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 that didn't make it to completion, but added to a collage, they find their place. 

If the draw fast, how is this achieved - How is the content edited? 

The drawings appear in many cases as a continuous line, fast flowing. 

The editing comes from the cutting out of drawings on a page and then adding them to the sketchbook where they are placed within a collage of mixed media pieces. 

There are also cut outs of pages of blocks of colour added to the sketchbook pages. Perhaps this would also aid in covering up anything if needed. 

Which subjects or parts of the images are edited or stylised? 

There is a strong style throughout. The figures and portraits flow within the black line. Just the hair will be coloured in a block colour, the rest of the figure in black and white. The figures stand out from the page in black and white. Fragments of personality. Busy pages. 

How does the stylisation affect the communication process and the sense of documentary? 

This is a really strong example of documenting as Rothman has named this sketchbook 'Forever'. This name comes from the huge scale of the book in size, she's yet to run out of pages. The sketchbook contains photos, letters and drawings from her school years onwards. Very much a documentary of her life in pages. The sketchbook, with the narrative of Rothman's life, communicates to the viewer as a visual diary. 

Are there any parts of the images that are unfinished and what impact does this have on the overall image? 

Many parts appear unfinished if you look at the drawings as isolated pieces. However as this sketchbook is unique, as it's documenting a life as it is lived, nothing is actually unfinished as it's an ongoing, flowing, personal story. 

Are there some images that you think communicate better when drawn slowly? 

There are pages that appear as complete illustrations such as the kitchen scene. They appear as complete because they largely fill a pages, line drawings with blocks of colour. They appear to have been drawn over longer periods of time. I don't believe they communicate in any better way that the pieces of drawings, letter and photographs, as I refer back to my point about the continuous visual diary, I don't believe any of the drawings, complete or not are supposed to act as an isolated piece. 

Renata Liwska 

Consider the various ways that the Illustrator responds to figures and environments. 

The figures are all placed within a scene, there is a narrative to all of them. A lady sits in the salon, reading whilst she has her hair done. She appears content and happy. I can see light coming into the scene. 

With the animals Liwska draws, she characterises them with props such as a suitcase for the bear and a hat. This immediately conjures the viewers imagination as you see the bear as less of an animal, but more of a human with a story. 

What materials do they use? 

Pencil drawings on white sheets of paper. A small moleskin sketchbook 

Do they sketch quickly or are the drawings more sustained? 

More sustained. Liwska is a children's Illustrator of books and her sketchbook very much reads as that. Each drawing is a page of a book.  Time has been spent on each page, and every page hits a high bar. 

 

If the draw fast, how is this achieved - How is the content edited? 

I can't see any evidence of fast drawings in the pages I have access too. And of the sustained drawings I see, I see no evidence of editing. However as Liwska's chosen media is pencil, this is adaptable using an eraser. 

Which subjects or parts of the images are edited or stylised? 

There is a consistent style throughout, Liwska's style doesn't deviate at all. Complete and beautiful throughout. Her style is perfect for children's books. A childlike narrative throughout the sketchbook. 

 

How does the stylisation affect the communication process and the sense of documentary? 

As Liwska is constant with her style. The sketchbook pages read as a children's book, each page complete. 

Are there any parts of the images that are unfinished and what impact does this have on the overall image? 

All images look complete. 

Are there some images that you think communicate better when drawn slowly? 

All drawings are consistently drawn in detail, longer and sustained. As such, they all communicate as a page from a book. 

Martha Rich 

Consider the various ways that the Illustrator responds to figures and environments.

"Representations of human insecurity and the lengths humans to go to be accepted"

What materials do they use? 

Mixed media, acrylic, black line. 

Do they sketch quickly or are the drawings more sustained? 

The words may come together pretty quickly. However in many occasions the illustrations are over a double page. A message. So there is considerable thought there, about the message and the placement of words and figures. 

If the draw fast, how is this achieved - How is the content edited? 

I can see that the pages have been layered up, very faintly beneath the loud and large statements, I can see small print. The pages appear thickly layered, so perhaps this is a form of editing? Colour and motifs have also been added to faces, perhaps this is a form of editing too. 

Which subjects or parts of the images are edited or stylised? 

There is a strong statement throughout the sketchbook - "Average", Leave me Alone", "Love", "Good girls don't fight" . Really strong subjects matters. 

The typography is large and bold, impossible to miss. Blocks of bright colours around the coloured lettering. 

There are not always figures around the words, but where they appear, they are adding further importance to the words, enforcing the statement. 

How does the stylisation affect the communication process and the sense of documentary? 

The sketchbook is very honest and explores a number of issues, very personal to female voices in particular but apply to all. The insecurities we hear in our heads are bought to life on the page with colour. 

Are there any parts of the images that are unfinished and what impact does this have on the overall image? 

As messages and open visual thoughts, the pages do appear complete. 

Are there some images that you think communicate better when drawn slowly? 

Where there is a double spread of words alone, without further illustration, this is so dynamic that the message is loud and clear. The blocks of colour help communicate the volume of the message. 

Iker Ayestaran

Consider the various ways that the Illustrator responds to figures and environments.

The figures appear as they go through their everyday life. Suited and booted on their way to work, sheltering from the rain with an umbrella, sitting at a table in a restaurant. The detail is very much in the figure, however the environment is there and the action of the figure also

communicates the situation they are in - Slightly bent over under an umbrella, the rain must be heavy or a straight back with head up, showing confidence and self importance. 

What materials do they use? 

I can see pencil and black pen. There are areas of colour, they appear to be coloured pencils or pen, even perhaps biro at times. 

Do they sketch quickly or are the drawings more sustained? 

The drawings so look detailed and time has been taken to draw the figures ad place them within a scene. Ayestaran explains that he sketches at night whilst in bed, the sketchbook remains by the bed. So perhaps many of these figures are from imagination. Working like this has allowed a relaxed environment to explore. 

If the draw fast, how is this achieved - How is the content edited? 

The background is largely large areas of pencil shading, I would imagine this is quickly achieved. I love the way that Ayestaran has shaded at a sideways slant to depict rain, simple and effective. 

Which subjects or parts of the images are edited or stylised? 

The sketches have a distinct style, very stylised. Long legs, sophisticated figures. The curve of the spine has been captured in posture, so I see movement, busy figures going about their day. There are stripes too, these feature a lot, mainly in clothing, vertically and horizontally. This adds to the length of the legs in particular.  

How does the stylisation affect the communication process and the sense of documentary? 

Knowing that Ayestaran works at night really helps to understand the relaxed and imaginative way that he works. The are sketches that I can see he is trying to get the figure correct, working out where to place the figure. And there are complete illustrations. His style remains consistent. The figures are stylised in exactly the same way thought. The predominant tones are white, black and pencil greys. 

The sketchbooks document a journey of style and delivery. 

Are there any parts of the images that are unfinished and what impact does this have on the overall image? 

There are pages that are unfinished. The contain a number of sketches of people in different positions. Also sketches of the same character drawn in different ways, different clothing and props. The background is unshaded. I can see they are experimental drawings. They have a place in the sketchbook as they are preparation sketches. Something bigger comes next. 

Are there some images that you think communicate better when drawn slowly? 

The illustrations that appear complete to the viewer are those of a figure, set in a scene. For example the gentleman that is well dressed, walking quickly with an umbrella along the street, perhaps on his way to work. I see see simple box style houses that communicate his journey. This communicates a narrative, a place and time and places the viewer within the scene. Engagement.