Reportage Illustration: Visual Journalism

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I think the understanding is pretty universal, and a really nice by-product of drawing outside is to have conversations with people about that.I think it's very heartening actually. Choosing a title. This helps you to remain focused on the story you are trying to tell. A title can help a project take shape and inform your decisions about what and what not to include. You can use a working title to start with, it’s not set in stone, you can change it later if you want.

This is where text can be really useful and important, I 've spoken a lot about how powerful drawing is, but it is much more ambiguous than writing. You can use writing to anchor the meaning or the politics of what you are drawing, so that combination of writing drawing and text can be very important. The reason for drawing is not to try and capture battle scenes or explosions, it’s really just an excuse to sit with people and in a completely disarming way listen to them tell their story,” he says.L.R – Have your portfolio show a body of reportage work covering different sorts of places and scenes. Be aware of how reportage-style illustration is being used in advertising, design and the media. Of course, there are many British artists who identify as reportage artists or whose work fits within the definition from Stanley Spencer who served as an official war artist between 1940-45 to Norman Cornish with his insight into miners’ working and naïve artists like Beryl Cook whose comical works showed people enjoying themselves in pubs, shopping, on hen nights etc But you are really transparent about what you are doing so that's really credible isn't it, as long as you are being completely transparent.

And it can also encompasses Urban Sketching as both may involve sketching from life and on location. The urban sketching movement was started by Gabriel Campanario, a Seattle-based journalist who works for The Seattle Times as a writer and an artist. On his Urban Sketchers blog he invited other artists to contribute regular journalistic sketches showing life as it unfolds. The beauty of reportage is it doesn’t need to be an earth-shattering story. You can find a story in the everyday – or even in a life of crime as I read in The Guardian/ Observer this weekend, ‘ Caught on canvas: how an armed robber turned his life of crime into art’. As resident artist at iconic music venue, the Half Moon Putney, I use reportage journalism to tell a specific story documenting the creative energy of performing live. My artworks record a particular moment in time by hand, just as a photo journalist would use a camera to record them. http://www.houseofillustration.org.uk/whats-on/current-future-events/in-conversation-with-lucinda-rogers Regardless of medium, there are some aspects of his work that just scream James Jean. The loose, gestural quality of his figures is one such feature that appears in both his illustrative and fine artworks. V&A Lecture: Reportage Illustration. Following the publication of Reportage Illustration: Visual Journalism, Gary Embury and Mario Minichiello will be discussing reportage drawing at the V&A

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At the talk you stressed the importance of maintaining your own projects, why do you think this is important?

Capote uses sophisticated language, imagery and a deep dive into the complex emotions and relationships surrounding the case, presenting it through the eyes of the murders, victims and community members. Fig. 2 - Public domain: https://commons.wikimedia.org/wiki/File:Atomic_cloud_over_Hiroshima_-_NARA_542192_-_Edit.jpg Reportage illustration is a type of visual journalism. Reportage illustrators sketch on location to tell a specific story. The illustrator conveys a narrative and reports a specific moment in time to the audience, much like a journalist. The central premise of reportage illustration is storytelling. What are some of the biggest challenges you have faced in your career in the last 12 months and how have you overcome them?Lucinda Rogers joins House of Illustration to discuss the practice of reportage (drawing on location directly from life) and how she uses documentary drawing as a critical medium for debate to explore the theme of a changing London. Gary Embury: As a former senior designer at The Times why don't you think there is as much commissioning going on in terms of reportage drawing? British illustrator Paul Hogarth is widely thought of as the father of modern reportage illustration, after he and his colleagues were sent overseas after WWII to record various news items of interest. Linda Kitson, the first officially commissioned female war artist to be embedded with troops, captured the Falklands War in 1982. She is also known for her documentation of the behind-the-scenes life at the newspaper The Times and her series of drawings to celebrate the 50th anniversary of the BBC.

People like to tell their story and at the very least it’s a distraction from a difficult life in a refugee camp or a break from the monotony of work. But people think it’s odd, and they ask lots of questions. I sometimes get accused of being a spy… Most of the illustrators are dead – people like Paul Hogarth and Ronald Searle. Some of the stuff Grayson Perry has done is powerful; he uses his image and art as a platform. In the month we mark World Refugee Day, I would like to talk about reportage drawing – a type of visual journalism. Reportage drawing is drawing on location, intending to capture an observed subject. It resonates hugely with me as a former journalist and broadcast news pr for nearly 20 years, before I retrained as a portrait artist in 2010. Gary Embury: Do you think images can instigate change on their own or specifically the drawn made image? We are looking for Artists to be a part of Reflections 25.4.16, an innovative new cross-media storytelling project, focusing on Nepal in the year since the April 2015 earthquake. We have personal interviews from individuals in Nepal, just waiting for artists to bring their stories to life.In a world where our social interactions and experiences of the world increasingly take place online, drawing is increasingly significant as it takes you out into the street and into political places and relationships with who we are drawing. I think that is something we need to bare in mind and be critically aware that there is always the danger of being voyeuristic. I would avoid any prescriptions to say you can draw this but you can't draw that, it's just something to be critically aware of. The drawing formula is a brilliant one for news and we used it extensively before we became obsessed with cameras,” he says. Literary reportage often overlaps with other forms of creative non-fiction in the sense that these types also narrate factual events using fictional storytelling techniques and devices. Biography