Below are an assortment of illustrations from 2010-13. Some commission, others simply practice. Hand drawn with india ink and colored digitally.Illustration, Drawing2011
These illustrations reveal my exploration of the ethereal quality of trace monoprint portraiture. Subjects include a professor of ceramics with a huge heart at the University of Michigan, a model photographed by Max Collins of the University of Michigan, and my younger sister, Olivia.Print Design, Drawing2011
This mural was done for a show at Gallery31 in the Corcoran College of Art. The show displayed works done on-site by fifteen street artists over the course of ten days. Thirty foot walls were covered in paint for the March 2013 opening. The show was titled "Ill Street Blues."Cartooning, Drawing, Fine Arts2013
MLK Memorial Project : "Collecting the Dream"
This series of illustrations was completed in 2012 for a project to inspire dialogue surrounding the new Martin Luther King Memorial in Washington, D.C. Below is the description of the project by the Co-founder, Lacey Walker:
"We came upon the idea to document responses to the newly erected MLK Monument after witnessing an exchange between two strangers--one a black man, the other a white woman--who both felt strong connections to King and the Civil Rights Movement. They both lived in Alabama, not too far away from one another, and both remembered the riots that took place there.
We found this connection between them to be profound and wished we could have somehow captured that moment. We also realized that the connection they felt wasn’t something we could personally grasp. For us, two white females from the millennial generation, MLK doesn’t resonate aside from the little we learn in schools or what we decide to research on our personal time. We began to wonder how we could bring the experiences of an entire generation to ours.
This project seeks to explore the following:
Collecting memories. We aim to seek out and give a platform for the sharing of experiences of those who lived through the Civil Rights Movement.
(Larger scale) Making connections. Our goal is to bring these stories to our generation in an effort to create understanding
(Local effort) Community identity/context. - finding a place for dialogue and working towards bridging the gaps between the different communities within DCFine Arts, Illustration2012
This wall was inspired by drawings I made from a 1970s Vogue magazine. Generations and cultures mix in one space. I used only black gesso paint.
This wall is 7 by 12 feet.Fine Arts, Graffiti, Illustration2013
Commissioned mural for IMPACT Dance Company in Fort Collins, Colorado summer 2012.
Two 7X12 foot double sided murals that functioned during the show as movable set pieces. Acrylic paint on masonite. In addition the mural I completed three painted canvases for display in lobby area. Each piece is 4 X 5 feet.Painting2012
Connect4 was a four person show at VeraCruz Gallery in the summer of 2013. VeraCruz is a street art gallery, allowing the artists to paint directly on the walls. I showed with three of the finest street artists in Washington: Decoy, Superwaxx and Helen Warren.Fine Arts, Graffiti, Painting2013
This series of portraits was completed for my senior thesis project at the University of Michigan School of Art and Design in the spring of 2011. The first three stand seven feet tall, and four feet across.
This artists statement accompanied my work during the three weeks of the show:
I practice the art of illustration and my language is line. Each subject I draw has a storyline, a narrative that sits below the crease behind an ear, the folds of an eyelid, the curve of a spine. A study of the human figure, through technical practice and rendering techniques, allows me to venture into a study of the human essence and thus into the folds of personal narrative. I squeeze, pinch, and manipulate the face and body to reflect emotion, expression, and energy. Lines speak, and I articulate them in a way that tells a story.
The ‘Five’ series of portraits is a compositional narrative of each of my closest friends, who are influential, inspirational and important people in my personal and creative world. I’ve included myself as a subject in this series to examine my own lines. It is this self-reflective practice that is indicative of my desire to translate the multi-layers of a human being into simple form. Line quality, size, texture and form influence the storyline of each person. According to Milton Glaser,“Drawing is seeing.” These larger-than-life portraits are themselves a practiceof close inspection and truthful scrutiny, a means of better drawing, seeing,and understanding the people who surround me.Cartooning, Drawing, Illustration2011
These decks are a mix of concept designs for a project at the Corcoran College of Art and Design, and pieces done for shows in the Washington D.C. area including The Fridge Gallery and FDTN Gallery. Work done 2011-2013Illustration2012
This is an excerpt from a June 2011 presentation I was a part of, pertaining to the the Hamlet Project. Delivered at University Commons, Ann Arbor --
The artist and illustrator, John Austen, lived from 1886 until 1948. He illustrated in the style of Aubrey Beardsley for only a decade, early in the 20th century. During that time, he illustrated only one of Shakespeare's plays. We are glad it was Hamlet , and pleased that he did over 80 illustrations.
One vignette illustration appears on every page of this near century-old edition. Two years ago, when a copy of the historic edition came into the Howland Research collection, it was recognized that the characteristics of line, composition, and gesture, in Austen's black and white vignette illustrations would make them ideal for water coloring.
This year, Ann Arbor artist Greta Barnard and I were invited to collaborate on the project. We approached every aspect the art of John Austen with the same respect that our textual collaborator, Jasmine Noel An, showed for the historic text of the Globe edition, which was the text utilized in the antique Austen edition. Austen’s original black and white illustrations were scanned at 300 dpi, and enlarged to four times original size. The background tone of the old paper was removed using Photoshop, and the illustrations were reproduced, using micron-type waterproof black ink, on watercolor papers, specifically Stonehenge, BFK Reeves, and Arches.
The final product is scheduled to be published mid spring of 2012. More information at http://www.howlandresearch.com/Drawing, Illustration2011
Below are examples of covers I completed for Consider Magazine, Gargoyle Magazine and most recently HillRag Magazine.Illustration, Drawing2011
My second project for Howland Research, published through the Triple Anvil Press, is a series of illustrations of Winston Churchill. The publication is an essay on the history surrounding an important letter written by Churchill. The essay is by Richard Marsh, a retired attorney and president of the Winston Churchill Society of Michigan. The publication, including a facsimile of the letter, is scheduled to be in print mid year 2012.
The official letter from the Illustrator published along with the drawings:
Illustrating Winston Churchill for Richard Marsh’s essay on this important letter pertaining to Churchill, Pierre Flandin, and Ralph Wigramis an honor and an inspiration in three ways.
The library where the author’s Churchill books, letters, and documents are preserved is a remarkable space. Its creation occupied six months of the professional life of a cabinet maker, fabricating, fitting, and finishing each piece of alder wood. The second inspiration is the books in that library, most of them significant association copies, and the variety of Churchill letters and documents,several formerly in the collection of Malcolm Forbes. And, if one needed a third inspiration, it would be the enthusiasm of the author himself, his encyclopedic knowledge of thirteen generations of Churchill family history, and his generosity in sharing the history of artifacts in the collection, including the letter that is the subject of this essay.
Before rendering the final illustration, based on the iconic scene of Churchill and Brendan Bracken standing amidst the rubble of the bombed House of Commons, I read March’s essay. As the essay reveals, when Adolph Hitler entered the Rhineland in 1936,Churchill was one of the few individuals who foresaw the consequence of not challenging Hitler at the only point in time when Hitler could have been defeated without the horrific cost that was eventually paid.
As you read the essay and contemplate the details of all the illustrations but the last, I hope you will share my sense of inspiration. As you encounter the rendering of the final illustration, I hope you will share my sense that the entire terrible war might well have been avoided.
Ann Arbor RoseJaffe
***The third illustration is a drawing is inspired from a GETTY image reproduced by the New York Times in a 2010 article. The original photo depicts Winston Churchill inspecting the bombed out remains of The Debating Chamber in the House of Commons during World War II.Drawing, Illustration2011