Before starting this course, I was excited for the opportunity to explore the sketchbook process further. I had kept sketchbooks before, but it was not an object I carried with me always and sketchbooking had never become an everyday activity for me. The idea of recording my observations, ideas, and even feelings, into a book as a constant companion was a desirable one and I was intrigued to learn about how other artists used their sketchbooks.
Exercises and research
The exercises in Part 1 helped me to understand the purpose of a sketchbook and the relationship I already had with the sketchbook process (and the relationship I wanted to have). It was useful to establish a starting point and consider the areas I wished to develop further. A key moment was setting myself some goals and sticking these into the front covers of each of my sketchbooks to keep referring to: “always carry your sketchbook”, “do not be precious”, “explore/play/experiment”, and “get something in there daily”.
Exercise 1.2 (Making mistakes) was also a highlight; I enjoyed the freedom that came with a time limit. It meant that I could not agonise over each mark, I had to simply capture what I could and deal with the result. Re-working sections of the images in their miniature sketchbook form (for 1.2 and 1.3) was new territory; I had never made my own sketchbook, so it was fun to try out different designs and alter them as I pleased. I know I will return to these methods for making little sketchbooks, as they force you to view the image in new ways and can inspire further experiments based on just one element.
Assignment
Throughout the assignment, I became more comfortable with my everyday sketchbook – I ‘settled’ into the process and was able to allow myself to work more freely and let ideas evolve. This was a significant step in the right direction, as I had always felt a little precious about any drawing I did; letting myself be messy, experiment with materials and not worry about reaching an end, or a final product, was refreshing.
How did your interpretation of ‘the everyday’ change as you have carried out the work for the assignment?
The main change in my interpretation was the realisation that, yes, the everyday is full of consistencies – people who we always see, routines that remain the same, objects we interact with (passively or actively) on a daily basis, and environments that stay as they are. However, the everyday is also a continuous journey through the changes that life brings. We tackle these changes – however small – in our everyday lives, scattered amongst the ’normal’ activities, like making a slice of toast for breakfast while debating a job opportunity. These might be changes we planned for, changes that arrive at an expected time, changes that are exciting, positive and joyful. But everyone also has to cope with unexpected change; within seconds, everyday can become a struggle. Something could appear from nowhere and alter the everyday we used to know forever. My exploration became focused on portraying a balancing act between these consistencies and changes.
Are there any aspects of the everyday that you think you would like to focus on in more depth in future assignments?
My theme for this assignment was very much motivated by personal experiences in the last six months, while attempting to tie these to an overarching concept that everyone could relate to in some way. For future assignments, I would like to observe other people’s everyday and explore the overlaps with my own. It intrigues me how we can pass hundreds of strangers in one day, who are all experiencing their own version of those 24 hours. It’s as if we are all inside a bubble, our vision distorted by our memories, beliefs, relationships and emotions; some people can remain distant and detached, some feel obligated to interact and care, some intrude when it might not be welcome. We are all fragile and can be affected greatly by those around us, yet most of the time we only observe the majority of fellow humans from a distance, with no intention of ever striking up a conversation. I am interested in seeing what goes on around me and contemplating the everyday from someone else’s point of view (something that is ultimately impossible, as it would always be warped by my own interpretation).
What will you take forward from your understanding of how other artists and illustrators use sketchbooks?
The main message that came across, through my research of various practitioners and how they use sketchbooks, was that each person has their own way of working – and each way of working is perfectly acceptable! It is important to allow yourself to work freely, let your individual style shine and to not be afraid to ‘make mistakes’ (if there is such a thing). The sketchbook process is a way of exploring ideas and experimenting without necessarily worrying about a final piece of work. Some artists and illustrators write down their thoughts as they work, while others only draw. Some are ‘messier’ and play around with looser marks and sketches; others have a neat, careful, contained way of working that seems more thought out and diligently presented. Some collect objects and paste images and word into their sketchbooks; others will use only one material throughout. Experiment. Any method is fine; this is the main thing I will take forward in my understanding.
Next steps
In conclusion, I am pleased with the progress I have made throughout Part 1 of this course. I feel that my relationship with my sketchbook has strengthened; I am no longer as daunted by the prospect of blank pages and can happily accept that my sketchbook is a space for exploration, not finished work. As I move forward in this course, I want to continue to experiment with ways of using my sketchbook, particularly observing the people around me, and using found objects to spark ideas.
Jade's OCA Learning Log 