Here at Illustrators Ireland towers we are very pleased to welcome new member Shirley Copperwhite. Shirley has worked in the fields of graphic design and illustration for over 20 years. Her work is colourful and playfully whimsical and she has a keen interest in surface pattern design. Here’s a small taster of her work. Check out Shirley’s Illustration Ireland portfolio and her personal website.

Three Illustrators Ireland members are featured in a beautiful set of videos, drawing scenes around Dublin.

Fuchsia Macaree illustrated a view of Dublin Port from Portview House in Ringsend Village.

Steve McCarthy illustrated a view of Grand Canal Dock from the Roof Lounge of the Marker Hotel

Steve Simpson illustrated a view of Old Dublin from the Gravity Bar at the Guinness Storehouse

And here’s the video – keep watching to see all three illustrators

Illustrators Ireland member, Matthew Griffin will be giving a presentation of his work to the second year Animation & Motion Design students this Thursday December 5th at 10am. It will take place in the Animation & Motion Design studio in George’s Quay (first floor). The good news is that you don’t have to be a second year student to attend, as everyone is welcome.

Check out Matthew’s work at www.matthewjgriffin.com and also his body of work under his moniker ‘Ignatius Fitzpatrick’ at www.ignatiusfitzpatrick.com

The interest I have in children’s books is matched by my desire to travel. When traveling, I always stop into the local bookshops, and spend time browsing and scouting for interestingly illustrated books. There are an awful lot of stunning books that never get translated into English. That will not prevent us from looking at this week’s choice, L’albero di Anne, a story of Anne Frank that is arresting in its restraint. The author is Iréne Cohen-Janca, and it was illustrated by Maurizio A. C Quarello. Quarello was born and educated in Turin and his work can be seen here. This version of L’albero di Anne was published in 2009 by Editions du Rouergue and was found in Rome. Though the text here is Italian, one does not need to know the language to understand the story. The pictures speak in a beautiful tongue! The backgrounds for the images appear to be roughly textured gesso grounds. Over this, Quarello works with graphite linework – sometimes very gently, sometimes aggressively, depending on the mood of the spread. Colour is used very prudently – and when used, tells another layer of the story. The story opens with a view of Amsterdam showing especially the autumnal chestnut trees. A later spread introduces the reader to Anne, a child in an open window holding out her hand to catch one of the leaves recently shed by the large chestnut tree that we see reflected in the windows. The little girl never goes to the courtyard to play where the tree is, and the tree wonders why she does not. The most harrowing (and yet touching) image is of Jewish people being imprisoned. One of the few English reviews online explains the story more adequately than I do - “Beneath the bark [of this chestnut tree] lie thousands of memories. But the strongest memory is of a little girl – Anne is her name. The tree could only just see her. Bent over writing, sometimes her gaze rested on the branches of the tree, sparkling with raindrops in autumn, lush and verdant in springtime. And then her smile, like a flash of light and hope, lit up those dark war years.” We come to understand that this tree, the chestnut, is Anne Franks’ only view of nature from the attic where she is hidden. The tree is visible day after day and tells her the seasons that she cannot enjoy, counts the years she is losing to imprisonment. She sees the blooming of the springtime enjoyed by the bees who are free. There is an account of the actual tree and its legacy here. This chestnut tree is mentioned three times in The Diary of Anne Frank. One day soldiers come with helmets and guns. The composition here, along with the division of media use is so expressive. The tree does not see Anne again. A translated version of the story reads “They say that underneath that tree’s bark, mould and parasites have settled along with the memories. And that the tree might not make it. But the most dangerous parasites are the moths of memory. The ones that would like to eat away the memory of Anne Frank, until it no longer exists.” But on the final page, we understand that there is hope.

The Chester Beatty Library in Dublin is holding a temporary exhibition called Costumes Parisiens.

The exhibition features over 100 prints from one of the leading magazines of the early 20th century – Journal des Dames et des Modes – ranging from 1912 to 1914.

Each issue of this limited edition publication is of very high quality and included 2 to 5 pochoir prints designed by some of the most renowned fashion illustrators of the day.

The fashion illustrators of the time knew how to capture the silhouette and vibrant colours of contemporary designs. They had grown up under the influence of Art Nouveau and, inspired by the Ballet Russes in 1909 and the Cubist exhibition at the Salon des Indépendants in 1911, helped to develop the decorative language that would become Art Deco. Many of the artists also produced clothing designs for notable couturiers as well as theatrical costumes and sets.

An exhibition well worth visiting for its curation, history and quality.

Costumes Parisiens running until 30 March 2014, free admission.

More info at the Chester Beatty Library website.

Varoom Magazine 23: AfterWords: Awards Issue spotlights a dramatic shift in our society and culture. In a world of Instagram, Tumblr, Facebook and YouTube our communication and interaction is shifting from words to images.

Angela Barrett’s atmospheric illustration for Pride and Prejudice, emphasising communication without words, graces the cover.

This issue reveals some of the best international award winning images you’ll see in 2013. Celebrating the Webbys, Angoulême Prix Revelation, V&A Illustration awards, the BAFTA short animation Winner, the Caldecott Medal winner and the AOI Illustration Awards – the world’s most comprehensive award for illustrators highlighting image-making in areas from Children’s Books to Knowledge and Research to Public Realm. All the winners discuss their artwork and the process behind it.

Varoom also talks to Jeremy Leslie about his new Visual Journalism book on magazines; Nick Sousanis reveals how he created his doctoral thesis as a Graphic Novel; Visual Editions Anna Gerber and Britt Iversen discuss howthey are publishing new kinds of reading experiences, “We call it visual writing”, and Lawrence Zeegen describes an eye-opening insight into illustration’s future with Christoph Niemann’s Petting Zoo app.

Varoom Magazine

To celebrate ten years of the ICAD online archive and launch the 2013 ICAD book, there will be a talk tomorrow night (Thursday 28th November) in the Morrison hotel featuring some of the most memorable bell-winning work of the last decade of ICAD Awards (2003-2013). Taking part in the event is Illustrators Ireland member and creator of the fantastic Mics Chilli branding, Steve Simpson.

Others speakers include

• Ger Roe, Publicis Dublin
• Mark Nutley and Pat Hamill, Irish International
• Adrian Fitz-Simon, Chemistry
• Oran Day and David Smith, Atelier David Smith
• Jason Hynes and Damien O’Donnell

Alchemy is free for 2013 ICAD members to attend and is open to non-members and students at €30 and €20 respectively, included in the price is a copy of the new ICAD book.

Please RSVP or book your place through the ICAD office or elaine@icad.ie. Places are limited.

Welcome to the darker days of winter. This Ex Libris is a little sparkling star to help brighten those darkest nights. The Nodland Express (1995, Macmillan Children’s Books) was written by Anna Clarke and illustrated by – wait for it – Martin Rowson. Strangely, The Nodland Express seems to be the only children’s book ever written by the author, Anna Clarke. Clarke (1919 – 2004) was better known for her sleuthing series of mysteries and other than a “fantastic” website left over from the Reagan administration, it is difficult to find information about her.

Rowson, on the other hand, is today a formidable character in the political and editorial cartooning world. His work is described as “visceral and deliberately offensive” and after viewing his recent works, one would be forgiven for not linking him to the likes of The Nodland Express – a children’s bedtime story.

The Nodland Express is a prime example of not judging a book by its cover. The cover, which shouts the title in epileptic fit inducing yellow on navy, does not highlight the treasures to be found inside! Skip past the cover and note the precious dedication illustration.

The story begins with Isaac and Maude’s lovely red-haired mother telling them “Goodnight . . . Off you go to the Land of Nod!” As Maude begins to wonder (as every child does) ‘where is the Land of Nod?’ and ‘how exactly do we get there?’, Isaac suggests that they go ‘by train’. So Maude buys the tickets (return of course) while Isaac finds out “which train to catch”. This is where we see the full glory and stunning wackiness of Rowson’s work. A huge green train awaits the children, but a closer look rewards the viewer with sightings of a wolf with a carpet bag of nightmares, a walrus in a top hat, a moose in a mackintosh and a sleepy porter with a trolley of pillows.

Noticing that they are in a car with the aforementioned wolf and moose as well as a cauldron-toting witch and a cigarette-smoking toad (ah the 1990s!), Maude begins to question if they are on the correct train at all. Tension mounts as the wolf asks the children to “look after” his bag, but he asks with such a toothy smile that Maude agrees.

Once they reach the border of the Land of Nod, the inspectors board to “check everyone’s luggage and passports and tickets”. One by one the creepy characters are removed from the train for various reasons. The wolf’s nightmare-filled bag is impounded, and the wolf is ordered “Off you get!”. The witch is caught with an invalid passport and her broomstick is impounded. Best of all though, is the toad who provides the inspector with “a rather chewed and dirty piece of paper” which turns out to be invalidated as “an Afternoon Snooze Ticket”. With all the hurdles to a good night’s sleep removed, the train then continues to Nodland.

Once the train arrives at the Nodland Grand Terminus, where the passengers can avail of the Tucking-up Office, the Glass of Water Office or the Bedtime Stories newsstand, Maude and Isaac disembark and are led to their room by a very familiar character.

Long and hard have I preached that pictures should not mirror the text of a story or what is the point? It is the marriage of text with imaginative pictures, telling more, less or something slightly different than the text that makes a strong work. Clarke and Rowson here have a beautiful alliance! Clarke’s story is rich and entertaining and not a bit childish. She writes about nightmarish characters, causing wonder but not fear, and her language is clear without being dumbed down for the reader.

Rowson then adds his own fabulous, colourful and yes, wacky pictures. There are brilliant little details to discover – elephants carrying loads of teddies and bedtime stories while sinking into a pink mattress covered ground, an emergency toothbrush and toothpaste, and a beaver with her ‘Nod State Railways’ cocoa and her twig snack. Note also in the background, the walrus reading the paper in which all the headlines read “ZZZZzzzzz”.

For whatever reason, this book never seemed to get the attention I feel it deserves. It has not been reprinted, and used copies are very affordable. But seeing Rowson’s work in a different format, for a different audience is such a treat! Who else would even think to put a hippo in a luggage rack, or a policeman in a pink onesie or a wolf in spats? Well done Mr. Rowson.

And here for your viewing pleasure, is the gorgeous, beautiful, imaginative and wonderful work from October from some of our Illustrators Ireland members.

If you’re interested in the art of sign painting, old school sign painting done with real paint and real brushes, then get yourself down to The Sugar Club on the 5th of December for the first Dublin screening of the movie Sign Painters presented by Toejam. You can buy tickets here – https://signpaintermoviedublin.eventbrite.com/

Here’s the official word on the movie:

There was a time, as recently as the 1980s, when storefronts, murals, banners, barn signs, billboards, and even street signs were all hand-lettered with brush and paint. But, like many skilled trades, the sign industry has been overrun by the techno-fueled promise of quicker and cheaper.

In 2010 filmmakers Faythe Levine and Sam Macon travelled the United States, documenting the remaining practitioners of this near lost art, but also covering a resurgence of interest in the trade, from both the public and the people holding the purse strings.

Sign Painters, the first anecdotal history of the craft, features the stories of more than two dozen sign painters working in cities throughout the United States. The documentary and book profiles sign painters young and old, from the new vanguard working solo to collaborative shops such as San Francisco’s New Bohemia Signs and New York’s Colossal Media’s Sky High Murals.

The movie has been screening all over the US, Europe, Asia and Australia, from small book stores to film festivals, receiving great acclaim all around and we at Toejam are delighted to be hosting the first Dublin screening on Thursday 5th December at The Sugar Club.

SIGN PAINTERS (OFFICIAL TRAILER) from samuel j macon on Vimeo.