Johnson, AmyWang, Yifei2023-01-262023-01-262020(AlmaMMSId)9982903910502196https://shareok.org/handle/11244/337011Illustration is continually changing in terms of both its content and its process alongside technological progress and the increasing popularity of digitalization. Furthermore, illustration is consistently finding new ways to penetrate our daily lives; examples include the progression from canvas to digital tablets, that from hand drawing to mixed media, and from paper to digital publishing. The methods people use to produce illustrations are always evolving, and therefore illustrators must continue to explore new approaches to illustration and its process. The development of the technologies, thoughts, ideas, and creative styles involved in illustration is difficult to define. Nowadays, illustration involves not only canvas and pigments but also digital art forms. An illustration's audience, the time at which it was produced, and the circumstances surrounding its production define its core value in human society. During the late 19th and early 20th centuries, hand drawing and painting were considered the most mature and most common techniques of expression; artists used brushes and a variety of pigments to depict the progress of human civilization: the craftsmanship and techniques endowed commercial illustrations with considerable artistic talent. After reviewing many vintage commercial illustrations, I cannot help but question whether illustrations are continuing to improve in the modern world or whether something is missing. For example, regardless of how advanced the technology of photography is in the modern world, I remain far more fascinated by the seemingly magical brushes of famous painters. Furthermore, designers seem to have lost the handcraft of their work as advertising has moved into the digital realm, and stylistic trends have become increasingly concise. In addition, advertising has become increasingly limited by photography and digitally produced geometric shapes. To promote the return of artistic illustration, in this project, I explored a new approach to commercial illustration. For this purpose, I employed a traditional painting technique on a digital platform that I have used before. I also explored new content in addition to the aforementioned illustrative technique. In other words, while most other designers are busy advertising the present, I am announcing the future. I believe that futuristic advertising products gives my work a unique meaning and enables me to explore the design process further. I love to build things, especially with new technologies, and I believe that my integration of industrial design and illustration will pave the way for the future of commercial illustration. In this study, I started by designing a futuristic product through digital rendering and three-dimensional (3D) printing. The act of creating all the required 3D images and plastic models, with which I could then interact within a physical dimension, enabled me to gain a highly accurate reference for my art and to understand the relationships and interaction between the objects, scenes, and characters in my final illustration. By using multiple 3D technologies combined with a traditional illustrative technique, I succeeded in creating a new method and experience of commercial illustration. In addition, my integration of multiple design methods provides a platform for further experimentation in commercial illustration. This project is titled "Neo-Commercial Illustration," which refers to the integration of old and new design methods.All rights reserved by the author, who has granted UCO Chambers Library the non-exclusive right to share this material in its online repositories. Contact UCO Chambers Library's Digital Initiatives Working Group at diwg@uco.edu for the permission policy on the use, reproduction or distribution of this material.Commercial art--TechniquePainting--Digital techniquesProduct designAcademic thesesDesignFuturisticIllustrationProduct(OCoLC)1365767123