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.