I will reflect on the feedback from my tutor for Part 2 of Illustration Sketchbooks.  My reflection is in PINK.

Overall response

According to my tutor, my overall response to Part 2 has been very good.  She noted that I explored the potential of every brief, particularly the exercises.

Assignment Two: Happy Accidents

She further remarked that it was good to see I utilised reference material from a recent road trip, and the surreal nature of my storytelling is starting to take shape.  The actual character development could have been more evident in backup work.

I agree.  The backup work for the characters could have been more evident.  I remember in Key Steps in Illustration we have done 360-degree drawings when developing a character.  I can draw the characters from different angles and viewpoints to explore possibilities.  The characters can have different expressions, which could all be explored in my sketchbook.  Different clothing, poses and personalities can also be researched through sketch and words.

She further mentioned that I have utilised many exercises, bringing materials, processes and techniques together to explore the intended narrative.

I am pleased my tutor noticed this.  I was curious to explore what I had learned in the exercises by applying it to the assignment.  However, I saw in her feedback that it is important to remember: “What you choose to draw with, should add to the visual communication.”

Feedback based on the Learning Outcomes

·      Develop methods to creatively explore and respond to briefs as an illustrator.

My tutor said, “Drawing with tea bags is a great way to start exploring a brief, especially when what you choose to draw with, adds to the visual communication, for example, drawing coffee beans with coffee for a packaging brief or using spices to create colour grounds to draw onto for a recipe book brief; this you are beginning to suggest in your sketchbook.  Authentic marks made and colours are really informative; the beetroot is a particularly delicious colour.”  She further said, “You have shown a delightful body of work for this exercise, clearly developing a great process that will no doubt inform your generation of ideas at a later date.”

I agree; this is a great way to start exploring a brief.  A whole new world in ideation is unfolding to me.  Exploring one thing leads to more possibilities and avenues to explore.  It will be interesting to see how I can apply these explorations in future projects.  My tutor’s comment sparked an idea to think about mark-making’s informative language and make side notes as I create them.

Action Points:  My tutor also suggested using natural materials such as twigs, feathers, leaves and bones to allow the unexpected to be revealed.  She noted, “Drawing with objects appears to have pushed you out of your comfort zone, however your thought processes are very sound, but maybe you were over thinking an idea rather than keeping it simple.”

Yes, I think so too. Christoph Niemann says he tries to achieve a level of simplicity, and I can see it in his work.  His work is simple but very effective.

·      Demonstrate your use of visual research in the generation of ideas for illustration.

My tutor noted that primary visual research in the form of rapid sketching is a great way to collect visual information without being overly concerned about accuracy, it’s about the possible later usefulness of information gathered that’s important.

I am pleased to learn in this unit that rapid sketching is a form of primary visual research, and using it to collect information makes sense.  I enjoy gathering interesting observations and even the mundane everyday viewings in this manner. 

My tutor further wrote that blind contour drawing is another way of gathering visual research, particularly out on location; you can be really discreet capturing what you see whilst going unnoticed by other people.

Blind contour drawing is something I want to get better at and specifically for this reason; you can be discreet when drawing and going unnoticed by other people.  One day, I was sketching in the doctor’s waiting room, and people were very quick to realise you are sketching.  I would not focus too long on one person, just in case they might notice I am drawing them and feel uncomfortable.  It makes sense that blind contour drawing is ideal for this situation and so many more.

Action Points: “Good you noted the recognition that with rapid sketching that you loosen up after a few drawings; in time this process will just become second nature to you.  The drawing showing movement of poodles is so rich with visual information.”, my tutor mentioned.

I liked the movement drawings of the poodles, but I couldn’t figure out why.  It is full of mistakes.  I had to look at it again, and then I saw the visual information my tutor pointed out.  The dog sniffs, looks around, and stretches and walks around.  Regarding the mistakes, Martin Salisbury calls it “showing the constant scrutiny and reassessment of lines as the characters move.”  I am pleased I am learning so much.

Action Point:  My tutor further said, “When blind contour drawing defiantly keep pencil on paper and let your hand eye brain coordination govern by what you see and document.”

I need to practice this.

·      Use a range of visual approaches to develop and communicate your ideas.

My tutor mentioned, “Limited line drawing is an excellent process to develop understanding of proportion and composition without concern for detail.  You have thoroughly explored materials through investigating process.  Whilst doing so the experiments have clearly provided you ‘unexpected’ ways to communicate ideas through your illustration work.

I agree.  I will continue using limited line drawing to develop an understanding of proportions and composition.

Action point: My tutor suggested, “Practice quick drawing the key shapes you see, which make up the compositions viewed.  Draw as much as possible from life to get used to movement of what you are drawing.  Try to only use photos as secondary backup referencing drawings (which is maybe what you are already doing).  Investigating process exercise reinforces the notion that materials, processes and techniques should add to the visual narrative”.

I will do that.  Thank you for the guidance.  This will help me avoid falling into bad habits that will stifle my development as an illustrator.

·      Demonstrate a critical and contextual understanding of illustration and reflect on your own learning.

My tutor said, “Excellent notation evident for Sophie Peanut research and analysis.  Sketchbooks should be part of every creatives every practice, as you too are now doing.”  She also said it’s interesting that I noted that the B/W illustrations by Steinberg suggest a seriousness whereas the colour illustrations by Niemann are more playful.

Action Points: My tutor asked: “How might Lucy Austin’s more abstract approach inform your own practice?  Do you consider yourself an artist or an illustrator?  What do you consider the similarities and differences?  You may already be aware that historically B/W photography has always been associated with documentary and colour associated with family snaps therefore less serious.  However, this argument is somewhat outdated today, but is still relevant in some circumstances.  Does Steinberg and Niemann style of visual communication appeal to you, in the sense of working in this way?

I understand from this action point my tutor is suggesting examples of how a person should approach critical thinking and contextual understanding of an illustration and apply this to their own learning.  It might even be a good idea to “brainstorm” or draw up a spider diagram when engaging in critical thinking.  My tutor’s suggestions helped me understand this better.

I wasn’t aware of the outdated argument about Black and White.  I will research this further.  Thank you for the recommended reading.  I find this always to be very helpful.

Action points going forward.

• Next time, do more backup work when doing character design.
• What you choose to draw with, should add to the visual communication.  Materials, processes and techniques should add to the visual narrative.
• ‘Drawing with tea bags’ is a great way to start exploring a brief.
• Consider mark-making’s informative language and make side notes as you create them.
• Try using natural materials such as twigs, feathers, leaves and bones to allow the unexpected to be revealed.
• Primary visual research in the form of rapid sketching is a great way to collect visual information without being overly concerned about accuracy, it’s about the possible later usefulness of information gathered that’s important.
• Blind contour drawing is another way of gathering visual research, particularly out on location; you can be really discreet capturing what you see whilst going unnoticed by other people.
• When blind contour drawing defiantly keep pencil on paper and let your hand eye brain coordination govern by what you see and document.
• Limited line drawing is an excellent process to develop understanding of proportion and composition without concern for detail.
• Practice quick drawing the key shapes you see, which make up the compositions viewed.
• Draw as much as possible from life to get used to movement of what you are drawing.
• Think out of the box when it comes to critical thinking.