THE ILLUSTRATOR

What are the qualities, attributes and skills that make for a successful, practicing illustrator? This question is particularly relevant today where there is shifting and blurring of boundaries between disciplines, particularly in the creative and media industries. To begin with, it is widely acknowledged that one of the initial aspects of an illustrator’s education is the acquisition of practical skills. The operative skills associated with contemporary illustration practice involve the utilization of a range of media, both traditional and increasingly digital – for example, promoting oneself by way of a website has become the norm. Sound academic drawing practise is also an essential underpinning for most aspects of illustration, irrespective of the visual language or style one is associated with. The externalization and visualization of concepts and ideas are best deployed by the process of drawing. The application of creative processing to problems of visual communication and the innovative use of design and conceptualization are also essential, facilitated by the natural ‘gift’ of visual intelligence. It is unfortunate, however, that some commissioning art directors and illustration tutors place importance on the superficiality of visual language and the commercial constraints placed upon it to conform to trends and fashion. In education, the student illustrator is often under pressure to ‘break new ground’ and push the boundaries of the subject. This usually means the production of so-called ‘innovative’ mark-making that does nothing to consider the real business of illustration.

In a professional context, successful, forward-thinking illustrators no longer operate the way many did and some still do, as merely ‘colouring in technicians,’ receiving briefs that are heavily directed and prescribed regarding content and overall visual concept. Many illustrators ‘take the lead,’ or are given it, in terms of directing a project or commission. This has a significant bearing on the professional process and means that the best illustrators are often educated, as well as socially and culturally aware. They need to have knowledge of, be authoritative about and have empathy for a great many topics and subjects, particularly those they may be required to engage with as part of a brief. They also need to be mindful of current affairs and opinion and be contemporary with society at large and trends in visual language and media. Illustrators need to have knowledge, understanding and insight regarding the context within which they are working and the subject matter they are engaged with. They also must be able professionals working within the parameters and needs of the marketplace and target audiences. They need to utilize a breadth of intellectual and practical skills that might once have been regarded as transferable from other disciplines but today are considered essential if the illustrator has ambitions to transcend the role of commissioned ‘hack’.