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 in her search for 'Lob'. Smy observed how the gardens tried to tame the nature within, how the subjects within the space related to each other. Conscious observations that would bring her closer to 'Lob'. "Drawing encourages us to think visually. It also allows us to edit information". 'Holder and Hodgkinson 2012'. 

The character of 'Lob' is starts to emerge in the sketches as he isn't a solid figure or even present on the page, he is within the environment of the gardens. He's in the bushes, he's in the trees, he's behind the wheelbarrow. His spirit is emerging here, even if his figure is not yet outlined. The spirit of the soul of  'Lob' . The allotments are a place where many go to think, to grieve, to cry  and to heal. They are where many find solace and peace. Nature is where the secret bond between 'Lob' and his loved ones are. Smy uses the allotments to follow this bond back to him 'For the man who walks the roads...'. 

The final illustrations of the book include all of the elements of the environment observed in the sketchbooks, the trees entwine the shed, filling the page with nature and atmosphere. There is little between the reader and nature, the environment captured in the back and white illustrations is all consuming. 'Lob in the final illustrations emerges as an outline, as a shadow, as a darker are of hedgerow, he is so close, but not always seen. Which fits with the manuscript as some characters can see 'Lob', those who are close to nature, that shared bond....But he's not visible to all, particularly those who have become lost to it. Lob is a secret, and he remains a secret in the illustrations...He's just about there, but no all encompassing present. He's a glimpse, a double take. An invisible presence that has been sought from the natural environment. 

'Lob' is so subtle. He has not face, not definite identity. He is a secret, but no mystery as those who have the shared bond with him, see him entirely. As the Illustrator emerges the reader in nature, he is no longer a mystery to them either. He doesn't need a face. 

There are described scenes within Newbery's manuscript where the presence of 'Lob' isn't written in words at all. This is where the Illustrator comes into her own. Smy doesn't duplicate on the words already written, she illuminates them with much more. Smy adds to the text, engaging the reader beyond the written word. 

What can your observations of this approach bring to your own practice? 

I am so inspired by the magic that has been conjured from everyday life in a garden. Everyday objects that have been placed in a scene. Smy to created the essence of Lob, not the physical entity of him. Every little piece of visual research that she collected helped build the soul and atmosphere of Lob, an environment of imagination and enchantment, love and grief. Smy used nature to tell the story of the lead character, with her priority being her visual research in order to find him within. I will carry this way of imagination and creation forward with me into assignment 3. 

Are there any texts or stories you and encountered that relate to any of the drawings you have produced during this section of the course? 


I drew this small sketch as part of Assignment One. 

On the face of it, this is an illustrated portrait of a woman. 

I added a secret envelope to the drawing and continued the portrait over the envelope, so as to conceal it. I marked the sketch as 'Self Reflection'. Within the envelope I wrote a number of secret thoughts and feelings, all of my own. I placed them within the envelope and concealed it. The viewer would see the woman, possibly be the envelope,  but would have no idea what is written inside. The real substance remains secret. 

I recently read the novel 'Where'd You Go Bernadette' by Maria Semple. 
It is part comedy, as it light heartedly explores the demise of the lead character Bernadette, however the novel writes an important message within this journey. 

Once a much acclaimed and award winning Architect, Bernadette was famous within her field, an artist at heart. Bernadette became a mother to a much loved daughter. She stops creating, she departs from herself as an artist. Years go by where she acts as mother and wife, but no one can see that without the art in her life, she is no longer the true Bernadette. She conceals all of her feelings, confiding only into her phone. Bernadette's mental health, over a number of years tumbles to a dangerous low. 

Bernadette is a mother, a wife on the outside. She carries on and people see her outward appearance, the shell of her. Nobody notices that as an artist, she had stopped creating. Nobody cared to notice and so her talents had become forgotten over a long period of time. All of who she really is remains concealed. Nobody knew the real Bernadette. 


This illustration features in Assignment Two. Inspired by the phenomenon 'Pareidolia'. 

This drawing depicts three toilet rolls that have been characterised as triplets, mischievous, cheeky, playful and fun. 

The series of  Disney's 'Toy Story' films tells the make believe story of a a world of toys who come to life in secret. They all have feelings, personalities and breakable bodies, just like humans. The viewer attaches themselves to the toys as they would human. 

Even though my characters are toilet rolls, and not toys. The characterisation gives them exactly the same as Disney gave the toys. By characterising them, they have become real. A story could play out where the viewer gets to see their characters, feelings and lives. 

Reference: 

Newberry, L 2010 'Lucy and the Green Man' David Fickling Books. 

Semple, M 2013 'Where'd You Go, Bernadette'  Little, Brown & Company

'Toy Story' 1995 Walt Disney Pictures Pixar Animation Studios

Comments

Post a Comment

Popular posts from this blog

Image
 1.1 Research Task  Artist's Sketchbooks Danny Gregory 1960- Capturing a moment of the every day. "Making everyday matter".  Gregory sketches in pen and ink  in journals, often over a double page.  The colours are so clean and vibrant against the black lines. The sketches make the situation, like breakfast look more exciting than the real deal.  The shadows in blue are a creative and striking way of achieving tonal changes on the white porcelain.  The lines are far from perfect or precise, they just flow with a natural fluidity.  Edward Hopper 1882-1967 A visual response to the scene. Beautiful, peaceful drawings using a combination of pencil, charcoal and watercolour.  The sketches are so atmospheric, a sense of belonging to the scenes bellow. Hopper includes light and shadow, dark tones that not only depict the scene but the mood also.  Detailed sketches that are so accomplished.  The figures in the drawings are crucial in the int...
Read more
Image
 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...
Read more
Image
 2.6 Pareidolia A collection of inanimate household objects, photographed:   Part of a shower, basket handles.  A glass of drink, a razor, a brass bin, a vintage money box, a toilet roll, desk drawers, a tall lamp, textures of wall tiles:  Justin Sutcliffe 'Objects are people too' A collection of photographs exploring facial pareidolia. He states that he did not set up the shots, all photographs were of faces "unexpectedly observed in life".  Bold and brilliant. No editing or embellishment. The faces are so obvious in each photograph. Yet in reality, one could easily miss the face as one would probably not be looking for it. He  managed to capture a phenomena, most of us would miss.  Keith Larsen  Colourful illustrations of characters, created out of everyday objects.  Very cleverly, Larsen not only copies the object, but brings it to life as a real, living thing.  The colours are enhanced. Bold and confident. Fun and playful. ...
Read more