The Informed Illustrator: Drawing In Advertising 2

Drawing is the most efficient and immediate method for artists to visually record their thoughts, ideas, and observations. Drawing can be a process used for the construction and preparation of an intended work of art to be executed another media or the final form of execution itself. A drawing not only conveys content and idea, but displays a very distinct personality that is evident in the mark making of it’s draftsman, which is as unique as a fingerprint. It is this trait that is being recognized by contemporary advertisers who are seeking distinction in their ads and who are responsible for the resurgence in the use of drawing for advertising. For many years deemed as only a preparatory form of expression, drawing has now been reconsidered for use as a legitimate, finished illustration media, publishable in it’s natural state.

The Historical Place Of Drawing In Advertising

Being an easily reproducible media for all forms of print applications in past eras, drawing, with its clarity of tone and line, and lack of color, was more extensively used as a finished illustration media than photography was. In the early 20th century, drawing was much easier to convert into engraving or lithography for use by printers and publishers. Lithography was the primary method used to translate graphite drawing for print reproduction. Eventually lithography would replace both engraving (gravure) and letterpress as the preferred method of mass publishing. Refinements to plates and methods of image transfer made lithography superior for reproducing all forms of both monochromatic and panchromatic illustration media including graphite and pen and ink.

The Economics Of Drawing Media

Economically, drawing is the most cost-effective media for reproduction in print publishing. Drawing, whether traditionally or digitally produced, due to it’s contrast to paper white, with today’s printing technology, is easy to digitally process and reproduce.

The Examples

The drawing displayed in the following advertising example represents a range of illustrative styles from naive line work to elaborate obsessive-compulsive visualization involving complex compositional juxtapositions. All the examples attempt to present a fresh intuitive, spur of the moment, capture of an idea or impression, much the same as an improvisational stand-up comic might impart.

Agency: BBDO Berlin, Germany. Client: Smart.
Illustrator: Chrisse Kunst.

Agency: J. Walter Thompson, Shanghai, China. Client: Skullcandy.
Illustrator, Tin Yu.

Agency: Werbeagentur, Hamburg, Germany. Client: Abendblatt.
Illustrator: Felix Scheinberger.

Agency: JWT, São Paulo, Brazil. Client: Listerine. Illustrator: Pablo Lobo.

Agency: Bolero, Brazil. Client: Planet Rare Vinyl Records.
Illustrator: Allan Goldman.

Agency: Cheil, India. Client Dairybest. Illustrator: Shashank Mishra.

Agency: Saatchi & Saatchi, London, UK. Client: Campaign. Illustrator: Luke Ramsey.

Agency: Alma, Miami, USA. Client: Regulax. Illustrator: Carmen Cothern.

Agency: Master, Brazil. Client: Cultural Foundation Curitiba.
Illustrator: Yohke.

Agency: Master, Brazil. Client: Cultural Foundation Curitiba.
Illustrator: Oscar Zalles.

Agency: Master, Brazil. Client: Cultural Foundation Curitiba.
Illustrator: Antonio Komiyama.

Agency: Publicis, Brazil. Client Prosangue. Illustrator: Ashley Mckenzie.

Agency: Watercrab, Bangalore, India. Client: Sankara Eye Hospital.
Illustrator: Pratheek Unnikrishnan.

Agency: Yeah!, Curitiba, Brazil. Client: Wise Up English School. Illustrator: Roger Fernandez.

Agency: Yeah!, Curitiba, Brazil. Client: Wise Up English School. Illustrator: Raissa Schpatoff.

The Informed Illustrator

Tuesday, March 22, 2016

Drawing In Advertising 2

The Historical Place Of Drawing In Advertising

The Economics Of Drawing Media

The Examples

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