• Olly Jordan

Chapter 25 - 'Belle' Perfume - Illustration vs Photography - Uni 2017/18

Updated: Jun 22, 2020


'For a long time photography has been the king of the commercial and publishing world ruling over magazines and ad campaigns. But in the past few years illustration has been challenging this rule and we have finally seen its ascension to the throne.   There are many reasons why photography has come to the forefront of the commercial word – note that it has also followed a very similar course in the artworld – but primarily it’s because photographs communicate with the viewer in a direct manner. Photographs are “easy” to understand in visual terms as they are composed of elements found around us and more importantly they allow viewers to envision themselves in the photograph. The digital nature of contemporary photography has also helped to further this phenomenon as it has strengthened even more its immediacy to the public and has minimized the physical turnaround (who remembers dark rooms any more?). The overuse of photography for almost forty years has created the perfect backdrop for illustration to shine in its knightly armour. Editors and advertisers are looking for a new way to present their concepts and ideas in order to capture the attention of our over stimulated society; so going for illustration, which has not been as overexposed as photography, seems like a sensible and appropriate choice. The democratic nature of photography and its use by everyone (yes you instagram fanatics) has also meant that photography has become less “exceptional” and has allowed amateurs with professional cameras to populate the field. This open-access is one of the strengths of photography but it has allowed for illustration to wiggle its way into the mainstream since only creatives are involved giving the field a more unique feeling. And ofcourse like any proper kingdom the money always makes the big difference. Due to the general economic turmoil campaign budgets are rather reduced. Photographers need a lot: sets, stylists, make-up artists, props, models(and flight tickets if they are going somewhere far!), not to mention the cost of retouchers. While illustrators need simple a lot of inspiration and a computer ( or some art tools and a paper if they are old-school).

But why has illustration really seen a flux lately? If you go through most magazines from fashion ones like Vogue & Tatler to ones about digital technology like Wired you will see that they are full! of illustrations; go on we dare you to check. For magazines covering global news, like Monocle, the primary reason for the use of illustrations lies with the ability of an illustration to be infographic (graphic visual representations of information); for example, illustrating the rethinking of a train station by Spanish creative heystudio (Monocle, no. 44, June 2011). Another reason lies with illustration’s ability to relate abstract concepts and ideas, as it is not is not bound by reality. Illustration is used because it is creatively never ending, it doesn’t have to be at all related to reality, and it can break the rules of representation. It can illustrate the look of a fashion powerhouse in 2078, the concept of philosophy, or a talking dog on the moon for that matter; see for example Ignasi Monreal’s illustration for Armani Privé (a tulip for a face anyone?) More so, illustration lends itself for the creation of striking portraiture as it allows artists to go beyond the physical characteristics of the individual to capture the essence of their subjects and interpret their energy and beauty; see the vividness of Antoinette-Fleur’s brushstroke or Martinez’ ethereal beauty. Lately we have seen the rise of yet another artform, photo-illustration, in response to the crazy scenarios of editorials and ad campaigns. This is a natural step in the arts, combining the advantages of two forms to create a new one that might even be more competitive. The issue here is whether the aesthetic is homogeneous or not but photo-illustration is still in the exploratory stage and doesn’t have a very prominent role. Have a look at the exciting new work coming up from the likes of artists like Justin M. Maller and his representation of Adele from the 54th Grammy Awards. Whether its photography, illustration, or photo-illustration commercial artworks break artistic boundaries every day. Illustration has managed to revive itself in the last few years and is definitely in its heyday; we are not expecting illustration to overthrow photography but it will definitely be first knight.'

http://www.fabulousnoble.com/news/feature_illustration_vs_photography


It is interesting to read this article and the comments that it makes about photography and how it has become a part of the everyday now which has now lost its spark within advertising. It is true that everyone has a high quality smart phone nowadays that instantly allows the use to take a photo and they too can become a quick wiz at making very striking photos, whereas illustrators and artists create a vision that very few can create. It would be great to see illustration and artwork come back into the TV and magazine advertisement world as it allows for the product to be unique and unlike any other brand out there, which is essentially what you want for a business anyway, right? To stand out.


In the paragraph that discusses the 'creation of striking portraiture', it discusses how illustrators and artists go beyond what a camera can capture by replicating not only a similar physical likeness to the model being depicted, but also add an essence of character, beauty and energy to a single image.


It could be said that my artwork does that and tells more of a story than a single photo of Lili Reinhart could do. When I look at my work in an analytic way, the work I create is in a realistic style which could link to the idea of perfection or reality, however, the painting is not going to be full bleed, it is going to fade out which is a style that photography can not create as people can not face their body parts away. The unfinished look of the Lili Reinhart's portrait in the advert context could suggest that the perfume is not everything you need to be a successful, or that beauty isn't just a face and perfume. The unfinished look also adds more energy and excitement to the image, especially with the splats and dribbles within the black dress, it adds an unpredictability, spontaneity and beauty all at once. I did not plan or could not control where the splats and dribbles were going to go as the artist while making it, I just allowed the process of mark making to take its natural direction. The pink mark making behind and coming into Lili Reinhart is very similar to the branding on the packaging. This was intentional as I used the same paint colour, pink blush, and watered it down to create the mark making. The marks that have been made are very expressive and exciting as well as soft and feminine, these factors could all help allude to the idea that women can be spontaneous, bold and unpredictable as well as feminine, gentle and kind.

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