Enhanced descriptions from Syndetics:

Illustration practice is not judged purely by visual literacy and technical qualities, but also requires intellectual engagement with its subject matter. Illustration: A Theoretical & Contextual Perspective, 2nd Edition examines the breadth and many uses of this diverse discipline, through nearly 300 colour examples.

From developing a brief, conducting research and analysing visual language, the book goes on to explore the role of illustration in documentation, commentary, storytelling, persuasion and identity. It concludes with an overview of current professional practice, demonstrating that the ability to communicate meaningfully and effectively for a global audience is key to navigating today's creative industries.

Examples of work from award-winning illustrators showcase a huge range of applications, from the author's own collaboration with the British Museum of Natural History and Olivier Kugler's Portraits of Syrian Refugees in Iraqi Kurdistan , to Levi Pinfold's fictional picture book Black Dog and Malika Favre's promotional images for the BAFTA (British Academy of Film and Television Arts) Film Awards.

Table of contents provided by Syndetics

• Preface (p. 5)
• Introduction (p. 9)
• The Illustrator (p. 11)
• 1 Education (p. 13)
• Education (p. 14)
• The Programme of Work (p. 15)
• Developing the Brief (p. 16)
• The Rationale (p. 16)
• The Aim (p. 16)
• The Objectives (p. 16)
• Answering the Brief (p. 19)
• Contexts (p. 19)
• Audiences (p. 22)
• Clients (p. 23)
• Subject Matter (p. 26)
• The Conceptual Process (p. 29)
• Brainstorming and Creative Processing (p. 29)
• Completion (p. 32)
• Research (p. 36)
• Research and Illustration (p. 36)
• Preparing for Research (p. 37)
• Methodologies (p. 41)
• Completion (p. 44)
• Drawing (p. 46)
• Objective and Analytical Development (p. 46)
• Visual Note Taking (p. 52)
• Externalization of Ideas and Freedom of Expression (p. 56)
• 2 The Nature of Imagery (p. 61)
• Visual Language (p. 62)
• Stylization (p. 62)
• Visual Intelligence (p. 65)
• Visual Metaphor (p. 68)
• Conceptual Imagery and Surrealism (p. 68)
• Diagrams (p. 74)
• Abstraction (p. 77)
• Pictorial Truths (p. 81)
• An Overview of Literal Representation (p. 81)
• Hyperrealism (p. 84)
• Stylized Realism (p. 89)
• Sequential Imagery (p. 94)
• Aesthetics and Non-Aesthetics (p. 100)
• Trends (p. 100)
• 'Chocolate Box' (p. 105)
• 'Shock' (p. 107)
• 3 The Role of Illustration (p. 113)
• Documentation, Reference and Instruction (p. 114)
• An Overview of Illustration for Information (p. 114)
• National Curriculum and Trade Material for Young Audiences (p. 120)
• Historical and Cultural Subject Matter (p. 126)
• Natural Science (p. 133)
• Medical Illustration (p. 139)
• Technological Subjects (p. 143)
• Commentary (p. 148)
• An Overview of Editorial Illustration (p. 148)
• Politics and Current Affairs (p. 156)
• 'Lifestyle', Reviews and 'Bric-a-Brac' (p. 160)
• Storytelling (p. 166)
• An Overview of Illustration for Narrative Fiction (p. 166)
• Picture Books and Early Readers (p. 170)
• Comics (p. 181)
• Persuasion (p. 186)
• Advertising Illustration in Practice (p. 186)
• Promotion and the Essence of Advertising (p. 190)
• Identity (p. 196)
• 'Below the Line' and Corporate Branding (p. 196)
• Point of Sale and an Overview of Packaging (p. 198)
• Books and Music (p. 202)
• Illustration and Design (p. 208)
• 4 Contemporary and Future Perspectives (p. 211)
• Professional Practice (p. 212)
• Interdisciplinary Practice (p. 212)
• The Polymath Principle (p. 214)
• The Illustrator as Scientist and Cultural Historian (p. 215)
• The Illustrator as Journalist and Commentator (p. 218)
• The Illustrator as Author of Fiction (p. 220)
• A Public Interface (p. 222)
• Connectivity and Interaction (p. 224)
• Final Thoughts (p. 224)
• Glossary of Terms (p. 226)
• Index (p. 228)
• Illustrator Index (p. 230)
• Bibliography (p. 231)
• Acknowledgements (p. 232)
• About the Author (p. 232)