This exercise required me to catalogue a range of illustrators that use a particular medium, before studying two pieces that I find particularly visually pleasing. I then must use the same tools and materials to create two artworks of my own. The exercise allows me to choose any medium – from traditional media such as painting, to digital processes like photography. I decided to explore artists who use collage; I was especially interested in those who incorporate a variety of mediums into their photomontages.
Lucy Jones
Fig. 1. Turquiose Door, New Town 
Fig. 2. West End Railings 
Fig. 3. End of Terrace 
Fig. 4. Crescent Railings, New Town
Lucy Jones uses elements of collage in her illustrations; drawing on top of ripped maps, torn newspaper and shredded brown paper. Her pieces are detailed and proportionate, yet have a disorderly, grungey style. The artist exaggerates the contours of her subject using thick, dark lines. She uses collage to describe the textures and colours of walls, doors, paths, etc. Often, elements that are in the foreground are most detailed, while those that are further away are much vaguer.
Raphaël Vicenza
Fig. 5. Sneakers Magazine 
Fig. 6. Rivers of Never Enough 
Fig. 7. Silence is Noise 
Fig. 8. You Can’t Kill Me
Raphaël Vicenza, also know as ‘My Dead Pony,’ combines editorial photographs with street art and graffiti. Elements appear to be positioned in a spontaneous manner – though, unquestionably, the artist has put much thought and care into the arrangement. Vicenza utilises digital media, painting and drawing. Grainy, grungey textures and intense colours characterise his work. Certain elements are emphasised through the use of contrasting colours and scale. ‘My Dead Pony’ often applies text in his work – often displaying the meaning of the piece; when you examine the collages further, you can often see how elements can relate to the text.
Clover Robin
Fig. 9. St Ives 
Fig. 10. Nature Reserve 
Fig. 11. Estuary 
Fig. 12. Floral LOVE
Clover Robin uses collage to create landscapes or nature related artwork; she sells her work through Etsy, transforming her illustrations into prints or greetings cards. The artist represents the textures of her subject by applying paint or coloured pencil, using methods such as splattering, dry-brush or scribbling. She occasionally includes photographs into her work. Elements are exaggerated through the use of sharp, abrupt shapes and textures. The subject matter is represented using quite a simple, uncomplicated approach.
Caroline Pedler
Fig. 13. Aliens Can Be Friends Too 
Fig. 14. Will O The Wisp 
Fig. 15. Untitled 
Fig. 16. Going Your Own Way 
Fig. 17. Ode to Antoni
Pedler’s portfolio displays a variety of collage styles. Fig. 13 and 14 show a scene in which the entire page is bursting with diverse textures and colours. These pieces tell more of a narrative and display a sense of depth and distance. Fig. 15 isolates the elements in a more nonrealistic, geometric manner. These pieces are similar to Clover’s work; Pedler has used textured backgrounds and angular shapes to convey her subjects. The artist used a separate technique when creating fig. 17 and 18; paint and dry media has been applied, covering printed photographs — creating a collage that is more comparable to Vincenza’s work. These pieces are far more abstract, subjective and symbolic.
Dain Franklyn
Fig. 18. Dos Peakos 
Fig. 19. Frustrated Love Crime 
Fig. 20. Lipstonia Bella Couture 
Fig. 21. If The Shoe Fits
Dain Franklyn, also know as ‘DAIN,’ uses mixed media to connect fashion with street art. The artist uses wheatpaste to collage together images of glamorous models, adverts, logos, etc., before applying acrylic and spray paint. The theme of his work is similar to that of Vicenza’s collages; contrasting sharp editorial images with the messy style of graffiti. Elements are distorted through the use of scale – certain features are disproportionate. The way the artist has concealed or ripped certain components further distorts the pieces. The artist uses distortion to create different moods, from unsettling to euphoric. DAIN uses colour to represent emotion or complement the atmosphere – using it to either make a piece look balanced and satisfying, or awkward and uncomfortable.
It is suggested that I use a visual from a past project when creating my own illustration. I have chosen to use a visual from exercise: ‘Viewpoint;’ the ‘workshop’ themed visual contains pliers, string and a ruler, displayed upon a cutting mat. The photographic reference will be helpful as I can use it to observe and replicate colours and textures.
‘End of Terrace’ – Lucy Jones
I have chosen to further explore Fig. 3. ‘End of Terrace’ by Lucy Jones. I particularly enjoy the application of different textures, as well as the nature-inspired colour palette. Jones has used a map, presumably of Edinburgh, to represent the sky and create the textures of the building. The artist has applied scraps of brown paper to create depth. Assumably, she has used the front cover of an Edinburgh map to add green details to the building, most notably, adding a bright green door – this complements the green regions within the map, as well as the foliage in the background. Occasionally, the artist has added more intricate details using collage; for example, cutting out the decorative shape of the metal fence, in the lower left corner. On top of the photomontage, Jones has applied a variety of dry and wet media, creating the contours of the windows, fence, door and tree. It appears as though the artist has combined pencil, drawing ink, watercolour or gouache, and possibly charcoal and pen – black, brown and white. To create the foliage, it seems she has used a variety of green-coloured pencils, pastels or crayons, with gouache or watercolour paint. The artist has used a loose, relaxed, yet proportionate style. Elements don’t appear to be overly exaggerated, in terms of scale. Linework is layered and imprecise; occasionally you can see multiple mediums overlapping each other. The artist has allowed wet media to drip and smudge.
The earthy green, blue, and brown shades give an airy, fresh feeling; I think the natural, innocent colour scheme contrasts with the grungey, messy style – perhaps the artist is making a comparison between urban buildings and nature. Collaged material adds texture and colour while relating to the subject of the piece. Jones has used mark-making to distort the image; the occasional scribble, smudge, or reworked, layered line contorts the content of the piece. Again, this adds to the grungy style. I think the messy appearance makes the building appear lived-in and well-loved. The busy style could also correlate to the energetic city of Edinburgh.
Lucy Jones Inspired Illustrations
I started by collecting materials; I looked for items that referenced the theme of ‘workshop’ – the same way that Jones has used materials related to the subject of her piece. I found an instruction manual, tracing paper, standard brown paper, as well as packaging for woodland trust office paper. I used these materials to create shapes that could represent each element. Lastly, I applied pencil, ink, charcoal, gouache, crayon and pen to my collage.
I struggled with this piece more than I expected to; I don’t think it was at all successful. The application is too messy and inconsistent – there is a lack of balance. Some of the lines are far too thick. To represent perspective, Jones applied more or less detail depending on the distance of an element – my illustration does not achieve this. Furthermore, I don’t think the colours complement each other at all.
Due to my disappointment with my first attempt, I decided to try again – this time altering my approach. As much as I liked the idea of using materials related to a workshop, nothing I could find would have the same patterns and colours as a map. So, for the sake of this exercise, I printed out a map of Edinburgh (see fig. 22 below) and traced my visual onto it. I assembled pieces of brown paper, a green parcel bag that reads ‘world of books,’ and red-painted adhesive paper (that I had prepared for my next piece) onto the map. My approach was different as I applied my collaged materials onto pre-drawn lines, whereas with my first piece, I cut them out and stuck them onto a blank background. I added gouache, ink and pencil over the collage. Last time, I complained of the thickness of the line. To overcome this, I used a very fine brush. I also took more time and care with this piece; my first attempt was far more quick and spontaneous. I think I improved significantly with my second attempt. There is more balance; the piece has a relaxed, messy style yet I approached each element with care and consideration.
Materials
Fig. 22. Map of Edinburgh
Reflection
I’m glad that I decided to start again; I think my second piece is significantly more successful than my first one. I like the idea of incorporating maps into my artwork; they have such interesting patterns and shapes. Especially as Jones has done – using materials that are relevant to the subject matter of her work. I also enjoy using mixed media in this way: combining a large variety of materials and mediums. I am particularly pleased with my second attempt at illustrating the pliers. I used a spare piece of the map to create the highlighted section of the pliers; I like the way it contrasts with the background in a subtle way. I think they appear somewhat 3-dimensional.
I am unhappy with my first piece – it took all of my will power not to remove it from my sketchbook altogether! Regardless, it showed me what not to do; you can easily overdo it when using such a variety of tools and techniques. I don’t believe my chosen visual was ideal for this illustration. It lacks the perspective and distance that something like a street or building has. I particularly struggled when representing the ruler; its transparent quality meant it doesn’t have explicit, obvious contours. I found it difficult to describe the shapes and textures of the ruler using Jones’ style.
If I were to repeat the process, I would illustrate on a larger scale. I think the small scale that I used was somewhat restrictive. Perhaps I could have added more linework and detail if my piece was larger. I think my approach would improve significantly if I were to repeat the process, especially if i continued to be experimental. I think this style would be interesting when used with figurative subject matter – I may attempt a portrait in this style in the future.
‘Nature Reserve’ – Clover Robin
For my second piece, I decided to study Fig. 10. ‘Nature Reserve’ by artist Clover Robin. As the title suggests, the piece contains greenery and butterflies above a body of water. Robin has used various techniques such as dry-brush or splattering to create texture within her work. For example, when observing the upper-left oak leaves, you can see the red shades transition into the green; it appears the artist has achieved this using paint, pastel or crayon – with quick motions, not applying too much pressure, overlapping colours and mediums. You can also see black dots that perhaps represent dirt or lichen on the leaf; the artist has splattered wet media such as watered-down paint or ink to achieve this. With other elements, Robin has used images of leaves or grass to add texture. Each component has been cut in a casual, relaxed manner; they possess a somewhat cartoon-like quality. Some of the elements, such as the rocks in the water, are rather squared-off and boxy. Despite the heavily textured backgrounds, the piece is quite 2-dimensional – it lacks shadows and depth.
The body of water holds the majority of the content, acting as a frame. Many elements are outside of this frame; this creates a border or wreath of leaves and foliage. I think this looks quite interesting; rather than containing the collage within a box, it opens it up, making the piece appear more open-aired. Perhaps this references the way in which nature takes over – growing in whichever direction it can physically manage – symbolising an overgrown nature reserve. Robin has used bright, nature-inspired colours and textures to display and lively, beautiful scene. The busy composition makes the piece look energetic and lush.
Clover Robin Inspired Illustrations
I started by collecting and creating materials to collage together. I used acrylic and marker to create the coloured backgrounds, occasionally adding crayon, pastel, ink and spray paint to add texture. I also used a picture of burlap fabric (see Fig. 23 below) when creating the string. I used acrylic on acetate to create a ruler. I decided to ignore the shadows on this piece – something Robin appeared to do. I am quite pleased with the result of this piece. I particularly like the textured backgrounds. When creating the metal part of the pliers, I layered brown crayon, splattered brown ink and metallic spray paint over a grey acrylic background; I think this worked well when representing the shiny, yet rusty texture. I was less pleased with the shape of the pliers; they seem slightly out of proportion.
Again, I decided to repeat the process to see what improvements or changes I could make, using most of the same materials. Mostly, I was curious how the piece may look if I had included the intense shadow behind each element, especially because the shadow is quite a significant part of the visual. Hence, I included the shadow; I used green crayon over a black background to create the correct texture, colouring the shadowed parts of the grid with a dark green marker. I slightly altered the pliers, this time using two shades of grey. I also added silver spray paint to the pliers, whereas last time I only used gold. Compared with my initial piece, I prefer the way that I created the pliers – separating each component. Another difference is the ruler; I printed numbers and measurements (see Fig. 24 & 25 below) onto acetate. I also used slithers of regular white paper to highlight areas of the ruler. Printing onto acetate is an interesting idea that could work well in another context, but I think it was more successful to use small lines to represent the measurements on the ruler, as I did with my previous piece.
Materials
Fig. 23. Burlap Fabric 
Fig. 24. Centimetre Ruler 
Fig. 25. Inch Ruler 
Reflection
I think my chosen visual was perfectly combined with Robin’s style. My reference image contained many different textures and colours; it was fun to try to replicate these. I think the composition of my visual was ideal for this style – looking at the scene from a birds-eye perspective, with elements leaving the frame.
I think certain elements from both pieces are more successful when compared with each other. I prefer the thicker string and more simplistic ruler in the first piece. On the second piece, I favour the pliers and enjoy the way the shadow looks.
Overall, I am pleased with both pieces; if I were to create an additional illustration in this style, I’d further act upon the strengths that I have identified. I really enjoyed creating textures to collage together; a method I’d like to use more in the future.
Final Thoughts
I enjoyed this exercise; I think there is always so much to learn from the techniques, mediums and materials that other artists use. I would have liked to have experimented with more styles; I didn’t due to time limitations. I was surprised how much I struggled when creating my pieces inspired by Lucy Jones; I was initially quite excited to experiment with the style. As previously mentioned, perhaps if I had used a larger scale or a different subject matter, the pieces would have been more effective. Regardless, I like the idea of combining such a variety of materials and mediums and would like to experiment with it further. I think my Clover Robin inspired illustrations were far more successful; I’d like to continue using some of the same techniques as Robin in future work.
Sources
- Fig. 1. Jones, L. (2018) Turquoise Door, New Town [Mixed media] Available at: URL (Accessed on 12 February 2019)
- Fig. 2. Jones, L. (2018) West End Railings [Mixed median with wax] Available at: URL (Accessed on 12 February 2019)
- Fig. 3. Jones, L. (2018) End of the Terrace [Mixed media] Available at: URL (Accessed on 12 February 2019)
- Fig. 4. Jones, L. (2017) Crescent Railings, New Town [Mixed media] Available at: URL (Accessed on 12 February 2019)
- Fig. 5. Vicenzi, R. Sneakers Mag(azine) [Collage] Available at: URL (Accessed on 12 February 2019)
- Fig. 6. Vicenzi, R. Rivers of Never Enough [Collage] Available at: URL (Accessed on 13 February 2019)
- Fig. 7. Vicenzi, R. Silence is Noise [Collage] Available at: URL (Accessed on 12 February 2019)
- Fig. 8. Vicenzi, R. You Can’t Kill me [Collage] Available at: URL (Accessed on 12 February 2019)
- Fig. 9. Robin, C. (2019) St Ives [Collage, Artprint] Available at: URL (Accessed on 12 February 2019)
- Fig. 10. Robin, C. (2019) Nature Reserve [Collage, Greeting card] Available at: URL (Accessed on 12 February 2019)
- Fig. 11. Robin, C (2019) Estuary [Collage, Greetings card] Available at: URL (Accessed on 12 February 2019)
- Fig. 12. Robin, C. (2019) Floral LOVE [Collage, Artprint] Available at: URL (Accessed on 12 February 2019)
- Fig. 13. Pedler, C. (2018) Will O The Wisp [Collage] Available at: URL (Accessed on 12 February 2019)
- Fig. 14. Pedler, C. (2018) Aliens Can Be Friends Too [Collage] Available at: URL (Accessed on 12 February 2019)
- Fig. 15. Pedler, C. (2017) Untitled [Collage] Available at: URL (Accessed on 12 February 2019)
- Fig. 16. Pedler, C. Going Your Own Way [Collage] Available at: URL (Accessed on 12 February 2019)
- Fig. 17. Pedler, C. Ode to Antoni [Collage] Available at: URL (Accessed on 12 February 2019)
- Fig. 18. Franklyn, D. (2014) Dos Peakos [Mixed Media] Available at: URL (Accessed on 13 February 2019)
- Fig. 19. Franklyn, D. (2016) Frustrated Love Crime [Mixed Media] Available at: URL (Accessed on 13 February 2019)
- Fig. 20. Franklyn, D. (2018) Lipstonia Bella Couture [Mixed Media] Available at: URL (Accessed on 13 February 2019)
- Fig. 21. Franklyn, D. (2016) If The Shoe Fits [Wheat-paste, acrylic, spray paint on canvas} Available at: URL (Accessed on 13 February 2019)
- Fig. 22. Map of Edinburgh Available at: URL (Accessed on 17 February 2019)
- Fig. 23. Burlap Fabric Available at: URL (Accessed on 17 February 2019)
- Fig. 24. Centimetre Ruler Available at: URL (Accessed on 17 February 2019)
- Fig. 25. Inch Ruler Available at: URL (Accessed on 17 February 2019)
Marianne Williams 