Description of key elements of illustrative process Essay Example

  • Category:
    Education
  • Document type:
    Essay
  • Level:
    Undergraduate
  • Page:
    1
  • Words:
    374

Illustrative process has become evolutional from what Rebecca Cool describes as pen and brush to digital.

Beginning with the latter, illustrative process can involved the use of natural materials such as hand-painted paper and wonky cuttings of magazine to form collage and photography. Such illustrative process is evident with the works of Eric Carle and Lauren when they were trying to develop humorous collage illustrations for children. Still on natural materials, the process can encompass the use of foliage and sand with an intention of bringing to life the aspect of ocean floor and forests thus conveying what James Baker describes as “conservation message”.

Illustrative process can also take a different twist depending on the theme and message artists want to convey. Rebecca Cool as cited in Anstey (2000) for instance uses rainbow-coloured acrylic paint on fabric. In her book For All Creatures, illustrative process she takes involves using convectional canvas to come up with vibrant illustrations.

The next level of illustrative process worth mentioning is the digital. Though it has been heavily criticised by artists such as Gervay as cited in Morris (2001), their outcomes have been compelling. Unlike canvas or fabric illustrations, digital process involves making designs on the screen by combining elements that have been hand drawn with photography and sourced materials. One such process as seen with Cool involves colouring a drawing on computer’s screen then such colours are downloaded directly to the publisher so as to come up with well blended colours, patterns and forms that appeals to the imagination of the intended audience. Talking of screen does not am ruling out the possibility of using canvas in the process of digital illustration. Cool has elegantly embedded convectional canvas to assemble her illustrations in a manner that the theme is vibrantly evidenced. However, as digital still remains to be a force to reckon in illustrative process, questions have been raised over it. Gervay for instance wonders whether digital illustrations have any artwork originalities whose exhibitions can excite.

Reference Lists

Anstey, M and Bull, G 2000, ‘The illustrative process’, in Reading the visual: written and

illustrated children, Harcourt Australia, Sydney, pp. 134-141.

Morris, L 2011, ‘A child’s eye for enchantment’, Arts & Entertainment, Sydney Morning Herald, 31 October, p. 11.