The Author/Illustrator is a short text on the current
state of the illustrator written in the year 2000 and a forecast of the
identity of the Illustrator moving into the new Millennium. It is framed within
the context of a series of essays which echo a call to examine the role and
place of illustration within society.
Brodner highlights a period, the time of the essay, when
computer based graphic design was very much consuming the Illustration industry
with quick and cheap alternatives often based around 'Photoshopped collages'.
Brodner talks in the first person, the subject matter his own, being an
ex-teacher and now a journalistic illustration practitioner (he emphasises the importance of his practice
and his identity as an illustrator). He questions the adaptability of the illustrator
and states that he must, and has evolved, to survive in a highly competitive
environment.
He presents the premise that illustration is art but that
there are some distinguishing features which
characterise, and differentiate,
the identity of the illustrator. He goes further to compound that if an
illustrator is to retain their identity that they must on some level 'share the
mantel of the shaman'. He compares them to poets and composers and talks about embracing
your own identity as an illustrator. The key element here being the stories
that they tell and the illustrator identifying the narratives that truly drive
a 'passion' within them. It's this passion that could realise a style, and
polarise its importance, which would be there for all to see. |
| An illustration I'm currently evolving as nature leads the way. |
It seems that Brodner is arguing that illustrators need
to take responsibility for interpreting something of society and our age. That
they must on some level be contemporary and a interpreter of the current trends
and stories that exist in our time, or their own existence. He is saying that
an illustrator has a voice and should not merely function as someone who is
lead along a path. If this role leads to realisation and a style of
interpretation, and therefore some enlightenment, then all the better as this
results in a distinct identity.
His argument is based upon this embracing of the a newly
realised stance that illustrators could take control of their work by finding a
passion in their subject matter. In this way Art Directors will come to an
illustrator to tap this 'passion' for the given assignments rather than the
artist attempting to fit the required, and already heavily designed, brief.
What he proposes is that in the future the illustrator will have greater
control of the proposition and that the illustrator will be more exclusive.
Brodner mentions the inclusion of graphic design as a
part of illustration but does not go into details. More simple encourages
awareness of technique. The emphasis of the essay is no doubt on the role of
narrative and story though.
Through his essay Brodner seems to be calling for
independence of the illustrator. There is an underlying attempt at reassuring
the illustrator by saying that if you can remain true to what inspires you, you
will retain your identity in what would appear to be a coming storm. In fact
much of this seems to be founded in truth. With the expansion of the online
creative arena and growth of websites such as divantart.com and istock there is
far more opportunity to disengage the identity of the artist illustrator from
their work.
By returning to the beginning of the text we can reflect
on some of his motives. He starts by saying that he quit teaching because he
had lost sight of his identity as an illustrator and felt he could not explain
to his students why or even how to be an illustrator. During the time that the
essay was being written the field was changing rapidly and causing uncertainty
with the field's practitioners.
The article is one-sided though, because it is a call
from his own experiences and is not weighed against other illustrators
situation who have succeeded in the new emerging divergent fields of
illustration. Although he is talking from a place of eventual career success
and experience.
At the time there was a great fear that the discipline of
illustration was being outshone by new technology, as previously stated. It's
this identity crisis that he chooses to explore through his own experiences and
then tries to reiterate his own identity and a place where he himself has succeeded,
but also feels rewarded.
Brodner argues that 'self-generated projects' will lead
to independence and with the current environment of 2015 it seems like a
prophecy well foretold. Within a contemporary market we see independent
illustrators and artists emerging with their own brands and styles who are
utilising self publishing and websites that allow for their work to be branded
on to merchandise. There is an
increasing number of locations where illustrators are able to show their wares
and gain independence.
Is this a bad thing? Potentially, yes as the choice of
work is massive but how many of these illustrators follow Brodner's principles?
How self generated are the presented works and how close are they to their
passions? On what level do we see an emerging style within illustration that
has been sculpted by the demands of the market and how much pressure does the
market put upon these often young practitioners to produce work that mirrors
other work? It is difficult to tell at this stage what effect this has had on
the market but potentially Brodner's call for independence is well argued.
Ultimately Brodner is saying be true to yourself and
identify the illustrator within, a stance he himself has taken, in what he
perceives as an increasing competitive illustration sector. He quotes Ansel
Adams in the last paragraph; "When truth is the goal your work can not but
partake of truth." He sees this as the goal and reward, although this for
some will be unachievable as the goal for many is unknown. But it seems that
through this text Brodner has made his own journey and found his own truth.
Potentially his argument here in this essay could lead many illustrators to
success.
BRODNER, S. (2000) The
Author/Illustrator. In: Heller, S & Arisman, M. (eds). The Education of an Illustrator. New
York, USA: Allworth Press
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