Archaeological Illustration encompasses a number of sub disciplines. These are:
* Surveying : To produce an accurate record of sites and buildings and to record accurately where the sites and buildings lie within the landscape. Surveyors use a range of equipment including tapes, plane tables, total stations, 3D scanners, GPS and GIS to produce illustrations including plans, sections and elevations as well as isometric and axonometric illustrations which are regularly used in building recording. Survey data will be gathered on acid free paper, polyvinyl permatrace and archive stable digital formats.
* Photography : To produce a record of archaeological sites, buildings, artifacts and landscapes. Archaeological photographers will uses a range of different formats particularly black-and-white and colour slide.Digital photography is now starting to become more widely used and is especially useful for the recording of historic building. Aerial photography is commonly used as a tool for recording sites and is also used as a prospecting tool to locate new archaeological sites.
* Artefact illustration : To record objects using agreed conventions to allow further study of the objects by specialists on publication. Artefact illustrators will use pen-and-ink as well as graphics and page layout software.
* Interpretation and reconstruction illustration : To visualise the results of archaeological field work in a way that is meaningful and visually appealing to as many as possible. Reconstruction artists work in many media from traditional pen-and-ink and painted reconstruction to more modern techniques including 3D, virtual reality and video.
четверг, 3 сентября 2009 г.
Technical illustration history
Technical illustrations flourished during the Renaissance period through the work of artists such as Leonardo da Vinci (1452-1519). Drawings like these were three-dimensional and generally without measurements. Craftsman worked from these 3D respresentation, creating products on a one-of-a-kind basis. These products were manufactured from hand sketches or handdrawing on blackboards.
During the industrial revolution mass production and outsourcing created the need to adopt conventions and standards in technical illustrations that were universally understood. By the mid 1900s both artistic and technical illustrators had a predictable methodology available for illustrating objects and environments more realistically. Technical illustrations were further advanced during the photorealistic art movement around 1960.
Until the 1960s illustrations used to be hand-drawn, but in the 1960s computer engineers created a method to draw both straight and curved lines using computers. This resulted in rapid advances in both computers and software and this allowed people to create even very complex technical illustrations on a computer.
During the industrial revolution mass production and outsourcing created the need to adopt conventions and standards in technical illustrations that were universally understood. By the mid 1900s both artistic and technical illustrators had a predictable methodology available for illustrating objects and environments more realistically. Technical illustrations were further advanced during the photorealistic art movement around 1960.
Until the 1960s illustrations used to be hand-drawn, but in the 1960s computer engineers created a method to draw both straight and curved lines using computers. This resulted in rapid advances in both computers and software and this allowed people to create even very complex technical illustrations on a computer.
четверг, 23 июля 2009 г.
Golden age of illustration
The American "golden age of illustration" lasted from the 1880s until shortly after World War I (although the active career of several later "golden age" illustrators went on for another few decades). As in Europe a few decades earlier, newspapers, mass market magazines, and illustrated books had become the dominant media of public consumption. Improvements in printing technology freed illustrators to experiment with color and new rendering techniques. A small group of illustrators in this time became rich and famous. The imagery they created was a portrait of American aspirations of the time.
A prolific artist who linked the earlier and later 19th century in Europe was Gustave Doré. His sombre illustrations of London poverty in the 1860s were influential examples of social commentary in art. He remained with the medium of monochrome engraving in his later more fantastical work, but other artists were discovering the possibilities of color, particularly under the influence of the Pre-Raphaelite painters and emulations of hand-printing techniques by the design-oriented Arts and Crafts Movement. Edmund Dulac, Arthur Rackham, Walter Crane and Kay Nielsen were notable representatives of this style, which often carried an ethos of neo-mediævalism and took mythological and fairy-tale subjects. By contrast the English illustrator Beatrix Potter based her colored children's illustrations on accurate naturalistic observation of animal-life.
The opulence and harmony of the work of the "golden age" illustrators was counterpointed in the 1890s by artists like Aubrey Beardsley who reverted to a sparser black-and-white style influenced by woodcut and silhouette, anticipating Art Nouveau, and Les Nabis. American illustration of this period was anchored by the Brandywine Valley tradition, begun by Howard Pyle and carried on by his students, who included N.C. Wyeth, Maxfield Parrish, Jesse Willcox Smith and Frank Schoonover.
A movement was started in Latin America by Santiago Martinez Delgado who worked in the 1930s for Esquire Magazine while an art student in Chicago, and later in his native Colombia with the Vida Magazine, Martinez a disciple of Frank Lloyd Wright worked in the Art Deco style. Also in the 1930s the influence of propaganda art and expressionism was felt in the work of the British freelance illustrator Arthur Wragg. His stylised monotone shapes suggested the block-printing techniques used for political posters, but by this time the technology of transferring artwork to printing plates by photographic means had advanced to the extent that Wragg could produce all his work in pen and ink.
A prolific artist who linked the earlier and later 19th century in Europe was Gustave Doré. His sombre illustrations of London poverty in the 1860s were influential examples of social commentary in art. He remained with the medium of monochrome engraving in his later more fantastical work, but other artists were discovering the possibilities of color, particularly under the influence of the Pre-Raphaelite painters and emulations of hand-printing techniques by the design-oriented Arts and Crafts Movement. Edmund Dulac, Arthur Rackham, Walter Crane and Kay Nielsen were notable representatives of this style, which often carried an ethos of neo-mediævalism and took mythological and fairy-tale subjects. By contrast the English illustrator Beatrix Potter based her colored children's illustrations on accurate naturalistic observation of animal-life.
The opulence and harmony of the work of the "golden age" illustrators was counterpointed in the 1890s by artists like Aubrey Beardsley who reverted to a sparser black-and-white style influenced by woodcut and silhouette, anticipating Art Nouveau, and Les Nabis. American illustration of this period was anchored by the Brandywine Valley tradition, begun by Howard Pyle and carried on by his students, who included N.C. Wyeth, Maxfield Parrish, Jesse Willcox Smith and Frank Schoonover.
A movement was started in Latin America by Santiago Martinez Delgado who worked in the 1930s for Esquire Magazine while an art student in Chicago, and later in his native Colombia with the Vida Magazine, Martinez a disciple of Frank Lloyd Wright worked in the Art Deco style. Also in the 1930s the influence of propaganda art and expressionism was felt in the work of the British freelance illustrator Arthur Wragg. His stylised monotone shapes suggested the block-printing techniques used for political posters, but by this time the technology of transferring artwork to printing plates by photographic means had advanced to the extent that Wragg could produce all his work in pen and ink.
Подписаться на:
Сообщения (Atom)
