Illustration & Text successfully integrated

In this section of my visual diary I have selected designs which exhibit a harmonious relationship between image and text.

This is a design which I created in an earlier course. I'm pleased with the way that the modulated line illustration of the hen is echoed in the copperplate script of the business name, leading to a successful integration of image with text. Working in the same colour (white) also promotes an harmonious relationship.

This poster promoting London Zoo was created by Abram Games in 1976. This illustration is great fun and very clever in its integration of animal illustration, underground symbol and title (Zoo) - all in geometric shapes.

Another couple of designs by Abram Games this time advertising Guinness. Here the 'G' for 'Guinness' represents a glass of Guinness and also a face and a number '5'

Poster advertising Bahnhof Buffet, Basel, designed by C.A., printed by Wolfsberg, Zurich, 1921. The title, although separated from the image by white space, is successfully integrated with it by being hand-drawn with the same drawing tool. Bridgeman Educational Library image no.SIT306464.

German advertisement for 'Kathreiner's malt coffee', 1922. Designed by Johann B. Maier. Deutsches Historischs Museum, Berlin. Here the text follows part of the shape of the illustration and the sans serig type echoes the minimalist illustration style. Bridgeman Educational Library image no. HIS316309.

Fogg Art Museum Poster, 1956. Designed by Ben Shahn (1898 - 1969). Davis Museum and Cultural Center, Wellesley College, MA, USA. Bridgeman educational library image no. DMW937395. In this illustration Shahn has positioned the hand rendered lettering within the shape of the artist's palette. Bridgeman Educational Library image no. DMW937395.

Rock concert poster for The Greatful Dead, The Doors and others at the Fillmore, San Francisco, 1966. Artist Wes Wilson (b. 1937). The psychedelic lettering (typical of the 60s) is in tune with the style of the illustration. Bridgeman Educational Library image no. BCC88092.

Poster advertising a production of the 'Merry Widow', by Franz Lehar (1870 - 1946), 1936. Designer unknown. The Art Deco dancing lettering matches the musical theme very well in this design. Bridgeman Educational Library image no. SIT289980.

Reich der Mitte poster, 1915/16. Artist unknown. I like how the scroll decoration in the title lettering matches the background pattern design to the figure. Bridgeman Educational Library image no. STC398740.

Introductory comments

Research point 1.3: Visual diary

You may have already developed ways of recording and reflecting on your own visual language and the work of others through sketchbooks, blogs or scrapbooks in which you've collected examples of illustrations and other visual information that catches your eye, or which you might want to refer back to at a later date.
 If you haven't already done so, start a visual diary and get into the habit of collecting visual material that might be useful as reference material or act as a stimulus for your visual thinking. A visual diary doesn't have to be paper-based; it could be a wall in your studio on which you pin postcards and examples of work to help inform your own practice. Blogs work well as visual diaries because if s easy to link to a wide range of material on the internet and it allows you the opportunity to share your diary and look at other people's at the same time.
If you've already got a visual diary, then spend some time collecting new material and reference points for it. Reflect on your choices. Are there common threads emerging? For example, are you drawn to particular visual cultures, contexts or styles? What do you think this says about who you are as a developing illustrator?

VISUAL DIARY

As a response to this research point and as an on-going resource I have set up this visual diary blog:

My next post relates to how designers can successfully integrate text with their illustrations. This may involve using: the same drawing tool to create both hand-rendered lettering and illustration; using part of the image as a template to position text; using the same style of design for both text and image; using illustration and lettering style which is ‘of the period’; and, using a common colour scheme, for example.

I anticipate this visual diary to be a very useful resource not only for the duration of ‘illustration 2’ but for further units within the Visual Communication degree course.