Illustration - Volume 19 - 2022

Forthcoming Issue 71 contents In this issue we have an exciting mix of old and new, tradition and innovation, with some detailed essays by practising illustrators. David Lupton will be explaining his vivid, fantastical work, with some examples of his designs for books by Ursula Le Guin, and Jenny Portlock will take us into the world of her lyrical wood-engravings. And we'll open and close with another contrast: Catherine Golden writes in detail about George McAusland's new illustrations for Christina Rossetti's Goblin Market, and Mark Bryant completes the issue with an account of Alfred Leete, a little remembered artist who designed the forbidding poster for Kitchener's, ‘Your Country Needs You.’ There will be changes too, including a new series on resources for the study of illustration to go with the usual reviews and news.

In Illustration 72 we have an international flavour. Jim O’Brien immerses us in the magical worlds of the Japanese designer, Satoshi Kitamura, whose bright, colourful and uplifting imagery for children is both humorous and surprising. Equally fantastic is the work of the highly acclaimed Spanish illustrator, Ana Juan. Ana explains her unsettling world in a detailed interview, and we’ll learn about how she visualized two of the weirdest Victorian texts – Le Fanu’s Carmilla and Henry James’s The Turn of the Screw. We also consider some illustrators who are relatively unknown in the United Kingdom. Wilfried Onzea introduces the work of the twentieth century German artist, Siegfried Kaden, who illustrated Thomas Mann, and Brian McAvera writes about the Swiss social realist, Théophile-Alexandre Steinlen. We conclude these foreign adventures with a return home to the prosaic streets of late Victorian London and its hidden monsters; Simon Cooke explains how illustrators approached Stevenson’s Dr Jekyll and Mr Hyde. All of this, plus the usual blend of news, reviews and details of exhibitions.

In Illustration issue 73 we’ll be looking at a range of artists, both contemporary and from the past. Ruth Prickett will be exploring the art of Clive Hicks-Jenkins. Difficult to categorize, this illustrator is a fascinating example of a colourist who takes us into a dream-world that is simultaneously lyrical and strange. In complete contrast is the dynamic work of Glyn Boyd Harte; Ian Archie Beck shares his personal reflections on this vibrant and bohemian designer. We change gear completely when we come to the etchings of Hablôt Knight Browne, best known by his pseudonym “Phiz” and famous as Dickens’s prime illustrator. Professor Philip Allingham examines a lesser known aspect of his work as an artist of equestrian subjects who had a wonderful understanding of horses’ moods and movements. Still in the nineteenth century, Brian McAvera continues his illuminating series on illustrators who are less familiar in the U.K., this time focusing on Adolphe Léon Willette, another French caricaturist with a dislike for injustice. And we also have sections on some great new talents – among them the illustrator of childhood, Amy Hunter – along with the usual news, reviews, and events.

In Illustration 74 we’ll be looking at a goodly mix of artists and designers. Joe Whitlock Blundell explores the enchanting illustrations of Charles van Sandwyk, who interpreted a number of children’s classics such as The Wind in the Willows and Alice’s Adventures in Wonderland. Equally intriguing is the work of Jonathan Gibbs, an illustrator, among many other subjects, of Peaky Blinders. Jonny explains his work as a wood-engraver with a dramatic vision. We have a variety of other artists as well. Jenny Portlock introduces us to Kouki Tsuritani, a Japanese illustrator by turns droll and dream-like, child-like and surreal and we take an unusual detour with Dr Jim O’Brien, who outlines the art of Frank Patterson – an illustrator of bicycling, touring, and landscapes. In complete contrast is the Editor’s report on a little-known designer, Joan Zara Jacobs. Jacobs was an accomplished artist of book-covers, and in this issue of Illustration we get the opportunity to study her life and work. In addition, we have the usual reports, with Kimberley Hall talking about her illustrations along with reviews, and details of current events and exhibitions.


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