2012 has been a year of stops and starts. I know I am not alone in wondering why so many clients are tightening their belts, downsizing and making it harder for us creative types! Art has become a cheap commodity since the internet made so much available and globally prices can be pushed down.
So , like many, I shall be casting further afield into new areas...lets get the teaching up and going again, get all those books out of my head and into the world, finish those oil paintings, clear out all the old rubbish that was clogging up my creativity and distracting me from improving.
A NEW YEAR and NEW START!
:)
Thursday, November 29, 2012
India Dreaming
I have returned from my two weeks in Hyderabad filled with new inspirations and ideas. I have an entire childrens book in my head..but I need to get it down on paper! I have many sketches from the wedding..which was a decadent, glorious glittering event. So much glamour and beauty.
I wish I could just paint and paint and the buts and bolts of a book could just fall into place.
I will upload some of my sketchs soon.
I wish I could just paint and paint and the buts and bolts of a book could just fall into place.
I will upload some of my sketchs soon.
Wednesday, July 18, 2012
INDIA
I will be travelling to India in October! This will be the continuation of my project, Drawing the World..first started in Dubai by myself and good friend and fellow artist, Danesh.. As it happens, Danesh is getting married his lovely Spanish girlfriend Elena and has invited me to their wedding in Hyderabad, so a wonderful event AND a chance to draw people in the streets of India!
This will be a wonderful experience and I shall be uploading lots of pictures and film. Stay tuned!
This will be a wonderful experience and I shall be uploading lots of pictures and film. Stay tuned!
Me! A Student!
I am finally treating myself to be a student instead of a teacher! Five days constant oil painting...what a TREAT! I have booked a course in Oil Painting techniques at Camp Creative in Bellingen from January 14.
Sunday, May 20, 2012
http://www.abc.net.au/local/videos/2012/05/17/3505238.htm
Or..
http://www.youtube.com/watch?v=JzSgzVA-x0M
The ASA One Day , One Word Time lase video of our day. See if you can catch the moment me and Grahem pulled faces at the camera! :))
it was a great day and fun to get out and DO something with other artists!
Or..
http://www.youtube.com/watch?v=JzSgzVA-x0M
The ASA One Day , One Word Time lase video of our day. See if you can catch the moment me and Grahem pulled faces at the camera! :))
it was a great day and fun to get out and DO something with other artists!
Monday, March 26, 2012
SWICH GALLERY EXHIBITION
Stay tuned for dates and details for my first oil painting exhibition. The exhibition will be held at the Swich Gallery towards the end of the year.
The Swich Contemporary Art Space191 Brisbane Street, Ipswich QLD 4305(07) 3281
Interpretations of
FACE
“Interpretations
of Face” is an exhibition of large scale oil
paintings, exploring the theme of Faces.
We all have a face, some of us show our feelings and emotions freely; others
present a mask to the world. But how is a face is read by others, how are our
feelings and expressions interpreted?
Do we always project what we mean to ‘say’ or can our faces be read with greater
depth by those around us than we give credit for?
When
an artist looks at a face they may try to portray more than the physical
characteristics, the character beneath the skin, so we are given a far deeper
perception of the sitter.
This
can seem almost ironic in a world in which surgical procedures and cosmetics
promote the erosion of character, expression and experience through surgery and
botox, we are becoming more afraid to let our true self be seen and to allow
others to read the experience of our lives in your eyes.
The Artist, Joanne Brooker, has created in
oils, large scale portrait faces on the theme of faces.
These large scale portraits demand
attention. Each portrait draws you in , perhaps uncomfortably
close, to the face.
With the use of colour each face is
infused with emotions that are juxtaposed with subject.
A masculine face in soft greens and greys, a soft young face distant and closed,
the wickedly riveting face of a punk. A contemplation of three faces, youth, death, beauty.
Joanne seeks to take you past looking for recognition and to see how each face creates an emotion in the viewer.
The Swich Contemporary Art Space191 Brisbane Street, Ipswich QLD 4305(07) 3281
Interpretations of
FACE
“Interpretations
of Face” is an exhibition of large scale oil
paintings, exploring the theme of Faces.
We all have a face, some of us show our feelings and emotions freely; others
present a mask to the world. But how is a face is read by others, how are our
feelings and expressions interpreted?
Do we always project what we mean to ‘say’ or can our faces be read with greater
depth by those around us than we give credit for?
When
an artist looks at a face they may try to portray more than the physical
characteristics, the character beneath the skin, so we are given a far deeper
perception of the sitter.
This
can seem almost ironic in a world in which surgical procedures and cosmetics
promote the erosion of character, expression and experience through surgery and
botox, we are becoming more afraid to let our true self be seen and to allow
others to read the experience of our lives in your eyes.
The Artist, Joanne Brooker, has created in
oils, large scale portrait faces on the theme of faces.
These large scale portraits demand
attention. Each portrait draws you in , perhaps uncomfortably
close, to the face.
With the use of colour each face is
infused with emotions that are juxtaposed with subject.
A masculine face in soft greens and greys, a soft young face distant and closed,
the wickedly riveting face of a punk. A contemplation of three faces, youth, death, beauty.
Joanne seeks to take you past looking for recognition and to see how each face creates an emotion in the viewer.
Esfahan Cartoon Book
I am pleased to be invited to include my artwork in the Esfahan Cartoon Book. It is so good to be remembered by the cartoon group and to have the honour of being included with their quality artwork. I hope I will one day return to Iran to meet with my friends, Saeed and Eshan and to see once again the wonderful Iranian cartoonists.
http://esfahancartoon.blogfa.com/
http://esfahancartoon.blogfa.com/
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!
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