Notes & Major Points

Illustration: A Theoretical and Contextual Perspective Alan Male

Chapter 2: The Nature of Imagery, Visual Language

ISBN: 9782940373512

CSULB Library Permalink: https://csu-lb.primo.exlibrisgroup.com/permalink/01CALS_ULB/d7ul0l/alma991032262989702901

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

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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.

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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

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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'.