W John Hewitt - The Pogues

Looking at Hewitt's sketchbook pages created on a tour with the infamous Irish punk band, The Pogues, in the map briefing presentation, it hit me profoundly how every drawing is a map. Every mark on the page is a result and documentation of the situation the drawing was made, the sounds, the atmosphere, the surroundings of the creator and their mood, the nature of the subject, it's moment and energy and form; every single thing effects how that image is going to manifest on the paper and thats a very powerful and deeply interesting concept.

This is especially apparent and true of reportage drawings, observational drawings, drawings made from life possibly of moving subject matter or done in little time, as the artist just captures a loose overall depiction of the subject. The pages of Hewitt's sketchbooks are full of very expressive, gestural black line drawings of the band members and scenes from the tour, some very abstract and skewed, some areas of detail and some of almost indistinguishable anatomical forms; scribbled arms and wobbly legs, evidence of the human hand and eye and mind working in unison, suggestions of where the subject had moved half way through, forms layered on top of each other. All of this along with random dots and lines where Hewitt has perhaps slipped or been pushed or been drunk, a visual map of the scenarios in which the images were created, but an abstract, ambiguous map. It is up to the viewer to piece that scenario together, to build up a mental image of what caused the marks on the page, why they are there, how they were created.

This creates an image and story behind every drawing, but one which doesn't actually exists, which occupies the space beyond (or behind?) the drawing; the telling of an untold narrative.

As Hewitt himself said on the sketchbook, 'Facial features were rendered through twists and jabs; postures were often stiff, body parts out of proportion and forms determined by a clogged or flooding nib. As Shane’s response to the Hanley sketchbook testifies, those portrayed continued to perceive a deliberation in any drawn representation, and flawed or roughly rendered marks might be read as commentary while I regarded the unintentional marks as souvenirs of the event of the drawing’s making. To leave a drawing in the state of its immediate production was, for me, an honest record – not of what I had seen but of what I had done in response to what I had seen.'

Robert Weaver - Drawing

I am in love with the baseball series by Robert Weaver. Drawn from life, the way Weaver captures action and character is beautiful. They appear to be drawn rather quickly in pencil, with wobbly lines and squiggles and marks and repetition of lines, but despite their messy and expressive nature, no line seems to be in the wrong place. Even when he has evidently re-drawn certain limbs or features to get a more correct form, the original lines add so much character and energy to the drawings; they are all meant to be there. The variety of line weights, mark making and areas of texture contrasting with strong lines creates such exciting and dynamic images, very organic and human. In this variety, form and movement are built up documenting the energy of the players as well as the atmosphere of the scene. This is presented as the most important part of the drawings, over detail and what could be considered as anatomically correct depictions. I think where the players arms are too big, or where their hands aren't quite right or where their features are a bit skewed are the best bits, that is where the beauty and the charm lives. Without that quality the drawings would be boring and stale and lifeless.
It refreshing to see such expressive and loose drawings so well executed and full of life. I would love to get to the stage of creating such lovely images with such energy and expression. In terms of creating portraits and human forms it works so perfectly, representing a very human and characterful interpretation of someone; especially when they are moving.

Study Task 3 - Applied Illustration

Cody Hudson for Atlas 

I find skateboard decks a very interesting and unique platform for applying illustration and art. No other canvas is of a similar shape, narrow and tall, nor are many others as ephemeral and inherently temporary; they are made to be destroyed, used and worn, the graphics only realistically having a lifespan of under a month in most cases. Yet despite this, a lot of thought and energy and creativity goes into their creation, even when most decks, excluding their own unique shapes, are not wildly differing. The role these illustrations serve then is a simple one, to decorate the decks but not necessarily to make money; most are all priced similarly regardless of graphics. Instead they act as works of art themselves, something to own and use and to be aesthetically appealing. They often influence which decks one buys, relating to the skateboarder's identity, what their tastes are, what work they are into and also the identity of the brand and the creator. The majority of skate companies that put out the most interesting and illustrative work are owned by skateboarders who themselves are also creative people, artists, photographers, illustrators and designers with a passion for good work and what they put on their products is a reflection of that. However the context of a skateboard deck doesn't really influence the actual illustration a lot of the time. There is no article to respond to or meaning to portray. Obviously they are responding to the culture and the ideologies behind it, and at times will have a message or specific purpose behind the work, but mostly they are aesthetically pleasing, creative and artistically freeing projects.

This typology vase collection by Cody Hudson is very charming. The actual drawings are very loose and energetic, simple in medium consisting of one monotonous weight of line, but built up into patterns and textures. The density of the layout creates an appealing density to the overall board, along with the black lines on white. It portrays the company as creative and likely independent and relatively small scale, working with artists to what could have been a very loose or non specific brief; they may have just let Hudson create what he wanted. Atlas is also portrayed as organic and human with the loose nature of the drawings. 

T-Shirt by Unga

As a product, the t-shirt is probably one of the go-to items used to apply illustration. They are universal, very cheap and easy to make, and widely accessible and visible. I believe that they are perhaps more accessible than prints, as it gives a consumer another reason to buy the work, as they can use it and wear it; it is a less guilty purchase than a print and instead of having to frame or display the work you bought, you become the platform with which it exists. The t-shirt also relates very strongly again to the identity of the consumer, acting as an outward expression of taste and style, which a lot of people commonly invest a lot of energy and thought into. A t-shirt such as this is mainly aimed at fans of Unga's work, but more so than a print, it also appeals to a wider audience of people who are perhaps not art enthusiasts, but who wear t-shirts and can appreciate it for that quality.  I feel like at times a t-shirt can be a statement, especially one with a naked larger man smoking a cigarette on it; where as a print in your house would only been seen by a select few who are welcome, a t-shirt is seen by anyone and everyone you encounter whenever you wear it. Also, it seems as though a print on the walls in your house would have to be somewhat more toned down and less bold than the kind of image that would work on and be appropriate for a t-shirt. 

Wooden Man by Rob Hodgson

A lot of Rob's work is applied, whether that is too kids bomber jackets or a packet of novelty pencils. This wooden man character appears to be an entirely self-initiated product, an item that he has hand crafted and finished and painted, as an ornament, maybe even a toy, or just a piece of art for someone to own. It serves no other purpose than to be a physical manifestation of his creativity and work, another canvas in which to adorn his playful illustrations onto. By limiting them to 20 it makes them a more personal and unique item, especially as they are each hand made by the artist himself. They have an added value as a result and an appeal to not only fans of his work, but also those who appreciate crafted yet fun and inoffensive items. You can picture it being sold in a little bookshop or novelty craft and gift shop, and not matter how bad that sounds it isn't playing down the work in any way; I'm not taking about cheap or mass produced gifts, I mean artistic, creative and quality gifts and crafted items. 

I really love the simplicity of this piece and the tangible appeal of having a piece of work that can be held and displayed away from a print. It is a very basic premise, but well executed and very appealing. The packaging is also important, the inclusion of leaves in the box, the little information label, the illustration on the box; all these elements add up to create a really simple yet beautiful and charming finished product. 

Kraken Spiced Rum by Stranger&Stranger 

I have always loved the Kraken label from working in a bar when I was back at home. The octopus illustration is quite beautiful, the antique feel of the image, with tone built up using a series of lines as if it was a woodcut, the intricate detail of the little ship wrapped in the tentacles and the light line weight forming a delicately detailed drawing. As a label, it needs to reflect the drink's identity, whilst playing into the identity of the target audience, and also the brand image and quality. Rum has a historical nautical/pirate vibe, hence the octopus imagery and the antique style of image making, which works really effectively; it is not a cliched image in my opinion, it doesn't fall into a seemingly easy trap of being stereotypical and cheap when playing on the pirate theme. Instead it looks classy and quite ornate, I can picture it on a table in an old ship in the 17th century. I think this is because Stranger&Stranger have avoided visual motifs that are too overplayed or expected, and focussed more on the name of the drink, which already has similar connotations, creating what is a well crafted image on it's own. The use of just that one illustration also adds to this effect, instead of overloading the space with obvious motifs but keeping it simple and powerful. 

The New Yorker Magazine by Tom Gauld

The purpose of magazine covers is mainly to draw people into buying and reading the magazine, to stand out on a shelf of other magazines, to attract a certain audience whilst portraying the ethos of the magazine and an over view of it's contents. The New Yorker is known for its illustrative and visually attractive covers and as a result will attract an audience who appreciates artistic and creative disciplines. This particular issue is for Thanks Giving, and the concept Tom Gauld is displaying is a simple yet very effective one. By using the recognisable motif of the whole turkey along with the pine trees in the background, the theme of the issue is instantly quite clear without being too obvious. The humour of the oversized bird tied to the roof of a little family car adds a playful and charming element to the piece, as well as the relatable narrative of driving to visit family on Thanks Giving. This narrative twist also adds to the effectiveness, as there is a story present but in a subtle way. The style of drawing and earthy, muted colour palette creates an inoffensive and appealing cover for a wide audience and it is by no means unskilled; the tones built up using a variety of mark making creates a very textured image, but one that is equally as soft and almost innocent. The cartooned depictions also plays into this idea. 

Cabin (or City) Fever

Living in Leeds is great. I love the city, I love the energy and the life and the architecture. But being in the city for over a month without really leaving seemed to be getting to me more than I realised, and I woke up last weekend, on the 12th, longing for the hills and the trees and the fields and the outdoors. Where I am from, I could walk 5 minutes and be in a field, no roads or cars in site, only the odd house and the hum of distant cars reminding you that you weren't really in the middle of nowhere. But having the escape was bliss and I really miss being able to do that, even more so in the autumn times; I hate to feel like Im missing those crisp, cold, fresh autumnal mornings.

So I took the day to have a wander, no real destination in mind, just to head away from the city and see what I could find. I ended up Headingley way, enjoying wandering the suburbs and quieter parts of what is inner-city Leeds. On the horizon I noticed a line of trees and assuming it meant an escape from the houses I naturally veered towards it, discovering a little field area neighbouring the estate. This then lead onto a wooded area, and despite the slightly shady atmosphere, my curiosity was stronger than my opposition to getting mugged. Shaking the slightly on-edge doubt in my mind that this was a safe place to wander alone, a place where I had no idea where I actually was, just relying on my sense of direction and adrenalin, I started to feel that same sense of adventure I used to feel exploring the local abandoned farms back home. A sense that I was longing for and hadn't even really been conscious of missing.

Muddling my way back home, I felt refreshed and at rest again. I felt more motivated to tackle my work and more fulfilled and ready to nestle in between the buildings and hustle of the city once again. I notice a need in me for nature and exploration, and is something that I plan on implementing more into my weekly routine, which I think will greatly influence and fuel my creative practice, and prevent me from getting bogged down and stuck with what I am creating.

Little drawing of Woodhouse Moor park on my way to Headingley. 

Jonathan Ashworth - My Kind of 'ish

Jonathan's work is absolutely bloody stunning! His work cuts are intricately beautiful, their clean, bold and highly intricate quality sucks you in and invites you to stare at the detail for minutes...or hours. The moment I saw them on the mark making presentation I was immediately hooked, the way he uses lines and marks to build up areas of tone, subtle and beautifully delicate changes in line weight making very clean and smooth depth through tone. And then when you step back and admire the image as a whole, the texture these delicate marks make is very tactile and appealing, almost as if you can touch the print and feel the grain of the wood and the surface of the subject depicted.

Despite fumbling over explaining my obsession with this kind of work, wood engravings specifically, I always have a soft spot for this level of intricacy and detail. Words struggle to explain but they are very tactile and the tones built up just resonate highly with me.

I strive to improve my ability in achieving such detail, despite my work becoming increasingly looser and less refined, I think my practice will always contain an element of intricate detail and refined, pain staking and obsessive creation of marks.

Where 2D Meets 3D - Christoph Neimann

Witty, clever, imaginative, inventive, exciting; this is the work of Christoph Neimann. He sees physical everyday objects as potential to build up his illustrations, sometimes only drawing something very basic around the object to create an overall image of something else; he reinvents these objects, often personifying them, adding character and emotional and life to them.

What makes them so effective?

• objects are relatable but out of context, creating a humour that everyone 'gets',
• the simplicity of the drawings lets the objects speak for themselves; the focus is on the idea and overall image as opposed to the complexity or craft of the drawing,
• objects are used in a very creative and unique way, the angles and perspectives are changed or altered to create the most dynamic and effective characters possible,
• at first glance the objects aren't too obvious, the audience has to actually look and decipher the image. 

Just walking around after discovering Niemann's work, I couldn't help but start looking at objects and buildings differently, imagining them with faces or arms or metaphorically as other things.

Response:

So without even really being to conscious of it, I responded to the work I had seen for my editorial project, playing on the idea of tech hiding one's identity. I originally wanted to try and wrap my own face in wire and then photograph myself, but that proved awfully difficult on my own. So as a solution, I decided I would make the mask out of wire and then draw the face. The result is as follows...

I really like how the mask turned out, even if it isn't as tight and structured as I would of liked it. Also I think the face could have been drawn a million times better but s a quick experiment ad response to inspiration discovered, I think it makes for an interesting illustration. 

Inspiration - Mark Gonzalez

Mark Gonzalez, pioneer & all time most legendary skateboarder who has ever lived, contemporary artist, and general interesting character, is serving as inspiration to me at the moment, and watching videos of him cycling/skateboarding around New York with unfaltering energy motivates me to adopt a similar mindset. A mindset of...

• Child-like enthusiasm and energy for life, creation, exploration, ideas, fun and experience. Watching him is like watching the workings of a child's playful mind personified into the body of a grown man. 
• Totally disregard for perfection or restraint within his work; his art is just pure and organic creation with no filter or self-imposed restrictions.
• Seeing everything around him as an exciting and ever-ending source of opportunity and inspiration and creation.
• Zero worries of other's opinions or judgements as to who he is or how he acts. He just does him unapologetically.

ALTHOUGH this isn't strictly illustration related, I believe it is totally relevant to my practice as an illustrator. I feel like the quality of the work produced depends solely on the approach the creator takes to producing that work, and by approaching work in a freer, more energetic and organic way I believe I can push what I create further and make work that reflects that approach.

Strangle the Struggle

The Struggle

So recently I have been experiencing a struggle of sorts with my work, a kind of metaphorical block with what I was creating, where I was going, where I wanted to go and how I was going to get there. It felt as if there was something coming in between me and my work, something holding me back but something totally unbeknownst to me; perhaps a lack of (hold your breath) 'inspiration', or motivation, or maybe even sleep?! But anyway, it was there, and I had to free myself from it.

The Solution

Last night I went to sleep feeling quite unsure and a bit lost, doubting myself and my work and unsure how to get out of this phase. Then I remembered something that I read somewhere, sometime in the past, about an artist who every morning just as he wakes up, he writes a page of stream of conscious writing to free his mind, to rid the angst of creation and the often intimidating blank page. He started every day with the creation of something relatively 'poor', so that for the rest of the day he was free from the pressures of making anything 'good'. With nowt to lose, I decided to try it the next morning.

The Result

Apprehensive and tired, I sat down before my breakfast to give this idea a shot. It wasn't easy to just not think at all and write; I found myself naturally forming sentences so that I had somewhere to go with it, and being nervous of drying up and not having any words to write. But I am happy to say, I think it worked. For whatever reason I felt a new lease of energy for creation, turning up to Uni raring to get work down on a page and to tick of my to-do list for today. Whether this was the result of the exercise, or said to-do list, or whether I had just simply had enough with feeling blocked to make work, something went right and I had an overall pretty productive day in the studio.

Plan of Action:

Due to the supposed success of this experiment, I am going to pick up a few habits for the future and lay down a plan of action to allow me to make progress with this struggle and the never-ending labour of love with creation.

• First thing every morning write a page of stream of conscious writing,
• Follow this page with 2 drawings; sloppy, terrible, ugly, incorrect, imperfect. The worse the better,
• Don't get caught up on 'perfection', or creating so-called 'good' work; just make sure every time it aims to be better than the last,
• Be conscious of what is being made, immerse in it, get lost in it, and get obsessed with it. Don't let anything get in the way of it. 
• The time is always now, never tomorrow. Don't put things off that can be done today. 

Editorial Roughs - Pat Perry

Despite being a massive fan of Pat Perry's work for several years and writing essays on him in the past, his work still continues to blow me away. When on a regular browse through his website today to find images for our cop session, I stumbled across this double page sketchbook spread of roughs for an editorial piece he did for NY Times about digital trust, and it literally took my breathe away. His ability to create form and personality in his figures is incredible, and the fact that his rough sketches are so dynamic and powerful, the perspectives he employs such as the top middle sketch really draws you in and places you in the room with the figures he is creating. I also adore how unapologetically rough there drawings are, leaving previous versions underneath, allowing the viewer to see other body positions and compositions he has tried out in his process. Images like this are absolute golden to me, to see an artists process and workings out and ideas so raw and fresh on a page never fails to excite and inspire me beyond anything else. One day I hope to have roughs nearly half as good as Pat Perry's.

Study Task 2, Practice - Paul Blow

There's something about Paul Blow's work that really draws me in and inspires me massively when looking through his portfolio. Aesthetically, his illustrations are very clean and easy on the eye, the fact that he doesn't outline his characters but instead lets their skin tones create their form makes for very bold, graphic images. The detail is minimal, but every line has a purpose; he doesn't over-embellish his drawings unnecessarily and clearly has a strong sense of what elements of an image are crucial and what can be left out. I remember when I first heard about his work, on the website or interview of another artist who's name i cannot remember, but he said that Paul's work has a very americana feel about it, and I would totally agree. I love his use of colour which is a very predominant aspect of his work; often muted, pastel tones are paired with bright, bold colours, all of which are in blocks, creating a simple but powerful quality to them. There are a lot of reds and blues, all bold and evoking of Americana. The way things are coloured is also important; I can't explain why but I love when figures and people are coloured different than skin tones. This use of colour can be to express personality and emotion, which is really effective in his work. In a lot of his pieces there is a colour scheme, some of which are totally monochromatic with one extra pop of colour or black for line work, making each illustration uniformed and bold. They are most likely coloured digitally (although I would love to think they were painted), even though his work has a very hand-made look to it, something which also really appeals. They look as though they have been printed, perhaps by screen print. This hand made feel could be influenced by his other creative outlets; I remember reading that he was building a house out of logs, proving he is a very hands-on creative.
In terms of his themes, his work is very figurative and without really being conscious of it, I think I am drawn to illustrators who's work features people. I don't know whether this is due to it creating a narrative elements to the work, or whether visually I am just drawn to depictions of people. Maybe it is relatable, as I want to improve my own figurative work, or it is down to being quite introverted and observant of people; I believe I read people well and perhaps that seeps through into my taste in illustration. But back to Paul's work: The figurative predominance in his work means narrative and emotion are central, even when they are ambiguous or subtle. His editorial work, which makes up the majority of his website, is really clever in that the ideas and concepts are fairly simple, but they work the theme effectively into them. He has a way of taking the contents of the article or publication and creating an illustration that fits perfectly and draws an audience in, without trying too hard to force a complex point or concept. Obvious is perhaps the wrong word, perhaps simple but clever and well thought out. His work also retains a very playful quality to it, which could be informed by his position as a father of young children, influencing that child like imaginative side of his creation. Also he teaches degree and foundation level education, giving him a continued youthful outlook to making work. His humorous and dry wit also shows through in interviews.
With this said, the idea in his work is of upmost importance to him, saying in an interview, 'The idea is king in illustration, content over style is the only way to create longevity in this business. Perceived 'styles' & fashions by their very nature will come & go, but the creative idea is timeless'.
I think this an interesting thing for him to say. In relation to his work, I see his aesthetic style as equal value to his creative ideas. For an illustrator with such an unmistakable portfolio, it may seem odd for him to down play the importance of his consistent style, but then again I totally agree with his statement. His work wouldn't be half as effective and impactful had it no substance to it; it may look nice, but it also needs a strong backbone, his witty and clever ideas elevating his beautiful images. I am of the same opinions as him, in that style is a natural occurrence born out of personality and experience and a multitude of other factors which all effect the way one makes an image. It is not something that can be forced or even learnt, but more just shows itself over time and work. Style would be nothing without substance, and his work is a prime example of this ethos.
As previously mentioned, the majority of his work is editorial and he has worked for publications such as New York Times, Japan Times, The Guardian and The Independent, as well as producing book covers and also t-shirt graphics. I think it is his ability to weave narrative into his images and effectively convey the themes of what he is illustrating in a subtle, clever way that makes him so appealing to art directors of magazines and newspapers. Aesthetically his images are also inoffensive or over powering, they are clean and easy to look at and would drawn a wide audience into an article.
In relation to my work, I would love to develop a similar sensibility of being able to work with narrative and the portrayal of concepts in clever ways. Not only are his figures well crafted, but also their context and setting; his ability to create little scenes and snapshots of a story is very powerful, some of which are as if they are out of a film, with interesting perspectives and cinematic composition. This is something I feel is lacking in my work at the moment, is a setting and overall scene, as opposed to just drawings as vignettes with no real context. His use of colour is something else I am keen to experiment with, where as my work is predominantly and almost exclusively black and white.

Level 5 & 6 - Mega Summer Sketchbook Crit

It was really inspiring to see the sketchbook works of level 5 & 6. The variety of approaches and styles was impressive, and not just throughout the group, but also within each individual sketchbook. It was good to see the amount of experimentation still present and active in the later years, people constantly trying new drawing techniques and media from page to page. It was really encouraging to see how loose and imperfect a lot of the work was too, the sketchbooks existing as they should as works in progress, a space for idea creation and development and general brain dump, not finished, polished pieces.
These very simple line drawings caught my eye mainly for the element of humour this student has portrayed, exaggerating and simplifying human forms to create cartoon like caricatures of people exercising, depicted in the most basic way. I like the fact that they have not worried about the anatomical accuracy of the figures but instead built them up using basic shapes and very few lines, prioritising the comedic aspect.

I would be keen to see some variations of the top figure, in different yoga positions, but perhaps executed in a more refined and clean way, without compromising the simple nature of the line work.

Another way of creating a simple form is through the use of shape and colour. The lack of outline gives this dog a very graphic look, along with the limited colour palette. The basic tone used for the shade gives it depth but without compromising simplicity; had more tones and details been added it would have lost this quality. I also like the shape the silhouette of the image makes, its exaggerated features such as the ears give it character as well as a subtle element of humour.

These loose observation architectural drawings appeal to me mainly as similar subjects are a common theme in my own work, and these examples are very nicely executed. They act as studies of certain elements of the urban landscapes, fading off and remaining unfinished. This makes them feel very natural and shows the student's aim of prioritising the most important parts, capturing the overall gist of the subject. They are both full of energy, the use of line in a confident but free way takes something structured and harsh i.e. angles on a building, and makes them expressive and almost human. Perspective is important on both especially on the railway line on the top drawing, creating a dynamic composition cutting through the page and portraying the arches on the left in a more interesting and thoughtful way. The viewer can imagine themselves stood on the platform and those strong angles of line add movement and could suggest a journey; the lines metaphorically pointing the way.


The use of exaggeration in these too pages is prevalent, creating so much character in the figure and animals depicted. In the case of the cyclist, it looks as though this is the build up of a story board or comic strip, where narrative is clearly important. By elongating the figure, making his legs thin and body long, he is almost compared to the mountain he presumably has to climb. Despite his height he is still overshadowed by the challenge ahead, to which his scraggly legs do not look a match. It is interesting how exaggerating certain features of the human figure can really suggest the personality of that character. This is similar to the giraffe on the right, the slightly amplified characteristics of that animal give it a personality. What is most interesting about this image however is the build up of colour. Although not true to life, the layers of greens and reds and blues create beautiful tones and portray an almost elegant portrait of the animal.

Study Task 1 - Image, Idea, Context

My chosen piece of illustration was this character by Ben Bauchau. As an image the drawing appears to be built up using layers of muted, pastel colours, each layer translucent as to show through the marks underneath. The figure therefore exists almost at one with the freeform shape that makes up the background, especially as his legs are only partly outlined. It is interesting that the character's jumper is so dark, especially against the lighter, subdued colours; it could be to give the shape a grounding or a source. The mark making throughout is loose and suggestive, at points the colouring leaving the outlines. This could be used to suggest movement; the figure looks as though he is falling and the freeform shape evoking the appearance of a flame. 

Although the concept behind the illustration is not clear, the falling form of the character could have been inspired by the famous falling man photograph from the disaster of 9/11; the suggestion of a flame backs up this theory. The falling motion could also be used to symbolise an inner struggle and plummet, as opposed to a literal and physical one, suggesting a characters emotional decline. The blank yet piercing expression on his face aligns with this idea. However the piece remains ambiguous and alluring, with it's eerie atmosphere and possible narrative motives, hinting at but not making clear the characters position. The fact that the character is left on the page alone with only the form behind him gives it no real context, with no background or setting, leaving this up to the viewer to interpret. It could however be a section from a graphic novel, judging by the rest of Bauchau's work, which consists almost solely of characters, animals and figures. The audience for the piece still remains unclear but the purpose being part of a larger story seems fitting. 

I found the image on Juxtapoz Magazine website as I was browsing the illustration section. The layering of the colours first caught my eye, the clean tones of the muted purples and pinks warping around the figure creating an organic flow to the form of the figure. This was most likely achieved digitally, but could have been done by hand, perhaps with watercolour. I am also really attracted to the figure itself, the way the limbs are exaggerated and the marks loose, something I strive to develop in my own work. I admire when illustrators are able to form figures in a loose way, giving them a surreal quality and almost other worldly appearance.