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source:
Pirelli 2018 calendar: shot by Tim Walker | British GQ | British GQ (gq-magazine.co.uk)

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The Hare and the Tortoise, 1970
Linocut
43 x 57cm
https://www.sworder.co.uk/auction/lot/2-edward-bawden-ra-1903-1989the-hare-and-the-tortoise/?lot=163107&au=673&sd=1

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The Daw in Borrowed Feathers (MG. 087)
Linocut printed in colours, 1970, on wove, 403 x 555mm
source:
https://www.bonhams.com/auctions/22572/lot/38/

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'Tyger! Tyger! burning bright in the forests of the night...'
linocut
23.5 x 65cm
https://www.sworder.co.uk/auction/lot/1-edward-bawden-ra-1903-1989/?lot=390609&au=940&sd=1

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Aesop's Fables: Frog, Mouse and Kite
Linocut
40.5 x 56cm
https://www.sworder.co.uk/auction/lot/3-edward-bawden-ra-1903-1989aesops-fables-frog/?lot=161787&au=673&sd=1

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Aesop's Fables: The Gnat and the Lion
linocut printed in colours, 1970
42.5 x 56cm
https://www.sworder.co.uk/auction/lot/1-edward-bawden-ra-1903-1989/?lot=380464&au=910&sd=1

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Brighton Pier
Linocut
1958
https://www.jacksonsart.com/blog/2016/02/29/current-events-9/

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Audley End House
Linocut
1973
71 x 81cm
source:
https://www.sworder.co.uk/auction/lot/1-edward-bawden-ra-1903-1989audley-end-houselinocut/?lot=182873&au=708&sd=1

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sources:
https://www.mometrix.com/academy/myth-legend-and-tall-tale/
https://en.wikipedia.org/wiki/Aesop%27s_Fables
https://www.vblfcollection.org.uk/edward-bawden-1903-1989-aesops-fables-hares-foxes-and-eagle/
https://www.radnorshire-fine-arts.co.uk/product/edward-bawden-aesops-fables-old-crab-young/

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Some of Bawden's most famous prints are a series of illustrations of tales from Aesop's fables. Fables and fairy tales are strongly associated, and the specific definitions are not set in stone. Fables tend to, but not always, depict animals, and give a moral lesson at the end whereas a fairy tale may be more focused on entertainment. Both have close cultural ties, and may have been passed down through generations and changed over time.
Aesop's Fables are a collection of fables attributed to the slave and storyteller Aesop who is believed to have lived in Ancient Greece. They have certainly changed over time as they have been written and re-recorded. They are mostly short tales where the main characters are animals given human traits and used to tell some kind of social or religious moral message.
This kind of personification of animals is also present in fairy tales, where animals may be able to talk with no explanation why given in the story, the reader is just expected to understand - a by-product of talking animals being ingrained into many many generations of stories through things like fables that we read from a young age.

Bawden's depictions of the animals from these fables are uniquely styled. Compared to other illustrations that feature realistic animals in naturalistic backgrounds, Bawden's prints are comparatively simple, but very effective, being highly stylised. They also feature a lot of repeating elements. Bawden would have, for example, one kind of arrangement of shapes to make up a tortoise's shell and then every tortoise would be have that same pattern. His consistency of style and the manner in which he breaks down the shapes within the animal (somewhat reminding me of abstract painters such as Picasso's break down of a human face) I think are key to how successful his prints are.

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source:
https://discover.goldmarkart.com/edward-bawden/

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A defining feature of Bawden's work is his strong use of line, particularly in his prints - detail is provided by many thin stripes and curves, while bolder thicker lines build up larger shapes. They stand out as very modern, and appealed to his commercial clients. Bawden's prints of buildings, such as 'Brighton Pier' and 'Audley End House', are very architectural and structured, showcasing the unique features of the buildings well. These two prints and many others also showcase how he used colour as an important compositional element to break up the print into sections.

I particularly enjoy his prints for how they utilise the medium, he makes careful decisions to leave large areas blocked in with black or conversely to carve away until there are only thin lines left. The graphical feel that they have is very striking and eye catching.
Relief prints are able to produce very solid sections of bold colour (or pure black), and overlap these sections to build upon an image. In Bawden's 'Hare and the Tortoise' for example bits of green show through from underneath all of the animals, tying the print as a whole together.

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sources:
https://en.wikipedia.org/wiki/Edward_Bawden
https://www.ukaa.com/guides/edward-bawden-120

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Edward Bawden was an English painter, printmaker and designer. He studied first at the Cambridge School of Art, then at the Royal College of Art School of Design.

Bawden primarily made commissioned work for a variety of commercial purposes, including murals, tile designs for the London Underground, furniture designs and illustrations (including lino prints). He also spent several years during WW2 as an official war artist, travelling Europe and the Middle East.

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(b.1903, d.1989)

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'East of the Sun and West of the Moon' by Nywn
source:
https://www.artworkarchive.com/profile/nywn/artwork/east-of-the-sun-and-west-of-the-moon

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'And then she lay on a little green patch in the midst of the gloomy thick wood' illustration by Kay Nielsen
source:
https://upload.wikimedia.org/wikipedia/commons/c/c7/Illustration_by_Kay_Nielsen_2.jpg

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'The North Wind goes over the sea' illustration by Kay Nielsen
source:
https://en.wikipedia.org/wiki/East_of_the_Sun_and_West_of_the_Moon#/media/File:Illustration_by_Kay_Nielsen_4.jpg

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Illustration by Hilde Kramer.
I like how much space the bear takes up in this image, it really places an emphasis on him along with the tonal choices - the darkest grey in the water below is directly next to the pure white of the bear for a strong contrast which draws the eye. However I don't think the girl has as much presence here as she could, she somewhat blends into the background, though I do like her pose, it makes her seem relaxed and inquisitive.

source:
http://hildekramerenglish.blogspot.com/2010/07/east-of-sun-west-of-moon.html

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- The girl riding away on the white bear
- The candle at night dripping tallow
- The three golden objects- apple, carding-comb, spinning wheel
- The four Winds
- The castle
- The girl and the troll princess speaking through the window
- The trial of washing away the tallow
- The trolls exploding

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- The prince/white bear
- The youngest daughter
- Her family
- Three old women
- East Wind
- West Wind
- South Wind
- North Wind
- Troll stepmother
- Troll stepdaughter
- The other trolls

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Characters turning into animals as part of a curse is a common feature in many fairy tales, as is requiring some kind of maiden to break the curse. I like that in this story they are not married as part of the bargain, and the girl takes it upon herself to go and find the prince once she discovers the truth, giving her more agency and building her character. She also always replies 'no' when asked if she's scared when riding on the bear/winds. I also enjoyed the trip itself, it's both quite funny that nobody seems to have any more information than the last and builds up the mystique of the castle she's trying to get to.
The trolls and humans (called 'Christians' in the story) being at odds are a common feature in Norwegian tales also, trolls being a key creature in their folklore and fairy tales.
I particularly like the idea of this castle being 'east of the Sun and west of the Moon', and being nearly impossible to get to. It paints it as a very magical and mysterious place, and while reading I was always imagining what it could be like in a place like that.

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sources:
https://en.wikipedia.org/wiki/East_of_the_Sun_and_West_of_the_Moon
https://folklorethursday.com/folktales/6576/

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Version of the story taken from fairytalez.com (https://fairytalez.com/east-sun-west-moon-2/)
Written by Peter Christen Asbjørnsen and Jørgen Engebretsen Moe

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sources:
https://fairytalez.com/east-sun-west-moon-2/
https://en.wikipedia.org/wiki/East_of_the_Sun_and_West_of_the_Moon

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East of the Sun and West of the Moon is a Norwegian fairy tale collected by Peter Christen Asbjørnsen and Jørgen Moe.

In this story the youngest daughter of a poor man marries a white bear in return for her family becoming rich. The girl is taken to a magical castle where she lives alone by day and is joined at night by the bear, who takes a human form though she never sees him. She becomes lonely and despite the bear's warning, speaks to her mother who tells her to light a candle at night to see his face. She does so but spills melted tallow on him and wakes him; he reveals he has been cursed by his stepmother and was almost free, but now he must go back to the castle east of the Sun and west of the Moon, to marry a troll princess.
The prince leaves, but the girl wishes to marry him and follows, though she must first find the castle east of the Sun and west of the Moon. She meets three old women along the way, from whom she receives an enchanted golden object each, then the East, West and South Winds, the last of whom takes her to their brother the North Wind. The North Wind is just strong enough to take her to the castle, where she speaks to the troll princess through the window, giving a golden item each night in exchange for seeing the prince. The troll princess drugs the prince each night however so they are unable to speak, until the third night when some trapped humans in the next room warn him. They agree on a trial only the girl can achieve - washing the tallow from his shirt. The troll princess tries and is unsuccessful, so the girl tries and is able to. The trolls are so enraged they explode, leaving the prince and the girl to marry and live in the castle east of the Sun and west of the Moon in peace.

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One of Reiniger's silhouette puppets
source:
http://www.lotte-movie.com/about-lotte

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source: http://www.playingbythebook.net/2010/10/25/an-interview-with-jan-pienkowski/

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Pienkowski has said that he is familiar with Reiniger's work and is a 'great admirer'. Her influence on his work stylistically is clear when directly compared, and they both frequently took inspiration from or adapted fairy tales too.

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from 'Thumbelina' (1955) by Lotte Reiniger
source:
https://marywcraig.com/2018/02/04/lotte-reiniger-the-woman-who-invented-cartoons/

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This piece particularly reminds me of work by German animator Lotte Reiniger. She used small silhouette puppets made from cut cardboard and thin lead, hinged with wire, in stop-motion animation.

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'Flower of the Fern'

A silhoutte illustration to accompany the Polish legend of the flower of the fern, from 'The Amber Mountain'

http://www.janpienkowski.com/studio/other/index.htm

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source:
https://waster.com.au/book-disposal-recycling/
'Book Disposal Recycling, article, author Ian Guenn Tayao

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The books that Pienkowski illustrates can be passed on between people and read again and again for many years through being sold or donated, reducing waste through reuse.
Books can also be recycled through specific book recycling bins/programs (though usually not placed with the rest of home paper recycling), rather than just being thrown away. Books can also be printed on recycled paper to make them more sustainable.

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sources:
http://fullreads.com/literature/an-english-fairy-tale-buried-moon/4/
https://www.wesharethesamemoon.org/resources/stories/pdf/The%20Buried%20Moon.pdf

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A flip-through video of Pienkowski's pop up book 'Little Monsters', showing more of his ink techniques.

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Little monster-Jan Pienkowski [STUDIO WOOM]

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Cover and pages from 'Dinner Time'
source:
https://shadesofculler.wordpress.com/2020/11/18/dinner-time/

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Illustration from 'A Necklace of Raindrops' by Joan Aitken
source: http://www.playingbythebook.net/2010/10/25/an-interview-with-jan-pienkowski/

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I also particularly like some of the ink techniques Pienkowski uses in his other books. For example, the layers of thinned ink in this illustration for 'A Necklace of Raindrops' builds up bright greens and gives the impression of lots of thick foliage. The splatters across the sky and water also give subtle detail and texture the paper to make it less plain, which I enjoy.

In his mini pop up books, like 'Dinner Time', Pienkowski uses gradients of washed out ink layered with splotches that are blown with air while still wet, causing the ink to flow outwards in a burst, to create the textures of fur and feathers.

I would like to explore these ink techniques and try incorporating them into my own work.

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Illustrations from 'the Nutcracker'
source:
https://www.theguardian.com/books/gallery/2008/dec/19/booksforchildrenandteenagers

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Aside from his larger illustrations, Pienkowski produces smaller images, often only silhouettes without background, to go inside the book.
I like this approach of taking his character silhouettes and making them simplified to fit directly alongside the story where a larger more complex image would be out of place.
One of his illustrations from Hansel and Gretel also has its own vignette, which spreads across the page as if the silhouettes are reaching out.
The layered laser-cut scene depicting the ending of 'the Nutcracker' also has a very decorative vignette that is the same as the one on the page opposite apart from the snowflakes that spill out from the illustration, making it stand out. The silhouette itself here is also in white, which gives a very different feeling that is more positive and happy compared to the black silhouettes which can be intimidating and scary like a shadow cast onto a wall. It also matches the setting of the scene in winter.

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Page from 'The Fairy Tales', Hansel and Gretel
source:
http://www.janpienkowski.com/books/silhouette/thefairytales/fairytales-page.htm

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Baba Yaga illustrations, from 'The Kingdom Under the Sea'
source:
https://tygertale.com/2018/09/23/the-house-with-chicken-legs-by-sophie-anderson/

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sources:
http://www.janpienkowski.com/about-jan/about-jan.htm
https://www.theguardian.com/books/2006/mar/04/featuresreviews.guardianreview26
http://www.playingbythebook.net/2010/10/25/an-interview-with-jan-pienkowski/

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Most of Pienkowski's illustrations consist of two parts, a colourful and rich background with an intricate black (plus some small coloured details) silhouette on top, which features the story being told - characters, monsters, buildings and so on. The amount of detail that Pienkowski includes in these silhouettes means that the story can be told very clearly - they're easy to identify,
It also means there's an element of curiosity, the reader can think about and come up with things like colours or patterns of clothing on their own, giving them freedom rather than restricting their imagination as they read, something which is a key aspect of fairy tales.

To make his silhouettes, Pienkowski has used both paper cuts covered in black printing ink, and digital processes. He has said in interviews that he was brought up with paper cuts in Poland, which served as inspiration for him, and later use of computer techniques allowed him to make much more detailed illustrations.

The primary technique used by Pienkowski for his backgrounds is marbling with inks, where ink is poured and suspended on the surface of thickened liquid and paper is swiped over it to pick up the ink.
This method allows Pienkowski to achieve very vibrant colours and lots of variation of shape and texture, which I think well complements his simplistic black silhouettes, each making the other 'pop'. The bright swirls of colour also give a very magical effect which suits fairy tales well.

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source:
https://www.brownsbfs.co.uk/Product/Pienkowski-Jan/The-fairy-tales/9780141382241

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source: https://vulpeslibris.wordpress.com/2012/02/09/the-kingdom-under-the-sea-by-joan-aiken-and-jan-pienkowski/

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sources:
https://vulpeslibris.wordpress.com/2012/02/09/the-kingdom-under-the-sea-by-joan-aiken-and-jan-pienkowski/, 'Vulpes Libris' blog post
https://books.google.co.uk/books/about/The_Fairy_Tales.html?id=W5bVAAAACAAJ , Google Books

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The subjects of many of Pienkowski's illustrations are fantastical creatures and characters that feature in fairy tale stories. He has illustrated several books of fairy tales, including 'The Fairy Tales, a collection of (translated)  tales by Charles Perrault and the Brothers Grimm featuring stories like Cinderella and Hansel and Gretel, and 'The Kingdom Under the Sea' by Joan Aiken, a retelling of traditional Slavic folk tales like Baba Yaga and The Golden-Fleeced Ram and the Hundred Elephants.

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Illustrations for the book 'The Kingdom Under The Sea',
source:
http://graphicnothing.blogspot.com/2011/04/jan-pienkowskis-pictures-for-kingdom.html

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source:
https://en.wikipedia.org/wiki/Jan_Pie%C5%84kowski

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(b.1936)

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Jan Pienkowski is a Polish-British children's book illustrator, author and designer, who was born in Warsaw and moved to England in 1946.
Pienkowski is best known for illustrating the 'Meg & Mog' series by Helen Nicoll, pop up books and vibrant silhouetted scenes from fairy tales.
Pienkowski did not study art but began a greeting cards company after leaving university, illustrating children's books in his spare time, having drawn and made paper cuts as a hobby for his whole life. Eventually it became his main job, and he began working with authors like Joan Aiken and Helen Nicoll in the late 1960s.

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Winter blorenge
Digital
Source:https://www.hannahdyson.co.uk/landscapes-2/

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Sunset in field
Digital
source:
https://www.hannahdyson.co.uk/landscapes-2/

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For her digital illustrations, I personally prefer Dyson's landscapes to her character focused pieces. Digital illustration allows a strong control of the colour palette, which is my favourite part of her landscapes - they tend to be done in very calming, harmonious greens, browns, yellows and whites which
They're also deceptively simple - again, she uses broad brush stroke textures to suggest detail and texture rather than rendering it all in. I really enjoy how she hides little details in them too, such as the creature in the woods in 'Sunset in Field', which I didn't notice at first. It made me go back and look at some of her other pieces more closely, and while not all of them have things to notice hidden in them, I did always find some little unique bit of foliage or a particularly nice branch, which goes to show how effectively she pieces the composition together that more can be found in fairly simple works. It reminds me of going out for a walk and taking the time to notice small details like that in person, which is always a great way to appreciate nature more.

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source:

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Fairytale woods
Digital
source:
https://www.hannahdyson.co.uk/illustrations/

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Hellebore fairy queen
Paper collage
2020
source:
https://www.instagram.com/hannahjdyson/

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Local myths 1
Digital
2018
source: https://www.hannahdyson.co.uk/illustrations/

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The fairy tale stories and creatures Dyson explores have a very distinctly western European, particularly British feel to them. I think they come across this way because of how much influence she takes from her own local area, the nature has a strong British
She draws from British folklore, illustrating creatures like fairies, giants and witches. Many British fairy tale creatures are strongly associated with nature.
Dyson has also produced several illustrations of more obscure local myths accompanied by text, intended to get people interested in some lesser known tales.
When drawing any creature from stories like fairy tales where there is no one true 'correct' design, the artist has to design their take on it. Dyson's designs have a generally fun, quite cute aesthetic which suits her style and approach to the stories as something to be enjoyed, as opposed to some takes which might have a darker interpretation. While I wouldn't say her designs are particularly innovative, they are definitely effective in conveying both mood and story.

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This is a Victorian inspired paper toy theatre designed by Dyson. I particularly like the strong colour palette of blue, yellow, dark red and white, which helps to bring uniformity to the characters and really make them fit within the scene.
This is something I could try if I construct a scene of my own, linking the characters through not only style but colour.

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'Pinnochio Paper Theatre', product design for Benjamin Pollock's Toyshop
Digital, printed on card
2021
https://www.pollocks-coventgarden.co.uk/products/pinocchio-toy-theatre-by-hannah-dyson/