An illustration is a visualization such as a
drawing, painting, photographor other work of artthat stresses subject more than form. The aim of an illustration is to elucidate or decorate textual information (such as a story, poem or newspaperarticle) by providing a visual representation.
* give faces to characters in a story;
* display examples of an item described in an academic textbook (e.g. a
* visualize step-wise sets of instructions in a technical manual;
* communicate subtle thematic tone in a narrative;
* link brands to the ideas of human expression, individuality and creativity; and
* inspire the viewer to feel emotion to expand on the linguistic aspects of the narrative.
The earliest forms of illustration were prehistoric
cave paintings. Before the invention of the printing press, illuminated manuscripts were hand-illustrated. Illustration has been used in China and Japan since the 8th century, traditionally by creating woodcuts to accompany writing.Fact|date=March 2008
15th century through 18th century
During the 15th century,
books illustrated with woodcutillustrations became available. The main processes used for reproduction of illustrations during the 16th and 17th centuries were engravingand etching. At the end of the 18th century, lithographyallowed even better illustrations to be reproduced.The most notable illustrator of this epoch was William Blakewho rendered his illustrations in the medium of relief etching.
Early to mid 19th century
In the early 19th century the proliferation of popular journals, which often serialised novels for mass-circulation, produced a boom in popular illustration. The medium moved away from steel engraving which was the standard in the early century towards wood-engraving which could more easily be incorporated into pages of text. Book and journal publishers would employ workshops of wood-engravers to render artists' drawings onto polished blocks of fine-grained yew or box-wood which could then be locked directly into the printing-chase with the metal type. Notable figures of the early century were
John Leech, George Cruikshank, Dickens' illustrator Hablot Knight Browneand, in France, Honoré Daumier. The same illustrators would contribute to satirical and straight-fiction magazines, but in both cases the demand was for character-drawing which encapsulated or caricatured social types and classes.
The British humorous magazine
Punch, which was founded in 1841 riding on the earlier success of Cruikshank's Comic Almanac(1827-1840), employed an uninterrupted run of high-quality comic illustrators, including Sir John Tenniel, the Dalziel Brothersand Georges du Maurier, into the 20th century. It chronicles the gradual shift in popular illustration from reliance on caricature to sophisticated topical observations. These artists all trained as conventional fine-artists, but achieved their reputations primarily as illustrators. Punch and similar magazines such as the Parisian Le Voleurrealised that good illustrations sold as many copies as written content.
Golden age of illustration
The American "golden age of illustration" lasted from the 1880s until shortly after World War I (although the active career of several later "golden age" illustrators went on for another few decades). As in Europe a few decades earlier, newspapers, mass market magazines, and illustrated books had become the dominant media of public consumption. Improvements in printing technology freed illustrators to experiment with color and new rendering techniques. A small group of illustrators in this time became rich and famous. The imagery they created was a portrait of American aspirations of the time.
A prolific artist who linked the earlier and later 19th century in Europe was
Gustave Doré. His sombre illustrations of London poverty in the 1860s were influential examples of social commentary in art. He remained with the medium of monochrome engraving in his later more fantastical work, but other artists were discovering the possibilities of color, particularly under the influence of the Pre-Raphaelitepainters and emulations of hand-printing techniques by the design-oriented Arts and Crafts Movement. Edmund Dulac, Arthur Rackham, Walter Craneand Kay Nielsenwere notable representatives of this style, which often carried an ethos of neo-mediævalism and took mythological and fairy-tale subjects. By contrast the English illustrator Beatrix Potterbased her colored children's illustrations on accurate naturalistic observation of animal-life.
The opulence and harmony of the work of the "golden age" illustrators was counterpointed in the 1890s by artists like
Aubrey Beardsleywho reverted to a sparser black-and-white style influenced by woodcut and silhouette, anticipating Art Nouveau, and Les Nabis. American illustration of this period was anchored by the Brandywine Valleytradition, begun by Howard Pyleand carried on by his students, who included N.C. Wyeth, Maxfield Parrish, Jesse Willcox Smithand Frank Schoonover.
A movement was started in Latin America by
Santiago Martinez Delgadowho worked in the 1930s for Esquire Magazinewhile an art student in Chicago, and later in his native Colombia with the Vida Magazine, Martinez a disciple of Frank Lloyd Wrightworked in the Art Decostyle. Also in the 1930s the influence of propaganda art and expressionismwas felt in the work of the British freelance illustrator Arthur Wragg. His stylised monotone shapes suggested the block-printing techniques used for political posters, but by this time the technology of transferring artwork to printing plates by photographic means had advanced to the extent that Wragg could produce all his work in penand ink.
Post World War II period
Disregarded in their own day, the styles of illustration which have since come to characterize the 1950s and 1960s are magazine advertising and comic art. These styles even began to flow back into the mainstream of fine art in the work of
Andy Warholand Roy Lichtenstein(both of whom had worked as commercial illustrators). Not so admired have been the various styles of illustration associated with pop album cover in the 1970s, often based on airbrushtechniques.
The 1950s and 1960s were another Golden Age of Illustration, with hundreds of Illustrators working. Illustrations appeared in magazines, on billboards, on magazine covers and on television. The use of Illustrators began to wane in the mid 1950s, but the genre continued to be seen regularly through the early 1960s. The artwork of
Norman Rockwell, Harry Anderson, and Charles Kerins, epitomize the era.
Starting in the 1990s, traditional illustrators confronted a challenge from those using computer software such as
Adobe Illustrator, Photoshop, and CorelDRAW. The use of Wacomtablets and similar apparatus also increased the ability of drawing and painting directly in a computer.
Today, many illustration students are made aware of the technology available, with equal emphasis placed upon more traditional illustration techniques. As a result, traditional and digital techniques are often used in conjunction with each other. One form of this is fusion illustrationFact|date=July 2008 which crosses the boundaries of fine art and commercial art in a world whereillustration, graphic design, typography, and photography work together.
While illustrations have been previously been considered just a small part of the creative and entertainment industries, they are becoming a new and significant factor in industries such as
video games, movies, animation, advertisingand publishing, the former three known for their use of concept artin pre-production.
Today, there is a growing interest in collecting and admiring original artwork that was used as illustrations in books, magazines,
posters, etc. Various museum exhibitions, magazines and art galleries have devoted space to the illustrators of the past.
In the visual art world, illustrators have sometimes been considered less important in comparison with fine artists and
graphic designers. But as the result of computer gameand comic industry growth, illustrations are becoming valued as popular and profitable art works that can acquire a wider market than the other two, especially in Korea, Japan, Hong Kongand USA.
* Image development
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illustration — [ i(l)lystrasjɔ̃ ] n. f. • XVe; « apparition » XIIIe; lat. illustratio, de lustrare « éclairer » 1 ♦ Vx Action de rendre illustre; état de ce qui est illustre. ♢ Personnage illustre. ⇒ célébrité, gloire. « une des illustrations contemporaines de… … Encyclopédie Universelle
Illustration — des Artikels Segelboot in der Wikipedia Illustration (v. lat. illustrare „erleuchten, erklären, preisen“; Pl. Illustrationen) bedeutet „das einem Text erläuternd beigegebene Bild“, unabhängig von dessen Form oder spezifischer Funktion. Mit… … Deutsch Wikipedia
ILLUSTRATION (L’) — ILLUSTRATION L’ Revue hebdomadaire dont la carrière fut exceptionnellement longue (plus d’un siècle). Fondée en 1843 sur le modèle de l’Illustrated London News , L’Illustration s’est toujours située à l’avant garde par sa présentation et ses… … Encyclopédie Universelle
Illustration 63 — ist der Name einer Fachzeitschrift für die Buchillustration. Sie dient als Kunstforum und gleichzeitig als Werbemittel für die Buchillustration. Inhaltsverzeichnis 1 Geschichte 2 Bedeutung Wirkung 3 Literatur … Deutsch Wikipedia
Illustration — (lat., »Erleuchtung, Erklärung, Verschönerung, Verherrlichung«) wird jetzt fast ausschließlich für die bildliche Erläuterung, den bildlichen Schmuck eines gedruckten Buches oder einer Zeitschrift gebraucht. Die Buchillustration in diesem Sinne,… … Meyers Großes Konversations-Lexikon
Illustration — Il lus*tra tion, n. [L. illustratio: cf. F. illustration.] 1. The act of illustrating; the act of making clear and distinct; education; also, the state of being illustrated, or of being made clear and distinct. [1913 Webster] 2. That which… … The Collaborative International Dictionary of English
illustration — UK US /ˌɪləˈstreɪʃən/ noun [C or U] ► an example that shows something: »In our illustration of how much your initial investment might be worth at term, we are assuming an 8% rate of return … Financial and business terms
illustration — (n.) c.1400, a shining; early 15c., a manifestation; mid 15c., a spiritual illumination, from O.Fr. illustration apparition, appearance, and directly from L. illustrationem (nom. illustratio) vivid representation (in writing), lit. an… … Etymology dictionary
illustration — [n1] demonstration, exemplification analogy, case, case history, case in point, clarification, elucidation, example, explanation, for instance, instance, interpretation, model, representative, sample, sampling, specimen; concepts 268,686… … New thesaurus
illustration — [il΄ə strā′shən] n. [ME illustracione < OFr illustration < L illustratio] 1. an illustrating or being illustrated 2. an example, story, analogy, etc. used to help explain or make something clear 3. a picture, design, diagram, etc. used to… … English World dictionary
Illustration — (v. lat.), 1) Erläuterung, Erklärung; 2) Glanz, Ehrenglanz; 3) Erläuterung u. Erklärung durch in den Text eingeschaltete Holzschnitte, Lithographien etc.; davon Illustrirte Ausgaben, Illustrirte Zeitschriften etc., bei welchen dergleichen… … Pierer's Universal-Lexikon