Feedback 2

Your submission is evidence that you continue to demonstrate a passion for illustration and the context within which this operates. You have made some great attempts to disrupt and develop an already seasoned drawing practice and I would encourage that you continue this challenge as this is the key to identifying your own unique graphic voice.

Benjamin Hall, Formative Feedback, 19/12/2018

After reading my feedback for Part 2, I highlighted any areas to research or work on as I move through Part 3 and collated this below. I was delighted with my feedback; it feels like my experiments are benefitting my practice and ideas are flowing more freely when I tackle any task. It is definitely important to continue to challenge my “style” and push myself to keep trying new materials and techniques. I am pleased to have been given lots of artists to research and draw inspiration from, so this is where I will start.

• Look into printing – simple techniques such as monoprint that I can try at home and potentially joining a print workshop
• Location as reference
• Experiment with more minimal subject matter – less is more 😊 Make an image about colour and abstraction versus busy realism – try a cropped version of one of the fruit arrangements
• Artist research: Jessie Ford, Bill Plympton, Jonny Duddle, Arthur Rackham, Richard McGuire (in particular Peur du Noir)
• Keep an eye out for illustration used in retail
• Look at practitioners who utilise both realism and non-realism in order for this balance to give their illustration practice a unique voice
• Look at interviews with practitioners to gain insights in to creative approaches and the commissioning process
• Keep on challenging and exploring opposing ends of the realistic/unrealistic spectrum
• Keep experimenting with new materials and approaches and try print
• Continue to use reference and expand this to include unconventional subjects such as moving people (commuters) or objects not usually chosen (such as coal – Beatrix Potter would often paint mossy pebbles)

Continue to challenge your seasoned drawing and painting practice and explore opposing ends of the realistic / unrealistic spectrum. Keep experimenting with materials and approaches and see whether there is an opportunity to try new processes such as print – within the scope of what is possible. Continue to use reference as you are and expand this to include unconventional subjects such as moving people [commuters] or objects not usually chosen [such as coal – Beatrix Potter would often paint mossy pebbles!]. This investment is already starting to pay off and there is a wealth of potential here.

Benjamin Hall, Formative Feedback, 19/12/2018