As ideas vary so must the ways of showing them also. The constant aim is that of creating honest images of quality that merge art and communication. It is axiomatic that thought precedes pen on paper and that the process of creating the images be collaborative with our clients.
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This should determine the aim and intention of the images wanted. | ||
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It should provide a description of what is to be shown. Documentation may define the components of the idea in detail but may also do this in outline outline ( e.g. wire frame computer |
| drawings). It can be a verbal description supplemented with images that are analogous to the end product. A description of the site and its location may constitute an important aspect of the brief. If this not supplied then part of the commission may require getting this information, location visits and reference photography. | |||
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The extent of the information provided determines the input required from the illustrator and hence the degree of interaction necessary for the image development. |
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Where briefing leaves room for illustrator's input every endeavour must be made to fill in feasibly and consistently with the design vocabulary of the brief and the designer's intent. |
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The entourage is that which provides the setting for the physical idea - the cars, the human content, the landscape etc. It has to make sense, be accurate in its local context and not to distract from the purpose of the image. |
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Initially preliminary concept sketches establish the guidelines for an image. | ||
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Later review(s) of work in process permit evolution of the image with appropriate adjustments to content, entourage and viewpoint. | ||
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Review can be effected at meeting but may also be via email and phone, PDF file exchange or by CD/ mail. |
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If satisfactory then a decision is required on how the image(s) are to be delivered , what reprographics necessary and what copyright provisons are applicable prior to the rendering of the final account. |
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