ARE WE THERE

YET?FINDING JOYIN THE JOURNEY

LISA AMBROSE

Hartford Art School - University of HartfordLow Residency MFA in Illustration

Illustration ILS 970

Lisa AmbroseHartford ID #14972306

FINAL THESIS PROJECT

Are We There Yet?: Finding Joy in the JourneyLimited Residency MFA, Illustration, Summer 2013

Submitted in partial fulfillment of the requirementfor the degree of Master of Fine ArtsHartford Art School, University of Hartford

Defense Date:

Defense Committee:Advisor: Doug Andersen

Committee Chair:

Committee Member:

Committee Member:

Committee Member:

Are We There Yet?: Finding Joy in the Journey

TABLE OF CONTENTS

Introduction 1Inspiration 4

PART I - TRAVEL POSTERSProcess 16The Work 23

PART II - VINTAGE VACATIONProcess 26The Work 30

Marketing 36Press Release 38The Program 39Conclusion 43Biography 44Bibliography 46

Introduction

Like most children, I enjoyed visiting the ice cream parlor on hot

summer afternoons. However, when faced with the abundance of flavor

choices I was simply unable to decide. Except for perhaps the aberration

that is blue superman ice cream, I desired them all. While many would

relish the opportunity to choose from such a wide variety of options, I

found the experience quite overwhelming. Thus, after everyone else made

their selections and waited not-so-patiently for my decision, I could only

manage an exasperated, “vanilla.” Feeling there was insufficient time for

me to successfully wrestle with the myriad of choices before me, I merely

settled on the safe, easy option. While a perfectly acceptable choice, because

it was selected with less than complete commitment, every taste of vanilla

was accompanied by the thought that another flavor might have been more

satisfying. Selecting a thesis subject has

reminded me of those frustrating experiences

in the ice cream parlor. Ensuring that this

time I did not settle on vanilla has been a

significant challenge.

Honestly, I have yet to master the

skill of prompt decision making. This trait is

largely inherent, but was further cultivated,

or exacerbated if you will, during my years

training and working as an engineer (see Fig.

1). While engineering and illustration are in

many ways dissimilar, my artistic training

has thus far failed to lessen or moderate this

particular shortcoming. My artistic interests

are numerous and I possess a considerable

Figure 1 George Jarvis, title unknown, 1989, photograph. My problem-solving skills, though very useful in developing mechanical solutions, can sometimes prove distracting when applied to the process of creating art.

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motivation to discover the aspects of the illustration profession that best

suit my needs. When combined with the realization that I have only begun

the process of discovering my artistic talents and preferences, the result is

a bit of an attention deficit response in my art making. I am all too often

disposed toward a distracting “but what if I did this differently?” inquiry

that causes me to digress from my present work to explore all too numerous

variations and alternatives. While such has often revealed new ideas or

improved methods of expressing previously arrived at ideas, it has just as

often resulted in my becoming significantly waylaid. In short, this tendency

is as facilitative as it is inhibiting, as exhilarating as it is exasperating.

I was compelled to confront this tendency during the very first week of

my Hartford experience when presented with the dream project assignment

by Alice Carter (b.1947) and Dennis Nolan (b.1945). I struggled a great deal

with the project and over the course of the week had to acknowledge that

my decision to create illustrations

for the 14th century poem Sir

Gawain and the Green Knight (see

Fig. 2) was based on my desire to

create one particular illustration

and not an entire series of works.

Essentially, I had unwisely

selected a subject or theme in

which I was not entirely interested

or committed. In other words, I

had unknowingly selected vanilla,

yet again. The resulting ambivalence and frustration I experienced greatly

hampered my creative process as well as my final work product. While I

completed the project to the best of my ability, I was determined to discover

Figure 2 Lisa Ambrose, Green Knight Thumbnails, 2011, pris-macolor marker on paper. Although challenging, the dream project introduced techniques I could implement to improve the compositional and narrative aspects of my illustrations.

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a method or manner of working to avoid

encountering this hurdle yet again. Relying

on the creative problem-solving skills I

developed as an engineer, I contemplated a

possible solution.

The largest obstacle to completing

that initial dream project was that the subject

I selected was not one for which I felt great

affinity. Accordingly, I determined that

going forward it might be better to select

subjects to which I felt particularly attracted.

Thus began my task of documenting

the many things in which I find delight,

including colors, artists, mediums, styles,

hobbies and collections. I further examined

the objects in my studio, home and other familiar places and included in my

list those items which held meaning and significance. The result was a list

of 200 items from which I could draw inspiration (see Fig. 3). Moreover, as

I constructed the list, a plan evolved by which I would select items from my

list and combine them in some way to come up with novel ideas that I could

later develop into various projects.

As the thrust of my previous artistic training and, therefore, my

current portfolio, tended toward the realm of fine art I resolved to use

my thesis as a way to explore different ideas and methods of working as

well as to broaden my portfolio with work directed more toward a viable

illustration market. This determination proved more difficult than I initially

anticipated, however. Specifically, despite possessing great enthusiasm for

many projects conceived from my inspirations list, most such projects had

Figure 3 Lisa Ambrose, 200 Things, 2011, felt-tipped pen. Creating this list has been so helpful that I now include it as an introductory assignment in the senior portfolio class I teach.

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to be discarded because they did not embody a high degree of marketability.

In the end, I was able to conceive and develop a project that combined

several of my interests, but which also satisfied my self-imposed marketability

qualification. The process by which I selected a thesis topic was certainly

difficult and although multiple potential projects were discarded along the

way, I in no way consider those efforts to be failures. While I have set aside

such projects for the moment, they nevertheless possess merit and will be

considered for future purposes.

Inspiration

Growing up, there were three things that I loved more than anything

else in the world: reading, horses and most of all drawing. I drew whenever

I was able and did not limit myself to traditional surfaces. I sketched on my

homework papers, paper my mother brought home from work (see Fig.4),

the inside of cereal boxes and when practical drawing surfaces did not

present themselves I sought out non-traditional surfaces such as the back of

a yellow velvet rocking chair three days after it was purchased in 1974. My

teachers recognized my artistic inclinations and regularly encouraged me

Figure 4 Lisa Ambrose, Happy Merry Christmas, 1976, graphite and crayon. With few toys available during this difficult time, the opportunity to portray my childhood fancies on the paper scraps my mother would bring home from work kept me entertained and out of trouble. Even more importantly, however, this activity provided an outlet for my imagination and an early love for artistic expression.

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to include art in my assignments. While I was generally content to depict

the world in a fairly age appropriate manner, I often became very serious

about achieving accuracy in my drawings. For example, in second grade,

when assigned a project concerning ocean dwelling creatures, I was content

to depict fish as simple oval goldfish with triangle tails. I was determined

that such childlike depictions were completely unacceptable, however,

as regarded the accompanying shark. To ensure that my depiction of the

shark was as accurate as possible, I insisted on using reference images of a

hammerhead shark from an encyclopedia.

When learning to read I did not as quickly as my peers make the

connection between phonics and reading. However, when I finally realized

their relationship, I developed into a voracious reader whose skills quickly

progressed. I was soon reading at an advanced level and allowed to choose

books reserved for older students. One of the

first “advanced reader” books I selected was Jean

Slaughter Doty’s Summer Pony. While the story

certainly spoke to the horse-crazy girl I had

become, the illustrations by Sam Savitt (1917-

2000) were of particular fascination (see Fig. 5).

My enjoyment of this particular book was so great

that I checked out the book multiple times simply

to look at the illustrations. The librarian eventually

discouraged me from monopolizing the book,

reminding me that other students would also enjoy

reading it. Before surrendering Summer Pony for

good, however, I held the pages to a window so I

could trace the illustrations onto paper, enabling

me to contemplate the illustrations whenever

Figure 5 Sam Savitt, Summer Pony, 1973, graphite, interior illustration for Summer Pony by Jean Slaughter Doty. I have always been fascinated by Savitt’s ability to portray dramatic movement and emotion using only simple, gestural lines.

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I chose. I eventually checked out every book in the library illustrated

by Savitt and carefully traced onto paper every one of his illustrations. I

desperately wanted to draw with the same

fluent, expressive line Savitt had mastered

and though I have never quite managed to

recreate his seemingly effortless drawing

style, these early tracings were crucial to

my early artistic development.

Over the years I have been attracted

to and influenced by an endless number of

artists and illustrators, but until recently

was unable to identify the elements

common to their work. It was not until

I began to write my reaction papers and

more critically evaluate their subjects that

dynamic compositions, dramatic contrast

and bold, saturated colors began to

emerge as common themes in my artistic

preferences. This realization enabled me

to discern the connection between my

fascination with the flattened, decorative

illustrations of Alphonse Mucha (1860-

1939) (see Fig. 6), the dramatic and highly

realistic paintings of Michelangelo Merisi

da Caravaggio (1571-1610) (see Fig. 7) as

well as the gestural, figurative works of

Henri de Toulouse-Lautrec (1864-1901)

(see Fig. 8) .

Figure 6 Alphonse Mucha, La Topaze, 1900, lithograph, from his Precious Stones series. Mucha is widely celebrated for his ability to orchestrate delicate, organic shapes and elaborate patterns into stunning, dynamic compositions.

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Figure 7 Michelangelo Merisi da Caravaggio, Saint Jerome Writing, 1605-1606, oil on canvas. By employing strong contrast broken by bits of vivid color, Caravaggio was able to impart a powerful theatrical sense of light to his paintings.

Figure 8 Henri de Toulouse-Lautrec, In the Salon at the Rue des Moulins, 1894, oil on canvas. Toulouse-Lautrec’s use of active compositions and brilliant color conveys a sense of movement in even his most tranquil works.

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In determining a subject for my thesis

project, I first considered my newly discovered

passion for American mid-century lifestyle

illustrators. Through Murray Tinkelman’s

(b. 1933) comprehensive History in Context

lectures, I gained great appreciation for the

incredible compositional skills of artists such as

Coby Whitmore (1913-1988) (see Fig. 9) and

Jon Whitcomb (1906-1988) (see Fig. 10) and

wanted to further study their works. I thought

to combine a sense of the retro sensibility that

marked illustrations of this period with imagery

referencing mythological stories of various

cultures. Accordingly, I contemplated paintings

depicting everyday scenarios with heavy

allusions to mythological stories. I was indeed

excited about this project and worked for several

weeks developing concepts. Unfortunately, after

working through ideas for several works in the

series, and even completing one such painting

(see Fig. 11), I realized that this project did

not contain enough of the commerciality I was

seeking. Although I believed a market for this

work existed, I nevertheless concluded that this

concept was better suited to a series of fine art works than a serious start to

a marketable illustration portfolio. I was in no way discouraged, however.

Instead, I have determined that this particular series will be a self-motivated

project that I will continue to pursue separate from my thesis work.

Figure 10 Jon Whitcomb, A One-Day Marriage to the Actress Mary Brian, 1939, gouache. The design sense that is revealed in Whitcomb’s work is enhanced by his skills in depicting beautiful women.

Figure 9 Coby Whitmore, Sincerely, Willis Wade, November 1954, oil on canvas, illustration for Ladies’ Home Journal. Whitmore was adept at the manipulation of compositional framing elements to effectively highlight the importance of the women in his illustrations.

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Figure 11 Lisa Ambrose, Seasonal Portrait of a Persephonic Resurrection, 2012, oil on canvas. To depict Cerberus as a three-headed creature was too literal an interpretation for this work. I wanted my mythological references to be a bit more subtle so I planned to use a trio of poodles . The remaining two poodles will be added as time permits.

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My admiration of pulp fiction artists such as Hugh J. Ward (1909-

1945) (see Fig. 12), Norman Saunders (1907-1989) (see Fig. 13) and Walter

M. Baumhofer (1904-1987) (see Fig. 14) greatly influenced my second

attempt at selecting a thesis topic. Many artists of this genre were masters in

the use of composition, contrast and color, traits that I admire and struggle

to portray in my own work. Persuaded that further research and practice

in these areas would be of tremendous benefit to my development as an

artist and illustrator, I was confident that such could form the basis of my

graduate thesis. This time, I settled on an unlikely combination of subjects

by mingling my interests in pulp fiction covers, figurative works, dramatic

posters and opera. Envisioning a series of opera posters in a pulp cover

style, I immediately began to reacquaint myself with the storylines of my

favorite operas. As my research progressed, I began to see this concept was

not nearly as farfetched as I originally suspected. The oftentimes outlandish

scenarios of opera were not so dissimilar to the wild tales of pulp fiction.

However, in discussing the subject with other opera enthusiasts I began to

Figure 12 Hugh J. Ward, Evil Flame, 1936, oil on canvas, cover illustration for Spicy Mystery Stories.

Figure 13 Norman Saunders, title unknown, 1939, oil, cover illustration for Marvel Science Stories.

Figure 14 Walter M. Baumhofer, Red Snow, 1935, oil on canvas, cover illustration for Doc Savage Magazine.

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receive an alarming amount of negative feedback. This response, led me to

realize that my pursuit of a style of work so unlike the generally accepted

norm for this particular market could severely limit the scope of my thesis

and, therefore, my resulting portfolio. Although I wanted to further develop

the idea, I begrudgingly accepted its limited potential for use. Nevertheless,

I determined that although this project would not give me the results I was

looking for in a thesis project it was something I could pursue quite possibly

on a more limited scale in the future.

Despite expending so much energy, both physical and creative, I

again found myself standing at square one of my thesis selection process.

Staying true to my plan, I again returned to my inspiration list for additional

ideas. In so doing, I recognized my inclusion of Red Nose Studios and was

immediately enthusiastic. I enjoy working three-dimensionally and greatly

admire the whimsical, eclectic style that Chris Sickels (b. 1974) utilizes in

his illustrations (see Fig. 15). This particular entry also served to remind me

of a project from the previous summer that I had envisioned in this style.

On the way to our first children’s book session with Ted Lewin (b.1935) and

Figure 15 Chris Sickels, Hatfield’s Fuse, 2009, found-object sculpture, label illustration for Blasted Church Vineyards. I discovered Sickels’ work after developing an interest in three-dimensional illustrations. His skill in creating amusing and beautifully composed imagery using found objects is a source of great facination to me.

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Betsy Lewin (b.1937), in our inaugural Hartford Illustration MFA summer

contact period, the phrase, “Trista May Antonia Spouts opened her mouth

and brambles came out,” flashed through my head. So intrigued was I with

the idea of brambles representing mean, nasty words that I hurriedly wrote

the phrase down. It was far too late to use this new revelation for the Lewins’

class, but I was nevertheless fascinated by the idea and set it aside for future

consideration. Following that moment of inspiration, I was unable to pursue

the “brambles book” farther than a few lines. I had the great fortune, however,

of receiving a scholarship for an art residency in Harrington, Maine directly

following our second Hartford

summer session. I hoped to

utilize my opportunity at the

residency to further develop the

remainder of the brambles story,

but given my limited amount of

time, my attempts were less than

successful. While I was quite

enthusiastic about this potential

project, I did not want to

diminish its potential through

hasty completion.

It was only when I unearthed some interesting photos in a Maine

antique store (see Fig. 16), that I finally gave myself permission to set this

book idea aside, if only for the time being. Old black and white photographs

are most certainly on my inspiration list. The photographs I located in

the antique store, which appeared to depict family vacations, immediately

reminded me of the work of Amy DeVoogd (b. 1965) a Hartford MFA

graduate. I have long been captivated by DeVoogd’s ability to combine images

Figure 16 Lisa Ambrose, Vintage Photo Discovery, 2012, photograph. This discovery provided a number of interesting photographs, many more than can be incorporated into this project. The images that I cannot utilize for this portion of my thesis have been set aside for use in future projects.

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to create simple, yet interesting illustrations (see

Fig. 17). Accordingly, I thought it possible to

utilize the antique store photographs to create

a series of simplified paintings with abstracted

backgrounds that reflected a limited palette. I

felt the sense of nostalgia these photographs

suggested might be useful in creating illustrations

for use in various licensing contexts. Before I

could make the commitment to this project,

however, I thought it best to attempt to work

in the style I envisioned. Using photos I had

taken while in Pasadena and Fort Worth, my

first attempt was not entirely unsatisfactory. The

figures were simplified as I had intended, but

I did not feel the background was abstracted

nearly enough. I was looking to create an

image with flatter, more deliberate brushstrokes

similar to those employed by Joseph Christian

Leyendecker (1874-1951) (see Fig. 18).

Persevering, I made a second attempt the result

of which was exactly what I was seeking. While

I believed this to be an interesting project, I did

not immediately consider it appropriate for my

thesis. However, as I further considered the

basis of this project its conceptual merits and

commercial viability revealed themselves. Not

surprisingly, my attitude toward the project

quickly shifted and I determined to include this

Figure 17 Amy DeVoogd, Ferry Building Farmer’s Market, 2011, acrylic, personal work. DeVoogd’s work reveals her keen designer’s eye and intuitive sense of color.

Figure 18 Joseph Christian Leyendecker, First Airplane Ride, August 1909, oil on canvas, cover for Collier’s. As a result of his distinctive mark making, Leyendecker has become one of the most recognizeable illustrators of all time.

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as part of my thesis. I was not confident, however, that an entire thesis could

be accomplished from this concept. Thus, my search for appropriate thesis

subjects continued.

Just as I was really beginning to feel the deadline for my thesis

looming, I discovered The Children’s Bluebird by Maurice Maeterlinck (1862-

1949). The book was adapted from a play by Maeterlinck and contains

several interesting and unusual characters. After perusing this unfamiliar

tale, I thought it might serve as an interesting source for my thesis work. As

a chapter book, I imagined this as the sort of book a parent would read as a

continuing bedtime story. Accordingly, I felt that its illustrations needed to

interest children and adults alike. I adore the illustrations of Edmund Dulac

(1882-1953) and although his particular style might have been appropriate

for a book of this nature (see Fig 19), I thought that a more modern approach,

similar to that of John Baizley (b. 1978) (see Fig. 20), would be more suitable.

Figure 19 Edmund Dulac, Fisherman and the Genie, 1906, watercolor and gouache, interior illustration for Sinbad’s Discovery of the Genie.

Figure 20 John Baizley, Blue, 2009, ink and watercolor, cover illustration for Baroness’ album Blue. Baizley’s drawings have a very updated feel despite the influence of Alphonse Mucha on his work and the traditional mediums that he uses to create them.

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Prior to beginning my formal artistic

training, the majority of my work

consisted of inked marker drawings,

but I have subsequently developed a

proficiency in watercolor. I believed

the combination of watercolor and

ink would be one with which I would

be comfortable. My attempts were,

unfortunately, less than successful.

I was not pleased with the colors

and shapes that emerged in my

watercolor efforts and an attempt to

use markers instead of watercolor

imparted an unsatisfactory plastic

feel to my images. Determined to

make this idea work, I decided to

make one more attempt using ink

and digital color. I was dissatisfied,

however, with my efforts and after

more than a half-dozen attempts I was forced to conclude that this project

was not appropriate for present purposes.

Frustrated, I was quickly running out of time and options. About

this time, I had begun work on my New York reaction piece and was thrilled

with its progress. Completed in oils, a medium with which I am quite

comfortable, this piece was painted in a style that also combined the semi-

abstracted backgrounds I had used in my studies for the vintage photograph

project. The work was also influenced by the strong, visible brushstrokes in

the masterfully painted works of Gregory Manchess (b. ?) (see Fig. 21). I so

Figure 21 Gregory Manchess, The Satan Factory, 2008, oil on board, cover illustration for The Satan Factory by Thomas E. Sniegoski. The painting style of Manchess launched my enthusiasm for direct painting methods and this illustration was the first of his works to catch my notice.

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enjoyed the process of completing this piece, not to mention my satisfaction

with the final result that I wanted to paint more such works. I concluded

that by creating works that depict recognizable landmarks dominated by an

animal with which that particular locale is associated, such works could be

marketed as tourist posters or similar items. I determined to combine this

project with the aforementioned vintage vacation photograph project, as

such would incorporate similar vacation themes and utilize similar painting

styles. Quite honestly, I had not been this excited about any previous

attempts to identify a thesis subject. I had finally discovered a thesis project

that suited me perfectly!

Part 1: Travel PostersProcess

The reaction piece that sparked the idea for

this portion of my thesis project was influenced

by a number of experiences during the November

2012 Hartford contact period in New York City.

Specifically, the view of the city from the top of the

Empire State Building, the resemblance I noted

between the lights of the city and the stars of the

evening sky, experiencing the Byzantine religious

paintings displayed in the Metropolitan Museum

of Art, and witnessing the city’s burgeoning urban

poultry movement (see Fig. 22). While seemingly

unrelated, these particular influences were by far

the experiences I found most compelling. Had I

attempted to develop an illustration associated with

New York City without first experiencing the city,

the result would have likely been cliché and devoid

Figure 22 Lisa Ambrose, Urban Poultry: Kindling Sustainable Agriculture in Metrop-litan Communities, 2013, oil on hardbord. This work was informed by several disparate influences and I was pleased with the final result of the project.

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of substance. For my thesis project, however, I wanted to create images that

appealed to residents and visitors alike. To accomplish this result, it was

necessary that I experience firsthand each location that I would be depicting.

For this portion of my thesis, I selected six destinations which I have

visited previously: Portland, Maine; San Francisco, California; Fort Worth,

Texas; New York City, New York; Louisville, Kentucky; and Custer State

Park, South Dakota (see Fig. 23). I traveled to several of these locations as a

participant in the Hartford program and as a result have already produced

reaction pieces regarding my experiences. As these experiences are fresh

in my mind, I have decided to incorporate certain of them in this project.

I soon realized, however, that given the limited time remaining it would

not be possible to complete the entire series prior to my thesis exhibition.

Despite this circumstance, my confidence in the marketability of this project

has not diminished and I intend to complete, in the very near future, the

remaining pieces in this series.

Figure 23 Lisa Ambrose, Initial Travel Poster Sketches, 2013, graphite.

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To more clearly illustrate the process by which I developed this

aspect of my thesis project, a discussion of how I developed one of the

aforementioned posters would perhaps be beneficial. To begin, I wanted

each poster to be comprised of an interesting sky and recognizable buildings,

monuments or natural structures as well as an animal associated with the

city or general area. For example, Portland Head Light, is not in the city of

Portland proper, but rather, is located in nearby Cape Elizabeth. However,

because it is associated with Portland and is a popular landmark, I concluded

it was appropriate for this project. Selecting the animal to be included in

this piece was not difficult as lobsters are generally associated with the state

of Maine. With this initial background, I began my

thumbnails.

My original plan was to also include some

sort of religious reference as I had done in my New

York reaction piece. As discussed below however,

this decision required that I consider the impact,

intended or otherwise of such imagery. Even

though they only turn red when cooked, lobsters

are generally depicted in this color which irritates

inhabitants of Maine. I wanted to depict a live

lobster and with respect to religious references,

I considered the imagery of Shiva, a deity in the

Hindu religion. Shiva is often depicted as a blue

hued being with multiple arms (see Fig. 24) and

following this vein I determined that my lobster

would likewise be blue. While rare, blue lobsters

actually exist (see Fig. 25). Thus, while the depiction

of the lobster in this particular work is influenced

Figure 24 L. M. Sharma, Lord Shiva, 1960s-1970s, poster colors on mounted board, for calendar. Portrayls of Shiva vary widely, but many depict him tinted blue and endowed with multiple arms.

Figure 25 Leslie Ricker, Blue Lobster, 2002, photograph. An estimated 1 in 2 million lobsters possess the genetic mutation that results in the rare, blue coloration.

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by religious symbolism, it is not without a basis in the natural world.

After completing multiple thumbnails (see Fig. 26), I began to wonder

whether the shapes I was planning for the lobster were even physically

possible. Unaware of the scope and limitations of lobster movement,

I thought it best to explore such firsthand. Accordingly, I persuaded my

husband to prepare a lobster dinner,

but before such I availed myself of the

opportunity to conduct a photography

session with the lobster in question

which I decided to name “Kyle” (see

Fig. 27). By so doing, I realized that a

lobster’s range of movement was much

less than I assumed. I also discovered

that the meditating position I had

Figure 26 Lisa Ambrose, Portland Sketches, 2013, graphite. Since my introduction to the visual thought process of creating thumbnails, I am constantly amazed at the improvements on initial ideas that can be accomplished simply by the use of this uncomplicated technique.

Figure 27 Lisa Ambrose, Kyle, 2013, photograph. This photography session revealed that lobsters possess a very limited range of motion.

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envisioned was not optimal because lobsters resemble an alien from this

particular vantage point. I also struggled with the realization that depicting

the lobster in an upright position diverted the viewer’s eye away from

the lighthouse, another important element in the image. This forced me

to consider alternative poses or postures in which to depict the lobster. I

also began to realize that the inclusion of overt religious references may

present certain marketing disadvantages. For example, such imagery may

offend some viewers and may diminish the potential market for such a

piece. Instead, I decided that using more subtle references, susceptible of

both religious and secular interpretation, would permit the inclusion of a

narrative, albeit less direct, without creating undue offense.

As a result, I began to more closely examine the symbology associated

with Shiva in an attempt to discover alternative imagery by which to convey

my intended narrative. Two

possibilities were immediately

apparent, the crescent moon

and serpents, both of which

adorn Shiva in most depictions.

Although a crescent moon

would be acceptable in this

piece, I found the inclusion of

serpents would be inconsistent

with the intended tone and use

of the work. However, I solved

this difficulty by depicting the

piece with a night sky which enabled me to include the crescent moon as

well as the constellation Serpens which alludes to the serpents Shiva wears

around his neck (see Fig. 28).

Figure 28 Alexander Jamieson, Serpens - Celestial Atlas, 1822, medium unknown, published by G & W.B. Whittakers. Divided by the constellation Ophiuchus, Serpens is unique in that it is a constellation broken into two parts.

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While attractive, the depiction of a true night sky in this particular

poster posed certain difficulties. Specifically, I considered including such

skies in several of the remaining posters, but was concerned that the

resulting lack of variety in this regard would limit the marketability of this

series. Accordingly, I explored whether I could modify the Portland poster

to lessen this concern. I concluded that revising the piece to depict an early

sunrise addressed this concern and, moreover, resulted in an image in which

the lobster does not appear to be fading into the background of a dark sky.

Photographing and handling a live lobster was one of the best

things I could have done for this project. Creating some sort of arched,

flowing shape was going to be difficult with a creature that had such

limited movement and by taking numerous reference images I was able to

develop shapes that I felt worked in the

composition. Placing the crescent moon

near the lighthouse allowed me to create

interaction between the lobster and the

lighthouse. I was concerned, however,

that this interaction not convey any sense

of menace. I was able to avoid such with

a few adjustments in the placement of

the figures which gives an impression of

the lobster plucking the moon from the

sky. In combination with the sunrise

background, this action contributes to

the narrative tone I intended for the work.

After creative brainstorming

for the poster concept was complete, I

finalized my sketch (see Fig. 29) and

Figure 29 Lisa Ambrose, Final Be Claws I Said So Sketch, 2013, graphite. This sketch provides the final layout from which reference images can be developed.

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created an Adobe Photoshop

compilation of references (see

Fig. 30). I determined that these

pieces should be produced as 24

x 18 inch posters as this would

allow me the necessary space

to create the type of visible

brushstrokes I was seeking and

would also allow for quality

reproduction at most sizes. I

gessoed and toned a hardbord

substrate and projected my

sketch after which the task

of painting began. To keep

the initial painting matte for

scanning purposes, I used only a

small amount of turpeniod as a

medium. Turpeniod also allows

me to activate the underpainting

as I lay in the flattened brushstrokes. I tend to paint in sections, working

from back to front in the composition, and final adjustments are then added

throughout the composition when the work is near completion to help unify

the piece. When dry, the works were then scanned at 600dpi in multiple

pieces and the scans then manipulated using Adobe Photoshop to create the

final digital image.

Figure 30 Lisa Ambrose, Be Claws I Said So Reference, 2013, photoshop. I use Photoshop compilations like this one to develop my basic shapes. Colors are then pulled from individual references and adjusted to suit the image.

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Part 1: Travel PostersThe Work

Figure 31 Lisa Ambrose, Be Claws I Said So, 2013, oil on hardbord.

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Figure 32 Lisa Ambrose, Lion at the Gate, 2013, oil on hardbord.

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Part 2: Vintage Vacation Process

The process for this portion of my thesis was far less conceptual in

nature and based more on the actual physical process of image making.

I was able to work through the

initial stages of the process using

photographic references I obtained

while in Pasadena (see Fig. 34) and

Fort Worth (see Fig. 35). While I

had in my mind a general idea of

how I would approach this particular

project, exploring such using my

Pasadena and Fort Worth images

revealed certain ways in which I

could more quickly produce higher

quality illustrations.

I then selected a few of

the vintage photographs that I felt

best suited the vacation concept

of this project. I desired images

that depicted interesting figurative

postures from different seasons of the

year as such would allow for a variety

of backgrounds and be compatible

with several different color palettes.

With the chosen photographs set

aside, I then began the process of

sketching compositions.

Figure 33 Lisa Ambrose, Denouement at Dusk, 2012, oil on hardbord. While I was pleased with the color and techniques I utilized in this first painting, I was unable to achieve the precise effect I had intended.

Figure 34 Lisa Ambrose, Destination Delayed, 2012, oil on hardbord. This second attempt resulted in exactly the effect I was seeking and I concluded that, with only a few minor adjustments, this approach would be appropriate for the applications I was considering.

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In the very first Hartford

summer session, Jacqueline Decker

(b. 1962) was one of the guest

speakers. Decker spoke about the

development of her illustration style

and her eventual initiation into the

world of licensing (see Fig. 36). As

a result of Decker’s presentation,

I made the decision to attend the

Surtex licensing and marketing

convention the following spring. One of the convention workshops I attended

addressed the topic of creating a design with licensing in mind. Specifically,

the speaker asserted that the best images for licensing purposes are ones

which can be used both vertically and horizontally. With this direction in

mind, I completed my sketches on tracing paper which allowed for ease of

manipulation. While the figures were depicted in a rather detailed manner,

the backgrounds were indicated more generally (see Fig. 37).

Figure 35 Jacqueline Decker, Seasons , 2009, watercolor, gouache and graphite. I am grateful that in her presentation, Decker provided valuable information on an illustration market that I had not previously encountered.

Figure 36 Lisa Ambrose, Canyonside Assistants Sketch, 2013, graphite. Sketches like this one were transferred to boards to serve as a roadmap for the next stage...painting!

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Once the composition was constructed, I began the process of

determining a color palette for each image (see Fig. 38). The intended palettes

were established only as a starting point. I understood that there would be

some color mixing involved as I laid brushstrokes over the flat backgrounds

which would result in a few “stray” colors, but I wanted to develop a color

mood for each piece. I was looking to create fairly limited palettes for each

illustration and determined that pre-planning would best accomplish this. I

scanned the sketches and using Adobe Photoshop developed a color comp

for each so that I had a framework from which to begin.

Figure 37 Lisa Ambrose, Got Spinach? Color Palette, 2013, Adobe Photoshop. Color comps, such as this, provide a efficient method of eliminating costly mistakes in the later stages of an illustration. Unfortunately I was late in discovering the importance and impact of this stage of image development.

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This project was also painted on gessoed hardbord. The gesso was

then toned using a wash of turpeniod and color wiped on with a rag after

which I projected my sketch. While I normally work from the background

to the foreground, on these

illustrations I painted the

base shapes for each figure

first before then painting in

the background. I worked

in this manner because I

wanted the brushstrokes

in the background to

compliment the shapes of

each figure and in most

cases, frame it. Basic

shapes were laid in and

then flat, square brushstrokes painted over the top using turpeniod as a

medium (see Fig. 39). I intended these pieces to have a handmade feel,

but felt it important that certain brushstrokes be adjusted to maintain a

flattened, square appearance. Specifically, the more dominant brushstrokes

were cleaned up and when complete and dry, these works were scanned at

600 dpi to provide high quality digital images.

Figure 38 Lisa Ambrose, Brushstrokes, 2013, oil and graphite on hardbord. Working wet brushstrokes into partially dry underlayers allows the paint colors to mix. This method more easily produces harmonious colors than can be achieved by mixing colors separately.

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Part 2: Vintage Vacation The Work

Figure 39 Lisa Ambrose, Got Spinach?, 2013, oil on hardbord.

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Figure 40 Lisa Ambrose, Snowbuddies’ Business, 2013, oil on hardbord.

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Figure 41 Lisa Ambrose, Canyonside Assistants, 2013, oil on hardbord.

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Figure 42 Lisa Ambrose, Intentcity, 2013, oil on hardbord.

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Figure 43 Lisa Ambrose, Wave Reviews, 2013, oil on hardbord.

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Figure 44 Lisa Ambrose, Taken for Granite, 2013, oil on hardbord.

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Marketing

As Decker spoke about her transition to licensing, I was astounded

that I had not previously learned about this particular illustration market. I

found intriguing the concept of creating work in which I was interested and

then seeking out an appropriate market for such. Success is often susceptible

of multiple definitions, depending on the context and circumstances. One

measure of success, in my view, is to attain a status professionally which

allows me to decline projects without incurring financial hardship or

damaging relationships with my clients. Therefore, the opportunity to create

work for a market that would afford the potential to choose the projects

that interest me is very appealing. Given my interest in learning more

about licensing, I began

researching the Surtex

licensing and marketing

convention to be held the

following spring. I was

unsure about attending

this convention until I

realized that it would

also benefit my teaching

aspirations. Accordingly,

I attended the Surtex

convention in May 2012.

This educational experience allowed me to explore the myriad ways

that illustrations created for the purposes of licensing were presented and

marketed (see Fig. 46). While at Surtex, I also attended several workshops

including Basics of Art Licensing Part I and Part II and Understanding Legal

Basics during which I learned a great deal of valuable information. Before

Figure 45 Lisa Ambrose, Surtex Convention Displays, 2012, photograph. Surtex provided valuable insight into the various methods used to present art for licensing purposes. With so many artists and designers in attendance, effective presentation is critical to attracting potential buyers.

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attending the convention, I assumed that the type of work I tend to create

would not be applicable to licensing. I was pleased to discover, however, that

there exist potential markets for my style of illustration. I further realized

that the work completed for this thesis was potentially licensable for use

as cards, posters, prints, shirts, fabrics and quite possibly several other

applications.

The National Stationary Show was simultaneously taking place

which enabled me to learn about even more potential applications and uses

for my work. One hurdle to participating in these markets, however, is that

purchasers are unlikely to consider partnering with an artist whose portfolio

contains less than 15-20 relevant collections. While I could not use my

thesis project to create this volume of work, I determined to use my thesis as

an opportunity to begin a few collections that I could later expand upon. In

this regard, my goal is to create a body of work sufficient to merit attending

the 2014 Surtex convention as an exhibitor.

In addition to the potential licensing use of my thesis works, the

originals of this series can also be submitted to galleries. I believe the

galleries most likely to be interested in the travel series, as well as the vintage

vacation works, will be ones in or near areas that are frequented by tourists.

As I add work to this series I will begin seeking venues to market the original

paintings.

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LISA AMBROSE ASKS THE QUESTION... ARE WE THERE YET?

Exhibition Dates: July 9 - July 19, 2013Closing Exhibition: Friday, July 19, 2013, 5:00 p.m. – 6:45 p.m

The Joseloff Gallery, located in the Harry Jack Gray Center of the Hartford Art School will present the work of Lisa Ambrose as part of the Hartford Art School Low-Residency MFA in Illustration Class of 2013 Thesis Exhibition.

In this new series of works, Ambrose attempts a two-phase exploration of simplified mark making through a vehicle of decorative, travel-themed illustrations. Are We There Yet? highlights paintings greatly influenced by the artist’s recent travels. These works, which imply subtle narratives, are presented alongside a companion series of paintings inspired by a collection of vintage vacation photographs Ambrose recently discovered. Employing square, flattened brushstrokes to add texture and contrast to simplified shapes, Ambrose has attempted to transform these vacation photos into works that invoke a sense of playfulness and nostalgia.

With respect to this Exhibition, Ambrose remarked, “these works represent both the culmination of my formal artistic training as well as the beginning of my journey as a professional illustrator. I am very excited to display my work alongside so many other talented artists and illustrators. The variety and quality of work in this Exhibition is simply outstanding.”

FOR IMMEDIATE RELEASE: June 1, 2013

Hartford Art School - University of Hartford

200 Bloomfield Avenue, West Hartford, CT 06117PHONE: (860)768-4090 FAX: (860)768-5159

WEB: www.joseloffgallery.org GALLERY HOURS: Tues-Fri 11-4, Sat-Sun 12-4

For more information about the exhibition contact the Joseloff Gallery (860)768-4090 or joseloff@hartford.edu

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The Program

I was attracted to engineering for several reasons and initially

enjoyed my work. After working for fifteen years in the engineering field

(see Fig. 47), however, I had become quite disillusioned at the direction my

professional life had taken and concluded that a career change was necessary.

While I knew, in my heart of hearts, the career path I wanted to pursue, I was

not yet ready to embrace such. Afraid to pursue my dreams of becoming

an artist, on the ground that such was impractical, I instead considered

becoming a veterinarian, a nurse, or, unbelievably in retrospect, a paralegal.

These options, like my decision to pursue engineering, were careers which

I deemed to be sufficiently practical. I was, to put it mildly, so very wrong.

While practicality is a legitimate consideration when choosing a career path,

it simply cannot become the paramount or overriding concern for reasons

Figure 46 Mike Costello, 2001 Chevy Silverado Dash, 2008, photograph. The passenger side air vent (far right) of this truck model was one of the products I designed during my time as an automotive design engineer. Because the aesthetics of each project were generally pre-determined by the manufacturer, my work consisted primarily of problem solving and mechanical and production based modeling.

38

which are now quite obvious to me. Fortunately for me, my husband

navigated a similar dilemma prior to our meeting. Understanding what

I was experiencing, my husband afforded me the time and consideration

necessary for me to traverse similar shoals and arrive at the decision which

he knew all along, and I subsequently realized, was best, attending Kendall

College of Art and Design to study illustration. While I am stubborn enough

to have accomplished my artistic goals completely on my own, my husband’s

many efforts have made this journey much easier and so much more

enjoyable. While I initially experienced much regret that I had not pursued

art professionally many years ago, I soon came to realize that the success I

am presently enjoying is not simply a function of, for lack of a better phrase,

technical ability, but is instead

a reflection of who I am

as a person. I am a much

different person now than I

was 20 years ago. Thus, had I

originally pursued art instead

of engineering, artistic

success, or professional

fulfillment, was certainly not

guaranteed. As comics attest,

timing is everything, and all

things considered my timing

appears to have been dead on.

Until my pursuit of an undergraduate degree at Kendall College of

Art and Design, I had very little training and adhered to the subjects and

mediums with which I was familiar. My drawing experiences were limited

to animals, rendered in ink, marker or a #2 pencil (see Fig. 48). However,

Figure 47 Lisa Ambrose, Christmas Goats, 2005, ink and marker. This greeting card design is a typical example of my personal drawing style prior to attending Kendall’s illustration program. I drew animals almost exclusively and spent many hours meticulously adjusting the line weights of my cartoon drawings before finally adding color.

39

my time at Kendall opened my

eyes to new possibilities and

I discovered talents I did not

know I possessed (see Fig. 49).

In the spring of 2008,

Murray Tinkelman arrived

at Kendall, slide reels in tow,

to share with students the

history of illustration. During

his presentation, Tinkelman

spoke about the Hartford Low

Residency MFA in Illustration.

I was excited to hear of such

an amazing program and

filed away this knowledge

for, hopefully, future use.

During my undergraduate

studies at Kendall, I focused

on developing my technical skills. As I neared graduation, however, I

realized that while I possessed strong technical skills, I had not yet become

an illustrator. To use a musical metaphor, I felt as if I had been trained to

play the notes but not make the music. Believing that I needed additional

instruction to become a better illustrator, I began to consider graduate

programs. I immediately considered the Hartford program as I believed

it would provide the necessary motivation and direction. I was sorely

disappointed, however, when I discovered that without sufficient illustration

experience it was unlikely I would qualify for the program. I was, to put it

mildly, heartbroken. However, with much encouragement from my husband

Figure 48 Lisa Ambrose, Thai-trade on the Khlong Damnoen Saduak, 2008, watercolor. I developed good technical skills while at Kendall. I still felt that something was missing and hoped that I could find that during my time at Hartford...I was not disappointed.

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and incessant pestering from Kendall professor Jon McDonald (b. 1946), I

applied to the Hartford program. I was so nervous about the acceptance call

from director Murray Tinkelman that I dropped the phone…twice.

When I arrived at Hartford I felt terribly out of place in the company

of such talented illustrators. Little did I know that this group of people

would stimulate my creative spirit in ways I never imagined and would

provide such heartfelt encouragement. I likewise never imagined that my

classmates would quickly become some of my most beloved friends (see

Fig. 50). My classmates are individuals to which I can turn when I need

advice, prodding, an audience or even a shoulder to cry on. We have shared

ideas, techniques, drinks, meals, housing and plenty of laughs. This group

of brilliant illustrators has become an important network and a source of

great inspiration.

Figure 49 Paul Cochran, Visit to the Museum of the Moving Image, 2012, photograph. The program’s contact periods provided an opportunity to further cement what I hope will become lifelong friendships.

41

As I walked into my very first Hartford class I received a phone

call from Jon McDonald asking me to teach illustration courses at Kendall

beginning that fall. Quite honestly, I had no idea where to begin planning

for such and, furthermore, was overwhelmed at the prospect of so quickly

transitioning from student to instructor. However, the opportunity to teach

allowed me to begin my Hartford courses with a new perspective and I was

able to glean valuable insight regarding teaching methods and assignments

not only from the incredibly talented and accomplished cast of illustration

professionals leading the Hartford MFA program, but also from my fellow

students. This program has played an integral role in my growth as an

illustrator and my success as an educator.

Conclusion

During my all too brief time in the Hartford MFA program, I have

grown and matured in a multitude of ways some of which I am only now

just beginning to realize. Through the numerous concrete experiences this

program affords, my confidence in my artistic abilities and judgment has

increased exponentially. Moreover, I am departing with numerous ideas

for future projects which will further broaden my personal and artistic

horizons. Of even greater value, however, is the knowledge that I will not

be making this journey alone, but will instead be joined by the many friends

and mentors I have been fortunate to meet over the course of the previous

two years. Content no longer to settle for vanilla, I hereby emerge from my

chrysalis prepared and eager to find my place in the illustration community.

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Education Hartford Art School - Hartford, Connecticut 2011 to 2013, M.F.A. - Illustration

Kendall College of Art & Design - Grand Rapids, Michigan 2007 to 2011, B.F.A. - Illustration Major, Painting Minor

Studio Art Centers International - Florence, Italy Summer 2010 - Batik focus

Western Michigan University - Kalamazoo, Michigan 1989 to 1991 - Engineering Graphics focus

Siena Heights University - Adrian, Michigan 1988 to 1989 - Graphic Design focus

Professional Illustration Adjunct Faculty - 2011 to present Kendall College of Art & Design, Grand Rapids, Michigan Senior Portfolio, Life Drawing IV, Poster Design, Print Media

Continuing Studies Instructor - 2011 to present Kendall College of Art & Design, Grand Rapids, Michigan Drawing on the Town, College Level Drawing

Residencies Golden Apple Artist Residency - July 2012 Scholarship Award Recipient Harrington, Maine

Lectures, Community Involvement and Related Experience Live Painting Demonstration - February 2013 Live Coverage UICA - Grand Rapids, Michigan

Juror - November 2012 Northern Exposure XIX, William Boniface Fine Arts Center - Escanaba, Michigan

Workshop - November 2012 Harnessing Creative Thinking to Maximize Efficiency William Boniface Fine Arts Center - Escanaba, Michigan

Live Painting Demonstration - August 2012 Kid Art Fest Grand Rapids Children’s Museum - Grand Rapids, MI

Biography

43

Mentor Award16th Annual Winter Festival Juried Art Exhibition, 2013

Great Lakes Dental Award16th Annual Winter Festival Juried Art Exhibition, 2013

Patron Award25th Northern National Juried Art Exhibition, 2012

Juror’s Recognition Award26th West Michigan Regional Juried Exhibition, 2012

First Place15th Annual Winter Festival Juried Art Exhibition, 2012

Award of Excellence in Portraying the Human Form15th Annual Winter Festival Juried Art Exhibition, 2012

Maria Aguilar Memorial Award25th West Michigan Regional Juried Exhibition, 2011

Studio Excellence Award for IllustrationKendall College of Art & Design Grand Rapids, Michigan, 2011 Best in Show25th West Michigan Regional Juried Exhibition, 2011

Juror’s Recognition Award25th West Michigan Regional Art Competition, 2011

Third Place14th Annual Winter Festival Juried Art Exhibition, 2011

Muskegon Museum of Art Merit Award14th Annual Winter Festival Juried Art Exhibit, 2011

Festival 2013 Regional Arts Juried Exhibition Grand Rapids Press Building - Grand Rapids, Michigan, 2013

85th Annual Muskegon Regional Juried Exhibition Muskegon Museum of Art - Muskegon, Michigan, 2013

Emerging West Michigan Painters Portland Community Arts Council - Portland, Michigan, 2013

National Watercolor Society All Member Juried Exhibition National Watercolor Society - San Pedro, California, 2013

Ignition: National Juried Exhbition Spark Workshop Brooklyn - Brooklyn, New York, 2013

The Power of Portraits: Statewide Juried Exhibition Ella Sharp Museum - Jackson, Michigan, 2013

16th Annual Winter Festival Juried Art Exhibition Uptown Gallery - Grand Haven, Michigan, 2013

Start Making Sense: The 23rd Members Open Museum of American Illustration - New York, New York, 2013

25th Annual Northern National Juried Art Exhibition Nicolet College Art Gallery - Rhinelander, Wisconsin, 2012

51st Annual Greater Michigan Juried Art Exhibition Alden B. Dow Museum - Midland, Michigan, 2012

Festival 2012 Regional Arts Juried Exhibition Grand Rapids Press Building - Grand Rapids, Michigan, 2012

84th Annual Muskegon Regional Juried Exhibition Muskegon Museum of Art - Muskegon, Michigan, 2012

Lancaster County Art Assoc. National Juried Exhibition LCAA - Strasburg, Pennsylvania, 2012

Magnitude 7.8 National Juried Exhibition Manifest Gallery - Cincinnati, Ohio, 2012

26th Annual West Michigan Regional Juried Exhibition Lowell Area Arts Council - Lowell, Michigan, 2012

15th Annual Winter Festival Juried Art Exhibition Uptown Gallery - Grand Haven, Michigan, 2012

3rd Annual National Figurative Exhibition Lore Degenstein Gallery - Selinsgrove, Pennsylvania, 2011

Being Human National Juried Exhibition Union Street Gallery - Chicago Heights, Illinois, 2011

Select Honors Select Exhibitions

44

Bibliography

Figure 1 Jarvis, George. Title unknown. 1989. Photograph. Personal collection.

Figure 2 Ambrose, Lisa. Green Knight Thumbnails. 2011. Prismacolor marker.

Figure 3 Ambrose, Lisa. 200 Things. 2011. Felt-tipped pen.

Figure 4 Ambrose, Lisa. Happy Merry Christmas. 1976. Graphite and crayon.

Figure 5 Savitt, Sam. Title unknown. 1973. Summer Pony. By Jean Slaughter Doty. New York: Macmillan, 1973. 112. Print.

Figure 6 Mucha, Alphonse. Topaz. 1900. WikiPaintings. 08 Sept. 2012. Web. 20 Apr. 2013. <http://www.wikipaintings.org/en/alphonse-mucha/topaz>.

Figure 7 Caravaggio, Michelangelo Merisi Da. Saint Jerome Writing. 1605-1606. Zwinglius Redivivus. 24 Sept. 2012. Web. 20 Apr. 2013. <http://zwingliusre-divivus.wordpress.com/2012/09/24/quote-of-the-day-308/>.

Figure 8 Toulouse-Lautrec, Henri De. In the Salon at the Rue Des Moulins. 1894. WikimediaCommon. 21 May 2005. Web. 20 Apr. 2013. <http://commons.wikimedia.org/wiki/File:Henri_de_Toulouse-Lautrec_012.jpg>.

Figure 9 Whitmore, Coby. Sincerely, Willis Wade. 1954. Ruby Lane. 27 Apr. 2013. Web. 28 Apr. 2013. <http://www.rubylane.com/item/688247-119/Ameri-can-Art-Coby-WHITMORE-1954>.

Figure 10 Whitcomb, Jon. A One-Day Marriage to the Actress Mary Brian. 1939. Large Size Paintings. 2 Nov. 2010. Web. 21 Apr. 2013. <http://largesize-paintings.blogspot.com/2010/11/jon-whitcomb-1906-1988.html >.

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Figure 11Ambrose, Lisa. Seasonal Portrait of a Persephonic Resurrection. 2012. Oil on canvas.

Figure 12 Ward, Hugh J. Evil Flame. 1936. H. J. Ward. By David Saunders. 1st ed. Saint Louis: Illustrated, 2010. 70. Print.

Figure 13 Saunders, Norman. Title unknown. 1939. Norman Saunders. By David Saunders. 1st ed. Saint Louis: Illustrated, 2008. 65. Print.

Figure 14 Baumhofer, Walter. Red Snow. 1935. Savage Tales: Pulp of the Week. Comp. Pete Miller. 8 Apr. 2011. Web. 21 Apr. 2013. <http://docsavagetales.blog-spot.com/2011/04/pulp-of-week-doc-savage-24.html>.

Figure 15 Sickels, Chris. Hatfield’s Fuse. 2010. Red Nose Studio. Chris Sickels. 26 Mar. 2010. Web. 23 Apr. 2012. <http://www.rednosestudio.com/blog.htm>.

Figure 16 Ambrose, Lisa. Vintage Photo Discovery. 2012. Photograph.

Figure 17 DeVoogd, Amy. Ferry Building Farmer’s Market. 2011. Amy DeVoogd Illustration. 20 Mar. 2013. Web. 23 Apr. 2013. <http://devoogd.com/Fer-ry-Building-Farmer-s-Market>.

Figure 18 Leyendecker, Joseph Christian. First Airplane Ride. 1909. The Kelly Collec-tion of American Illustration Art. 18 Mar. 2013. Web. 23 Apr. 2013. <http://thekellycollection.org/a_leye02.htm>.

Figure 19 Dulac, Edmund. The Fisherman and the Genie. 1906. Edgecase. Ed. Eoghan Hickey. 12 Dec. 2012. Web. 23 Apr. 2013. <http://eoghanhickey.wordpress.com/2012/10/08/the-fisherman-and-the-afreet/edmund_dulac/>.

Figure 20 Baizley, John D. Blue. 2009. A Perfect Monster. 14 Nov. 2011. Web. 24 Apr. 2013. <http://aperfectmonster.com/page/7/>.

46

Figure 21 Manchess, Gregory. The Satan Factory. 2008. Spectrum 16: The Best in Con-temporary Fantastic Art. Ed. Cathy Fenner and Arnie Fenner. Nevada City: Underwood, 2009. 83. Print.

Figure 22 Ambrose, Lisa. Urban Poultry: Kindling Sustainable Agriculture in Metro-politan Communities. 2013. Oil on hardbord.

Figure 23Ambrose, Lisa. Initial Travel Poster Sketches. 2013. Graphite.

Figure 24L. M., Sharma. Lord Shiva. 1960s-70. Art Remixx. 20 Apr. 2013. Web. 25 Apr. 2013. <http://www.artremixx.com/searchResults1.php?a=1&start=12#>.

Figure 25Ricker, Leslie. Blue Lobster. 2002. Photograph. Lobster Institute. 02 Apr. 2002. Web. 24 Apr. 2013. <http://kodiak.asap.um.maine.edu/lobster/pho-toofmonth/april02.htm>.

Figure 26Ambrose, Lisa. Portland Sketches. 2013. Graphite.

Figure 27Ambrose, Lisa. Kyle. 2013. Photograph.

Figure 28Jamieson, Alexander. Serpens - Celestial Atlas. 1822. Mexican Skies. Web. 26 Apr. 2013. <http://mexicanskies.com/constellations/serpens.htm>.

Figure 29Ambrose, Lisa. Final Be Claws I Said So Sketch. 2013. Graphite.

Figure 30Ambrose, Lisa. Be Claws I Said So Reference. 2013. Photoshop.

Figure 31- 32Ambrose, Lisa. Travel Posters. 2013. Oil on hardbord.

47

Figure 33Ambrose, Lisa. Denouement at Dusk. 2012. Oil on hardbord.

Figure 34Ambrose, Lisa. Destination Delayed. 2012. Oil on hardbord.

Figure 35Decker, Jacqueline. Seasons. 2009. Jacqueline Decker Designs. 05 July 2010. Web. 30 Apr. 2013.

Figure 36Ambrose, Lisa. Canyonside Assistants Sketch. 2013. Graphite.

Figure 37Ambrose, Lisa. Got Spinach? Color Palette. 2013. Adobe Photoshop.

Figure 38Ambrose, Lisa. Brushstrokes. 2013. Oil and graphite on hardbord.

Figure 39-44Ambrose, Lisa. Vintage Vacation. 2013. Oil on hardbord.

Figure 45Ambrose, Lisa. Surtex Convention Displays . 2012. Photograph.

Figure 46 Costello, Mike. 2001 Chevy Silverado Dash. 2008. Photograph. Personal collection.

Figure 47Ambrose, Lisa. Christmas Goats. 2005. Ink and marker.

Figure 48Ambrose, Lisa. Thai-trade on the Khlong Damnoen Saduak . 2008. Water-color.

Figure 49Cochran, Paul. Visit to the Museum of the Moving Image . 2012. Photo-graph. Personal Collection.

48

For Russ

I cannot find the appropriate words to express my appreciation for your dedication and endless support. It is your sacrifices that made this journey possible and your encouragement that kept me on track. For these very reasons, I consider this accomplishment to be yours as much as mine. Thank you for seeing what was in my heart before I knew it myself.

Accomplishment ofa heart’s hidden dream fullfilled...

and it’s all your fault.

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