My original research question was:
How can I challenge and explore the digital-analogue binary
within contemporary illustration, with illustration as method?
within contemporary illustration, with illustration as method?
This question was supported by two sub-questions:
1. To what extent can working in dialogue with illustrated works by Richard “Dickie” Doyle lead to insights into experience of process and product, through translating these into contemporary illustration?
and
2. How can the concepts of “domestication” and “foreignization” be applied to illustration, to examine and challenge the analogue/digital binary?
and
2. How can the concepts of “domestication” and “foreignization” be applied to illustration, to examine and challenge the analogue/digital binary?
Doyle is described as “ one of [England’s] most celebrated illustrators of fairy tales” (Doyle et al., 2018, pp. 450-451), and what you find online is especially his narrative works published in the book NAME (1871??). LITTLE TIDBIT. ... Venuti’s concepts of domestication and foreignization1 were here applied to visual translation.
The aim of the project was to document and explore how these different adaptations and materials “speak”, in relation to the artist, audience and one another, through this process of adaptation from the “true”, pre-digital analogue, into contemporary illustration.
But as I began the research, I realised that although my original goal still served as the backdrop for my work, my interest was mainly peaked in the direction of my sub-questions, particularly due to my time constraints, ultimatley reframing my project into:
Throughout the process, I decided on three main forms of documentation: imagery, video and audio. This ethnographic data, alongside artefact analysis, is what helped my theoretical analysis of the project.
My first attempt was a Blender greasepencil rendition of Doyle’s “Poor Little Birdie Teased” (I am here referencing the image descriptions from the book), with ... dubious results? I had picked up and played around with Blender about every 6 months, throughout my BA, but I had never attempted grease pencil, and although it was fun and interesting, it was also a frustrating process filled with mistakes and countless hours of YouTube tutorials. In the end, this approach was abandoned as the equation of results versus skillbuilding became too timeconsuming.
... in what Laera2 described as “X”
... the artist’s repetoire as defined by Loh et al.3
1. Venuti, Lawrence. (2018). The Translator’s Invisibility.
2.
3.