Study Task 3 'What is Illustration? - Part 1'

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Five aspects of illustration I personally feel are important;

• Narrative
• Composition
• Stylisation/Tone of voice
• Texture/Media
• Emotional Response

NARRATIVE

With each illustration, I think it's really important for some kind of narrative or story to be portrayed in the image. In some cases this can be dynamic and obvious, in others it can be much more subtle; in the arrangement of objects in a room or the details in the fabric of a worn down armchair. Narrative helps in decoding what the illustrator is trying to say or show the viewer, it can allow for ambiguity and interoperation and can ultimately engage the viewer in the piece. 

Eric Drooker - Altamira on the subway

COMPOSITION

Before making any illustration, thought into the composition and layout of the piece should always be considered in order to not only make an image with meaning but that is also atheistically pleasing to look at. With the correct amount of thoughtfulness, composition can turn a good idea into a brilliant piece of image-making.

Eyvind Earle

STYLISATION//TONE OF VOICE

For me, I think was makes illustration so successful is it's ability to translate information from something either real world of imagined, through our own minds, into something that others can understand and empathise with. Having a unique tone of voice is something that is vital in most artistic subjects, but even more-so with illustration. Brands and companies seek out styles that they think would fit with their own 'image' and 'ideals' and vice-versa, as an illustrator, it's important to know which stylistics to employ in work to allow it to fit and engage with the brief. If every illustrators work was the same it would be an extremely dull profession to work in.

Egon Schiele 

TEXTURE//MEDIA

Something I find myself really drawn to in illustrations is the use of texture and media within a piece and how affective it is in evoking the intended emotional reaction/purpose of the image. I love the hand-rendered quality texture can give to a piece of illustration; even if it has been made digitally. By simply overlaying particular textures or using a media in a particular way, a lovely sense of craft and charm can be achieved. 

Rebecca Stadtlander

EMOTIONAL RESPONSE

In a lot of the 'Big Heads' talks that we've had recently, when asked 'what makes really great illustration' a lot of the responses are to do with illustrations that just immediately make you feel something. Illustrations that have a unique ability to reach the most human part of us and make us feel something. Whether that be happiness, humour, empathy, distress, sadness ect, illustration that beholds this one quality of human emotion can be the most powerful. Often an exact replica of real life is far from needed for this to occur, the drawings needn't be perfect or expertly precise, only authentic and honest. That translation from an idea or an event into an image can be endlessly altered by the illustrator, and it's this characteristic, this ability to show the world through our own individual eyes and invite others in to see it too, that is something rather special indeed.

Nadya Mira

Big Heads; Jon Burgerman

Big Heads with Jon Burgerman (photo source)

Due to his large internet presence, Jon Burgerman did not wish to be filmed for the Big Heads YoutTube channel

From England but lives in NYC now

Studio in Broklyn NYC, about 30 different artists occupy the space (Invisible Dog)

Range of artists and disciplines in one studio, allows for collaboration which is "Quick, fun and cheap" and meeting various types of 'workers'

He tries to make "interesting things"

"Having an idea and perusing it in the best medium"

Most of his work is self driven

Studied Fine Art at Nottingham Trent University

Overlapping of his works through medias "From mural to mugs"

Believes in having a balance between earning money and making a living and having morals

Encourages people to make their "own versions of things"

Make things that are open, not secretive. Entertain, enlighten, inspire people "You can do this too"

The point isn't to make perfect things

Is open to share his process

"Open source philosophy"

"To feel like part of the fabric of popular culture"

Brands want to tap into what is 'authentic' and 'cool' which is why they employ illustrators

"Practice grows through testing your work on different formats and scales"

Happy accidents help you to develop and learn new things, allows new things to happen; "It's nice to screw up"

Take a pen and paper with you wherever you go, have a studio on the move, be spontaneous with your work. Messing around, trusting your instincts, making things without quite knowing why; play can be good!

Didn't want to be typecast "Each album can have a different sound, it's still by the same artist"

"Success is waking up really happy to do stuff"

Enjoys pushing against the grain, being naughty

Everything starts with a drawing

Keep a notebook with you wherever you go

Drawings is a form of writing

Intimacy and immediacy with sketchbook drawings

ADVICE

"Enjoy just making illustrations without restraint

Would rather have his first year university self talk to him and give him advice now rather than the other way around

Collaborate

Enjoy

Take advantage of every opportunity

Work through art block

Allow for play"

WHAT MAKES REALLY GREAT IMAGE-MAKING?

"Just know good work, feel it, know friends will appriciate it, not always imidiate but you just know, enjoy it, working on it a lot, work seems easier because you enjoy it.

Something that makes you FEEL"

Big Heads; Josh Cochran

Big Heads with Josh Cochran

What makes really great illustration?

"Intangible quality to it, got soul, know it when you see it, can connect to the work, put a lot of yourself into it"

Big Heads; Jack Teagle & Donya Todd

Big Heads talk with Jack Teagle and Donya Todd

Thought Bubble (Leeds 2014)

This year me and one of my fellow illustration buddies headed off to the Leeds based illustration festival 'Thought Bubble'. This was my first year attending the convention and hadn't previously heard of it despite being only an hour away from it on the train back home. It was an overall awesome experience. There were so many illustrators and artists who's work I loved, all in one place! There was so much to look at it was hard to take everything in, and the urge to blow my entire student loan on zines, art books and other adorable, interesting and awe inspiring merchandise was hard to resist. It was lovely meeting and talking to a few of the illustrators at their stalls, and I was a little taken aback by the open armed approach most of these illustrators displayed; I guess unlike celebrities they still keep their feet very much on the ground despite their success in the industry. It was also lovely to see and speak to Matt Forsythe, I bought one of his zines and he did a small personalised doodle for me to say thanks. I'll definitely be going back again next year!

Jane, the Fox and Me; Isabelle Arsenault

Originally a French book, this graphic novel tells a magically compelling story of a young girl and her relationship with Jane Ayre and a woodland fox. The stylistics of this book are something I haven't really seen in a graphic novel format before, but really did enjoy. The fine line between capturing the roughness of a scene in an almost sketchbook like manor, while being able to refine them to a point in which they look like finalised illustrations is something I really admired throughout this book. The subtle media choices of primarily pencil with occasional colour really aided in expressing the mood and narrative of the story overall. A wonderfully unique story with wonderfully unique illustrator; who could ask for more? 

The Dark; Jon Klassen

 

I picked up 'The Dark' by Jon Klassen from a local WaterStones shop one day when I decided I wanted some new illustration books to add to my collection at home. Having seen Klassen's work previously, what drew me to him once more was the utter beauty and triumph in story telling that this book possessed. With the simple use of negative space alongside intricate line work and textures, Klassen was able to not only tell a story, but transport you through it. You read the story through the eyes and experiences of the little boy. You felt the way he felt and saw what he saw because it was Klassen's conscious choice to reveal to you only what he wanted you to see. The story was short, sweet, but so well thought out; and it was such a success because of that. 

Hilda and the Midnight Giant; Luke Pearson

Luke Pearson is an illustrator I've heard about previously but never truly looked into the work of. I took this book out of the library because I'd seen his character Hilda in an illustration magazine before; his quirky and authentic use of character was something I was interested in seeing more of, and I'd never previously looked at Nobrow Press' graphic novels either. 

This book has single handedly opened my eyes to the wondrous beauty of not only Luke Pearson's illustrations but Nobrow Press in general. I fell in love with this book not only due to the craft and artistry of each panel and individual illustration but with the way they exuded humour, character and overall lovability. From the composition and brilliant background and landscapes, all the way down to the tiny details in a facial expression to compliment the speech, this book was a joy to both read and appreciate artistically. I will surely be looking at more Nobrow Press//Luke Pearson books in the furutre.

End of Module Self Evaluation (Visual Skills)

1. Which practical skills and methodologies have you developed within this module and how effectively do you think you are employing them within your own practice? 

The structure of working from start to finish of a brief is something that I feel I've really been able to get into the swing of, and make the most of, throughout this module. The act of using scamps, then getting peer feedback to develop them further is something that I hadn't previously done but have found to be very useful when furthering my illustrations. Practically, I've found that working with restrictions in briefs has also made me more aware of media choice, texture ect. This experimentation with media is another skill that I've found myself employing more and more in each brief as it allows for quick image making whilst also instantly allowing me to get a feel for the final illustration and whether or not it will work.

2. Which principles/ theories of image making have you found most valuable during this module and how effectively do you think you are employing these within your own practice?

The idea of scamps and repeating an image multiple times with a few variations is something quite new to me, and something I've found to be very beneficial when developing my ideas. The concept of 'thinking through drawing' is something that I'd dismissed in the past, thinking that there is no difference between thinking about ideas, and knowing which will work, and drawing them out. But throughout this module I've found that drawing out your initial ideas, no matter how obvious they seem, can help in developing new possible outcomes.

Media variations in scamps is something else that I've found to be useful when developing ideas and seeing which ones work/don't work. Colour can very quickly be an indication of how the illustration will work as a whole after completion, allowing you to quickly draw out and evaluate multiple scamps to choose the most effective one.

3. What strengths can you identify within your submission and how have you capitalised on these?

Craft is something that I not only value highly in my own work but something I relish doing. I've found that my most successful illustrations have been ones that I really invested time and effort into. The intricate image making forces me to constantly evaluate what I'm doing and why. It also allows me to get lost in the illustration making it a very peaceful and enjoyable thing to do.

4. What areas for further development can you identify within your submission and how will you address these in the future?

Time management is something that I feel I could work on more for the next module. Making sure that I blog regularly so that my posts are more immediate and detailed in content, and so they don't build up and become a 'chore'. Also making sure that I allocate equal amounts of time to each illustration if I'm required to do a set so that they're all crafted to the same level. This is something I feel I improved on greatly in my last project, and it showed too with both the final outcomes and feedback in relation to them. More extensive use of scamps would also help in creating even more refined and original works.

5. In what way has this module introduced you to the BA (Hons) Illustration programme? 

I feel as though I've really settled into the course now that I understand the structure and timetable. It's a lot easier to keep on track of what/how many projects I'm undertaking at once and time management is improving, I think, with each brief. Whilst I found the first brief to be a little overwhelming, I've enjoyed every brief since and feel as though an improvement has been made with each one. The input of Visual Language has also been really helpful in developing work for this module and the fact that they're run side by side has been really great. Overall, though the course can be very demanding, I'm enjoying it a lot, I just need to get a little more organised.