This project introduces the idea of hierarchy in illustration and the importance of ranking elements within an image to allow effective communication of the intended meaning.
It's necessary to identify the most important aspect of the subject matter and to make sure that this is not lost during the development of the illustration.
Hierarchy is achieved through:
- organisation of the elements within the image
- colour and tone - visually, hot colours are dominant, cool colours recede
- texture
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| illustration by Mark Oliver from 'Tom's clockwork dragon' |
For this exercise we were asked to look carefully at an image by Mark Oliver from the children's book 'Tom's clockwork dragon', and then to analyse the illustration.
I began by looking at the image objectively - see sketchbook photo.
Initially I made a note of the main elements of the illustration, their placement, proportions, colours and textural qualities.
At the same time I also started to think about the narrative. As I'm not familiar with the book all my observations are subjective, based purely on my interpretation of the illustration.
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| sketchbook photo |
My observations:
- The main feature in the image is a dragon. Proportionally it represents about one third of the total illustration - it's head is placed almost centrally in the lower third of the image. The colours are hot - red/orange/glowing - detailed and textured. It's tail curves round, with the arrow-tipped end resting on a vibrant green throne that sits on the dragon's back. Gold coins and treasure surround the throne and tumble to the ground around the dragon.
Why does he have these riches and how has he acquired them?
- The dragon lies asleep in a cave. With its hot colours and rich detailing, the dragon immediately catches the eye - the cave in shades of blue recedes into the background. In some areas the blue is vibrant, in strong contrast to the deep orange of the dragon reinforcing its dominance in the illustration. Looking more closely you can see that the cave surfaces have been given textural detail, most prominently on the floor, less significantly on the walls and roof. One section of the roof glows brightly in red and orange from a fire torch.
- Two children have entered the cave and are standing near to the entrance. The first child - a girl? - holds the torch in one hand and points towards the dragon with the other. She looks keen to investigate further. The second child, a boy, stands behind the first and points away from the dragon towards the entrance. He appears more reticent, and looks as if he would like to make a quick getaway! The children are dressed in green, with little detailing to their clothes, but their faces are glowing from the torch. Their shadows combine to point towards the dragon.
- Various pieces of armour - shields, daggers - are strewn around the cave.
Are they all that remain from previous encounters with the dragon?
I also tried to monitor how my eyes moved around the image.
- Initially I looked at the dragon - the most detailed and hottest part of the image - and then over to the children, then back to the dragon, noting additional details of the design. I then began to look at other elements within the cooler areas of the illustration. All the time going backwards and forwards, around and around, picking up more information about the illustration and the narrative.
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| moving around the illustration |
So, what have I learned from this exercise?
- The need to have a clear understanding of the intended message
- The importance of selecting suitable elements to be included in the illustration to allow clear communication of the message and ranking them according to their hierarchical relevance - don't include unnecessary clutter or the message will get lost in the confusion
- Take care to ensure that the hierarchy of the elements through placement, colour and texture is maintained and the message or narrative is clear
