Illustrators #44 (magazine review).

This 44^th issue of ‘Illustrators’ feels bigger than usual although it has the same page count. The usual page flick reveals a truly colourful edition and more than just looking at artists but more of that later. These shake-ups are always useful for reviewers because we can also indicate that if you want a step-in point to pick up a magazine then it should attract your attention.

Editor/writer Diego Cordoba hits running with an interview with Spanish artist Antonio Segura Donat (1983- ), commonly known by the name Dulk. He has a liking for animals but likes to give them character or make a statement with a touch of humour with them. However, beyond canvas, he is paid to do wall-size murals and even 3D sculptures. There’s a certain level of texturing and his interview highlights his approach to his work and employing a team.

William Hogarth (1697-1764) built up his portfolio of work starting as an engraver and because he knew how to make prints, his work survived when some of the originals were destroyed. Looking at his engraving technique, little space is left white which prevents potential warping of the print. You do have to admire his technique and I doubt if there’s anyone of his equal today. The fact that he could also paint and applied the same with his oils and having an active rather than passive painting clearly shows he wanted to captivate his audience.

How to feel old is reading Murugiah’s interview and him not being aware of the psychedelic colouring of the 1960s until much later in life when he was shown ‘The Yellow Submarine’ film. It will make you wonder on how we defined ‘psychedelic’. Is it thin lines with no shade or contrasting mostly secondary colours of pink, yellow and violet before the unusual designs. He must have a following considering the number of old film Mondo art posters he’s done shown here. It might not be my medium of choice but certainly the style lives on.

The juicy section is Diego Cordoba testing out AI graphic design with odd results. He gives a fair assessment of its limitations and copyright but clearly intelligence doesn’t really come into it for identifying what is needed. It also as an oriental look for the humans whose designers clearly haven’t considered what we look like on this side of the world. It also doesn’t know how many digits there are on a human hand, often giving 6 not 5. Quite how you can create algorithms that can draw creatively beats me. AI has a long way to go and it any of the art samples used accidentally had copyright plagiarism writs would stop it in its tracks.

Lastly, Yin Xin He is another artist who steps away from traditional art, even if it is recognisable what she’s done. Why is there a popularity for Alex from ‘A Clockwork Orange’? Her colour choices are a lot darker with a lot more surrealism.

There is always an argument that you need to react to art if you want to comment on it. A lot of my comment above is because I’m reacting. Interestingly, it also means you stop and stare a lot more at the art which is what the artist would rather than a quick glance. I do think Cordoba needs more articles like the AI one and have various artists discuss techniques  pros and cons.

GF Willmetts

August 2024

(pub: The Book Palace, 2021. 98 page illustrated squarebound magazine. Price: £20.00 (UK), $27.99 (US) via Bud Plant. ISBN: 978-1-913548-03-2. ISSN: 2052-6520)

check out website: www.bookpalace.com and www.illustratorsquarterly.com