Klimowski’s work is very college and multi-media based, this tactility of them is something I find really visually appealing since it creates a very hand-rendered image aesthetic, his compositions often contain a figure being manipulated with other elements of the image. Klimowski is not afraid to be bold with his experimental use of negative space and ‘misplaced’ elements. This attitude is something I want to be able to apply to my own poster making
Pablo Amargo’s use of colour is what first interested me about his work since his colour palettes are often fairly limited in colour variation. This ability to create interesting and thought-provoking images with very limited different tones. Although much of his work is created digitally his aesthetic creates the effect of traditionally printing because of these limited colour choices yet his work still remains very clean and eye-catching due to the bold block colours within interesting shapes and elements.
Tadeusz Gronowski’s work is part of the original Polish graphic poster movement. His pieces often contain very experimental elements of composition with white often being a v
Marion Deuchars is a British illustrator who specializes in advertising and publishing illustration. Her work is incredibly well recognised due to her use of hand-rendered type and use of typography. Much of her work seems to be ink based with a huge sense of tactility within her work.
I think the reason her work is so engaging is due to the fact that because of it’s hand-rendered aesthetic people can relate to and appreciate it more because they understand the labour that has been put into it, rather than just being presented with imagery that has been created digitality because often an audience doesn’t appreciate the process that has taken place. Often her work is combined with photography and different mediums, the use of hand-rendered typography over these technical images and her use of negative space means that your eyes aren’t completely over-saturated with words and images within small spaces.
From her work, I think her use of often a limited colour pallete or black,white, red and another colour means that the images over-all look incredibly minimal despite often being incredibly mark-making based and expressive marks.
Boy and a Dog in a Johnnypump
Basquiat was an American based artist of the late twentieth century , his work is incredibly expressive and raw due to his rough brush markings and natural medium effects. Although his works are incredibly figurative the nature of the work makes viewers look past what is simply on the canvas. The re-working nature of the art creates a sense of re-visiting the work multiple times implying that there has been multiple considerations of it all. This element of re-working and obvious reconsiderations is something I want to be able to apply to my own work to give it greater impact to the audience without being too ominous and intense.
Cy Twombly is one of the most easily recognisable abstract artists of the twentieth century. His work is incredibly influenced by the natural world around him and his rough markings and use of media reflect this. He attended the Black Mountain College, an institution renowned for experimental creators. Much like a lot of his contemporaries his work remained incredibly negative space dominated with the raw paper or canvas showing through.This is a property I think really makes his work stand out from others. Although his work is obviously landscape, because of its huge scale the brushwork starts forming natural frameworks. This has encouraged me to start even doing rough work on larger scales in order to allow my self to become more expressive throughout processes.
A collective of MacNaughtons work for Gizmodo
Tosca Cafe’s Clam and Bacon Acquacotta
Meanwhile in San Fransisco
Wendy MacNaughton is an American illustrator whose work varies from visual journalism to commercial commissions, with her main mediums being watercolour and pen. Her work is centred on telling other people’s stories and portraying undiscovered tales.
The relationship between the stark white background and watercolours is what I believe in making MacNaughtons work look incredibly professional and finished. Her composition and perspective is either flat images or main foreground with small elements in a background, with short, broken pen strokes creating a sense of urgency in a static format much like the work of other reportage illustrators however her work is more based on the visual journalism aspect of reportage illustration instead of the journey aspect of it.
Much of her commercial work has a sense of satire injected with the handwritten text in the pieces, I think that this skill to present a beautiful image on first glance with a humour explanation on exploration is what makes her work truly unique in the world of reportage illustration.
Lizzy Stewart is a British illustrator based in London, her ‘reportage’ illustration consists of pieces that she produces on short trips around the world. Much of her work is created through pencil sketches, watercolour and ink, the mediums typical of reportage illustration, however, there is a different atmosphere in Stewart’s work. Her work doesn’t over complicate what she sees in front of her trying to make the compositions aesthetically pleasing on the page instead it’s almost like she works her way through systematically which in turn gives the pages their own individual meanings whilst she is on location. She allocates each place she goes it’s own selective pallet in a way and this coheres the pieces she creates whilst she is there reflecting the atmosphere she is surrounded by.
The work that she produces whilst travelling is a lot more minimalistic that the work that she produces in her studio in London, however, there is a clear relationship between the line and colour work throughout with the varied hand rendered textures. This ability to stay true to the hand rendered nature of her work is something I really admire in Stewart’s work and is something I hope to maintain in my own work as I develop in the coming years.
Jama Masjid, Delhi
Waiting for visas
George Butler is a contemporary artist and illustrator. His work tackles international problems and current affairs with a delicate intricacy and wonder. His combination of ink, pen and watercolour leads to an incredibly atmospheric presence on the page with a stark contrast to his pure colour backgrounds.
His work remains incredibly hand rendered but still presents itself as professional and finished images, I think that this is down to the confidence in his line work. His work tells the viewer exactly where to look through the use of lines connecting the foreground and background.
Butler often flattens the three-dimensional world around him and doesn’t worry about making it realistic but instead capturing the atmosphere around him on location.
This ability to flatten and capture the first-hand atmosphere is something I would really like to incorporate into my own work during this project.