AOI World Illustration Awards 2019

• 

• 

• 

• 

• 

• 

The World Illustration Awards- the illustration industry’s “most prestigious showcase of the very best work being made by emerging new talent and professional illustrators across the world today”… an exhibition I was lucky enough to have on my doorstep in Swansea. As an illustration student, it’s invaluable having the resources to see what work is regarded highly currently within the art world. I find it interesting seeing the range of styles demonstrated- and the varying purposes of the illustrations. They range from reportage illustration (Olivier Kugler), to children books (Grahame Baker Smith), to experimental (Paperface), editorial (Perry Rowe) and advertisement (Sonja Stangl).

Reportage illustration is a practice I was introduced to in a previous module (Psychogeography) in which I illustrated my surroundings in a location I chose in Swansea town centre- a place I refer to as “no mans land”. Since being exposed to this style of illustration, I began researching other reportage illustrators, discovering the likes of George Butler and Veronica Lawlor, as well as Olivier Kugler. Seeing Kugler’s work in person at this exhibition showed me that reportage illustration is something I would like to develop my practice more in. I particularly like his style of line drawing with an incorporation of text related to the scene. It shows the distinct relationship between text and image, enhancing the overall visual impact of the work. Furthermore, it highlights current political issues within marginalised communities- in this case the work is called “Escaping Wars and Waves: encounters with Syrian refugees”, and follows Syrian refugees Kugler met in Iraqi Kurdistan, Greece, France, UK, and Germany. This allows the stories of Syrian refugees to be ”broadcasted” to wider audiences through Kugler’s work- an important aspect of the purpose of art I can’t emphasise enough (in my opinion).

Another valuable part of seeing exhibition was reading the process of the illustrators. For example, Olivier Kugler takes many reference photographs and interviews whilst travelling and speaking to (in this case) Syrian refugees; he then draws by hand illustrations from his reference materials, and colours them in digitally- giving the final digital impression. Sonja Stangl, however, is more free in her technique and process. Her methods involved pure experimentation with the creation of textures and shapes that would represent natural surroundings , and so playing with different objects and materials to create desired effects. In her words, there wasn’t much planning involved, and the illustration naturally grew. On another technique again, Grahame Baker Smith used a combination of many drawings, spanning painted textures into photoshop and painting digitally on top using a limited number of brushes, with an emphasis on keeping his own signature style of illustration. Reading this variety of processes is useful as it reminds you to open up your techniques, approach projects and titles with an open mind, and have the confidence to experiment. You don’t necessarily need a fixed idea of where you’re going with your work- as Sonja Stangl emphasises her work naturally grew from one concept to another through playing and experimentation.

One other piece that stood out for me in this display of work was The Rhythm of the Rain by Grahame Baker Smith. This children’s book follows A journey of the intimate relationship between people, creatures and water. His illustrations accompany you through this story, capturing your imagination immediately. Each page is filled with illustrations that ignite wonder and give off an almost ethereal effect. I am particularly drawn to both his style of drawing, and the textures you can see within each image; making them multi layered illustrations. I think this is a successful example of book illustration, as it accompanies and complements the text and story perfectly, whilst igniting And encouraging the imagination of the reader with immense power.