I wanted to strengthen my research in to other artists for ‘The soundtrack of our lives.’. Thanks to a book called ‘The best of British contemporary illustration 2008’, I was able to obtain a few that has helped to broaden my ideas for the future, if I ever plan on coming back to this project (which is most likely going to happen).
I had several more that I looked at as well, but I only found them before I found this book and started looking in to contemporary and abstract art.
Jill Calder’s been working as an illustrated since 1993; she also deals with digital art and she lectures with the love of drawing, ideas, colour and ink.
She’s worked with numerous amount of clients globally.
There’s many reasons as to why I have chosen to talk about this illustrator; there’s something so vivid, colourful and original about her drawings that she’s produced so far. I was really admiring the bright tones she uses in specific illustrations, they create a gentle touch of emotion to the image that can be seen clearly; the lines used as well help convey that.
Observing closer, I would like us all to focus on the image with the cliff and the rabbit for a second. They’re quite blocked? as in the colours are solid ,but each shade is sharply built in to the picture to create curves, or to help highlight other aspects.
When regarding the progress I’ve made so far, particularly on the poster tests with the mediums, I start to think of this illustrator, in terms of the lines that she’s used or how the edges of some of the objects in the image have this textured look to it. I’m starting to believe that depending on the brush strokes used, they can assist the poster with depicting the emotion, for example, fast brush strokes could portray a sharp and edgy sensation?
Becca Thorne: While being another illustrator and also a print maker, Thorne’s illustrations are both bold and graphic.
Some examples of her work can be seen at: http://www.beccathorne.co.uk/Illustration.html
I have thought about using lino as a print method for the making of the poster, but it’s time consuming.
Back to the subject, I adore the fuzzy lines that are an outcome of this printing method, they appear to be very unsettled. I must admit that for the same reasons I’ve selected Calder to look at, is the same reason as for why I chose Thorne. She’s able to use colour and make it work well with lines and shape.
Takashi Murakami: Thinking back on Mr. Blue sky and Year 3000, he was the first artist that popped in to mind at the time. He’s a contemporary artist. During the time I was re listening to these songs specifically, they create these mind-blowing visuals of colour and elongated shapes that emphasise this futuristic vision. I strongly think that Murakami does just this i n his arm work by using a varied use of bold, bright and contrasting colour.
All right. This is the last one, I promise.
Francoise Nielly: An abstract artist this time, and I didn’t find her in the book, but I went out and made a search of ‘Abstract art’, then found her work to which reminded me of another artist who did similar, though I cannot remember their name sadly.
It’s quite interesting to see how just a few mix of blocked in colours is able to bring out so much with in an image. Not only that, but the colours used are able to change the mood of a picture, as well as the brush strokes used.
I may have to consider this further with in my planning. I want to start testing out the kinds of colours I can use to link my emotions to them ( I’m going to use Photoshop for this after the first poster drafts are created), this will allow me to further my practice.