Gabriella Barouch enticing illustration

Gabriella Barouch has created these beautiful images which illustrate Edward Lear’s wonderful and eccentric words, in the book, Edward Lear’s, Book of Nonsense (2011).

I don’t feel may words are needed as the illustrations speak for themselves. They draw the reader in and each time you look at an image you notice a different element.

The text delivers a sense of lightness and humour and the illustrations significantly enhance the words adding more detail and a sense of magic.

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[images online] Available at: http://gabriellabarouch.carbonmade.com/projects/3192450#5 [Accessed 29th october 2014]

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[Images online] Avaliable at: http://gabriellabarouch.carbonmade.com/projects/3192450#4%5Baccessed 29th October 2014]

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[images online] Available at: http://gabriellabarouch.carbonmade.com/projects/3192450#8 [Accessed 29th october 2014]

References 

Illustrators envelopes

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Susanne Varley [image online] Available at:http://www.pinterest.com/pin/74379831319890024/ [Accessed 25th October 2014]

The image above is a simple black and white illustration drawn onto an envelope by Susanne Varley.  It cleverly combines a every day object and makes it a part of the illustration. It combines the address into the string of the kite, and the stamp becomes the kite.It feels to me the journey is being emphasised, from the hand or paw of the mole, the letter travels a journey only possible by the use of the stamp and the address displayed on the envelope, without these two core aspects the letter would not reach its destination, just as without the wind a kite could not fly. The kite string continues off the envelope further adding to the notion of the journey carrying on.

As researched the image further I came to learn that the illustration of the envelope by illustrators is an art form within its self.

Klauss Flugge the founder of Anderson Press has been receiving illustrated envelopes for over 30 years. the envelopes have now been collated and been published in a book. The Guardian details some of the envelopes in an article called ‘A Publishers Postbag.’ (The Guardian 2011)

The tradition continues with Nosy Crow publishers sharing the same experience and blogging about their illustrated envelopes. (Nosy Crow 2012)

Below is another envelope by an illustrator who has been capturing my imagination since I was a child Maurice Sendank

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Maurice Sendank [image online] Available at: http://gawker.com/5908516/wild-things-drawings-quotes-and-memories-from-maurice-sendak [Accessed 25th October 2014]

As I read about this act of illustration on envelopes I am really captured by it and wonder what other envelope art is out there. Let the research continue. From one simple image a whole world has opened up, and for me that’s the magic of illustration.

References

How emotion is depicted in picture books.

An image an illustration is a powerful communication tool, capturing a time, a space and emotion, speaking a thousand words without a single word being spoken.

For this project I am using emotion as my keyword. Exploring what emotions are elicited through illustrations in picture books, how this translates into page layout, character development, text and image relationship, the colour pallet chosen and how the image speaks emotionally in the absence of words.

Below is an image from Oliver Jeffers book ‘Lost and Found’,(2006) the image is full of signifiers that allow us to engage with the emotion of the image, from the colures used, body language of the characters and the page layout as well as character placement.

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Oliver Jeffers [image online]Available at: http://myopemyope.com/2011/11/13/oliver-jeffers/ [Accessed 16th October 2014]

In looking at the above image we employ a understanding of code and signs that we have developed through our understanding of the world around, using this it allows us to understand and gain meaning from the image. To understand this futher I will delve into the world of semiotics, and the decoding of signs and symbols.

“Semiotics involves the study not only of what we refer to as ‘signs’ in everyday speech, but of anything which ‘stands for’ something else. In a semiotic sense, signs take the form of words, images, sounds, gestures and objects.” (Chandler,2002, pg.1)

I will explore wider fields and think about how music and film can transcend us into a state of being and awaken different parts of our subconscious bringing emotions to the conscious.

It feels as though it is a journey full of adventure and intrigue. On I go into the world of picture books, emotions and semiotics.

References

  • Chandler, Daniel. (2002) Semiotics :The Basics, London :Routledge
  • Jeffers, Oliver, (2006), Lost and Found, London: Harper Collins

John Byrne Exhibition

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Photograph taken before entering exhibition

I first came across John Byrne whilst working at one of his previews a few years ago in Edinburgh. I remember as I poured drinks for the guests  it was clear that John Byrne was a man full of life and character, from the way he dressed to the way he conducted himself amongst others. He captured my imagination as did his art work.

Sunday I visited the Scottish National Portrait Gallery  to see his show ‘Sitting Ducks’, a retrospective of his work spanning 50 years.

The exhibit seemed bigger than the room, the people he had captured were full of life and rich in depth and colour. His self portraits, appeared to ooze out of the frame and draw you in closer to see the fine brush work and invite you to look into his eyes. I wondered what thoughts are happening when he is creating a self portrait, what story is being conveyed and if the portrait could talk what would it say.

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Byrne, J,  Me and Myself  (nd)48 x 36 inches, oil on board, private collection.[images online] Available at:https://www.flickr.com/photos/sweetpeaillustrations/363843963/ [Accessed October 8th 2014]

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Byrne, J, Self Portrait, (nd) oil on board. [Images online] Available at: https://www.flickr.com/photos/sweetpeaillustrations/349200796/ [Accessed 4th october 2014]

I came away thinking how to create stories and characters full of life, characters that will come out of the page, invite the reader/viewer in and engage them in the process of the story and to caret a relationship with the characters portrayed in the story. John Byrne’s work for me is an example of studying the finite details on his sitter or himself, knowing every mark every line and creating a work where it feels it is not just an artwork but a story contained within frame. 

John Byrne spoke of his work and the importance of self examination and of others  in a video interview for the National Galleries of Scotland (2014)

“What do you think when you get up in the morning or what do you think when you go to bed? You never sort of quiz yourself and you’ve got the means to do that, forensic examination of your psyche and your exterior and what that exterior contains. It contains so much wonderful and marvellous things. People seem to skip over that quite lightly, the appearance of people and that’s your outward face to their world, I cannae imagine why it doesnae intrigue everybody. What you have to do is capture the spirit of the person you’re drawing and I can see the spirit of all of them.” (Byrne 2014)

Capturing the viewer/readers imagination through depiction of characters is a clear defined area for my work and as my thoughts turn to the the presence of text the relationship with the image or how the image works in the absence of text, I can see this becoming a interesting and exciting journey.

References

  • National Galleries Scotland,(2014) John Byrne Film

    [online] Available at://www.nationalgalleries.org/whatson/exhibitions/john-byrne/john-byrne-film [Accessed 8th october 2014]