Overall feedback and reflection

This part of the course focused on exploring drawing in everyday situations and developing observation and documentation skills. My tutor remarked that my overall response had been excellent.

Undoubtedly, this course has not only enhanced my artistic skills and developed my style but also demonstrated the practical value of drawing in everyday situations. The habit of keeping a sketchbook nearby to capture observations as a form of visual notation has proven to be a valuable tool in generating ideas, narratives and exploring the environment around me.

Assignment Three: ‘Illustrative people and places’

My tutor’s feedback was: ‘This assignment asked you to explore visual research and then develop a narrative into either a poster, editorial illustration or textbook illustration.  You start this brief very well, generating some possible ideas.  The Star Anais as the fire pit was a great initial idea, which has the potential to develop a lot more.’  For example, take the essence of your original idea, as in natural herbs (and spices?) coming from nature, then cooking in nature, therefore blending environment with experience. Consider focusing more on herbs growing in a natural environment in which the outside cooking class takes place; there is no need for this to be factually accurate.

I am pleased that my tutor noted that I started the brief very well.  I am on the right track with exploring ideas through sketching words and seeking connections in my sketchbook.  Reading further through her feedback, there are points to consider once I have established my final idea, such as sketching and exploring the final idea further through sketches in my sketchbook etc.

In Assignment 3, I came up with three final ideas and have chosen the ‘Star Anais’ option. The ‘Star Anais’ option could have been developed further through further research, explorations, and drawings on how I can get the most out of this idea, such as focusing more on herbs growing in a natural environment in which the outside cooking class takes place. This idea is right in front of me and will ‘reveal itself’ if I take more time exploring my final idea.

My tutor mentioned further that the colour palette is a bit musky, suggesting dried herbs rather than fresh.  Try adding some refreshing colours for the ingredients and warmth to the environment.

I agree with my tutor about the colours.  I was also thinking that the colours don’t really look appetising for a cooking poster.  Exploring the colours can elevate and improve the poster a great deal.

The rest of the feedback was that my composition and hierarchy of text-to-image were working well and that I should always import my illustration work into an InDesign document when creating posters, book covers etc.

That makes a lot of sense to me because even though I was working in Adobe Illustrator to create the artwork, it would’ve greatly benefited the final measurements and attention to detail if the finished work had been imported into an InDesign document.

Feedback based on Learning Outcome

·      develop methods to creatively explore and respond to briefs as an illustrator

My tutor said in my feedback: “In a way you worked with a self initiated brief guided by the ‘working with external visual stimulus – people’ brief, whereby you considered a narrative of a day in the life of Anita.

As you chose a friend to draw you were able to decide on colours that reflected her personality as well as colours that reflected the time of day and location.  By using a thicker marker to first establish the shapes, which then naturally form the composition is a really sound way to start drawing on location to capture the essence of what you see and experience.  Overall, you are establishing an excellent methodology, clearly building upon previous exercises!”

It is good to hear that using a thicker marker to establish shapes works well for drawing on location. This method works well for me because it loosens me up a bit and encourages me to work more expressively.  It also speeds up my drawings, so I seem to get down more visual information of what is happening around me before it disappears.

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

My tutor’s feedback says: “You have carefully considered materials, processes and techniques in context to your chosen location for the ‘observation – topography’ exercise.  Your choices of colours, textures and mark-making, together provide a visual sense of place as you saw it on your walk.  It’s interesting to see your looser more interpretive sketching as you came to the end of the walk, generated a really lovely range of visual research, which could prove very useful when generating ideas at a later date.”

I learned a great deal from this exercise. I had to adapt to my location, which almost forced me to use my senses.  The wind was blowing that day, and the sun was harsh and reflecting on the white paper.  The brief also said to ‘absorb and enjoy the experience’, which took the pressure off me. This resulted in more lively and interpretive sketches.  This exercise made me realise how valuable drawing on location is.

·      use a range of visual approaches to develop and communicate ideas

My tutor stated, “By taking photographs along your walk for ‘understanding viewpoints’ is an excellent way to gather more reference material focusing on the detail of your observations.  This process is especially useful when developing and communicating ideas as you intend.

There are some excellent ideas floating around your work shown for ‘illustrative drawing’; the juxtaposition between nature and the manmade and their coexistence.  You have developed some interesting approaches to communicate your intent, using your sketchbook as a starting point.  With regards to ‘creating your own version of reality,’ are you pursuing a documentary or emotional approach?

It will be interesting to explore and develop the ideas of ‘illustrative drawing’ further through more research, exploration, and drawings.  It is good to know that taking photographs can be a tool to capture more reference material and details, especially when time is limited.

I have to admit that I was pursuing more of an emotional approach to ‘creating your own version of reality,’ which is, in fact, just another person’s opinion. It is important to consider all viewpoints and facts, which will be a documentary approach and more accurate.

My tutor further mentioned, “There are some interesting ideas emerging through ‘interpretation and communication’ although a little confused.  The floral fabric did not provide a feeling of tension, the lady was experiencing, trying to keep her two children under control in a clinical environment.  So by changing this went someway to suggesting her experience, however it still looked like her home sitting room.  Think of universal colours that suggest such an environment such as greys, blues, blacks; think about mark-making that might suggest tension such as ink pen, fine liners.  You started to play with scale, but test exaggeration much more.”

I can see now how ‘interpretation and communication’ was confusing. I haven’t considered what the floral print is going to convey in this drawing.  It creates the opposite narrative and feeling I wanted to evoke.

Going forward, I need to be more mindful of what I add to the drawing and whether it communicates the intended narrative.  Everything has a purpose, and it is not ideal just to add a floral design to a sofa just to embellish or decorate. 

I will explore and test exaggeration much more.  I have seen some exaggerations in illustrations that I find disturbing, especially a big head.  However, I realise it is important for an illustrator to develop the skill of exaggeration, which in turn will produce a well-communicated and more effective illustration.

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

My tutor mentioned:

“Thoughtful response to ‘building a tool kit’ where you have not only considered what tools, but also different kits suitable to use in different situations and environments.

Very informative ‘Veronica Lawlor’ interview in particular in response to question of reportage being subjective at times, as the drawing will clearly reflect the artist’s personal responses to any given situation.  It calls into question again ‘what is a truth’ as it can only be answered by ‘what has been seen’ by the maker.”

The interview really makes you think because it is preferable that a professional journalist keep emotions aside in order to report accurate, well-presented news, yet she admitted to being subjective at times.

Action points based on Learning Outcome

·      develop methods to creatively explore and respond to briefs as an illustrator

My tutor said, “You are showing through your sketches for ‘working with external visual stimulus – people’ that your particular style of illustration is beginning to emerge; do you agree?

I most definitely agree that my particular style is emerging.  This way of drawing is versatile enough to adapt as needed. I am being more selective with what I choose to put down on paper in terms of ‘is it necessary information to the viewer to bring the story across?’ This includes being mindful of using unnecessary colours and embellishments. 

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

My tutor noted, “Your approach taken for ‘observation – topography’ exercise was on-point, therefore bare in mind whenever you need to generate primary visual research.

It is good to know that I am on the right track. I will continue using this method when generating primary visual research.

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

My tutor’s feedback was, “Your process employed for ‘understanding viewpoints’ is not quite clear; did you take photos and draw at the same time on location or take photos and draw in your studio?  The latter may be more useful.

In my learning log, I wasn’t very clear about my approach. For this exercise, I mostly took photos and drew in my studio. This was a different approach to drawing on location.  In a studio setting I can experiment with media and am less constrained by time, space and materials.

My tutor further noted, “Refer back to some of your research for ‘illustrative drawing’ and further question the notion of natural vs. built environments or nature vs. manufactured.  Consider how illustrators add words to make communication of ideas less ambiguous.  Consider how illustration is more akin to graphic design/communication rather than fine art; therefore, the visual language often needs to be more direct.  Consider further how different visual approaches could suggest natural and manufactured. For example, explore further your photographic images and drawn images collaged together. 

When developing ideas ‘interpretation and communication’ try first to pencil sketch various compositions until you have one you feel you can work with.  Use this as your master copy to trace from, thus allowing you to try various materials to then select one that best communicates your intent.”

I agree with all my tutor’s suggestions and appreciate her guidance.  I have to get my mind around illustration being more akin to graphic design/communication rather than fine art and find a way for the visual language to be more direct.

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

My tutor mentioned a few questions I should consider, “What contents of ‘building a tool kit’ are best suited to for example blind contour drawing or drawing people etc?  Do you consider what you want to draw and what with before you go out on location?  Would you say you have answered this question through the ‘observation – topography’ exercise?”

I haven’t specified in my learning log that I consider what I want to draw and what materials before I go out on location, so next time I will do that.  I often swap around pens, coloured pencils, or markers I think might be using, especially changing the colours, which I haven’t mentioned in my learning log.

My tutor asked another question: “Do you consider the output of reportage illustration and photography to be the same or different in how they each communicate to the reader?

You have provided a sound critique of the illustrators shown for ‘reporting and documenting’.  What did you learn from them with consideration to style, content, composition etc?  You previously noted you would like to start adding words/text to your work; similar to Kugler?  So what do you believe this would add to the overall communication of your illustrations or are you thinking maybe just in sketchbooks as additional reference material.”

These questions are important factors to consider when doing research and working on the exercises, so in Part 4, when exploring an artist’s work, not only look at the message he/she is portraying but also consider what I can learn from the style, content, and composition.

In Part 4, I will experiment with adding text/words to my work and explore whether this will improve the overall communication. This might work for me to bridge the gap between fine arts and graphic design and make the visual language more direct.

Summary of action points going forward to Part 4

• Sketching and exploring the final ideas further through drawings and further research in my sketchbook.
• Import your illustration work into an InDesign document when creating posters, book covers etc.
• Think of colours to suggest the environment you are depicting; think about mark-making that suggests the emotion.   Play with scale and test exaggeration much more.
• Be more mindful of what I add to the drawing and whether it communicates the intended narrative.
• Be clear and descriptive when explaining your approach in your learning log.
• Consider how illustrators add words to make the communication of ideas less ambiguous. Illustration is more akin to graphic design/communication rather than fine art; therefore, the visual language often needs to be more direct.
• When you use drawings in your sketchbook for further development, try first pencil sketching various compositions until you have one you feel you can work with. Use this as your master copy to trace from, thus allowing you to try various materials and then select one that best communicates your intent.
• When researching artist’s work make sure to learn from them with consideration to style, content and composition.
• I will experiment with adding text/words to my work and explore whether this will improve the overall communication and make it more direct and less ambiguous.
• Experiment with collaging your drawings and photos.

I am overall very pleased with the feedback from my tutor.  She mentioned many positive points that I can build upon and has provided guidance and ideas on how to improve and develop as an illustrator.