Scientific illustration 3

Today's student of scientific illustration typically exhibits the same qualities found in artists of the Renaissance; a strong curiosity, an investigative and energetic mind, and an exceptional ability to draw accurately and convincingly. Unfortunately, their initial concept of scientific illustration is often rooted in the mid-twentieth century, and many expect their classwork to be patterned after the legacy of drawing from direct observation. They are often surprised and a bit dismayed to find that the field now demands as much visualization as it does observation. In addition, they are challenged by the didactic role of modern scientific illustration; they often find the creation of artwork that is precise, revealing and instructive to be a new and vexing challenge. - John Foerster

Source: http://www.varoomlab.com/index.php?option=com_content&view=article&id=110:notes-on-drawing-scientific-illustration&catid=35:2011articles&Itemid=90

Viewed: 13/04/2011

Scientific illustration 2

As the mechanical eye of science has moved from the macro to the micro to the nano and beyond, discoveries and concepts have become more complex and obscure. Artists in this modern era are often called upon to illustrate concepts that are beyond both human and mechanical vision. This has changed the nature of scientific illustration: in the past, an illustrator relied on careful observation to depict a subject. Today’s illustrators often need to develop a further ability— the ability to visualize; to draw from the mind’s eye.  - John Foerster

Source: http://www.varoomlab.com/index.php?option=com_content&view=article&id=110:notes-on-drawing-scientific-illustration&catid=35:2011articles&Itemid=90

Viewed: 13/04/2011

Scientific illustration

So, what is scientific illustration? It can be described as ‘art at the service of science’.  It is the production of literal, representational images of measured accuracy and other graphic devices such as diagrams that communicate all aspects related to the field of science. In a contemporary context it can be found in the equivalent form and media outlets as its historical and cultural illustration counterpart from dedicated research publications to popular media exposure.

In a pure sense, scientific illustration communicates subtleties and eliminates the ambiguities of language. It is this that makes it an important and necessary element in precise communication.

Within the culture and practise of scientific research, the illustrator whose training, ability and interests extend both into art and science, applies discipline to creativity so that the images produced do not merely decorate, but serve science. The successful scientific illustrator must have a penchant for precision, great tolerance for and appreciation of detailed work.

Source: Illustration – A theoretical & contextual perspective. Pg 105

Obey 2

So, around 1996 Fairey moved into Phase 2, borrowing heavily from communist propaganda, Russian constructivism and old-fashioned Madison Avenue hucksterism to blow Andre up into an Orwellian Big Brother figure — ironically appropriating the most powerful aspects of each of these schools for his own anti-authoritarian campaign.

Source: http://obeygiant.com/articles/obey-giant-bombs-the-world

by Stephen Lemons Salon Magazine - Viewed 14/04/2011

OBEY

I’ve been hearing some cries of “SELLOUT!” over the various products for sale. Anyone who has not taken on a project of this ambition and complexity or owned their own business is really in no position to be judgmental. However, people are judgmental by nature, so here is what I have to say: The uncompromised experiment is definitely not over. Because the campaign exists in harmony with, not contrary to, conspicuous consumption (the giant project could not exist within a social climate that was not susceptible to consumption catalyzed by image repetition).
The Giant campaign simply pokes fun at the process by teasing the consumer with propaganda for a product which is merely more propaganda for the campaign; very reflexive,.. the propaganda and the product are the same. The ultimate success of giant is commercial embrace because this demonstrates that the unaware consumer, as opposed to the hipster in on the joke, has been subversively indoctrinated. I’m trying to achieve as large scale a coup as possible with an absurd icon that should never have made it this far. Only if the campaign reaches a level of visibility and interaction that exceeds the underground “cool” ceiling will it have a chance to make a profound statement about the societal tendency to jump on the bandwagon. The dialogue the project can start about the process of imagery absorption is the most important aspect; this dialogue is most meaningful if the giant campaign becomes pervasive enough to become a trend psychology driven feeding frenzy like some silly crap such as the Rubik’s cube or the Spice Girls.
Backlash is an unavoidable side-effect. Anyway, I put all the profits back into more stickers and posters for the street, because that is my love, not money. People have different reasons for liking GIANT and I can understand people not wanting to see it leave the underground niche it has enjoyed for so many years. All I can say is that even in the commercial applications of OBEY/GIANT I am attempting to retain the rebellious spirit of the street project (every t-shirt comes with a mini-stencil and manifesto).
Sincerely,
Shepard Fairey

Source: http://obeygiant.com/essays/obey-commerce

by Stephen Lemons Salon Magazine - viewed 14/04/2011

Illustration in Campaigns

Today, if illustration is chosen as part of a campaign, whatever its nature, the intention will be for it to aid the imprinting of brand recognition and awareness into the subconscious of society at large. Such is the power  of this command that there are examples where illustration has not only been effective in product identity and persuasion, but has also contributed to a massive cultural vicissitude.  

Source: Illustration – A theoretical & contextual perspective. Pg 168