Illustration: A Theoretical and
Contextual Perspective
Alan Male
Chapter 2: The Nature of Imagery,
Visual Language
ISBN: 9782940373512
CSULB Library Permalink:
Male, Alan. Illustration : A Theoretical & Contextual Perspective. AVA Academia, 2007.
Illustration
A Theoreth:.al & Ccmte.dual Perspec;tlve
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Illustration ■ 02 ■ The Nature of Imagery
Visual Language
Stylisation
The majority of practising professional
illustrators, along with many graduating or
convocati onal student illustrators will have a
‘style’ associated with their work.
What is meant by style? It is the distinctive
visual language that identifies one’s ‘mark ‘ or
personal iconography. It is that particular
feature or quality that determines what kind
of illustration one is associated with. It
should also define one ‘s placement within
a visual, illustration genre. Like music,
literature and fine art, an applied art and
design discipline such as illustration will
comprise numerous variations, themes and
treatments. Some will represent an adherence
to a contemporary trend or fashion and
others will be more traditional.
A histori cal and contemporary overview of
illustration will depict seemi ngly hundreds of
styles. However, in broad terms, there are just
two forms of imagery. All variations of visual
language will be placed within one of these.
Literal illustrations tend to represent pictorial
truths. H ere there is generally an accurate
description of reality and even if the image
2
1,2. Far from any
pretence of pictorial
reality this conceptual
image by David Bain
presents a visual
interpretation of the
quote: ‘there was
once a game, which a
sharper played with a
dupe, entitled, “Heads
I Win, Tails You
Lose”‘.
‘It is the distinctive visual
language that identifies
‘ ” k” 1 ones mar or persona
iconography.’
3. John Aggs has
utilised the conceptual
process to determine
a final image that
exemplifies the quote:
‘Normally, I read my
classics in strip form ‘
(Tommy Steele).
4. Richard Duckett’s
highly realistic and
precisely crafted
rendition of a
helicopter is an
excellent example of
literal realism.
3
depicts narrative fiction of a fantastical or
dramatic nature, the accent is on creating a
scene that is credible. Examples of visual
language can vary from hyperrealism
rendered digitally or by traditional drawing
methods to painterly, impressionistic or
decorative approaches. Objective and
pictorial representation falls within this
category. The second form of illustration can
be described as conceptual. Here we can have
metaphorical applications to the subject or
visual depictions of ideas or theories.
The images may contain elements of reality,
but as a whole take a different form of being.
Examples may include diagrams, composites,
surrealism, extreme distortion or abstraction.
Both forms of illustration can be applied to
all five contexts of practise; information,
commentary, narrative fiction,
persuasion, identity. However, some styles
are best suited to specific or particular uses.
Examples might be where hyperrealism is
the most appropriate visual language to
convey detailed information, caricature and
distortion to represent political satire and the
imaginative juxtaposition of visual elements
to present an entertaining image for
advertising purposes.
It can broadly be agreed upon that such is
the versatility of illustration regarding the
breadth of visual language that as an applied
art fo rm it can depict anything and in any
style. However, it is important to regard that
stylisation has to be appropriate for the
subject matter, the context of operation and
ensure a considered receptivity for the
audience. Illustration practise is individualistic 4
regarding visual language and there can be
far reaching and challenging aspects to one’s
style, often to the point of utilising more
than one.
However, it is interesting to note that in
the business and professional practise
environment, many illustrators’
representatives or agents will insist on
promoting one style, preferring to ‘pigeon
hole’ individuals claiming that it is easier to
promote and sell an illustrator’s work this
way. Many publishers and other clients take
the opposite view and prefer to commission
and work with an illustrator who is able to
work with a variety of styles.
Visual Language ■ Il lustration
51
52
Illustration ■ 02 ■ The Nature of Imagery
Visual Intelligence
Analysing th e concept of visual language
cannot be carried out comprehensively
without due consideration to the notion of
visual intelligence. This can also be posed
along with another consideration; what
makes for a successful visual image;,
Answers might reveal the following; aesthetic
judgement, ‘ taste’ , the emotive use of colour,
texture and shape, and symbolism. All of this
points to human subjectivity and personal
preferences . However, illustration is broadly
objective. Contextually speaking, in order to
measure the quality of the image one must
consider how successful the transfer of
messages has been. As previously stated, an
image without a context is not illustration.
Non etheless, emotive reaction and response
is paramount in certain circumstances. A non
aesthetic or ‘bad taste’ approach may be
required when the aim is to shock, present a
contentious argument or even depict
unsavoury material for educational purposes.
It is not appropriate to dwell on technique
or the vagaries of mark-making. However, an
individual visual language is, in some part,
determined by this. An illustrator whose style
relies upon spontaneous and aggressive
autography can give an image the ‘fire’
required to invoke audience reaction.
Alternatively, sensitive and highly
meticulous painting may provide
the detail and aesthetic
qualities appropriate
for an
informative illustration of a natural history
subject.
R eturn to the idea of visual intelligence. A
naively produced illustration may suggest a
lack of visual intelligence; poor drawing,
inappropriate choices made regarding colour,
composition, pictorial or conceptual
elements and subj ects. There also seems to be
a certain ambigui ty when visual intelligence
is recognised and associated with an image.
Perhaps it can be seen as an identifiable
maturity; experience, visual sophistication
and contextual understanding are aU
important criteria to consider when making
these judgements.
1,2. Arthur de
Barman’s il lustration
for a book of ‘Trivia’
combines humour
with a clearly defined
visual language thus
giving this style a
particular identity.
The use of visual
intelligence is
apparent by way of
the distorted figure
representation and
the linear markings to
convey ‘pognophobia
is the fear of beards’.
- Illustration: A Theoretical and Contextual Perspective
- Alan Male
- Chapter 2: The Nature of Imagery, Visual Language
