3.5 Free association
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3.5 Research Task Visual research https://www.ingentaconnect.com/content/intellect/jill/2014/00000001/00000001/art00009?crawler=true How does the character of the sketches relate to the final illustrations? 'Lob' is an invisible figure to many of the characters in Linda Newbery' s manuscript. It was an innovative suggestions by Illustrator Pam Smy to question whether 'Lob needed to be seen in the drawings at all. Smy went on a journey with her sketchbook in the search of 'Lob'. She chose the 'Empty Common Allotments' to make 30 records of the everyday. Smy studied the environment for many hours, studying the wheelbarrows, compost bins and sheds along with all evidence of nature. She wanted to expand her knowledge of what she thought she already knew of the everyday in an environment that would give her a number of types of garden, all in one. The allotments. The process of drawing the items within the allotment, made them familiar. This aided her i...
3.4 Interpretation and communication; suppose we make it different? Scamper: Substitute - Change one aspect of the drawing for another Combine - Combine different pages from your sketchbooks of add in other images to the mix from other sources, photographs you have taken, words, other drawings. Adapt. Modify. Put to another use. Eliminate. Reverse. I started this process by revisiting my sketchbooks and identifying moments and pages that I feel empathy with, I hope this will offer a way into this exercise. I select these pages: These pages are blind contour drawings in a felt tip line. I enjoyed this way of drawing because it felt new, free, challenging and rewarding. It was scary territory, setting to work on a page and not knowing where or how the pen would end up. Amazingly, figures did start to appear on the pages. I never thought they would, but they did, out of know where. The felt tip pen offered an easy way of creating...
3.4 Creating your own version of reality www.book-by-its-cover.com/sketchbooks Julia Rothman Consider the various ways that the Illustrator responds to figures and environments. There are many faces throughout the pages. Lots of figures. Most of them in black line, clusters of people on each page. Each face has a different expression, they don't seem to be from the same scene or setting, almost like fragments of people that are glued to one another on the same page. What materials do they use? Mixed media. A collage effect throughout the sketchbook mage up of old photos, letters, drawings, words and colours. Fragments of a lifetime cut up and glued into a continuous collage. Do they sketch quickly or are the drawings more sustained? Both. There are pages of stunning line drawings of rooms and of people, portraits. Blocks of colour to the line create complete illustrations. However there are also cut outs of bits of drawings, perhaps drawings t...
3.3 Illustrative drawings I return to the references I have of my route. The photos work fantastically well at taking my mind back to each moment, although as stand alone images there isn't an obvious narrative to each image. I return to the sketches I made of my route. I specifically select the sketches that intrigue me and conjure my imagination. Emotions and memorable words. Shadows, continuous, alone, isolated, endless, opportunity, quiet, peaceful, contemplation, history. My sketch here is for reference only. It is rather stale of emotion, but perhaps I wasn't looking at the bench emotively at the time. I decide to take the word lonely and sketch the bench again, channeling a more emotive response. I use only one colour, 'Payne's Grey' from a watercolour palette. I chose this colour because it varies an awful lot in terms of shade, and the grey would work well with the emotion of loneliness. I use an ink nib to sketch the...