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Title : Book review: Reportage Illustration by Embury and Minichiello
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Book review: Reportage Illustration by Embury and Minichiello

[Book review by James Hobbs] What are you drawing, and why? Reportage drawing is “event-based”, the authors of Reportage Illustration, Gary Embury and Mario Minichiello, explain, “meaning that it is an art applied to things of significance happening in the world”, with the artist acting as a “particular kind of visual journalist, capturing the dynamics of unfolding events through their artwork”. Its focus is on working on location and standing around with drawing materials to get the story, whether it is found at musical events, war zones, political demonstrations, film shoots, courtrooms, and whether it is carefully planned and budgeted or simply spontaneous.

Audrey Hawkins, Washington Square Arch with Protestors, 2015

There’s a hands-on approach to their book: its seven chapters all include interviews with artists and case studies with insights into work processes, and sometimes include exercises and tips. There are chapters on the origins of reportage drawing and the influence of the war artist, the materials, media and methods that are employed, and the development of a visual language. Other chapters focus on location, capturing a sense of place, and narrative.

The final chapter, Becoming a Visual Journalist, offers practical advice on the nitty-gritty of becoming a professional, such as creating a portfolio, finding work, arranging interviews, and ethical aspects. A conclusion looks at the future of reportage with an interview with Martin Harrison, a former senior art director for the London Times and a champion of reportage drawing.

Olivier Kugler's multi-layered, digitally coloured visual essays reflect one way that new technology is having an impact on reportage. Left: Tahrir Square, Cairo, 2012, and right, Ahmed, Domiz Refugee Camp, 2014

The authors, Embury, who is a lecturer at the University of the West of England, Bristol, and editor of Reportager, which showcases and supports reportage illustration projects, and Minichiello, a professor at the School of Design Communication at Newcastle University, Australia, who has worked for the BBC and the Guardian, have, unsurprisingly, pulled together a great bunch of artists to feature in the book. Some, including Veronica Lawlor (whose work features on the book’s cover) and Melanie Reim, will already be familiar to urban sketchers, as may the likes of George Butler, Lucinda Rogers, Jedidiah Dore and Olivier Kugler (above). The book reflects the way new technology is playing a part in the revival of interest in reportage through new ways of production, recording and distribution. Tim Vyner, for instance, used an iPad when working as the Times’s Olympic artist in 2012.

The artist and activist Jill Gibbon is interviewed about her series of works drawn undercover at arms fairs

The book is excellent in encouraging readers to continue to experiment and explore, even when they may have found their own hard-won visual language. Different situations call for different approaches, and the ability to improvise, perhaps by using whatever paper or mediums are at hand, can lead to new directions and ways of working. Embury and Minichiello are both experienced reportage illustrators and educators, and the artists whose work they feature in the book through revealing interviews and case studies are drawn from a broad "bandwidth" of drawing techniques and methods that implore readers to find our own approaches.

Rachel Gannon, Luton Airport, from a month-long residence at the UK airport, and Dan Zalkus, Rooftop,  showing New York's skyline

Butler tells the story of how the late artist Ronald Searle once wrote him a letter, which ended: “A pen and pencil and paper is nothing if you have nothing to say. Otherwise do pretty watercolours and forget it.” This is a book that challenges us to confront what we are saying in our work and how we are saying it, and perhaps change the way we approach what we are doing. It's about getting out and drawing with a more critical and exploring eye. As the authors say: “Allow your visual language to find you. Make mistakes and learn from them, but try not to beautify your drawings or erase for the sake of aesthetics. You are on location to capture information, it is primary research you are after.”

It’s well worth bearing in mind that the work of USk’s founder Gabi Campanario regularly appears in the Seattle Times: Urban Sketchers all started with reportage.

Reportage Illustration: Visual Journalism by Gary Embury and Mario Minichiello is published by Bloomsbury Visual Arts (ISBN: 9781474224598).

Opinions expressed by our correspondents and guest contributors don't necessarily represent an official view of Urban Sketchers.

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