The first and foremost is that it speaks to you. It tells you a story, visually represents an idea, conveys a message, delivers information, offers a visual accompaniment to text, etc.
After all, something makes that oil still life so much less engaging for our brain. Nor does it do anything aside from expressing its aesthetic. Illustration, by definition, must always have representation intent that goes beyond merely its looks. It must not express , it must communicate , and it cannot be evoking form alone. For instance, what if those circles were to accompany the article on the left? Is it the best we can do?
On the right is the graphic that accompanied the article. To reiterate: as an illustrator, your job is not to demonstrate your painting techniques, color mixing, or your mastery of the male nude — only to find the most efficient, clear, and direct way to make the viewer feel and know what you want them to feel and know.
Do nothing extra, because extra stuff be it extra details, people, trees, colors, lines, etc. Just like writing an overly wordy essay or an instruction manual with too many details makes information difficult to digest.
But the best illustrations, be they simple or detailed, are clear — that is, they have the fewest unnecessary things in them. And what they do have in them is there for a reason, and it all has the function of manipulating your focus, attention, and emotional response to what the illustrator intends you to get out of it. The author of the textbook must choose which of these nine categories is best suited to the educational objectives of his text, given the financial resources available.
Coloured illustrations are expensive and the cost-benefit ratio of any additional advantages should be carefully considered. Characteristics and conditions of a good illustration Several conditions determine the choice or production of a good illustration: How evocative is it. This brings affective and esthetic elements into play. The realism of a colour photo will stimulate the interest of a young pupil. From this point of view a photo can be more effective than a drawing landscapes, portraits, scenes of everyday life in other regions.
However, some coloured drawings which faithfully reproduce reality are just as effective as a photograph. Moreover, drawings are often given preference in childrens' reading books, because of their evocative force for example, strip cartoons which highlight, simplify and symbolize the essential message. The quality of the message transmitted When its production is based on pedagogic motivation and precise objectives of information a coloured drawing can sonxetimes be more effective in transmitting an item of information than a photo.
It frequently enables details to be better emphasized or important and significant elements of an object or an experience to be highlighted botany, study of the human body and its function, biological experiments, chemistry, physics, technical instruments , even if only a black line is used. Clarity and accuracy Illustrations should faithfully depict and explain what is described in the written text.
They should be clear and accurate and not give rise to ambiguities. From this standpoint, drawings are often more effective than photos. The designer can draw the outline of people or objects and highlight the different elements of the illustration which the author wishes to bring to the fore for the purpose of his instruction.
Separate images can be drawn to follow the successive stages of a process. Drawings should be as true to life as possible. The introduction of fantasy can hamper comprehension, as can an excessive search for aesthetic quality which might divert the attention of the reader from the real aim of the illustration. Decorative illustrations are justified to stimulate and develop a pupil's artistic sensibility.
Whereas it is true that school books should be attractive, the insertion of decorative images for the sake of aesthetics should not, however, serve to dissimulate the weakness of objectives and content of the text. Any artistic aspects inserted in the text should have a pedagogical function.
The sketch, which is a drawing simplified or distorted to increase comprehension, is the simplest type of illustration and the easiest to read, but also the least attractive, given its lack of affectivity and aesthetic value.
Nonetheless, they can be very useful at the initial stages of education, for example in mathematics, even for young pupils. Is it adding something to the project? For it to be successful, it must be an illustration that works with that assignment. For me there has to be a narrative to it rather than being a purely aesthetic piece of work.
There has to be some context rather than just being a really technically beautiful thing. Chronopoulos says that in weighing up a piece of work on the jury, the range of backgrounds across panel members was invaluable in reaching a fair conclusion. I work in a studio with other illustrators, but I only talk with them about illustration. It was nice to see how people from different fields worked.
What was just as important though, was that the work possessed some less tangible qualities: Did it resonate emotionally? How did it make people feel? Finally, was the work doing something good? Proof that creativity as a force for good lives outside of a single category but has become an all-encompassing theme. Share: Twitter Facebook Pinterest Email. Design Action Collective is a cooperative design….
For as long as non-designers have needed to create design-centric work, there have been tools and services that help them….
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