These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state‐of‐the‐art synthesis of art history.
edited by Amelia Jones
edited by Conrad Rudolph
edited by Rebecca M. Brown and Deborah S. Hutton
edited by Babette Bohn and James M. Saslow
edited by Dana Arnold and David Peters Corbett
edited by Gitti Salami and Monica Blackmun Visonà
edited by John Davis, Jennifer A. Greenhill, and Jason D. LaFountain
edited by Martin J. Powers and Katherine R. Tsiang
edited by Christiane Paul
edited by David Hopkins
edited by Cher Krause Knight and Harriet F. Senie
edited by Finbarr Flood and Gulru Necipoglu
edited by Pam Meecham
edited by Anne Massey
edited by Alan Male
edited by Alejandro Anreus, Robin Greeley, and Megan Sullivan
edited by Christopher Allen
Edited by
This edition first published 2019
© 2019 John Wiley & Sons, Inc.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by law. Advice on how to obtain permission to reuse material from this title is available at http://www.wiley.com/go/permissions.
The right of Alan Male to be identified as the author of the editorial material in this work has been asserted in accordance with law.
Registered Office(s)
John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, USA
Editorial Office
The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK
For details of our global editorial offices, customer services, and more information about Wiley products visit us at www.wiley.com.
Wiley also publishes its books in a variety of electronic formats and by print‐on‐demand. Some content that appears in standard print versions of this book may not be available in other formats.
Limit of Liability/Disclaimer of Warranty
While the publisher and authors have used their best efforts in preparing this work, they make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives, written sales materials or promotional statements for this work. The fact that an organization, website, or product is referred to in this work as a citation and/or potential source of further information does not mean that the publisher and authors endorse the information or services the organization, website, or product may provide or recommendations it may make. This work is sold with the understanding that the publisher is not engaged in rendering professional services. The advice and strategies contained herein may not be suitable for your situation. You should consult with a specialist where appropriate. Further, readers should be aware that websites listed in this work may have changed or disappeared between when this work was written and when it is read. Neither the publisher nor authors shall be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages.
Library of Congress Cataloging‐in‐Publication Data
Name: Male, Alan, editor.
Title: A companion to illustration / edited by Alan Male.
Description: Hoboken, NJ : John Wiley & Sons, Inc., 2019. | Series: Wiley Blackwell companions to art history | Includes bibliographical references and index. |
Identifiers: LCCN 2018049250 (print) | LCCN 2018049741 (ebook) | ISBN 9781119185550 (Adobe PDF) | ISBN 9781119185567 (ePub) | ISBN 9781119185536 (hardcover)
Subjects: LCSH: Illustration of books. | Communication in art.
Classification: LCC NC950 (ebook) | LCC NC950 .C66 2019 (print) | DDC 741.6/4–dc23
LC record available at https://lccn.loc.gov/2018049250
Cover Design: Wiley
Cover Images: © Sue Clarke, © Alan Male
| Figure 1.1 | “Hien” by Hien Pham (2018). An example of the super‐deformed style which exaggerates moments of high emotion and foregrounds these ahead of the specific identity of a character. Source: © Hien Pham. Reproduced with the permission of the artist. |
| Figure 1.2 | Medley (2013) (after Wileman, Meggs, and McCloud). An example of a realism continuum. As well as moving from concrete to abstract, the continuum could be used to evaluate the tasks of pictures from identification to categorization. Source: © Stuart Medley. |
| Figure 1.3 | The alarm‐clock | headphone is an example of what Grady calls “resemblance metaphor.” Record sleeve illustration for the musician Michael Kentoff, 2017. Source: © Stuart Medley. |
| Figure 1.4 | An example of an infographic using metaphor, Largest Bankruptcies in History. Always With Honor, 2010. Source: Courtesy of http://Bankruptcydata.com. |
| Figure 1.A1 | Common “landmarks” are identified in the original character designs (at left), from which a rough composite is made (center). Landmarks in each character design are moved further away from the landmarks in the composite for the final, caricatured designs (at right). Source: © Stuart Medley. |
| Figure 3.1 | Giotto di Bondone (1305). Expulsion of Joachim from the Temple. Fresco (200 cm × 175 cm) at the Scrovegni Chapel. Photo: Laurence North. |
| Figure 3.2 | Diagrammatic drawings from Expulsion of Joachim from the Temple with overlays describing spatial schemes: (a) spatial scheme used to describe the temple enclosure and demonstrate a vanishing point to the left; (b) parallel projection used for the right face of the temple enclosure; (c) vanishing points described by the pulpit; (d) vanishing points described by the ciborum. Source: © Laurence North. |
| Figure 3.3 | Diagrammatic drawings from Expulsion of Joachim from the Temple which describe the image as four differing unified spaces: (a) spatial scheme according to that used in the pulpit; (b) spatial scheme occupied by the ciborum; (c) spatial scheme associated with the left of the enclosure; (d) spatial scheme used for the enclosure entrance. Source: © Laurence North. |
| Figure 5.1 | Silhouette animation by Lotte Reiniger, The Adventures of Prince Achmed (Die Abenteuer des Prinzen Achmed, 1927), the first surviving long animated feature. https://commons.wikimedia.org/wiki/File:Lotte_Reiniger_Prinz_Achmed_001.jpg. Source: Christel Strobel/Primrose Productions. Licensed under CC‐BY‐SA 4.0. |
| Figure 5.2 | Still frame from the Spanish–French short film by Alberto Vázquez, Decorado. Source: © Uniko, Auteur de Minuit, Abano Producións, 2016. Reproduced with permission. |
| Figure 5.3 | A Phenakistoscope from the animated short film Impromptu, by María Lorenzo Hernández, quoting Joseph Plateau’s early animation device from 1832. Source: © Enrique Millán, 2017. Reproduced with permission. |
| Figure 6.1 | An illustration from Howler by Michael Rosen and illustrated by Neal Leyton (2004). Source: © Bloomsbury Children’s Books. Reproduced with permission. |
| Figure 6.2 | Closure diagram. Source: Wikipedia. https://commons.wikimedia.org/wiki/File:Kanizsa_triangle.svg. Licensed under CC‐BY‐SA 3.0. |
| Figure 6.3 | An illustration from Marvin’s Funny Dance by Sarah McConnell (2008). Source: © Sarah McConnell. |
| Figure 7.1 | Ashraf Foda and Sameh Farag. Raise Your Voice. Source: Reproduced with the permission of Sameh Farag. |
| Figure 7.2 | Daniel Connolly (2016). Lost in Translation. Bringing awareness to Alzheimer’s disease. The prospect that you’ll finally forget that you have forgotten everything and that this will no longer trouble you is not a consoling thought, because it signifies your ultimate erasure as an individual. Source: Reproduced with permission of the artist. |
| Figure 7.3 | Simon Pemberton and Okey A. Ndibe. A Life Uprooted. Source: http://simonpemberton.com. Reproduced with permission of the artist. |
| Figure 8.1 | Diversity of illustration professional practice. |
| Figure 9.1 | “Agent Orange,” illustrated by Edel Rodriguez. A poster promoting an exhibition of illustrations by Edel Rodriguez based on Donald Trump’s presidency, at Wieden & Kennedy, Portland. Source: © Edel Rodriguez. Courtesy of the artist. An example of strategy 1: “Symbolism,” strategy 4: “Wordplay and humor,” strategy 5: “The head and body,” and strategy 7: “Color.” |
| Figure 9.2 | Editorial illustration by Noma Bar for “The Science of Sexual Abuse,” The New Yorker (Aviv 2013). Source: © Noma Bar. Reproduced with the permission of the artist. An example of strategy 3: “Negative space.” |
| Figure 9.3 | Photograph of Time Magazine covers, titled “Meltdown” and “Total Meltdown,” illustrations by Edel Rodriguez. Source: Illustrations and photograph: © Edel Rodriguez. Courtesy of the artist. An example of strategy 4: “Wordplay and humor,” strategy 5: “The head and body,” and strategy 7: “Color.” |
| Figure 9.4 | Editorial illustration by David Plunkert for “Expanding Cultural Research,” Chronicle Review (Plunkert 2017b). Source: © David Plunkert. Reproduced with the permission of the artist. An example of strategy 5: “The head and body,” and strategy 6: “Media.” |
| Figure 10.1 | Author’s studio c. 2010, with walls used to test groupings of images. Photo: Stephanie Black. |
| Figure 11.1 | This illustration by Mario Minichiello was commissioned by the Guardian newspaper for its political page on the impact of British Prime Minister Margaret Thatcher’s alliance with parts of the British elite on the poor of the inner cities of Britain. |
| Figure 11.2 | Mario Minichiello, illustration (Lino print/painting) for Geographical Magazine cover (1990). The influence of all the theories can be seen in the way these images are made. Photo: author. |
| Figure 11.3 | Mario Minichiello, The spring in an alma mater’s step (Lino print illustration), commissioned for the front page of the Guardian to illustrate the privatization of education (2001). This is a deliberately complex and confused image, reflecting the chaotic political thinking and actions of the time. |
| Figure 11.4 | John Berger suggests that every drawing that we make holds some aspect of our own memory and encounters with the world and our understanding of its reality. This illustration by Mario Minichiello (2000) for Cider with Rosie, Laurie Lee’s first book (1959), draws heavily on my own childhood memories of similar family experiences to those Lee describes in his book. |
| Figure 12.1 | Photo showing “GPS goes Galactic” illustration by Bryan Olson for the New Scientist (2016). Photo: Nanette Hoogslag. |
| Figure 12.2 | Screenshot of “Mayhem on Our Screens” illustration by Stephen Vuillemin, The New York Times, January 26, 2013 (Linn 2013). Screenshot: Nanette Hoogslag. |
| Figure 12.3 | Photo showing “Mayhem on Our Screens” illustration by Stephen Vuillemin, The New York Times, January 26, 2013 (Linn 2013). Photo: Nanette Hoogslag. |
| Figure 12.4 | (a)–(d) Screenshot of the audio visual web production Do Not Track, directed by Brett Gaylor, Upian Design Studio, 2015. https://donottrack-doc.com/en. Screenshot: Nanette Hoogslag. |
| Figure 13.1 | Datasheet 01. |
| Figure 13.2 | Datasheet 02. |
| Figure 14.1 | Top view of the animated model of Orobates pabsti in his footprints. All joints can be manipulated individually. Source: © Lauströer, Andikfar, and Nyakatura. Reproduced with permission. |
| Figure 14.2 | Side view of the animated model of Orobates pabsti with dearticulated joints. The dearticulation of the joints represents a natural limit to the range of motion of the skeleton. Source: © Lauströer, Andikfar, and Nyakatura. Reproduced with permission. |
| Figure 14.3 | Side view of the animated model of Orobates pabsti with the shoulder girdle touching the floor. The floor touching of the shoulder girdle represents a natural limit to the range of motion of the skeleton. Source: © Lauströer, Andikfar, and Nyakatura. Reproduced with permission. |
| Figure 16.1 | Ellen Weinstein, “Outside Looking In.” Source: © Ellen Weinstein. Reproduced with the permission of the artist. |
| Figure 16.2 | Andrea Dezsö, The Island Come True (Peter Pan tunnel book) 2015; Japanese hand‐made Shojoshi paper hand‐cut and sewn, collapsible, multilayered one‐of‐a‐kind tunnel book 14.25 × 11 × 7 in. Source: © Andrea Dezsö. Reproduced with the permission of the artist. |
| Figure 16.3 | Armando Veve, short story illustration for Tor Books: “This World is Full of Monsters,” by Jeff VanderMeer. Source: © Armando Veve. Reproduced with the permission of the artist. |
| Figure 16.4 | Alison Byrnes Rivett. Pavlov’s Dog. Oil on silk (15 × 12″). Source: © Alison Byrnes Rivett. Reproduced with the permission of the artist. |
| Figure 17.1 | Cuckoo pint or Italian lords‐and‐ladies – Arum italicum (Arum) by Leonhart Fuchs from De historia stirpium commentarii insignes (Notable Commentaries on the History of Plants), colored engraving, 1542. Biblioteca Nazionale Universitaria di Torino, Turin, Italy/De Agostini Picture Library/Chomon/Bridgeman Images. |
| Figure 17.2 | Cork structure. Natural History Museum, London, UK/Bridgeman Images. |
| Figure 17.3 | Ernst Haeckel, illustration of Stephoidea from Kunstformen der Natur, 1904 (litho). Private Collection/Prismatic Pictures/Bridgeman Images. |
| Figure 17.4 | Drawing of Purkinje cells (A) and granule cells (B) from pigeon cerebellum by Santiago Ramón y Cajal, 1899. Instituto Santiago Ramón y Cajal, Madrid, Spain. Source: https://commons.wikimedia.org/wiki/File:PurkinjeCell.jpg#/media/File:PurkinjeCell.jpg. Public Domain. |
| Figure 18.1 | APS true matches for document type “illustration” (1775–1825). |
| Figure 18.2 | Matches in which the meaning of illustration in APS document title is an optical image (1775–1825). |
| Figure 18.3 | Type of image in APS document‐type illustration (1821–1825). |
| Figure 18.4 | The meaning of illustration in APS document titles (1821–1825). |
| Figure 18.5 | (a) Richard Westall (designer), Francis Kearny (engraver). “Ivanhoe. The Tournament.” The Port Folio [Philadelphia] 1.1 (January 1822): [Frontispiece]. Source: Courtesy American Antiquarian Society (b) “Illustrations of Ivanhoe. No 1.—Ivanhoe Crowned at the Tournament by Rowena.” The Port Folio [Philadelphia] 1.1 (January 1822): 3. Source: Courtesy American Antiquarian Society. |
| Figure 19.1 | Dave McKean, “The Other Mother” for Neil Gaiman’s Coraline (2002). Source: Image courtesy of the artist. Reproduced with the permission of the artist. |
| Figure 19.2 | Still shot from the opening sequence of Henry Selick’s film Coraline, 2009. Source: Laika, LLC. Reproduced with the permission of Laika, LLC. |
| Figure 19.3a and b | Graphs of the uncanny valley, from Mori (2012). |
| Figure 20.1 | Illustration on page 190 of De corporis humani fabrica libri septem by Andreas Vesalius. Source: US National Library of Medicine/Historical Anatomies on the Web. Public Domain. |
| Figure 20.2 | (Left) Illustration on page 190 of De corporis humani fabrica libri septem by Andreas Vesalius. Source: US National Library of Medicine/Historical Anatomies on the Web. Public Domain. (Right) Belvedere Torso at the Vatican Museum, 2014. Source: https://commons.wikimedia.org/wiki/File:Belvedere_Torso_Musei_Vaticani.jpg. Licensed under CC BY‐SA 3.0. |
| Figure 20.3 | Illustration of liver from Anatomia humani corporis by Johann Someren. Source: BIU Santé. http://www.biusante.parisdescartes.fr/histoire/images/index.php?refphot=01956. Public Domain. |
| Figure 20.4 | Title page of De corporis humani fabrica libri septem by Andreas Vesalius. Source: US National Library of Medicine/Historical Anatomies on the Web. Public Domain. |
| Figure 20.5 | Illustration on page 164 of De corporis humani fabrica libri septem by Andreas Vesalius. Source: US National Library of Medicine/Historical Anatomies on the Web. Public Domain. |
| Figure 22.1 | Charles and Ray Eames. Source: © 2018 Eames Office, LLC (eamesoffice.com). Image courtesy of Eames Office. |
| Figure 22.2 | “How We Work” conference poster by Cade Featherstone. Source: Reproduced with permission. |
| Figure 22.3 | Barnett’s pedagogical options: a schema. Source: Redrawn based on data from Barnett (2004). |
| Figure 22.4 | “What If … Why Not?” Community of practice visual identity, designed by Freya Morgan. Source: Reproduced with the permission of the artist. |
| Figure 22.5 | Fred Deakin. Source: Reproduced with the permission of Fred Deakin. |
| Figure 22.6 | Katie Harrison. Source: Reproduced with the permission of Katie Harrison. |
| Figure 22.7 | Nicholas Foley‐Oates. Source: Reproduced with the permission of Nicholas Foley‐Oates. |
| Figure 22.8 | Kristjana S. Williams. Source: Reproduced with the permission of Kristjana S. Williams. |
| Figure 23.1 | Erhard Reuwich, illustrator. Map of Venice, for Bernhard von Breydenbach’s Peregrinatio in Terram Sanctam (Journey to the Holy Land), 1486. Reuwich’s innovations for this landmark travelog include detailed maps of cities along the pilgrim route to Jerusalem as well as the first European use of paper pasted together to produce dramatic foldout images. Source: Image courtesy of Creative Commons, National Library of France. https://commons.wikimedia.org/wiki/File:Map_of_Venice_15th_century.jpg. |
| Figure 23.2 | Wesley Allsbrook, illustrator. From the 2017 short film Dear Angelica, Oculus Story Studio. Allsbrook created this illustration entirely by hand on virtual reality’s infinitely scalable canvas using Oculus’s Quill tool. Source: Image courtesy of Oculus VR LLC, Menlo Park, California, USA. |
| Figure 23.3 | Bas Korsten, executive creative director, “The Next Rembrandt,” 2016, J. Walter Thompson, Amsterdam. Three hundred and forty seven years after Rembrandt put down his brush, Korsten assembled a group of art historians, scientists, and engineers who together devised the deep learning algorithms necessary to create this new “Rembrandt” portrait. Source: Image courtesy of Reinier Slothouber, Digital Producer, J. Walter Thompson, Leidseplein 29, Amsterdam, The Netherlands. |
| Figure 24.1 | Rudy Gutierrez (2009). Target Practice. Acrylic on canvas. Source: © Rudy Gutierrez. Reproduced with the permission of the artist. |
Alan Male is an illustrator, writer, and academic. He directed the Illustration Program at Falmouth University for 18 years, leading it to become one of the most reputable with an international distinction for excellence and having distinguished alumni. He was conferred Professor of Illustration in 2009, has lectured throughout the United States, and is a keynote speaker on the international stage.
An authority on communication, historical and cultural studies, research, professional practice, and knowledge‐bearing imagery, Professor Male contributes widely to debates across a range of international journals, conferences, magazines, and learned papers. He is also the author of three undergraduate and postgraduate recommended textbooks, published worldwide, in many languages, and having received excellent reviews: Illustration: A Theoretical and Contextual Perspective (Bloomsbury, 2007/2017), Illustration: Meeting the Brief (Bloomsbury, 2014), and The Power and Influence of Illustration (Bloomsbury, 2019).
As a professional illustrator, Professor Male has worked internationally across advertising, the media, and publishing industries, having illustrated more than 170 books. He has won numerous awards including Gold and Certificate of Merit from the Society of Illustrators Los Angeles and a Texas “Bluebonnet” for children's books. Professor Male has exhibited in London, Arizona, Denver, at the Museum of American Illustration, and has work in New York State Museum's permanent collection where he has three times been recipient of the internationally acclaimed “Focus on Nature” Jury Award.
Research interests include the history and influence of illustration on society with an emphasis on politics, ethics, and sensationalism. Other major work focuses on the creation of new knowledge related to evolution and paleoecology. Professor Male has a research higher degree from the Royal College of Art.