Every sequential mark or blot or brushstroke carries a question in its wake: what next?
– Where is this picture going?
– Will it take an unexpected turn and lead you into a tangle of conflicting ideas?
– Will it stay close to shore and merely reaffirm familiar choices and ideas?
– Because a painting is a mix of technique and imagery, will it be some blend of both: the exciting and the predictable?
I think illustration is concerned with this final type of scenario. It may use unfamiliar methods and surreal combinations to get to a familiar conclusion or sentiment.
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| the smallest crag is worth a look |
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| Nothing here except a good view |
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| diving for pearls …or lunch! |
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| This picture started upside down with the tan area at the bottom and the blue-ish area suggesting a sky. Flipping the book 180º gave me a different perspective that reminded of Japanese or Chinese landscapes. © 2010 Rob Dunlavey ballpoint pen, latex paint in sketchbook 17" x 8.5" approx. |
For me it has also something in common with medieval drawings. Maybe it's because of simultaneous scenes? Could it be "viking like journey" of pointy people?
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