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Varoom Lab 4 ISSN 2052-1820 VaroomLab Journal 4 Visionaries 1 VaroomLab Editorial Jo Davies How can illustration be defined? Specifically its evolution as a How Professionals Think in Action Illustration is a noun and a verb. It heightened cultural force legiti- (1983) who suggests, “when we is a constantly evolving concept mised the emergence of Varoom- reject the traditional view of profes- evidenced in an ever- expanding Lab from the Association of Illustra- sional knowledge, recognising that range of practices and influenced tors in 2011. Over the course of the practitioners may become reflective by a broad context of changing ide- past 5 years of conferences, and 10 researchers in situations of uncertain- ologies, forms of production, eco- years of Varoom publications this ty, instability, uniqueness, and con- nomic and cultural trends. For many project has contributed to a cultural flict, we have recast the relationship people it is a profession. shift by providing an arena for re- between research and practice.” search in an area under-represent- To understand the parameters of ed in the field of art and design. It VaroomLab has provided an in- the definition parallels can be drawn has begun to address a lack of clear tense period of discovery, discourse Jo Davies from Penny Sparke’s eloquent connection between the creative and dissemination witnessed in reflections on the shifting territory activity evidenced in real world sce- the activity of illustrators employ- Academic input coordinator for VaroomLab occupied by design. She posits in An narios and the intellectual life of its ing methodologies that have lo- Journal and Editor-in-Chief of VaroomLab- Journal. She is Associate Professor in Illustra- introduction to Design and Culture counterparts, a gap that meant the cated such reflective practice at tion at Plymouth University, and Programme that its transition in status is borne subject was hitherto poorly under- the nucleus of their own industry. Leader at the University College Mann. She is from a series of global crisis leading stood, and undervalued. Participants have been practitioners co-author of Becoming A Successful Illustrator, Making Great Illustration and Understanding to design becoming, “a facilitator identifying eclectic questions and Illustration, all published by Bloomsbury and for innovation, creation and change This research in illustration is sit- diverse issues emerging from their continues to practice as an illustrator. across a range of contexts - com- uated within models of practice own work, focused within the con- mercial, social and cultural”. This is based research described by Donald texts of interpretation, boundaries, resonant for illustration. Schön in The Reflective Practitioner: place, and the notion of visionaries. 2 Jo Davies VaroomLab Editorial Those who have joined forces in have included processes of film, continue to situate research within time to operate this field. Building a generating discourse have brought image-making, animation, curation, the professional domain. framework for inquiry to interrogate relativism, pragmatism and contex- interview and case studies investi- and inform practice, acknowledging tualization firmly to the table of this gating and analysing complex ideas, VaroomLab has been a creative hub the distinct knowledge of the illus- professional activity. The resultant philosophies and histories. for both academics and practition- trator as maker and the confluence papers and conferences are a tribu- ers. Given the incumbency on those of reflection and doing. tary from healthy stream of activity, Some may criticise and contest in education to offer provision that internationally, that has seen around that research in illustration is an reflects agenda including profession- VaroomLab has been visionary in 150 abstracts considered for inclu- exercise in academic indulgence, alism, sustainability and employabil- these regards. It seems appropriate sion and publication by represent- removed from the reality of briefs ity it is vital that the evolving nature to end optimistically with Christo- ative academics from the Varoom- and working in real world commer- and transient cultural position of il- pher Frayling, “Once we get used Lab partners internationally. cial contexts. Certainly the intel- lustration continues to be examined. to the idea that we don’t need to lectual and academic approaches Opportunities for research must be be scared of ‘research’ - or in some Given the relative infancy of the to the subject that have tested the embraced to enhance learning and way protected from it - the debate research area Varoomlab partners boundaries of intellectual rigour teaching and strengthen the devel- can really begin.”(Research in Art and contributors have been vi- and the practical relevance to illus- opment and advancement of un- and Design, 1993) sionary in these pioneering inves- tration as a profession deserves fu- derstanding and knowledge around tigations, concurrently posing and ture consideration. VaroomLab has communication and expression that answering an ontological question begun to demonstrate the dynamic is evidenced in the curriculum. – What can research in illustration relationship between research and be? This fundamental questioning practice and the feasibility of this Much of the research territory of of assumptions about research has as a professional ambition and the illustration is unchartered making documented methodologies that hope is for ongoing activities to this an opportune but challenging 3 Contents 5 Keynote Speeches 56 Presentations 118 A new breed: How should we champion the mavericks and pioneers of the illustration industry? 6 Paul Slater 57 Paradise Lost: Documenting Birmingham’s Central Alice Moloney Library 9 Graham Elliott Gareth Proskourine-Barnett 124 Self-Reflexivity and Contemporary Illustrated Stephanie Black Children's Books 68 Immaterial Boundary (Film) Aidan Winterburn Rachel Gannon and Darryl Clifton 16 Peer Reviewed Papers 73 Illustrator as Detective: Discovery through Drawing 17 Myths of the near Future: Ballard, Crusoe and Google Chloe Regan 132 Further Information Matthew Richardson 85 ‘The in-betweener’ 25 Illustration; Education; Revolution Jo Berry Richard Miles 101 Performing in a do-It-yourself nudie suit 40 Visualising Spaces: The Illustrated Map as a mode of Christian Lloyd communicating Fact, Fiction and Feeling. 106 Off her hostess-trolley: Telling it a different way Andy Davies Jo Hassall 4 Keynote Speeches 5 Paul Slater Illustrator and artist, Paul Slater, always considered myself a dope, discussed the approach to his sur- but I do all my paintings in a day”. real and humourous image making Slater made a good start to the and his key interests, showing and day, grounding the visionary in the telling stories around the narratives creations of the working illustrator, and production of his illustration all with amusing anecdotes and and personal paintings. He has a pertinent insights. constant drive to keep producing work: “As soon as I stop doing com- centralillustration.com/illustrators/ missions, I start painting”. Paul-Slater He covered his sketchbook art- work, emphasising their difference from commissioned images, “When you’re doing finished work, it’s nice to then do rough drawings”, and talked about the way he paints, saying he rarely works from life (“I love drawing from my head – a fanciful thing”), but works fast: “I’ve 6 Keynote speech Paul Slater Figure 1: Paul Slater, Washing Machine Figure 2: Paul Slater, Camp site cavalcade 7 Keynote speech Paul Slater Figure 3: Paul Slater, Postmodern Figure 4: Paul Slater, Spot the ball boys 8 Graham Elliott written by Stephanie Black After successfully completing pilot Currently, with his New York com- training with the RAF, Graham pany Fovea Films, he is directing Elliott decided his career lay in art and producing commercials, music rather than in the air. videos and documentaries. He has been teaching motion graphics He graduated with an Illustration and music video classes, at the masters, from the Royal College of School of Visual Arts, New York, for Art and went on to design some of the last 10 years. His sketchbooks the first motion graphics for MTV. are included in Sketchbooks of the He illustrated for many publica- World’s Great Graphic Designers by tions notably The New York Times Steven Heller. and The Sunday Times magazine. Designing record sleeves for rock His feature documentary New York Interview with Graham Elliott band Living Colour, which went in Motion was selected for over a platinum, he also directed their dozen film festivals worldwide. He Dr. Stephanie Black [email protected], Glamour Boys music video and is working on a new film, World in www.stephanieblack.co.uk produced the stage design for the Motion, exploring the influence of tour with the Rolling Stones. He cultural background on creative has worked as a creative director at expression. Elliott was keynote Saatchi and Saatchi, directed com- speaker at the International Motion mercials for Coca-Cola and music Festival, Cyprus in 2012 and 2015. videos for Puffy, in Tokyo, as well as projects in twenty plus countries. 9 Keynote speech Graham Elliott The following article is a report on an interview to be playful, thus thwarting his ambitions for conducted with Graham Elliott in response to the course to be fun: “we just let rip, it was his keynote speech at the Varoomlab sympo- about being at art school… when else are you sium in Birmingham. The conversation was going to do this?!” Whereas the institution semi-structured and wide-ranging, taking in favoured a serious approach to the business of Elliott’s current documentary project World in studying and repaying its cost. Elliott acknowl- Motion, a drinking competition with Japanese edges that “you come out with $150,000 of printmakers, and formative experiences. Our debt from the school that I was teaching in, conversation for this article revealed Elliott to and that’s a massive thing to have over you. be a generous interviewee with many en- So you gravitate towards having to get a job”. tertaining anecdotes, some of which will be But his advice is to work almost counterintu- repeated here.
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