Wednesday 26 October 2016

The Editorial Illustrator - What Is Editorial Illustration?

Eric Fraser, Illustration for Radio Times, 1940s

"The essence of editorial Illustration is visual commentary. Its principal function is to be symbiotic with journalism contained within the pages of newspapers and magazines. "
MALE, A. (2007). Illustration: a theoretical and contextual perspective. Lausanne, AVA Academia.

Qualities and Functions of Editiorial Illustration:
To translate
…the ability to bring the essence of the story, its concept, but also values and intent, all beyond the text, into pictures that the reader can understand.

To reflect
…the ability for the audience to see their values, their codes reflected in the image in their magazine, and at the same the illustration as a reflection of the ideas of the illustrator and publisher.

To materialise
…the ability to use material and style to give meaning and presence, not just within the picture, but by using and exploiting the technologies that are dictated by the carrier, be it newsprint or pixels. 

To engage
Engagement, the ability to grab the audience and deliver something 

thought provoking, whether through a personal socio-politically statement or through formal impact is understood as a core quality of the editorial illustration.

From: Hoogslag, Jeanne2015, Thesis, On the Persistence of a Modest Medium The Role of Editorial Illustration in Print and Online Media PhD thesis, Royal College of Art

The Editorial Illustrator - What Is Editorial Illustration?

Eric Fraser, Illustration for Radio Times, 1940s

"The essence of editorial Illustration is visual commentary. Its principal function is to be symbiotic with journalism contained within the pages of newspapers and magazines. "
MALE, A. (2007). Illustration: a theoretical and contextual perspective. Lausanne, AVA Academia.

Qualities and Functions of Editiorial Illustration:
To translate
…the ability to bring the essence of the story, its concept, but also values and intent, all beyond the text, into pictures that the reader can understand.

To reflect
…the ability for the audience to see their values, their codes reflected in the image in their magazine, and at the same the illustration as a reflection of the ideas of the illustrator and publisher.

To materialise
…the ability to use material and style to give meaning and presence, not just within the picture, but by using and exploiting the technologies that are dictated by the carrier, be it newsprint or pixels. 

To engage
Engagement, the ability to grab the audience and deliver something 

thought provoking, whether through a personal socio-politically statement or through formal impact is understood as a core quality of the editorial illustration.

From: Hoogslag, Jeanne2015, Thesis, On the Persistence of a Modest Medium The Role of Editorial Illustration in Print and Online Media PhD thesis, Royal College of Art

Thursday 20 October 2016

Friday 21 Oct - Sara Fanelli methodologies

For tomorrow's tutorial and practice-as-research, please bring in some collage materials
(old paper, tickets, envelopes, photographs, newspapers, magazines, comics)


https://www.moma.org/learn/moma_learning/max-ernst-levade-the-fugitive
(Exquisite Corpse)

Wednesday 19 October 2016

Oct 21 - Sara Fanelli methodologies


Using Absurdity, collage and textural interest

1) Using Fanelli’s technique of photographed and photocopied eyes on colour backgrounds, create a simple collaged image of a strange person or creature, designed to appeal to children.
- You can add simple brush drawing in gouache or ink, add quotations, notes or words, or punctuation marks.

2) Nonsense drawing generator
Photocopy some drawings from your sketchbooks. Fold the photocopies so that only part of the drawing is visible. Lay one drawing over another to create a surreal combination and either trace or photocopy the result.

Create an absurd drawing by using the surrealist game “Exquisite Corpse”.
Fold a piece of paper horizontally: one fold for each person playing the game.
Draw a design in the top section and just over the edge of the next fold.
Fold your drawing under so it is hidden, pass the paper to the next person, and ask them to repeat this step.
When a round of drawings has been completed, open the paper to reveal the composite drawing and display it.

Fanelli methodologies:

Photocollage using eyes: This references avant-garde art, and also adds a recognizable human element that acts as an “anchor” to what might be too cold and abstract a composition – Remember the “adding an eye to a blob” trick

Textural interest: By using found materials that have their own semiotic messages, Fanelli adds narrative depth and also makes the image more interesting

Scribbles and notation : Using apparent changes of mind, thoughts, notes and scribbles, Fanelli references many contemporary artists. Such artists and illustrators include Sigmar Polke, David Shrigley, Paul Davis, Donna Muir and Su Huntley, Ivan Chermayeff, Sue Coe and Oliver Jeffers.) By doing this Fanelli makes her work both more accessible to children, (who appreciate mistakes and imperfection and can relate to these aspects in their artwork, schoolwork and rough books) and adults who find the imperfections and avant-garde feel give the work an air of postmodern sophistication.

Absurd anthropomorphism - like Edward Lear
By anthropomorphising unexpected things like chairs and cutlery at a sophisticated level - (of detail and behaviour, not just making them talk)
Fanelli delights children by surprising them and being absurdly (unconventionally) funny.

Philosophical, artistic and literary quotes:
Fanelli has used innovative typography that has been very influential and widely copied. She has often used quotation (eg: "Life is a horzontal fall") that gives her work an intellectual air.

Referencing 20th century art: Fanelli has used identifiable elements from the work of Paul Klee, Marc Chagall, Max Ernst, Joan Miro, Hannah Hoch and many other artists from the various movements of the 2oth century.

Thursday 13 October 2016

Friday Oct 14 - Children's Book Illustrator

Sara Fanelli, cover for Pinocchio Dutch edition
We will be looking at the methodologies of Sara Fanelli.
These will include:
Collage, especially the use of "found" eyes, textures and old documents
Absurdity such as is found in the work of Edward Lear
Textual quotes, from philosophers and artists

Fanelli: “Everything is fed by personal research both in materials and ideas. The ideas most of the time come from marrying events and emotions in my life with texts I come across in my reading. This is the core of all the work and it feeds the general illustration commissions as well as the books….Almost all of the images are inspired by a text. They are visual interpretations of the ideas contained in the text I chose. But I have complete freedom in the way I want to express those ideas and in the degree of obscurity of the narrative”Interview with Stephen Heller, Varoom journal no.3:
http://www.hellerbooks.com/pdfs/varoom_03.pdf



Thursday 6 October 2016

Friday 7 Oct - Chris Ware's methodologies

10 am Friday - Chris Ware 2

We will discuss more aspects of CW's work and look in more depth at the kinds of methods he uses.

1) slow time: The depiction of time is often discussed in CW's work and has been widely discussed.
EG in BALL, D. M., & KUHLMAN, M. B. (2010). The Comics of Chris Ware: Drawing Is a Way of Thinking. Jackson, University Press of Mississippi. http://site.ebrary.com/id/10396000., Chapter 13, Chris Ware and the Pursuit of Slowness by Georgiana Banita
2) Clear line: This style of comics was developed by Herge in his Tintin books, and is discussed here:
http://www.pbs.org/pov/tintinandi/interview-on-cartooning/7/
"Incidentally, I stole this idea of using very carefully composed naturalistic color under a platonic black line more or less directly from Hergé, as there’s a certain lushness and jewel-like quality to his pages that also seems to hint at the way we gift-wrap our experiences as memories."
3) Use of type: CW has said " I try to use the rules of typography to govern the way that I “draw,” which keeps me at a sensible distance from the story as well as being a visual analog to the way we remember and conceptualize the world" (from PBS interview above)
4) Memory: CW comments A LOT about memory, especially here
http://www.theparisreview.org/interviews/6329/the-art-of-comics-no-2-chris-ware

"Beyond that, by modulating repeated bits of color and by playing warm and cool moments and objects against each other, I try to link various parts of a story together, sort of like the way our memories rewrite our experiences to suit the person we’d like to imagine we are, cleaning things up to suit our tastes.."

"The simple act of remembering means creating an edited, “colored” memory of something that was initially probably flabbergasting, messy, and confusing."