Lizzy Stewart - Hard Wood & Heavy Water
Another artist I visited in a previous project, (Vis Narr) I've found myself drawn back to Lizzy's work when thinking about my SB3 PPP presentation. I feel as though recently I've been feeling very unsure and conflicted about my tone of voice. More often than not I prefer my sketchbook work in a project to the final outcomes; I felt this was very much the case with my latest submission hand in 'Persons of Note'; the final poster piece lacked the looseness and subtly in application of media that I felt had worked well in my sketchbook.
I've also been dabbling in multiple different 'styles' of drawing. I feel that when I started this course in September I had a pre-set way of drawing that was largely informed through my interest in artists and animators that largely worked in a very similar 'concept art for Disney films' kind of way. And though I do feel I have developed this style a lot since September, and in a much more personal way, it's thrown up a lot of conflict in my work. After being introduced to illustration through shape, and publishing companies such as Nobrow and artist's such as Luke Pearson and Ping Zhu my eyes have been opened up to this world of illustration I didn't even really know existed before starting this course. And it's got me excited and willing to experiment and try new things, however now when I come to starting a project, I'm a little lost at where to start.
I feel like I want to try so many different things and that's where it becomes complicated; I enjoy drawing in a similar way to how I've always worked because it's something I know and something comfortable. It's like putting on a favourite jumper that you know suits you and fits you well, but then you've got all these funky new shorts and they're really exciting and sometimes you put them on and they look great but other times you're not really sure what to wear them with and so they don't quite look at good as you know they could. And so I'm stuck this limbo and sometimes I wear my favourite jumper with a strong pair of shorts, and other times I run around in completely new shorts and t-shirts but then when I'm just spending time with myself and my own sketchbook I like to just put my comfy old jumper on again.
Bad analogies aside, today when dealing with this current identity crisis I decided I needed to look at some work that I think is lovely and sincere and beautiful. So I went on Lizzy Stewart's website and felt considerably less pressured and stressed. When I first visited Lizzy's website, I did so to look at her wonderfully instinctive and immediate travel diaries. Not only are her sketchbooks beautiful and intimate, but the idea of travel and illustration is something I've always wanted to persure. Travelling and discovering new and real cultures and places and having experiences is something I'm in love with. When I think back to Chevin, the feeling of taking somewhere in with a sketchbook in your hand is truly wonderful. Not looking at things through a lens or a mobile phone but to really observe with your eyes. To take note of the way the light goes through the trees and the crunch of the then frosty leaves under your feet. These are REAL, AUTHENTIC THINGS! These are things that I relish illustrating; these are things I fall in love with. And while my comfortable jumper is nice and the way it has developed and the things it's been through with me, the ways it's stretched and shrunk and changed has been vital to the way I look at myself and my craft, I think it's important to step out of this safety net and try new things.
I'm really glad that I've taken the time to reflect on all of this now at the end of the year. I feel like I've really learnt a lot about my practice and who I am as an illustrator. I'm also very excited to have some months holiday to really refresh and try new things within my personal sketchbooks. Play is key. Experimentation is good. Take risks and FEEL THINGS.
Lizzy Stewart - Hard Wood & Heavy Water
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