Nobody Knows: Yoshimoto Nara drawings
Upon looking at presentation of sketchbooks by both Frida Kahlo and Sara Midda, I found myself drawn to the sketches within Nobody Knows: Yoshimoto Nara drawings. It was enjoyable to see that the paper stock used in the book was textured and quite thin, like sugar paper. Thus making the book feel as though it were a sketchbook because the illustrations, although printed, gave off the illusion that they were drawn directly into the book itself.
Sketchbook from Southern France by Sara Midda
After looking at The Diary of Frida Kahlo, I realised I enjoyed the fact the publication itself was made as a replica of her sketchbook so that the reader felt as though they were looking through the physical object itself. Asides from the illustrative use of different media, I really enjoyed the way her sketchbook’s front cover was pictured in the book, almost as if the physical object had been put face down on a scanner.
The Diary of Frida Kahlo: An Intimate Self-Portrait
As I wanted to document my sketchbooks, to show authentic exploration, seeing them as an artefact as oppose to focusing on what the content is about, I decided it would perhaps be helpful to look at other portrayals of sketchbooks in the form of publications to figure out how best to approach documenting my own.
Artist Books That Are Artworks Themselves
As one of the outcomes of this first brief, based on the Southampton texts is a collective riso publication that will be included in a symposium, this week’s studio session involved a trip to the former Women’s Library space where the artist books are held in an archival space. The aim of this was to encourage a breadth of ideas of what publications can be, how they can be seen as objects and to kickstart ideas as to how we can work with this is in our own work
Although I plan on making a souvenir based on my own outlook of the local area, it still needs to be routed in context.
My recent trip to the library resulted in me looking for books I have already borrowed multiple times or on my favourite artists that I haven’t yet seen. Asides from my fascination with the works of Ernst Haeckel, I am very much intrigued by the work of Karl Blossfeldt and was very happy to stumble across
Whilst doing my own personal research on the subject of natural forms, horticulture and botanical illustration, I managed to stumble across the work of illustrator Katie Scott. I was instantly amazed by the very clear influence of
Throughout my time researching, experimenting and developing ideas for my ping pong paddle, I found myself returning to the illustrations of Ernst Haeckel who very much informs my use of visual language when recording natural forms; through his use of line, shape, tone, pattern and colour. I’ve always been drawn, not just to the depth of detail in his illustrations, but also the organisation of each object within the frame of the page and how they seem to fit like pieces of a jigsaw. ‘Art Forms In Nature’ by Ernst Haeckel, although only containing only black and white images, depicts these qualities beautifully allowing you to interpret his mark making craft as an overall image but also close up without the distraction of colour.