3.2 Research Task

 Reporting and documenting 

www.eyemagazine.com/feature/article/ardizzone-at-peace-and-in-conflict 

Edward Ardizzone 1900-1979. English Artist, Print Marker, War Artist and Illustrator. 

Ink line and wash illustrations, cartoon in their nature. Despite the subject matter of war, there is a brightness to the illustrations. The washes are clean and the skies are often blue. Yet there is a genuine documentation of a scene presented on the page, 400 war illustrations in all. Documentation. Evidence. And as a designated artist in areas of war, Ardizzone is also a valuable witness and his accounts in the form of drawings, valid. 

Ardizzone during his war year was reported to be in cheerful mood, despite his circumstances  and war time challenges from 1940. The forties saw Ardizzone in France, North Africa and Italy campaigns. A Catholic man with a strong faith, a faith that must have bought strength and comfort during these harder years. 

The illustrations depict suffering, hunger and death, the walking and the wounded. Yet they do not appear uncomfortable to the viewer, they are not red with blood, nor do they show obvious graphic detail. Ardizzone's style is so subtle that he was criticised for making light of death in his illustrations. Instead he remained true to his style and drew in his natural way, a documentation of what he could see, in bright and light drawings. Timeless in their appearance, the style hasn't aged, which is clever as they appear relevant in modern day. 

Soldiers casually walk along a street, an absent but untroubled expression on their faces. Children harass the soldiers as they walk, a thin man sits to the side of the road, his palm stretched out towards the soldiers. His ribs are showing in the drawing, suggesting hunger and malnutrition. A believable scene. However presented in a cartoon style, perhaps lightening the true mood of the scene. 

In another scene two soldiers are drinking what appears to be beer bottles, whilst reclining back onto the truck. To the side of the truck the viewer can see the walking wounded. 

Ardizzone seems to capture all emotional aspects of the scene in one. The jovial drinking and the wounded. The healthy and able, confident soldiers, and the hungry civilians. Though his chosen media may appear fresh and bright, his style modern and light, he leaves nothing out. If you look, all is there to see. Historically this is so important as he presents all aspects of the scene, the soldiers relaxing as they drink, the walking wounded and the hungry. In history we learn of all aspects of war, life does go on during war, people continue to live with resilience and I believe Ardizzone represents this strongly, along with the suffering. His work incapulates life still moving, even through the time may be of huge historical importance. 

Ardizzone has a modern style, the war illustrations were created from 1940, his didn't return to civilian life until 1945. His style of work over this five year period could have been produced now, the drawings have not dated in style. Perhaps his style was too forward for the 1940's, which lead to criticism. Although his scenes are not overly emotional, they appear to be factual. Unlike Kugler, who I will explore next. Ardizzone only had this eyes and paper to document the scenes, there was no digital media at this time to aid him. Adding more to the historical importance of these drawings. They are a snapshot forever captured. Important evidence of events, historically crucial as we can study them in modern times and they are a piece of the history of events. 

Of course these years may very well have weighed heavily on Ardizzone, later suffering from depression. 'Tim All Alone' considered a masterpiece, illustrated during the depth of his depression, how beauty can come from such darkness. 

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

To depict facts as they are in real time is a skill and a bravery. I have learnt that I can recall real information on paper. Photos are also an important resource, however Ardizzone has proved the importance of drawing as another way of recording history. 

Ardizzone has used his style of illustration to show emotion, pain, suffering, war and life that goes on in between without creating intimidating, violent or graphic scenes that an audience may shy away from. His work is inviting and approachable. A style that I will remember as I progress. 

www.eyemagazine.com/feature/article/olivier-kugler-bearing-witness 

Olivier Kugler.  Contemporary Illustrator. 

Kugler interviews, a journalistic style of working. He asks as many questions as he can, observing every detail from his interviewee. In addition he uses a laptop, scanner, pencil and digital camera to document the interview. The illustrations are made later on, collating all of this detail together. Kugler pays particular attention to the surroundings, clothes, facial expressions and details. Kugler listens. 

Kuglar is a contemporary reportage illustrator. He takes a journalistic approach to find a story and turn it into an illustration. 

Kuglar has extensive experience in this way of reporting. In 2012 Oxfam posted Kugler to Birkina Faso to report on the food crisis in Sahel as well as documentation of the Greek Island of Kos and with a number of life stories of Syrian Refugees. 'The Elephant Doctor in Laos' was published in 2013. Kugler has produced two collections of works about Syrian Refugees for Harper's Magazine, 'Escaping War and Waves' & 'Waiting State' 2014. 

Whilst the stories of his interviewees present themselves, a camera is used by Kugler as a way of collecting "roughs" to use in the studio. 

Kugler's illustrations are detailed in structure. With such a thorough way of reporting, there is a lot of information to include within a scene and as a consequence a wealth of detail for the viewer to digest. He uses carefully placed words to add to the story, earlier works were criticised for containing too many words, to which Kugler has been reported to agree with. Words in more recent works are carefully selected and placed. 

The significance to this way of reporting in modern times is his illustrations offer a broad range of detail in and interesting and engaging way. Less heavy that an article in the Times, easily digested in this modern age. Whereas Ardizzone only had illustrations to convey a scene and a message of war time. Kuglar is flexible in his approach, bringing his journalism to the page in the words he selects. 

The significance of Kugler's work is strong, it will become historically relevant as Ardizzone's work has. Kugler is documenting history as it lives. Stories that need to be recorded, a diversity of stories, pain in the modern world. We have such a lot to learn of our mistakes historically, and I believe Kuglar's work will play a part in bring the lessons we need to learn to the forefront in a refreshing and innovative way. 

www.eyemagagazine.com/opinion/article/framing-the-evidence-of-war

Emmanuel Guibert combines narrative art and photography to tell the story of Photo Journalist, Didier Lefevre's journey across Afghanistan with the team, 'Doctors without Borders' during 1986 wartime. A mission to reach a tiny hut in the centre of the warzone that would serve as a hospital. 

The book tells the story as Didlier saw it, in his own words and through his own eyes. A visual memoir has been created using Lefevre's photographs, documenting all extremes of war and humanity in collaboration with Guibert's illustrations. An interesting combination of documentation, reportage and photography. 

The photographs used throughout the book are black and white. The illustrations are in colour. This works brilliantly as it separates the reporting and documentation, even though they work alongside each other on the page. The viewer, at even a quick glance can see the the visual evidence in two parts. Words like that of a comic strip work alongside a number of the photos. This placement of text brings a flow to the page, merging the documents together to produce one complete works. 

Much as Kugler, this is an innovation way of reporting on war, of documenting times of huge significance, historical information. Also as Kugler, this method means that information is quickly and easily digested. A wealth of information can be observed by the viewer, the read in a quick and painless way. 

The photos and the illustrations include as much information as each other, one method does not beat the other in this book. The illustrations work really hard at creating a readable scene. The photos capture the moment in time. Both methods compliment each other and are of equal importance. The comic strip graphics keeps the subject matter relevant, the style does not age. It's engaging and inviting and a visual language we have all grown up with. A very forward thinking approach. 

3.3 Research Task 

Reporting and documenting 

'On a Fortified Island, The Night Watch' 1941

Ardizzone writes: "The island was Inchkeith in the Firth of Forth. It was heavily fortified and armed with a battery of large guns in concrete emplacements."

Compared to:

'A Black Watch Soldier in a trench during World War One'. 

Photography credit - The Keasbury-Gordon Photograph Archive. 

What is the image expressing, describing and communicating? 

A pen and ink scene that depicts six soldier on watch. The soldiers appear exhausted. I can tell this as Ardizzone has collected the correct postures to depict this fatigue, four soldiers  out of the six are in a relaxed and slumped position. One is fast asleep on the table, two are face down into their chests, one cradles his head. Two of the soldiers are engaging in conversation, looking at each other. Perhaps trying to keep each other awake. One soldier is so relaxed, he has taken his hat off. 

The hour is late as the colour palette is dark and grey, there is light bleeding into the scene from the right. Shadows can be scene against the wall. 

The room is stark, possibly even damp as the use of colour is rather dirty. 

The atmosphere seems bleak, heavy and fatigued. It's a long night, and I would imagine from this scene the years have been long. 

What is the image expressing, describing and communicating? 

At first glance it appears only two soldiers are in this scene, but as I look closer I can see what appears to be five. All in a sitting position, lined in a trench. The soldier at the forefront of the picture stars straight in the lens. The soldier at the back looks on into the distance. 

The soldier at the font of the scene holds a gun in a upwards position. He is not looking to fire this gun yet as it is resting on his leg. None the less, the gun takes poll position in the photograph as it is a threat. 

The soldiers are doing there job, in a row, sitting. Ready for action. 

The soldier at the forefront of the photo is expressionless, but focusing on the camera intently. Highlighting the function of his work. To watch. His knees are dirty and worn, describing a challenging and harsh environment. 

The sacks to the left of the photograph are stacked upon each other, the trench. This highlights the soldiers are in danger, the sacks being their only protection. 

Which image do you think is most memorable? 

I think there is always something so striking about seeing people in real life, in incredibly challenging situations. The hard stare into the camera lens of the soldier in the photograph adds intensity to the scene, an immediate engagement with the viewer. I connect with him. My heart goes out to him as I see his worn knees. How long has he been sat there? How long will he be at war? How long has he been away from home? Are all questions I noted when I looked at the photograph. 

I can perhaps see why Ardizzone's style of drawing during wartime was sometimes criticised. As beautifully done as it it, it does appear as a lighter story scene compared to the stark directness of a photo. For these reasons and on this occasion, the photograph is more memorable. 

Does one image prove more truthful and why? 

When I was examining the way Ardizonne worked, I could see very clearly the truth he was depicting in his style, including all areas of human behaviour, all parts of the scene. The harder parts and the lighter. However comparing the illustration on to the photograph, a photograph adds a very cold truth, there are no lighter bits. The photo is stark and intense. The close up of the soldier holding the gun, an intentional move to bring the viewer into the soldiers scene in an immediate and urgent way. You don't have to read the photograph to step into the scene, as I read and stepped into Ardizzone's illustration gradually, with the photo, I fall to the soldiers knees with urgency. For these reasons and on this this occasion, I would say the photograph speaks the truth in a louder way, but not necessarily in a more truthful way. 

Which image would you be more likely to notice if it was in a magazine or newspaper and why? 

I have mentioned above how effective the stare into the camera is from the soldier in the photo, there is an immediacy to this and if I turned a page, I do believe this solder would draw me into the trench immediately. However the photo is black and white, true to the time of photography. Ardizzone's illustration is in colour, the mood dark, cold and interesting. I peer into this scene with an eagerness to step in. The colour describes the scene so well and it's believable. I can feel the fatigue. Perhaps if the illustration was also in black and white, it may not grab me emotionally quite so much. The colour works beautifully. It's emotive and captivating. Therefore I believe I would notice the illustration first.