drawn hundreds of people from all over the world in some amazing places.
I have travelled all over Australia as an artist and had a wonderful time.
But if I were to choose a dream commission at this stage, I would like to paint a series of portrait oil paintings of famous Australians and have them exhibited.
5. Do you have any advice for other illustrators?
To be a professional illustrator you need to learn as many styles and techniques as you can master. This greatly increases your ability to service a larger client base. Always treat your art as a product that is a reflection of your time and talents and charge accordingly. Always be professional and treat clients respectfully as they will pass on their experience with you to others. Illustrators need to support each other not work against each other. The only person that wins in a price war between artists is the client.
Remember you have a lifetime to learn, practise and enjoy being an artist. There is no cut off point, any retirement, no limits. To be paid to do what you love is the greatest way to work. To use your art to expand your life is a great privilege.
The Walkley Magazine cover Art by Brooker
I always love illustrating for The Walkley Magazine. This keeps me in touch with the world of Australian media, but more importantly, they let me have fun with my art!
Tuesday, December 13, 2011
MoAD Behind the Lines Political cartooning
http://behindthelines.moadoph.gov.au/2011/julia-gillard/cartoons/65
I am very pleased to have my artwork featured in the Behind the Lines exhibition of political cartooning for 2011.
The Behind the Lines exhibition will be on display at the Museum of Australian Democracy until 29 March 2012.
A traveling version of the exhibition will go to the following venues:
Cairns Regional Art Gallery: 27 January - 1 April 2012
Riverside Theatres, Parramatta: 11 April-27 May 2012
I am very pleased to have my artwork featured in the Behind the Lines exhibition of political cartooning for 2011.
The Behind the Lines exhibition will be on display at the Museum of Australian Democracy until 29 March 2012.
A traveling version of the exhibition will go to the following venues:
Cairns Regional Art Gallery: 27 January - 1 April 2012
Riverside Theatres, Parramatta: 11 April-27 May 2012
Saturday, November 19, 2011
Dynamic Portrait Painting in Oils at McGregor Summer School
A CREATIVE WONDERLAND
There is no denying that the founders of the McGregor Schools were visionaries.
From humble beginnings back in January 1969 - with three painting classes and 43 students – the McGregor Summer School has grown to become the ultimate creative arts retreat.
Now entering its 44th year, the School is a leader in the field of packaged arts workshops, offering up to fifty classes and attracting hundreds of participants and an impressive line-up of tutors from across the nation.
It has become a meeting-place for like-minded people; artists, enthusiasts and administrators with a shared love of the Arts.
Beautiful music is made by students in violin, viola, cello, double bass, jazz bass, flute, oboe, clarinet, saxophone, bassoon, horn, trumpet, trombone, euphonium, tuba, percussion, piano and jazz vocal classes.
Masterpieces are painted, drawn, sculpted, stitched and carved in the fine art studios. Painting enthusiasts can learn how to produce Dynamic Portraits in Oils, go on a Pastel Adventure or Draw the Wild.
A range of creative arts alternative such as Bead Embroidery, Creative Writing, Calligraphy, Digital Photography and a variety of Jewellery Making classes round-out the program.
It is a place where absolute beginners can work side-by-side with more advanced and even professional artists in a creative wonderland.
The ten-day Arts Retreat is the ultimate get-away package; offering a relaxed and stimulating environment to create your very own works of art alongside the best tutors in the country by day and, in the evening, enjoying a full program of social and entertainment options including concerts, slide-shows, trivia nights, exhibitions, markets and, to top it all off, a masked ball.
That’s the McGregor Experience!
So, whether you’d like to treat yourself to creative escape or your children to a music or POP Youth Arts experience, the McGregor Summer School is a fabulous option.
The McGregor Summer School will run from 4-14 January at USQ, Toowoomba - for further information visit www.usq.edu.au/mcgregor or contact Liz or Christine on 07 4631 2755.
But be quick – enrolments close soon!
Media Contact: Michelle Fox, USQ Artsworx, +61 7 4631 1114 or 0439 911 623
There is no denying that the founders of the McGregor Schools were visionaries.
From humble beginnings back in January 1969 - with three painting classes and 43 students – the McGregor Summer School has grown to become the ultimate creative arts retreat.
Now entering its 44th year, the School is a leader in the field of packaged arts workshops, offering up to fifty classes and attracting hundreds of participants and an impressive line-up of tutors from across the nation.
It has become a meeting-place for like-minded people; artists, enthusiasts and administrators with a shared love of the Arts.
Beautiful music is made by students in violin, viola, cello, double bass, jazz bass, flute, oboe, clarinet, saxophone, bassoon, horn, trumpet, trombone, euphonium, tuba, percussion, piano and jazz vocal classes.
Masterpieces are painted, drawn, sculpted, stitched and carved in the fine art studios. Painting enthusiasts can learn how to produce Dynamic Portraits in Oils, go on a Pastel Adventure or Draw the Wild.
A range of creative arts alternative such as Bead Embroidery, Creative Writing, Calligraphy, Digital Photography and a variety of Jewellery Making classes round-out the program.
It is a place where absolute beginners can work side-by-side with more advanced and even professional artists in a creative wonderland.
The ten-day Arts Retreat is the ultimate get-away package; offering a relaxed and stimulating environment to create your very own works of art alongside the best tutors in the country by day and, in the evening, enjoying a full program of social and entertainment options including concerts, slide-shows, trivia nights, exhibitions, markets and, to top it all off, a masked ball.
That’s the McGregor Experience!
So, whether you’d like to treat yourself to creative escape or your children to a music or POP Youth Arts experience, the McGregor Summer School is a fabulous option.
The McGregor Summer School will run from 4-14 January at USQ, Toowoomba - for further information visit www.usq.edu.au/mcgregor or contact Liz or Christine on 07 4631 2755.
But be quick – enrolments close soon!
Media Contact: Michelle Fox, USQ Artsworx, +61 7 4631 1114 or 0439 911 623
Wednesday, September 14, 2011
The Brisbane Writers Festival 2011
I had the great prividge of being a part of the Brisbane writers Festival. I took three caricature workshops and was invited to speak on a panel discussion. The subject was get The Message. I spoke with the very talented and creative people .
Niromi de Soyza is a Sri Lankan woman that joined the Tamil Tigers during the countries revolution. Ali Alizadeh is an amazing Iranian poet. Farid Farid is an Egyption commentator specialising in Eatern Literature. I felt very humble to be amongst these very interesting people.Thursday, August 18, 2011
Brisbane Writers Festival
I will be running three workshops and speaking as part of a panel at the Brisbane Writers Festival.
The talk is titled " Get The Message" speaking about politics and the various methods of commincating opinion in a variety of mediums. My fellow speakers are Niromi de Soyza from Sri Lanka , Farid Farid from Egypt and Ali Alizadeh from Iran.
I am as fascinated to hear their stories as I am excited to be sharing a panel with them.
http://flipflashpages.unflip.com/2/30433/95994/pub
I shall also be running three workshops on cartooning and caricature at the BWF WordPlay.
The talk is titled " Get The Message" speaking about politics and the various methods of commincating opinion in a variety of mediums. My fellow speakers are Niromi de Soyza from Sri Lanka , Farid Farid from Egypt and Ali Alizadeh from Iran.
I am as fascinated to hear their stories as I am excited to be sharing a panel with them.
http://flipflashpages.unflip.com/2/30433/95994/pub
I shall also be running three workshops on cartooning and caricature at the BWF WordPlay.
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