Meet the maker: Adam Howling

For our latest issue, Kate Tighe spoke to leading gastrophysicist Professor Charles Spence about the quirks of this new field of food-related psychological interest. On reading this interview, we had only one artist in mind to illustrate the feature…

Illustrated by Adam Howling for issue 10 of Ernest Journal

Adam, you created this wonderful illustration for our gastrophysics feature in issue 10. Take us through your process.

The concept was to create a science lab crossed with an American diner, which I thought would be fun to illustrate with a retro vibe. After looking at reference materials of vintage illustrations of diners and science experiments, I started sketching out the scene to include references to the quirky food-related experiments discussed in the article. Then came a more detailed refining of the characters (something I find the most enjoyable part of the process) - this is when the illustration starts to come to life.

I draw digitally and attempt to strip the image down to essentials, using bold shapes with a limited colour palette. I then digitally add scanned textures to the illustration to give more of a ‘printers ink’ feel. I also like to give my images a screen printed feel, where each colour is printed separately, which can create interesting effects where two colours may bleed into each other from mis-registration of the the different printing plates.

How would you describe yourself as an artist?

As a commercial artist, I would describe myself as a problem solver. I enjoy the challenge that comes with distilling a concept or piece of copy into an engaging image. In my newspaper and magazine work, the communication aspect of illustration is very important to me, either by using visual metaphors or introducing a sense of humour, to add light to the accompanying text.

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Are there any other exciting projects you're working on?

Soon I'll be hopefully working on a non-fiction children’s book on the subject of electricity, which is quite exciting! In the meantime I'm doing some work for various magazines - recently I had the pleasure to work on illustrations for The Radio Times, which has long been on my ‘illustration bucket list’.

Where do you turn for inspiration?

I am very much inspired by graphic design and printing techniques on ephemera from the mid-century modern period. I love simple and effective designs combined with inventive use of a limited, relatively crude printing technology. Polish match box labels from the 1950s/60s are an excellent example of this – they feature bold and concise illustrations on a range of subjects, from environmental health warnings to tourism adverts, all in the confines of a 4.5 x 3.5 cm rectangle.

What have you taken away from this past year?

As a veteran home worker, I initially believed lockdown wouldn't have a great effect on me. However, as the months of the pandemic have rolled on, I've noticed just how much of the outside world and human interactions I'd taken for granted, and that 24-hour rolling news can have a negative impact on one's mental health. I also feel very fortunate to still be working on illustrations, when many creative industries have been forced to close.

Adam’s shelf of inspiration

Tell us about your work space – how does it reflect you?

My studio is the rather cluttered spare room in my house. The main tool in the studio is my computer, although the paints and inks do make an appearance when creating textures for an illustration. Like many illustrators, I feel the need to collect things and surround my self with interesting objects and images. Above my computer screen I have a little 'shelf of inspiration' (above), which currently features chocolate packaging and toys from the 1950s, along with record covers illustrated by Jim Flora and David Stone Martin.

What's on your bedside table?
A vintage Huangslite Toucan lamp (in green and yellow). A rather unhealthy looking succulent. What The Hell Are You Doing: The Essential David Shrigley (2012).

Find more about Adam’s work at adamhowling.com. You can read Kate Tighe’s interview with Professor Charles Spence in the latest edition of Ernest, on sale now.

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Meet the maker: Sam Brewster

For issue 10, Sam Brewster created an atmospheric, nostalgic night scene to accompany Dan Richards' article about the renaissance of sleeper trains. Sam invites us into his studio to chat about the perils of the internet, lockdown limitations and the acoustic benefits of having a door for a desk.

Sam, you created this stunning illustration for Dan Richards' sleeper trains feature in issue 10. Take us through how you created the work .

I wanted to make something that captured the dreamlike feeling of being on a night train; the meditative constant sounds of it cutting through the landscape, and the transitory peace you find in those places. In the dark you can’t see much detail, so I wanted to evoke the impressionistic experience of seeing bushes, trees and fields as shadowy shapes flitting by.

How would you describe yourself as an artist?

As I work mostly as a commercial illustrator, I’d say prudent. I’m trying to do more personal work in painting and film, but it’s hard to find clarity of mind.

Where do you turn for inspiration?

Away from the internet as much as I can. It’s a constant battle to escape the Ouroboros and I feel like I’m usually losing.

Are there any other exciting projects you're working on at the moment?

I’m actually working on an illustrated book about trains right now – although I can’t share any specific details yet, I can say that it’s really fun to work on.

What have you taken away from the lockdown experience?

Professionally, I miss being in a shared studio where I can air ideas with other people and watch them grow. Right now I feel like a dormant seed bank.

Tell us about your work space – how does it reflect you?

I’ve got a big door that I use as a desk. I like that it’s wooden, feels warm and only makes a dull clunk when you drop pens and pencils, rather than loud, high-pitched clacks you get on those hard Ikea tabletops.

What's on your bedside table?

Not a lot. A lamp, water, empty teacup, remote for my radio alarm. I prefer to have some space there so it’s quite empty.

You can read about the renaissance of sleeper trains in issue 10 of Ernest Journal, on sale now. Discover more of Sam’s work at sambrewster.com

Meet the maker: Dan Bright

For issue 10, illustrator Dan Bright created a beautiful image of a 'walking palm' (Socratea exorrhiza), a native to the tropical rainforests of the Americas, with stilt-like roots that lift the body of the tree clear off the ground. Dan invites us into studio to share his joy in stepping away from his computer, and indulging in the messy, inky, tactile art of lino-cut printing

Dan, take us through your design process for your ‘walking palm’ illustration.

I normally work digitally, but I’ve been making lino prints on the side for a few years now so this this seemed like the perfect opportunity to try something different and have some fun.

The space available on the page suggested a certain composition, so I spent few days feverishly scribbling ideas, trying to develop a character that felt reasonably believable and weird, but not scary. The hardest part was working out where to place its eye.

Once the design was signed off I had to work out how to actually deliver the print, and the panic set in. I decided on a four-colour, two-plate reduction print and started cutting some lino. Leaving many of the details to chance I aimed to work it out as I went along, printing lots of test prints and experimenting with transparent inks to mix colours and add depth. Once I was happy with the first two colour layers, I repeated the process for the next two, leaving it deliberately rough in places to give a nice, spiky, organic feel.

Are there any other interesting projects you're working on at the moment?

I’m – very slowly – creating a series of prints based on British folklore, myth and legend. It’s taking me forever because I’m enjoying researching the subject so much – every new story or creature I find leads to three or four others to read about. At some point I need to stop exploring and actually put some ink on paper.

I’m also in the early stages of writing and illustrating a children’s book about insects and the environment, which I’m really excited about.

Where do you turn for inspiration, particularly when you're in a creative lull?

The best way I’ve found to break out of a creative rut is to leave all my screens behind and go outside for a walk or do some gardening.

I’ve always been a massive nature geek and love finding new places to explore. If you pay attention you can find inspiration in the unlikeliest and most mundane of places, – I’ve found bee orchids, earthstars and wasps’ nests, all only a five minute walk from my city centre home.

What have you taken away from the lockdown experience?

How much I took for granted and how quickly it can be taken away. Hug, anyone? And that I really need to take much better care of my physical and mental health.

Tell us about your studio space. How does it reflect you?

My studio is set up in the spare bedroom and is split into two areas. One for my digital illustration work – it contains my desk, Macbook and Cintiq and is kept scrupulously clean and tidy. The other side has a workbench and printing press, where I do my drawing, printmaking and experimenting. It’s a lot messier, inkier and more fun.

I think people would say my studio is a pretty good reflection of my character – annoyingly precise and perfectionist on the one hand, and chaotically disorganised and messy on the other.

What's on your bedside table?

A glass of water.
A vintage Anglepoise Lamp, which I inherited (stole) from my parents.
A Kindle loaded with comfort reading, mostly Agatha Christie and PG Wodehouse novels.
In Montmartre, by Sue Roe, which is about Paris in the early 1900s and the birth of modern art (if I could live in any place and time it would be there).

See more of Dan's work at danbright.studio and on Instagram @danbright.studio

You can read about the ‘walking palm’ in issue 10 of Ernest Journal, on sale now

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Issue 10 has landed

We're thrilled to announce that issue 10 has gone to print and will be landing on our subscribers' and Crowdfunders' doormats very soon. If you missed a chance to get your hands on a copy during our Crowdfunder campaign, don't worry - you can now order issue 10 or subscribe on through our store page

Cover photo by Dan Cook

As many of you know, our partnerships for 2020 were postponed due to the coronavirus pandemic, so we launched a campaign to help us send issue 10 to print. Thanks to your support we raised an astonishing £14,845, which will help us to build a strong foundation for 2021 in these uncertain times.

Thank you for supporting independent publishing and helping us send issue 10 to print - we couldn't have done this without you.

So, without further ado, let’s take a look inside this brand new edition…

INVENTORY

Botanical cyanotypes; trail teas; ocean tapestries; lunar birds; sacred trees; mountain maps; Sheffield knife crafters and moonlit journeys.

MILK OF DEER

When a pair of Swedish newlyweds introduced reindeer to the Cairngorms after seeing striking parallels between the Highlands and their native homeland, little did they realise they were rejuvenating a Scottish herding culture that goes back to the Ice Age. Words: Nick Hunt, Illustrations: Ruth Thorp

BEING NATURE

Lucy Jones, author of Losing Eden, investigates the language we use about the natural world, and how new words and voices are needed in the rubble of the pandemic. Photos: Sam Hobson

GASTROPHYSICS

You’re cruising at 31,000 feet. The drinks trolley beetles past and before you think about it, you’ve ordered a Bloody Mary – a slightly off-piste choice but one you’re craving all the same. As you take your first sip of the salty drink, you look around only to discover how many of your fellow passengers have opted for the same unusual beverage. Kate Tighe talks to leading gastrophysicist Professor Charles Spence about the quirks of this new field of food-related psychological interest. Illustrations: Adam Howling

THE CONTINUOUS PLANKTON RECORDER

This contraption has been compiling a marine tapestry since 1931, and in recent years, has given us a unique insight into our plastic addiction and the health of our oceans. Words: Russell Arnott

TRAIN DREAMS

In the age of flygskam (noun, Swedish: the feeling of climate guilt associated with airline travel, literally ‘flight shame’), many of us are looking for an alternative – helping the environment and investing in our own comfort and idea of journey. Dan Richards recounts his nocturnal adventures and recent renaissance in European sleeper trains. Illustrations: Sam Brewster

OCEAN TRAILS

The 2011 Fukishima Daiichi Nuclear disaster has been long out of the headlines but its devastating legacy is still having a domino effect, as radiation travels on deep ocean currents to new parts of world, including the fragile ecosystem of the Great Barrier Reef. Australian naturalist Paul O’Dowd is closely monitoring this invisible enemy, with the goal of sounding the alarm when disaster eventually strikes. Words and photos: Mack Woodruff

SEA NOMADS

Armed with sunglasses to protect his eyes from the dagger-like bills, Sam Hobson joins the seabirders, a group of scientists on the frontline of Britain’s gannet study and conservation effort.

A CREATIVE PAUSE

During lockdown, photographer Jim Marsden trod the same path every day. The more he walked the path, the less aware he was of walking, and the more aware he was of thinking. The path became his place to pause, and his space to think.

THE ROOT BRIDGES OF MEGHALAYA

Grown over decades from the roots of the rubber fig tree, the bridges of Meghalaya are testament to a living architecture that crosses time and ancestry, as well as the gushing gorges of the Khasi hills. Words and photos: Willem Betts

INTO THE UNFATHOMED

A singular figure who bridged the gap between science and literature, Rachel Carson recognised that “it is not half so important to know as to feel”. Within a decade, she would catalyse the conservation movement, introduce the word ‘ecology’ into common parlance and awaken the modern environmental conscience with her epoch-making Silent Spring. Words: Maria Popova

CHASING AURORA

From crossing lava fields in Iceland to enduring subzero temperatures in Canada’s bear country, photographer Rebecca Douglas reflects on her lifelong obsession with chasing the Northern Lights.

AN OCEAN ODYSSEY

Inspired by a trip to South Georgia, an inhospitable island abundant in wildlife but with no permanent human inhabitants, Russell Arnott explores deserted whaling stations and delves deep into ocean migrations both great and (very) small).

WHAT WOULD GWEN DO?

Whenever photographer Hazel Simcox heads out into the mountains of North Wales, she often takes a particular book with her, not a guidebook, but a memoir. Fern Scott speaks to Hazel about the words of mountaineer Gwen Moffatt, and how they influence her experience, and images, of landscape.

Ernest Journal is 160 pages, perfect bound and printed in full colour on FSC approved uncoated 140gsm and silk 170gsm paper in Bristol, UK.

UK and international postage available. Postage & packaging dependent on weight and destination.

Subscriptions and pre-orders will be posted early October. Thank you for supporting independent journalism!

Reimagined landscapes

During lockdown earlier this year, artist and photographer Joseph Wright found new ways of capturing landscapes, all the while never venturing more than than 10ft from his back door

All artwork by Joseph Wright

Joseph, how would you describe yourself as an artist? 

As a visual narrator of inner and outer landscapes. My aims have been to reveal stories of the land and how we inhabit and respond to it, in part, developed through my own lifelong relationship with the countryside and edgelands. I seek to enquire whether the beauty and our connectedness to nature can be found in the least expected and often neglected places. The places often ignored because of our idealised perception of the pastoral and sublime landscape.

How did this change during lockdown?  

Fundamentally, my objectives remain the same – my fascination and enquiry of the landscape continues unabated. But, while lockdown may have physically hemmed me in, my mind remained free to wander. In that way, lockdown directed me to focus on my inner expression of landscape, more so than that of the outer one visible to me.

Tell us about your recent series 'Study of the Landscape'.

The series was born out of an almost obsessive need to continue to remain creative and somehow escape lockdown and stay connected to the environments I was now denied access to. I still wanted to work within the loose confines of photographic processes, exploring their simplest forms – subject, light and a receptive material. 

One of my experiments was to explore more direct physical manipulation of the cyanotype, and found I was able to create abstract expressions of landscape forms. These forms constantly colour shifted as the UV light from the sun caused reactions in the cyanotype sensitiser materials, creating image sequences that often spanned many days of exposure to the elements. In some sense these works continue to live and thrive, each time they are exposed to light they morph, albeit less each time – perhaps a metaphor for the virus.

I continued to develop the process further and allowed my imagination to run wild, bringing together memories of landscapes visited, emotional responses to the pandemic and climatic situations, re-imagining the landscape in my mind’s eye. The only limit being that of my imagination and not the physical confines of the lockdown. As Dilgo Rinpoche one said, “It is our mind, and that alone, that chains us or sets us free.” 

Moving forward, how do you think your work will evolve? 

The biggest takeaway for me in creating this series has been to experiment more, relishing the many failures as a necessary step in evolving. Bringing together different facets of my work and approach, mashing them up to keep things fresh. I’ve no doubt all of this will lead to a new spell of creativity.

What's on your bedside table?

My Kindle and an ever-changing small stack of books, just now; Landscape & Memory by Simon Schama, Mirrors Message & Manifestations by Minor White and usually something from the ever excellent Corbel Stone Press.

See more of Joseph’s work at josephwright.co.uk and on Instagram @joearwright