Evaluating Illustration Aesthetically Points for Consideration for Those New to the Field

Evaluating Illustration Aesthetically Points for consideration for those new to the field

By Jaleen Grove Image promoting illustration, from The Russell Patterson Course: The Last Word in Humorous Illustration, circa 1924.

In recent years art historians have of early modern commerce, so too can themselves kept the memory of their been questioning the twentieth the commercial art of the high modern- star artists alive by saving their friends’ ist period be seen as a fascinating record estates, instituting History of Illustration century taboo against acknowl- of changing lifestyles and values. classes in their own art classes when Art edging the aesthetic attributes of History departments refused to offer it, illustration. People who have developed their ap- and establishing their own archives and preciation of fine art over a long period, museums at places like the 100-year-old As the theorization of visual culture has perhaps beginning before visual culture Society of Illustrators in New York. These progressed, the reticence to appreciate was a trendy catchphrase, may not have insiders have created semi-private net- drawings and paintings made for maga- ever looked at illustration art with pro- works and built impressive collections zines, advertisements, books and ephem- fessional understanding or detachment. that have recently begun to tour major era is increasingly being seen as symp- First, illustration really is out to get you museums. The 2001 Norman Rockwell tomatic of a historical moment, now (that’s why it’s interesting) and so it’s nat- retrospective at the Guggenheim nec- passing. That moment can be character- ural that a thinking person should view essarily had to draw from many private ized as when “fine art” was staking out it with suspicion. Second, the tools of collections, since museums neglected il- new territory by defining itself as superi- connoisseurship in the mainstream art lustration for so long. or because it is supposedly “without use” world have developed few instruments (originating in Kant)—more concerned of interrogation appropriate to illustra- So how do the people who saved a hun- with philosophy than pragmatics. Be- tion, and so when asked to evaluate it, dred years of print culture history from cause illustration was openly made for a many experienced collectors make judg- the garbage dump evaluate excellence? utilitarian purpose (as most art was, over ments that miss the boat. the centuries) it was downgraded as a They certainly use much of the same foil—“not-art”—and as a result its en- There have, however, been a select few criteria that followers of gallery art do, joyable and historically relevant charac- art collectors and scholars who nev- because they too are educated broadly teristics have not been widely acknowl- er followed fashion, and who over the in art history. So were many illustrators. edged for their artistic value. years have developed these tools. Some The familiar standards of technical pro- came from backgrounds in printmaking ficiency, emotive feeling, historical rel- The twentieth century was perhaps or book arts. Others were business ex- evance, influence and innovation hold, unprecedented in its rapidity of social ecutives who understood that illustra- although the pantheon of leading figures, and technological changes, and illustration can promote a good idea as easily media, “isms” and groundbreaking mo- tion was accused by many of hastening as a contemptible one. Many were just ments are different. There is a whole some of the more negative outcomes of fans who got hooked because illustration other vocabulary as well. that. But just as Baroque Dutch still life complemented their subculture or life painting is a document of the immense experience in the same manner that folk And, there are points to consider that wealth and moral quandaries in the wake art is practiced. Meanwhile, illustrators are special to illustration . . . .

1 Illustration merits a different artists who “had to” do illustration to manner of evaluation because feed their painting habit have promoted of the following intrinsic this negative idea—they, however, are characteristics: the ones who never liked illustrating to begin with. The deserters’ perspective Communication made modern art look cosmetically as if First and foremost, illustration is about it never took patronage or fashion into communicating a concept. Consider the consideration. The contrast was actually ancient art of rhetoric—elements of lan- quite unfair to dedicated illustrators; any guage such as metonymy, synecdoche, illustrator can tell you that working with understatement, amplification and so on a demanding team requires more cre- all have corresponding visual strategies. ativity, not less. A close examination of Decide whether the tactic used is appro- many top illustrators’ careers will show priate to the message and executed with that they often took a creative lead in visual eloquence. their collusion with authors and design- ers with stylistic envelope-pushing and Text-image relationship communications problem-solving. Most, though not all, illustration was ac- companied by a caption, a title, a gag, a Howard Pyle set of instructions, labels, or a story. In what ways does the illustration make the text’s meaning clearer? More interesting, late, or put you at ease. The power of the in what ways does the illustration change in-the-gut Wham! is what makes people the text’s meaning? Has the illustrator bond with the image, and it is one mea- actually enhanced and creatively com- sure of the illustration’s success. Don’t mented upon the text, rather than simply be ashamed to fall in love with some- mirrored it? How is this different when thing corny, gory, kitschy, sexy, sentimen- the illustrator is also the author? tal, funny—the seductiveness, delicious creepiness, guilty pleasure, or what have Wham! factor you is what makes the work relevant and desirable. Visual communication is intended to make you feel something, and feel it Intertextual cultural references strongly, whether it be to make you laugh, shame you into action, horrify, titil- If you see a rabbit carrying a pocket- watch, would it not remind you of Alice in Sidney Sime Wonderland? Popular culture frequently

Arthur Hughes delights in making in-jokes like this (think of The Simpsons). This puts a whole new Additionally, where the fine art market spin on the concept of originality. Some- demands consistency to build a brand- times, a copy is just a rip-off; other times, like signature style the artist is known it’s an homage. You get to decide which. for, in illustration this is optional. For ev- Often, illustrators spoofed famous works ery illustrator who became a specialist, of art, news items, or other illustrations, there are several who worked multiple or something quite arcane. When such visual personae, even under pseudonyms, winks can only be decoded by an initi- or who simply changed hats whenever ated subculture, the work becomes a the urge or necessity came. Although il- special document giving historical and lustrators have often campaigned to have cultural insight to that subculture. their creative power more utilized at the design stage, by comparison the illustra- Creative Latitude tion world has afforded more creative For decades fine art has decried that il- latitude—and pressure to keep on inno- lustration was “prostitution,” in part be- vating—due to it needing to constantly cause the illustrator supposedly always develop new markets and maintain cur- bent to the will of the client. Scores of rent ones without getting stale.

2 Multiples and Aura Old could be updated to usher in the new; sometimes illustration popularized Walter Benjamin argued art’s “aura” (its avant garde art, where otherwise that art worshipful aspect) was being killed by would have merely alienated people. mass reproduction—but there’s a case to be made that reproduction increases In modern art, newness was paramount. aura by making something ultra-known In illustration, innovation depends on and meaningful in multiple contexts the nature of the project and who the (think of cheap woodcuts of Christian audience is. Sometimes the message is saints bought by pilgrims, the iconic strengthened by adherence to tradition: portrait of Che Guevara, or the move- think of Christmas themes, for example. ment of the generic cowboy Western On the other hand, a radical take on into local popular cultures worldwide). Christmas might be perfect for a particu- Aura is one part Wham! factor, one part lar audience. It is important in illustration cherished symbol, many parts travel. No not to value an avant garde approach work of fine art gains iconic status with- simply because it is experimental—is it out reproduction either. also effective?

Jessie Willcox Smith An equally important criterion is whether the work is the epitome of its estab- had. Sometimes what is now considered lished genre: does the pin-up have the insulting actually began as a compliment; requisite long legs? Does the elongation other times it was outright hatred. Col- of the sports car in the ad glamorize it lections of politically incorrect material without misleading too much? Each sub- help ensure that history is not forgotten section of illustration has its own set of or denied, or doomed to repeat; depend- rules—it’s up to you to decide how well ing on the political climate, they can even the artwork exemplifies them or bends protect freedom of speech. Some collec- them. Both approaches are valid. tors reclaim questionable imagery in order to “own” and redefine it, as gays did Print media with the word “queer”. An understanding of the technical limita- tions, technical advantages, and distribu- tion of different types of printing tech- JC Leyendecker; Saturday Evening Post cover nology is essential to appreciating why a given illustration looks as it does. For Political incorrectness instance, pulp magazine art was made in Visual communication generally has to extremely saturated colors because the get its point across quickly, and so there poor paper dulled ink down so much in evolved a kind of shorthand for depict- the final printing—and pulps relied on lu- ing people that everyone knew stood for rid color to attract the eye on the news- specific personality types. These “types” stand, because they often didn’t sell by can be traced back in time in emblems, subscription. Pulp collectors look for this popular theatre, literary genres, and tra- snappy color because it is integral to the ditional puppetry. While not all types are form. In “slicks”—glossy magazines— objectionable, types frequently reflect Arthur Szyk political and social values of their origin, Harold W. McCauley and so can be very racist or sexist. After Continuity vs originality repeated use, we call them stereotypical. Where modern art movements such Some uses are conservative, others radi- as abstract expressionism searched for cal, such as comics and caricature, which new ways of making meaning because operate like a medieval court jester. Illus- old forms were thought to be corrupt tration scholarship uncovers the histori- or dead, illustration kept continuity be- cal factors that resulted in certain visual tween past and future because it found traditions, and analyzes the effect they old forms were not depleted after all.

3 often black and white artwork would without their texts. The practice of enjoy- have been embellished with spot colors, ing the illustration in its intended medi- which were not painted on the artwork um – a book, or album cover for instance but instead specified with an overlay and – and at its intended scale (most illus- applied by the printer. This, along with tration is painted larger than its printed the fact that the master printer makes size) is integral to the artform. Also, the aesthetic decisions about the colour bal- artwork can look quite different if the ance and quality of the ink and paper, printed final included spot colours and which the illustrator then approves after other printing effects. Don’t be surprised inspecting a proof, warrants considering if an illustrator doesn’t seem to care the printing press as an artistic medium Sundblom Studio about museums or galleries! Their work in itself, not just a mute reproductive gets far more exposure in print. Having technology. The illustration connoisseur tion maladies is in order. Clients or il- the printed rendition on hand when dis- should understand the difference be- lustrators often threw original art away playing the work as art makes the expe- tween offset litho, rotogravure, chromo- once it was published. Illustrators there- rience more interesting and respects the litho, photogravure, wood engraving and fore used whatever materials gave the intent of the original. so on—and remember that many illus- best results with no care for conserva- trators consider the print to be the final tion (and this freedom to abandon “prop- artwork—not their drawing. er” art materials often led to much ex- perimentation and innovation). Overlays may be missing. Again, you must consult the printed pages (called tearsheets) to get an idea what the original art looked like before yellowing and fading occurred and collaged elements fell off.

Display Overlay art using four inks only, by Oscar Cahén While illustration art can look great on Condition the wall, this was never its intended purpose. Some illustrators and comics art- Illustration art was sent to the art editor, ists express doubts about whether their designer or graphic artist, who then glued work ought to be in museums, installed down registration marks and marked it Robert Weaver up with instructions to the printer in lead or “non-repro-blue” pencil. These Al Hirschfeld are normal and so do not merit as seri- Periods and styles ous a downgrade as might be the case if Illustration is often said to have begun scribbling and glue appeared on gallery with hunters depicting their game on art. A conservator can remove them if cave walls. Some prefer to define illustra- they interfere with the art; some prefer tion as only images accompanying text, to leave them because they are integral usually books. Still others limit it to im- to print media and the work’s history. ages reproduced mechanically, while an- other contingent feels illustration is any The illustrator him or herself may have explicitly narrative figurative work in two used white-out or blue pencil along with dimensions. Each of these attempts (and black ink to create line art. This should there are more) to define illustration are not be considered poor condition, or flawed, but all agree that illustration en- bad craftsmanship, because it is actually tered a new phase in the 19th century integral to how one works under the eye with the development of cheaper paper, of the camera, which does not register automated printing presses, greater dis- the blue or white (see comment re: final tribution networks, and rising literacy. art above). Out of this came the notion of “mass” Illustration was frequently not made or media and “mass” thinking, where un- handled with any consideration for pos- precedented numbers of people were terity, and so a little tolerance of condi- 4 exposed to the same ideas. While true 1890-1920(ish) in principle, the notion of “mass” breaks The “Golden Age” of illustration, when down upon closer examination. In illus- print media was the primary medium of tration, styles and subjects were con- communication and illustration was used stantly morphing, reflecting much -in as much as or more than photography; dividuation in the readership. Certain Illustrators were at their highest point of illustration styles were frequently paired being in demand and were celebrated as with certain subjects, which in turn ap- artists of high repute. Visual advertising pealed to a specific demographic. Where became a serious social force. a particular genre remained popular Bob Peak, again over a long period, the associated look 1920-1950 became a classic, while in other cases a Illustrators gradually lost ground to pho- Styles, schools, and studios given look dated itself quickly and was a tography; the high/low divide between Where fine artists voluntarily banded telling fad. The connoisseur of illustration fine art and illustration downgraded the together to form groups or collectives does not see an undifferentiated mish- status of the latter. Pulp fiction and pin- devoted to a specific artistic goal, illus- mash of commercial art—he or she sees ups peaked 1930-1950. trators evolved “schools” organically out individual semiotic nuances pointing to of the studios they worked for. A studio kinds of people, values, and lifestyles. 1950-1970 was a business where many illustrators Magazines began to fold after 1950 due were employed (somewhat exclusively) to TV; younger illustrators began to reb- on salary and/or commission. The studio el and illustration became more experi- also employed salesmen, photographers, mental and conceptual. The new field of retouchers, and others to help get and graphic design took over much of the produce camera-ready art for advertis- autonomy and creative input illustrators ing agencies and clients. formerly had. Studios began to close and proportionately more illustrators be- “Brandywine” – not a studio, but af- came freelancers. filiates often joined them later. Brandy- wine is a catchphrase for the Delaware 1970-1995 art school (sometimes misidentified as Editorial illustration enjoyed much free- “Chadds Ford”) where Howard Pyle dom of speech and prestige; after 1990, taught circa 1904; Pyle was a leading il- cheap “stock” art began to ruin illustra- lustrator with academic technique who tors’ livelihoods. inspired illustrators to exercise more ar- 1995-2010 tistic autonomy and painterliness in their Bob Peak Illustrators began to self-advocate col- work (primarily for fiction). His most fa- lectively; underground comix rejuvenat- mous students include NC Wyeth, Max- Key periods: ed the industry and made illustration hip field Parrish, and Jessie Willcox Smith. 1860s again in fine art and design. Many illustra- Sundblom Studio – “Sunny” Sundblom Wood engraving reached a high point. tors found new roles in animation and was a Chicago illustrator who estab- The Pre-Raphaelites in England estab- new media, and new respect as creative lished a large studio from the 1920s lished new visual grammar, especially in leaders. Scholarly interest in illustra- to the 1950s that handled much adver- the depiction of women. In the USA, tion began. tising. He demanded his staff learn to Civil War reportage accelerated the paint like he did because he had con- consumption and production of illus- Al Parker tracts that depended on it for branding trated news. (most famous was the Coca Cola ac- count, especially featuring Santa Claus). 1880s This style is sometimes called “buttery” Invention of the halftone allowed pho- and is what most people think of when tographs and artwork to be reproduced they imagine classic American advertis- without being filtered through the hand ing illustration: very upbeat and ideal- of the engraver, bringing illustrators iden- ized. His more famous followers include tities on par with that of fine artists. Andrew Loomis, who wrote the most complete textbook for illustrators; and Gil Elvgren, the pin-up illustrator.

5 Cooper Studios – this studio employed Talking with illustration Further Reading the most famous boy-girl illustrators of collectors the 1950s, such as Coby Whitmore and Reference Books and Magazines Unfortunately, 20th century art theory Jon Whitcomb. By the late 50s, however, resulted in enormous, antagonistic walls Walt Reed, The Illustrator in America, 3rd they had hired Murray Tinkelman, a move between the two art worlds of modern/ edition. that signaled the shift to conceptual il- contemporary art and applied art. As a Fred Taraba, Masters of lustration. result, when representative collectors American Illustration meet, they may be mutually shocked at Pushpin Studio – at the front of the turn Michelle Bogart, Art, Advertising, and the how ignorant or prejudiced the other Borders of Art to conceptual illustration was Pushpin party seems. Suspension of preconcep- Studio, founded in 1954, where Milton Forthcoming: Howard Simon, 500 Years tion and a willingness to listen will be Glaser and Seymour Chwast practiced of Illustration imperative in making these two halves a a tight integration of text and image, Varoom! Magazine whole again. Doing so allows us to see bridging illustration and graphic design, how the two have influenced one - an Illustration Magazine and ushering in a postmodern approach other and how they are not so different where antique sources mingled with the 3x3 Magazine after all. new. They did not shy away from popu- Monographs on famous illustrators are lar culture at its most base, and they readily available with many titles pub- embraced the immediacy of unpolished lished recently. drawing. Blogs Illustration Categories Today’s Inspiration, by Leif Peng. Fiction Fantasy and science fiction Illustration Art, by David Apatoff. Biblical Cover Dealers and Auction Houses Children’s books Editorial Roger Reed, Illustration House, NY Spot (gallery and auctions) Conceptual Fred Taraba, Wyoming Decorative Chris Beetles, London, England Sequential narrative Comics and comix Heritage Auctions, Dallas, TX Caricature Cartoon/humorous illustration Museums Wordless books NY Society of Illustrators Medical/scientific Milton Glaser Technical Norman Rockwell Museum Advertising Finally... New Britain Museum Pulp Good Girl Art Illustration history and connoisseurship Delaware Art Museum is largely an oral culture. To date, most Brandywine Museum The term “commercial art” originally texts have been written by enthusiasts, National Museum of indicated only advertising illustration and who reflect their respective subcul- American Illustration design. It was later used derogatorily to tures. There remain gaps between mean all illustration. them, and between enthusiasts as a This essay has been written by Jaleen Grove for whole and academic writers. For these educational purposes only. It is not published. The images reasons, this essay is bound to provoke and information contained may be used for educational purposes only, and provided appropriate copyrights are disagreement and be incomplete. As the acknowledged. All other use is strictly prohibited. Images not in the public domain are copyright of the artist field evolves, perhaps it can be updated. and/or original publisher.

[email protected]