Drawing Research - Illustrator Analysis

Last week my surface design tutor asked me to make a list of illustrators, artists and designers whose work inspires my drawing. After a long think (spent flicking through my pinterest boards) I reluctantly concluded that my drawing is rather uninspired by anyone, and just kind of happens naturally (and usually unsuccessfully if I over think what I am doing.)

I've always known I'm far more inspired by concept and the story behind things, rather than the things themselves. So though I do like the work of many illustrators, it is on a superficial level, as I don't feel there is much more of a concept than an exceptional use of mark-making, composition and colour... and here lies my problem.

Though I'd say I am a confident drawer, I feel I have more conscious of my 'style' and therefore more disliking of anything I make which does not do it justice, in terms of mark-making, composition and colour. So I don't need inspiration to be overwhelmingly obvious in this part, but if I analysed more what I liked about an illustration or design for it's face value, then hopefully I can identify ways to improve my own work (and I'm sure lots of concepts will spring into my head later, as they do in the mind of an over-thinker.)

'Interior Curation'/ Styling

Ok, ok, I know this isn't drawing in any sense, it is photography (or in real life). But I absolutely love looking at interior/ styling porn; with their immaculate layouts, gorgeous juxtapositions, mouth-watering colour palettes... Although I love the real life versions (by which I mean in shops - and which have a lot more to do with my project), there is something so effortlessly perfect about a photograph which captures everything with the right light and at all the right angles. It is such a skill, and one I ought to practise more! I draw compositions from real life situations from which I pick elements I like and 'style' them on my page. There is a lot of concept to be had here, but I do think looking through images like these and realising what works, is one way to help me recreate the skill in life and on the page. 

Blocky Things

Kitty McCall

Tom Pigeon

These relate quite heavily to my interests in 'pleasing geometry' and 'geometric patchwork'. I like the cleanness of the lines, but there is still something quite tangible about them, like the effect screen painted fabric has compared to digital. I suppose these technique would be well mirrored by collage, but using hand painted paper, and even then I much prefer the lines, texture and colours achievable through paint and pen on paper.


Hand drawn style illustrations (digitally printed)  

Agata Krolak

Charlotte Trounce

I think these illustrators sum up the direction I want my style to take. They are fun and playful visuals, using pattern, colour and composition perfectly. They work well on white, but would work equally well on colours. Though I like these as illustrations, I feel my work would take a more abstract turn, playing further with scale 

Painterly things

Laura Slater

Sarah Kelk


These contrast to the 'pleasing geometry' presented earlier, but I still really like these pieces. I  think for me it is imperative to balance the angular and measured with the relaxed and  unexpected.


Mark Making

Hannah Waldron


As well as playing to my love of all things linear, I feel that Waldron's lines are particularly inviting and as they have a hand drawn quality about them. It still resembles something quite collaged or patch-worked - this concept of cities and patchwork printed fabric gives me so much inspiration! But I need to work on my drawings first!

Overview

I have a great idea for a new sketchbook format; working on layers of tracing paper to build up my images, in colour creating layers (which could be scanned in and editing on Photoshop and illustrator) - being inspired by the hand-drawn illustrations,  The drawings themselves I'm sure would have interesting effects too - being able to put in extra layers with shapes - like the blocky prints.  I could play with compositions they way one might when styling. I could also play by adding in painterly textures and marks. I love having great new ideas - it helps so much getting out of my own sketchbook to do this! 

Risograph Print Workshop with Dizzy Ink

I first heard about Risograph printing from Hannah Waldron, whose prints I absolutely love. On learning that it’s essentially a cross between screen and digital printing, I knew I had to try it. Luckily I managed to sign up for a workshop with Dizzy Ink is a Nottingham based print studio (they sell out fast!) The studio, established and run by Ben and Craig, two Nottingham Trent Art School graduates, is situated in Cobden Chambers and has been immensely successful. They do commercial printing as well as running workshops, like the ‘Made in a Day’ one I attended. The session was held in partnership with Illuminate, a council funded Cultural programme based at Nottingham Castle, and the aim was to create Risograph printed zines inspired by the touring V&A poster exhibition ‘A World to Win’ currently on at the castle. The workshop was great fun; I learnt about the process plus I really enjoyed working on a zine, as I’ve never really done that before. Here I’m going to talk about the process of Risograph printing, as well as explain how we made our zines!

 

It was a beautifully sunny Sunday afternoon, so here are just some gorgeous shots of Cobden Chambers and of the studio. I really like this place, it's a great creative edition to Nottingham!

Examples of Riso Prints

The Riso machine drum (yellow)

The Process

The Risograph machine is similar to photocopier, but into which you can scan a design, like making a screen, and then print multiples of that image. You change the colours of the drum (or drums, they had a machine with two as well as with one) depending what you want to use. The machine burns your design onto special paper which is wrapped around the cylindrical drum (all this is done inside the machine, and it tears it off once finished too – nifty). So once this master copy is made, which is the expensive bit, then its super quick and easy to print off multiple copies, like a digital print. But you then can do different layers with other prints and colours, so it’s still quite a hands on process, like a screen print. Apparently, as it uses soy ink, it’s pretty environmentally friendly (unlike screen printing), and it’s relatively cheap (unlike digital printing). I really like the aesthetic of the print, and I feel there is a lot you can do with it, here are some examples.

Colour

As you buy special inks, the colour palette is a bit limited, though you can choose different tones within the selection so there does seem to be quite a lot of choice. Though the colours aren’t similar to what I’d use in screen printing, I think they really suit this process, and make amazing effects. The ink prints translucent, so you can make colours by overlaying two different inks. For example you can make orange by overlaying pink and yellow.

 

Beak Book Zine

Task 1: Beak Book Fold Zine

As our ‘starter’ exercise, in groups of six we were asked to make an A6 image each which would be printed single tone onto a single A3 sheet, with which we would create beak book fold zine (the reason for the name becomes clear when you fold it up). We were to collaborate on an A6 front and back cover (making up the 8 pages), and again on the A3 poster which would be printed in two tone on the reverse side of all our individual designs. We were free to make any image we liked, so I made a cut up collage full of triangles and all good things. We then had to decide on an order for our pages, ‘the edit’, which was good practise to the later task. It was also good to think about what effects one could achieve in one tone, and then again in two. The photo here shows how we had to arrange our pages on the A3 sheet so they would look right.

To fold the zine, one should use a bone knife, though the edge of a pen or scalpel will do (the ink is always a bit wet so you can smudge it with your fingers).

Step One: you fold it length-ways, with the individual pages on the outside

Step two: you undo that fold, and then do the same width-ways, again with the pages on the outside.

Step three: you keep that fold in place, then fold to two outside columns in to meet the middle fold

Step four: you unfold the whole thing, and poster side up (using the fold to get your ruler in place), you use a scalpel to cut a straight line through the long centre fold (the first one you did). It is important to only cut between the middle two sets of individual pages, cutting an extra cm up and down from the widthways folds (see diagram).

Step five: to fold the zine, you fold it back up along this long zine, and then make a ‘beak’ with it (possible now due to the incision). You then find your front cover and back cover and fold the pages accordingly. And voila! You have an 8 page zine with a foldout poster, how good.

We were shown a selection of other zines made from an A3 piece of paper (the standard size I gather), but folded in different ways. They used different ways of opening, some featured pop outs, and they came in different shapes and sizes. As long as you can fold it from an A3 sheet, then you can make a print to suit this. This really inspired me as it plays between 2D and 3D, so it’s a process I want to play with for a bit without the Riso print. Basically it is definitely worth playing with a piece of A3 paper and seeing what you can make!

Task 2: Collaborative Zine

The emphasis on this task was far more in the content than in the process of making, although it was great to have a go making something A4 and in two tone. The brief was essentially to take a news story which we feel is skewed by the media, and communicate it in a way which we feel is true and honest. In the essence of statement-making, protest and rebellion, as the ‘World to Win’ exhibition focused upon. We were given newspapers to make collages from. I couldn’t quite pick one story, though I wanted to hit out against the idea that ‘ignorance is bliss’ in terms of the news, and again use my ‘geometric patchwork’ aesthetic and process. I predominately used my two different tones to represent the two different approaches, as well as some hard hitting words to get the idea across. Here is my outcome, plus some of my other favourites.

Mine is on the left!

The final design decision came in the form of having to ‘edit’ i.e. choose the order of the pages. Then Craig and Ben did the pretty technical process of working out how all the pages would be printed (four people’s designs to one piece of A3), and the best colour saturation to use. They also printed us a cool tracing paper cover. We helped fold and collate the zines, then they stapled and trimmed them (we were sure to leave a margin around our work). And voila! Again, a pretty quick and effective way to make a really professional looking hand-printed zine. Though I feel I’m more interested personally in making prints then zine (you really have to make multiples to make it worth it), it’s great to be able to take one home, all made in a day.

The Edit Process

What’s next?

Throughout the workshop we were all chatting with Ben and Craig, two seriously chilled cool down-to-earth guys, it was really interesting to hear about the business and what’s in store for Dizzy Ink.  They’ve got a website up and coming (so check it out for new events), plus they’re launching a Kickstarter campaign to grow their studio in the hope to make it open access. They’re also working with Raw-Print on a zine (which we got a cheeky sneak peak of), and planning on doing some ‘Riso Pro’ workshops – using computers to make really amazing layered prints. And what’s next for me? Hopefully another playful session with these guys, where I can experiment further, and then eventually-hopefully making a run of prints to sell! I see a lot of potential in the process, and things I could combine it with like collage. It was also really interesting to learn about Illuminate from Rosny (the organiser), so I look forward to seeing what they get up to next.

Riso Pro Workshop Booklet

So cheers to Illuminate (whose funding made the whole thing free!), and to the guys at Dizzy Ink for all the useful tips and info. And especially thanks to however invented the Risograph print, I think I’m in love…  

Fabric of India - V&A

I knew I was going to be writing notes and thoughts of inspiration all through 'Fabric of India'. Partly as it is another of the V&A museum's annoying 'no sketching' exhibitions, but mostly due to mounting sense of hesitation and a lack of confidence in my drawing ability to do Indian texiles any justice.

Please note: excuse the poor illustrations, I took photos of the exhibition catalogue book. 

The rich history and culture of India and its textiles, particularly in light of its influence on and relationship with Britain is enough to write a million blogposts about. Descriptive language heavily (particularly when photography is not allowed). My summative view of the artefacts and information curated and presented focuses on narratives presented through imagery, timely craftmanship presented by process, and a general appreciation for the varied functions, techniques and colours which make Indian textiles so unique. 

To start loosely chronological. Imagine, upon entry, walking in and immediately casting your eyes onto a vast wall hanging upon entry, perhaps 20 by 10 metres. Woven with large rich red and green flowers upon cream with similar motif borders. A relatively simple design, apart from it's complex scale. You go up to read the display card, informing you that it is a floor spread, a "summer carpet", making an indoor garden for those sitting on the floor. Immediately the culture difference is apparent; there are different design needs and considerations. And one sees their first glimpse of how important and everywhere textiles, decoration and adornment are within India, as 'Flower patterns were used widely, from manuscript borders to architecture.' 

A somewhat more subtle form of decoration, for which I have a particular fondness, especially as the V&A, is the exhibition design. The most evident and coherent example was used to write out the titles of the information boards. The words are pieced together by letters formed from sewing machine-stab-style dots, like unpicked stitches, with thin perfectly straight taught 'loose' threads inter-connecting the letters. Above the vast summer carpet by the entrance, the title 'Fabric of India' is spelled out by round light-bulbs instead of holes. The pink-red yarns emitted are stretched horizontally high high up to make a glamorous temporary delicate ceiling). A lack of colour of the information boards takes reference to fabric stripped back to their basics: nothing need to be done to make reference to the vivid colours and embellishments which cascade into peoples's heads upon the thought of Indian textiles. 

The layout of the first room, essentially an introduction to the world of all things textiles as well as Indian specific, is curated by process. Natural dye substances, tie-dye techniques, raw fibres, embellishment, print, weaving and embroidery are covered. I particularly enjoyed the print section, in light of my own work using modern processes, and also for my interest in wood carving, such as that used to make printing blocks. The process of crafting these was illustrated by a video, showing how they trace the pattern by transferring ink from tracing paper, using a grid to match up the motifs. Then small nail like chisels are used to cut away the wood. It was mesmerising to watch 

The accompanying information board explained; 'In India print is associated with the north and west. Dress fabrics used small repeating floral patterns in several colours, requiring multiple blocks. From about the 14th century, western India used large blocks to produce huge wall hangings.' One dress fabric on display, named 'Galamkar', decorated with seemingly whimsical scenes of animal, people, trees and palaces, presented the lengthy process these textiles went through. The display describes it as 'cotton hand-painted, block printed with mordants and resists, then dyed'. This can only go to demonstrate how print, along with dye and weave, were rarely used alone, yet combined demonstrating a level of skill and passage of time, an element integral to the appreciation of craft and hand processes. This narrative-rich artefact reveals to us a 500 year old story; a timeless piece of physical beauty. 

In addition to print, I greatly enjoyed the embroidery and stitch section. One piece which stood out to me was the Kantha embroidery of west Bengal and Bangladesh. It was a square piece of plain pale cloth. embroidered in a simple running stitch, using red and blue threads. It seemed quite unusual colour wise and it's simplicity, yet this accentuated the simple yet intricately detailed linear quality. It resembled a line drawing with characters and scenes of a story. This kind of quilting was uses to to make bed spreads and sitting mats.

Of all the elements of the exhibition I find difficult to capture with words, it is hard to describe the richness of shades and hues. There were so many gorgeous colours (and once gorgeous but now faded ones on display). One which will stick with me however is gold. The gold leaf printed textiles so luxurious, embellished and woven threads of an exquisite and delicate beauty.

There are several items I wish to directly focus on, for their combination of narratives, functionality and evidence of process. The first is the Bhitiya, a style of wall hanging used to decorate interiors for events such as weddings. The one display entirely covered the walls of the small separate room it was in, accompanied by the sound of traditional Indian joyous music, I felt immediately transported far away just being there. Like a vast patchwork in red cream greens with slight bursts of purple and yellow. It's embroidered stitches and appliqué grants it a 2-dimensional tactile quality. Graphic patterns dance alongside illustrations of men and realistic animals such as elephants, and more ambiguous ones resembling cow-horse hybrids. 

I just love the idea of textile, pattern and colour being used to adorn every surface, particularly within architecture. A stunning and frequent demonstration of this came through the inclusion of 'tent lining textiles', the most notable being Tipu sultan's tent. Rulers all over india used tents as moveable palaces, during pleasure trips and hunts as well as on military campaigns. Their outsides were plain but insides highly decorated. I have a developed interest in adaptable and flexible (as in transportable) architecture. So this spatial decorative function, which applies narratives to physical space, really made my heart sing. 

Another item that I was immediately drawn to was the Map Shawl. Not actually designed to be worn, it looked heavy, being so full of intricate detail. It depicts the city of Srinagar in Kashmir, with reference to real life features such as the lakes and the mosque. It's playful and illustrative; large expanses of water break up a pattern of houses, all blending into a similar pattern but look closer and they are different. It's so intricate it's almost hard to focus on, not helped by the amazing colour fringing along the ends. Though saying that there are so many different elements to it people will focus in on different things, see the story they want to see. Maps are made to be looked at close, they are things to be explored. 

The final item I will focus on is the 'Flag', depicting the death of a muslim warrior. This was immediately striking as the only a-symmetric wall hanging in the room. There was long, short, wide, narrow...; there are not many words which could aptly describe the shape of this, other than jaunty. At 6.8 metres long it was fairly large with it's far edge formed of bunting with pom pom tops like comically oversized fringing. It's body was embellished with pictures from the story, though from looking it's not clear to me whether it is in an kind of chronological order, or facing an particular direction. Despite all these I think it is very fun and attractive. I like things being kept open to interpretation.

The final rooms of the exhibition dealt with trade and changes in industry, still imposing an overwhelming appreciation for the unique and exotic nature of indian textiles which still remains today. Though saying that, it's still evident that the shining light of craftmanship is falling away into the dark shadow of fast and throwaway fashion. Still, haute couture can try help balance the battle. I loved the Isabel Marant dress from 2012 embroidered at Les Ateliers 2M, Mumbai. A jaunty patchwork of intricately embellished indian fabric, cut into a small cute yet sexy dress. Manish Arora's ode to traditional indian textiles, ever on-trend street style and contemporary saris close the exhibition, yet as ever by good curation they present the start of the next chapter 

Overall I greatly enjoyed this exhibition, I found lots of personal inspiration in it, though I feel that is a power traditional textiles always have over me. I feel like now with modern technologies there is a drastic change, not only in textile production but in the way we need, use and feel about them. As designers I think it is important to look back at these examples within a contemporary context, so we can see how we can add value to our own work in a world which is so different, and ever-changing. A value which engages, inspires and is appreciated, ensuring longevity. I can safely say I feel the pieces of cloth I saw today tell stories of a very long and happy life, not only within their decoration, but within their very fibre.