Journal articles on the topic 'Illustration'
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1
Lalić-Vučetić, Nataša, and Nada Ševa. "Odnos teksta i ilustracije - perspektiva ilustratora i učitelja." Inovacije u nastavi 34, no. 2 (2021): 44–62. http://dx.doi.org/10.5937/inovacije2101044l.
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Illustrations as an effective means of communication help children to understand what they have read, enriching at the same time their vocabulary and ultimately influencing children's motivation and achievement. The aim of this paper is to determine how teachers and illustrators perceive and understand the relationship between a text and an illustration in a primer. A qualitative research was conducted using a focus group with primary school teachers and an interview with an illustrator. The research results show that from the illustrator's and teachers' narratives one can single out, on one hand, the categories related to and explaining the relationship between a text and an illustration, and on the other hand, the categories describing the scope of the illustrator and the teachers in the process of text and illustration integration, as well as their motivation. A critical attitude of the illustrator and the teachers towards publishing, as well as the importance of illustration, was a common point in the narratives, where they emphasized that it is necessary to have a measure in order to establish the relationship between a text and an illustration in general. It was observed that the responsibility for the integration of texts and illustrations should be shared by all participants in creating the final textbook/primer, and that it is necessary to emphasize the need to connect the authors and illustrators during the creation of the relationship between a text and an illustration on one page of the primer/ textbook. It is additionally important to develop a further framework for teacher education in terms of emphasizing the importance of illustration in the learning process in teaching.
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Sinaga, Dongan Maruli Tua, and R. Triyanto. "Tinjauan Ilustrasi Cover Novel Harry Potter Edisi Indonesia Karya Nicolas Fiber Ditinjau Dari Elemen Visual." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 1 (August 22, 2020): 265–72. http://dx.doi.org/10.34007/jehss.v3i1.292.
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The cover illustration of the Harry Potter novel has many variants in various parts of the world, by bringing their respective nusions represented by each element presented by the illustrator. The cover illustration of the Indonesian edition of the Harry Potter novel by Nicholas Filbert is one of the official covers of the Indonesian edition of the Harry Potter novel. By reviewing the visual elements presented by the illustrator qualitatively, it can be seen that the visual elements are related to the concepts and nuances offered by the illustrator. This study aims to review the visual elements in the cover illustration of Harry Potter and the Goblet of Fire. By collecting data in the form of images, articles, as well as sources related to the cover, illustrators, which are the sources of researchers in reviewing and finding new findings related to visual elements in the cover illustration of Harry Potter and the Goblet of Fire. By using a qualitative method, from the data obtained by the researcher, the researcher gets information that will be the result related to the visual cover element. The findings of this study indicate that of all the visual elements reviewed, it is found that the illustrator tries to make the illustrations The difference is quite noticeable from cover illustrations from other parts of the world. The illustrator also tries to present the uniqueness of the illustrator, namely the illustration that is dense and fills all the empty spaces and is directed at one of the Indonesian peculiarities which is expressed in visual elements making Batik a visual reference, namely on color and composition.
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Agah, Masoud Mojaveri. "The Structure of Discourse: Visual Semiotic in Picture book of "Creation" by Wolf Erlbruch." European Journal of Interdisciplinary Studies 4, no. 1 (March 2, 2018): 43. http://dx.doi.org/10.26417/ejis.v4i1.p43-48.
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Illustration of children's books, such as the concept of childhood, has been shaped by a wide range of different choices, and each Illustrator finds a way to link and communicate with the text through the discourse device. Discourse means applying the language through individual action, illustration, also depicts the discourse of the work in the type of function and language manifestation; A language that in expression has a function different from that of a particular language which leads to a kind of active search in collective cultural visual memory. Although both the writing material and the image due to the use of the form of expression are text (a system of signifier relationships), their relationship complicates this point of view. Now the Illustrative Objective turn to make choice with a high responsibility. So the major questions are: 1. what is the process of illustrative discourse? 2. What is the design and process of semantic-signs of illustrated books? 3. Is there any certainty in imaging discourse for making meaning? This article sought to understand the shape and process of sign-semantics in illustrating children's books, and found that the relationship between text and image creates a semantic play that does not have semantic certainty, instead, an expert illustrator is trying to effectively shape this relationship to become dynamic. The main purpose of the article is to find the important semantic-sign features in the latent process of making meaning in the illustration, so the formation of semantics is more important as a result of the relationship between text and image. In this article, the spiritual theme of creation in illustrating has been studied in a work of Wolf Erlbruch as a sample of semantic study.
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Cook, Nina Elisabeth. "Illustration as Simile: Conversations between Visual and Textual in Tales from Shakespeare." CEA Critic 86, no. 1 (March 2024): 27–45. http://dx.doi.org/10.1353/cea.2024.a922348.
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Abstract: The relationship between word and image reached new levels of complexity with the rise of illustration in the late-eighteenth and nineteenth centuries. Scholars in recent years have argued for the visual arts as not merely a means of textual enrichment but also as interpretation and critique, a view particularly prevalent in studies of nineteenth-century paintings of Shakespearean subjects. While many of these contemporary studies center on painting, this theory of the critical role of visual art can be applied to illustration. Taking the oeuvre of Victorian illustrator John Moyr Smith as a case study, this article examines the purpose of illustration in nineteenth-century prose. Moyr Smith’s 1879 illustrations for Tales from Shakespeare are principal here in exploring how illustrations supplement, modify, and even critique a text, the overall effect that illustrators can be seen something akin to co-authors.
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Bulduk, Banu. "Contemporary illustration methods and new application areas on illustrations: Interaction induced animated illustrations." New Trends and Issues Proceedings on Humanities and Social Sciences 3, no. 5 (July 7, 2017): 47–55. http://dx.doi.org/10.18844/prosoc.v3i5.1960.
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Luo, Yang, and Yuewu Lin. "Effects of Illustration Types on the English Reading Performance of Senior High School Students with Different Cognitive Styles." English Language Teaching 10, no. 9 (July 31, 2017): 1. http://dx.doi.org/10.5539/elt.v10n9p1.
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Illustration is always used as an example to make the written text or the utterance more clear in general. In Winarski’s opinion (1997), one picture equals thousands of words. That is to say, illustrations are capable to express the meaning of unfamiliar language or a great deal of information in the reading material by vivid pictures, tables, drawings, paintings and so on. As a result, illustrations are applied to many different fields including English language teaching. Based upon Song’s 3 types of illustration classification (2005), decorational illustrations, explainable illustrations and promotive illustrations, this paper tries to investigate the effects of illustrations on the reading performance of senior high school students with different cognitive styles (field-dependence, field-mix and field-independence) in the process of English reading. The result shows that: 1). There is a significant correlation between illustration types and reading performance in terms of field-dependent students. The coefficient of explainable illustration to reading peformance is the highest, while the lowest coefficient is decorational illustration. 2). As for field-mixed participants, their reading performance is also closely associated with illustrations. However, the coefficients are lower than that of field-dependent participants. Decorational illustration has no obviously relation to reading performance. Explainable illustration also reaches the highest coefficient, and it can better improve student’ reading score than promotive illustration. 3). Speaking of field-independent students, no correlation has been found between decorational, promotive illustration and reading performance. However, there exists a significant correlation between explainable illustration and reading performance for field-independent participants.
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Blum, Ann. ""A Better Style of Art": The Illustrations of the Paleontology of New York." Earth Sciences History 6, no. 1 (January 1, 1987): 72–85. http://dx.doi.org/10.17704/eshi.6.1.5635758n4521384g.
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James Hall, like other authors and editors of 19th-century American state and federal surveys, learned first hand that publishing illustrations was time-consuming, frustrating and expensive. But illustrations were indispensible, providing the graphic communication of morphology that justified the author's taxonomic decisions. That essential information, however, passed through the hands of an illustrator and either an engraver or lithographer before it reached the scientific audience that would test and judge it. Artists and printers, therefore, needed close supervision; plates required careful proofing and sometimes cancellation. Hall, like his colleagues, vastly underestimated the time and expense that his project would entail. The plates illustrating the Palaeontology reflected changes occurring in American science and printing. Over the decades spanned by the publication, picture printing techniques changed from craft to industry, and converted from engraving to lithography; so did the New York survey. Meanwhile, the scientific profession developed illustration conventions to which publications with professional intent increasingly conformed. These conventions combined standards of "accuracy" with issues of style to reflect both scientific activity and its social context. The early illustrations drawn by Mrs. Hall were no less "accurate" although clearly less polished than the collaborations between R.P. Whitfield and F.J. Swinton, or the later work of J.H. Emerton and E. Emmons, Jr. The artists and printers of the Palaeontology plates emulated and contributed to the emerging national style of zoological and paleontological illustration, and thus helped consolidate the "look" of American science.
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Mumby, Hannah. "A psychoanalytic approach to illustration." Journal of Illustration 7, no. 1 (August 1, 2020): 39–66. http://dx.doi.org/10.1386/jill_00024_1.
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This article explores the possibilities of a psychoanalytic approach to illustration; asking whether an illustration practice can be developed that draws on influences from psychoanalytic theory and clinical practice. The author uses research with a group of participants to explore how psychoanalysis can illuminate or problematize the illustrator’s encounter with a text, looking into the ways psychoanalysis works to trouble straightforward narratives, and asking how an illustrator may use a psychoanalytic approach to take up a more subversive position in their work. A central interest in this research was to challenge the conventionally subservient relationship that illustrations have to texts. When this relationship breaks down, tensions emerge, especially when the material being illustrated resists having meaning-making structures imposed on it, or when the illustration does not illuminate the text. This research uses illustration practice to explore what is hidden but runs through the stories we tell: what our unconscious might be offering us, through our dreams, or through our choice of words, that cannot be known at face value. The research uses content from participant interviews about dreams and personal mythology as the basis for the creation of illustrations that take on a life of their own and trouble the original interview narrative, created through a practice that is informed by psychoanalytic approaches. The article also explores the influence of image‐text relationships within the exhibition space, suggesting that illustration could make use of display formats that engage with and challenge the meaning-making dynamics embedded within this space.
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Pace-Asciak, P., and T. Gelfand. "38. Max Brodel (1870-1941): His artistic influence on surgical learning at John Hopkins Medical School." Clinical & Investigative Medicine 30, no. 4 (August 1, 2007): 47. http://dx.doi.org/10.25011/cim.v30i4.2798.
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Medical students depend on illustration to learn anatomical facts and details that may be too subtle for the written or spoken word. For surgical disciplines, learners rely on tools such as language, 2-dimensional illustrations, and 3-dimensional models to pass on important concepts. Although a photograph can convey factual information, illustration can highlight and educate the pertinent details for understanding surgical procedures, neurovascular structures, and the pathological disease processes.
In order to understand the current role of medical illustration in education, one needs to look to the past to see how art has helped solve communication dilemmas when learning medicine. This paper focuses on Max Brodel (1870-1941), a German-trained artist who eventually immigrated to the United States to pursue his career as a medical illustrator. Shortly after his arrival in Baltimore, Brodel made significant contributions to medical illustration in Gynecology at John Hopkins University, and eventually in other fields of medicine such as Urology and Otolaryngology. Brodel is recognized as one of America’s most distinguished medical illustrators for creating innovative artistic techniques and founding the profession of medical illustration.
Today, animated computer based art is synergistically used with medical illustration to educate students about anatomy. Some of the changes that have occurred with the advancement of computer technology will be highlighted and compared to a century ago, when illustrations were used for teaching anatomy due to the scarcity of cadavers.
Schultheiss D, Udo J. Max Brodel (1870-1941) and Howard A.Kelly (1858-1943) – Urogynecology and the birth of modern medical illustration. European Journal of Obstetrics & gynecology and Reproductive Biology 1999; 86:113-115.
Crosby C. Max Brodel: the man who put art into medicine. New York: Springer-Verlag, 1991.
Papel ID. Max Brodel’s contributions to otolaryngology – Head and Neck surgery. The American Journal of Otology 1986; 7(6):460-469.
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Lord, John Vernon. "‘Mere’ illustration." Journal of Illustration 10, no. 2 (December 1, 2023): 385–405. http://dx.doi.org/10.1386/jill_00080_7.
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John Vernon Lord is an author, illustrator and teacher. He began his career in freelance illustration in the early 1960s and has carried out commissions for books, magazines and advertising. His books include a number of editions for the Folio Society. As a university professor, Lord has lectured for over sixty years in the United Kingdom and abroad. Here he presents a personal view of the historic and contemporary roles of the illustrator, particularly the book illustrator, examines the distinctions between fine art and illustration, and gives a passionate defence of illustration in the face of often dismissive attitudes, epitomized by the use of the term ‘mere illustration’.
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Bulduk, Banu. "Contemporary illustration methods and new application areas on illustrations: Interaction induced animated illustrations." Global Journal of Arts Education 6, no. 3 (June 29, 2016): 77–84. http://dx.doi.org/10.18844/gjae.v6i3.1699.
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Illustration can be defined as a sub-discipline of graphic design enabling the realization of visual communication which mediates to the description of ideas and thoughts in a formal way. From the past to the present, illustrations find various areas of usage as visual elements in communication environment and it can be used as a design element for many graphic products ranging from product designs to children’s books. Over time, stylistic differences in illustration languages have also turned into structural differences in design and production process and concepts such as interaction, user control and animation have developed an alternative language to the traditional illustration techniques. Contemporary form-languages of these illustrations are examined in the scope of this study. Formal analysis of illustrated graphic products and their delivery to new media environments are considered in this process. Animated illustrations and three dimensional design, among those application techniques, are at the active position to intensify the perception of viewers/readers via illustration. In this study, method included the usage, design and application processes of animated illustration applications, also current and proposed examples and alternative languages’ search of illustrations are discussed.
Keywords: illustration, contemporary illustration, animated illustration, three dimensional art design, interaction design.
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Muhamad Nizar Al Muizzy and Maria Saraswati Bijakbestari. "PERANCANGAN ILUSTRASI RUMAH BERTEMA “NURSE” UNTUK KARAKTER OCTALAND IP DI OCTAGON STUDIO BANDUNG." Jurnal Dimensi Seni Rupa dan Desain 19, no. 2 (February 28, 2023): 197–204. http://dx.doi.org/10.25105/dim.v19i2.15762.
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Learning media using technology is currently very influential in the world of education. With the development of technology, education is easy to obtain. Technology media in the form of 3D illustrations, makes it easier for children aged 4-6 years to understand the lessons. Octaland is an exploratory IP aimed primarily at children who want to get to know the types of work that exist with an interesting illustrative approach. The making illustrations of Nadia’s house is made using objects that are correlated with the medical world to make it easier for children to get to know Nadia as a nurse. The process of making this house illustration with the theme of a nurse is made using a simple and easy-to-recognize illustration. The selection of shapes that tend to be oval and curved lines are deliberately used because the target market is children and also represents Nadia’s gentle character.Keyword: 3D illustrations, Octaland IP characters
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Gistrama, Ionove, and Yeny Prastiwi. "A Semiotics Analysis of the Novel Illustration on Harry Potter and the Prisoner of Azkaban by J.K. Rowling." International Journal of Cultural and Art Studies 4, no. 2 (October 31, 2020): 27–38. http://dx.doi.org/10.32734/ijcas.v4i2.4559.
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This research aims to study the novel illustration as a sign in Harry Potter and The Prisoner of Azkaban novel by J.K. Rowling (2014). The researcher shows how the illustrations can influence readers by illustrating images, events, colors, and the typography displayed on the novel's cover. This research is qualitative. The data source used is the Harry Potter and The Prisoner of Azkaban novel by J.K. Rowling (2014) UK edition. The data collection technique is from analyzing the novel illustration. The theory used in this study is a semiotic analysis of literature, the course of the sign, meaning, metaphor, and symbolism. The result of this study are as follows: first, the value of novel illustrations. Second, the meaning of color psychology. Third, the reviews about the different edition of Harry Potter and The Prisoner of Azkaban novel.
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Stevenson, Gabrielle Brace, and Nicholas Stevenson. "Texture: Faking the physical." Journal of Illustration 6, no. 1 (August 1, 2019): 57–76. http://dx.doi.org/10.1386/jill_00004_1.
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Contemporary illustration is infatuated with texture. The imperfections of analogue processes and signs of physical decay, which were once incidental, or even irritating, are now highly sought after and frequently replicated in order to provide an ornamental layer to contemporary digital illustration. Nicholas Stevenson is an illustrator who uses texture this way. His visual language centres around analogue textures that are digitally applied from an ever-growing library of scanned surfaces: taken from worn book jackets, watermarked paper and ink smudges. This visual essay explores this topic through Nicholas's illustrations in dialogue with Gabrielle's written, critical commentary. Drawing on Mark Fisher's ideas about hauntology in twenty-first-century western culture, and Jean Baudrillard's simulacra, we intend to explore the latent effects of the ornamental application of analogue texture in digital illustration, with Nicholas Stevenson's work taking the role of both example and co-contributor.
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Foster Asamoah, Emmanuel. "A Second Look at the Illustration of Matthew 2:11 in Selected Ghanaian Bibles." African Journal of Culture, History, Religion and Traditions 5, no. 1 (May 27, 2022): 12–25. http://dx.doi.org/10.52589/ajchrt-5l8zv6vm.
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One of the ways to make the word of God become relevant in a new culture is through Bible translation and illustration. Some Ghanaian Bibles with illustrations enable local indigenes to understand the word of God in their language and give them a pictorial view of the written text. However, there seem to be some illustrations that do not give a precise description of the corresponding texts. One of such is the illustration of Matthew 2:11. Using exegesis and Erwin Panofsky’s iconographic analysis approaches, it was identified that the illustration does not give an exact representation of the text. Hence, the Bible Society of Ghana must either drop the current illustration on Matthew 2:11 or come out with a new illustration that meets the religio-cultural settings and the text of the author. For illustrations to meet both the text of the author and the religio-cultural background of the local indigenes, proposals were outlined for consideration.
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Sobirov, Sarvar Tursunmurotovich. "Developing Students’ Imagination Through Illustration and Illustrations in Fine Arts Classes." International Journal of Social Science Research and Review 5, no. 6 (June 11, 2022): 12–16. http://dx.doi.org/10.47814/ijssrr.v5i6.408.
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The article discusses the specific features of illustrations and their importance in the development of students’ imagination. In addition, the development of imagination in students through the use of illustration, the use of opportunities for illustration in ensuring the continuity of age in children, the continuity of art classes, the requirements for the use of illustration in fine arts classes and the book the functions of illustrations in understanding the content are highlighted.
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Adi, Danendro. "Memaknai Bahasa Visual pada Ilustrasi Bergambar Soeharto di Sampul Muka Majalah Tempo." Humaniora 5, no. 2 (October 30, 2014): 612. http://dx.doi.org/10.21512/humaniora.v5i2.3118.
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Illustration on publication media has become a form to deliver message visually that is more powerful than written message. Illustration is able to build readers perception and attention. Illustration on the cover of a magazine needs the writer and the artist synergy in order to create artwork that deliver messages in a certain visual language at the same time gives identity to the magazine. This paper will discuss the illustrations and visual language used and the extent of utilization and the impact of the illustrations of the readers and the media in which the illustration shown. Illustrations of the former President Soeharto on the cover of Tempo magazine since 1998 edition, after his retirement until his death in 2008 become the case study and the cover of the magazines during the New Order era as the comparison. The research method used in this study is qualitative research methods including data collection in the form of a literature study and interviews, followed by analyzing the data findings. This study should obtain a clearer picture on how illustrations affect the news media and the relation to the audience’s perception about the character in the illustration.
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Adisasmito, Nuning Damayanti. "TRANSFORMASI VISUALISASI GAMBAR ILUSTRASI : pada Naskah Jawa Periode 1800-1920, Sebagai Refleksi Gejala Sosial-Budaya Masyarakat Jawa." Jurnal Budaya Nusantara 1, no. 1 (June 1, 2014): 74–83. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a298.
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The tradition of writing and drawing illustrations found in old manuscripts in various ethnic In- donesia, especially on Java community. Most Old Javanese manuscript contains illustrations that unique and local characteristics of Javanese art. Illustration of the ancient Javanese manuscripts are well documented and have a varied range of visual form, unique in styling, how to draw, the theme, as well as a visual object. Visual image is an illustration concept frameworks Java community, as well as a reflection of social life - Javanese culture Colonial period.
Illustration on Java Script period 1800-1920 as an aesthetic concept attainment the expression symbol of the Java community. The illustrations in old Javanese manuscripts in 1800-1920 showed a correlation sustainability of such visual language in the era of the past to the present and into the characteristics of Java illustration style, which is the development over time. Illustration of the old Javanese manuscript in the year 1800-1920 has changed and developed its visual state as the interaction between the animism in the Pre-Hinduism era, cultural of Hinduism-Budhism, Islamic and Colonialism paradigms.
Of all these characteristics into the connecting thread is narrative, symbolic and simplification
form of the nature (stylized), two-dimensional shapes and stylized concepts wayang.
Keywords:
illustration, illustration tradition, colonialism 1800-1920, Java script, stylized
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Seva, Nada, and Natasa Lalic-Vucetic. "The relation between text and illustration: The analysis of contemporary primers." Zbornik Instituta za pedagoska istrazivanja 51, no. 2 (2019): 507–72. http://dx.doi.org/10.2298/zipi1902507s.
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Numerous research projects underline the importance of illustrations in improving cognitive part of learning, pointing out that positive influence is exerted only when illustrations are directly connected with the content of ? text and when this connection is further strengthened by the interaction between teachers and pupils. This paper analyses the relation between text and illustration in primers as first textbooks used by first graders. Applied taxonomy identifies 46 types of relations between illustration and text (Marsh & White, 2003), divided into three groups according to degrees of relations between illustration and text (group ? - codes expressing little relation between text and illustration; group B - codes expressing close relation between text and illustration; group C - codes expressing situations in which illustrations build up and give more information compared to the content of texts). A sample of 145 pairs of authors? text and illustration, selected from five primers, was divided into 4 groups by using hierarchical cluster analysis (Ward method). The largest number of illustrations had only a decorative function. A smaller number of illustrations were allocated to a cluster with evaluations expressing a close relation between illustration and text. They clearly define location of the plot (locate), connect characters of the story, such as plants and animals, with pupils by giving them human qualities (humanise), concretise described objects or concepts, introduce pupils to actual relationships presented in the content of the story (induce perspective) and give visual representation of abstract and material processes (model). Findings from this paper point out once again that it is necessary to define production standards for primers independently of general quality standards for textbooks, taking into account specific features of these textbooks and their importance to first graders.
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Ж. Петровић, Душан. "ИЛУСТРАЦИЈЕ КЊИЖЕВНОСТИ – ОДЛИКЕ И МОГУЋНОСТИ У НАСТАВИ." ГОДИШЊАК ЗА СРПСКИ ЈЕЗИК 21, no. 1 (December 25, 2023): 237–50. http://dx.doi.org/10.46630/gsrj.21.2023.15.
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The goal of this paper is the interpretation of illustrations that are not primarily part of a textbook. Analysis of illustrations in the context of transmedial narratology, we want to show that each illustration has a narrative potential, so it can become a teaching tool in literature classes. By finding the common characteristics of the illustrations, we will try to show that the illustration can be viewed within a wider system.
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Li, Shangyang, and Ye Chen. "The Application and Research of Illustration Art in Brand Image." Highlights in Art and Design 3, no. 3 (July 20, 2023): 115–16. http://dx.doi.org/10.54097/hiaad.v3i3.11308.
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Illustration, as a more direct image expression than text communication, has spread from ancient times to the present, broadly speaking, from the stone age murals to the patterns on bronze heavy objects, and then to the New Year pictures posted by every household in ancient times. It is the best way to explain the information by image processing. However, in modern business, the application of illustrations developed and expanded with the changes of newspapers and books in the early 19th century. With the variety of illustrations becoming more and more abundant, and the differences in painting methods and painters' values and artistic concepts, there is the art of illustration. The most important point of illustration art is that it can visually express the information conveyed in the text, and it is more direct and vivid. Since the evolution of illustration, the visual emotional design and content communication in brand image are becoming more and more irreplaceable. This paper will focus on the role and significance of illustration art in brand image, and give examples with my graduation design and "Free" hot pot series of illustrations to provide a certain theoretical basis for the study of art in brand image.
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Mauleti, Eston Kamelang. "NARASI ILUSTRASI KONTEMPORER : SEBUAH PENDEKATAN EKSPERIMEN." Jurnal Nawala Visual 5, no. 1 (May 2, 2023): 34–39. http://dx.doi.org/10.35886/nawalavisual.v5i1.430.
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In accordance with one of the elements of the Tri Dharma of Higher Education, Community Service was carried out through Contemporary Illustration Art Education training at PKBM Negeri 26 Bintaro, South Jakarta. The purpose of this training is to provide knowledge and briefing to students about the development of the world of illustration which is currently growing rapidly, especially in Indonesia. The basis of illustration is drawing, in this training students are given teaching and guidance on drawing illustrations through a contemporary illustration approach. The meaning of the word contemporary means "modern" or "current", then translated by a spontaneous experiment through character drawings and narration. Students experiment without being burdened with guilt (proportion or not) to produce narrated contemporary illustrations. The use of marker/felt tip pen materials supports the spontaneity and courage of students in drawing illustrations because the resulting lines are not easily erased and are as they are, like a child who draws spontaneously and happily
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Solano-Flores, Guillermo, and Chao Wang. "Complexity of Illustrations in PISA-2009 Science Items and Its Relationship to the Performance of Students from Shanghai-China, the United States, and Mexico." Teachers College Record: The Voice of Scholarship in Education 117, no. 1 (January 2015): 1–18. http://dx.doi.org/10.1177/016146811511700103.
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Background While illustrations are widely used in international test comparisons, very scant research has been conducted on their design and on their influence on student performance. It is not clear how the features of illustration act in combination supporting students’ access to the content of items or increasing their interpretation demands. Purpose The purpose of this study was to examine how the characteristics of illustrations used in science items are related to the performance of students in PISA-2009. Population We used PISA-2009 data on the responses of 1571 to 1582, 1601 to 1617, and 11,662 to 11,746 students, respectively from Shanghai-China, the U.S., and Mexico. Research Design This was a secondary analysis study that compared the three PISA-2009 jurisdictions as to the magnitudes and directions of the correlations between the complexity of illustrations used in science items and the difficulty of those items. We used the information on item difficulty provided by the Organisation for Economic Co-operation and Development (OECD, 2010). The features of the illustrations were coded with a system that coded the presence or absence of about 100 types of illustration features. The complexity of each illustration was computed as the number of different types of features observed. Findings For the U.S. and Mexico, items with higher illustration complexities were more difficult than items with lower illustration complexities. For Shanghai-China, the correlation of number of illustration features and item difficulty was close to zero. This pattern of correlations is consistent with the three jurisdictions’ ranking in PISA-2009. Conclusions While this was an exploratory study that examined the performance of only three of the 65 PISA-2009 jurisdictions, the results speak to the importance of examining illustration complexity as a factor that shapes student performance in science tests and which should be addressed systematically in the design of science items.
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Solano-Flores, Guillermo, and Chao Wang. "Complexity of Illustrations in PISA-2009 Science Items and Its Relationship to the Performance of Students from Shanghai-China, the United States, and Mexico." Teachers College Record: The Voice of Scholarship in Education 117, no. 1 (January 2015): 1–18. http://dx.doi.org/10.1177/016146811511700112.
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Background While illustrations are widely used in international test comparisons, very scant research has been conducted on their design and on their influence on student performance. It is not clear how the features of illustration act in combination supporting students’ access to the content of items or increasing their interpretation demands. Purpose The purpose of this study was to examine how the characteristics of illustrations used in science items are related to the performance of students in PISA-2009. Population We used PISA-2009 data on the responses of 1571 to 1582, 1601 to 1617, and 11,662 to 11,746 students, respectively from Shanghai-China, the U.S., and Mexico. Research Design This was a secondary analysis study that compared the three PISA-2009 jurisdictions as to the magnitudes and directions of the correlations between the complexity of illustrations used in science items and the difficulty of those items. We used the information on item difficulty provided by the Organisation for Economic Co-operation and Development (OECD, 2010). The features of the illustrations were coded with a system that coded the presence or absence of about 100 types of illustration features. The complexity of each illustration was computed as the number of different types of features observed. Findings For the U.S. and Mexico, items with higher illustration complexities were more difficult than items with lower illustration complexities. For Shanghai-China, the correlation of number of illustration features and item difficulty was close to zero. This pattern of correlations is consistent with the three jurisdictions’ ranking in PISA-2009. Conclusions While this was an exploratory study that examined the performance of only three of the 65 PISA-2009 jurisdictions, the results speak to the importance of examining illustration complexity as a factor that shapes student performance in science tests and which should be addressed systematically in the design of science items.
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Soyluçiçek, Seza. "Looking through the sphere; Illustration in virtual reality." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 53–59. http://dx.doi.org/10.18844/prosoc.v5i6.3695.
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Illustration field has developed different visual communication ways and reached a broad usage area. Instead of consisting of just book limning, with various techniques, methods and technological opportunities, it continues to take place in other places. Especially the usage area of two–three-dimensional illustrations on digital media enlarged, led to different production processes and designers found new display possibilities and design processes. One of the examples about this situation is 360-degree illustrations that can be designed and displayed on virtual reality (VR) media. VR is an interactional virtual media that can detect the location and movements of users, appeal to one or more artificial senses and give the feeling of being inside the simulation. 360-degree display and production on this media takes not only VR glasses but also web portals and some developer programs. In this study, illustration in VR and 360-degree panoramic illustration of display and development systems and production processes are examined.Keywords: Illustration, virtual reality, panoramic illustration, graphic design, art education.
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Miranda, Marta Jiménez. "The especial relationship between text and illustrations in Castile and Andalucia by Louisa Mary Anne Tenison." International Journal of English Literature and Social Sciences 7, no. 6 (2022): 242–49. http://dx.doi.org/10.22161/ijels.76.35.
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Many studies show the close relationship that exists between text and illustration. In case of travel literature, this relationship is much closer, because for most of the authors of this type of literature, illustration is as necessary as the text to convey to the reader that wonderful reality that they have experienced far home. On many occasions it was the writer who illustrated the book, but on others the writer commissioned the work to a professional illustrator. The case of Louisa Tenison catches our attention, given that, despite being a drawer, she orders the illustrations that depict figures to a professional illustrator while landscapes belong to her own sketches. For our research work, it is important to emphasize how special this traveler is, because she is still one of those many forgotten ones and who also not only wrote what she saw but also drew it. With this work we intend to describe the author's need to capture both with words and with strokes her experience in Andalusia.
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Soylucicek, Seza. "Looking through the Sphere; Illustration in virtual reality." Global Journal of Arts Education 9, no. 1 (February 28, 2019): 22–28. http://dx.doi.org/10.18844/gjae.v9i2.3953.
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Artistic expression ways of Illustration that take place in visual communication design/graphic design changes and develops day by day. Having a rich history, illustration field has developed different visual communication ways and reached a broad usage area. Instead of consisting of just book limning, with various techniques, methods and technological opportunities it continues to take place in other places. Especially the usage area of two-three dimensional illustrations on digital media enlarged, led to different production processes and designers found new display possibilities and design processes. One of the examples about this situation is 360 degree illustrations that can be designed and displayed on virtual reality media. Virtual reality is an interactional virtual media that can detect the location and movements of users, appeal to one or more artificial senses and give the feeling of being inside the simulation. 360 degree display and production on this media takes not only VR glasses but also web portals and some developer programs. In this study, illustration in virtual reality and 360 degrees panoramic illustration display and development systems and production processes are examined.
Keywords: Illustration, virtual reality, panoramic illustration, graphic design, art education;
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Galkina, Marina V. "Fashion Illustration: Retrospective And Modern Resources." Scientific and analytical journal Burganov House. The space of culture 20, no. 3 (June 30, 2024): 86–93. http://dx.doi.org/10.36340/2071-6818-2024-20-3-86-93.
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As part of world culture, modern fashion has been formed under the influence of many factors, one of which was the popularisation of fashion trends and tendencies in clothing design through the publication of illustrations made by outstanding artists, whose creative activity was focused on visualising original ideas of clothing designers, in magazines and other printed publications. Many artists almost completely connected their activities with only one publication, others became the founders of numerous trends and schools in fashion illustration. A retrospective vision of illustration from the 19'th century to the present day allows us to evaluate both the evolution of illustration and its prospects in modern realities. The variety of illustrations in printed publications and online resources allows us to talk about broad prospects of fashion illustration in terms of the global fashion industry evolution. The development of modern visualisation tools increases audience reach, accordingly expanding the influence of illustration on the work of modern professional artists and authors-amateurs, fashion enthusiasts. The article aims to identify the differences (formation vectors) between a design clothing drawing and a fashion illustration, as mutually influencing directions in fashion industry and art.
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Saputri, Febriani, and Hendra Afriwan. "TINJAUAN VISUAL TERHADAP ILUSTRASI KEMASAN BOTOL AQUA 600ML “LABEL KHUSUS TEMUKAN INDONESIAMU”." DEKAVE : Jurnal Desain Komunikasi Visual 10, no. 3 (September 17, 2020): 496. http://dx.doi.org/10.24036/dekave.v10i3.108168.
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This study was created by the writer with the aim of describing the meaning and also the cultural values contained in the Aqua packaging illustration of the special label "Discover Your Indonesia".The research method used by researchers is a type of descriptive qualitative method with literature study data collection techniques where the data used is obtained from various journal and internet book sources. This study focuses on the visual analysis of illustrations, colors, and characters on objects contained in the Aqua packaging of the special label "Discover Your Indonesia" reviewed with theories relating to color illustrations and perceptions. Researchers describe the cutouts of each object on the illustration in tabular form and are identified to explain each meaning contained in the Aqua packaging illustration of the special label "Find Your Indonesia"The results of this study explain that every illustration that is on the Aqua label special label "Discover Indonesia" has a positive meaning with the contents of the message delivered to apply Indonesian culture in everyday life.Keywords: Illustration, Visual Overview, Aqua
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Turkmen, Banu Bulduk. "Fictional Illustration Language with Reference to M. C. Escher and Istvan Orosz Examples." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 156–63. http://dx.doi.org/10.18844/prosoc.v4i11.2870.
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Alternative approaches in illustration language have constantly been developing in terms of material and technical aspects. Illustration languages also differ in terms of semantics and form. Differences in formal expressions for increasing the effect of the subject on the audience lead to diversity in the illustrations. M. C. Escher’s three-dimensional images to be perceived in a two-dimensional environment, together with mathematical and symmetry-oriented studies and the systematic formed by a numerical structure in its background, are associated with the notion of illustration in terms of fictional meaning. Istvan Orosz used the technique of anamorphosis and made it possible for people to see their perception abilities and visual perception sensitivities in different environments created by him. This study identifies new approaches and illustration languages based on the works of both artists, bringing an alternative proposition to illustration languages in terms of systematic sub-structure and fictional idea sketches. Keywords: Perception, illusion, illustration, fictional illustration, illustration languages, visual perception.
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Bel'skaya, Anna O. "FEATURES OF COMPOSITION IN THE ART OF CHILDREN’S BOOKS BY ARTHUR RACKHAM." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2020): 131–49. http://dx.doi.org/10.28995/2073-6401-2020-3-131-149.
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The article studies the book illustration by the English artist Arthur Rackham (1867–1939), the features of his work in the context of time and the experience that can be used in the process of teaching the book design and illustration. Here, research interest is focused on six main techniques that the artist actively used when illustrating in the children’s books in England in the late 19 – early 20th century. The name of A. Rackham and his graphics, are entirely associated with the English Art Nouveau. Having studied the graphic heritage of A. Rackham, on the example of his seven illustrations for children’s books, one can trace how A. Rackham’s creative credo was formed. The artist managed to move away from imitation of the English Victorian style, the Eastern and Western charts, medieval manuscripts and came to his own version of the Neo-Gothic in the art of the English book
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Zulfikar, Melsha Haq, and Happy Yugo Prasetiya. "PERANCANGAN ILUSTRASI GERAK BERGAYA GAMBAR SEMI REALIS SEBAGAI TEROBOSAN PRODUK BARU FARARAFA STUDIO." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 5, no. 02 (December 18, 2023): 87–99. http://dx.doi.org/10.30871/deca.v5i02.4599.
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This study discusses how to design motion illustrations with a semi-realist art style as a new product breakthrough for Fararafa Studio. The product in this study is an updated design from the previous product, namely an illustration image with a JPG extension. The purpose of this research is to produce a work process that can underlie the production process of motion illustrations with GIF and MP4 output as a product sample for Fararafa Studio and to test the feasibility of the illustration products that have been made by researchers. Using a Research and Development Methodology whose application is very suitable for testing the effectiveness of products with various stages and validations. The illustration will use a semi-realist drawing style because this semi-realist illustration product is the most sought after by Fararafa Studio's clients. The image process will use Adobe Photoshop software, then be animated using Adobe After Effects.
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Putri, Citra Kemala. "Illustration Imaging Style on Indie Band T-Shirts in Indonesia." ArtComm : Jurnal Komunikasi dan Desain 3, no. 2 (November 12, 2020): 179–93. http://dx.doi.org/10.37278/artcomm.v3i2.357.
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The birth of Counter Culture and subculture are associated with the development of postmodernism. The various of counter cultures and subcultures then bared new cultural activities and products, one of which was indie music. Like a domino effect, indie music then produces subcultural music consumption activities, thus contributing to the growth of fan culture and shopping activities. Indie band merchandises later became a potential commodity. One of the most consumed form of merchandises is indie band t-shirts with illustration on it.. This study is analized the illustrative imagery style that used on various indie band t-shirts in Indonesia. The aim of this study is to get tendency of ilutrative imagery that used by illutrated t-shirts of bands which come from many genres . This research uses qualitative method which is supported by various data sources. The results of this study reveal that quite visible differences between “loud” or “quiet” music genre could be seen in the colors selection and objects selection in the illustration. Both “loud” or “quiet” indie bands use both illustrative imagery style either literal imagery or metaphor imagery on their t-shirt illustrations to communicate the identity and selling points of each of these bands
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Pacey, Margaret. "New Brunswick Illustration Index." Art Libraries Journal 22, no. 4 (1997): 41–45. http://dx.doi.org/10.1017/s0307472200010658.
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The New Brunswick illustration index is an index to the illustrations in the Legislative Library’s New Brunswick Collection. The illustrations include photographs, engravings, woodcuts, etc. and each is described in a database entry comprised of ten distinct fields. The project, begun in 1989, is not yet complete. The Index is designed to make the unique New Brunswick Collection more accessible.
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Turkmen, Banu Bulduk. "Use of experimental materials in illustrations: Illustrated notebook designs." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 44–52. http://dx.doi.org/10.18844/prosoc.v5i6.3694.
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The illustration is a field kneaded with contemporary interpretation languages and finds a new breath with the forms used in new media environments. Similarly, this doesn’t substitute for the traditional materials so artists continue to describe what is intended on various surfaces and encourage artists to develop alternative languages in their illustrations. When the tendency of illustrator’s interpretation is combined with the idea of bringing paper and material together, the formation of originally designed areas is the result of this orientation. This article focuses on the diversity of the areas in which paintings are expressed. With the illustrations that also come to life on the surfaces of different textures, sketchbooks are transformed into valuable objects of design. The examination of this situation is covered by the method of the article, the formal analysis of the design objects is presented with examples, and the research is completed by examining the place of the experimental materials in the illustrations.Keywords: Illustration, illustration language, illustration techniques, sketchbook, illustrated notebook.
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Yi, Seong-Yong. "A Study on the Analysis of Mathematics Textbook’s Illustrations in Special Elementary School." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 8 (April 30, 2023): 247–66. http://dx.doi.org/10.22251/jlcci.2023.23.8.247.
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Objectives It is to systematically analyze the mathematics textbook’s illustrations of special education elementary schools and present basic data on textbook’s illustrations related to future textbook development.
Methods The subject of analysis is six books of special education elementary mathematics textbooks developed according to the 2015 special education curriculum. A total of 1,586 pages were analyzed using an analysis tool. The analysis tool is an analysis framework consisting of formal parts (number of illustrations, type, size, arrangement, clarity) and content parts (illustration role, suitability, and content consistency) of textbook illustrations.
Results First, the average number of illustrations was 1.65 per page, and paintings were the most common type. As for the size, “2/3” was the most common in the 1st-2nd grades, and “1/2” was the most common in the 3rd-4th and 5-6th grades. By placement, “center” was the most common in the 1st-2nd graders, while “above” was the most common in the 3rd-4th graders and 5-6th graders. The clarity was very high. Second, as for the role of illustration, “activity guidance” was the most common in the 1st-2nd graders, and “data provision” was the most common in the 3rd-4th and 5-6th graders. Illustration suitability had the most essential functions. Content consistency was very high.
Conclusions This study can be used as useful basic data for mathematics textbook’s illustrations being developed in accordance with the 2022 special education curriculum. In this study, it was suggested to increase the budget related to illustrations, present various illustration types, improve clarity, and provide training.
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Abdel-Raheem, Ahmed. "Metaphoric moral framing and image-text relations in the op-ed genre." Information Design Journal 24, no. 1 (November 19, 2018): 42–66. http://dx.doi.org/10.1075/idj.24.1.04abd.
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This article examines the role of visual metaphor for moral-political cognition. It makes use of a large corpus of 250 multimodal op-eds about the Euro crisis and lays the foundation for establishing a general system of image-text relations in the op-ed genre. Specifically, the paper addresses the following questions: Is there a difference between a cartoon and an illustration? Why do not op-ed illustrations have captions? What role does layout play in conveying meaning? How do ‘op-ed’ and ‘illustration’ relate to each other in terms of the metaphors and moral values employed in both of them? What is the nature of the relationship between the two? How does the illustrating process work? Should the text and image be considered as a single unit or as two separate (though related) units? Moreover, the results of this research will show that visual metaphors can exert a strong effect on individuals’ moral-political cognition.
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Oliinyk, Viktoriia. "Transformation of the Female Image in Ukrainian Illustration from Soviet Times to the Present." Demiurge: Ideas, Technologies, Perspectives of Design 6, no. 2 (December 1, 2023): 266–78. http://dx.doi.org/10.31866/2617-7951.6.2.2023.292150.
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The purpose of the study is to investigate the corpus of creative illustration, the appearance of which was caused by the full-scale Russian invasion. To reveal the common and different in artistic practices in illustration between artists in the Ukrainian SSR and artists of the era of Independence. Research methods include theoretical, source-scientific, comparative, chronological and analytical. Scientific novelty. For the first time, the specifics of the relationship between the Ukrainian illustration of the Ukrainian SSR period and the era of Independence were investigated, with an emphasis on the period of full-scale Russian invasion, with the definition of a certain typology regarding the interpretation and presentation of female characters. Previously unresearched works from exhibitions of the war period have been introduced into scientific circulation. Conclusions. Based on the results of the research, the main thematic difference between Ukrainian Soviet illustration and works of recent times was established, which consists in the emergence of a new aspect of autobiographical works. The stylistic departure consists of the refusal of the modern artist from the long preparatory process of drawing works with the use of models and in the gravitation to the stylistics of emotional and somewhat deliberately inept children’s illustration. The process of directly creating modern illustrations is practically impossible without the use of computer technologies, in particular, graphic editors. Technologically, in the process of creating an order, the Soviet artist relied on his own work, based on academic education in higher educational art institutions, the nature of the work was exclusively commissioned (at the expense of the network of Soviet publishing houses). A modern illustrator, on the other hand, is characterized by self-conscious work for society, which confirms a high degree of social responsibility, with attempts to find funding for personal projects on crowdfunding platforms. The technical difference lies in the change in the way the illustrations are made public, since in Soviet times the book was published in thousands of editions and was exhibited at specialized exhibitions. Instead, today’s artists have received a huge resource in the form of social networks, where the cost of publication is zero, and the views can be counted in the thousands or tens of thousands, depending on how famous the author or artistic group is.
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Migašová, Jana. "Ilustrácia detskej knihy na Slovensku v kontexte sociopolitických zmien (1932 – 1971): Prípad knihy Fraňa Kráľa, Čenkovej deti." Acta Musei Nationalis Pragae – Historia litterarum 68, no. 3-4 (2024): 48–58. http://dx.doi.org/10.37520/amnpsc.2023.0024.
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The subject of the paper is the changing visual language of the illustrations in Čenkovej deti [Čenková’s Children] by Fraňo Kráľ (1932). After 1948, the book was transformed into a paradigmatic story reflecting social injustice and became compulsory reading for primary-school children. This necessitated a number of artistic solutions in the form of illustration sets interpreting and canonising the narrative. By means of a comparison of Josef Rybák’s and Štefan Cpin’s illustrative approaches, the study reveals the essential difference in their conveyance of content in two different historical situations.
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He, Junfen. "Analyze the application of illustration in food packaging design." Highlights in Art and Design 2, no. 3 (May 3, 2023): 40–44. http://dx.doi.org/10.54097/hiaad.v2i3.7994.
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Modern illustration is widely used in packaging design, the expression of illustration in beverage packaging is constantly changing, illustration packaging design is also constantly innovating, promoting the development of packaging design, in order to adapt to the economic competition, the competition of innovative design. Taking Nongfu Spring, a well-known product, as the research object, the application of illustration art in beverage packaging is presented. Nongfu Spring cleverly makes use of consumers' psychology, and uses exquisite visual illustrations to stimulate consumers. At the same time, it integrates the design concept of packaging: creativity + product + communication, and uses composite materials to decorate, further strengthening the sense of trend of mass beverage packaging.
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Marhendra, Anak Agung Ngurah Gede. "Semiotics Study of Kendra Paramita's Illustration in Tempo Magazine Media." VCD 4, no. 2 (December 31, 2019): 97–106. http://dx.doi.org/10.37715/vcd.v4i2.1321.
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This study was designed to describe the meaning of the Kendra Paramita illustration works. Qualitative descriptive research with material objects in the form of colors, illustrations, layout, and typography as well as formal objects that have meaning in Kendra Paramita's work that can be studied using Charles Sanders Peirce's semiotic theory using icons, indexes, and symbols. The results showed that: (1) Analysis of Kendra Paramita's illustrated works seen from the study of semiotics. From the analysis that has been done, Kendra's illustrative works always show a relationship or relation between signs. Icons, indexes, and symbols both in color, shape and context always explain the meaning contained in each work. With the intention, describing it can be presented implied content in each work following the information sent will be more easily captured and digested by each reader. (2) Most of the issues raised through Kendra's illustrative work include issues: social, political, and economic that occur in Indonesia.
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Sutanto, Shienny Megawati, and Marina Wardaya. "How to Use Iconic Image Illustration to Increase Selling Value of Fiction Works." Winners 18, no. 2 (September 30, 2017): 49. http://dx.doi.org/10.21512/tw.v18i2.4008.
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This research aimed to find out how to use iconic images illustration to increase selling value of fiction works. The theoretical basis of this research was visual communication design, illustration, color, and semiotics. The method used in this research was qualitative research by doing interviews with experts who are experienced in publishing and illustration field. Another method used was observing children and fiction books which use iconic image illustration to attract consumer’s interest in order to increase books sales. The results of this study show that fiction books with iconic image illustration images have the positive response from consumers who show their interest and desire to buy them. Moreover, these results are expected to be useful for the creative industry, especially the sub-sector publishing industry when designing illustrations to be used in a book.
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Venâncio, Márcia. "SCIENTIFIC ILLUSTRATION: A BRIEF REVIEW AND THE EMERGENCE OF 3D ILLUSTRATION." Environmental Smoke 5, no. 2 (August 31, 2022): 10–14. http://dx.doi.org/10.32435/envsmoke.20225210-14.
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Scientific illustration can be defined as a realistic representation of an object that the illustrator or the scientist observes, pointing out features that they want to show. Over the years, illustration has fulfilled different objectives, becoming an indispensable tool in the science service, being extremely important to understanding the natural world and recognized as a significant factor in the emergence of modern science (MOSER, 2014). The scientific illustration helps to define the object in a simple way, being instantly “readable” or easy to interpret, even for a non-erudite and is a form of visual scientific communication (ALCARAZ; CORREIA; CERVIÑO, 2015; MOSER, 2014). For these reasons, drawing is a tool appreciated by scientists. The aim of this article is to show the different areas of application of scientific illustration and also the emergence of the digital illustration, particularly the 3D illustration.
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Pinheiro, Marta Passos, and Sabrina Ramos Gomes. "Os "novos" contos de fadas: tradição e inovação em A Bela e a Adormecida, de Gaiman e Riddell." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 2 (June 5, 2018): 35–56. http://dx.doi.org/10.5007/2175-8026.2018v71n2p35.
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In this article, we investigate tradition and innovation in the work Beauty and the Sleeping by analyzing the construction of the narrative, considering the important role of graphic design and illustrations. In this way, we approach the collaborations between two important British authors: the writer Neil Gaiman and the illustrator ChrisRiddell. As a theoretical reference we give priority to studies on illustration and graphic design of children's books - Nikolajeva and Scott. Moraes, Linden and Ramos -, dialoguing with studies on fairy tales - Betelheim, Corso and Corso, Coelho and Propp. We could observe that even if it is not an illustrated book, according to the English conception of picturebook, the narrative is told not only by the written text, but also by illustrations and graphic design. The dialogue between writer and illustrator and the freedom he had to present his point of view were fundamental for the success of the work.
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HASIRCI, Baris. "Landscapes in The Graphic Novels of Chris Ware, Gabrielle Bell and Adrian Tomine: Attributes Shared with Woodblock Prints of Kawase Hasui." Journal of Social Research and Behavioral Sciences 8, no. 16 (July 20, 2022): 255–68. http://dx.doi.org/10.52096/jsrbs.8.16.15.
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A common attribute of the graphic novels of Chris Ware, Gabrielle Bell and Adrian Tomine is panels, portraying landscapes that invoke melancholy. The illustration styles are cartoonish yet realistic which lends itself to comedy and tragedy. Some emotional scenes are relayed through illustrations of landscapes that show natural elements such as the sky and trees. They also include elements of modern life such as cars and buildings. By illustrating the timelessness of nature and modern living, these works remind of the woodblock prints of Kawase Hasui. The Shin-hanga prints of Hasui are made with the influence of Impressionism which is influenced by Ukiyo-e. As with the Impressionists, the artists of Shin-hanga presented topics such as landscapes by reflecting fleeting light and the individual experiences they invoke. Hasui represents nature in its quiet glory, mixing it with the everyday which is also in the spirit of the mentioned graphic novelists’ works. This study uncovers the approaches that create the emotional landscape illustrations in graphic novels by determining their common attributes with Shin-hanga. Through the chosen artwork, this discussion aims to contribute to the existing discourse on graphic novels and provide a basis for further understanding of this art form. Keywords: Graphic Novels, Illustration, Landscape Painting, Impressionism, Shin-hanga
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Feng, Yuan. "Application and Value of Hand-painted Illustration in Food Packaging Design." BCP Social Sciences & Humanities 15 (March 13, 2022): 77–81. http://dx.doi.org/10.54691/bcpssh.v15i.365.
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With the continuous development and progress of the times, Hand-painted illustrations are more and more commercialized, and packaging design is also one of the most widely used. For the most abundant types of food packaging, its design is emerging one after another. Based on this background, this paper studies the application of Hand-painted illustration in food packaging design, and explores the diversity of Hand-painted illustration design in food packaging. Through the rich content and unique artistic forms of Hand-painted illustration, combined with the specific analysis of the existing food packaging in the market and the comprehensive study of the aesthetics of Hand-painted illustration packaging, it is concluded that Hand-painted illustration can not only enrich the visual form of food packaging, but also promote the sales of goods while improving the aesthetic demand and cultural connotation of goods. At the same time, it also demonstrates the necessity and feasibility of Hand-painted illustration in food packaging design.
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Syukma, Indra. "Mengungkap Peran Ilustrasi Musik dalam Membangun Mood, Nuansa, dan Suasana pada Film ‘Tonggak Tuo’." Jurnal Sendratasik 12, no. 3 (September 16, 2023): 380. http://dx.doi.org/10.24036/js.v12i3.124793.
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Musical illustration plays a crucial role in establishing the mood, nuances, and atmosphere in films. This study delves into two main aspects: 1) how directors and composers apply mood, nuances, and atmosphere through musical illustration in various scenes, and 2) the significance of musical illustration in the film "Tonggak Tuo." The researcher employs a qualitative descriptive research method, presenting data in both textual and graphical forms. The primary focus of this study revolves around the role of music illustration in films as a builder of mood, nuances, and atmosphere, as per Himawan Pratista's film music illustration theory. Data collection methods encompass document review, interviews, and literature review. Analytically, this research directly observes the content of "Tonggak Tuo" to investigate the role of music illustration, employing content analysis and interpretative techniques. The results affirm that musical illustrations play a pivotal role in constructing the mood, nuances, and atmosphere within the film "Tonggak Tuo."
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Kusumaningsih, Sri Ayu, and Ahmad Bahtiar. "Relationship of Characters and Illustration in Short Story 9 Dari Nadira By Leila S. Chudori." Bahasa: Jurnal Keilmuan Pendidikan Bahasa dan Sastra Indonesia 1, no. 2 (January 30, 2021): 86–101. http://dx.doi.org/10.26499/bahasa.v1i2.13.
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This study is to find out the relationship of characters to illustrations in a collection of 9short stories from NadiraKarya Leila S. Chudori. In the collection, there are four short stories that contain illustrations of the main characters namely "Melukis Langit”, "Tasbih", "Sebilah Pisau", and "At Pedder Bay". The method used in this research is descriptive qualitative method by using Charles Sanders Pierce's Semiotic Theory which includes sign and object. The study of characterization or characterization is done in two methods namely direct (telling) and indirect (showing). The results of this study indicate that out of the 4 short stories analyzed only 3 short stories that have character relationships with illustrations, namely the short story "Melukis Langit", "Tasbih" and "Sebilah Pisau". Short story of "Melukis Langit" depicts Nadira's character who is strong against her father's behavior since the death of his mother. The short story illustration shows Nadira crying in the bathroom to vent her sadness. Short story "Tasbih" describes Mr. X with a mysterious character illustrated by showing Mr. X's face full of mystery while the short story "Sebilah Pisau" tells Kris who is Nadira's secret admirer. Kris's character is displayed with illustrations illustrating the event when Nadira was surprised to see Kris's table filled with Nadira's picture. Short story "At Pedder Bay" tells Nadira's old friend Marc who is also an admirer of Nadira for a long time. The main character, Marc in this short story is not illustrated in the illustration. The short story shows a background, namely the lake and the figure of the woman sitting pensively.
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Witabora, Joneta. "Peran dan Perkembangan Ilustrasi." Humaniora 3, no. 2 (October 31, 2012): 659. http://dx.doi.org/10.21512/humaniora.v3i2.3410.
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Humans are social creature, therefore the need to communicate is the foundation of human nature. Communication has a variety of ways and forms, one of which is to communicate visually. Visual communication is an early form of human expression of the need to interact, and is the origin of the fine arts. The illustration is one of the disciplines that have long existence. The development of the illustration cannot be separated from human history. The world of social and cultural, science and technology has become home to the world of illustration to flourish. Article presents the existence of illustrations, mapping the functions and the roles of illustration provide a more in-depth knowledge in the use of visual imagery.
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Putri, Aulia Dwiningtyas, and Irene Mari Juli Astuti. "TATA LETAK ILUSTRASI DITINJAU DARI SEGI PROPORSIONAL ILUSTRASI PADA BUKU PENDAMPING TEMATIK TERPADU IPA JILID 1 SESUAI KURIKULUM 2013 TERBITAN ERLANGGA." Jurnal Ilmiah Publipreneur 2, no. 1 (June 30, 2014): 66–79. http://dx.doi.org/10.46961/jip.v2i1.125.
Full textAbstract:
This research aims to describe the problem in the book layout related 2013 curriculum illustration that proportionate in terms of illustration. This research focuses on the Integrated Thematic Companion Book Vol. 1 IPA. The research method used is the method of library research, observation, and interviews. The results can be concluded that the main obstacle is the difficulty of inserting an illustration into the box the picture proportionally. The fix is to change the size/shape of the illustration through the program Adobe Illustrator or by changing the size of the picture box on the form/Adobe InDesign.