"It's not like photography. You have to be present- you cant just grab it and go. You become involved in a way that maybe other people don't and you capture moments." Veronica Lawler, in Understanding Illustration, Brazell D and Davies, J. 2014.
I've always been the kind of person to notice the colours of birds, the beauty of rain drops on a spiders web, little things that are so beautiful in life but few actually 'see' them. As my life has sped up in pace over the last few years I found myself drifting from this way of seeing and I definitely want to get back to it.
Slowing down and taking in what is going on around me and actually documenting it in sketches really excites me and also scares me since its not something I'm used to. It's one thing to stop, look and appreciate, its quite another to draw it and actually capture the essence of the moment. This is something I am very keen to learn.
Artist's Research:
Looking at the list of reportage illustrators I chose to select two illustrations from each and put them into a board to see them together and look at the different approaches of each one. They all have a different approach to the way they communicate using their own style and mediums. Viewing their work has given me a better understanding of reportage and documentary illustration and an idea of what styles I am most drawn to. Lucinder Roger's style of line work with pops of colour is very appealing to me, it's very effective without over complicating the illustration.
The way Agnes Dechourchelle conveys the landscape with bold colours and the strips of green coming out of the page really give a sense of the size and atmosphere of the place. I like the colours she has used and the style is slightly simplistic yet gives enough detail in the building and trees to give a sense of place.
Dechourchelle also uses these colours in her figure illustration, the form and composition really help to explain the narrative. Again this type of style is one I am particularly drawn to.
- Laura Carlin
- Paul Hogarth
- Veronica Lawlor
- David Gentlemen
- Olivier Kugler
- Lucinder Rogers
- George Butler
- Louis Netter
- Chloe Regan
- Emmanuel Guilbert
- Agnes Dechourchelle
- Evan Turk
- Maurice Sasek
Other Links Accessed:
Laura Carlin. (2019). Laura Carlin. [online] Available at: http://www.lauracarlin.com/ [Accessed 6 Oct. 2019].
Instagram.com. (2019). Laura Carlin (@laura.f.carlin) • Instagram photos and videos. [online] Available at: https://www.instagram.com/laura.f.carlin/?hl=en [Accessed 6 Oct. 2019].
Paulhogarth.co.uk. (2019). Paul Hogarth OBE RA. [online] Available at: http://paulhogarth.co.uk/ [Accessed 6 Oct. 2019].Laura Carlin. (2019). Laura Carlin. [online] Available at: http://www.lauracarlin.com/ [Accessed 6 Oct. 2019].
Instagram.com. (2019). Laura Carlin (@laura.f.carlin) • Instagram photos and videos. [online] Available at: https://www.instagram.com/laura.f.carlin/?hl=en [Accessed 6 Oct. 2019].
Articles:
Eyemagazine.com. (2019). Eye Magazine | Feature | Ardizzone at peace and in conflict. [online] Available at: http://eyemagazine.com/feature/article/ardizzone-at-peace-and-in-conflict [Accessed 14 Oct. 2019].
Edward Ardizzone's approach to drawing during war torn times to me is remarkable. The article talks of his work having a comedic approach as well as a nostalglic feel. Ardizzone's illustration, 'Children playing on a captured enemy tank' is rather disturbing to me. The use of bright colours feels inappropriate considering the subject matter. I can understand why people felt he wasn't taking the war seriously and yet I suppose you would need an element of something joyful to hold onto in such dire circumstances. Standing drawing dead bodies, I can't imagine what must have gone through Ardizzone's mind, it's not something I would ever feel I could do or want to do. I'm not sure I really relate to Ardizzone's style given the subject matter but no doubt his drawing skills are to be admired in such a hostile environment.
Eyemagazine.com. (2019). Eye Magazine | Feature | Olivier Kugler: bearing witness. [online] Available at: http://eyemagazine.com/feature/article/olivier-kugler-bearing-witness [Accessed 14 Oct. 2019].
Olivier Kugler's illustration style is one that I am more drawn too. I really like how he includes descriptions within his illustrations and has quite a graphic style. Again, I am once again surprised at the use of bright colours for such somber stories but I am keen to find out more.
Kugler's way of working is much more in line with how I'd prefer to approach illustrations, taking notes, listening, seeing and taking photographs to then take back to the studio to work with for the final illustration.
The fact that Kugler uses words to describe the stories of the refugee's adds to the emotion of his illustrations and it's interesting to read that initially Kugler was more invested in his illustrations adding too many words but has now learnt to use specific words to enhance the overall illustration and the message he wants to convey.
Kugler has found himself being an advocate for refugee's by telling their stories in a dignified and empathic way through his illustrations and works a lot with non-profit's such as Oxfam and MSF. This has become his strength and companies seek to work with him because he has found a way to tell other's stories in such a way that they really capture the viewer and move them emotionally.
During Kugler's time at University he was encouraged to look at the work of narrative artist Alan E. Cober who was known for his illustrations in The New York Times, Rolling Stone and other publications, because he had such an interest in illustration. Cober became a real inspiration to Kugler and despite there not being an illustration degree available at that time, Kugler focused on Visual Communications which set the tone of his work to come.
After completing his time at university, Kugler worked for three years as a graphic designer, which no doubt had a huge influence on his current work. Kugler then went on to study further, earning himself a MFA in Illustration. Kugler also dabbled in creative writing which he took as a short course which he didn't particularly enjoy but has shaped the way he records conversations in his unique illustrations today.
It would seem Kugler's work is fueled by the stories of the refugee's he has interviewed and his purpose is to share those stories to the world to brig about global change. The way Kugler approaches his illustrations with bold line work and colour certainly catches the eye to drawn you in and then you are moved the closer you look, reading the captions and taking in the scenes.
Eyemagazine.com. (2019). Eye Magazine | Opinion | Framing the evidence of war. [online] Available at: http://eyemagazine.com/opinion/article/framing-the-evidence-of-war [Accessed 14 Oct. 2019].
This article talks about the combination of illustration, writing and photography used together in the form of a graphic novel. The author Rick Poynor references the public's perception of graphic novels to be something for adolesents and to add photography to the mix really shakes things up.
Guibert, Lefe'vre and Lemercier did exactly that with their graphic novel 'The Photographer', capturing war-torn Afghanistan with Doctors Without Borders.
Research for the book began when Lefe'vre went along with Doctors Without Borders on a gruelling trip from Pakistan into Afghanistan during the war between Mujahideen and the Soviet Union taking lots of photographs. six of them were later published in a French newspaper and the rest were stored away until one day Lefe'vre's friends Guibert and Lemercier encouraged him to include them into a book.
Guibert illustrated the scenes based on the photographs but never taking anything away from them. It was Lemercier who then went on to colour them with sensitivity.
The three men were able to seamlessly convey their message through the blend of photographs, writing and illustration and remarkably continuing to do so even when Lefe'vre's notebook from his trip went missing. They covered every dark moment of that horrific time of war, some saying it inappropriate and intrusive at the time.
Lefe'vre went on to travel several more trips like this one before he later died of heart failure aged 49.
This combination of reportage war illustration seems quite unique and I am sure a very moving and emotional way to experience such scenes as a viewer. It must have taken a toll on Lefe'vre and I can't help but wonder if his experiences contributed to his ill health. However his contribution along with his friends, Guibert and Lemercier and made a signification contribution to shining a light on the atrocities of war.
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