Ada Augustyniak: In Phrases of Books

Ada Augustyniak gained the Drawing Award in Jackson’s Artwork Prize this yr together with her work Reminiscence of a Forest. On this interview the Kraków-based artist discusses her distinctive bleed-through drawing method, the distinction between her picturebooks and sketchbooks, and the slowly blurring distinction between them.

Above picture: Ada within the studio.

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Josephine: May you inform us about your inventive background?

Ada: I’ve been drawing and portray since childhood; I simply by no means stopped. Each youngster attracts, however most of them finally give up. I didn’t give up. I didn’t even take lengthy breaks all through my life, so I don’t actually know what it means not to attract. I keep in mind drawing with my mum once I was little – we used to attract portraits of one another (even once I couldn’t actually draw a face). For me, it was an incredible strategy to join together with her. Since then, it’s been vital for me to attract with different folks. I nonetheless take pleasure in drawing along with my mom, my companion, my buddies, and even strangers. These treasured moments additionally taught me that the method of drawing and the complete expertise are extra vital than the ultimate consequence.

I studied philosophy as a substitute of artwork and used to remorse this for a number of years till I realised that philosophy taught me issues I might apply to my artwork, which I most likely wouldn’t have realized in artwork college.

For years, I didn’t know which discipline of artwork to pursue. I used to color with acrylics, take analog images, draw quite a bit in sketchbooks, and create some illustrations, however I didn’t know what to do with all of it. In 2011, I found picturebooks, and it was a breakthrough. I discovered a strategy to join drawing with philosophy and found what was most vital to me in creating artwork – narrative. Since then, I’ve been specializing in studying visible storytelling. I realise that I largely suppose when it comes to books, usually in a collection of pictures moderately than particular person ones. Within the picturebook world, we, picturebook makers, often don’t see the photographs within the books as merely “illustrations” of the textual content, even when we name ourselves “illustrators.” I like that picturebooks are gaining an increasing number of recognition worldwide as an artwork type, not simply one thing infantile or made solely for youngsters.

Creating picturebooks additionally fulfils my childhood goals; I’ve at all times cherished studying books and admiring good illustrations, usually greater than the textual content. I keep in mind taking a look at pictures in books and dreaming of making books myself.

 

 

Josephine: What does a typical working day within the studio appear like for you? Do you may have any vital routines or rituals?

Ada: I don’t have a “typical” day as a result of I work part-time as a Mandarin Chinese language language trainer at Jagiellonian College in Kraków, Poland. On the times once I’m not educating, I attempt to spend as a lot time drawing as attainable.

I don’t have a studio; I work in a rented one-room condominium or at my household’s summer time home, the place I’ve more room and often extra time to attract once I’m there.

I do have rituals, although: I drink a number of inexperienced tea, typically hearken to podcasts, or draw and paint along with my companion, who can also be an artist and a trainer on the identical college. Meditating and practising yoga helps me concentrate on my work higher, particularly when there are a number of distractions from different points of my life.

 

 

I’ve discovered that one of the simplest ways for me to work is to dive utterly right into a challenge (often a picturebook) for an prolonged interval, alone. That is solely attainable throughout the summer time or winter trip. Working part-time on the college permits me to have pretty lengthy holidays, and on the identical time, it prevents burnout as an artist: I’ve a fundamental revenue and don’t have to fret an excessive amount of about commissions, permitting me to concentrate on what I actually wish to create.

When I’ve the chance to focus utterly on a challenge, it stays with me on a regular basis, even throughout sleep or meals. Typically I get up in the course of the night time to take some notes. These moments really feel very treasured.

 

 

Josephine: Which supplies or instruments might you not reside with out?

Ada: In terms of colored pencils and markers, I exploit a selected vary of colors, often not the first ones. I like stormy gray and lavender blue shades, in addition to very gentle and really darkish leaf greens. I purchase no matter markers I can get, however my favourites are Winsor & Newton’s Promarkers (I like their Storm Blue, Cornflower, Slate, and Meadow Inexperienced colors) and Propic markers by the Polish model Renesans.

As for colored pencils, I’m extra explicit: I largely use Polychromos by Faber-Castell (I at all times want a provide of Darkish Indigo and Sky Blue), Luminance by Caran d’Ache (largely their gentle colors), and numerous Derwent pencils for particular shades.

 

 

I attract sketchbooks to create a visible narrative, utilizing marker bleed-through as a key ingredient. That’s why I solely use sketchbooks with 120 gsm paper – it permits me to regulate the bleeding impact as I need. It’s not simply the thickness of the paper that issues, but additionally its smoothness. The smoother the paper, the extra it blurs the markers, however I like how textured paper enhances the bleed-through impact. When the paper isn’t as easy, the “strokes” of the feel change into extra seen on the again, virtually like blood seeping by means of a bandage.

Not too long ago, I’ve began portray with watercolours. My favorite paper is Arches (sadly, it accommodates gelatine, so I’m searching for an alternate), and Roman Szmal watercolour pans, that are produced in Kraków, the place I reside. I used to be thrilled to search out them accessible at Jackson’s! Their granulating colors are distinctive, particularly Misty Morning and Aquarius Inexperienced. I extremely suggest them.

The color I can’t reside with out is mint inexperienced. I exploit it in each drawing and portray, even when it’s not simply seen. I’m addicted to purchasing each colored pencil on this color that I can discover.

I take pleasure in attempting new methods and difficult myself with major colors, however once I work on my ultimate drawings, I at all times return to my favourites.

 

 

Josephine: Do you often draw or preserve a sketchbook? If that’s the case, how does this inform your work?

Ada: Aside from picturebooks, sketchbooks are my major discipline of labor, and the excellence between the 2 has been blurring. I think about most of my sketchbooks to be picturebooks or artwork books in their very own proper. I exploit marker bleed-through to create a story – the bled-through reflection turns into a part of the following picture, shaping the next drawing.

This course of could be very addictive. Even when I attempt to preserve a easy, day by day sketchbook, a story at all times emerges, and I can’t management it! I often begin a brand new sketchbook with the intention of not turning it into an artwork e book, only a area for observe and preparation for one thing larger. Typically it really works, however different instances it turns into one more artwork e book.

I might like to preserve extra sketchbooks for all times drawings and never fear in regards to the outcomes or the narrative. I keep in mind illustrator Sydney Smith saying at his workshops in Bologna that day by day sketches from life are vital as a result of the behavior of fast sketching enhances the spontaneity of mark-making in our ultimate drawings. It’s an ongoing problem for me to keep up the liveliness of my fast life sketches in my major work.

For each picturebook challenge, I at all times have at the least one devoted sketchbook (or extra, if wanted). These are crammed with sketches, notes, and analysis.

I at the moment have seven sketchbooks in progress, every serving a unique function, and several other dozen accomplished ones.

 

 

Josephine: Have you ever ever had a interval of stagnation in creativity? If that’s the case, what helped you overcome it?

Ada: I believe I’ve by no means skilled a interval of stagnation or full burnout, most likely as a result of artwork has by no means been my solely work. Nonetheless, I do undergo durations of self-doubt and questioning the worth of my work. When these moments come up, I nonetheless draw and create narratives in my thoughts, however I battle to search out the motivation to submit my work to publishers or competitions. Drawing, portray, and storytelling are important for my well-being – I can’t reside with out them.

Even once I injured my proper elbow in 2017 and couldn’t draw with my dominant hand for a very long time, I began drawing with my left hand, which turned out to be a really liberating expertise. Throughout that point, I additionally created a picturebook utilizing collage. I realised then that nothing might cease me – even when I had been to lose my eyesight, I might most likely begin writing books solely with phrases.

 

 

Josephine: Are there any particular artists or mentors who’ve impressed you?

Ada: It’s very troublesome to record just some; I’ve many typical, virtually “standard” inspirations like Edward Hopper, however I made a decision to say some much less apparent ones and restrict myself to classes.

I believe picturebooks from my childhood had a terrific impression on me, particularly the work of Polish illustrator Janusz Grabiański. I significantly admire the liveliness of his watercolours.

Throughout my teenage years and into my twenties, I used to be deeply considering images, which tremendously influenced me and is seen in my work, significantly in how I understand gentle and framing.

When it comes to visible narrative, Shaun Tan is one in every of my favorite artists. I love his world-building abilities and his strategy to creating picturebooks.

Illustrator Sydney Smith has been a serious affect on me, significantly when it comes to liveliness and spontaneity.

Amongst historic grasp painters, I tremendously admire Vilhelm Hammershøi for his capacity to convey feelings.

Not too long ago, I’ve additionally been impressed by the best way Japanese watercolorist Toshiyuki Abe captures gentle.

Lastly, I wish to point out Iwona Chmielewska and Joanna Concejo, two fantastic Polish picturebook creators who’ve been my mentors and lecturers. Their ongoing help and distinctive visible language have at all times been extremely motivating for me.

 

 

Josephine: How did it really feel to grasp you had gained the Drawing award?

Ada: I couldn’t consider it. I had secretly hoped to make the longlist and was utterly stunned to get that far. Making the shortlist was a shock, and successful the award was past something I anticipated. However I felt extremely grateful and honoured, and it has been very motivating. Awards are a major increase, particularly for these of us who not often work within the business world and infrequently battle to consider that the work we’re doing is sensible not just for a number of folks.

I’m accustomed to taking part in illustration and picturebook competitions, however this was the primary time I entered an “artwork” competitors. I believe it displays the expansion of my confidence. I don’t consider in boundaries between totally different artwork varieties, and I wished to broaden the viewers for my work. One of many causes I participated in Jackson’s Artwork Prize was the chance to write down an artist’s assertion and clarify how I join philosophy with visible language. My enjoyment of writing about my work possible stems from my background in philosophy. I even have a number of textual content on my web site.

Another excuse for taking part was that one of many jury members was Joey Yu, an illustrator I love.

 

 

Josephine: The judges cherished the distinctive strategy of this drawing – turning over the paper to the marks which have bled by means of to the again. What impressed this method, and do you utilize it in your different work?

Ada: I’ve been utilizing this method for a very long time, particularly in my picturebook tasks. I first considered it once I began utilizing markers in my day by day visible diaries in 2008 and instantly cherished the bled-through picture. Nonetheless, I didn’t consciously use it at the start – I simply loved how the reflection corresponded to the next drawing within the sketchbook. The primary time I used it deliberately was in 2018 once I couldn’t draw with my proper hand, and I made a decision to create a complete picturebook (Waves) utilizing solely the bled-through pictures from one in every of my outdated sketchbooks. The e book hasn’t been revealed but, but it surely was chosen for the Unpublished Picturebook Showcase, an vital competitors within the picturebook world. Since then, I’ve been studying to regulate the bleeding by utilizing particular paper and markers at totally different levels of freshness. Typically I exploit solely the bled-through reflection, typically each pictures, however virtually at all times, my objective is to create a story, as I did in my new accordion e book Expensive Mountain, which has additionally been chosen for a number of competitions.

 

 

Josephine: Your award successful piece is known as Reminiscence of a Forest. Do you’re employed from reminiscence or has it been noticed from life?

Ada: Reminiscence of a Forest is definitely a picture from one in every of my sketchbook-artbooks. For such detailed drawings, I often work from my very own images, which I take particularly for this function. I edit the images in Photoshop first, attempting to make them match my thought. I usually add folks to an image, take away sure components, and regulate colors or framing. Then, I sketch the composition in my sketchbook and add markers. I flip the web page each jiffy to examine the bleeding. Typically I end the drawing with colored pencils, so the primary picture differs considerably from the bled-through reflection, as colored pencils don’t bleed by means of. I strive to not copy the {photograph}, it simply helps me to start out drawing what I need.

I not often draw from reminiscence, and once I do, it’s not with this degree of element. The title comes from my background in philosophy: I often attempt to discover a visible methodology to convey philosophical concepts and even to create visible concepts that stand on their very own. I believe the bleeding greatest conveys the concept of reminiscence: it’s blurred and overexposed, and you may’t see the small print, however the extra you look, the extra you see–the mind begins to fill within the blanks. I’m at all times amazed at how this works.

I strive to attract from life as a lot as I can, however primarily to practise and keep linked to the world round me.

 

 

Josephine: What’s developing subsequent for you?

Ada: I’m at the moment engaged on a e book cowl illustration as a substitute of my new picturebook, however I hope to return to it within the autumn. I’m additionally going to have a solo exhibition in Kraków in November, and I’m very excited! I’ll be showcasing one in every of my artbooks. I really feel extremely motivated and impressed! I can also’t wait to color extra with watercolours within the close to future.

Comply with Ada on Instagram

Go to Ada’s web site

 

 

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