Journal of Illustration: Most Cited Articles http://intellectdiscover.com/content/journals/jill?TRACK=RSS Please follow the links to view the content. Mapping experience in reportage drawing http://intellectdiscover.com/content/journals/10.1386/jill.3.2.207_1?TRACK=RSS Abstract Reportage drawing is a revelatory act that combines the challenges of quick, gestural drawing with a level of accuracy in the depiction of people and places. Add to that the complications of working in sometimes hostile or, at the very least, less than ideal environments and you have a highly unique drawing act. Reportage drawing, through its quick execution necessitated by environmental flux and other conditions, also provides a window into the genesis of the drawing. The momentary, intuitive process fluctuates between the observed, the imagined and the remembered. Looking at the way in which the drawing is rooted to the in situ experience and notions of place, artists engage in reportage drawing in highly individual ways, balancing intent with the demands of observation in fluid environments. Experience here is twofold: the experience of negotiating the location and the experience of drawing itself. Through interviews conducted with reportage artists Jill Gibbon, Gary Embury as well as my own work and reflections, the aims and intentions of the artists will be compared and contrasted, and tensions between the journalistic and social commentary aims will be explored through individual practice. Jill Gibbon’s practice and research looks at the potential in reportage drawing for political, even radical, expression. Her War Mart work is explored here, which clearly reveals her reportage process, secretly drawing at an arms trading event in London and creating evocative commentary through her hurried, immediate drawings. Gary Embury is the editor of the Reportager website, which provides a crucial platform for contemporary reportage practice. His work is characterized by raw observation and his declared aims for his work are journalistic. This work has great immediacy and reveals the simultaneity between observation and action in drawing. Through a narrative of the experience creating their work in differing environments, the work will be seen as the summation of experience and the complex intentions and self-imposed limitations of the artists, contributing to an intimate look at contemporary reportage practice. Louis Netter Sun Jun 05 18:18:24 UTC 2022Z Texture: Faking the physical http://intellectdiscover.com/content/journals/10.1386/jill_00004_1?TRACK=RSS Contemporary illustration is infatuated with texture. The imperfections of analogue processes and signs of physical decay, which were once incidental, or even irritating, are now highly sought after and frequently replicated in order to provide an ornamental layer to contemporary digital illustration. Nicholas Stevenson is an illustrator who uses texture this way. His visual language centres around analogue textures that are digitally applied from an ever-growing library of scanned surfaces: taken from worn book jackets, watermarked paper and ink smudges. This visual essay explores this topic through Nicholas's illustrations in dialogue with Gabrielle's written, critical commentary. Drawing on Mark Fisher's ideas about hauntology in twenty-first-century western culture, and Jean Baudrillard's simulacra, we intend to explore the latent effects of the ornamental application of analogue texture in digital illustration, with Nicholas Stevenson's work taking the role of both example and co-contributor. Gabrielle Brace Stevenson and Nicholas Stevenson Mon Jun 06 08:51:28 UTC 2022Z Crossing the line: Drawing as Babel Fish http://intellectdiscover.com/content/journals/10.1386/jill.3.2.233_1?TRACK=RSS Abstract This article examines the emergence of illustrative practices among fine artists to achieve a particular mobility, one that enables them to gather, synthesize and communicate information across diverse environments, locations and communities. The article recognizes a growing appetite among contemporary illustrators and artists to work collaboratively and across previously separate disciplines, and focuses on artists leaving the studio to seek out ever more responsive applications of drawing. This reveals a hybrid, fluid approach in drawing, a new sensitivity in which drawing is used by artists as a way of analysing, communicating and reflecting upon aspects of lived experience, some of which might normally be the province of other research professionals. We explore how these ‘itinerant’ artists use drawing to translate into graphic form information, ideas and practices from other fields of activity – for instance, oceanography (Peter Matthews), medicine (Julia Midgley) and political activism (Jill Gibbon). While these contemporary practices are at the cutting edge, we discuss their direct lineage to Ruskin’s Elements of Drawing (1857) and his belief in the use of drawing to interrogate the world and our position in it. We argue that this underacknowledged mode of practice is timely and significant for a globalized interdisciplinary research community because it reveals drawing’s capacity to intercede, for problem-solving and for building relationships across otherwise disparate communities and areas of expertise. Sarah Casey and Gerry Davies Sun Jun 05 18:20:15 UTC 2022Z The itinerant illustration: Creating storyworlds in the reader’s space http://intellectdiscover.com/content/journals/10.1386/jill.2.2.267_1?TRACK=RSS This paper explores the storytelling potential of direct address within illustration as moments where fictional characters look out from their still-image worlds, whether picture-book, graphic novel or comic, into ours. It will consider the possibility of creating fictional worlds by employing direct address to generate narrative in the real time and space of the reader/viewer. This approach parallels Brecht’s idea of ‘showing showing’, where his actors break through the ‘fourth wall’: the audience constantly aware they are watching a play; the structure of their experience laid bare. It will explore showing showing, from an illustration perspective, where the reader/viewer of the sequence of illustrations is not only aware that they are being watched by that which they are watching, but to propose that it is possible to construct a story in the reader’s space. Steve Braund Mon Jun 06 17:06:03 UTC 2022Z An introduction to the manifesto for illustration pedagogy: A lexicon for contemporary illustration practice http://intellectdiscover.com/content/journals/10.1386/jill.5.2.207_1?TRACK=RSS Abstract As illustration educators our role is to be at the forefront of championing the development and understanding of our subject. Through practice, debate and research we strive to extend the remits of contemporary illustration and provoke debate as to what may be achieved at the very heights of ambition. Questioning of the potentials of illustration has never been more urgent as we work to prepare students to enter into a rapidly expanding field. Changes in industry, the vast expansion of potential platforms and the shifting of hierarchy as illustrators become more autonomous has prompted professionals to interrogate new ways to apply their diverse skill sets. This, met with the development of illustration taught as an independent subject not beholden to other graphic art forms, has seen the emergence of increasingly experimental and interdisciplinary uses and placements of illustrative work. Within our community of educators there is a concerted effort to establish new benchmarks for the study of our subject, to provoke aspirational thinking amongst our student cohorts and to facilitate pioneering practice. The Manifesto for Illustration Pedagogy intends to nurture ambition for the future of contemporary illustration practice and support the development of a discipline-specific critical vocabulary. Mireille Fauchon and Rachel Gannon Sun Jun 05 20:10:03 UTC 2022Z Illumination through illustration: Research methods and authorial practice http://intellectdiscover.com/content/journals/10.1386/jill.1.2.275_1?TRACK=RSS Abstract This article proposes that the emerging field of illustration research embraces practice-led research, and will argue that it benefits practice outside of formal academic research. The author’s practice-led Ph.D. research provides the tools that will be used to investigate illustration methodologies within a research practice. These can be adopted to complement industry-oriented, brief-led ways of working to provide long-term transferable skills, enabling illustrators to be entrepreneurial, and give them a robust set of methods to identify and interrogate their subject matter. Stephanie Black Sun Jun 05 16:45:50 UTC 2022Z Extra-illustration, preservation and libraries in the nineteenth-century United States http://intellectdiscover.com/content/journals/10.1386/jill_00039_1?TRACK=RSS Extra-illustration, usually considered an eighteenth-century and early-nineteenth-century British phenomenon, is abundantly present in the creative book practices of the late nineteenth-century United States, but it is often overlooked in scholarship. Analysing the collecting, cutting and pasting habits of Massachusetts banker Nathaniel Paine, this article argues that extra-illustration was closely connected to the then emerging modes of information organization that have since shaped modern libraries. Paine added hundreds of mass-produced images of US president George Washington to the volumes in his library, including a group of pamphlets printed just after Washington died in 1799. This unusual group of pamphlets, as well as Paine’s other extra-illustrative supplements to his volumes and scrapbooks, reveal an effort not only to preserve a particular version of the past but also to develop an indexing scheme built around pictures. Megan Walsh Mon Jun 06 01:37:05 UTC 2022Z ‘The Great Bowyer Bible’: Robert Bowyer and the Macklin Bible1 http://intellectdiscover.com/content/journals/10.1386/jill_00038_1?TRACK=RSS This article examines an iconic example of grangerizing: the Macklin Bible extra-illustrated in 45 volumes by London artist and bookseller Robert Bowyer (1758–1834) in the first quarter of the nineteenth century (Bolton Libraries and Museums, Bolton, United Kingdom). The principal focus is on the Bowyer Bible as an example of an extra-illustrator’s close engagement with its source publication. The author argues that Bowyer’s practice responds not only to the Bible or the King James Bible, in general, but also to the Macklin Bible, in particular. The article discusses how the Bowyer Bible engages with the Macklin Bible specifically and how it reflects a broader range of concerns in its visual engagement with the Bible. It demonstrates that Bowyer’s curation of biblical visual material evidences both his professional interests as a connoisseur of prints and his personal interests in the visual culture of the Bible that reflect his own piety as well as contemporaneous developments in the study of the scriptures. Other matters discussed in the article are the original function of this Bible, as well as the extent to which it reflects and is distinctive from contemporaneous extra-illustrated books. Naomi Billingsley Mon Jun 06 01:38:12 UTC 2022Z Extra-illustrations to Charles Robert Cockerell’s Ionian Antiquities and James Cavanah Murphy’s Arabian Antiquities of Spain in the collections of the Gennadius Library and the Yale Center for British Art http://intellectdiscover.com/content/journals/10.1386/jill_00037_1?TRACK=RSS This article focuses on unpublished extra-illustrations relating to two architectural monographs, currently in the collections of the Gennadius Library (Athens, Greece) and the Yale Center for British Art (New Haven, CT, USA). The first section examines two unique copies of Ionian Antiquities (1769) by Richard Chandler, Nicholas Revett and William Pars, both grangerized by Charles Robert Cockerell (1788–1863); the second section considers a special copy of The Arabian Antiquities of Spain (1815) by James Cavanah Murphy (1760–1814). These enhanced volumes embody early nineteenth-century concepts of authorship and shed light on the working methodologies of their creators. In his personal copies, Cockerell noted differences in admeasurements of the monuments as recorded by Chandler and Revett for use in Neoclassical architectural practice, and brought to light new discoveries made during his Ionian Grand Tour. In Murphy’s own volume of The Arabian Antiquities of Spain, the supplementary sketches, drawings and additional illustrations enliven the plates, place them in context and inform the printing process. Lynda S. Mulvin Mon Jun 06 01:35:49 UTC 2022Z Introduction: Extra-illustration in a critical context http://intellectdiscover.com/content/journals/10.1386/jill_00036_2?TRACK=RSS Christina Ionescu Mon Jun 06 01:35:48 UTC 2022Z