I really enjoyed researching the list of artists provided in this exercise. I was really surprised by the variety of technique as well as subject matter. Whilst I haven't felt very connected to my route in my own home town through my previous exercises, the images I have seen that have involved travel have really spoken to me.
They remind me of my childhood growing up in Saudi Arabia, and how fortunate I was to have been able to travel to different countries at such a young age. It has awoken a wanderlust in me to visit old and new locations with an ink pen, sketchpad and bagfuls of curiosity.
3.2 Reportage in War
For this exercise, I was asked to study three documents provided and examine them under the context of the use of reportage illustration in the reporting of war. To ensure that I got a broader context, I also used this opportunity to explore past the three documents.
War correspondents of all disciplines face the same sights, scenes and experiences as the front-line troops. Like war itself, they sometimes have to work quickly, but also sometimes have time to draw on the stillness between engagements. Ardizzone's work combines a sense of brutal reality but also juxtaposes that with a keen observation of moments of black humour. It made me ask myself how does one balance a need for realism and authenticity with the appetite of those at home; far removed from the uncomfortable truths? Has that appetite changes over time?
The detritus of war seems to be a common focus for war illustrators: ruins, wrecks and abandoned tanks often seem to be the focus of war imagery. I don't think that's because it's easy, but more that they attract those who have to live in and around the flotsam and jetsom. There seems to be a commonality that transcends time and location: children always need a place to play and will make do with whatever they have at hand to do so. They are infinitely inventive. I think it's important that artists capture images that invoke levity as well as pathos.
A lot of the work that I have seen seems to take place in liminal spaces. The awkward and uncomfortable space. Is this when emotions can be best felt, away from the raw chaos of front-line battle? Is it here where the best stories are told?
Wars are big. Illustrators seem to be able to tell stories of the people in, and between the conflict. They also tell a story of places, and how they are also affected. Landscapes a well as people can convey hope, fear, and pity. They also can bear scars. When looking at the work of Kugler, it seems that he likes to draw his images after meeting people, after the moment. Apparently he does this so that he remains in the moment when he meets people. This seems to be a different approach to, say, Butler who seems to put his emotions into his work by drawing his work there and then.
I enjoy how Kugler really documents his stories, capturing conversations, accounts and observations. Butler also writes these things too, but they seem to me for his reference only; an aide de memoir. It feels like he selectively chooses what part of that information to communicate, and to do so through the visuals, not in the visuals. I do, however, appreciate how Kugler specifically notes when people's emotions change. It made me really feel like I was somehow observing the conversation first-hand.
Through a lot of war reportage, I found it interesting how much photography is used for reference and, the case of "The Photographer" for the subject matter itself. I really liked the use of graphic novel elements in that book. It has made me think about how I could experiment with more sequential illustration as part of reportage storytelling.
3.3 A Comparison
For this second research exercise, I was to choose a piece of reportage illustration from list of illustrators provided in 3.2 and then compare a photograph of similar subject matter.
I was drawn to this painting by Paul Hogarth. I have never been to Morocco but I found many similarities to the architecture and sense of place to my travels in Oman. I have many fond memories of exploring ancient forts, markets and souqs in Oman. The image really speaks to me.
I couldn't find any of my old photos to scan, so I looked online for other photo references from places that I remember, and came across this photo from a town in Oman's interior called Nizwa. It is famous for its markets and souqs.
The exercise wanted me to answer the following:
What is each image expressing, describing or communicating?
Both images show entrances, and invite you in. The illustration floats on the white page without distraction, and the perspective draws you in. The photo also draws you through the doorway. Both images also show people going about their days, deep in conversation.
The photo manages to capture the personality of the foreground characters very effectively, which is missing in the illustration. Conversely, the illustration doesn't try to show all the detail, which actually means that you notice any details chosen that more closely. I particularly like the colour.
They are both giving a sense of place and how the people inhabit it. I wish that somehow they both gave a sense of the heat, but I do like the light and shade of the photo.
Which image do you think is most memorable?
The illustration is definitely more memorable to me. It seems more... placed. The slightly fish-eye perspective gives a sense of distortion. The illustration also has better use of colour which draws your eyes to the detail.
I love how Hogarth has managed to capture the texture of the render on the walls. Compositionally I think it's also stronger, the viewer's eye is drawn up the shallow steps and alleyway.
Does one image seem more truthful and why?
There are elements to the photo which are more truthful, particularly things like the wood engraving and little writing details. It has all the bits and bobs littering the walls and floor, but in a way, this detracts from the truth.
In the illustration, the alley is basically clear, which is not likely to be accurate, but in removing those details and being selective in what he does show, Hogarth shows us what he sees, what he wants us to see. It's his truth.
Which image would you be more likely to notice if it was in a magazine or newspaper and why?
If it were to be in a magazine, the illustration would capture my interest and attention. It's because it isn't lifelike that one's eye notices it rather than glancing and moving on. I would say that there are photos that are able to do the same, and that is the power and art of good photography. But I think the illustration has a whimsical quality that tells much more of a narrative.
References
Brenard, C. (2018). How War Artist Edward Ardizzone Showed The Human Side Of War. [online] Imperial War Museums. Available at: https://www.iwm.org.uk/history/how-war-artist-edward-ardizzone-showed-the-human-side-of-war [Accessed 22 Jan. 2020].
Embury, G. and Minichiello, M. (2018). Reportage illustration. 1st ed. London: Bloomsbury.
Kugler, O. (2020). Olivier Kugler's Portfolio - Drawn from Life / Reportage / Portraits. [online] Olivierkugler.com. Available at: http://www.olivierkugler.com/life_drawing_reportage-portraits.html [Accessed 22 Jan. 2020].
Powers, A. (2017). Eye Magazine | Feature | Ardizzone at peace and in conflict. [online] Eyemagazine.com. Available at: http://eyemagazine.com/feature/article/ardizzone-at-peace-and-in-conflict [Accessed 22 Jan. 2020].
Poynor, R. (2009). Eye Magazine | Opinion | Framing the evidence of war. [online] Eyemagazine.com. Available at: http://eyemagazine.com/opinion/article/framing-the-evidence-of-war [Accessed 22 Jan. 2020].
Rossetti, P. (2020). Entrance to the East Souq of Nizwa, Oman. [image] Available at: https://lh5.googleusercontent.com/-31LalVueuKc/SxtClFw6YqI/AAAAAAAAEKk/wItDYMSDNRw/w1067-h800-no/Waypoint20_003.JPG [Accessed 22 Jan. 2020].
Walters, J. (2017). Eye Magazine | Feature | Olivier Kugler: bearing witness. [online] Eyemagazine.com. Available at: http://www.eyemagazine.com/feature/article/olivier-kugler-bearing-witness [Accessed 22 Jan. 2020].
Tate. (2020). ‘The Gates of Fez’, Paul Hogarth, 1975 | Tate. [online] Available at: https://www.tate.org.uk/art/artworks/hogarth-the-gates-of-fez-p06646 [Accessed 22 Jan. 2020].
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