…the illustrator stands outside un-noticed, the illustrator empathises and sits next to you holding your hand without you realising… theillustrator whispers softly doesn’t scream but makes a more penetrating noise. The illustrator speaks more clearly, using voices which can be understood, the illustrator has a stance, but can move in and around that stand point, gaining perspective, understanding. The illustrator lends an eye to the unseen, or the blind or blotted out…
You might say it’s no country for old men.Russia, that is. Since the breakup of theSoviet Union, Russians have beenincreasingly ravaged by disease anddeath. And one of the main reasons is thenation’s favorite drink. There’s so muchvodka going down the throats of so manyRussians, life expectancy for men hasfallen to just 60 years old – about the sameas in Myanmar and Haiti.(http://www.theworld.org/2010/02/alcoholism-a-national-disaster-in-russia/)
* The plight, or sense of plight that the illustrator can convey, as storyteller and image maker is powerful, it can have a moral stance, or empathetic, or both; most importantly the need isto connect in a human way to the needs or stories of others and in that be able to recognise ourselves.
In your last module, Narrative and Drawing methodologies, your focus was visual storytelling, storytelling for imaginative purposes. In ‘Influence’ you are asked to explore the notions of storytelling, the boundaries and the possibilities of it, to discover ways in which illustration can convey information that is often difficult, unpleasant, dull, dreary, or ordinarily journalistic, i.e. written about or photographed. The aim is to carve new niches for ‘Documentary Illustration’ in Project 1. Through ‘Plight’ explore and utilise these possibilities.
‘The eye of a human being is a microscope which makes the world seem bigger than it really is.’ Kahlil Gibran