Rupert Brooke: Selected Poems

About the illustrator

Illustrating the work of a poet always presents a challenge. Taking on board the ideas and imagery of a writer goes, to a certain extent, against the independent creative process of the artist. In this sense the illustrator of poetry is a conduit for the visions of others.

In order to find an approach to these illustrations, I looked for common metaphors within Brooke’s writing — water, darkness, light, solitude and the passing of time infuse the images. The second challenge was somehow to create a sense of narrative and movement within a single static representation; an image which is immediate but which also reveals itself slowly, presenting details and leading the eye, emulating the experience of reading a poem. Of all literary forms, poetry, in some ways, is most like an image. In this sense an accompanying illustration should at once work in tandem with the poem and function as an independent entity.

The challenges and rewards of autolithography

When presented with a new image-making process, I enjoy the experience of getting to know the character of the materials and finding an approach which makes best use of its particular qualities. The seemingly infinite possibilities of ink being pressed, transferred, lifted or squeezed onto paper never ceases to amaze me. The greatest challenge presented by autolithography was in translating the hand-drawn marks into the printed result. As with any print-making medium, there is the moment when the process takes control and creates something entirely unexpected. This is part of the joy of printmaking. Under the guidance of my old art school friend, Andrew Curtis at the Curwen Studio, we refined the drawings over several proofing stages. This was the most nail-biting and time-consuming part of the process, but in many ways also the most exciting.

About the illustrator

Illustrating the work of a poet always presents a challenge. Taking on board the ideas and imagery of a writer goes, to a certain extent, against the independent creative process of the artist. In this sense the illustrator of poetry is a conduit for the visions of others.

In order to find an approach to these illustrations, I looked for common metaphors within Brooke’s writing — water, darkness, light, solitude and the passing of time infuse the images. The second challenge was somehow to create a sense of narrative and movement within a single static representation; an image which is immediate but which also reveals itself slowly, presenting details and leading the eye, emulating the experience of reading a poem. Of all literary forms, poetry, in some ways, is most like an image. In this sense an accompanying illustration should at once work in tandem with the poem and function as an independent entity.

The challenges and rewards of autolithography

When presented with a new image-making process, I enjoy the experience of getting to know the character of the materials and finding an approach which makes best use of its particular qualities. The seemingly infinite possibilities of ink being pressed, transferred, lifted or squeezed onto paper never ceases to amaze me. The greatest challenge presented by autolithography was in translating the hand-drawn marks into the printed result. As with any print-making medium, there is the moment when the process takes control and creates something entirely unexpected. This is part of the joy of printmaking. Under the guidance of my old art school friend, Andrew Curtis at the Curwen Studio, we refined the drawings over several proofing stages. This was the most nail-biting and time-consuming part of the process, but in many ways also the most exciting.

About the illustrator

Illustrating the work of a poet always presents a challenge. Taking on board the ideas and imagery of a writer goes, to a certain extent, against the independent creative process of the artist. In this sense the illustrator of poetry is a conduit for the visions of others.

In order to find an approach to these illustrations, I looked for common metaphors within Brooke’s writing — water, darkness, light, solitude and the passing of time infuse the images. The second challenge was somehow to create a sense of narrative and movement within a single static representation; an image which is immediate but which also reveals itself slowly, presenting details and leading the eye, emulating the experience of reading a poem. Of all literary forms, poetry, in some ways, is most like an image. In this sense an accompanying illustration should at once work in tandem with the poem and function as an independent entity.

The challenges and rewards of autolithography

When presented with a new image-making process, I enjoy the experience of getting to know the character of the materials and finding an approach which makes best use of its particular qualities. The seemingly infinite possibilities of ink being pressed, transferred, lifted or squeezed onto paper never ceases to amaze me. The greatest challenge presented by autolithography was in translating the hand-drawn marks into the printed result. As with any print-making medium, there is the moment when the process takes control and creates something entirely unexpected. This is part of the joy of printmaking. Under the guidance of my old art school friend, Andrew Curtis at the Curwen Studio, we refined the drawings over several proofing stages. This was the most nail-biting and time-consuming part of the process, but in many ways also the most exciting.

About the illustrator

Illustrating the work of a poet always presents a challenge. Taking on board the ideas and imagery of a writer goes, to a certain extent, against the independent creative process of the artist. In this sense the illustrator of poetry is a conduit for the visions of others.

In order to find an approach to these illustrations, I looked for common metaphors within Brooke’s writing — water, darkness, light, solitude and the passing of time infuse the images. The second challenge was somehow to create a sense of narrative and movement within a single static representation; an image which is immediate but which also reveals itself slowly, presenting details and leading the eye, emulating the experience of reading a poem. Of all literary forms, poetry, in some ways, is most like an image. In this sense an accompanying illustration should at once work in tandem with the poem and function as an independent entity.

The challenges and rewards of autolithography

When presented with a new image-making process, I enjoy the experience of getting to know the character of the materials and finding an approach which makes best use of its particular qualities. The seemingly infinite possibilities of ink being pressed, transferred, lifted or squeezed onto paper never ceases to amaze me. The greatest challenge presented by autolithography was in translating the hand-drawn marks into the printed result. As with any print-making medium, there is the moment when the process takes control and creates something entirely unexpected. This is part of the joy of printmaking. Under the guidance of my old art school friend, Andrew Curtis at the Curwen Studio, we refined the drawings over several proofing stages. This was the most nail-biting and time-consuming part of the process, but in many ways also the most exciting.

About the illustrator

Illustrating the work of a poet always presents a challenge. Taking on board the ideas and imagery of a writer goes, to a certain extent, against the independent creative process of the artist. In this sense the illustrator of poetry is a conduit for the visions of others.

In order to find an approach to these illustrations, I looked for common metaphors within Brooke’s writing — water, darkness, light, solitude and the passing of time infuse the images. The second challenge was somehow to create a sense of narrative and movement within a single static representation; an image which is immediate but which also reveals itself slowly, presenting details and leading the eye, emulating the experience of reading a poem. Of all literary forms, poetry, in some ways, is most like an image. In this sense an accompanying illustration should at once work in tandem with the poem and function as an independent entity.

The challenges and rewards of autolithography

When presented with a new image-making process, I enjoy the experience of getting to know the character of the materials and finding an approach which makes best use of its particular qualities. The seemingly infinite possibilities of ink being pressed, transferred, lifted or squeezed onto paper never ceases to amaze me. The greatest challenge presented by autolithography was in translating the hand-drawn marks into the printed result. As with any print-making medium, there is the moment when the process takes control and creates something entirely unexpected. This is part of the joy of printmaking. Under the guidance of my old art school friend, Andrew Curtis at the Curwen Studio, we refined the drawings over several proofing stages. This was the most nail-biting and time-consuming part of the process, but in many ways also the most exciting.