YouTube channel Learn Engineering is a great series of videos explaining how everyday objects work. The 3D animations of different gears, motors, coils and fields are clear and really help illustrate the easy-to-understand script.
This Uniqlo promo video is a great example of combining technical information with beautiful and engaging visuals, highlighting otherwise invisible features and demonstrating their benefits to the customer.
In a market where branding is often just a graphic silkscreened on a generic garment, Uniqlo places the emphasis on the comfort, performance, sophistication and simplicity of the product itself. Armed with that information, the customer’s decision is made easier.
This series of short videos from the Science Channel reveal the hidden workings of our everyday world with photo-realistic 3D graphics to explode appliances, products and machines into their component parts.
The combination of video footage, CGI, interviews, and of course, overly-dramatic narration really pulls you in and gets you interested in the topic.
For his posts, Grimwade pulls together contemporary infographics, historical examples and samples from his prolific career working with newspapers, magazines, books and corporate clients. From his mission statement:
I’m trying to promote infographics that engage the general public. There is a trend towards elitist visualizations, that seem like they might be designed for data geeks. Of course, visual communication is a powerful way to help people understand, but first we have to get people on our side. Be inclusive, not exclusive. And never forget that a sense of fun is an important component in getting our message across. Infographics for the People!
He critiques his old work with self-deprecating humour and encourages readers to learn from his mistakes and to think critically when creating our own work.
SpaceX has some great technical illustrations on their website, showcasing the design and features of their current and future spacecraft.
I especially like the use of scrolling animation on the Dragon page. It’s so simple and intuitive, using static artwork and a little bit code to create subtle movement that grabs the eye and really helps tell the story.
Yesterday’s post reminded me of this video about the redesign of the Apple MacBook released last year. This one is a bit more informative in tone and has some great visualizations of otherwise invisible features, the pressure-sensitive trackpad, for example.
This really shows the selling power of information.
This promo video for the just-announced Microsoft Surface Studio really caught my eye, beyond the hardware itself and what it could do in the hands of a tech illustrator. Watch starting at 0:25 at 0.25x speed. It’s not the most informational example of technical communication, but it certainly makes you marvel at the precision and sophistication of the product’s design and assembly beyond what the consumer would normally see.
Hans Jenssen is a UK-based technical illustrator with over 30 years of experience. He is perhaps best known for his collaboration with Richard Chasemore on the Star Wars Incredible Cross-Sections series of books. He continues to use traditional methods and materials, pencil, pen, gouache and acrylic paints to create his intricate, accurate and textural images. He is currently working on a new collaboration with illustrator John Mullaney about the Halo video game franchise. He was kind enough to answer a few questions for us.
What brought you to the field of technical illustration?
Simple! As a kid I loved drawing and I loved comics like Eagle and Look and Learn here in the UK which featured colour cutaway illustrations. I was always trying to copy them and create my own so becoming a technical illustrator was probably inevitable.
How did you get started with Dorling Kindersley (DK Books)?
I was represented for quite a few years by the Virgil Pomfret Illustration agency who got me my first job with DK back in the early 90s. It was a good break for both of us as DK kept me so busy all Virgil had to do for a few years was write an invoice now and again. At first I worked on a series called Look Inside Cross-Sections based on the hugely successful Stephen Biesty’s Incredible Cross-Sections. I did three titles and this was when I met Richard Chasemore who also worked on the series and with whom I later collaborated on all the Star Wars books and a very successful advertising campaign for United Technologies in the USA.
Any unique challenges/experiences working on the Star Wars books?
Gosh, where do I start? Star Wars, with its legions of fans was quite a prospect. When we first started, (working with author David West Reynolds who at the time had a day job at Lucasfilm) we were treading very carefully. Using old reference which clearly hadn’t been very carefully thought through and different sources which often contradicted each other created many challenges. Where there were gaps in the reference we were able to create new technology and machinery and Lucasfilm were so pleased with the results that we were soon redesigning and re-imagining other parts of ships’ interiors to try to make coherent systems which logically explained the abilities of each craft. Parts which were seen in the movies were of course drawn and painted as accurately as possible, right down to the scratches on the paint in many cases.
What changes or challenges have you faced in your career? What opportunities do you see for the future?
Well, of course, since I started there has been a digital revolution. I personally have never really taken to the computer as a means of creating art but I am the first to acknowledge there are plenty of super-talented digital artists out there who do incredible work. But for me, one of the things I love most about my work is the physical connection between pen and paper, pushing paint around until things look just right, and being able to look at the physical artwork and see the colours, the texture of the paint, the linework, all done by hand. That is such a huge part of the joy for me. Of course, in the old days if you made a mistake, you could be in a whole mess of trouble whereas now with modern digital retouching, no sweat! Of course my stubborn refusal to let go of traditional media does make me somewhat niche in this digital age but I still think there’s no substitute for ink and paint when creating the kind of richly textured colour illustrations I specialize in and thankfully there’s still some work out there. As long as there’s work and my eyesight holds out, I’ll keep going!
Do you have a dream project? Any subject matter that you’d love to illustrate?
If I could choose one thing to illustrate, it would be one (or all!) of the giant Russian civilian and military Ekranoplans from the 1960’s and ’70’s. Ever seen the “Caspian Sea Monster”? Getting reference might be a bit tricky but that would be a dream project.
Do you have any advice for new illustrators or students?
It may be a cliche, but I am always reminded of a Q&A Richard and I did in America some time ago when a young chap asked, “How did you get so lucky that you got to work on Star Wars?” Rich answered, “I’ve always found that the harder I work, the luckier I get.”