Papercraft UX with the mighty shiba inu

Sometimes I get a strong compulsion to pick up an craft project, usually with a craft I’ve either never done before or haven’t done in a while. My mind fills with single-minded determination and I can’t rest or think about anything else until the project is complete. It’s been a while since I’ve been struck by this very specific lightning bolt of inspiration, but it hit me yesterday, and so I had to make a papercraft shiba inu.

SHIBA INU!Backstory

My Bestesty best friend loves shiba inu a lot. Unfortunately she can’t have one at the moment, because her lifestyle isn’t set up for a dog. She’s moving soon and I thought that a shiba inu drawing might be a nice housewarming present. But what’s better than a picture of a shiba inu? A model of a shiba inu.

The Shiba

I found this pattern on Canon’s papercraft site, which has a pretty intense collection of papercraft. It looked complicated, but by this point I was well into the obsessive need to make this thing, and didn’t want to let some paper defeat me. Before I knew it I was spending my afternoon making this little paper dog.

Assembly

Uhu glue. Definitely good to have something stronger than a glue stick on hand for this one.The cool thing about following really good instructions is that there’s almost no friction between you and the thing you want to get done. I wasn’t expecting this project to come together smoothly, I was expecting bumps and frustration, but there was surprisingly little of this. The biggest frustration was temporarily being unable to locate my Uhu glue.

Despite the fact that this pattern was obviously originally Japanese and for a Japanese audience, there was no difficulty in following the pattern’s English version. Language played a very small part in the instructions – in fact the instruction sheet themselves played a small part in the instructions. Almost all the information needed was available in the pattern design, especially once I was familiar enough to read the symbols, which didn’t take long.

An example of a pattern piece

This example pattern piece shows the symbols. The red dots connect to a different pattern piece, the triangles  connect to the same piece. After assembling a few pieces I referred to the instructions only if a shape really didn’t make sense to me, otherwise I’d just plow on. It’s a pretty special feeling, to be able to steamroll ahead with something and face almost no resistance from your tools. With the restrictions we so often face with the web it’s not often we get to have or deliver an experience so free from issue, or one that helps the user feel this rewarded at the end.

Now I get to feel really smug about how I made some papercraft, when I was exceptionally crap at it as a kid.

Assembled shiba

I’m glad I listened to the strange compulsion and took the time to make this dog. I wasn’t expecting to enjoy it so much, or to have as many UX feelings while I was putting it together, but that’s a part of the fun, I suppose!

Photo 15-04-14 22 45 52 Photo 16-04-14 8 04 42 Photo 16-04-14 14 59 11 Photo 16-04-14 15 00 31

(I am really super stoked with how well he turned out.)

 

 

 

 

The recovery question

As a person with a chronic illness you get used to people having the same reaction to you all the time. “But you don’t look sick” is probably one of the most commonly uttered phrases said to anyone with an invisible illness.

As a person who is recovering or has recovered from an illness, a new phrase begins to pop up. “So, how did you recover?”. This is a loaded question, even if it doesn’t seem like it. Whenever I am asked this question I am forced to think of the things that I have been through to get to where I am today. And anyone who has had a chronic illness go into remission will tell you, it’s not an easy path to walk. These are old wounds being forced open for a nice sound bite.

While I understand people are curious and want to empathise with me and perhaps even congratulate me for my struggle, I worry about what will happen when I answer this question. I wonder if the person who asked will take my answer to someone they know who is chronically ill and say “This person had what you have and they recovered by doing x, y, and z.” Because I have been that chronically ill person and I know how much these words hurt. What worked for me might not work for anyone else. And anything I deliver in a sound bite denies the anguish and hard work my rehabilitation cost.

I’ve tried to be polite and truthful and answer to the best of my ability whenever I am asked this question. Recovery is hard and it doesn’t happen quickly or easily. It is something that takes a lot of time, effort, energy and support from the world around you to achieve. If you really care about that person in your life who is struggling with a chronic illness, don’t take them quick fix answers, take them your support. That’s the one universal thing I can guarantee they will need. If you care about me and what I have been through, please instead look to support the messages I am sending about chronic illness rather than to ask me personal questions about my recovery.

This question also imposes a big fat stamp of ‘healthy’ on me. To be honest I still don’t feel 100% healthy.I am most of the way to it and I am able to live pretty much the same kind of life as a person who hadn’t been chronically ill, but my entire life shifted when I got ill. Because I am recovered now it doesn’t negate the experiences I went through, and how much they still influence me as a person. By negating my chronic illness, you negate a big part of who I am.

I am happy to talk at length about my experience with chronic illness with anyone who is interested in listening. I am just no longer interested in answering this question as a part of small talk.

And just so you know, you are all so awesome. Thank you so much for your care and support. It means the world to me.

Webstock Thoughts

I was privileged enough to be able to attend Webstock this year, after a couple of years off the circuit. Webstock is one of the most slickly run conferences in New Zealand, or indeed anywhere in the world. It’s no wonder it’s regarded as a speaker favourite.

I always leave inspired to do good in the world, but this time I feel I’m taking away something a little bit different. My previous attendances were life altering, my first Webstock inspiring me to pursue web as a career alongside illustration. This time is life changing too, but at a different level to my previous experiences.

I’m not sure I’ll be able to articulate it exactly, but I thought I’d write a blog post to record a few more of my ideas down.

While each speaker brings a unique set of experiences and topics to the conference, the points I take away are ones that seemed to pop up through several talks.

Don’t be siloed

This is something that has been talked about a bit. Whether it’s within an organisation or within yourself, you need to take ALL the parts into consideration in order to be able to deliver the best possible thing.

At an organisational level this is communication within teams and areas, sharing expertise and recording it accurately so that repeat work doesn’t happen.

On a personal level this means bringing all of your skills to the table, even the ones that don’t seem to quite fit right now. The mix of things that you like, that you’re good at and that drive you are the things that will make your work unique.

Stories matter. Numbers are hard.

People don’t live like numbers, we like to think we can work like numbers do, but we just can’t. We live like stories, and a story will always win over a number every time. We need to design for people, not for numbers.

Look after yourself

Sometimes things are hard. Creativity isn’t an endless well that can be tapped into forever. Your skills need to be nurtured through structure and balance, and the things that aren’t your ‘thing’ can feed into making you better at your main skill. I shall take this to mean I don’t have to feel guilty about videogames or knitting (as long as I structure in the ‘exercise’ time for my other skills).

It’s about designing for people, not designing for technology

We are losing things between the gaps in devices. We are not providing an experience that suits enough people – or perhaps even any people. We do not think enough about the way people are actually using the tools around them. We think too much about the tools, and not enough about the things they help us to do. Designing for the task rather than the tool will make for a better product.

Everything is broken and it’s our fault.

A lot of how the web and the internet work is broken, and a large reason for this is because we’ve let it happen. The systems that we have built to manage big data are the same systems that the NSA are using to spy on us. 2013 will be seen as the year we stopped being able to hide from the reality of this.

While there has been a lot of outrage that the system’s been abused like this, the truth is that we have built this system in a way that means it can be abused. By carelessly building, by structuring things without designing for possible consequences, we are designing a world that will turn against us, and is turning against us. For some of us, the internet and the web has always been a hostile place, because of the cultural default that it has been designed for.

I think the way we can overcome this is to hear from more voices, it’s to have more people with more experiences involved. It is to get away from the default and explore what happens when you design with more people in mind – and when more people from more backgrounds are doing the designing. The diversity is already here, we collectively need to start placing more value on it. If we don’t, we are doomed to create broken things that will turn against us.

Love

The most important thing I learn, and I learn this every time, is from Webstock itself. There’s so much love involved in making this show happen. There’s love for the speakers, there’s a love for the attendees. There’s love for the creators, and the special agents who keep the week working smoothly. There’s love crafted into every little stitch of detail that there is there, from the swag through to the specially brewed beer. It’s these things that are what make it a special experience. I feel valuable when I am at Webstock, I feel loved. And I leave wanting to make things that are this valuable to other people, this detailed, this aware of them, this special.

Thank you Webstock. It was amazing and I love you. I am looking forward to using my lessons in everything I do this year.

 

Jemshed.com back from a hiccup!

After a bit of re-jigging jemshed.com is now re-settled in a new home! Hopefully by now DNS servers across the globe have updated its position.

And what do you do when you lose your entire website? Why restore from a backup when you can build it all up again newer and shinier?

I’ve had a lot of fun choosing a new theme and getting everything settled in again. This theme might not stick around, but it’s doing okay for now.

There’s a bit more of a selection up on my illustration page, including some concept and development sketches.

The comics are all working, so that’s good (I do still need to update Sunshine with the new typography though, it’s on my list)

My shiny hire me page is singing my praises

And there’s a nice link to my Bigcartel store where you can purchase a few of my fine items yourself.

I’ll be adding a few blog posts in to fatten things out a little bit here, but otherwise things seem to be pretty much done!

Welcome to the new Jemshed.com, thanks for visiting!

Thanks for your Support!

A big, heartfelt thank you to everyone who purchased a Knitted Cocoon print. I will be donating a total for $240 to Wellington Rape Crisis and I’m so incredibly excited about it.

Thank you so much to everyone who bought a print and helped make this donation happen. Thanks to Wellington Young Feminist Collective and Wellington Rape Crisis for sharing the link through their networks. Thanks to everyone who retweeted it and shared it with others.

If you missed my print run you can donate directly to Wellington Rape Crisis here: http://www.givealittle.co.nz/org/wellingtonrapecrisis Please consider putting a bit towards funding such an essential service.

I will be getting the final prints ordered today and sending them out over the next couple of days. If you have any questions, please email me.

All the hugs for you amazing people!

x

Jem

Women in comics – Thoughts from the Cartoon colloquium: Looking at women and cartoons today

The National Library of New Zealand hosted a Cartoon Colloquium focusing on women in cartooning in New Zealand. The topic was expanded to include women in comics, even though the Turnbull Library’s focus is on collecting political editorial cartoons.

I consider myself a comic artist but I can barely name a single female cartoon or comic artist from New Zealand’s history (although I can name a fair handful of contemporaries). I am engaged with ‘women in comics’ as it is often discussed from an American perspective, so I was interested in the differences when focusing on New Zealand creators.

The discussion over the course of the day was varied and thoughtful. Curator Dr Melinda Johnston did an excellent job of shaping the day – giving a balance of critical academic analysis of the history of women in the arts and comics – right through to hearing from contemporary artists working today and the challenges we still face as women making a name for ourselves in New Zealand comics (or international comics).

I won’t go into depth about every speaker that was a part of the day, but I do want to cover a few key topics and parts of talks that really resonated with me.

The talks

Why have there been no great women artists?

The colloquium opened with a great overview of women artists from a feminist art history perspective provided by Dr Barbara Garrie. Using the famous question “Why have there been no great women artists?” to help frame why women may not be as recognised in cartooning and comics as their male contemporaries.

Women have more in common with their contemporary male counterparts than other women – the qualities of an artist artist aren’t defined by gender. This is true in all art as well as comics. The work of women isn’t necessarily softer or presenting a ‘feminine perspective’. Being a woman is something that you learn anyway – it is not a default state of being given to you at birth.

Women are still being overlooked and ignored. Even displays looking at comic art, like the American example “Masters of American Comics” in 2005. All 15 of the chosen ‘Masters of comics’ were men. Women’s work is celebrated but in separate exhibitions like the ‘She draws comics’ exhibition in Vienna in 2002. While this does a good job to draw attention to under represented women artists it doesn’t solve the problem. These women were still all excluded from the ‘masters’ exhibition in 2005. This approach continues to ‘other’ women and women’s work, treating it as a niche rather than as masters of their craft. Even the word master is intensely gendered.

Fandom and Feminism and Capitalism

I loved Robyn Kennealy’s talk around the relationship between fandom, feminism and capitalism. Her talk outlined beautifully how women have created a fan culture outside of the mainstream because mainstream for the most part doesn’t cater to women.

She discussed how historically women who wanted to get into the comics industry were often were given subordinate roles like colourist. The work of these women ends up being key to keeping the likes of Marvel and capitalism as a whole propped up, rather than supporting the women who do the work. She tied this into the fact that throughout history the typically feminine caring roles (teaching, motherhood, nursing) are seen as being worth less and are unpaid or poorly paid in comparison to men’s roles. Capitalism takes full advantage of the fact that people will work on what they love for nothing or next to nothing.

The downside of fan spaces is that by their very nature are unpaid. Working with licensed work means that if the big studios did sniff out that you were making money off their IP there would be a lot of trouble coming your way. Robyn has chosen to work in this space because she wants to create the work she enjoys, but it wasn’t an easy decision. Because women’s work is traditionally unpaid, she worries that contributing yet more unpaid work to the system perpetuates this relationship.

I wonder if the negative way that Marvel/the comics industry react to fans who try and make money from their likenesses is a part of what keeps women out of the industry, since a lot of women shape their work through fan art and fanfiction.

This contrasts with Japan, where fan comics (Doujinshi) are an accepted part of the comics industry. Anime and manga studios view doujinshi as free advertising and do not prosecute. This means the (often female) creators get a start making comics that they can make a living off before moving on to their own titles. There are obviously many cultural differences between the manga industry and the comics industry in the US that shape this gender difference, but in the context of Robyn’s talk I felt like this was a possible contribution.

LGBT in New Zealand Cartoons

Valerie Love gave an excellent talk focusing on the stereotypes of LGBT within New Zealand editorial cartoons. The focus was mainly on cartoons created around the Marriage Equality bill and the earlier Civil Union bill. She walked through five key portrayals of LGBT people in cartoons pointing out both the positive and negative angles. Several of the cartoons were so similar, they even made exactly the same joke. A large proportion of the cartoons were straight people making the jokes and references. Even when the cartoons were presenting a favourable view on LGBT, they weren’t giving any voice to the people affected by the law changes. This possibly reflects that the cartoons are made mostly by straight white males. LGBT voices aren’t present in our cartooning history, only commented on by others.

Don’t scare the boys

Hayley Heartbreak discussed her experience as a teenager being turned down for a comic book job purely because of her gender. Her talk resonated with me a lot. She talked about dealing with obviously gendered comments directed at her or her work, and how she’s developed a style that she loves and is proud of. I liked that she specifically mentioned the comments she receives and some of the ways she handles them while still managing to create really awesome and original work.

Sharon Murdoch

Sharon Murdoch spoke about her work as a political cartoonist. Only 1% of political cartooning collected by the archive this year was by women, and all of those comics were by Sharon Murdoch. She signs her work with only her surname because she fears she won’t be taken seriously if people know she is a woman.

Whenever we see a woman in a cartoon we assume that their presence is a part of the message – there has to be a reason for her to be there. Sharon’s work helps break down these barriers. She features women characters that aren’t there because of their gender and she brings light to issues that her male contemporaries may ignore. While in Dr Barbara Garrie’s talk we heard that there wasn’t any specific feminine quality or view that united ALL women’s work, the discussion around Sharon’s work showed that she personally brings an opinion and style that is different to her male contemporaries.

When asking colleagues about why she thought more women weren’t in political cartooning, one of the responses she received jokingly was that ‘women aren’t funny’. In Sharon’s mind being funny isn’t even an important quality of a political cartoonist, being able to be angry and draw about it is.

Writing and comics and feminism

Sarah Laing’s talk touched on her expression of feminism through her work and trying to weave her way around her editor’s rule of ‘nothing too domestic’. I liked her talking about how people say she ‘draws like a girl’ and the dissection of whether she should take that as an insult or a compliment. I like the way Sarah’s comic work intertwines with her writing, that they seep into each other and aren’t separate things.

The discussion

Something that interested me was the discussion around young women’s work and the hypersexuality that is sometimes displayed there. A few people felt concern that this was women perpetuating the male gaze that is present in the material they absorb.

My perspective is that this is women reclaiming the rights to draw and view their own bodies in a way that they want. Exploring what a woman finds sexy about her own form is something she should be allowed to do without question. Drawing female nudes is also a very socially acceptable way to explore sexuality, since art as a whole is very familiar with nude women. I don’t think that young women draw any more nudity than women of previous generations, and drawing naked women definitely should not be something that only men are allowed to do.

The influence of anime and manga was tossed around as well. If you have never been exposed to it, anime and manga can seem like a thing that brings weird influences to young people and possibly misogynistic or sexual messages. While there are problematic elements that are present in anime, it is no more or less present than in any other media young people absorb.

I’ve always loved comics and cartoons (Tintin and Asterix were a huge presence in my childhood), but the lack of female characters in western comics left my choice for characters to identify with at one per series if I was lucky. And that one would be an oversexed love object the male characters had to save, and then often won as a prize. Looking back on those comics now, they’re peppered with a lot of misogyny.

In contrast most manga feature a wide range of women that are distinct from each other in personality and appearance. They’re also more likely to be given agency within the plot – they get to do things. For me growing up, this was precious. Suddenly there were more characters to identify with. Suddenly being ‘the girl’ wasn’t the character trait.

There are entire genres of manga dedicated to girls. The magical girl genre gives the power to save the world to girls, and they get to do it while wearing cute outfits covered in ribbons and in a non-violent (But still action-packed) way. Manga give girls a voice that they are being constantly denied in western media.

Further thoughts

I see a lot of myself in what was spoken at the colloquium. This in itself is something amazing to me, as it’s not a feeling I am used to. I’ve spent the whole time stewing since attending, and while writing this I was unable to cut much out of it. (I’m sorry it’s so long)

I would have liked if the day brought awareness to other issues rather than just those faced by cisgendered women – especially discussion around transgender issues, race and class (which were mentioned, but not very thoroughly). I think everyone present was aware there was a lot we weren’t covering, and I very much hope that this is the start of a conversation and not the end of one. While I am grateful that I was able to attend a colloquium that addressed my issues and needs, it only makes me more aware of the people who are silenced even more than me.

The internet has been a great equaliser. People of all genders are able to share their work in a way that previously they haven’t been able to, and for almost no cost. It’s easy to safely share things anonymously if you need to, and to connect with people who might like your work in a much more direct way than the old publishing model. For me personally the internet has provided a community I wouldn’t otherwise have which has been crucial to my development as an artist.

The ‘take home’ message was that more women need to speak up about how they make comics, and to work on getting their work out there. While I agree that this is a component, I feel that there are larger issues at play. During the day the names of many feminist zine and comic artists were mentioned and a large number of the younger generation present hadn’t heard of them. There is an issue with preserving the voices of the women who have stood up and spoken before us. Standing up and sharing our work and speaking now, are we in any way guaranteed that our words will be shared and preserved for the following generations?

I think that we all need to work harder at ensuring the voices of women artists get heard. Not just the artists themselves, but all of us in the community. We all need to work together to ensure we have a history to share, and that it is an included part of the default history, not a separate thing.

Knitted Cocoon – Donation print

Knitted-cocoon

I drew this piece as a response to the discussion around rape culture we’ve been having in New Zealand’s mainstream media these last couple of weeks. I wanted to give everyone – especially survivors and those vocally speaking for them – a place to rest against all the hate and violence that seemed to well up. It’s exhausting work, and I am so proud of all the incredible women who have been standing up and speaking out.

I don’t have any money to make donations at the moment, but I would love to be able to put something towards Wellington Rape Crisis. That’s where the idea of selling this print for donations came from.

$15 of each print sold will be donated to Wellington Rape Crisis.

Prints will be laser prints on 300gsm matte paper.

If you would like to donate, you can purchase the print through my Big Cartel store.