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rated with music notation. His wit and humor<br />
run rampant through the pages, as you can see<br />
from those reproduced here.<br />
But we would be doing him a<br />
disservice if we left you with the notion that this<br />
is the limit of his illustration style. Benoit Jac-<br />
ques is a young man who has lived around...<br />
worked around... and been influenced by a<br />
number of titans in the graphics world.<br />
He was born in Belgium in<br />
1958, studied drawing in the Fine Art Academy<br />
in Brussels for three years and went on to study<br />
visual communication in college. Upon gradua- -<br />
tion in 1979, he was encouraged by his mentors<br />
to travel abroad, which he did. Late in 1979 he<br />
arrived in London and got a job at Pentagram<br />
working for Mervyn Kurlansky and Alan<br />
Fletcher. In 1981, with two years of experience<br />
under his belt, he traveled to the United States<br />
and worked for R. O. Blechman. His stay in the<br />
United States was cut short because of his mandatory<br />
tour of duty with the army in Belgium,<br />
but in 1983 he returned to London and started<br />
his solo career as a designer/illustrator. By 1985<br />
he dropped the "designer" from his title and<br />
turned all his attention to illustration.<br />
It was bound to happen. Draw-<br />
ing and painting are as natural to him as breath-<br />
ing. Jacques can't keep his hands off a pencil.<br />
Wherever he goes...whatever the occasion...<br />
he's constantly recording the scene. During his<br />
stay in New York City in 1981, he delineated every<br />
water tower within his visible radius. At an AGI<br />
conference in Gargonza, Italy, in the 1970s, he<br />
trailed his graphic heros through meetings,<br />
meals, shopping, strolling; and commited it<br />
all to paper.<br />
HEADLINE: ITC VEUOVIC MEDIUM, MEDIUM ITALIC, BOLD ITALIC TEXT. BOLD. BOLD ITALIC BYLINE BOLD ITALIC<br />
What is remark-<br />
able about Jacques' work is that<br />
no set of illustrations bears any<br />
resemblance to another. He has<br />
no allegiance to any style or<br />
medium. To be fluent in a range of<br />
expressions is his philosophy and<br />
his forte. He uses pencils, pen<br />
and ink, watercolor, oils, collages,<br />
and sometimes a mixture of techniques.<br />
He can be humorous,<br />
weighty, economical or complex.<br />
His main concern is to suit the<br />
illustration to the subject. You<br />
would be hard put to recognize his meticulous<br />
oil portraits if you judge him by the undis-<br />
ciplined goings-on in these pages.<br />
Benoit Jacques has published<br />
a number of promotional books demonstrating<br />
his varied styles and techniques. But in a little<br />
green book, measuring a mere 3'/z x 5',' he has<br />
composed the most compact, comprehensive<br />
portfolio we've seen to date. In 12 little pages<br />
with 12 illustrations, he manages to present the<br />
entire range of his philosophy, his illustration<br />
techniques and his styles so far. (He never<br />
closes the book on new experiments.)<br />
His little green book, Benoit<br />
Jacques Illustrates, his music book, Play It By<br />
Ear, his AGI conference book and hi s's sketchbook<br />
of New York Water Towers have all been<br />
printed in limited editions. Anyone interested<br />
in one or more of his publications may address<br />
inquiries to Benoit Jacques at 95 Hanover<br />
Road, London NW 10 3DL.<br />
Who knows—by the time<br />
this story is in print he may spring yet another<br />
surprise on us. M.M.<br />
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