Laura Jones - OCA Key Steps in Illustration 1: Part 4: Exercise

1. Find a range of illustrators who use a particular medium and catalogue them according to their similarities.

How do they distort or exaggerate the representation of elements in their work
How do they communicate through the use of metaphors or symbols?

CATALOGUE:

ARTISTS THAT USE BLACK INK AND COLOUR FILLS:
Tony Ross, Tony Angell, Mieke van der Merwe, Greg Betza

TONY ROSS
lllustration for 'Puss in Boots, the Story of a Sneaky Cat',
by Tony Ross
(London: Andersen Press, 1981)
SOURCE: http://www.vam.ac.uk/content/articles/s/study-room-resource-book-illustration/

Tony Ross - 'The ogre didn't have many visitors on account of his bad temper, and he blinked at the cat in yellow boots peeping through his door'
[Accessed on 31 October 2014]

Quote: This illustration for Puss in Boots, the Story of a Sneaky Cat, published in 1981, is typical of Tony Ross's style. A well-known illustrator of children's books, he has produced over 50 books since 1976. He combines humour with a lively use of line and colour. Although there is a strong sense of colour in his work, line is the most important element and he judges the quality of his work from its ability to hold its own as a black and white line drawing: He says,

'if it doesn't work in line it's no good. To me colour always comes second'.

He used the same pen for 20 years because its bluntness produced the scratchy finish he sought.

How do they distort or exaggerate the representation of elements in their work?

Physical distortion of the body and limbs such as omitting the neck, giant head, strange proportions, facial expressions, texture of line on the face and colour distortion in shadows on the face, use of colour throughout.

How do they communicate through the use of metaphors or symbols?

The suggestion that the character is an ogre is depicted by his physical size in relation to the 'dead cats' stringled to his waist and the size of the bolts on the door. His small dainty shoes suggest he is quick on his feet and the points suggest a dancer's agility. The skeletons on a dinner plate indicate a hunter's intent and the cat peering through the gap in the door is clearly at risk. Small hands and fingers may symbolise a quickness and altertness, an aid to trapping cats! The feather's on the cat's cap suggest a swashbuckling gallantry, typical of a hero and his rectangular, black lined eyes with yellow pupils say that he's perhaps more savvy than the other cats that have gone before him. The use of pink on his nose also denotes an innocence and catlike curiousness.

TONY ANGELL
Illustration to 'In the Company of Crows and Ravens'by John M. Marzluff and Tony Angell. Published by Yale University Press, New Haven and London, 2005.
SOURCE: ://www.vam.ac.uk/content/articles/v/v-and-a-illustration-awards-2006-published-category/
[Accessed 31 October, 2014]

'Birds and nature have always fascinated him. As a child he spent his spare time bird watching, plant collecting and hiking. Bird artists Morris Graves and Don Eckelberry inspire him for their expressiveness, and Tlingit, Tsimshian and Haida carving and Japanese Edo screens for their emotion and form. These influences lead to an emphasis on form and line in his work and an emotional quality that brings his portraits alive.'

Tony Angell on ravens: ‘Their foibles are our own. They squabble within their families and wage battles with those clans that would impinge upon their home ground. Their lives involve a struggle for identity in their social hierarchy.’

Of his work on 'In the Company of Crows and Ravens', Angell says:

‘Often, when the writer or artist pauses to look closely at his or her subject, even greater mysteries can appear just as understanding and resolution is arrived at. So it has been with this collection of drawings that brought me closer to my subject. Ravens and crows have become a lens through which I have clarified my vision of Nature and my place in it. At the same time they have further informed me of the natural world and its complexity, they have also left me feeling humble in realizing how much more there is to know. The best way for me to depict my subject is to work from the inside out. I have lived with and been in close proximity to these subjects and have a "feeling" about them that influences my illustration. They are not merely forms on a landscape to be precisely delineated, but they are spirited personalities, intelligent and insightful and who knows, perhaps a bit of the supernatural as well. My challenge in illustration is to convey these somewhat intangible qualities in a manner that compliments and expands our narrative.’

How does he distort or exaggerate the representation of elements in his work?

I wouldn't say the elements are distorted but they're 'exaggerated' or 'highlighted' in a few ways: the raven's are well angled on the page and they're solid shapes. They are also all 'active'. The composition of the drawing highlights the action. There's are two vertical branches, the texture of the wood and leaves forms a uniform pattern and the only tone is in the ravens.

How does he communicate through the use of metaphors or symbols?

The ravens are drawn in communicative action. The bottom one looks like it may have just landed and the open beaks are noisy so we know there is sound. The raven at the top is engaged in curious behaviour, peering down at the others. They're all involved with each other somehow. The plant itself suggests lichen and mosses and is really intricate, illustrating the beauty and fragility of nature and another 'intelligence' that is the natural world.

MIEKE VAN DER MERWE

Illustrator

University of Stellenbosch

Western Cape, South Africa

SOURCE: https://www.behance.net/mieke

[Accessed 26 October 2014]

How does she distort or exaggerate the representation of elements in her work?

Mieke has picked the most descriptive elements of each building and simplified these things to desribe each part. A pattern is created, but not for the sake of pattern, there is still observation involved. She's captured the tone beneath the boardwalk and the sheer detail suggests the busy pace at which human civilisation and manmade structures move. The shimmer and movement in the water is told through the use of vertical line. Not sure how this was interpreted but it works for me. I perceive the water through those simple gestures.The vertical and horizontal lines are all slightly distorted, they're suggestions of architectural upgrightness but give a curious atmosphere.

How does she communicate through the use of metaphors or symbols?

The mountains in the background are left stark and bare and dramatic. The lack of detail suggests sharp light. To those who know Cape Town and it's infamous mountain range and Table Mountain, the background is symbolic of the city. The umbrella's, boats, awnings and human figures suggest outdoor relaxation, entertainment, restaurants and fun next to the water. The buildings clamour for a view of the water and peek over each other. There are little stairs and tiny windows with paths and walkways and one can believe there are people living in there.

GREG BETZA

SOURCE: www.gregbetza.com

[Accessed 4 Nov 2014]

Gift from the River

Santorini

How does he distort or exaggerate the representation of elements in his work?

Simple lines are used, with detail omitted to exaggerate the perspective and angles of the roofs. There's lots of white space that's used to highlight the expanse and form of the buildings. The domes on the roofs are distorted, with a causal suggestion of line. The line is definitely drawn from direct observation, in the moment, and their thickness varies. Some of them are crooked, but they still give the impression that the viewer is looking down a steep hill.

How does he communicate through the use of metaphors or symbols?

He's used the colour blue to tell us the scene is in Greece (colours of the national flag). It wouldn't matter if the drawing was titled or not, because the rich blues tell us. The religious symbol of the crosses on top of the domes suggest sacred buildings of an orthodox type. The perspective is immediately recognisable as that of a Greek island hillside, the image suggests to the viewer that it's a sunny place with the overexposed lighting where the artist has left the whitewashed walls very sparse.

CATALOGUE
ARTISTS THAT USE COLLAGE:
Sarah Fanelli, Lauren Child.

SARA FANELLI

SOURCE:
http://www.sarafanelli.com/
[Accessed 1 November 2014]

Sometimes I think, Sometimes I am. Tate Publishing, 2007

Dear Diary, Walker Books, 2000

"I like to experiment. When I make a collage illustration I start with a drawing of the composition, the layout. Then I play around with it, interweaving it with all the different items I might be using. I like to play around with the typography too and create my own lettering. I don't use a computer to create artwork. Too many designers rely on them".

Illustrative tricks -
"Every object has a story behind it to be relayed or reinvented. Handwriting in an unexpected context is very evocative. I create the different textures in my work by sprinkling the surface with things like sugar, lentils, spaghetti and rice".

"Every object has a story behind it to be relayed or reinvented"

"I do a lot of drawing from reality. I like to travel and I always keep a sketchbook. I put aside all these ideas until I need them." The ephemera, old books and stationery she picks up are used in the collages.

Her magic word is 'play'.

Book spread from 'Pinocchio' by Sarah Fanelli

http://www.sarafanelli.com/docs/bg02.html#

Button, abc, 1994

How does she distort or exaggerate the representation of elements in her work?

Sara Fanelli's work is highly stylised and even her sketchbook drawings are fantastical. The finished artwork consists of many geometric shapes with lots of solid colour decorated with fantasy characters. Movement is depicted by figures that are upside down or objects placed at different angles. The use of exaggerated size is something that is common to all her pictures. A red button is enlarged to fill the frame with little characters dotted around it. Her dragon/butterfly has a half human face and fills the frame also. She uses large objects like an ink pen with small people next to it.

How does she communicate through the use of metaphors or symbols?

Shapes are used to depict objects. In her Pinnochio book spread, Sara has used ribbons of paper placed in the shape of a tent - the colours and shapes suggest the circus theme.The symbol on the First Flight image in the bottom right hand corner is one used on a package, usually cardboard box, to show 'the right way up'. The label on her Dear Diary image is one used on a schoolbook. This way we know what to expect. They are modern visual metaphors.

LAUREN CHILD

SOURCE:

http://www.milkmonitor.com/the_characters/charlie_and_lola/

[Accessed 21 February 2015]

I will not ever eat a tomato

We honestly can look after your dog

2. Choose one image most visually appreciated:
LAUREN CHILD'S

Write about the way that this illustrator works - it helps to decipher this by starting to describe the picture:

How is the image composed?

There's a photographic background here that adds a wonderful dimension. The stripes on lola's hat are also photographed. Drawn image placed over the background like a cutout. Lots of texture on the bench, used from textured paper, a real bow on the dogs hair and real flowers.

How are the colour, tone and texture used to evoke a mood or convey an idea?

Textured grass for a real expanse of park, real wood texture for the bench adds contrast to the figures. Rich, playful colour for two little girls and lots of fab pink and purple to describe their fantasy world of play and the whimsical game with the dog.

Has the illustrator distorted content in the image and how does it work for the purpose the image fulfills?

The park lawn is distorted and I have actually found much of this disturbing whenever I read the books. I don't believe (subjective opinion) that it lends itself always. The children's legs are distorted too, and I am not sure it lends itself in any way to the picture. Maybe it suggests a world of make-believe.

Lola and Soren Lawrenson (right)

Lauren Child's real friend - Soren, the inspiration for Soren Lorenson in the book

Go back to a visual you created for an earlier exercise and render it using the same tools and materials as your chosen artist.
Choose a very different artwork and repeat the process.

MY OWN VISUAL RENDERED USING THE SAME TOOLS AS LAUREN CHILD -