Having had a tutorial with Ameila, I was suggested to study Edward Ardizzone’s use of visual language to address my next step into developing larger editions of my latest page plans to consider colour strategy planning and clearer imagery.
Looking at Ardizzone’s work I can see how the quality of line draws out the definition of the imagery. A mix of broken line for detail is used and solid line is used for the important framework of the scene with the boy’s body being the most concentrated on and therefore results in a powerful tool for the audiences attention to follow Ardizzone’s direction.
The materials would be a dip pen and ink according to Amelia who really recommended this tool to my explorations and the distinctive wash of watercolour.
I can see how the texture of crosshatching is also very alluring to the work of the image. This creates a contrast to the relaxed surrounding features of the line work and draws us in with this new and surprising energy.
I can also see how a rich tone of colour is also used to draw attention to the main features of the work being the people. This attention to the character is also intended for how I visualise the approach to my own work. Ardizzone’s tools of magnetising the eyes to the people is something I desire to experiment with very soon.