In the act of drawing, the brain is involved at every stage: selecting, assessing, filtering, simplifying and adapting visual information. If you have some experience of drawing, much of the information contained within this short chapter will probably be familiar to you already. Very often, it is necessary to start a drawing with faint lines that act as guidelines for the stronger marks of the finished piece. The final chapter explores the ‘diverse and wide-ranging application of drawing to applied illustration’, through short texts covering editorial, picture books, character development, reportage and more, giving a good general introduction to theses aspects of drawing backed with effective examples and further interviews with illustrators including Isabel Greenberg and AOI Patron, David Hughes.

It takes something like courage to make the first mark on the virgin paper, but once that mark is made, the others come flowing. Featuring more than twenty renowned illustrators on their creative processes, alongside a range of contemporary and historical sketchbooks and projects, this volume is an inspiring, authoritative companion for anyone seeking to develop a personal visual language. The aim here is not to become very good at drawing, although that might also inevitably happen, but to become comfortable with your own creative expression. All the interviewed illustrators offer intriguing insights into their relationship with drawing and their work as an illustrator, all with a unique approach in terms of what it means for them. Certain awarding bodies - such as Quality Licence Scheme and TQUK - have developed endorsement schemes as a way to help students select the best skills based courses for them.Equally, in defining what illustration is in the 2020s – ‘ Imagery created, singly or in sequence, to be reproduced for mass visual communication via print or screen, with or without verbal text’ – Salisbury recognises that this definition may well date in time, as have previous descriptions of what the artform is. Keep in mind that anyone can view public collections - they may also appear in recommendations and other places. Kerry Lemon sums the up what the joy of drawing can be in her section on scaling drawing up to hoarding size, “It is my very favourite thing to do”. To enable personalised advertising (like interest-based ads), we may share your data with our marketing and advertising partners using cookies and other technologies.

Packed with visual inspiration, this book features detailed analysis of works by key illustrators from past and present including George Cruikshank, Egon Schiele, Ronald Searle and Sheila Robinson through to Laura Carlin, Alexis Deacon and Isabelle Arsenault, looking at the differing roles drawing plays in their particular illustrative languages and how styles have changed over time. With this in mind, a comprehensive index should allow you to check back to previous exercises and pick up any information you may have missed.It is creative and commercial with a prospect of having your work seen and admired by thousands of people.