How have abstract art movements of the past influenced visual communication in contemporary illustration practices? Discuss. This essay evaluates the relationship between contemporary illustration practices and abstract art movements, ranging from Impressionism to Abstract Expressionism. In looking at the work of artists such as Cézanne, Picasso and Jackson Pollock we may identify conceptual and visual traits of the movements they championed in the practices of working illustrators. The extent of this relationship, however, can be seen as limited due to these practices differing contexts and functions. This evaluation of these two practices side by side is just as much a discussion of their differences and similarities, as well as an exploration of new forms of visual communication emerging in contemporary illustration. There is a similarity to be drawn between the roots of abstract art and contemporary illustration practices. In response to the invention of the camera and increasing use of photography in the place of the image, artists and illustrators alike evolved new ways of communicating with their audience. Impressionist painting provided a ‘different way of seeing’ (Gagnon, L. 2012); characterized by its ‘visible brush strokes’ (Gagnon, L. 2012), depiction of light and ‘realistic scenes of modern life’ (Gagnon, L. 2012) it has been seen as a ‘precursor’ (Gagnon, L. 2012) to later abstract art movements. Similarly, as Impressionism evolved out of the challenge posed by the invention of the camera, to provide ‘a new medium with which to capture reality’ (Gagnon, L. 2012), illustrators needed to find something that differed their work from the photography being used increasingly in publications and magazines. This led to more conceptual illustrations that aimed ‘to convey the ‘texture’ of a topic or idea rather than, like photography, present just the ‘veneer’ or ‘surface of the subject’ (Male. 2007). It is debatable, however, whether this link between the two practices is only a similarity rather than to be seen as an influence. In order to evaluate the influence of abstract art on contemporary illustration we must identify direct impact on the discipline or specific practitioners. According to Male, we may see direct influence between abstract art movements and conceptual illustration arguing ‘the biggest influence of conceptual illustration: surrealism’ (Male. 2007). Male exemplifies the surrealist painter René Magritte to have had an influence on contemporary illustration. This is further supported by other theorists, such as Poyner and Sookes, who draw links between the work of Magritte and illustrative practices, primarily in the context of advertising. Sookes states that ‘René Magritte learnt his craft in advertising’ (Sookes, 2011) and in turn ‘had a powerful influence’ (Sookes, 2011). Poyner agrees, although begrudgingly, stating that illustrators took to ‘appropriating his subject matter and method’ (Poyner, 2011) but in this imitation made ‘a great artist look hackneyed’ (Poyner, 2011). This argument may be supported by the continual use of visual metaphor and symbolism to communicate complex subjects in contemporary illustration.
Emily Chaffer
ec256366
OUIL501
The illustrations of David Lemm (figure 1) for example, use symbolism in inspiration of ‘maps/diagrams’ (Mathias, 2015). He states in reference to his work that this form of image making explores the concept of ‘knowledge communication’ (Mathias. 2015), linking to theories of semiotics. The use of symbolism in these illustrations being highly abstracted and simplified, Pierce and Saussure would argue them to be 'unmotivated' (Crow, 2016) and therefore, in similar argument of Lemm, ‘rely exclusively on the reader’s having learned the connection between the sign and its meaning’ (Crow, 2016). Therefore one could argue that the use of symbolism and visual metaphor has become a central device of visual communication in illustration and design. In comparing the work of past artists such as Cezanne, Picasso and Matisse with the practices of illustrators working today, we may also identify similarities that evidence the influence of movements such as Cubism and Fauvism on practical methods of image making in contemporary illustration. One of these similarities may be the reduction and simplification of natural forms in the making of an image. Cézanne is identified to be one of the first artists of his time to reduce ‘objects to their basic shapes’ (Gagnon, L. 2012), believing that he could simplify all ‘natural forms into cylinders, spheres and cones’ (Gagnon, L. 2012). This work is said to have inspired the Cubist movement in which ‘objects are broken up, analysed and re-assembled in an abstracted form’ (Gagnon, L. 2012) so the subject may be understood ‘from a multitude of viewpoints’ (Gagnon, L. 2012) and exist ‘in a single picture plane’ (Gagnon, L. 2012). A similar method of constructing images may be seen in the work of illustrators such as Christopher Niemann. Niemann’s work, alike to Post-Impressionist and Cubist artists, consists of simplifying natural forms; abstraction, for him, being ‘this idea of getting rid of everything that is not essential to making a point’ (Abstraction: The Art of Design. 2017). Matisse, himself, made similar comments talking of ‘abstraction and the absolute, saying he wanted to distil each image down to its bare essence’ (Spurling. 2014), interestingly stating that this work ‘would speak to the future’ (Spurling. 2014). According to McCloud illustrators and designers have adapted this process of simplification and reduction because it helps us to ‘focus our attention on an idea (McCloud. 2001), making the communication of a concept much more immediate and direct. McCloud further argues that ‘by stripping down an image to its essential ‘meaning’, an artist can amplify that meaning in a way that realistic art can’t’ (McCloud. 2001). One could argue, therefore, that the process of simplification and abstraction of subject matter has become a device for visual communication in contemporary illustration. Anna Kovecses is an example of these practices of simplification and reduction being used in contemporary illustration. As seen in this image (figure 2), alike to the work of Picasso or Matisse the subject is inspired by natural, and here also manmade, forms that remain recognizable to the audience. The key elements of the image (figure 2) are reduced to their simplest form, defined by block colour, capturing the essence of this
Emily Chaffer
ec256366
OUIL501
composition. Similarly to Cubist paintings, the lack of tonal difference in colour also leaves the illustration to be read on a single plane. This image (figure 2) is a part of a series of editorial illustrations Kovecses did for the BBC, therefore demonstrating how this form of abstraction has been adapted to provide immediate and direct communication for a mass audience. Art collective Atelier Bingo have made direct reference to artists of movements such as Cubism, Fauvism and Abstract Expressionism to have had influence on their work. They primarily state the cutouts of Matisse as a ‘big inspiration for us –his colours, compositions and shapes’ (Khemsurov. 2015), also referring to work of others such as Picasso and Robert Motherwell. In analysis of this image (figure 3), it is possible to identify such influence in the use of strong colour, simplification and abstraction of forms. Alike to Matisse (Spurling. 2014), they also speak of seeking a harmony of elements and composition (Khemsurov. 2015). In this evidence, we can therefore conclude a direct influence of abstract artists on the practitioners of contemporary illustration. The relation between abstract art movements and contemporary illustration may also be seen in both practices similar use of colour. We can draw similarities between the illustration (figure 2) by Anna Kovecses in her use of colour to define forms and the work of past masters such as Cezanne or Matisse. Looking more specifically into movements such as Fauvism, described to have used the ‘raw language of colour’ (Gagnon, L. 2012), it is also arguable that illustration uses similar ‘strong colour’ (Gagnon, L. 2012), which alike to the fauves does always appear representational in accordance with its subject. This theme of a non-representational relationship between colour and subject evolved throughout abstract art. Artists such as Mondrian, in the search of pure abstraction and his own theory of Neo-Plasticism, diminished the forms of his paintings to perpendicular lines. This was due to his understanding of their being an evident relationship between colour and form in the aid of communication; ‘if you made yellow into a circle immediately people start making associations with the sun…so he decides the only way forward is to paint in areas of perpendicular relationships’ (White. 2014). It is arguable that this process of diminishing the relationship between colour and form is in conflict with devices of visual communication in contemporary illustration. This relationship lends itself to abstract illustration as it allows designers to simplify figurative aspects of their work, relying upon the symbolism of colour to communicate the images content. The work of illustrator and designer Nicolas burrow’s, in his book ‘How it is…’ (figure 4) may be used to exemplify this – the content focusing upon nature, he uses colours that will reflect this subject symbolically such as blues, oranges, yellows and greens. Therefore there is both similarity and contrast in the methods through which abstract artists of the past and contemporary illustrators use colour to communicate or abstract subject matter.
Emily Chaffer
ec256366
OUIL501
In evaluating the similarities between abstract art and contemporary illustration, it is essential to consider the difference in function and context of these two practices. Abstract art was to be viewed in galleries and collectors’ homes, valued on both its visual and conceptual success, but could remain ambiguous or interpretative to its audience. Illustration, in contrast, is defined by its ability to communicate to an audience and solve design problems. As in the argument of Male, ‘illustration practice is not judged purely by visual literacy and technical qualities, but is a discipline that is firmly established as one that engenders the best intellectual engagement with subject matter, problem solving and visual communication’ (Male. 2007). This contrast, between the two practices, becomes particularly evident when evaluating the relationship between art movements such as Abstract Expressionism and contemporary illustration. According to Gagnon, Abstract Expressionists were ‘working towards an ‘objectless state’’ (Gagnon, L. 2012) that could ‘transcend ‘every-day’ experience’ (Gagnon, L. 2012). Artists such as Jackson Pollock ‘realized that the journey toward making a work of art was as important as the work of art itself’ (Gagnon, L. 2012), and focused upon ‘the expressionist gesture and act of painting’ (Gagnon, L. 2012). It is debatable whether this lack of formal elements and aim of pure abstraction may be present or even functional in illustrative practices, as surely this form of image making diminishes the opportunity for effective visual communication. In dispute of this argument, there is some evidence of similar image making methods to that of Abstract Expressionist painters being used in illustrative practices; which may exemplify the development of more visceral and emotional forms of communication in contemporary design. The work of Atelier Bingo, for example, demonstrates a focus on the use of composition, colour and expressive mark making. It also remains nonrepresentational, often lacking a sense of subject matter and using geometric or highly simplified forms. One could also draw similarities between their emphasis on process – using screen-printing to build up layers and colours – and the painting techniques of Jackson Pollock – both focusing on an immersion in process and an unpredictability of the final result. Although, in this evaluation, it is important to consider the context of Atelier Bingo’s work, being paper products, murals and textiles. Their work lends itself to the practice of pure abstraction, alike to Abstract Expressionists, because its function is not to communicate but to visually please. Therefore, although this may evidence a practical link with Abstract Expressionism, it does not demonstrate an influence on visual communication in contemporary illustration. In dispute of this the work of Keith Negley provides evidence of a direct influence of Abstract Expressionism on visual communication in contemporary illustration. In this editorial illustration (figure 5) we may draw links between
Emily Chaffer
ec256366
OUIL501
the painterly and textural quality of non-representational shapes and the action painting of Jackson Pollock. As with Abstract Expressionist art, the visual quality of this illustration aims to communicate a feeling to the audience, provoking an emotional response. It is vital to consider, however, that this method of visual communication is working in combination with figurative aspects of the image to put across its complex message. Combining these two contrasting practices, of representation and pure abstraction, provides an innovative form of communication that both presents an idea and represents an emotional response. This evidences an influence, although in combination with more traditional forms of illustrations, of Abstract Expressionism on visual communication in contemporary design. Inspired by the work of illustrators evidenced in this essay, such as David Lemm and Keith Negley. The practical response to this essay explores theories of semiotics and abstract art movements, with the aim of investigating how illustrators may use abstraction in a functional and meaningful way. Initial visual responses deconstructed processes of image making and communication in relation to colour theory and semiotics. The process of changing the colour in and around identical shapes, emphasized the importance of colour in relation to form and how this affects visual communication. This is in contrast of the work of Mondrian or Matisse, who seeked to diminish this relationship to produce more abstract or ambiguous imagery (White. 2014). An evaluation of gender forms, in relation to the semiotic theories of Pierce, Barthes and Saussure (Crow. 2016), was intended to debate which signs may be innately understood and those that are based upon learned ‘rules and conventions’ (Crow. 2016). This revealed that unless a sign or symbol is based upon absolute truth and physical form – or as according to Pierce and Saussure ‘highly motivated’ (Crow. 2016), it is unlikely to be innately understood by an audience. The practical investigation then progressed into a more specific investigation of the influence of abstraction on visual communication. This led to an exploration of the subject of a vase of flowers, taking this through different processes of simplification and abstraction, inspired by the theories of movements such as Impressionism, Fauvism and Cubism. The concluding illustrations aimed to mimic the visual qualities of purer forms of abstraction, achieved in art movements such Neo-plasticism and Abstract expressionism. The use of mono-printing provided a similar process to the action painting of Jackson Pollock (Gagnon, L. 2012), mimicking it in its unpredictability and the act of making solely determining the final result. This series of prints debates the relationship between the work of Abstract Expressionists, that aimed to give a ‘portrayal of psychological states of being’ (Gagnon, L. 2012) and practices of contemporary illustration. Illustration defined by its ability to solve design problems and communicate ideas (Male. 2007), it is debatable how far an illustration may be abstracted before its function and purpose is diminished.
Emily Chaffer
ec256366
OUIL501
In the argument of Male ‘Surrealism, Abstract Expressionism and Cubism have provided illustrators with immeasurable influence regarding the nature of imagery, exemplified by the expressive application of color and form that marries elements of realism and abstraction’ (Male. 2007). To some extent, one must agree with this statement. As evidenced in this essay, there is direct influence of abstract art movements on a range of different contemporary illustration practices. Visual devices of symbolism, visual metaphor and the simplification of forms have been adapted by illustrators to communicate complex ideas and provide direct immediate communication. There is a limit, however, in how far illustration may be influenced by the work of abstract artists. This is caused by the contrast between these two practices, in terms of their differing contexts and function. As we move towards the era of pure abstraction, seen in the work of art movements such as Abstract Expressionism, the influence of these practices on contemporary illustration weakens. Illustration defined by its ability to solve design problems and communicate ideas, its function is diminished when an audience is not able to understand or interpret its subject. As stated by Gagnon, ‘Abstraction exists along a continuum’ (Gagnon, L. 2012) and due to this we may find practices of abstract art conflicting with, rather than working in, the discipline of illustration. Practitioners such as Keith Negley, however, in combining contrasting methods of image making, his illustrations provide both a representational emotional response to his subject matter. In this he pushes the boundaries of what may be understood of visual communication in contemporary illustration and demonstrates how taking influence from different forms of art practice can lead to original thought. 2712 Words Bibliography Male, A (2007). Illustration, A theoretical and contextual perspective . Switzerland : AVA Publishing . p54-70. Gagnon, L (2012). An introduction to abstract art and history. Delhi: The English Press. Michael White. (2014) Piet Mondrian. Available: http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art. Last accessed 29/01/17. McCloud, Scott. (2001).Chapter 2. Understanding Comics. William Morrow Paperbacks. Crow, D (2016). Visible Sign: An introduction to semiotics in the visual arts. London, NY: Bloomsbury publishing Plc.
Emily Chaffer
ec256366
OUIL501
Mathias. (2015). Navigating the World through graphic abstraction : David Lemm. Available: https://intoshallowdepths.com/2015/08/05/navigating-theworld-through-graphic-abstraction-david-lemm/. Last accessed 19/04/17. Khemsurov, M. (2015). French Illustration Duo Atelier Bingo. Available: http://www.sightunseen.com/2015/03/french-illustration-duo-atelier-bingo/. Last accessed 19/04/17. Spurling, H. (2014). Henri Matisse : drawing with scissors. Available: https://www.theguardian.com/artanddesign/2014/mar/29/henri-matissecutouts-tate-modern-drawing-scissors. Last accessed 19/04/17. Abstraction : The Art of Design, Episode 1, Christoph Niemann : Illustration. 2017. Netflix. Harrison Levy, A. (2015). Henri Matisse: The Lost Interview Available: http://designobserver.com/feature/henri-matisse-the-lost-interview/38738. Last Accessed 19/04/17 Poyner, R. (2011). Man in a Bowler : Illustration after Margritte Available: http://designobserver.com/feature/man-in-a-bowler-illustration-aftermagritte/31638. Last Accessed 19/04/17. Sooke, A. (2011) RenĂŠ Magritte: The artist who turned the world on its head Available: http://www.telegraph.co.uk/culture/art/art-features/8582472/ReneMagritte-The-artist-who-turned-the-world-on-its-head.html Last Accessed 19/04/17
Figure 1
Emily Chaffer
ec256366
OUIL501
Figure 2
Figure 3
Figure 4
Emily Chaffer
ec256366
OUIL501
Figure 5
Emily Chaffer
ec256366
OUIL501