Illustration Subject 1 - Drawing


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Year 1 Illustration Subject Introduction: Amelia Johnstone 2012

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Illustration Subject 1 - Drawing

  1. 1. The SubjectAmelia Johnstone MA RCA 2012
  2. 2. „Every morning I jump out of bed and stepon a land mine. The landmine is me. After the explosion, Ispend the rest of the day putting the pieces together.‟ Ray Bradbury
  3. 3. • "It is only by drawing often, drawing everything, drawing incessantly, that one fine "It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.” Camille Pissarro
  4. 4. Drawing is a vital part of illustration and anillustrators’ existence, the world we perceivearound us comes through the way we draw itwhat we draw from it, and what we are drawnto.The variety of ways of drawing is endless, it is anexperimental process using different tools and waysof looking to find new images, to personify theinanimate and to trigger a reaction, mostimportantly to communicate or portray something,to imply or divulge meaning.
  5. 5. In this project you are asked to explore yourways of working, to create new ways, you areasked to observe and obsess about drawingprocesses enlivening every ordinary mark withpersonality, so it speaks.••
  6. 6. • Words to draw with:• Scratchy• Fluid• Tentative• Bold• Crisp• Elegant• Organic• Active• Fragile• Brash• Technical• Sticky• Solid• Floating• Spongy• Mechanical• Quick• Sporadic• Casual• Decorative
  7. 7. • Tentative• Slight• Creeping• Slick• Perfect• Continuous• Blotchy• Anal• Fragile• Ghostly• Irksome• Riddled• Detailed• Abstract• Obtuse• Stuttering• Staccato• Pianissimo• Delicate• Musical
  8. 8. • Talkative• Secretive• Descriptive• Tiresome• Natural• Diseased• Destructive• Animal• Feral• Flippant• Theatrical• Meek• Unassuming• Bashful• Insolent• Exquisite• Monotonous• Playful• Precise• Accurate
  9. 9. „When I draw Im conscious of looking for a lively line – though what defines a lively line is difficult to say – but a bald outline would not be very interesting, obviously. A dipping pen is good – the weight of the line alters with theamount of pressure you put on it, so you get a bit of variety.‟ John Burningham
  10. 10. The words to draw by will form the basis for yourdrawing practice.The aim ofthis project is to develop and open your minds to thepossibilities within drawing, how to use drawing as a researchmethod and how to find your own ways of working.* Drawing, and its possibilities will define, and underpin your practice asan illustrator.* ‘Good’ drawing as an idea will be looked at.NB: What makes a good illustration is very different from what is generallyconsidered to be good drawing. Illustration is the practice of creatingcommunicative talking drawings, but also the discipline of exploring thepossibilities of drawing. What can it be? What is it?
  11. 11. Drawing and theory are the foundations for yourstudio practice. Both drawing and theory directly, butsometimes quietly, feed practice modules. The learningprocess is therefore cumulative, rigourous and exciting.
  12. 12. 1. Making your mark2. Tools3. Personification4. Consequences ‘Six words to story’5. Drawing from everyday life6. Drawing with scissors7. Shadow pictures8. 3D drawing9. Story Drawing10.Thumbnails Critique
  13. 13. „Drawing is putting a line around an idea‟ Henri Matisse
  14. 14. “An artists early work is inevitably made up of a mixture of tendencies and interests, some of which are compatible and some of which are in conflict. As the artist picks his way along, rejecting and accepting as he goes, certain patterns of enquiry emerge. His failures are as valuable as his successes: by misjudging one thing he conforms something else, even if at the time he does not know what that something else is.” Bridget Riley.•
  15. 15. „I cant explain myself, Im afraid, Sir, because Im not myself you see.‟ From ‘Alice in Wonderland’ Lewis Carroll

  16. 16. {The hope is that you will never feel like this. Orthat more importantly eventually you will neverhave to feel like this again.}
  17. 17. In this first part of this project you are asked to unlock theexpressive side of your minds, do not revert to type or towhat you already know, begin to explore the ways in whichyou make your mark.Using the list of ‘Words to draw with’ begin to explore the adjectives, what do these words imply? How can you describethese words through marks alone?
  18. 18. From ‘Life in the woods’by Henry David Thoreau
  19. 19. „Illustration is a couplet of image and text, one next to, beside or inspired by the other, it is chiefly words which inspire the imagination to create the image. There is a process beyond the literal which makes the words and image do veryseparate things whilst lying next toeach other. They are not in love with each other but are siblings with complementary or contradictory personalities. Sometimes theydisagree, grow up or grow out of eachother, other times they run away and become something else, or happily come home and converse again‟ Amelia Johnstone MA RCA 2008
  20. 20. Using this notion, the word without the other is afloating thing, we need the word to ground the image,to create the catalyst, to compound. „What is really important about illustration however is that it can work both ways. You can start with words and end up with a picture, or begin with a picture and end up with words. Either way one cannot live happily without the other, once the process of picture-making has happened words spoken or written, „spring up already doubled in themselves‟. Amelia Johnstone MA RCA 2008
  21. 21. During drawing sessions you willoftenhearTexts read aloud, these texts will help to take yourmind away from the immediate surroundings.They are not for you to illustrate, just to helptake you „a long way away…‟ however, as thedrawing sessions develop this relationship willshift, and your perceptions will enlarge yourview of the drawing world.Texts will build a bibliography, to sit with yourdrawing understanding, a subliminal compost foryour drawing.
  22. 22. ...enliven your mind, imagination, eyes, soul and ears and enter your illustration world…
  23. 23. …drawing is the key
  24. 24. …no need to knock
  25. 25. …just unlock
  26. 26. „…a reality was not given to us and thereis none, but we ourselves haveto create one, if we want toexist: and it will not be the same one forever, butwill continuously undergo infinite changes.‟ Luigi Pirandello