Visual Arts Case Study

Shaun Tan and Chris Van Allsburg!

By Amanda Chan

VISUAL ARTS CASESTUDY

Contents Page!
Shaun Tan. 3!
Practice!
Conceptual Practice 4!
Material Practice. 5!
Conceptual Framework.. 7!
World !
Audience!
Artist!
Artwork!

The Frames!
Analysis of Artwork 1.. 9!

Analysis of Artwork 2.. 12!

Chris van Allsburg..14!

Practice!
Conceptual Practice 15!
Material Practice.. 16!
Conceptual Framework.. 18!
Audience!
Artwork!
World!
Artist!

The Frames!
Analysis of Artwork 1.. 20!
Analysis of Artwork 2.. 22!

How the Artists Have Influenced/Inspired My Own Practice and Work23!

References 25

VISUAL ARTS CASESTUDY

Shaun Tan

Never be late for the parade from Rules of Summer (2013), oil on canvas!

It's not so much about expressing preconceived themes or a

mastered delivery of statements but rather a process of slightly
absent-minded discovery, of seeing where certain lines of thinking
take you if you keep following them.!

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SHAUN TAN

Conceptual Practice!
Shaun Tan is a world renowned illustrator and author who grew up in the northern suburbs of
Perth and is currently based in Melbourne, Australia. His success is a product of his dynamic
ability to explore the multiple dimensions of the human condition in relation to social, political
and historical subjects and issues through surreal and beguiling imagery. Rather than reproducing
reality, Tan produces a parallel equivalent which expresses a sociophilolosophical outlook,
which underlies all of his works. Furthermore his work achieves the remarkably fine line of being
as identically compelling and thought-provoking for adults as for children, due to his clever
interweaving of small scale and large scale visual metaphors.!

Tan creates complex meanings in his multi layered narratives by creating dreamlike protagonists
who are frequently depicted as outsiders within their bewilderingly
fanciful landscapes despite its embedment of the ordinary. His
characters express difficulty in communicating across divides,
predominantly having trouble in articulating their feelings,
inspired by Tans own experiences of growing up, where he used
drawing to express himself and ultimately coped by "using
empathy to get through, overcoming apathy.. He insightfully
reflects on the themes of identity, loss, disconnection and
alienation while also dissecting and composing innovative
perceptions on the nature of representation. He is partial to these
motifs as he believes children react well to issues of natural
justice that can become lost in adulthood. Tan has a wide range
of influences stating Im pretty omnivorous when it comes to
influences and I like to admit this openly. Below are some
features and influences of Tans work.!

!
!

Saying Hello from The Lost Thing (2000), acrylics, oil and collage!

-The Ordinary Everyday!

Although his worlds and characters depicted in his art are often fantastical, he is heavily
influenced by the everyday. This is significant although appearing as a comparatively banal
influence that includes for example suburban streets, cloud formations, conversations and objects
arranged on a table. However, Tan reiterates a painting of a simple suburban footpath could be as
fascinating as the most exotic landscape, given
enough emotional investment (I often think of
Van Goghs painting of a chair for guidance, or
Morandis little groups of bone-coloured bottles,
brilliant paintings of banal objects) Therefore he
evokes emotional and societal connotations out
of the most unsentimental of objects and places
reminding the audience that nothing is normal."!
!

Without Sense or Reason from The Red

Tree (2001), oils acrylic and collage on paper!

VISUAL ARTS CASE STUDY

SHAUN TAN

-Transient Items!
As established previously, his surreal landscapes are underlying with the pastiche of mundanity,
as well as actual items (creating a collage) of the ordinary that are overlooked; I try to find value
in things that are not considered valuable These items include the commonly disregarded and
discarded such as stamps, receipts, notes and newspaper headlines. By attempting discovery
using experimentation and innovation within these same old things we look at everyday, he
creates an interesting paradox between dreams and reality as well as illustrating the distance
between these worlds which is a concept Tan frequently explores.!

-Artists!
Tan has evident influences from other artists in his work such as in his book The Lost Thing
which which creates paradoxes of famous artworks by artists like Edward Hopper and Jeffrey
Smart. He is also interested in the idea of the conscious dreaming and validating the significance
of the subconscious which is influenced by the Surrealism Period (officially founded in 1924)
particularly Spanish Surrealist artists, as well as slight references to the medieval artist
Hieronymus Bosch.!

-Popular Culture!
From movies, novels, contemporary phrases and icons, popular culture is a major influence on
Tans work. For example The Rabbits illustrated by Shaun Tan and written by James Marsden
expresses the dark gravity of colonisation that still echoes in modern society. Tan himself conveys
that he was influenced by Richard Adams book Watership Down or George Orwells novel
Animal Farm and communicates that the unexpected combining of known elements in a way
that hasnt been seen before is what makes my work original Furthermore, stylistic references to
films such as Yellow Submarine and Brazil have been found in his book Tales from Outer
Suburbia.!

-Unnamed Characters!
Although his characters are often immediately identifiable, they are often unnamed to explore and
facilitate and empathetic relationship with the audience. Tan states it just always feels right to me
to have characters that dont have a specific identity, to the point of not even being recognisable
creatures.!

Material Practice!
Shaun Tans diverse and unique two dimensional pictorial style originated with his interest in
being an illustrator. It is interesting to note however, that he is rather reluctant in using the word
illustrator as he himself and others can find it derivative, merely an enhancement governed by
pre-determined text. He notes you often find the term almost in opposition to serious drawing or
painting. However I find its more about the interesting relationship between two independent
means of expression that could operate as narratives in isolation but react in similar ways.!

-Initial Stages!
At the beginning of his career, Tan initially created works that were solely in black and white (as
this was how the final reproductions were be printed), using inks, pencils, acrylics and linocuts.
Although today, he is acclaimed for his rich colour palette, his current works still begin as black
and white sketches, doodles and notes on ordinary paper and pencil. He begins spontaneously in
the midst of inspiration, in order for a resistance to materialise, dissolving his own stylistic default
settings, by not creating a succession of drawings in one sitting.!

VISUAL ARTS CASE STUDY

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Tan fuses multiple disconnected sentences and phrases,

which are then combined with small thumbnail drawings
over many pages of a sketchbook. He explains
Illustrations are the main texts in my books, and
although writing is often the starting point, it rather acts as
a kind of scaffolding or binding that stitches everything
together.. !
Preliminary Sketch for They Came by Water fromThe
Rabbits !
His preparation and planning stage can consume many months, as he commonly creates his
writing and drawing material in abundance, which is stripped back to its essential ideas and built
upon, evolving continuously until a point of satisfaction is reached. He describes himself as a slow
worker, explaining "Its painful [laughs] 95% of everything I do doesnt see the light of day. Its not
quite good enough, Its sort of almost good. Sort of an idea without a soul. Afterwards the
creation of a sketchy version of the book develops, complete with the entirety of its pages at
roughly the printed size (he notes that it is important to keep in mind the final published size of
the illustrations). This dummy of sorts, encompasses photocopied drawings, removable text,
annotations and instructions to serve as an indication of the intended essence of the project.!

- The Painting Process!

During this stage, line drawings of his original sketches on layout paper are produced to trace
onto a support using graphite or white transfer paper. These supports vary however there is a
predominant use of stretched medium weight watercolour paper, primed with acrylic paint. As
mentioned previously. the final published size is taken into consideration and therefore the
majority of his illustrations produced are required to conform to A2-A1 in size, which is tailored
for scanner reproduction. Multiple, quick colour sketches using acrylic paint and oil pastel over a
photocopy of the preliminary drawing are then composed as guide, occasionally depicting various
colour schemes of the same image. During the painting process of the final image, Tan paints from
dark to light, tracing white lines onto a dark grey or brown background. The underpainting is
completed with opaque layers of thinned acrylic paint in order to humour indecision and conceal
mistakes. After this layer finishes drying, Tan employs oil paint, covering the layers of acrylic. This
not only provides the advantage of offering a richer colour, (which augments his bizarrely
fantastical worlds), but offers a slower drying time which I prefer, being a slow painter."!
They Came by Water from The Rabbits (2010), oil on canvas !
Other mediums are furthermore explored such as scratchboards, pastel crayons, coloured pencils,
gouache, watercolour, linocuts and assemblages,
which are applied to plywood boards, canvas and
paper. The technique of collage is frequently
employed within his work, acting as a good way to
break the 'surface tension of a blank canvas, to just
start sticking things on, almost without letting
conscious decision-making get in the way. Collage
creates an interesting texture, both in a conceptual
and physical sense such as in The Lost Thing and
The Red Tree where scraps of physics, math and
engineering textbooks creating confusion when
playfulness enters a world that only knows
calculated certainty.!

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SHAUN TAN

Conceptual Framework!
-World!
Shaun Tan utilises the world extensively in his work by drawing inspiration from iconic artists of
the past. For example, Edward Hopper, John Brack and Jeffery Smart influences are evident in his
work, such as in The Lost Thing.The experimental and innovative Modernist movement of the
20th century (particularly the Spanish Surrealists), is also acknowledged in his work. !

Left) John Brack, Collins St, 5pm (1955), oil on canvas.

(Right) Shaun Tan, The Next Morning We Caught a Tram into the City (2000), oil, acrylic, collage.!
Furthermore, Tans work also comments on global issues. An example would be his graphic novel
The Arrival to which the hardships of immigration are represented, which is a predominant
concern in the world today, with the rise in globalisation and international immigration.Tan also
responds to historical events of significance such as his collaboration with John Marsden in the
allegoric fable The Rabbits, illustrating the effect of colonisation (the Victorian Era) from the
perspective of the colonised. This has connotations to the European colonisation of Australia,
expressing the grave misunderstandings fostered towards Indigenous Australian people and
culture. The social and cultural consequences of imperialism and colonisation are still prevalent in
the contemporary world of today and is thus represented in Tans art.!

-Audience!
Picture books, in terms of narrative structure, visual appeal and brevity have connotations
towards a rather child-like readership. However Tan explains I dont have an image of a child
reading my book when I produce them...Its unfortunate sometimes that they are marketed to
children. Its good that kids get them, but that can exclude adults. By utilising universal themes
such as alienation and discovery as well as having unidentified characters, Tan fails to appeal to a
pre-defined audience, rather it uniquely builds an audience for itself. The majority of Tans
consumers are Australian, as many of his landscapes and story lines are based off his surrounding
growing up in Perth. Furthermore his work has been described as the Australian vernacular that
is at once banal and uncanny, familiar and strange, intimate and remote, guttersnipe and
sprezzatura. No rhetoric, no straining for effect. Never other than itself. (Robb, Peter,The Sydney
Morning Herald, 2013). Often Tans ideas are conveyed subtly, rather than overtly stated or implied,
encouraging a closer visual reading against a minimalist text, creating significance in the role and
value of the audience. Therefore his work, in its complex ambiguity,!

!
!
!

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-Artwork!
Shaun Tans works encompass the uniquely complex and often surprising relationship between
illustration and text, calling his artwork illustrated modern fables". His practice revolves around
a a wide range of mediums for his two dimensional works, however he consistently employs
acrylic and oil painting, pencil drawing and collage. The unique visual style is developed from the
integral process of initial planning and sketches from various perspectives followed by constant
manipulation in cut and paste -esque methods until a final product is produced and published.
He also has a large role in the design of the book and the formatting in which it is presented,
having to work in close proximity with publishing companies (such as Lothian Books) in the
books final stages to utilise the concept in its entire potential. Tan's practice centres around social,
historical and cultural issues by using rich dream-like colour palettes and surreal imagery.!
Never leave a red sock on the clothesline from Rules of Summer (2012), oil on canvas!

-Artist!
Shaun Tan was born in Freemantle in 1974, growing up in Perth and is currently based in
Melbourne Australia. He graduated from the University of Western Australia in 1995 with a joint
honours in Fine Arts and English Literature. He began writing as a pre-teen, inspired after reading
the science fiction works of Ray Bradbury. This element of fantasy is still present in his books
today. His love of science fiction, echoed throughout his teenage years, when he received small,
commissioned works illustrating science fiction short stories in small-press magazines. Tan
reasons, The acute consciousness of being alive on a very strange planet, makes every mundane
experience science fiction. After graduating from university, he compromised about being a
freelance illustrator for a year and then would going into a stable job. However almost twenty
years later he is still flourishing in the art world, branching into theatre design, becoming a
concept artist for animated films such as Pixars WALL-E and directing the Academy Awardwinning short film The Lost Thing. As mentioned previously he works closely with his
publishing house, actively involving himself in details such as presentation of his final work. His
body of work has elevated the profile of illustrators in Australia and in 2011 he received the
prestigious Astrid Lindgren memorial Award, honouring his contribution to international
childrens literature.!

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Artwork Analysis 1- The Arrival!

Overview!
The arrival is a six-chaptered migrant story narrated as a series of
wordless, yet poignant images. A man leaves his family in a
poverty stricken town, to seek better prospects in a frighteningly
foreign country, oceans away from his home. The bewilderingly
unfamiliar city is with bizarre customs, animals and indecipherable
languages. He is only armed with a suitcase and a meagre amount
of money and is therefore aided by empathetic strangers, each
carrying their own unique histories, rich with tales of struggle,
survival, violence and ultimately hope.!
Shaun Tans The Arrival (2006), pencil on paper!

-Structural Frame!
Foreign is a key theme that underlies the entire work, illustrated
in the landscape, characters and even the matter of reading where
explanation is absent. Elements of the structural frame are
employed within this graphic novel, including the absence of text,
the symbolism of the book formatting, the use of tone and the
juxtaposition of realistic and surreal images. Tan originally intended the graphic novel to be
accompanied by text in the form of postcards, however later decided to leave it without, which
elaborates on the ambiguity of the work. The surrealism and detail within the images force the
reader to utilise slow reading, as words tend to exercise a larger portion of the audiences
attention. Tan explains, Images generally dont have this forward velocity or meter, they occupy a
different temporal space, which can be easily disrupted by the quickening presence of words. Tan
plays on the audiences use of words to find explanation when faced with obscure images, by
creating a new cryptic language of this unfamiliar world. This furthers the readers confusion by
only gradually fostering an understanding of the tale, and therefore evoking a very real empathy
towards the protagonist.!

The book itself, is aesthetically designed as an old photo album, which act as a symbol of
chronological images
illustrating the story of an
individuals life. Photo albums
themselves, inspire memories
and urge the reader to
elaborate and fill in the silent
gaps, creating multiple and
complex perspectives of events
with the addition of our own
story lines. By creating
textured pages and worn
borders, Tan emphasises the
age-old nature of his narrative,
stories of both recent and past
migrations to foreign places as
well as acting as a unique way
to mark changes in time and

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SHAUN TAN

perspective. The graphite pencil drawings are repeatedly bordered in white. This panel grid
design remains visually reminiscent of the attentive layout of aged family photos. !

The drawings vary in tone from grayscale to golds to create

different moods. As depicted on the below, the pleasant muted
golds, illustrate the warmth and affection of his family life. The
mismatched background of expresses the found sense of identity
and belonging; creating a niche for themselves in their new
environment. The aesthetically bizarre creature, is a symbol of the
strange and not fully understood world, to which the family
inhabits. However the animal appears domesticated, symbolising
the taming of the protagonists feelings of intimidation in the new
world. In contrast, the image (right) is drawn in dark greys,
emphasising a sense of foreboding and dislocation. The boat is
singular and
comparatively
minuscule expressing the
isolation and loneliness
the protagonist
experiences, leaving his
family for a foreign land. The immense size and evident
salience of the cloud furthermore expresses the human
condition, that in the end, we absolve control of
situations to the power of nature or the idea of Fate. It
illustrates the frightening prospects of the future to
which many , if not all emigrants understand. Thus, Tan
changes the colour and texture of the outside world to reflect his characters inner states.!

Photography itself, was utilised in the making of this book, to employ continuity, using real-life
models to story-board the entire tale. His figures are rendered in a realistic style, with distinctive
features however Tan comments Its not my favourite style of working, and I didnt feel very
confident. This realism is juxtaposed with surreal images, creating an abstract reality.!

-Cultural Frame!
The Cultural Frame is used predominantly throughout The Arrival, through the influences of
Tans own cultural background and experiences as well as the setting and characterisation of the
protagonist. The theme of migration within the story, relates personally to Tans ethnic
background (Father is Chinese-Malaysian, Mother is Australian-Irish) and he ultimately felt like
an outsider growing up. Contextually, Tan experienced the racism that was budding during the
1980s Western Australia, the slogan Asians Out being a popular slander choice and therefore,
the feeling of cultural dislocation is a recurring motif within the work. Tan was also inspired by
the anecdotal stories told by migrants of various countries and historical periods, although an
immediate source was his own father who migrated from Malaysia to Western Australia in 1960.
Tan reminisces Dads stories are sketchy, and usually focus on specific details the unpalatable
food, too cold or too hot weather, amusing misunderstandings, odd student jobs and so on.
Therefore these influences of Tans diverse and multicultural life steer the main themes of the
work. !
By using many panels (Left), the frustrations of language barriers (to which is detailed, but
indecipherable), draws focus on the essential need to communicate basic questions and answers, a

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10

requirement that often doesnt span across an individuals

transition of cultures. The papers illustrate an unclear
notion of identity, loss of social status and recognisable
qualifications in this new world, while the photo of his
family illustrate the detachment of roots and isolation.
Through these complex emotions, Tan conveys the
hardships of migration, a significant aspect of human
history, both in the distant and recent past.!

The Arrival itself is a universal migrant story, and

therefore the protagonist is depicted as generic and
everyday. The removal of words, character identity, and any
notion of time and place successfully strips back reality,
allowing for audience interpretation, planting the reader
more firmly in the shoes of an immigrant character. Tan
reflects and depicts social circumstances, a main source of
visual reference coming from the mass migration to New
York during the early 1900s. Tan drew inspiration from old
photographs of immigrant processions at Ellis Island, from
1892 to 1954 (cited from the Ellis Island Immigration
Museum). !

Illustrated (left ) are immense sculptures or statues of

sorts, in the midst of a harbour. This is the first bizarre
sight that welcomes the migrants and finds
commonality with the Statue of Liberty. This
seemingly surreal world, is alive with activity and
industry, mirroring the connotations that America
brought forth at the time. Therefore, Tan becomes a
key agent for understanding the emotional and
physical aspects of migration movements during the
culture and society of the time. !

VISUAL ARTS CASE STUDY

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SHAUN TAN

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Artwork Analysis 2-The Red Tree!

Overview!
The Red Tree (2001) is a story that lacks a specific narrative, although is
distinctive in its way to express the complex feelings of loneliness,
isolation and depression as the nameless protagonist wanders through
dream-like, alienating landscapes. Despite her passing through a myriad
of dark moments (similar to the human condition), she ultimately
discovers hope at the end of her journey.!
The Red Tree (2001), oils, acrylic and collage on canvas!

!
-The Subjective Frame!
As a concept, The Red Tree itself, is a comment on how individuals use
metaphors to describe perplexing and intricate feelings, although moving
beyond the typical cliches such as storms and rainbows into images that
uncover the expressive possibilities of a mutual imagination. The Subjective Frame is the
predominant frame utilised within the story, expressed through the setting, use of colour,
characterisation of the protagonist, surreal imagery and the symbolism of the red tree. Each
dreamlike setting depicted within the work, can be read as its own individual and disconnected
world and as a singular metaphor. Tan comments, What resulted after many scribbles was a
series of imaginary landscapes connected only by a minimal thread of text and the silent figure of
a young girl at the centre of each one The mentality of the protagonist is therefore inextricably
connected to her immediate surroundings. These environments act as both projections and
catalysts for her depression.!

As depicted on the right, the emotional tone of melancholy and isolation are expressed, by using
the salience of the nameless girl in a bottle. The immediate setting around the girl is painted in
dark hues, a reflection of the bleakness of her emotions, however in contrast is the brightness of
the clouds on the horizon, a symbol of hope illuminated in the darkness. The clouds form is alive
with movement which further juxtaposes the stillness of the girl. The distance between the
protagonist and these depictions of hope seem immense. It is suggested from the image that the
figure is experiencing a sense of entrapment in her
own emotions, a message in a bottle, (that is so
often lost or never read) and therefore has trouble
articulating what she is emotionally enduring.
The scuba helmet could be representative of the
hopelessly warped way in which the protagonist
views the world. It could also suggest a sense of
foreboding, the rising water in her bottle to which
there is no escape and the helmet is preparing for
the worst.!
The language is sparse and figurative, serving as
an entryway into the figures complicated and
bleak mental state, which communicates to the
audience a strong sense of emotion, yet there is a
lack of direct meanings, and thus is left to
interpretation. This is emphasised by the

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12

unnamed protagonist who is depicted in various alienating situations. By using an unidentified

figure, whose features are emotionless, without finer
detail and often hidden, the means in which
depression can overwhelm and erode a sense of
identity is conveyed.The birds (right) act as symbols of
transience, suggesting an impermanence of her own
identity, a concept that is furthermore exemplified in
the protagonist drawing herself with her back turned.
It is constantly expressed that the girl herself has
control on the means of which to view herself and her
surroundings (she has control of the paintbrush) and
yet is incapable and unknowledgeable of how to
extract herself from her depression.!

While the tale depicts the darker side of the human

condition, its central thematic theme is hope. The
reoccurring motif of a small red leaf, within each
composition is representative of optimism despite the melancholy situations, to which a sense of
self is restored. The audience themselves are forced to actively search out the leaves, as these
symbols are often small and fluttering on the edges of each austere landscape. Therefore, this
suggests the way in which we as individuals can conclusively discover hope in depression, if we
actively seek it out, as it is continually constant. !

The last page of the work depicts a large beacon of hope in the form of a red tree blooming in her
room. This is a collection and gathering of minuscule sparks of optimism to which she discovers
that everything will be alright. Tan states The red tree may bloom, but it will also die, so nothing
is absolute or definite; there needs to be an
accurate reflection of real life. The colour red
itself is representative of energy, strength and love
and juxtaposes the darkly muted colour palette of
the entire work.!

The subject matter can be argued as dark for

childrens literature however the work was
commented on as disquiet, not violent or
confronting, but just not quite right which is
more thought provoking than something light or
harmonious. (Publishers Weekly, 2008). This
story ultimately provides solace for those
experiencing subjective uneasiness, utilising
universal emotions such as loneliness,
disconnection and hope. His work is particularly
poignant in its artistically engaging unresolved
aspects, eliciting unique empathetic and emotional
responses of both adults and children alike.

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Chris Van Allsburg

Under the Rug from The Mysteries of Harris Burdick (1984), pencil on paper!

!
"It's not the thing that's important to me so much as the feeling the
picture gives after you've drawn it. I have a favourite mood I like in
my art. I like things to be mysterious.!

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14

Conceptual Practice!
Chris Van Allsburg is an internationally known, critically acclaimed artist, illustrator and author
who was raised in the Grand Rapids, Michigan. His books centre on the whimsical and sometimes
darkly chaotic fantasies of children, rendering realistic images to both affirm and juxtapose this
idea. He comments When a story is about strange events, its important to be convincing that the
events described are possible. Hence why I try to make my pictures look real. His art focuses on
characters who undergo transformative experiences (often in the form of uncontrolled events)
which is depicted through biting irony. Other themes evident are shifting perspectives in order to
develop a sense of identity and personal responsibility, dreams and the subconscious, the
environment and the idea of loss. By expressing these
arguably mature and universal aspects of life within
his books, by pairing together ordinary and
contrasting visual cues (which inherently make them
abnormal), Van Allsburg successfully materialises a
magnetism that reflects in both young and older
audiences.!

Illustration from The Wreck of Zephyr (1987), pastels

over paint on paper!

However, his work expresses the mere suggestion of

these themes, as the visual tales often lack set
narratives. Therefore motif of mystery and the
unknown is also a critical aspect that underlies all of
his work, to which generates its unique allure. Each page is usually inadequately explained, with
disturbingly poignant images, allowing for audience interpretation. Van Allsburgs endings are
commonly unresolved, with the suggestion that there is more to come pass both positively and
negatively. Chris Van Allsburg, has a wide variety of influences that are depicted throughout all of
his work, as shown below.!

-Everyday Experiences!
The most notable influence within Van Allsburgs work is his combination of every day aspects to
create a uniquely new meaning in its entirety. His most complex stories begin with simple
premises, of common mundane items and features. An example is newspaper articles and
pictures, which he had a fascination for, particularly those that depicted cars driving through
living rooms. He explains The pictures would always show the front end of a Pontiac in
somebody's living room next to the TV and the sofa. There remains no abnormality with a front
end of a car, nor a conventional living room, but the juxtaposition of the two creates excitement
and intrigue as a picture subject matter. Interestingly, this car crash setting inspired the scene on
the left. Van Allsburgs imagination is crucial in the metamorphic transformation of these banal
items. For instance, discovering two ants on his countertop one morning, was the beginning point
for his work Two Bad Ants where ants set forth on a tremulous journey from a back yard to a
kitchen. Van Allsburg elaborates I create a story by posing questions to myself. I call it the what
if and what then approach.!

-Other Illustrators and Books!

A significant inspiration to Van Allsburg, is the picture book Harold and the Purple Crayon,by
Crockett Johnson, which is the only book he distinctly recalls from his childhood. Despite its

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15

technical simplicity and lack of finer details, Van Allsburg argues, It succeeds so well on a
conceptual level. Its a great example of a picture book as art that functions effectively because of
the cleverness of the idea. As he began to create his own books, the illustrator Maurice Sendak
(Author of Where the Wild Things Are) became a large influence evident in Van Allsburgs
utilisation of dark emotional themes in the fantasies of children, brought to life with fantastical
imagery.!

-Animals !
Van Allsburg finds that children tend to identify with
animals and therefore animals are featured in a variety of
his art works. He comments, Children (small and not
masters of their destiny) see little animals that are
vulnerable and always identify with the animal. A
particular animal that is reoccurring throughout every
one of his works is a white bull-terrier to which Van
Allsburg convinced his brother to get in order to model
off one for his story. The dog soon passed away, and so
Van Allsburg commemorates his image in every story, he
publishes.!

Rhinoceroses from Jumanji (1981), charcoal pencil on paper.!

-Material Practice!
The process in which Chris Van Allsburg produces his wonderfully ambiguous and dream-like
works endure a laborious process which encompasses between seven and nine months to create.
He comments The picture making part takes much longer then the writing part and in almost
every case, the original pictures I make are much larger then they appear in the finished books.!

-Initial stages !
The idea of the story is first elaborated on, followed by planning and outlining (which expresses
the action of the story) before any initial sketching is commenced. Once the narrative is reworked
and edited (now with the rejection of words that merely show action instead of feeling), to Van
Allsburgs satisfaction, small, crude thumbnail sketches are created. As he draws, he is ultimately
attempting to reproduce what he envisions within his imagination which he admits creates
difficulties. This is due to the commonality of his ideas failing to translate onto paper and
therefore he concedes When I am working from models or props, the process is more enjoyable
because I am communicating with the subject matter. Although few of the pictures I draw allow
me to do this. These sketches are continually reworked until a museum quality is reached. the
original narrative is then slightly transformed against the visuals until a harmony is created
between the pictures and words, to which neither aspect override each other.!

-Working Process!
Chris Van Allsburgs realistically surreal visual style often feature monochromatic colour palettes
with pieces in black, white and sepia tones, although he does not always utilise these same
mediums. He explores his artistic practice through a variety of materials such as charcoal pencils,
pastels, coloured pencils, watercolour and ink (commonly on heavy weight paper or board),

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stating I use something a little different for each

book because that way it is always interesting for
me to make pictures. !
He is self taught in colour, which he learnt
throughout his illustration career and therefore
initially works from dark to light when working
with colour. This is when he doesnt employ merely
black and white drawings, which was the style of
many of his initial books. He does not prefer one
over the other stating, I decide if a book should be
black and white or colour as a result of how I
imagine my story in my head, like a short movie.
At this stage a small colour plan is created, for a
visual reference throughout finishing process. !

A rejected preliminary cover sketch for Queen Of The Falls (2011), pencil on paper !

He utilises all artistic techniques of perspective, light and point of view (as mentioned previously)
to emphasise a mysterious quality to the pictures even if the subject of his drawing remains
unambiguously common. His illustrations have architectural qualities that are visually interesting,
utilised from his sculptural background.His [Chris Van Allsburg] work is impressive not only for
the realism, but for the skill with which he manipulates odd angles which present disconcerting
viewed of common scenes. (Sutton, Roger: Chris Van Allsburg- A Review, 1991). While his

illustrations are representational, he appropriates a variety of techniques from early pointillism in

The Garden of Abdul Gasazi and Zathura among others, to smooth painterly strokes of The
Stranger and The Wreck of Zephyr.!

An illustration from The Polar Express (1985), acrylic and oil on paper!

Many of his works have been republished into new editions, in a digital reproduction, as opposed
to analog printing, making the colour fidelity better and sharper. Furthermore, at the publishing
stage, he now uses editing technology to enhance his works, and theres just things you can go in
and do to fix it, that you couldnt do the old way, therefore illustrating how the advancement of
technology has affected Van Alllsburgs material practice.!

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-Conceptual Framework!
-Audience!
Van Allsburgs audience resides on an international range, his work becoming part of the
educational curriculum taught in many Western counties and cultures at a primary level. In
Australia, books such as The Polar Express and The Mysteries of Harris Burdik are taught at
the younger age levels, to expose younger generation to emotive concerns such as social justice
and the development of identity. A large portion of his audience is therefore children and so Van
Allsburg is sensitive to the requirements of a tale with language that isnt overtly challenging.
However the ideas, themes and the style of his art are not chosen with an audience in mind, Van
Allsburg, rejects the notion of underestimating the intellect and capacity for empathetic
understanding of children. He states I have respect for the youngest members of my audience
and as a result do not feel constrained by what some may feel are limitations. Therefore his
audience transcends age, gender, race as well as any other constraints. Van Allsburg is also
reluctant to delve deeper into his narratives, preferring the audience to create their own
interpretations and find any
real' meaning, which
therefore facilitates resonation
within the audience and
generates further potency in
his work.!

Dinner from The Mysteries of

Harris Burdik (1984), charcoal
pencil on paper!

-Artwork !
Chris Van Allsburg has
challenged, expanded and
redefined our notions of what
a book for children can
be (Lee Lorenz, New York
Times 1993). Van Allsburgs art practice commonly revolves around two dimensional works,
although he does create lesser known sculptural work that mimics the strangely dreamlike essence
of his pictures book. His ideas come from the combination of seemingly separate banal objects, to
create a new contemporary meaning. Despite the diversity of mediums he employs, Van
Allsburgs iconic visual style (that isnt only isolated to his black-and-whites) evolves from a
critical process of planning narrative structures as well as editing and re-editing until the essence
of mystery , which is so crucial in all of his works is rightly depicted. Van Allsburgs artwork,
explores the world through unusual perspectives, by using bizarre surrealism through the
juxtaposition of ordinary objects, as well as employing conceptual playfulness, underscoring the
complexly simple language of tales.!

-World!
Chris Van Allsburgs work responds to the world by drawing inspiration from artists and art
movements from the past. An example would be Van Allsburg acknowledging the Modernist

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Movements transformative influence in the art world, within his work and technique, such as the
Spanish Surrealists and the French Impressionists. Furthermore, Chris Van Allsburg, utilises
universal themes that are issues and concerns within the world today such as the instability of a
healthy environmental as illustrated in Just a Dream(1990) in which a child, dreams of a
biologically hazardous future of wastelands and smog. This is relevant in the world today, with
the increase of environmental pollution and degradation as a result of the continued industrial
urbanisation, recognising the imminent fear for the future of our ecological surroundings. Another
issue that is explored is the rise of technological advancement and consumerism as depicted in
The Wretched Stone (1991)
rendering a crew of sailors that
fall under the spell of a glowing
stone and ultimately turn into
monkeys. This becomes a parable
for the hypnotising, dumbing
down influences of television
and the media, which is acutely
applicable to our modern,
technological driven world of
today.!

Sharp outlines and stippled tones of

grey refer to pointillistic techniques
of Georges Seurat in the illustration
(left) from The Garden of Abdul
Gasazi" (1979), charcoal on paper.!

-Artist!
Van Allsburg was born in Michigan during the 1950s and showed promise for drawing at a young
age, although admits Grand Rapid boys are athletic. Peer pressures encouraged little fingers to
hold footballs rather than crayons. He attended the university of Michigan, impulsively taking a
fine arts course, although found an interest in 3D works and graduated in 1972, majoring in
sculpture. This sculptural background echoes throughout his work today, using volume, shape
and texture through detailed tone, within his visual narratives. His first story wasnt written until
he was 28 (The Garden of Abdul Gasazi) and was hesitant to allow for publication, because of
his mostly sculptural background (only taking rudimentary 2D drawing classes). However critics
immediately responded positively, to the extent that he was awarded the Caldecott Honour
Medal. His career continued to flourish since then, producing 17 award winning picture books and
working in collaboration with directors; as picture books such as Jumanji,Zathura and The
Polar Express transformed into iconic pop culture films. He continues to work as a sculptor,
teacher and illustrator/author, winning the prestigious Hans Christian Anderson Literary Award
for his poignant and suspenseful work, resting at the forefront of the illustration world.!

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!
Artwork Analysis 1-The Mysteries of Harris Burdick!
Overview!
A collection of 14 mysterious illustrations, that according to the
introductory letter an author named Harris Burdick brought to a
publishing house, as a sample of his work and although it was met
with enthusiasm, he never returned. Each detailed black and white
image has seemingly no correlation to each other, the only explanation
being titles and a small, suggestive caption.!

The Mysteries of Harris Burdick (1984), charcoal pencils on paper!

-Structural Frame!
The Structural Frame is the one frame used predominantly throughout
this work through the use of interplay in light and dark tone, lack of narrative as well as
composition.The lack of narrative, leaving each ambiguously evocative and disconnected image
with only a title and a caption is a strategic move to facilitate and emphasise the overriding
ambiguity of the work. It promotes a sense of irony as words are commonly used as a form of
explanation, however it appears to only augment the complexity of the image. An example is the
image to the right. It appears as though each picture and caption were taken directly out of the
middle of their stories, as they casually refer to things such as he and it- implying that the
reader will already know. (Childrens
Literature Review of Chris Van Allsburgs The
Mysteries of Harris Burdick, 2006)!

Archie Smith Boy Wonder-A tiny voice asked, Is he

the one?!

By using only minimal text, the reader is

manipulated into creating their own
understandings (similarly to a writing prompt)
by looking into their individual personal psyche
and therefore, discovering the structure of their
inner mind. Due to this lack of explanation,
many books, artworks and short stories have
emerged, to provide interpretations of the
images and therefore proving the sheer intrigue
that a work without explanation emanates.!

Chiaroscuro (the treatment of light and shade) is

also utilised at a high standard within this
image. The vectors of the image (the corner of
the wall), coax the audience to first view the
lamp, which in itself is symbolic of a common
light source, however the realisation of it not
being the light source of this conventional
bedroom image creates a sense of parallel reality, an off-putting impression of strange visuals in

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the context a recognisable world. Van Allsburg explains Fantasy is so much more provocative
when it occurs in the context of ordinariness. Furthermore, the use of a minimal light source
creates dramatically hard and contrasting shadows which contribute to the essence of mystery and
suspense, a colour motif common not only in mystery and suspenseful films but characteristic
within all of Chris Van Allsburgs work.!

The magic and mystery that is intertwined within

the everyday world often leads the illustrator to
compress the depth of field in the drawings,
similarly to photographs to draw attention to one
subject in the image. This leaves the surrounding,
often hazy and out of focus, further developing
the surreal and portentous quality that is evident
within the visual narrative. The illustration (left)
not only utilises this effect but also employs the
contrast of light and dark tones to emphasise the
bizarre salience of the door, despite its
comparatively smaller scale. Compositionally, the
staircase and slant of the windows light create
vectors from the top left hand corner, to the
bottom right, which again emphasises the
mystery of the door. !

Uninvited Guest- His heart was pounding, he was

sure he had seen the doorknob turn!
Furthermore, its an over the shoulder shot, only a
vague silhouette of the figures face is evident,
manoeuvring the audience into the perspective of
the unknown figure, and therefore planting the
reader more firmly into the story. The ice-skate
allows the audience to draw comparative
conclusions of the minuscule size of the door which also creates a distorted sense of reality as the
perspective appears to be warped, which repeatedly highlights the perplexing and abnormal
aspects of the image, creating additional curiosity into the story. Van Allsburg comments I feel no
need at all to reassure readers or myself of anything. I don't have a message as such, just some
recurring observations, which leave me feeling a little ambivalent actually. Light itself is
representational of discovered insight and awareness (enlightenment), and when placed against
the door, it is indicative of holding the answers to the cryptically strange image.!

The book as an entire series of works is arguably blunt in its disconnection, as there fails to be
similarities depicted (aside from the black and white colour palette and the prevailing tone of
mystery in its cognitive dissonance). However it is this fragmentation that ultimately creates the
stories success. There lacks an overlap between the different stories, each having its own unique
world, pointing in various directions, and therefore elaborating on different levels of ambiguity.
This coaxes the reader to follow the author through the journey of each world, some foreboding,
and others slowly curious, thus allowing for a fortunate variation between each image.!

!
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Artwork Analysis 2- Jumaji!

!
Overview!
Jumanji (a Zulu word meaning many effects) is a
surreal and fantastical childrens book, each black and
white page encompassing a magical jungle themed
board game that implements wild elements into
reality as the game progresses. Therefore this poses a
danger to the lives of the brother and sister
protagonists as they find ways to overcome .!
Jumanji (1981), graphite pencils on paper!

Structural Frame!
The Structural Frame is predominantly used
throughout the story through the use of perspective, tone and the symbolism of shadows. The
pictures within the story are depicted in grey tones, using graphite pencils, and like the majority of
Van Allsburgs work, have a surreal quality. !

Thickly shadowed pencil drawings add mystery and intrigue to the tale of two children who
enter a jungle adventure board game
called Jumanji. (Deborah Zink,
Childrens Literature 2002). Objects and
figures have sculpted, realistic quality as
depicted on the right. Van Allsburg
explains Im not trying to make my
illustrations photographic, Im simply
trying to make them persuasive. If
Jumanji had been illustrated in antic,
cartoonish images, it would not have
resonated and appeared probable. The
lions appearance cast a shadow on the
piano (which is a symbol of high-brow
civilisation), juxtaposing chaotic
wildness with the restraint of society.
However it is interesting to note that the
lamp, an everyday object also casts a
dark shadow (which manifests a sense of
foreboding) against the wall, creating a
cognitive dissonance of mundanity
combined with the conflicts of the game
to create an abstract dream-like reality.!

An abstract reality is also created within the illustration below. Van All burg manipulates space
and perspective, illustrating images from low angles (child-like perspectives) to create further
empathy with the reader (in which the majority are). It also creates the illusion of a continuously
intimidating setting. Furthermore this firmly forces the reader into the characters perspective and
therefore into the story. The sheer size of the guide comparative to the dollhouse affirms this

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dream-like quality and warped perspective,

almost creating an atmosphere of
claustrophobia, illustrating how the game has
now smothered their sense of reality. Many
illustrations at the beginning of the story are
lightly shaded (with only small shadows to
suggest foreboding), facilitating an atmosphere
of juvenility and innocence, a calmness that this
is simply a game (as illustrated on the left).
However as the the narrative progresses,
darkness becomes prominent generating a sense
of dread. !

-Subjective Frame!
The subjective frame is also used throughout the
entire book through subtle imagery. As depicted
below, the house is very orderly juxtaposing the
chaotic brutality of the board game. The pattern of the snake is strikingly similar to that of the
chair, again underlying the ordinary with a subtle abnormality that the audience have to search
for. However the snake is rendered realistically, in comparison to the chair in which appears
almost flat in the image. This creates a further juxtaposition of the board-game appearing
substantial to a greater extent than their actual lives.!

Compositionally, the furniture is is well spaced, many of the items as well as the room corners are
also subtly rounded, creating a sense of safety, despite the looming terror of the board game. The
rooms are almost hotel-like, illustrating the lack of personality and warmth within the childrens
household. Contextually, this story is set in an upper class 1950s white suburbia. The parents were
said to be attending the opera, an absence that appears to be a commonality within the story. Van
Allsburg himself grew up as an only child
with two working parents. He comments I
was often home, by myself, very bored and
that is what got me into drawing in the first
place.This lonely, isolation echoes within the
story, in which the alienation catalyses the
children to turn to the game for comfort.
Therefore not only is the emotional stance of
the characters conveyed, but the illustrator
swell in which he identifies with the
characters.

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-How Shaun Tan and Chris Van Allsburg have

Influenced My Own Work!
Shaun Tan and Chris Van Allsburg's practice and work have created a predominant influence on
my own work in relation to my art making practice, themes and style. Their line of work
transcends both the authorial and illustrative world which is an action that I aspire for my own
work, particularly with the creation of my story book. !

My conceptual practice entails my exploration of life through visual metaphors and often subtly
surreal imagery which is similar to Tan. I am particularly compelled about the ideas of isolation,
disconnection, losing innocence and warped senses of identity, often rejecting the
straightforwardness of realism. Tans influence is evident in my work, by the elimination of exact
copies of reality and realism, metamorphosing my works into dream-like characters and
landscapes. Conceptually, Chris Van Allsburgs predominant idea of cognitive dissonance in
which separate mundane items and themes are placed in the vicinity of each other to generate an
new and inextricably surreal meaning has greatly influenced my own practice. I myself, am more
comfortable in working with black and whites to explore the world of younger individuals
similarly to Van Allsburg. His influence is evident within my work particularly with the use of
shifting perspectives and angles (predominantly from a lower range) in order to manipulate
readers into becoming a part of my story and therefore furthering intrigue.!

I am most interested in conveying emotional responses to certain situations through the use of
visual metaphor and imagery. The stories that I write do not have set narratives or a particularly
strong voice (small captions and trigger words), as audience participation in which they facilitate
their own conclusion is critical in the emotive impact of my work. Commonly my endings are
quite open and unexplained, having an essence of ambiguity. My protagonist often passively
wander throughout their experiences, becoming an observer rather than a participator to life to
which I find commonality with, often having a reluctance to participate only wanting to perceive
and comment on my surroundings. This isolation is also frequently found within my drawings as
my protagonist is singular, alienated in each dreamy situation. Often backgrounds allude me and
become hazy as I am partial to focusing only on one aspect of the image. The Frames that I
predominantly work in are the structural and subjective frames. Structural in my representative
use of colour and imagery and subjective as I centre around audiences emotive response to my
work. However I dont create my work with an audience in mind, merely for my own satisfaction,
of eliciting an appropriate emotional response from myself. Therefore the emotion in the work is
genuine, which will reflect in the audiences responses.!

Personal influences to my practice include listening to performance poetry. I find that their use of
verbal metaphor is intensely affectional to their audiences and that is something that I also want to
convey. Often their words will conjure emotionally-charged images into my imagination that I
scribble and rework within my stories. Another inspiration to my practice would be everyday
objects that have interesting shapes or meanings when placed together. Im fascinated by the way,
even the most mundane item can become interestingly surreal when viewed from a new light.
Human faces are an endless influence within my work. They have a metamorphic aspect in that a
single change in nuance can transforms the entire face as a whole. Small movements such as a
slight raise in eyebrow or the relaxation of a jaw can alter features and I find it interesting how
easy it is for us as humans to be able to change.!

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My material practice consists of a lot of practice sketches. I tend to sketch more than finish the
actual product itself. Sketching commonly occurs first, before a story line appears as I will become
inspired by the pictures to articulate a tale behind them. I prefer working in small scale, my
favourite mediums to use are charcoal and soft pastels on watercolour paper as it creates a very
interesting texture that can give the images a new dimension. Recently watercolours themselves
have re-enchanted me and I have explored this medium using heavily textured watercolour paper.!

I have to continuously sketch and keep drawing, otherwise I find my ideas become stagnant, and
my indecisiveness often catalyses my mind into changing ideas at the last minute. Through the
research of Shaun Tans practice the importance of layering acrylic first before oil has influenced
me to do the same when I am working with oil. Furthermore, working in the scale in which your
book is to be printed is another aspect that has influenced me. Collage is another medium in
which Shaun Tan utilises that has inspired my own art making practice as it has elaborated on my
interest in textured supports. Through the exploration of Chris Van Allsburgs Practice I have been
influenced with the exploration of different mediums. Furthermore he has inspired me to write
and illustrate my stories to a sophisticated standard before I reproduce the final copy, instead of
changing it last minute.!

Therefore Shaun Tan and Chris Van Allsburg have greatly influenced both my conceptual and
material practice as well as furthering my understanding of the authorial and illustrative world.!

References !
Shaun Tan!
-FAQs-Shaun Tan. (2014). Retrieved January 4, 2015 fromhttp://www.shauntan.net/faq1.html!
-Haber, Karen. (December 2001). Shaun Tan: Out of Context. Locus-The Newspaper of the Science
Fiction Field, p.31-32.!
-Karp, John. (2007). Booklist Review-The Arrival. Booklist Online: American Library Association!
-Pauli, Michelle. (27 July 2009). Shaun Tans unexpected details. Retrieved January 4, 2015, from
http://www.theguardian.com/books/2009/jul/27/shaun-tan-unexpeted-details!
-Pike, Darren. (2010). Childhood Depression and the Picture Book: Shaun Tans The Red Tree. 4th
Global Conference:Visual Literacies!
-Jordan, Mitchell. (July 2009). An interview with Shaun Tan. Retrieved January 5, 2015, from
http://www.bookslut.com/features/2009_07_014748.php!

Chris Van Allsburg!

-Allsburg, Van Chris. (2010). Frequently Asked Questions. Retrieved on January 21 from http://
hmhbooks.com/chrisvanallsburg/faqs.html!
-Brown, J.C. (1999) A Look at Chris Van Allsburg, American Author and Illustrator. Retrieved on
January 19 from http://www.academia.edu/993813/
A_Look_at_Chris_Van_Allsburg_An_American_Author_and_Illustrator!
-Heller, Steven. (2001). Chris Van Allsburg. Retrieved January 23, 2015 from http://
www.askart.com/AskART/V/chris_van_allsburg/chris_van_allsburg.asp!
-Lorenz, Lee. (November 10, 1993). Review of Chris Van Allsburgs 'The Wretched Stone. New
York Times, p.36!
-Nell, Phil. (2003). Just a Dream?: Chris Van Allsburg and Surrealism at the End of the Twentieth
Century. Retrieved on January 21, 2015 from http://www.english.ilstu.edu/border/nel.html!
-Stewart, Martha.(2000). A conversation with Chris Van Allsburg. Retrieved on January 21, 2015
from www.marthastewart.com/920930/conversation-chris-van-allsburg#920930!

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