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Journal articles on the topic 'The Illustration of Art'
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1
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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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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Stoleriu, Irina-Andreea. "Book Illustration or the Art of Illustrating." Anastasis. Research in Medieval Culture and Art 7, no. 1 (May 29, 2020): 153–55. http://dx.doi.org/10.35218/armca.2020.1.09.
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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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Tursunmurotovich, Sobirov Sarvar. "Illustration and the Influence of Illustrator on Children’s Understanding of Fairy Tales and Works of Art in Books." International Journal of Psychosocial Rehabilitation 24, no. 5 (April 20, 2020): 3526–33. http://dx.doi.org/10.37200/ijpr/v24i5/pr202063.
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Patel, Smruti K., William T. Couldwell, and James K. Liu. "Max Brödel: his art, legacy, and contributions to neurosurgery through medical illustration." Journal of Neurosurgery 115, no. 1 (July 2011): 182–90. http://dx.doi.org/10.3171/2011.1.jns101094.
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Max Brödel is considered the father of modern medical illustration. This report reviews his contributions to neurosurgery as a medical illustrator. Max Brödel, a young artist from Leipzig, Germany, was hired at Johns Hopkins Hospital in 1894, where he illustrated an operative textbook of gynecology for Howard A. Kelly. Although Brödel did not have any formal medical training, he quickly acquired knowledge of anatomy, pathology, physiology, and surgery. Brödel's extraordinary illustrations were characterized by an aerial perspective that conveyed the surgeon's operative viewpoint and precise surgical anatomy. He masterfully incorporated tissue realism with cross-sectional anatomy to accentuate concepts while maintaining topographical accuracy. Brödel's reputation spread quickly and resulted in collaborations with prominent surgeons, such as Cushing, Halsted, and Dandy. Cushing, who also possessed artistic talent, became a pupil of Brödel and remained a very close friend. In 1911, Brödel was appointed the director of the Department of Art as Applied to Medicine at Johns Hopkins, the first academic department of its kind in the world. For the next several decades, he trained generations of renowned medical illustrators. Just as Osler, Halsted, and Cushing passed their skills and knowledge to future leaders of medicine and surgery, Brödel did the same for the field of medical illustration. The advancement of neurosurgical education has been greatly facilitated by Max Brödel's artistic contributions. His unique ability to synthesize art and medicine resulted in timeless illustrations that remain indispensable to surgeons. The art produced by his legacy of illustrators continues to flourish in neurosurgical literature today.
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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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kim hye kyujg and 임수은. "Illustration through Primitive Art." Journal of Korea Design Forum ll, no. 23 (May 2009): 291–300. http://dx.doi.org/10.21326/ksdt.2009..23.025.
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Kuzmenko, Halyna. "Borys Hrinchenko Literary Heritage in Works of Graphic Artists." ART Space, no. 3 (2018): 50–67. http://dx.doi.org/10.28925/2519-4135.4.2018.3.10.
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The article, in the retrospect of time, covers the peculiarities of publishing development in Ukraine in late nineteenth — early twentieth century the time of Borys Hrinchenko literary activity. It refines the essence of the term “illustration” and determines the specific character of the book illustration design, highlights the role and characteristics of the artist concerning the art of creation and finishing of the book. The article also reveals a brief art analysis of artistic features of the specific illustrations created by the graphic artists for the works of Borys Grinchenko.
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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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Hagtvedt, Henrik, and Vanessa M. Patrick. "Turning Art Into Mere Illustration." Personality and Social Psychology Bulletin 37, no. 12 (August 1, 2011): 1624–32. http://dx.doi.org/10.1177/0146167211415631.
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Broadly speaking, artworks are accorded a special significance and are recognized as powerful communication tools. In the current research, the authors posit that the “specialness” of artworks may be diminished simply by emphasizing that which is depicted in them. This emphasis results in the artwork being viewed as a mere illustration rather than a work of art. Specifically, the influence of an “artwork as art” is context independent, but the influence of an “artwork as illustration” is context dependent. The authors demonstrate this phenomenon in two experiments, in the context of products associated with artworks. In a third experiment, they further demonstrate that an abstract (concrete) mind-set aligns with the influence of an artwork as art (illustration).
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KRISHNA, GOPAL, SUBIR BANDYOPADHYAY, AVISHEK BHATTACHARJEE, and PAKSHIRAJAN LAKSHMINARASIMHAN. "The correct lectotypification of Championia multiflora (Gesneriaceae)." Phytotaxa 328, no. 2 (November 17, 2017): 198. http://dx.doi.org/10.11646/phytotaxa.328.2.11.
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It is obvious that an illustration cited or provided in the protologue of a name can play vital role in typifying the name. In several cases it is observed that an illustration has been designated as lectotype. However, while selecting an illustration as lectotype it should be ensured that no cited isotype, syntype, isosyntype or paratype exists (which are to be given precedence), otherwise the lectotype designation will not be in conformity with Art. 9.12 of ICN (McNeill et al. 2012). If no cited specimens exist, the lectotype must be chosen from among the uncited specimens and then from the cited and uncited illustrations that comprise the remaining original material, if such exist. Clarke (1874) in the protologue of Championia multiflora Clarke (1874: 99) [currently accepted as Leptoboea multiflora (Clarke) Benth. ex Gamble (1881: 274)] cited “Hab. In collibus Khasia ad 500–5000 ped. alt. In Assam et Bhotan. In Sikkim ad 1000–5000 ped. alt. frequens”. Hence, the relevant specimens from the cited localities, i.e. Assam, Bhotan and Sikkim, studied by Clarke qualify as syntypes. Sinha & Datta (2016: 30) designated the plate (t. 68) given in the protologue as the lectotype of C. multiflora, but this is also contradictory to Art. 9.12 (also see Ex. 13 of Art. 9.19) of ICN (McNeill et al. 2012) because the cited syntypes should get priority over illustration given in the protologue during lectotype designation. We searched for these type specimens at CAL, K and P, and found that six of these specimens [CAL0000027254!; CAL0000027256!; CAL0000027257! P03552784 (image!); P03552790 (image!); P03552791 (image!); P03552792 (image!)] are present at CAL and P, which completely agree with the protologue.
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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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Walter, Richard D. "Review of:Forensic Art and Illustration." Journal of Forensic Sciences 47, no. 4 (July 1, 2002): 15480J. http://dx.doi.org/10.1520/jfs15480j.
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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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Adisasmito, Nuning Damayanti. "The Reflection of Society Culture in Visual Art Illustration of Javanese Manuscript." Mudra Jurnal Seni Budaya 33, no. 3 (September 30, 2018): 374. http://dx.doi.org/10.31091/mudra.v33i3.528.
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The tradition of writing and drawing in illustration was found in the old manuscript. Some parts of those old manuscripts show unique illustrations as well as the local identity of Nusantara’s society. The manuscript reflects the society culture of thinking and aesthetic achievement of visual art. The Illustrations of old Javanese manuscripts were well documented and has various representation in visualization art and style, drawing method, theme, and visual objects, even though the visualization of the visual concepts is practically similar to another. The illustration in the old Javanese manuscript in 1800-1920 shows continuous correlation of the visual language in the past era to the present and becomes the characteristics of Indonesian visual states. It reflects the structured illustration and style as well as expression symbol of the Javanese society in that era. 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 paradigm of Hinduism-Buddhism, Islamic and Colonialism. The illustration style of the old Javanese manuscripts is decorative, naturalistic, realistic, simplified form and deformative.Tradisi menulis dan menggambar ilustrasi ditemukan pada manuskrip lama Nusantara. Sebagian dari manuskrip lama Nusantara itu memuat ilustrasi yang unik dan khas menjadi identitas masyarakat Nusantara. Naskah-naskah tersebut merefleksikan ketinggian budaya berpikir dan pencapaian estetik bidang seni rupa pada masyarakat Jawa dimasa itu. Sejumlah Manuskrip Jawa kuno didokumentasi dengan cukup baik, diantaranya merepresentasikan konsepsi seni dan ga-ya hidup pada masanya, juga memuat metode menggambar, objek visual, tema, dan konsep estetik yang tampaknya memiliki kesamaan satu dengan yang lain. Hasil analisis pada Ilustrasi yang dipilih dalam manuskrip Jawa periode tahun 1800-1920 menunjukkan adanya benang merah yang muncul secara terus-menerus bahkan hingga saat ini. Wujud visual art ilustrasi menjadi ciri khas ilustrasi Indonesia, gaya ilustrasi yang terstruktur dan menjadi simbol ekspresi di era itu. Konsep estetik dan wujud visual Ilustrasi manuskrip Jawa kuno mengalami perubahan dan pengembangan menunjukan gambaran dinamisasi interaksi antara paradigma animisme era Pra-Hindu, budaya Hinduisme-Buddha, Islam dan Kolonialisme. Gaya ilustrasi manuskrip Jawa kuno adalah bentuk dekoratif, naturalistik, realistis, disederhanakan dan deformatif.
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Hickman, Ellen J., Colin J. Yates, and Stephen D. Hopper. "Botanical illustration and photography: a southern hemisphere perspective." Australian Systematic Botany 30, no. 4 (2017): 291. http://dx.doi.org/10.1071/sb16059.
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To examine claims that the role of botanical art in systematic botany is diminishing because of advances in photography, this review considers relevant literature and includes a quantitative analysis of trends in modern journals, monographs and floras. Our focus is on southern hemisphere systematic botany because, relative to the northern hemisphere, this is poorly represented in modern reviews of botanical art and photography. An analysis of all digitally available papers in Nuytsia, the Journal of the Adelaide Botanic Garden, Muelleria, Telopea, Austrobaileya and Systematic Botany established that, although photographic illustrations have increased since 2000, botanical illustrations have not always diminished. The cause of these trends is unknown, but it is likely to be due to several factors, including sourcing funding for production of botanical illustration, editorial preference for the use of illustrations or photographs, author preference for either illustrations or photographs, and moving to online publication, with no charges for colour reproduction. Moreover, the inclusion of botanical artists as co-authors in some scientific publications signals an ongoing and important role. Botanical illustration brings sharp focus and meticulous attention to detail regarding form and structure of plants. Photography is useful at the macro-scale for habitat and whole-plant traits, as well as at the micro-scale for anatomical textures and ultrastructure. These complementary approaches can be important components of taxonomic discovery, with the potential for a new role in modern trait analysis in molecular phylogenies.
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Wardani, Kemala Pintaka. "“CINDELARAS” KIDS ILLUSTRATION AS A MORAL LEARNING MEDIA FOR CHILDREN." Arty: Jurnal Seni Rupa 9, no. 2 (August 18, 2020): 169–80. http://dx.doi.org/10.15294/arty.v9i2.40372.
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Moral learning can be taught through stories, which act as orientations and role models to stimulate understanding which then becomes the habituation and personal character of the child. In this study project moral learning is presented in stories in the form of comic books, with Cindelaras's story as example. The comic book creation process goes through several stages of the creative process namely the pre-production process, the production process and the post-production process. The main work produced was a dummy form from a comic book titled "Cindelaras: A Boy with Rooster" and several merchandise works as supporters such as bookmarks, key chains, art prints and stickers. All the sequences pages of this comic are visual illustrations that tell the story of Cindelaras' journey in fighting for justice. In this comic also illustrated how Cindelaras behaves to parents, people who need even those who are evil to him. This comic has the main message that every good or bad deed will return to the culprit. This work is analyzed from the technical aspects, aesthetic aspects and illustrative aspects. Technically, the entire work is done in digital format and techniques with Adobe Photoshop CS5 applications, while viewed from an aesthetic aspect, it highlights visual elements that are depicted such as colors, lines, drawing styles, and so on. The illustrative aspect explains how illustrations play an important role in communicating stories in this comic book. Through this comic book illustration creation it is hoped that it can add to children's reading recommendations as a medium of moral learning as well as a means of promotion to introduce native Indonesian folklore.
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Bogart, Michele H. "Artistic Ideals and Commercial Practices: The Problem of Status for American Illustrators." Prospects 15 (October 1990): 225–81. http://dx.doi.org/10.1017/s0361233300005913.
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American illustration occupies an anomalous position in art history. Its proponents celebrate its brief but glorious history, a “Golden Age”, lasting roughly from 1880 to 1930. It is a history with a definite, limited chronology, determined by issues of quality and stylistic development and focused on the achievements of a few individuals. Others, however, regard American illustration as a minor episode in the history of art; many consider it to be beneath consideration as serious art. Yet there has been little analysis of why American illustration is considered so marginal or of why to this day the question of whether illustration is a fine art has not been resolved.
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Gajsina, L. A., J. R. Johansen, and Ch Sheil. "Scientific Illustration in Biology: Art for Education and Science." Vysshee Obrazovanie v Rossii = Higher Education in Russia 28, no. 10 (November 1, 2019): 118–27. http://dx.doi.org/10.31992/0869-3617-2019-28-10-118-127.
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The article discusses the importance of scientific illustration, particularly in biological research. The authors dwell on the quality criteria for scientific illustration, highlight the peculiarities of drawing microscopic objects, and give practical recommendations for drawing of biological objects. The necessity of introducing courses on scientific illustration in the educational programs of Russian universities is noted.
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Hajar, Rachel. "Medical illustration: Art in medical education." Heart Views 12, no. 2 (2011): 83. http://dx.doi.org/10.4103/1995-705x.86023.
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Davenhall, Clive. "The Space Art of Scriven Bolton." Culture and Cosmos 16, no. 1 and 2 (October 2012): 385–92. http://dx.doi.org/10.46472/cc.01216.0261.
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Scriven Bolton (1883-1929) was an amateur astronomer from Leeds active in the first three decades of the twentieth century. He was also a skilled artist and commercial illustrator, specialising in astronomical subjects. He produced a substantial body of work which was reproduced in a wide range of publications, including newspapers, magazines and books published on both sides of the Atlantic. His work was intended to be scientifically accurate, and illustrates the consensus astronomical knowledge in the first decades of the twentieth century. No comprehensive list of his work was ever produced and he is now little remembered. This paper is a first report in an attempt to recover some his work and ultimately assess his contribution to early astronomical illustration.
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Tankard, Paul. "An Art to Depict ‘the Noble and the Heroic’: Tolkien on Adaptation, Illustration and the Art of Mary Fairburn." Journal of Inklings Studies 9, no. 1 (April 2019): 19–42. http://dx.doi.org/10.3366/ink.2019.0025.
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Mary Fairburn is an English-born artist and illustrator of whose long career there is little published trace. However, in 1968, aged 34, she almost become the illustrator of the century's best-selling novel, The Lord of the Rings. To understand both how this did not happen—but also how it almost happened—this essay firstly puts on record Mary Fairburn's life and career, in the context of Tolkien's many other dealings with illustrators. The second half of the essay shows why Tolkien was so drawn to Mary Fairburn's pictures, by examining his own visual aesthetics and what he expected from adaptation, and by considering his comments in correspondence with and about the illustrators whose work he saw, but who ran foul of his insistence on a decisive distinction between art and illustration. Not only did Fairburn respect Tolkien's text, in both atmosphere and detail, which was for him a vital consideration, she also shared many of his own artistic influences and painted in an idiom he found intelligible. The essay draws on unpublished correspondence.
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Lupack, Alan. "Studies in Arthurian Illustration by Alison Stones." Arthuriana 29, no. 4 (2019): 86–88. http://dx.doi.org/10.1353/art.2019.0049.
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Nugrahani, Rahina, Triyanto, Muhammad Ibnan Syarif, and Tjetjep Rohendi Rohidi. "EDUCATION THROUGH ART IN VIRTUAL COMMUNITY: STRENGTHENING RELIGIOUS VALUES THROUGH ILLUSTRATION ARTWORKS." Humanities & Social Sciences Reviews 8, no. 2 (April 16, 2020): 52–57. http://dx.doi.org/10.18510/hssr.2020.82e05.
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Purpose: The article analyzes the illustration artworks produced by Virtual Community Hijabographic as a media to disseminate religious values. Hijabographic as one of the Muslim women's communities in Indonesia is one of the pioneer virtual communities that creates various illustration artworks aimed to perform da’wah on social media Instagram, also as a media to ingrain Islamic values.
Methodology: The primary method is virtual ethnography; we use it to uncover social interactions between members of the Hijabographic community that creates a natural response and a stimulus for community members to express it in the form of illustration artworks published through social media.
Result: The results showed that the illustration artworks by Hijabographic are medium to achieve educational goals, in this case, is religious education. Illustration artwork is not merely created to fulfill the purpose of art, but also as a tool to find the self-fulfillment of illustrators in performing da’wah (proselytization), transmitting Islamic values and to foster awareness of other Muslim females to become pious individuals.
Applications: This research can be used by virtual communities, scholars and visual arts learners.
Novelty/Originality: Building on the insight that illustration artworks by virtual community Hijabographic become a new model to perform da’wah on social media. These illustration artworks influence a member's aesthetic experience and personal's understanding of strengthening Islamic values.
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Anderman, Elizabeth. "Serialization, Illustration, and the Art of Sensation." Victorian Periodicals Review 52, no. 1 (2019): 27–56. http://dx.doi.org/10.1353/vpr.2019.0001.
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Janaway, Christopher. "Nietzsche's Illustration of the Art of Exegesis." European Journal of Philosophy 5, no. 3 (December 1997): 251–68. http://dx.doi.org/10.1111/1468-0378.00039.
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YAVUZ ÖDEN, Hülya. "GRAPHIC DESIGN SOLUTIONS APPLIED ON CHILDREN'S ROOM SURFACES IN INTERIOR DESIGN." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 8, no. 3 (May 25, 2021): 60–73. http://dx.doi.org/10.38064/eurssh.191.
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Design elements such as typography, illustration, and photography used in graphic design can also be used indoors on surfaces and reinforcement elements. Original designs support the creation of the identity of the place. It is of great importance to use visual arts in the space. One of the areas of design that greatly affects people in the illustration. Whatever the content of the illustration, it can include different visual styles that can be expressed artistically. The art of illustration can express difficult concepts quickly. For this reason, illustrations are used in different techniques. Thus, it can be used to create unique designs that can reveal the difference of the brand. The uniqueness of the illustration used in the interior design is also effective in the formation of space's own identity. Illustrations that are uniquely designed based on the user's wishes should be used. Instead of fashionable design trends, the application of the appropriate forms to the concept of the space ensures the creation of the original space. The research aims to examine the use of graphic elements used in interior design, which is one of the factors that affect the formation of children's identity, on space surfaces. Qualitative methods were used as a method, and a literature review was made on graphic design and space design for children. The analyzed examples are limited to the use of typography and illustration on the walls and reinforcement element surfaces in the interior design of the children's room. The application images in the personal archive were used. Besides, internet resources were searched and the samples of the children's room were examined.
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Zavyalova, Anna E. "A.S. Pushkin’s Works in the Graphics of M.V. Dobuzhinsky." Observatory of Culture 15, no. 5 (December 14, 2018): 584–91. http://dx.doi.org/10.25281/2072-3156-2018-15-5-584-591.
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The article introduces into scientific discourse, and examines a number of M.V. Dobuzhinsky’s works: it traces the process of working on them, identifies their sources (literary and visual), analyzes the stylistic features and the specifics of the graphic techniques. These tasks are performed within the context of interaction between literature and fine arts. This topic is relevant because M.V. Dobuzhinsky’s illustrations to the stories “Stationmaster” and “Squire’s Daughter”, the play “Covetous Knight”, and the poem “Magnificent City, Poor City...” by A.S. Pushkin are studied as works of fine art for the first time.The scientific novelty of the article lies in the fact that it introduces an experience of defining the stylistic affiliation of the said works, and reveals a number of their visual sources. The author uses the method of complex analysis, combining the source analysis of M. Dobuzhinsky’s memoirs and his letters, the works of the artist’s contemporaries devoted to the Russian art of the beginning of the 20th century, and the traditional formal analysis of his works in comparison with those of Rembrandt, A. Benois, A. Dürer, F. Tolstoy, Japanese engravings of the 18th — beginning of the 19th century. This allows a significant expansion of existing ideas about visual and literary sources of the artist’s works.The article reveals that Rembrandt’s etching “View of Amsterdam from the Northwest” influenced the artistic solution of the illustration “In the Carriage” for the story “Stationmaster”; Hiroshige’s sheets influenced the illustration “Vyrin at the Entrance of Minsky’s House” for the same story. A. Dürer’s woodcuts influenced the solution of the illustration “Scene 1” for the play “Covetous Knight”; F. Tolstoy’s silhouettes influenced the vignettes and the artistic solution of the illustrations and decorations for the story “Squire’s Daughter”. The article also finds that H.Ch. Andersen’s tales “The Old House” and “The Old Street Lamp” had predetermined M. Dobuzhinsky’s appeal to the story “Stationmaster”, and the graphic solution of St. Petersburg in the picture “View of the St. Petersburg House”. The author concludes that M. Dobuzhinsky’s illustrating of Pushkin’s works was in line with his intense creative experiments: searching for a new solution to the image of St. Petersburg in book graphics, rethinking and “quoting” the masters of the past.
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Bilgi, Irem. "Lowbrow Art Movement as a Subculture Art and its Effects on Visual Design." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 232–39. http://dx.doi.org/10.18844/prosoc.v4i11.2879.
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Beginning in Los Angeles, California, in the 1970s, and also known as pop surrealism, the Lowbrow art movement was born as a part of punk music, comic books, street and skateboard cultures and is seen in all fields of art. This study is the reflection of the Lowbrow art movement on visual design fields such as illustration graphic design and typography, animation and designer toys. Lowbrow artists were difficult to be adopted in the arts and design fields in the first years of the movement, because they did not have a diploma in fine arts and came from the street culture. But in recent years, Lowbrow artists have proved themselves and have begun to produce art and design works that are exhibited in different fields. The aim of this study is to emphasise the importance of Lowbrow art, which is seen as a subculture today. Keywords: Lowbrow, pop surrealism, street art, illustration, designer toy, subculture, visual design.
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Zhang, Lingling. "Illustration Design Teaching Mode Based on Virtual Wall Painting Technology." International Journal of Emerging Technologies in Learning (iJET) 14, no. 03 (February 14, 2019): 190. http://dx.doi.org/10.3991/ijet.v14i03.10108.
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With rapid development of 3D virtual scene, virtual reality (VR) technology starts to be applied in teaching practice. Because of its conception and innovation, VR technology has certain advantage in art creation learning and teaching. In traditional art course teaching, theoretical knowledge is more than design practice, and the depth of design cases is insufficient. Thus, students lack driving force of art creation. On this basis, wall painting technology and VR technology were combined and applied in the course of Illustration Design in this paper. According to the course requirement of Illustration Design – many design cases, Illustration Design teaching mode based on virtual wall painting technology was constructed. The study result showed that, students more approved the new teaching mode, their interest improved greatly and teaching efficiency boosted significantly. The teaching mode can make up for defects of traditional art design teaching mode and contributes to cultivating students’ art creation ability.
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Mavroudis, Constantine, Gary P. Lees, and Rachid Idriss. "Medical Illustration in the Era of Cardiac Surgery." World Journal for Pediatric and Congenital Heart Surgery 11, no. 2 (February 25, 2020): 204–14. http://dx.doi.org/10.1177/2150135119893671.
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This article reviews the collaboration between clinician and illustrator throughout the ages while highlighting the era of cardiac surgery. Historical notes are based on Professor Sanjib Kumar Ghosh’s extensive review, literature searches, and the archives of the Johns Hopkins University Department of Art as related to Medicine in Baltimore. Personal communications were explored with medical illustrators and medical practitioners, many of whom are colleagues and trainees, to further chronicle the history of medical illustration and education in the era of cardiac surgery. Medical illustrators use their talents and expressive ideas to demonstrate procedures and give them life. These methods are (1) hovering technique; (2) hidden anatomy, ghosted views, or transparency; (3) centrally focused perspective; (4) action techniques to give life to the procedure; (5) use of insets to highlight one part of the drawing; (6) human proportionality using hands or known objects to show size; and (7) step-by-step educational process to depict the stages of a procedure. Vivid examples showing these techniques are demonstrated. The result of this observational analysis underscores the importance of the collaboration between clinician and illustrator to accurately describe intricate pathoanatomy, three-dimensional interrelated anatomic detail, and complex operations. While there are few data to measure the impact of the atlas on medical education, it is an undeniable assertion that anatomical and surgical illustrations have helped to educate and train the modern-day surgeon, cardiologist, and related health-care professionals.
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Gates, Barbara. "NATURAL HISTORY ILLUSTRATION." Victorian Literature and Culture 33, no. 1 (March 2005): 314–18. http://dx.doi.org/10.1017/s1060150305220867.
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INTEREST IN VICTORIAN natural history illustration has burgeoned in recent years. Along with handsome, informative shows at the Pierpont Morgan Library in New York (“Picturing Natural History”), at the American Philosophical Society (“Natural History in North America, 1730–1860”), and at the Royal Botanical Gardens in Melbourne (“Nature's Art Revealed”), the year 2003 saw an entire conference devoted to the subject in Florence, Italy. In 2004, the eastern United States was treated to two more fauna- and flora-inspired shows, both dealing specifically with nineteenth-century British science and illustration.
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Cavalcanti, Daniel D., William Feindel, James T. Goodrich, T. Forcht Dagi, Charles J. Prestigiacomo, and Mark C. Preul. "Anatomy, technology, art, and culture: toward a realistic perspective of the brain." Neurosurgical Focus 27, no. 3 (September 2009): E2. http://dx.doi.org/10.3171/2009.7.focus09127.
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In the 15th century, brain illustration began to change from a schematic system that involved scant objective rendering of the brain, to accurate depictions based on anatomical dissections that demanded significant artistic talent. Notable examples of this innovation are the drawings of Leonardo da Vinci (1498–1504), Andreas Vesalius' association with the bottega of Titian to produce the drawings of Vesalius' De humani corporis fabrica (1543), and Christopher Wren's illustrations for Thomas Willis' Cerebri Anatome (1664). These works appeared during the Renaissance and Age of Enlightenment, when advances in brain imaging, or really brain rendering, reflected not only the abilities and dedications of the artists, but also the influences of important cultural and scientific factors. Anatomy and human dissection became popular social phenomena as well as scholarly pursuits, linked with the world of the fine arts. The working philosophy of these artists involved active participation in both anatomical study and illustration, and the belief that their discoveries of the natural world could best be communicated by rendering them in objective form (that is, with realistic perspective). From their studies emerged the beginning of contemporary brain imaging. In this article, the authors examine how the brain began to be imaged in realism within a cultural and scientific milieu that witnessed the emergence of anatomical dissection, the geometry of linear perspective, and the closer confluence of art and science.
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JEONG, Sookyoung. "Mask Art Illustration Using Hundertwasser’s Lines and Colors." Europe Culture Arts Association 9, no. 2 (September 30, 2018): 159–78. http://dx.doi.org/10.26854/jeca.2018.9.2.159.
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Stratton, Elizabeth. "Art and illustration in the natural history sciences." Endeavour 23, no. 3 (January 1999): 95–97. http://dx.doi.org/10.1016/s0160-9327(99)01228-4.
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Trapnell, Dorset W. "11th International Exhibition of Botanical Art & Illustration." Journal of the Torrey Botanical Society 132, no. 3 (July 2005): 533. http://dx.doi.org/10.3159/1095-5674(2005)132[533a:tieoba]2.0.co;2.
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Maxwell, Liz. "Decisions in Art Making: An Illustration through Dance." International Journal of the Humanities: Annual Review 8, no. 8 (2010): 177–82. http://dx.doi.org/10.18848/1447-9508/cgp/v08i08/42999.
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Sykes, A. H. "The art of scientific illustration: examples from poultry." World's Poultry Science Journal 51, no. 3 (November 1, 1995): 327–35. http://dx.doi.org/10.1079/wps19950022.
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Kim, Yongjin, Jingyi Yu, Xuan Yu, and Seungyong Lee. "Line-art illustration of dynamic and specular surfaces." ACM Transactions on Graphics 27, no. 5 (December 2008): 1–10. http://dx.doi.org/10.1145/1409060.1409109.
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Dan, Bernard. "Jeu de miroirs between medical illustration and art." Journal of Pediatric Neurology 03, no. 03 (July 29, 2015): 127–29. http://dx.doi.org/10.1055/s-0035-1557272.
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Vidanova, E. A. "ILLUSTRATION AS AN INTEGRATIVE COMPONENT OF VOCATIONAL TRAINING OF TEACHERS OF ART." Vektor nauki Tol'yattinskogo gosudarstvennogo universiteta. Seriya Pedagogika i psihologiya, no. 4 (2020): 7–14. http://dx.doi.org/10.18323/2221-5662-2020-4-7-14.
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The paper considers the role of academic and creative work on illustration as an integrative component of learning and teaching activity (vocational training) in the process of vocational training of a future teacher of art (painter-teacher). The relevance of the study is caused by insufficient information about the potential of teaching illustration as a part of the vocational training of future teachers. The author considers the integration of learning and vocational activity in several aspects, which allows defining the essence and highlighting the significant elements of this process. In each aspect of integration, the author emphasizes the functional components of the teacher’s activity aimed at the formation of general professional and vocational competencies or their parts. In this respect, the paper considers the academic and creative work on illustration as an overall process where all elements are interdependent. The characteristic of the suggested approach to teaching illustration as an integrative component of vocational training of future teachers is the systemizing and improvement in the practice of the complex of knowledge, skills, and experience of activity obtained in the process of learning disciplines of vocational and general professional training throughout the training period. The academic and creative work on illustration expands the instruments of a student necessary for a future practical experience both for the development of artistic and creative skills and aesthetic education of students. An intending teacher being keen on illustration as an academic discipline in the future can implement this field of study in independent creative activity, which can be an example of professional self-fulfillment. The author based the research on the learning of the results of academic and creative work in artistic graphics of the fourth-year students of Art and Graphics Faculty of Kuban State University and further survey organized during teaching training.
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Štefan, Jan T. "The Illustrations of the Balzer and Rybička Families in Books Published Outside of Prague." Acta Musei Nationalis Pragae – Historia litterarum 63, no. 3-4 (2019): 90–95. http://dx.doi.org/10.2478/amnpsc-2018-0012.
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The article provides information on two families of engravers that were involved in book illustrations in Bohemia over a hundred years beginning in the 1760s. Jan Jiří Balzer and his brothers (František, Matyáš and Řehoř) and sons (Jan Karel and Antonín Karel) significantly contributed to the development of engraving craft and graphic art in Bohemia. His international business activities in the area of graphic arts are known. After the death of Jan Balzer, the engraving and printing workshop was managed by his wife Kateřina and the mentioned brother Řehoř. At the beginning of the 19th century, Balzer’s daughter married an engraver in Balzer’s workshop, Karel Rybička. Their son Josef, thus a grandson of Jan Balzer, subsequently became a significant steel engraver. Both families, of Balzer and Rybička, were engaged in book illustration. This work discusses their illustrations, realised fully by or in cooperation with publishing houses in various towns of the Austrian monarchy other than Prague as well as outside the monarchy. The graphs in the article show the frequency of these illustration activities in dependence on time for the families of both Balzer and Rybička (whose father could have been involved in the steel-engraving illustrations as well).
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Skov, Knud Carlsen. "Technique of making fish illustration 27: scientific illustration of small specimens, art and seeing." Environmental Biology of Fishes 19, no. 1 (May 1987): 68. http://dx.doi.org/10.1007/bf00002738.
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Kretzer, Ryan M., Ranice W. Crosby, David A. Rini, and Rafael J. Tamargo. "Dorcas Hager Padget: neuroembryologist and neurosurgical illustrator trained at Johns Hopkins." Journal of Neurosurgery 100, no. 4 (April 2004): 719–30. http://dx.doi.org/10.3171/jns.2004.100.4.0719.
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✓ Dorcas Hager Padget was a pioneer in the fields of neurosurgical illustration and neuroembryology who practiced during the early 20th century at The Johns Hopkins University. Without a college degree, she trained as a medical illustrator in the Johns Hopkins School of Medicine's Department of Art as Applied to Medicine under Max Brödel. She began her career working for Walter Dandy as his medical artist, gaining worldwide recognition for her neurosurgical illustrations. With Dandy's encouragement, Hager Padget undertook her own scientific research, studying neurodevelopment and aneurysm formation in the circle of Willis by using human embryos from the world-renowned Carnegie Collection. She made lasting contributions to the field of neuroembryology, publishing the first major work on neurodevelopment of the cerebral arterial and venous systems. Following Dandy's death in 1946, Hager Padget began a full-time career as a scientific researcher, first at the Department of Embryology at the Carnegie Institution of Washington in Baltimore and later at the University of Maryland School of Medicine. She continued to make contributions to the field of congenital malformations of the brain and spine, coining the term “neuroschisis” to describe a possible mechanism of neural tube damage leading to the creation of a myelomeningocele. The authors describe Dorcas Hager Padget's contributions to neurosurgical illustration and neuroembryology, as well as her remarkable career.
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Makarova, Ksenia. "Figure-Background Relations in Black and White Illustration as a Section of Teaching Book Art on the Art-Graphic Faculty of MSPU." KANT 36, no. 3 (September 2020): 308–29. http://dx.doi.org/10.24923/2222-243x.2020-36.58.
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The problem with the study below is contradiction between the need to introduce the young generation to the culture of books as an aesthetic phenomenon and the lack of development of methods for studying the composition of illustrations in art and pedagogical education. The research methods used were the study of literature on the given topic and the practice of teaching the art of the book at the AGF MPSU for ten years. During the theoretical part of the study we examined the perception of black and white, laws of visual perception (similarity, neighborhood, closure, continuity, inertia and primary forms) and features of construction of the relations "figure - ground" in one-figure, two-figure and multi-figure compositions. The result of the practical part of the study was the system of compositional exercises on the theme ""figure - background relations" in black and white illustration". The system of exercises below is not final and can be expanded and refined by the author during further scientific and pedagogical activities.
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BOULLATA, KAMAL. "Art under the Siege." Journal of Palestine Studies 33, no. 4 (2004): 70–84. http://dx.doi.org/10.1525/jps.2004.33.4.070.
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While living under conditions of ghettoization and military assault, Palestinian artists continue to be driven to express themselves in paint, photography, and other visual media. This article examines the work of six of the ten finalists in the September 2002 biennial competition for the Ramallah-based A. M. Qattan Foundation's Young Artists of the Year Award. After briefly surveying the conditions that have marked post-1948 Palestinian art, the author finds the will to create under extreme conditions to be an illustration of Palestinian self-assertion and faith in life.
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Liu, Jing, Qixing Chen, and Xiaoying Tian. "Illustration Design Model with Clustering Optimization Genetic Algorithm." Complexity 2021 (January 31, 2021): 1–10. http://dx.doi.org/10.1155/2021/6668929.
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For the application of the standard genetic algorithm in illustration art design, there are still problems such as low search efficiency and high complexity. This paper proposes an illustration art design model based on operator and clustering optimization genetic algorithm. First, during the operation of the genetic algorithm, the values of the crossover probability and the mutation probability are dynamically adjusted according to the characteristics of the population to improve the search efficiency of the algorithm, then the k-medoids algorithm is introduced to optimize the clustering of the genetic algorithm, and a cost function is used to carry out and evaluate the quality of clustering to optimize the complexity of the original algorithm. In addition, a multiobjective optimization genetic algorithm with complex constraints based on group classification is proposed. This algorithm focuses on the problem of group diversity and uses k-means cluster analysis operation to solve the problem of group diversity. The algorithm divides the entire group into four subgroups and assigns appropriate fitness values to reflect the optimal preservation strategy. A large number of computer simulation calculations show that the algorithm can obtain a widely distributed and uniform Pareto optimal solution, the evolution speed is fast, usually only a few iterations can achieve a good optimization effect, and finally the improved genetic algorithm is used to design the random illustration art. The example simulation shows that the improved algorithm proposed in this paper can achieve higher artistic and innovative illustration art design.
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Grose, Anouchka. "Psychoanalysis, illustration and the art of hysteria: Transcript from a talk, Worcester 2019." Journal of Illustration 7, no. 1 (August 1, 2020): 9–18. http://dx.doi.org/10.1386/jill_00022_1.
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‘Psychoanalysis, illustration and the art of hysteria’ is a transcript of a talk. It explores the possibility of the disruption of meaning in both the analytic encounter and the encounter between image and text. In order to do this, it focuses on the photographs of hysterics taken at the Salpêtrière Hospital in the nineteenth century and asks, ‘what were the doctors doing to these women, and what were these women doing to the doctors?’ From here it goes on to explore Lacan’s four discourses (the discourse of the master, the hysteric, the analyst and the university) that provide a radically non-illustrative means of illuminating the logic of hysteria. The overall drive of the article is to articulate something around the transformative potential of unruly communications, arguing for the possibility that linear arguments and an insistence on sense-making are far from the only means of addressing the Other in order to bring about change.
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Rubtsova, Elena, and Nataliia Chuvikina. "Valentina Konstantinovna Markova – a master of botanical illustration." HORTUS BOTANICUS 14, no. 14 (January 2019): 5–19. http://dx.doi.org/10.15393/j4.art.2019.6044.
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