At the risk of appearing foolish the writer needs to be able to gape at this or that - a sunset or an old shoe in absolute or simple amazement.

Tom Carver.

Jon McNaught

Described by Sarah Bodman as ‘Superman’, this accomplished illustrator is a mild mannered, unassuming print technician. However, hiding behind Jon’s self-effacing, calm exterior lurks a renowned graphic novelist, printmaker and illustrative superhero.

His books are his passion and the style is rather retro - think 1950s and 1960’s block print using a limited colour palette – pink, dark navy and black. His block printed layered book covers are evocative and personal. Since his illustration degree in 2007 he has worked in a series of ‘ordinary’ jobs whilst running parallel to this has been his freelance illustration career.

Jon's influences range from Japanese woodblock and landscape prints - the flat atmospheric imagery of the countryside - to the Linocut work of Gwen White (whose simplistic block repeat pattern work from the 1940s and 50s and her book jacket illustrations are direct inspiration for him) and not forgetting the evocative solid line work in the linocuts by of Edward Bawden.

Although Jon uses digital imaging and manipulation software, this, in his opinion causes the artwork to ‘lose the magic’ and therefore he prefers the honest hand-rendered print best.

Other influences (specifically for his storyboard and comic strip inspired work) include:

Tom Gauld

Raymond Briggs comic strip imagery

Chris Ware - Jimmy corrigan 2005

JMcN’s Comic Strip prints, for example ‘Pebble Island’, encourages the reader to find a story out “for yourself”. This form of graphic communication empowers the reader, they have to use their imagination and there is an intimacy there, as if the viewer gets an insight directly into the mind of the artist. In Jon’s opinion, Comic Strips are a form of self interpretation, mesmeric, like poetry.

This is where his love of the work of Philip Larkin and his poetic influence comes in.(Philip Larkin’s  ‘Whitsun Weddings’ is his favourite poem) Within his work, Larkin discussed the ordinary rather than the higher, lofty ideals; snippets of real life, which are relatable and this ‘relatability’ is what Jon McN attempts to recreate in his printwork.

After University JMcN was inspired by Japanese block print work. He began documenting routes to work creating snapshots of time in this layered blocky style. He looked at his hometown in Hampshire. This specific parochial area he had inhabited as a child and returned to,  became extraordinary when seen through Jon's series of silkscreen printed trees and skylines viewed at different times of day.

He then began making comic books as prints, trying to capture sleepy, boring ‘ordinary’ life. He decided that the best form for these images to take was using comic book page layouts.

Ideal for sequences, depicting ribbons of time passing. Also he attempted to intersperse sounds of life at home and at specific times of day within his print work eg. TV sounds combined with life activity. The resulting Lithographic prints use colour-blended gradients to recreate the Sunset and this is an ideal technique - peach though to grey.

Jon said he enjoys the 'magic trick' of bringing in sequencing for comic strip panels as the Brain fills in the gaps, personalizing each story for the individual.

To evoke the ordinary, JMcN has completed silkscreen prints using everyday starting points, for example family snapshots. His work has a recognizable style as his colour palette is limited; creating grey, blue, and pink 3 colour prints. The final outcome is ‘real yet unreal’, with images open to interpretation.

Illustration work, the Process and the Publisher

His Lithographic book Birchfield Close came from these comic strips using 3 colours. Problems with printing include registration and dilemma of atmospheric humidity.

JMcN first sketched out the pages then used Ink on Mark resist film drawn to scale – the colours are printed and overlaid in order, PINK, then NAVY, then BLACK.

Initially, St. Jude's gallery represented JMcN and Nobrow publishing saw his work.

Nobrow wanted spot colour lithographic reproduction for his printwork.

A SPOT colour lithographic process would achieve a more ‘Retro’ print – think old Puffin and Ladybird book classics and his publisher wanted to achieve this appearance but on a commercial print basis. When using CMYK process, one can see the dot structure, however, with Pantone Spot colour  a SOLID colour is achieved which is more akin to JMcN’s work.

Reflections became an influence, puddles, skies, windows etc. Litho print examples.

Early morning sky wet roads and twilight led to inspiration in his work that  led to the book dock wood. The feeling of being in a city - mundane, ordinary the everyday. Images referenced his comic book stories. He is a curator of everyday life.

Most recent Illustration examples include:

London review of books

(Peter Campbell was the initial illustrator of this publication).  

JMcN produces a more abstract style of work with Images that have a narrative

New York Times and the Washington post

Winter illustrations

Book Cover Illustration -  ‘Number 11' by Jonathan Coe

explores the division between the rich and the poor

I found that Jon McNaught’s beautiful illustrations were evocative of everyday life and were executed with documentary-style detail. He gave an earnest and unpretentious account of his work which was refreshing to listen to. Jon appears to be an artist fulfilled by ‘Ordinary’ life, producing work that is ‘Extraordinary’.

Whenever you have a theme in your own art you begin to see that theme in every aspect of your life.