The brief

Learning to absorb and respond to an experience requires a combination of skills. Being able to draw quickly or in a distilled manner to capture essential aspects is only one part of the process. It is important to feel confident about selecting from what you observe and to learn what to leave in or out, what to modify, exaggerate or stylise to create your own version of reality.

Deciding which moment to capture in a fleeting event is in itself an aspect of the authorial dimension of reportage drawing. Recognising this and building upon this through media usage and ideas generation will be part of the process of broadening your illustrative skill towards increased imaginative interpretation.

Look through as many different illustrators’ sketchbooks that you find interesting. Reflect on their work and consider the following questions.

Evelyn Dunbar

How does Evelyn Dunbar respond to figures and environments?

Evelyn Dunbar, an accomplished British artist and illustrator had a unique approach to illustrating figures and their environment. She captures the emotion of the figures without distortion, satire or humour which I can really appreciate. Her figures were marked by a strong sense of realism. She often portrayed women engaging in their everyday tasks focusing on the mundane and domestic tasks by highlighting the quiet dignity and resilience of her subjects.

Figure 1 Dunbar, Evelyn. Printed title page for “A Gardener’s Diary.”

Dunbar’s environments were detailed and often contained symbolic elements such as endurance, community, persistence of life amidst adversity and the passage of time. She often used colour to enhance the mood of her environments and integrated her figures seamlessly into their setting. (Clarke, 2007)

Figure 2 Dunbar, Evelyn (1943) Land Army girls going to bed

John Minton

What materials did John Minton use?

John Minton had a passion for drawing which meant that he became increasingly alienated from the world of fine art as the post-war mood of neo-romantic landscape was swept away by Abstract Expressionism. (Salisbury, 2022)

Minton used pen and ink which allowed for precise line work and detailed imagery often found in his illustrations. Sketches and preliminary studies were done in pencil and charcoal. He also used gouache, lithography, mixed media, oil paints and watercolours.

Figure 3 Minton, John (late 1940s) Paintings and black and white illustrations

Did John Minton sketch quickly, or were his drawings more sustained?

It seems that Minton employed each method as needed to suit the demands of his project. His illustrations and preparatory sketches were often quick to capture the essence of his subject matter or to showcase his ability to convey movement with gestural drawings.

Minton also produced finished drawings and paintings which demonstrated detail and careful consideration with work involving a more sustained effort.

Figure 4 Minton, John (1917-1957) Nude Study

Sally Dunne

Did Sally Dunne sketch quickly, or were her drawings more sustained?

Sally Dunne is a British illustrator known for her detailed and whimsical illustrations. Looking at Dunne’s sketchbooks on her website, it is evident that she does quick drawings.

Figure 5 Dunne, Sally – Work from her sketchbook suggesting quick drawings

These sketchbook drawings are mostly from her sketchbook. Other sketchbook work and her final work suggest that her drawing process is more sustained and deliberate than quick.

Figure 6 Dunne, Sally – Work from her sketchbook suggesting more sustained drawings.

When observing her sketchbook in Figure 6, the level of detail implies a careful and thoughtful approach, where time is spent developing each drawing, such as the mushroom and the woman’s face with details in the hair.

If they draw fast, how is this achieved, and how is the content edited?

Sally Dunne and John Minton use quick, fluid lines to capture the basic shapes and movement of the subject. They reduce what they see to their essential shape and form. Simplification allows for quicker sketching by focusing on the most critical elements.

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

They will then gradually refine the rough sketch by adding details, improving proportions, and correcting mistakes. Focusing on detailing only on the most important parts of the illustration while leaving less critical areas simpler.

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

Stylisation can bring the most important areas of the drawing forward and create a hierarchy of what the illustration wants the audience to see first by highlighting key aspects. This helps the illustrator to communicate a message more effectively.

Stylised illustrations often evoke stronger emotional responses. The illustrator can use exaggeration, colour, expression, line weight, and form (soft or sharp) to communicate a message or narrative.

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

Most unfinished drawings that I have observed give an insight into the illustrator’s working process. When looking in at Figure 6, the unfinished drawings evoke a sense of mystery.

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

Not necessarily. The choice of drawing style should be tailored to effectively convey the intended message or narrative.

Works Cited

Clarke, G. (2007). Evelyn Dunbar: War and Country. Sansom.

Salisbury, M. (2022). Drawing for Illustration. Thames & Hudson.