A memory warehouse… a means of detachment… the perfect place to document daydreams.
From sources of inspiration to process, this collection offers a rare glimpse of how 42 of the world’s most exciting illustrators, artists and designers think and create. Alongside each visual entry is a short essay by its owner, detailing his or her relationship with keeping a sketchbook.
Spanish book cover designer Pep Carrió sees his notebook as a kind of creative R&D lab:
For me, a sketchbook is like a kind of a portable laboratory, a space to mark with references, to capture the immediate, to experiment; a memory warehouse to which I can return whenever I am searching for an idea or when I simply want to remember an instant, a time in the past.
Legendary British designer Peter Saville, best-known for his iconic Joy Division album covers, sees his notebooks as an oasis for conversing with the self amidst an overwhelming landscape of other people’s creative problems:
I started keeping sketchbooks in my mid-teens so they were mainly pop culture oriented. It was the early 1970s and the first concert I went to was David Bowie supporting Blind Faith, and he was as much about image as bout music. My interests became focused through pop, and the relationship between music and imagery.
In the 1980s, as a graphic designer, I was dealing with the visual problems of others alongside my own interests. My drawings showed the visual problem I had to solve, whereas my notes were predominantly discussions with myself.
Within the sphere of communication design and graphic design, we do not have a professional vehicle for our own thoughts and proposals. The job involves finding solutions to other people’s problems rather than solutions to our own. one of my greatest problems for the last 20 years has been what to do with my own ideas, my notebooks.
I have kept sketchbooks continuously since I was 18. I think there are around 23 so far. My sketchbooks are mostly paint, ink, paper and concepts that need working out.
Spanish illustrator Pablo Amargo offers his system of managing creativity:
I like to work on two sketchbooks at the same time. One is for work, with lots of little drawings, ideas for postcards and books. The second one is for pleasure, with collages, my thoughts, people I admire, quotes from books, news and film reviews, that sort of thing. … My sketchbooks are not a removed, strange or chaotic place; they’re actually quite ordered and are a natural extension of my published work.
Soho-based Parisian illustrator Serge Bloch shares his poetic relationship with newspapers:
I like drawing for newspapers. I like newsprint. I like the grey of the text, the black of the titles, the elegance of the compositions. A page of newspaper is like a wall or a gallery where hundreds of thousands of people can visit, without being prevented by shyness from entering the gallery. You can be on a train, in bed or on a sunny bench. But that exhibit is ephemeral because, the following day, there is nothing left, just a piece of paper to dry your boots with or peel vegetables on.
Celebrated artist and graphic design educator Ed Fella uses his sketchbooks as both escapism and reservoir for combinatorial creativity:
For me these books are a means of detachment. They are a discharge, a continuation of form studies based on my 30 years of work as a professional illustrator and graphic designer. They are mostly non-objective or ‘deconstructed’ form drawings, decorative and embellished with techniques I learned in my commercial art illustration practice. They reference a history (late nineteenth to mid-twentieth century) that was before my time, but one that I find rich in possibilities for reworking.
Everything I have experienced goes into my sketchbooks, the things I have seen, eaten, heard, felt, and, perhaps most importantly, they are the perfect place to document my strange daydreams.
You can learn a technique like drawing and try to perfect it by practicing and practicing. In these sketchbooks, there’s evidence of artists spending a lot of time getting their drawings to look a certain way. Sam Bosma’s sketches of the same character over and over are a great example. His pages show a refinement in each rendering of the same subject. But there is definitely a spontaneity in much of the work in these sketchbooks. One of my favorite examples is Christian DeFilippo’s balloon page. It seems like he just threw a handful of balloons on the paper and taped them down flat. The result is an amazing colorful and sculptural page, an experiment which couldn’t have been created from practice.
Each of these artists have such different styles and ways of working, but one of the things that they all seemed to do is observational drawing from life. While much of Anders Nilsen’s sketchbook was filled with comics and imagery from his own head, you’d turn a page and see a realistic sketch of a person who was sitting in front of him. It seems like being able to capture the world around you is an important skill to each of these artists whether or not their non-sketchbook work reflects that. Being able to recreate the world around them, must help artists to be able to create their own worlds.