illustration as visual essay

How to Write an Illustration Essay: Quick and Easy Guide

Writing an illustration essay involves more than just adding a few pictures. While it may seem simple, creating an effective illustrative essay requires time and a strong understanding of the topic. By using guides and examples, students can easily master this type of writing. To learn how to craft a standout illustration essay, check out this article for the definition, suggested topics, and step-by-step guidelines.

What is Illustration Essay

An illustration essay is a type of written composition that uses examples to explain a particular concept or idea. These essays often include visuals and other illustrations to help clarify the topic.

Like other essays, an illustration essay begins with a thesis statement that introduces the main theme and provides a preview of what readers can expect. The essay then presents a series of examples to support the thesis. 

The purpose of an illustration essay is to use enough examples to demonstrate a point the writer wants to make. Unlike argumentative essays, it doesn't aim to persuade the audience to adopt a specific viewpoint. Instead, it helps the audience understand the topic through detailed examples. Illustration essays can be used for various purposes, such as describing the benefits of a community garden, explaining the impact of a new technology in education, or illustrating the importance of recycling programs.

Phrases of Illustration

When writing an illustration essay, using specific phrases can help to clearly present your examples and reinforce your points. Here are some useful phrases from our essay writer for illustrating your ideas:

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Illustration Essay Checklist

To write a comprehensive, clear, and well-structured illustration essay, use this checklist to ensure your essay effectively conveys your main idea through relevant and detailed examples.

How to Write an Illustration Essay in 6 Steps

Learning how to write an illustration essay can be straightforward and impactful by following these steps prepared by our essay writing service :

Step 1: Select a Topic  

If you have the freedom to pick your topic, select one that you are genuinely interested in. Your enthusiasm for the subject will come through in your writing, making it more engaging for your readers. Think about subjects that you find intriguing or have a strong opinion about. This passion will help you stay motivated throughout the writing process and make the research feel less like a chore. Additionally, a topic that interests you will likely interest your readers as well, making your essay more impactful.

Step 2: Research  

Before you start writing, gather ample information from reliable sources. Embrace research as your foundation; it's essential for providing accurate and detailed examples in your essay. Use credible platforms such as Oxford Academic and Google Scholar to find scholarly articles, books, and other reputable sources. Take notes and organize your findings to easily reference them when writing your essay. Thorough research ensures that your examples are well-supported and enhances the credibility of your writing. The more comprehensive your research, the stronger your academic essay will be.

Step 3: Write an Outline  

Creating an outline is a crucial step that helps organize your thoughts and structure your essay. Your outline should include an introductory paragraph, body paragraphs, and a conclusion.

• Introduction : Start with an introduction that presents your topic, provides necessary background information, and states the significance of the topic. Conclude the introduction with a clear thesis statement that outlines the main idea of your essay.
• Body Paragraphs : Plan each body paragraph to focus on a single example or idea that supports your thesis. Begin each paragraph with a topic sentence, followed by detailed examples and explanations. Use transitional phrases to ensure a smooth flow between paragraphs and maintain coherence throughout the essay.
• Conclusion : Conclude your essay by restating the thesis in a new way, summarizing the main points discussed in the body paragraphs, and providing a final thought or statement that wraps up your essay.

Step 4: Write Your Ideas  

With your outline in place, start writing your essay by expanding on each point. Transform your main ideas into full paragraphs, making sure each paragraph clearly presents one example and supports it with detailed evidence. Write in a clear and concise manner, avoiding unnecessary jargon or overly complex sentences. Each paragraph should build on the previous one, creating a cohesive and logically organized essay. Make sure your writing is engaging and that your examples effectively illustrate your points.

Step 5: Review  

After completing your essay, take the time to review and edit it thoroughly. Read through your essay at least twice to catch any grammatical, structural, or contextual errors. Check that your examples are clear and well-supported, and ensure that your essay flows logically from one point to the next. Make sure your writing is free of plagiarism by properly citing all sources. Editing is a crucial step that can greatly improve the clarity and quality of your essay, so don’t rush this process.

Step 6: Enjoy Your Perfect Essay  

By following these steps, you should have a well-organized and effective illustration essay. Take a moment to appreciate your hard work and the finished product. Remember, writing can be a smooth and rewarding process when you approach it methodically and with attention to detail. 

Illustration Essay Outline

Before starting your illustrative essay, it's essential to prepare an outline. A simple way to do this is to write a 5-sentence outline, with each sentence briefly describing the focus of each paragraph. This will help you organize your main ideas and develop them further.

Here are the key parts your illustration essay outline should include:

Illustration Essay Topics

When beginning the writing process, choosing a compelling topic is the first step. Here is a list of illustration essay topics to inspire you. Feel free to select one from the list to craft an engaging and informative illustration essay.

• Illustrate the daily routine of a remote worker and the challenges they face.
• Describe the process of training a service dog and its impact on individuals with disabilities.
• Explain the benefits of mindfulness meditation for reducing stress and improving mental health.
• Detail the steps involved in organizing a successful community clean-up event.
• Illustrate the effects of a balanced diet on overall health and well-being.
• Explain how a public library can serve as a community hub and support lifelong learning.
• Describe the process of starting a small business and the challenges entrepreneurs encounter.
• Illustrate the importance of voting in local elections and how it impacts the community.
• Explain the role of social workers in supporting vulnerable populations and provide examples from real-life scenarios.
• Detail the impact of volunteer work on both the volunteers and the community they serve.

Illustration Essay Example

Looking at our well-written illustration essay example can help you understand this writing style better. Use the clear example below to improve your own writing skills.

We also recommend taking a look at our comprehensive guide on a narrative essay , complete with examples.

Types of Illustrative Example

There are many effective methods to enhance your illustrative writing. Here are some of the best ways to present evidence:

• Drawing from personal experiences
• Referring to historical events or current facts
• Comparing different objects
• Using findings from scientific research
• Including numbers and data

Let's take a closer look at using personal experience as an example. You'll need enough details to fill your body paragraphs with vivid examples from your own experiences. Here are some useful methods to get inspired:

• Personal Observation : Investigate a specific object related to your topic. Describe any event, situation, location, or person you have observed and share your thoughts. When detailing your observational experiences, include sensory expressions to help your audience visualize the situation as if they were witnessing it themselves. For example, describe a quiet morning in a park, noting the soft rustle of leaves, the crisp smell of the morning air, and the sight of early joggers.
• Personal Memories : Draw from your own life to support your main argument. Reflect on meaningful life lessons or recent experiences that are significant to you. Describe these memories vividly, allowing your readers to understand the situation as you perceived it. For instance, recall a challenging project at work, explaining how the pressure, collaboration with colleagues, and eventual success taught you valuable lessons about perseverance and teamwork.
• Interviews : Conduct face-to-face conversations with experts related to your topic. These individuals can share insightful examples that can make your writing stand out. Prepare thoroughly by researching and listing your questions before the interview. For example, if writing about sustainable living, interview an environmental scientist or activist who can provide firsthand accounts of effective sustainability practices and their impact on the community.

Final Words

To conclude, by choosing interesting examples, doing your research, and explaining them clearly, your illustration essay can become a great piece of work. Let your creativity flow, add vivid stories, and take a journey where ideas grow and understanding deepens.

If you find it hard, buy essay from our creative writers. They will bring your essay to life with engaging examples that inspire readers, leaving them interested and wanting more!

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What are Some Good Illustration Essay Topics?

What are the characteristics of an illustrative essay, how do you write an illustration essay.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

• Updated existing sections
• Added new topics, example, FAQs
• Added section on types and phrases for illustrative essays
• Illustration Essay. (n.d.). Retrieved June 28, 2024, from https://www.dbu.edu/writing-center/_documents/quick-reference-flyers/specific-assignments/illustration-essay.pdf  
• ‌Publisher, A. removed at request of original. (2015, October 27). 10.2 Illustration. Open.lib.umn.edu; University of Minnesota Libraries Publishing edition, 2015. This edition adapted from a work originally produced in 2010 by a publisher who has requested that it not receive attribution. https://open.lib.umn.edu/writingforsuccess/chapter/10-2-illustration/  

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Illustration Essays: Definitions, Templates and Examples

Chris Drew (PhD)

Dr. Chris Drew is the founder of the Helpful Professor. He holds a PhD in education and has published over 20 articles in scholarly journals. He is the former editor of the Journal of Learning Development in Higher Education. [Image Descriptor: Photo of Chris]

Learn about our Editorial Process

I’m a university professor, and in this article, I’m going to show you exactly how to write an illustration essay.

1. What is an Illustration Essay?

An Illustration Essay is an essay designed to describe and explain with examples. You will be required to use examples to reveal details about the subject you are discussing.

In many ways, it is the easiest form of essay because you don’t have to come up with a thesis or argue a point. All you need to do is explain with descriptions and examples (or ‘illustrate’) a subject or phenomenon.

Much like when someone draws a picture to show you what something looks like, an illustrative essay uses words to show what something is.

Related Article: 141+ Illustration Essay Topics

2. Difference between Illustrative and Argumentative Essays

You can see that in many ways, an illustrative essay should be easier than an argumentative essay . You can put all your efforts into your explanations and examples.

Aim to create a coherent picture in the reader’s mind about the topic you’re discussing.

3. Definition of ‘Illustrate’

Here are a few definitions of ‘illustrate’:

• Oxford Dictionary says that to Illustrate is to “Explain or make (something) clear by using examples, charts, pictures, etc.”
• MacMillan Dictionary provides this nice, simple explanation: “to show what something is like.”

Let’s now put the term into a few sentences to help clarify it for you just a little more:

• The newspaper article illustrates how the dinosaurs became extinct.
• The story of Abraham Lincoln provides a clear illustration of his life achievements.
• My father’s explanation of how to change oil in a car illustrated the process sufficiently.

Synonyms for ‘Illustrate’

Illustrate may also be interchangeably used with words like:

• Give Detail

4. How to write an Illustration Essay

Here’s how to write an illustration essay:

2.1 How to write your Introduction

The introduction is much like any other in an essay, and therefore I suggest you use the usual I.N.T.R.O formula .

This formula is a way of writing a 5-sentence introduction that orients the reader to the topic. Here’s how it works. Each of the following points forms one sentence of your introduction:

• Inform: Inform the reader of the topic.
• Notify: Notify the reader of one piece of interesting background information about the topic.
• Translate: Translate or paraphrase the essay question.
• Report: Report on your position or argument (This step can be skipped as you will often not need to make an argument)
• Outline: Outline the essay structure. You can use ‘Firstly, secondly, thirdly’ here.

2.2 An example introduction for an illustration essay

This example is for an illustration essay on the topic: Illustrate the various ways young people use social media in their everyday lives.

“Social media has many impacts on young people. Social media is quite new, with the most famous social media site Facebook only being introduced to the world in 2004. This illustrative essay will explain and provide examples of the many ways young people engage with social media every day. The essay will begin with an explanation of what social media is, followed by several illustrative points with examples to give details about what new media is and how it has changed young people’s lives.”

2.3 How to write an illustration paragraph (body paragraph)

Paragraphs in the body of an illustration essay have two purposes:

• Describe and Define: You need to clearly describe and define your subject to the reader. The reader should be left with the impression that you have a deep knowledge of the topic.
• Explain and Exemplify: You need to provide many examples to illustrate your points.

I recommend that you do this in order. Your first few paragraphs should describe and define the subject. Your following paragraphs should give a lot of quality examples.

2.4 Examples of illustrative paragraphs

I’ll keep using the example topic: Illustrate the various ways young people use social media in their everyday lives.

Example of a Describe and Define Paragraph:

“Social media is a form of media that emerged during the Web 2.0 era of the internet. It is unique because it gives people the ability of people to create personal profiles and communicate back-and-forth with one another. It is generally known to have emerged in the early 2000s with websites like MySpace and Facebook, and has changed recently to be heavily mobile responsive with the emergence of smartphones in the 2010s.”

Example of an Explain and Exemplify Paragraph:

“One unique consequence of social media is that it has meant young people are in constant contact with their friends. Whereas in the past young people would have to hang out in person to be in contact, now they can message each other from their homes. For example, young people get home from school and can log into their web forums like Facebook messenger. From here, they can stay in touch and chat about issues that happened at school. While this may be enjoyable, some people also believe that it means young people can continue to be bullied even from within their own bedrooms.”

2.5 How to write a Conclusion for an Illustration Essay

To conclude your illustrative essay, feel free to use the normal conclusion paragraph style. My preferred template for a conclusion is the 5 Cs Conclusion method .

Here’s a brief summary of the 5 Cs Conclusion method. Like the INTRO method, you can write one sentence per point for a 5 sentence conclusion paragraph:

• Close the loop: Refer to a statement you made in your introduction to tie the beginning and end together.
• Conclude: Show your final conclusion on the issue. As this is an illustrative essay that generally does not require a unique thesis statement, this step can be blended with ‘Clarify’.
• Clarify: Show how you have answered the essay question
• Concern: Show who would be concerned about the issue.
• Consequences: Show what the consequences of the issue are for real life.

Read Also: 39 Better Ways to Write ‘In Conclusion’ in an Essay

2.6 Example Conclusion for an Illustrative Essay

Here’s an example conclusion for an illustrative essay on the topic: Illustrate the various ways young people use social media in their everyday lives.

“The beginning of this essay pointed out that social media is quite a new phenomenon. Nonetheless, it appears to have had a significant impact on young people’s everyday lives. This essay has illustrated this fact with examples including points on how many young people use social media at home every night, how it has impact how bullying occurs, and helped them to stay in touch with friends who live long ways away. Parents and teachers should be concerned with this issue in order to help children know when to switch off social media or use it responsibly. Social media is not going anywhere and will continue to impact the ways young people interact with one another on a daily basis.”

5. A Template Just for You

6. Illustration Essay Topic Ideas

I’ve provided a full list of over 120 illustration essay topics you can choose form on this post here .

For a summary of 5 of my favorites, see below:

• Provide an illustration of the lifestyle of American Pilgrims in the first few years of settlement. You can dig deep in this example by giving explanations of the farming practices, initial struggles faced, and the complex relationships between colonizers and Indigenous peoples.
• Provide an illustration of the factory line production model and how it changed the world. Here, you can dig deep with examples of how the production line model was different to anything that came before it. You can also explain it using an example of a product going through a factory, such as a Model T Ford.
• Provide an illustration of the ways the court system seeks to ensure justice is served. Courts are complex places, so you can dig deep here to explain why we have them and how they help keep all of us safe.
• Provide an illustration of human development from birth to 18 years of age. You can dig deep in your explanation of how children move through stages of development before becoming what we consider to be fully grown adults. I selected this example for the illustration essay above.
• Provide an illustration of how and why the Pyramids were built. An illustration of these remarkable structures can help you delve deep into the ways ancient Egypt operated. Discuss the ways pharaohs saw pyramids as spiritual buildings, how they used slaves to build them, and the remarkable engineering coordination required to build enormous structures back before we had machinery to help out!

7. Illustration Essay Example

Topic: “Provide an illustration of human development from birth to 18 years of age. (1000 words)”

Introduction of the Illustration Essay:

Children are born with complete dependence on their parents for their own survival. Over the next 18 years they go through several stages of biological and cognitive development before reaching full maturation. This illustrative essay explores several key ideas about how humans develop in their first 18 years. There are multiple different understandings of how humans develop, and several of the major ones will be illustrated in this essay. First, the key ideas behind human development are defined and described. Then, several examples of key parts of human development in childhood are presented with a focus on Piaget’s approach to human development.

Body Paragraphs of the Illustration Essay – Definition and Description:

Human development is the process of human growth from birth through to adulthood. It is a process that takes somewhere between 16 and 25 years, although most western societies believe a child has reached adulthood on their 18 th birthday (Charlesworth, 2016). The process behind child development has been defined and described in multiple different ways throughout history. Two of the key theorists who describe child development are Piaget and Freud. Both believe all children develop in clear maturational stages, although their ideas about what happens in each stage differ significantly (Davies, 2010).

Freud believes that all children develop through a series of psychological stages. At each stage of development, children face a challenge which they must overcome or risk experiencing psychological fixations in adulthood. Freud outlined five stages of child development: the oral (0 – 1 years of age), anal (1 – 3 years of age), phallic (3 – 6 years of age), latency (6 – 12 years of age) and genital (12+ years of age). For each stage, there is a challenge (Fleer, 2018; Devine & Munsch, 2018). These are: weaning off the breast (oral), toilet training (anal), identifying gender roles (phallic), social interaction (latency) and development of intimate relationships (genital). If the child successfully navigates each stage, they will become a well developed adult.

By contrast, Piaget was focused less on psychological development and more on cognitive maturation. Piaget also believes that all children develop in roughly equal stages (Devine & Munsch, 2014). Piaget outlined five stages of development: the sensorimotor (0 – 2 years of age), preoperational (2 – 7 years of age), concrete operational (7 – 11 years of age) and formal operational (11+ years). In each stage, the child is capable of certain tasks, and should be encouraged to master those tasks to develop successfully to the next stage. These tasks include: mastery of the sense and motor skills to navigate the world (sensorimotor), capacity to use language and think using symbols (preoperational), ability to use logic and understand time, space and quantities (concrete operational), and ability to use abstract and hypothetical thinking (formal operational) (Charlesworth, 2016).

Body Paragraphs of the Illustration Essay – Explanations and Examples:

For the remainder of this essay, Piaget’s stages will be used to illustrate how children are perceived to develop. Piaget’s stages are still widely acknowledged as useful for teaching and guiding children through cognitive development, and are generally more well received in contemporary society than Freud’s. Their value in education make them an important set of stages to understand for teacher educators. Furthermore, many educational curricula around the world continue to roughly teach in stages commensurate with Piaget’s stages (Kohler, 2014). They are therefore important stages of child development to understand.

The first stage is the sensorimotor stage (0 – 2). Children in the sensorimotor stage need support to develop skills in navigating their immediate environments. At this stage, children are given objects with various textures, shapes and compositions to allow children to touch and learn about their world (Kohler, 2014). Children in this stage also learn to develop the understanding that when things are out of their sight, they still exist! Piaget called this skill ‘object permanence’. For example, the game ‘peek-a-boo’ is often very entertaining to young children because their parents’ faces appear to disappear from the world, then reappear randomly (Isaacs, 2015; Devine & Munsch, 2018).

The next stage is the preoperational stage (2 – 7). In the preoperational stage, children learn to develop more complex communicative capacities. Children develop linguistic capacities and begin to express themselves confidently to their parents and strangers. Children also develop imaginative skills, and you often see children engaging in imaginative play where they dress up and pretend to be princesses, firefighters and heroes in their stories (Isaacs, 2015). At this young age, children are very egotistical and continue to see themselves as the centre of the world. To help children develop through this stage, parents and teachers should encourage creative writing and praise children whenever they may see things from other people’s perspectives (MacBlain, 2018).

The third stage is the concrete operational stage (7 – 11). At this stage, children learn to think logically about things in their everyday environments. They therefore develop more complex capacities to reason and do mathematical tasks. At this stage teachers tend to encourage children to learn to come to conclusions using reason and scientific observations (MacBlain, 2018). At this level many children are able to see things from others’ perspectives, but remain focused on their own lives and things in their immediate environments (Kohler, 2014).

Lastly, from ages 11 and up, children develop into the formal operations stage where they can think abstractly. In this stage, ethical and critical thinking emerges. These young people are now starting to think about issues like social justice and politics (Kohler, 2014). They also develop the capacity to do more complex mathematical tasks in the realm of abstract rather than concrete maths. A real life example may include the capacity to complete algebraic tasks. This is why algebra tends to become a part of mathematics curricula in middle and high school years (Charlesworth, 2016; MacBlain, 2018).

While Piaget’s stages are widely acknowledge to be accurate for ‘normal’ development, there is criticism that these stages do not reflect the development of children across all cultures and abilities. For example, children with autism may develop at faster or slower rates (Isaacs, 2015). Similarly, it appears children in some non-Western cultures develop concrete operations at a much younger age than children in Western societies. Thus, other theorists like Vygotsky have demonstrated that we should not see child development in set rigid stages, but instead think of development as being heavily influenced by social and cultural circumstances in which children develop (MacBlain, 2018).

Conclusion of the Illustrative Essay:

At the beginning of this illustrative essay, it was stated that children use the first 18 years of their life to develop biologically, psychologically and cognitively. Zooming in on cognitive development, this essay has illustrated child development through Piaget’s four stages of cognitive development. Through these stages, it is possible to see how children develop from very dependent and unknowledgeable states to full independence from their parents. Teachers should know about these stages of development to properly understand what level children should be at in their learning and to target lessons appropriately.

References:

Charlesworth, R. (2016). Understanding child development. Los Angeles: Cengage Learning.

Davies, D. (2010).  Child development: A practitioner’s guide . New York: Guilford Press.

Fleer, M. (2018). Child Development in Educational Settings . Cambridge: Cambridge University Press.

Isaacs, N. (2015). A Brief Introduction to Piaget. New York: Agathon Press.

Kohler, R. (2014). Jean Piaget. London: Bloomsbury.

Levine, L. E., & Munsch, J. (2018).  Child Development from Infancy to Adolescence: An Active Learning Approach . London: Sage Publications.

MacBlain, S. (2018).  Learning theories for early years practice . London: SAGE.

• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ 101 Class Group Name Ideas (for School Students)
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ 19 Top Cognitive Psychology Theories (Explained)
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ 119 Bloom’s Taxonomy Examples
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ All 6 Levels of Understanding (on Bloom’s Taxonomy)

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“We Tell Stories,” 30 Years of Illustration at SVA

• Design + Art

Words by Molly Heintz

Published on November 29th, 2014

In 1986, author Steven Heller wrote the introduction to a Print magazine feature on a new MFA in Illustration at the School of Visual Arts. “The two-year program is designed to encourage artists, be they painters, cartoonists, or illustrators, to expand the boundaries of illustration into the realm of journalism.” Judging by the scads of pages and covers now displayed on what may be the world’s largest magazine rack in SVA’s new show, “ We Tell Stories ,” it’s clear the MFAI has accomplished its mission. And that’s just one wall in an expansive exhibition filling the school’s cavernous Chelsea Gallery.

Today the MFA’s official name is “Illustration as Visual Essay.” The program has taken 20 students per year since its inception 30 years ago, and more than half of those (that’s 300+) are represented in the exhibition. In fact, there’s so much work gracing so many important magazine and book titles that you begin to wonder what the state of illustration was before MFAI, whose progeny appear to be ubiquitous.

Highlights of the main gallery include a vitrine dedicated to Rabid Rabbit , a comic book anthology founded by alums Paul Hoppe and C. M. Butzer featuring an array of artists and as many drawing styles, and Nora Krug’s Shadow Atlas , a compendium of ghosts from around the world rendered in mesmerizing primary colors. Allowed to pick up and peruse volumes on the open shelves, visitors might easily lose track of time.

There are even several instances of artwork leaping off the page and onto the streets. For example, earlier this year Jonathan Bartlett, class of 2010, created a vibrant mural on the exterior of Ralph Lauren, Denim & Supply in Greenwich Village. But most pieces are conceived for publications and relatively small in scale; indeed, some of the work is intended for small-scale readers. One entire gallery, designed as a cozy kids’ lounge by alums Sara Varon and Aya Kakeda, is dedicated to children’s books. Varon’s whimsical characters populate the walls and carpet, and here one finds a few of the program’s best-known graduates, like Stephen Savage, creator of the Where’s Walrus and Polar Bear Morning books. By comparison, the third and fourth galleries, stuffed full of products, packaging, and posters feel less cohesive, if no less comprehensive.

That this MFA formula works is obvious, and it’s a testament to the guiding hand of chair Marshall Arisman, who founded the department in 1984. One of the program’s particular perks is that students can invite their dream advisor to work with them on the second-year thesis project. Take alum Joanna Neborsky, whose thesis guru was acclaimed artist Maira Kalman. Neborsky’s thesis-turned-book, Three Line Novels, is a set of illustrations based on short, grisly news items submitted by Parisian writer Félix Fénéon to the newspaper Le Matin in 1906. Obscure? Yes, but also utterly intriguing. The work feels relevant not because the content is current, but because, like good design of any kind, it communicates.

“ We Tell Stories ” is open through December 17, 2015 at SVA’s Chelsea gallery.

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How To Write an Illustration Essay?

12 May, 2020

8 minutes read

Author:  Tomas White

Not all of us are "right-brained" enough to have a powerful visual imagination. So, when the tutor handles the illustration essay task, hands could get a little shaky. But, no worries! This type of essay is not about artistic visualization nor it requires any kind of drawing experience. It is much more about the "big picture" vision and the ability to formulate examples supporting your claims/arguments. So..

<h2 “alignnone” title=”Illustration Essay Writing Guide”>What is an Illustration Essay?

Illustration essay is here to prove a particular thing exists. This particular essay type relies much more on research than analysis in order to prove a particular point. It contains a great deal of description and provides the reader with vocal examples. The thesis is formulated in the introduction; then it is developed with the help of illustrative examples within the body paragraphs – just to be perpetuated in the conclusion by the end of the essay.

How to write an Illustration Essay?

An illustration essay is also commonly referred to as an Example essay. Of all the different kinds of essays students write, this exists as the most straightforward, easiest essay to write.

While other essays require very specific aspects, such as the Cause and Effect essay , an illustration essay is exactly what it sounds like: an illustration of a particular subject. If you’re wondering if it requires drawing, have no fear! In an illustration essay, the writer illustrates his or her points with clear, authentic examples—not pictures. The body paragraphs should contain research illustrating the thesis, and likely the Works Cited and/or Bibliography pages.

Introduction

This paragraph opens the illustration essay. It typically contains anywhere from 5 to 15 sentences; a number of sentences depend upon the density of the topic being explained in the essay. It should begin with a hook – a sentence to gain and keep the reader’s attention. Hooks may also be referred to as “attention getters”.  Examples of hooks include:

• Interesting facts
• Relevant statistics
• Rhetorical question
• Personal anecdote

Related post: How to write an Essay Introduction

Following the hook should be several background sentences . These sentences provide key information the audience may need to fully understand the concept being illustrated in the essay. Such information could include defining important vocabulary, providing historic or social context, or relevant personal background for individuals discussed in the paper. Information plays a fundamental role when it comes to putting up a piece of content, whether it’s an informative essay or not.

Finally, the last sentence of the introduction paragraph should be the thesis statement . It’s a good idea to craft your thesis statement before you begin any research; a well-written thesis should be able to guide your research and make it more effective. What makes a good thesis? So glad you asked!

A thesis statement should be both clear and argumentative.  For an illustrative essay, a thesis statement should focus on identifying the subject to be illustrated and the way the writer plans to support the illustration.

Body Paragraphs

A body paragraph’s purpose is to support the thesis. Each paragraph should contain a different piece of evidence that proves the writer’s thesis has merit. All body paragraphs follow a universal format involving five basic sentence types:

• Topic Sentence. This sentence identifies the topic of the paragraph and how it relates to the thesis statement.
• Background sentence(s). Depending on the complexity of the subject identified in the topic sentence, the essay writer may need one to three or more background sentences.
• Research sentences. These sentences can be direct quotations or paraphrases of important ideas found during the research process. Any research sentences supporting the topic should be cited according to your teacher’s preference.
• Analysis. Analysis sentences explain how the research sentences are relevant to the topic sentence and thesis sentence. These sentences often use analysis words such as shows, portrays, illustrates, proves, and communicates.
• Conclusion/Transition. This sentence wraps up the paragraph and transitions the reader to the next idea in the following paragraph.

Now, here is where the “illustration” part comes in. You need to support each body paragraph statement with examples, proving or supporting your claim. Two examples covering each statement works the best. There is no need to dive too deep into examples – just lay them out as you outline your body paragraphs.

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Beginning the conclusion paragraph means that you’re almost done! Conclusion paragraphs are typically the shortest paragraphs in an illustration essay. Its purpose is to reiterate the main points within each body paragraph and prove to the reader that the writer proved his or her point within the essay. While these paragraphs are short, they are important; it is the last impression the reader has – so make it a good one!

Conclusion paragraphs should be strongly worded and confident. However, they should not introduce any new information; focus only one what’s already been presented as evidence in the essay.

Tips from our writers – free takeaways!

Transition words.

Transitions  can really help move an argument along in an illustration essay. Transitions are words that act as connectors in a sentence; they connect one idea to another. They can show similarity, contrast, or illustration among other connections. Want your illustration essay to shine? Consider incorporating the following transitions to improve the flow of the essay:

Transitions can link similar ideas in the same body paragraph or link different examples of body paragraphs.

Outline Example

As with all essay writing assignments, it’s important to begin early and stay on-task. Keep to a writing schedule, beginning with an idea outline to organize your thoughts and help guide your research.

Check out this no-frills outline:

Illustration Essay Sample

Be sure to check the sample essay, completed by our writers. Use it as an example to write your own essay. Link:  Illustration Essay on Social Statuses

Drawing the line (figuratively)

Taking the time to outline and narrow your research focus makes finding information much, much easier! But it is not always necessary to verse an outstanding illustrative essay. The best way to prove your point is to show a real-life example.

Nothing really works better than cases and situations taken straight from your life experience (almost like the narrative essay , right?) People with colorful life experience tend to be the best in the illustrative essay “business”.

Remember: you have many resources available to you to help you earn the grade you want. Stick to a good writing schedule and take a rough draft to your professor for constructive criticism. Visit the campus writing center if you have one, or send your essay to our professional editing service. Revisit and revise your draft at least once – perfection is a process!

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Essay Papers Writing Online

Learn the step-by-step process to write an effective and captivating illustration essay that engages readers and showcases your analytical and critical thinking skills.

Exploring the vast realm of writing is akin to embarking on a captivating journey through the realm of ideas, thoughts, and knowledge accumulation. One of the most intriguing genres that allows individuals to express their creativity and analytical skills is the illustration essay. This unique form of writing serves as a powerful tool enabling authors to convey complex concepts in a clear and engaging manner. By utilizing varied examples, anecdotes, and visuals, writers are granted the opportunity to illuminate their perspectives on a multitude of subjects, ranging from art and literature to science and social issues.

In order to create an effective illustration essay, authors should take into account several key recommendations. Firstly, it is vital to select compelling and relevant illustrations that will serve as the backbone of the entire composition. These examples should be carefully chosen to emphasize the core message of the essay while capturing the attention of the readers. Allowing the audience to easily grasp the main arguments and ideas will result in a more enjoyable and enlightening reading experience.

Secondly, the structure of an illustration essay should be meticulously crafted to ensure the seamless flow of ideas and concepts. By employing a logical and coherent structure, writers can lead their readers through a thought-provoking journey. The essay should start with a strong and attention-grabbing introduction that presents the topic and establishes the purpose of the composition. Subsequently, each paragraph should be dedicated to a single illustration, supported by relevant evidence and presented in a clear and concise manner.

Choose a Focused and Specific Topic

When writing an illustration essay, it is important to choose a topic that is focused and specific. This means selecting a subject that is narrow enough to be effectively explored within the constraints of the essay, while also being broad enough to provide ample examples and evidence.

By choosing a focused and specific topic, you will be able to delve deeper into your subject matter and provide a more comprehensive analysis. This will not only make your essay more engaging to readers, but it will also allow you to showcase your knowledge and understanding of the topic.

When selecting a topic, consider your own interests and expertise. Choose a subject that you are passionate about and have a good understanding of, as this will make the writing process more enjoyable and productive. Additionally, consider the availability of examples and evidence that can support your arguments and illustrate your main points.

In conclusion, when writing an illustration essay, it is crucial to choose a focused and specific topic that allows for a comprehensive analysis and engages readers. By selecting a subject that aligns with your interests and expertise, you will be able to create a more impactful and effective essay.

Gather Sufficient Evidence and Examples

When writing an illustration essay, it is crucial to gather ample evidence and examples to support your ideas and strengthen your arguments. By providing convincing evidence and relevant examples, you can effectively illustrate your point and make your essay more persuasive.

One way to gather evidence is through thorough research. Take the time to immerse yourself in reputable sources such as books, academic journals, and credible websites. Look for information that directly relates to your topic and supports your main idea. The more evidence you gather, the stronger your essay will be.

In addition to gathering evidence, it is important to provide examples that illustrate your points. Examples can come in various forms such as statistics, personal anecdotes, or case studies. These examples should be specific, relevant, and clearly demonstrate the concepts you are trying to convey. By using a range of examples, you can appeal to different types of readers and make your essay more engaging.

When gathering evidence and examples, it is also crucial to consider opposing viewpoints. By addressing counterarguments and presenting opposing evidence, you can strengthen your own argument. This shows that you have thoroughly considered different perspectives and have come to a well-rounded conclusion. Additionally, addressing counterarguments can help you anticipate any potential objections from your audience and address them proactively.

In conclusion, gathering sufficient evidence and examples is essential for writing an effective illustration essay. By thoroughly researching your topic, providing relevant examples, and considering opposing viewpoints, you can create a well-supported and persuasive essay that effectively illustrates your ideas.

Use Clear and Concise Language

In order to effectively convey your message in an illustration essay, it is crucial to utilize clear and concise language. By choosing your words carefully and avoiding unnecessary jargon or complicated terms, you can ensure that your readers will understand your ideas easily. This clarity and conciseness will enhance the overall readability of your essay and enable your audience to follow your thoughts and arguments effortlessly.

When writing an illustration essay, it is important to remember that your goal is to illuminate a specific topic or concept. Clarity in language helps you achieve this by ensuring that your readers can grasp your intended meaning without any confusion or ambiguity. Using precise and straightforward language also helps you maintain the reader’s interest, as they can quickly and easily comprehend your ideas.

Additionally, concise language helps you make the most of your limited word count. By choosing your words carefully and removing any unnecessary fluff or repetition, you can maintain the reader’s attention and avoid overwhelming them with extraneous information. Conciseness allows you to present your arguments in a succinct and impactful manner, enhancing the overall effectiveness of your essay.

Furthermore, clear and concise language demonstrates your command of the topic and helps establish your credibility as a writer. When you are able to express complex ideas in a simple and straightforward manner, your readers will trust in your knowledge and expertise. It also shows that you have taken the time to carefully consider your words and communicate your ideas effectively.

In conclusion, using clear and concise language is essential in writing an effective illustration essay. By choosing your words carefully and avoiding unnecessary complexities, you can ensure that your readers understand your ideas easily and remain engaged throughout your essay. Clear and concise language enhances the overall readability and impact of your work, while also showcasing your command of the topic and establishing your credibility as a writer.

Structure Your Essay Properly

Developing a well-structured essay is crucial for effectively conveying your ideas and supporting them with relevant examples. A solid essay structure ensures that your readers can easily follow your arguments and understand the points you are trying to make. In this section, we will explore some essential tips to help you structure your illustration essay in a clear and organized manner.

One of the key elements of a well-structured essay is a strong introduction. The introduction sets the stage for your essay and should capture the reader’s attention, provide some background information on the topic, and present a clear thesis statement. The thesis statement should concisely state the main point you will be arguing throughout the essay.

After the introduction, you should organize your essay body into logical paragraphs. Each paragraph should focus on a specific subtopic or supporting point related to your thesis. It is important to present evidence, facts, and examples in each paragraph to support your arguments. Use transitional words and phrases to ensure a smooth flow between paragraphs and to guide your readers through your essay.

In addition to organizing your paragraphs, consider using a visual aid such as a table to present data or statistics if applicable to your essay topic. Tables can effectively summarize information and make it easier for readers to grasp complex concepts or compare different pieces of data. Be sure to provide a clear explanation of the table and its relevance in the text.

Finally, your essay should conclude with a strong and concise conclusion. The conclusion should summarize your main points and restate your thesis in a way that leaves a lasting impression on the reader. Avoid introducing new information in the conclusion and instead focus on reinforcing your main argument and leaving the reader with a sense of closure.

By following these tips, you can ensure that your illustration essay is well-structured and effectively conveys your ideas. Remember to always revise and edit your essay for clarity and coherence, paying attention to sentence structure, grammar, and punctuation. A well-structured essay not only demonstrates your writing skills but also increases the chances of your argument reaching your target audience.

Provide Relevant and Interesting Examples

When it comes to crafting an effective illustration essay, one key element is the use of relevant and interesting examples. Examples help to clarify and support the main points of your essay, making it easier for readers to understand and relate to your ideas. Additionally, by providing examples that are both relevant and interesting, you can engage your audience and keep them interested in your essay.

Relevant examples are those that directly relate to the topic or main point you are trying to convey. They should be specific and applicable to the subject matter, providing concrete evidence to support your arguments. By using relevant examples, you can strengthen your essay and make it more persuasive and convincing.

However, it is not enough for an example to be relevant; it should also be interesting. Interesting examples capture the attention of your readers and make them want to continue reading. They can be personal anecdotes, historical events, or even current news stories that help to illustrate your point in a captivating way. By incorporating interesting examples into your essay, you can make it more engaging and memorable.

When selecting examples for your essay, it is important to consider the diversity of your examples. Using a variety of examples can help to make your essay more comprehensive and well-rounded. You can include examples from different time periods, different cultures, and different fields of study to provide a broader perspective on your topic. This not only adds depth to your essay but also shows that you have done thorough research and considered different angles.

In conclusion, providing relevant and interesting examples is essential for writing a compelling illustration essay. By using examples that directly relate to your topic and are captivating to your readers, you can effectively support your main points and engage your audience. Remember to also incorporate a diverse range of examples to add depth and demonstrate your understanding of the topic. With these tips in mind, you can create an impactful and persuasive illustration essay.

Use Strong Transitions and Cohesion

A key aspect of creating a compelling illustration essay is the use of strong transitions and cohesion throughout the text. By employing well-crafted transitions and maintaining a cohesive structure, the writer can guide the reader seamlessly from one point to another, ensuring a smooth and logical flow of ideas.

Transitions play a vital role in connecting different paragraphs and ideas within an illustration essay. They act as bridges, helping to propel the reader from one thought or example to the next. Without strong transitions, the essay may feel disjointed and difficult to follow. To prevent this, writers should employ a variety of transition words and phrases, such as “furthermore,” “on the other hand,” “in addition to,” and “similarly.” These transitional expressions provide a clear and concise link between ideas, allowing the reader to easily grasp the intended meaning.

In addition to using transitions, cohesive writing is crucial in an illustration essay. Cohesion refers to the overall sense of unity and coherence within a piece of writing. It is achieved by ensuring that each paragraph and sentence flows logically from the previous one, creating a seamless progression of ideas. One way to enhance cohesion is through the use of repetition and parallel structure. By repeating key words or phrases, or by structuring sentences in a similar manner, the writer can establish a sense of continuity and reinforce the main points of the essay.

Moreover, the use of cohesive devices, such as pronouns and transitional words, can help to establish a strong connection between ideas. For example, the writer can use pronouns like “it” and “they” to refer back to previously mentioned concepts, creating a sense of familiarity and emphasizing the continuity of thought. Likewise, transitional words like “thus,” “consequently,” and “therefore” can highlight the cause-and-effect relationship between different ideas, further enhancing the cohesion of the essay.

In conclusion, incorporating strong transitions and cohesion is essential for writing an effective illustration essay. By carefully selecting and utilizing appropriate transitional words and phrases, as well as maintaining a cohesive structure throughout the essay, the writer can ensure that the reader understands and appreciates the connections between different ideas and examples. Ultimately, this will lead to a more compelling and engaging essay that effectively illustrates the chosen topic.

Revise and Edit for Clarity and Coherence

Ensure that your illustration essay is clear and coherent by thoroughly revising and editing your work. By revising, you can refine your ideas and ensure that your essay flows smoothly. Editing, on the other hand, focuses on correcting grammar and spelling errors to enhance the overall quality of your writing.

To revise your essay effectively, start by reading through it carefully and critically. Look for areas that may be confusing or need further clarification. Make sure that your ideas are presented in a logical and organized manner. Consider the flow of your essay and make necessary changes to improve its coherence.

When editing your essay, pay attention to grammar, punctuation, and spelling errors. Use a spell-check tool to identify and correct any mistakes. Be sure to also check for proper sentence structure and word usage. Consider the overall tone of your essay and make adjustments as needed to maintain a consistent voice throughout.

Additionally, it can be helpful to seek feedback from others. Ask a friend, classmate, or instructor to review your essay and provide constructive criticism. They can help identify areas that may not be clear to the reader and offer suggestions for improvement.

Remember, the goal of revising and editing is to ensure that your essay is easy to understand and presents your ideas in a cohesive manner. Take the time to carefully review your work, making necessary revisions and edits to enhance its clarity and coherence.

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Illustration Essay

Learn How to Craft An Effective Illustration Essay

Published on: Jun 13, 2022

Last updated on: Feb 9, 2024

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Best Illustration Essay Topics - A List of 260+ Ideas

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Have you ever wanted to bring a topic to life with vivid details and examples? If so, then the illustration essay may be the perfect writing assignment for you! 

This type of essay allows you to paint a picture with words and show your readers exactly what you mean. 

In this blog, we'll explore illustration essays and how they can captivate an audience by using vivid examples and anecdotes. Whether you're a student or a professional, this guide will provide you with practical tips on crafting an engaging and effective illustration essay.

So, get set to amplify your imagination and take your writing game to the next level!

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Illustration Essay Definition

An illustration essay is a piece of writing that uses examples to support a thesis statement or main idea. It is also known as an exemplification essay because it provides specific instances that demonstrate or " exemplify " the writer's point.

Importance of Illustration Essay

An illustration essay is important because it:

• Helps the reader understand abstract or complex concepts by providing concrete examples.
• Makes arguments more convincing by providing evidence to support them.
• Enhances the reader's engagement by using relatable and vivid examples .
• Demonstrates the writer's ability to think critically and organize ideas effectively.
• Develops the writer's research and writing skills by requiring them to find and analyze relevant examples.

Enhance your understanding of illustration essays with this informative video!

How to Write an Illustration Essay?

Writing an illustration essay can be a challenging task, but by following these steps, you can create a well-organized and effective essay.

Step 1: Select a Compelling Topic

• Start an illustration essay by choosing a topic that is interesting, relevant, and has ample examples to support your thesis.
• Ensure the topic aligns with the purpose of illustration—to clarify, explain, or prove a point.

Step 2: Conduct Research and Gather Examples

• Find relevant and credible sources that support your topic. Use a variety of sources, including books, academic journals, and online articles, to gather information.
• Collect a variety of examples that support your thesis. These could be personal experiences, historical events, case studies, or research findings.
• Ensure each example is relevant and directly contributes to the understanding of your main point.

Step 3: Define Your Thesis

• Clearly state the main argument or point you want to illustrate in your essay.
• Your illustration essay thesis statement should provide a roadmap for the reader, indicating the specific aspects you will illustrate.

Here is an illustration essay thesis example: 

Step 4: Create your Illustration Essay Outline

Organize your ideas and examples into an outline that includes an introduction , body paragraphs, and a conclusion. This will help you stay focused and ensure that your essay flows logically.

Here's a basic illustration essay outline template:

Step 5: Write the Introduction

Start your introductory paragraph with a strong thesis statement that clearly states your main argument or point. Use an attention-grabbing hook to engage your reader and provide background information to set the stage for your examples.

Step 6: Develop Body Paragraphs

In each body paragraph, present a specific example that supports your thesis statement. Use transitions to connect your examples and show how they relate to your main argument.

Step 7: Write the Conclusion

Summarize your main points and restate your thesis statement in a new and compelling way. End your conclusion with a memorable final thought that leaves a lasting impression on your reader.

Step 8: Final Review

• Conduct a final review to ensure that your essay effectively communicates your main point through well-supported examples.
• Make any final adjustments to enhance overall coherence and effectiveness.

By following these steps, you can write an effective illustration essay that engages your reader and showcases your point of view.

Types of Illustration Essay 

Each type of illustration essay brings its own strengths and nuances. This allows writers to choose the approach that best suits their topic and the message they want to convey.

Single Example

These essays deeply explore one example to vividly illustrate and substantiate the main point. By focusing on a specific subject matter, they engage the reader in the writing process, ensuring the audience considers the writer's perspective.

Multiple Examples

Utilizing various examples, these essays provide a comprehensive view of the subject matter. By incorporating empirical data, they strengthen the writer's argument, making it more compelling for the reader.

Personal Experience

Relying on personal anecdotes, these essays connect the subject matter to the writer's life. This personal touch in the writing process ensures readers consider the writer's point more deeply.

Historical Illustration Essay

Drawing from historical events, these essays provide context and depth to the subject matter. By linking the past to the present, they engage the audience and the reader will consider your point.

Analyze specific cases or scenarios in detail. Examines real-life situations to illustrate broader trends or patterns.

Process Illustration Essays

Illustrates a step-by-step process to explain a concept or phenomenon. Break down complex procedures into manageable examples for clarity.

Research-Based Illustration Essays

Incorporates findings from academic research as supporting examples. Leverages scholarly studies and data to strengthen the essay's credibility.

Comparative Illustration Essays

Compares and contrasts multiple examples to highlight differences or similarities. Emphasizes the relationship between various instances to support the thesis.

Contemporary Issue

Addresses current events or societal issues through relevant examples. Connects the essay's message to contemporary concerns for relevance.

Analogical Illustration Essays

Uses analogies to illustrate complex ideas or relationships. Draws parallels between familiar situations and the topic to enhance understanding.

Literary Illustration Essays

Utilizes examples from literature, such as novels or poems, to support the argument. Analyzes literary works to illustrate broader themes or concepts.

Visual Illustration Essays

Incorporates visual examples, such as charts, graphs, or images, to enhance understanding. Appeals to visual learners and provides a different dimension to the illustrative process.

Transition Words for Illustration Essay

Transition words or phrases are crucial in an illustration essay as they help to connect ideas, providing a smooth flow of information for the reader. Here are some transition words that can be useful in an illustration essay:

• For example
• For instance
• Specifically
• In particular
• To illustrate
• As an illustration
• In other words
• In this case
• As evidence

These transition words can be used to introduce examples, provide specific details, give evidence, and clarify ideas in an illustration essay. Remember to use them appropriately and effectively to enhance the coherence and clarity of your essay.

Illustration Essay Topics Ideas

Here is a list of illustration essay ideas to get you inspired: 

• Illustrate the Impact of Social Media on Interpersonal Relationships.
• Explore the Benefits of Regular Exercise on Mental Health.
• Illustrate the Role of Technology in Shaping Education Today.
• Illustrate How Cultural Diversity Enriches Workplace Environments.
• Illustrate the Influence of Positive Parental Involvement on Academic Success.
• Explore the Effects of Climate Change on Global Biodiversity.
• Illustrate the Evolution of Online Shopping and Its Impact on Traditional Retail.
• Illustrate How Reading Fiction Enhances Empathy and Emotional Intelligence.
• Illustrate the Importance of Financial Literacy in Personal Finance.
• Examine the Positive Effects of Volunteering on Personal Well-being.

Check our blog on illustration essay topics for college, university, and highschool to get inspired for your next assignment!

Illustration Essay Examples

Looking for free illustration essay examples for college? Check out our selection of well-crafted illustration essays and get insight into this type of writing: 

The History of The Civil Rights Movement

The Impact of Social Media on Society

The Benefits of Mindfulness Meditation

Tips for Writing an Illustration Essay

Here are extra pointers to enhance your illustration essay:

• Clarity in Examples: Choose vivid, diverse examples that directly relate to your thesis for clarity and impact.
• Detailed Explanations: Provide in-depth explanations for each example to establish its relevance and support.
• Varied Examples: Utilize different types of examples (personal, historical, data-driven) to enrich your argument.
• Thesis Clarity: Ensure your thesis is clear and specific, guiding the selection and presentation of your examples.
• Transitions: Use smooth transitions between examples and paragraphs for a cohesive and logical flow.
• Engagement: Connect with the reader by making examples relatable and showing their relevance to real-life situations.
• Revision: Review and revise thoroughly for coherence, relevance, and effective illustration of your main point.

Wrapping Up!

We hope this guide has helped you understand the basics of writing an effective illustration essay. We have covered the purpose, types, and how to write an illustration essay step-by-step. 

By following our guidelines and tips, you can craft a compelling essay that effectively illustrates your point. Remember to choose a relevant topic, use vivid examples, and organize your essay properly. 

Looking for professional assistance with your illustration essay? Contact CollegeEssay.org today! Avail custom essay writing assistance 24/7 with all of your academic needs. 

Contact us now and experience the difference our AI essay writer can make!

Frequently Asked Questions

How long should an illustration essay be.

The length can vary, but a typical illustration essay is around 500-800 words, with a clear introduction, body paragraphs, and conclusion.

How does an illustration essay differ from story writing?

In story writing, the focus is on narrative and plot development, often with characters and a storyline. Illustration essays, on the other hand, emphasize the use of examples to clarify and support a specific point.

Do all body paragraphs need examples in an illustration essay?

Yes, each body paragraph in an illustration essay should present a specific example that supports the thesis, providing detailed explanations and analysis.

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DIL-328 ILLUSTRATION AS VISUAL ESSAY

Illustration as Visual Essay emphasizes the,importance of the illustrator as storyteller.,Students will work with a variety of,community-based organizations through a series of,field trips to document a wide range of stories,from a diverse group of individuals who may not,necessarily get media coverage. On-location,drawings and paintings will be utilized as the,material for a finished series of illustrations on,the student’s chosen theme.

Prerequisites: DIL 231, DIL 247, DIL 258

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SVA MFA Illustration as Visual Essay: Selections from Thesis Projects

May 25, 2020 @ 12:00 am - june 20, 2020 @ 12:00 am.

School of Visual Arts presents “Selections from Thesis Projects,” an online exhibition of thesis projects by the MFA Illustration as Visual Essay class of 2020. Curated by David Sandlin, thesis coordinator, the exhibition will be on view from Monday, May 25, through Saturday, June 20, at galleries.sva.edu .

Enjoy a respite from pestilence and fear with a virtual tour that transcends time, borders, cultures and even reality with a multiverse of illustrated narrative possibilities. Visitors will stroll through nostalgic city landscapes; relive the balmy summers of yesteryear with Mister Softee as their guide; explore urban American culture from a Brazilian perspective; and join the survivors of a disaster-wracked metropolis before escaping into the utopian vision of a community of urban skateboarders.

See verdant, flower-filled gardens with florists and botanical experts of field and meadow, and a darker one filled with fantastical misfit creatures; hop over to an island inhabited by quirky, entertaining animals; and take a fantastical trip to rescue some childhood imaginary friends.

Pause in your journey to riffle through an oracle deck of divination cards and a sardonically draconian manual of behavior for children, and examine a “wonder cabinet” of human sentiments, represented by biological specimens and other natural curiosities.

Venture into the interior realms of perception and empathy with metamorphoses—a Kafkaesque transformation triggered by the onset of puberty, and a koan-like parable of a boy who becomes a tiger—and metaphors: surreal dreamscapes of emotions personified and graphic emblems of alienation and social malaise. Against a stark midwestern landscape, join a solitary mouse in his lonely daily routine.

Move toward lightness to explore the many facets of love with a prismatic display of passion in pure form and color, and uncover a mystical connection between an old woman and an alley cat that bridges this world and the next.

The works here represent a fraction of the output generated by this spectacularly talented group of young artists. The persistence and resilience the class of 2020 has exercised to make beautiful and significant work in the face of dislocation, self-isolation and uncertainty is both impressive and inspiring. Their achievements exemplify visual narrative’s power to both provoke reflection and uplift the spirit.

The MFA in Illustration as Visual Essay is designed to maximize students’ opportunities as figurative artists, from the conventional gallery wall to the full range of 21st-century media. The program fuses the development of creative thinking with technical and communication skills. Additional focus is placed on best practices in navigating the visual-art marketplace while empowering students to choose making art as a way of life.

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• Published: 31 October 2017

The visual essay and the place of artistic research in the humanities

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What could be the place of artistic research in current contemporary scholarship in the humanities? The following essay addresses this question while using as a case study a collaborative artistic project undertaken by two artists, Remco Roes (Belgium) and Alis Garlick (Australia). We argue that the recent integration of arts into academia requires a hybrid discourse, which has to be distinguished both from the artwork itself and from more conventional forms of academic research. This hybrid discourse explores the whole continuum of possible ways to address our existential relationship with the environment: ranging from aesthetic, multi-sensorial, associative, affective, spatial and visual modes of ‘knowledge’ to more discursive, analytical, contextualised ones. Here, we set out to defend the visual essay as a useful tool to explore the non-conceptual, yet meaningful bodily aspects of human culture, both in the still developing field of artistic research and in more established fields of research. It is a genre that enables us to articulate this knowledge, as a transformative process of meaning-making, supplementing other modes of inquiry in the humanities.

Introduction

In Being Alive: Essays on Movement, Knowledge and Description (2011), Tim Ingold defines anthropology as ‘a sustained and disciplined inquiry into the conditions and potentials of human life’ (Ingold, 2011 , p. 9). For Ingold, artistic practice plays a crucial part in this inquiry. He considers art not merely as a potential object of historical, sociological or ethnographic research, but also as a valuable form of anthropological inquiry itself, providing supplementary methods to understand what it is ‘to be human’.

In a similar vein, Mark Johnson’s The meaning of the body: aesthetics of human understanding (2007) offers a revaluation of art ‘as an essential mode of human engagement with and understanding of the world’ (Johnson, 2007 , p. 10). Johnson argues that art is a useful epistemological instrument because of its ability to intensify the ordinary experience of our environment. Images Footnote 1 are the expression of our on-going, complex relation with an inner and outer environment. In the process of making images of our environment, different bodily experiences, like affects, emotions, feelings and movements are mobilised in the creation of meaning. As Johnson argues, this happens in every process of meaning-making, which is always based on ‘deep-seated bodily sources of human meaning that go beyond the merely conceptual and propositional’ (Ibid., p. 11). The specificity of art simply resides in the fact that it actively engages with those non-conceptual, non-propositional forms of ‘making sense’ of our environment. Art is thus able to take into account (and to explore) many other different meaningful aspects of our human relationship with the environment and thus provide us with a supplementary form of knowledge. Hence Ingold’s remark in the introduction of Making: anthropology, archaeology, art and architecture (2013): ‘Could certain practices of art, for example, suggest new ways of doing anthropology? If there are similarities between the ways in which artists and anthropologists study the world, then could we not regard the artwork as a result of something like an anthropological study, rather than as an object of such study? […] could works of art not be regarded as forms of anthropology, albeit ‘written’ in non-verbal media?’ (Ingold, 2013 , p. 8, italics in original).

And yet we would hesitate to unreservedly answer yes to these rhetorical questions. For instance, it is true that one can consider the works of Francis Bacon as an anthropological study of violence and fear, or the works of John Cage as a study in indeterminacy and chance. But while they can indeed be seen as explorations of the ‘conditions and potentials of human life’, the artworks themselves do not make this knowledge explicit. What is lacking here is the logos of anthropology, logos in the sense of discourse, a line of reasoning. Therefore, while we agree with Ingold and Johnson, the problem remains how to explicate and communicate the knowledge that is contained within works of art, how to make it discursive ? How to articulate artistic practice as an alternative, yet valid form of scholarly research?

Here, we believe that a clear distinction between art and artistic research is necessary. The artistic imaginary is a reaction to the environment in which the artist finds himself: this reaction does not have to be conscious and deliberate. The artist has every right to shrug his shoulders when he is asked for the ‘meaning’ of his work, to provide a ‘discourse’. He can simply reply: ‘I don’t know’ or ‘I do not want to know’, as a refusal to engage with the step of articulating what his work might be exploring. Likewise, the beholder or the reader of a work of art does not need to learn from it to appreciate it. No doubt, he may have gained some understanding about ‘human existence’ after reading a novel or visiting an exhibition, but without the need to spell out this knowledge or to further explore it.

In contrast, artistic research as a specific, inquisitive mode of dealing with the environment requires an explicit articulation of what is at stake, the formulation of a specific problem that determines the focus of the research. ‘Problem’ is used here in the neutral, etymological sense of the word: something ‘thrown forward’, a ‘hindrance, obstacle’ (cf. probleima , Liddell-Scott’s Greek-English Lexicon). A body-in-an-environment finds something thrown before him or her, an issue that grabs the attention. A problem is something that urges us to explore a field of experiences, the ‘potentials of human life’ that are opened up by a work of art. It is often only retroactively, during a second, reflective phase of the artistic research, that a formulation of a problem becomes possible, by a selection of elements that strikes one as meaningful (again, in the sense Johnson defines meaningful, thus including bodily perceptions, movements, affects, feelings as meaningful elements of human understanding of reality). This process opens up, to borrow a term used by Aby Warburg, a ‘Denkraum’ (cf. Gombrich, 1986 , p. 224): it creates a critical distance from the environment, including the environment of the artwork itself: this ‘space for thought’ allows one to consciously explore a specific problem. Consciously here does not equal cerebral: the problem is explored not only in its intellectual, but also in its sensual and emotional, affective aspects. It is projected along different lines in this virtual Denkraum , lines that cross and influence each other: an existential line turns into a line of form and composition; a conceptual line merges into a narrative line, a technical line echoes an autobiographical line. There is no strict hierarchy in the different ‘emanations’ of a problem. These are just different lines contained within the work that interact with each other, and the problem can ‘move’ from one line to another, develop and transform itself along these lines, comparable perhaps to the way a melody develops itself when it is transposed to a different musical scale, a different musical instrument, or even to a different musical genre. But, however, abstract or technical one formulates a problem, following Johnson we argue that a problem is always a translation of a basic existential problem, emerging from a specific environment. We fully agree with Johnson when he argues that ‘philosophy becomes relevant to human life only by reconnecting with, and grounding itself in, bodily dimensions of human meaning and value. Philosophy needs a visceral connection to lived experience’ (Johnson, 2007 , p. 263). The same goes for artistic research. It too finds its relevance in the ‘visceral connection’ with a specific body, a specific situation.

Words are one way of disclosing this lived experience, but within the context of an artistic practice one can hardly ignore the potential for images to provide us with an equally valuable account. In fact, they may even prove most suited to establish the kind of space that comes close to this multi-threaded, embodied Denkraum . In order to illustrate this, we would like to present a case study, a short visual ‘essay’ (however, since the scope of four spreads offers only limited space, it is better to consider it as the image-equivalent of a short research note).

Case study: step by step reading of a visual essay

The images (1, 2, 3, 4, 5) form a short visual essay based on a collaborative artistic project 'Exercises of the man (v)' that Remco Roes and Alis Garlick realised for the Situation Symposium at Royal Melbourne Institute of Technology in Melbourne in 2014. One of the conceptual premises of the project was the communication of two physical ‘sites’ through digital media. Roes—located in Belgium—would communicate with Garlick—in Australia—about an installation that was to be realised at the physical location of the exhibition in Melbourne. Their attempts to communicate (about) the site were conducted via e-mail messages, Skype-chats and video conversations. The focus of these conversations increasingly distanced itself from the empty exhibition space of the Design Hub and instead came to include coincidental spaces (and objects) that happened to be close at hand during the 3-month working period leading up to the exhibition. The focus of the project thus shifted from attempting to communicate a particular space towards attempting to communicate the more general experience of being in(side) a space. The project led to the production of a series of small in-situ installations, a large series of video’s and images, a book with a selection of these images as well as texts from the conversations, and the final exhibition in which artefacts that were found during the collaborative process were exhibited. A step by step reading of the visual argument contained within images of this project illustrates how a visual essay can function as a tool for disclosing/articulating/communicating the kind of embodied thinking that occurs within an artistic practice or practice-based research.

Figure 1 shows (albeit in reduced form) a field of photographs and video stills that summarises the project without emphasising any particular aspect. Each of the Figs. 2 – 5 isolate different parts of this same field in an attempt to construct/disclose a form of visual argument (that was already contained within the work). In the final part of this essay we will provide an illustration of how such visual sequences can be possibly ‘read’.

First image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Second image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Third image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fourth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fifth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Figure 1 is a remnant of the first step that was taken in the creation of the series of images: significant, meaningful elements in the work of art are brought together. At first, we quite simply start by looking at what is represented in the pictures, and how they are presented to us. This act of looking almost inevitably turns these images into a sequence, an argument. Conditioned by the dominant linearity of writing, including images (for instance in a comic book) one ‘reads’ the images from left to right, one goes from the first spread to the last. Just like one could say that a musical theme or a plot ‘develops’, the series of images seem to ‘develop’ the problem, gradually revealing its complexity. The dominance of this viewing code is not to be ignored, but is of course supplemented by the more ‘holistic’ nature of visual perception (cf. the notion of ‘Gestalt’ in the psychology of perception). So unlike a ‘classic’ argumentation, the discursive sequence is traversed by resonance, by non-linearity, by correspondences between elements both in a single image and between the images in their specific positioning within the essay. These correspondences reveal the synaesthetic nature of every process of meaning-making: ‘The meaning of something is its relations, actual and potential, to other qualities, things, events, and experiences. In pragmatist lingo, the meaning of something is a matter of how it connects to what has gone before and what it entails for present or future experiences and actions’ (Johnson, 2007 , p. 265). The images operate in a similar way, by bringing together different actions, affects, feelings and perceptions into a complex constellation of meaningful elements that parallel each other and create a field of resonance. These connections occur between different elements that ‘disturb’ the logical linearity of the discourse, for instance by the repetition of a specific element (the blue/yellow opposition, or the repetition of a specific diagonal angle).

Confronted with these images, we are now able to delineate more precisely the problem they express. In a generic sense we could formulate it as follows: how to communicate with someone who does not share my existential space, but is nonetheless visually and acoustically present? What are the implications of the kind of technology that makes such communication possible, for the first time in human history? How does it influence our perception and experience of space, of materiality, of presence?

Artistic research into this problem explores the different ways of meaning-making that this new existential space offers, revealing the different conditions and possibilities of this new spatiality. But it has to be stressed that this exploration of the problem happens on different lines, ranging from the kinaesthetic perception to the emotional and affective response to these spaces and images. It would, thus, be wrong to reduce these experiences to a conceptual framework. In their actions, Roes and Garlick do not ‘make a statement’: they quite simply experiment with what their bodies can do in such a hybrid space, ‘wandering’ in this field of meaningful experiences, this Denkraum , that is ‘opened up’: which meaningful clusters of sensations, affects, feelings, spatial and kinaesthetic qualities emerge in such a specific existential space?

In what follows, we want to focus on some of these meaningful clusters. As such, these comments are not part of the visual essay itself. One could compare them to ‘reading remarks’, a short elaboration on what strikes one as relevant. These comments also do not try to ‘crack the code’ of the visual material, as if they were merely a visual and/or spatial rebus to be solved once and for all (‘ x stands for y’ ). They rather attempt to engage in a dialogue with the images, a dialogue that of course does not claim to be definitive or exhaustive.

The constellation itself generates a sense of ‘lacking’: we see that there are two characters intensely collaborating and interacting with each other, while never sharing the same space. They are performing, or watching the other perform: drawing a line (imaginary or physically), pulling, wrapping, unpacking, watching, framing, balancing. The small arrangements, constructions or compositions that are made as a result of these activities are all very fragile, shaky and their purpose remains unclear. Interaction with the other occurs only virtually, based on the manipulation of small objects and fragments, located in different places. One of the few materials that eventually gets physically exported to the other side, is a kind of large plastic cover. Again, one should not ‘read’ the picture of Roes with this plastic wrapped around his head as an expression, a ‘symbol’ of individual isolation, of being wrapped up in something. It is simply the experience of a head that disappears (as a head appears and disappears on a computer screen when it gets disconnected), and the experience of a head that is covered up: does it feel like choking, or does it provide a sense of shelter, protection?

A different ‘line’ operates simultaneously in the same image: that of a man standing on a double grid: the grid of the wet street tiles and an alternative, oblique grid of colourful yellow elements, a grid which is clearly temporal, as only the grid of the tiles will remain. These images are contrasted with the (obviously staged) moment when the plastic arrives at ‘the other side’: the claustrophobia is now replaced with the openness of the horizon, the presence of an open seascape: it gives a synaesthetic sense of a fresh breeze that seems lacking in the other images.

In this case, the contrast between the different spaces is very clear, but in other images we also see an effort to unite these different spaces. The problem can now be reformulated, as it moves to another line: how to demarcate a shared space that is both actual and virtual (with a ribbon, the positioning of a computer screen?), how to communicate with each other, not only with words or body language, but also with small artefacts, ‘meaningless’ junk? What is the ‘common ground’ on which to walk, to exchange things—connecting, lining up with the other? And here, the layout of the images (into a spread) adds an extra dimension to the original work of art. The relation between the different bodies does now not only take place in different spaces, but also in different fields of representation: there is the space of the spread, the photographed space and in the photographs, the other space opened up by the computer screen, and the interaction between these levels. We see this in the Fig. 3 where Garlick’s legs are projected on the floor, framed by two plastic beakers: her black legging echoing with the shadows of a chair or a tripod. This visual ‘rhyme’ within the image reveals how a virtual presence interferes with what is present.

The problem, which can be expressed in this fundamental opposition between presence/absence, also resonates with other recurring oppositions that rhythmically structure these images. The images are filled with blue/yellow elements: blue lines of tape, a blue plexi form, yellow traces of paint, yellow objects that are used in the video’s, but the two tones are also conjured up by the white balance difference between daylight and artificial light. The blue/yellow opposition, in turn, connects with other meaningful oppositions, like—obviously—male/female, or the same oppositional set of clothes: black trousers/white shirt, grey scale images versus full colour, or the shadow and the bright sunlight, which finds itself in another opposition with the cold electric light of a computer screen (this of course also refers to the different time zones, another crucial aspect of digital communication: we do not only not share the same place, we also do not share the same time).

Yet the images also invite us to explore certain formal and compositional elements that keep recurring. The second image, for example, emphasises the importance placed in the project upon the connecting of lines, literally of lining up. Within this image the direction and angle of these lines is ‘explained’ by the presence of the two bodies, the makers with their roles of tape in hand. But upon re-reading the other spreads through this lens of ‘connecting lines’ we see that this compositional element starts to attain its own visual logic. Where the lines in image 2 are literally used as devices to connect two (visual) realities, they free themselves from this restricted context in the other images and show us the influence of circumstance and context in allowing for the successful establishing of such a connection.

In Fig. 3 , for instance, we see a collection of lines that have been isolated from the direct context of live communication. The way two parts of a line are manually aligned (in the split-screens in image 2) mirrors the way the images find their position on the page. However, we also see how the visual grammar of these lines of tape is expanded upon: barrier tape that demarcates a working area meets the curve of a small copper fragment on the floor of an installation, a crack in the wall follows the slanted angle of an assembled object, existing marks on the floor—as well as lines in the architecture—come into play. The photographs widen the scale and angle at which the line operates: the line becomes a conceptual form that is no longer merely material tape but also an immaterial graphical element that explores its own argument.

Figure 4 provides us with a pivotal point in this respect: the cables of the mouse, computer and charger introduce a certain fluidity and uncontrolled motion. Similarly, the erratic markings on the paper show that an author is only ever partially in control. The cracked line in the floor is the first line that is created by a negative space, by an absence. This resonates with the black-stained edges of the laser-cut objects, laid out on the desktop. This fourth image thus seems to transform the manifestation of the line yet again; from a simple connecting device into an instrument that is able to cut out shapes, a path that delineates a cut, as opposed to establishing a connection. The circle held up in image 4 is a perfect circular cut. This resonates with the laser-cut objects we see just above it on the desk, but also with the virtual cuts made in the Photoshop image on the right. We can clearly see how a circular cut remains present on the characteristic grey-white chessboard that is virtual emptiness. It is evident that these elements have more than just an aesthetic function in a visual argumentation. They are an integral part of the meaning-making process. They ‘transpose’ on a different level, i.e., the formal and compositional level, the central problem of absence and presence: it is the graphic form of the ‘cut’, as well as the act of cutting itself, that turns one into the other.

Concluding remarks

As we have already argued, within the frame of this comment piece, the scope of the visual essay we present here is inevitably limited. It should be considered as a small exercise in a specific genre of thinking and communicating with images that requires further development. Nonetheless, we hope to have demonstrated the potentialities of the visual essay as a form of meaning-making that allows the articulation of a form of embodied knowledge that supplements other modes of inquiry in the humanities. In this particular case, it allows for the integration of other meaningful, embodied and existential aspects of digital communication, unlikely to be ‘detected’ as such by an (auto)ethnographic, psychological or sociological framework.

The visual essay is an invitation to other researchers in the arts to create their own kind of visual essays in order to address their own work of art or that of others: they can consider their artistic research as a valuable contribution to the exploration of human existence that lies at the core of the humanities. But perhaps it can also inspire scholars in more ‘classical’ domains to introduce artistic research methods to their toolbox, as a way of taking into account the non-conceptual, yet meaningful bodily aspects of human life and human artefacts, this ‘visceral connection to lived experience’, as Johnson puts it.

Obviously, a visual essay runs the risk of being ‘shot by both sides’: artists may scorn the loss of artistic autonomy and ‘exploitation’ of the work of art in the service of scholarship, while academic scholars may be wary of the lack of conceptual and methodological clarity inherent in these artistic forms of embodied, synaesthetic meaning. The visual essay is indeed a bastard genre, the unlawful love (or perhaps more honestly: love/hate) child of academia and the arts. But precisely this hybrid, impure nature of the visual essay allows it to explore unknown ‘conditions and potentials of human life’, precisely because it combines imagination and knowledge. And while this combination may sound like an oxymoron within a scientific, positivistic paradigm, it may in fact indicate the revival, in a new context, of a very ancient alliance. Or as Giorgio Agamben formulates it in Infancy and history: on the destruction of experience (2007 [1978]): ‘Nothing can convey the extent of the change that has taken place in the meaning of experience so much as the resulting reversal of the status of the imagination. For Antiquity, the imagination, which is now expunged from knowledge as ‘unreal’, was the supreme medium of knowledge. As the intermediary between the senses and the intellect, enabling, in phantasy, the union between the sensible form and the potential intellect, it occupies in ancient and medieval culture exactly the same role that our culture assigns to experience. Far from being something unreal, the mundus imaginabilis has its full reality between the mundus sensibilis and the mundus intellegibilis , and is, indeed, the condition of their communication—that is to say, of knowledge’ (Agamben, 2007 , p. 27, italics in original).

And it is precisely this exploration of the mundus imaginabilis that should inspire us to understand artistic research as a valuable form of scholarship in the humanities.

We consider images as a broad category consisting of artefacts of the imagination, the creation of expressive ‘forms’. Images are thus not limited to visual images. For instance, the imagery used in a poem or novel, metaphors in philosophical treatises (‘image-thoughts’), actual sculptures or the imaginary space created by a performance or installation can also be considered as images, just like soundscapes, scenography, architecture.

Agamben G (2007) Infancy and history: on the destruction of experience [trans. L. Heron]. Verso, London/New York, NY

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Illustration Essays Unveiled: A Step-by-Step Guide and Real-Life Examples

Embarking on an illustration essay is akin to taking a practical stride before delving into the complexities of thesis writing. Often hailed as a student's inaugural journey into the joy of discovery, this essay type serves as a foundational task encountered by college students. In this discussion, we will unravel the intricacies of illustration essays, providing a step-by-step guide and illuminating examples to enhance your comprehension.

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An illustration essay is a testament to the existence of a particular phenomenon. Unlike other essay types, it leans heavily on research, employing detailed descriptions and vocal examples to support its points. The essay's thesis takes root in the introduction, flourishing with illustrative examples in the body paragraphs, only to culminate in a conclusive summary in the essay's closure.

Step-by-Step Guide for Crafting Your Illustration Essay

Step 1: Choose a Compelling Topic Select a subject that resonates with you, identifying a central theme to expound upon. Below is a list of illustration essay topics to inspire your creativity.

Step 2: Research Your Chosen Topic Even if you possess an in-depth understanding of your chosen topic, exploring recent news can uncover valuable insights or reshape your perspective.

Step 3: Outline Your Essay Jot down key points and ideas, accumulating a plethora of examples. From this pool, cherry-pick the most potent ones to illuminate your essay. Craft a well-structured essay with an introduction, body paragraphs, and a robust conclusion.

Step 4: Develop Your Content Transform your outline into a polished essay. Construct a robust thesis statement, echo the same idea in your conclusion, and elucidate each chosen example in dedicated paragraphs.

Step 5: Proofread for Perfection Ensure the excellence of your essay by conducting a thorough proofreading. Leverage plagiarism and grammar checks, guaranteeing your essay is well-edited and cohesive.

Step 6: Final Check Give your final draft a comprehensive review before submission. Assure its readability and responsiveness to the questions posed throughout your essay.

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Addressing the Lakeview Department of Transportation, a concerned citizen highlights the perilous intersection of Central Avenue and Lake Street. This citizen emphasizes the urgency of installing safety measures, such as street lights or stop signs, to avert further accidents and loss of lives. Backed by alarming statistics and personal experiences, this plea advocates for swift action to enhance the safety and well-being of Lakeview citizens.

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In conclusion, navigating the realm of illustration essays demands a systematic approach. By following a step-by-step guide and drawing inspiration from real-life examples, you can elevate your understanding of this essay genre. Just as a concerned citizen passionately advocates for safety in Lakeview, mastering the art of illustration essays empowers you to effectively convey your ideas and garner academic success.

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15.3 Illustration Essay

Learning objective.

• Read an example of the illustration rhetorical mode.

Letter to the City

To: Lakeview Department of Transportation

From: A Concerned Citizen

The intersection of Central Avenue and Lake Street is dangerous and demands immediate consideration for the installation of a controlling mechanism. I have lived in Lakeview my entire life, and during that time I have witnessed too many accidents and close calls at that intersection. I would like the Department of Transportation to answer this question: how many lives have to be lost on the corner of Central Avenue and Lake Street before a street light or stop sign is placed there?

Over the past twenty years, the population of Lakeview has increased dramatically. This population growth has put tremendous pressure on the city’s roadways, especially Central Avenue and its intersecting streets. At the intersection of Central Avenue and Lake Street it is easy to see how serious this problem is. For example, when I try to cross Central Avenue as a pedestrian, I frequently wait over ten minutes for the cars to clear, and even then I must rush to the median. I will then have to continue to wait until I can finally run to the other side of the street. On one hand, even as a physically fit adult, I can run only with significant effort and care. Expecting a senior citizen or a child to cross this street, on the other hand, is extremely dangerous and irresponsible. Does the city have any plans to do anything about this?

Recent data show that the intersection of Central Avenue and Lake Street has been especially dangerous. According to the city’s own statistics, three fatalities occurred at that intersection in the past year alone. Over the past five years, the intersection witnessed fourteen car accidents, five of which were fatal. These numbers officially qualify the intersection as the most fatal and dangerous in the entire state. It should go without saying that fatalities and accidents are not the clearest way of measuring the severity of this situation because for each accident that happens, countless other close calls never contribute to city data. I hope you will agree that these numbers alone are sufficient evidence that the intersection at Central Avenue and Lake Street is hazardous and demands immediate attention.

Nearly all accidents mentioned are caused by vehicles trying to cross Central Avenue while driving on Lake Street. I think the City of Lakeview should consider placing a traffic light there to control the traffic going both ways. While I do not have access to any resources or data that can show precisely how much a traffic light can improve the intersection, I think you will agree that a controlled busy intersection is much safer than an uncontrolled one. Therefore, at a minimum, the city must consider making the intersection a four-way stop.

Each day that goes by without attention to this issue is a lost opportunity to save lives and make the community a safer, more enjoyable place to live. Because the safety of citizens is the priority of every government, I can only expect that the Department of Transportation and the City of Lakeview will act on this matter immediately. For the safety and well-being of Lakeview citizens, please do not let bureaucracy or money impede this urgent project.

A Concerned Citizen

Online Illustration Essay Alternatives

Lewis Thomas provides several illustrative examples in On Natural Death :

• http://thefloatinglibrary.com/2009/03/05/on-natural-death-lewis-thomas

Jessica Bennett, a senior writer for Newsweek , offers an example of an illustration essay when she presents The Flip Side of Internet Fame :

• http://www.newsweek.com/2008/02/21/the-flip-side-of-internet-fame.html

Writing for Success Copyright © 2015 by University of Minnesota is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Perfect your drawing and painting skills, develop your artistic style, and unleash your visual creativity in Ringling College of Art and Design’s nationally-acclaimed Illustration major , in Sarasota, Florida. Our students win awards, scholarships, and kick start their careers in illustration at industry giants across the globe.  Apply now!

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Founded in 1947, the School of Visual Arts (SVA) began as the Cartoonists and Illustrators school with just three teachers and 35 students—most of whom were World War II Veterans. Today, SVA serves 7,000 students enrolled in 31 programs. Offerings for aspiring illustrators include a BFA in Illustration and an MFA in Illustration as Visual Essay. A BFA in Cartooning is also available.

SVA has the largest illustration faculty of any school in America. In addition to employing 69 faculty members, the SVA Illustration Department serves 473 students enrolled in more than 75 courses.

The BFA curriculum consists of 120 credit hours of study) 72 in studio, 30 in humanities and sciences, 15 in art history, and three in elective courses. Course highlights for the program include Bookmaking and Linocut Inventions, Digital Coloring for Cartoonists, Digital Workshop: Music to Your Eyes, Experimental Animation, Fur, Feathers and Scales: Animal Anatomy, Introduction to Puppetry, Photocopy Zines, Pictorial Problems, Realistic and Fantastical Digital Painting, Storyboarding for Animation, and The Gouache Experience.

Students will also complete a number of seminars and workshops, Professional Practice: Illustration, and several Illustration Portfolio courses.

SVA students have landed assignments for The New Yorker , The New York Press , Mad Magazine , and The Village Voice— all before graduating from the program. Students are also frequent winners of the highest awards at the Society of Illustrators, American Illustration, and many other industry-based student competitions.

Established in 1984, the MFA in Illustration as Visual Essay is a competitive program that accepts just 20 students per year. Students in the program can expect to complete requirements in Computer Illustration, Creative Writing, Drawing, Painting, Storytelling, and Visual Essay. Students will also complete a number of workshops, an Illustration Business Book Camp, and the course Thesis Project: Visual Essay.

Other highlights for the two-year program include close interaction with faculty, a personal workspace with 24/7 access, and the opportunity to audit classes in animation, film, fine arts and humanities. The program also hosts regularly scheduled guest speakers from the New York professional arts community. Access to working artists, gallery shows, museum exhibitions, and internships are also available.

Graduates of SVA’s Illustration Department have gone on to work on films such as Sleepy Hollow and for designers such as Prada and Van’s.

Founded in 1930, ArtCenter College of Design sits on a hillside campus that consists of 165 wooded acres and a sprawling modernist steel-and-glass structure. The school also has campuses in downtown Pasadena and Los Angeles, and satellite studios in Petersen Automotive Museum (Miracle Mile, Los Angeles) and Berlin, Germany.

Serving approximately 2,335 students, ArtCenter offers 11 undergraduate and seven graduate degree programs in a variety of Applied Arts, Industrial Design, and Visual disciplines. The Industrial Design Program offers a joint MS/MBA in partnership with the Drucker School of Management. Programs for aspiring illustrators include a BFA in Illustration and an Interdisciplinary MFA.

The BFA curriculum “encompasses a wide range of core studies and collaborations with other disciplines that equips students with strong practical skills, as well as substantial business knowledge,” says the school. “After mastering foundations skills such as figure drawing, painting and perspective, students choose from five main areas of specialization: Illustration Design, Illustration/Fine Art, Entertainment Arts, Motion Design and Surface Design.”

Course highlights include Children’s Book Illustration, Composition and Drawing, Digital Illustration, Drawing Projects, Head and Hands Materials of Art and Design, Illustration Design Lab, Illustration Storytelling, and Sketching for Illustration. Students will also take Business and Professional Practices, Notorious or Application Studio, and several Portfolio Design Lab courses.

Graduates of the program have been hired by ArtCenter industry partners such as Apple, Blizzard, DreamWorks, Google, Mattel, Walt Disney, and more.

Notable Illustration alumni include Drew Struzan, Movie Poster Illustrator for Harry Potter, Indiana Jones , the Muppets , Star Wars and others; Mark “Crash” McCreery Creature Designer/Concept Designer for Batman Returns , Jurassic Park , Pirates of the Caribbean: The Curse of the Black Pearl ; Phil Hettema, Experiential Designer for The Amazing Adventures of Spider Man, Jurassic Park: The Ride, and Hello Kitty Park; and Rockstar Mike Shinoda of Linkin Park.

Founded in 1877, Rhode Island School of Design (RISD) is one of the first art and design schools in the U.S. Serving approximately 2,500 students from across the U.S. and 57 other countries, the school has 19 studio majors and leading to bachelor’s or master’s degrees in the Fine Arts, Architecture, Design or Art Education. The school’s most popular programs are Illustration, Film/Animation/Video (FAV), Graphic Design, Industrial Design, and Painting.  

Offered through the Illustration Department, the BFA in Illustration is RISD’s largest major. Like all RISD students, Illustration students will take first-year studios in Experimental and Foundation Studies, followed by a major course of study in a specific Fine Arts or Design discipline beginning sophomore year. “Rigorous courses in Liberal Arts enrich studio learning,” says the school. “Undergraduate students have the option of building on their degree programs to concentrate in one of six additional areas of study beyond a studio major. Concentrations at RISD are similar to “minors” at other colleges and universities. Totally optional, they offer important context and perspective while enriching the overall educational experience both in and beyond the studio.”

Other program highlights include access to computer resources, printmaking studios, software such as AfterEffects, InDesign and Maya, a full roster of visiting artists and art directors, access to ISB Gallery, which hosts a mix of student or curriculum related exhibitions throughout the academic year, and professionals from across the country who offer feedback through annual portfolio reviews.

Course highlights for the program include Advanced Painting, Animalia, Cinematic Storytelling, Digital 3D for Illustrators, Dragon Concept & Character Development, In 3-d Mixed Media, Fantasy Painting: The Stuff That Dreams Are Made Of, Style & Substance, Merging Worlds, The Magic of Books, Virtual Reality for Palliative Care, Visible Cities, and Word, Images and Ideas. Students will take workshops such as Maya Basics, Pigments & Emulsions, and Zbrush Sculpting and Illustration as well.

Graduates of the art and design programs at RISD work as entrepreneurs or creative professionals at studios such as DreamWorks, Harmonix, and Pixar, and for networks like Fox, HBO, and PBS. Notable RISD graduates include Daniel Sousa, Animator and Director of the Oscar-nominated film Feral, Lance Wilder, Animator for The Simpsons , and Seth Macfarlane, Creator of Family Guy .

Ringling College of Art and Design (RCAD) was founded in 1931 by Dr. Ludd M. Spivey, president of Southern College (now Florida Southern College) and circus baron, John Ringling. When it opened, the school had just 75 students and 111 course offerings. Today, RCAD serves more than 1,600 students from 45 states, 60 countries, Washington D.C., and Puerto Rico.

This private, not-for-profit college offers BFA degrees in eleven disciplines and BA degrees in two. Students in all programs benefit from RCAD’s “rigorous curriculum” that the school says “employs the studio model of teaching and immediately engages students through a comprehensive program that is both specific to the major of study and focused on the liberal arts.” Students also benefit from visiting artists from major studios such as DreamWorks and Blue Sky Studios, focused internship opportunities, and the chance to work with local businesses on real-world projects.

Program options for aspiring illustrators include a BFA in Illustration with a General Illustration or Visual Development Emphasis. The General Illustration Emphasis covers the fundamentals of color theory, composition, anatomy, and digital and traditional media. Offered in the Illustration Department, the program introduces and familiarizes students with professional industry techniques through exercises, demonstrations, guest speakers, critiques, collaborative projects, internships, recruiter workshops, and interactions with real clients in the area.

The Visual Development Emphasis “focuses on concept art, used by illustrators to convey ideas across the entertainment spectrum in industries including gaming, comics, and graphic novels, film, television (live-action and animated), video, toy design, themed entertainment, publishing, and advertising,” says the school. “Students will learn to visualize and create the art for characters and environments that is later used by modelers, animators, designers, visual effects artists, and other creatives to bring the ideas to life through production.”

Course highlights for the General Illustration Emphasis include 3D Design for IL, Advanced Illustration, Design & Typography, Digital Illustration, Figure Anatomy, Illustration Media, Professional Practices, and Visual Development I-IV. Course highlights for the Visual Development Emphasis include 2D Design, Development of Art and Ideas, Film & Narrative, Professional Practices, Visual Development I-IV, and Writing Studio.

Other highlights for the programs include the opportunity to enter a semester-long exchange program or a four-five week summer program at Studio Arts Center International (SACI), located in Florence, Italy, internship opportunities at major companies such as Abercrombie & Fitch, Blue Sky Studios, Disney, Hasbro, and Pixar, and participation in The Annual Illustration show , Illest of the Ill —a department juried exhibition curated and coordinated entirely by students.

Students in the programs also have access to two Cintiq labs solely for Illustration, access to three 24-hour Cintiq labs, painting and drawing studios, and a laptop for every student, fully equipped with the latest Adobe Creative Suite software.

Ringling College students have won more wards in the 40-year history of the Society of Illustrators than any other college, and comprise the highest number of accepted entries into the Society’s annual Student Scholarship Competition. Graduates leave the programs with a “comprehensive, cohesive portfolio” that showcases their work.  

Employment opportunities include Advertising Illustration, Animation, Children’s Books, Editorial (book cover art, magazine, and newspaper), Interactive Web Illustration, Medical Manuals, Surface Design for Fashion, Medical Manuals, Technical Art, and Visual Effects.

Graduates of the programs have been hired by American Greetings, Apple, Blue Sky Studios, Cartoon Network, Disney, EA Games, GM, Google, Hallmark, Marvel Comics/Lucasfilm, Riot Games, United Airlines, Walt Disney, Zynga, and many others.

Savannah College of Art and Design (SCAD) was founded in 1978. In addition to the main campus in Savannah, SCAD has locations in Atlanta, Hong Kong, and Lacoste, France. Serving more than 14,000 students from all 50 states and more than 100 countries, the school offers more degree programs and specializations than any other art and design university. SCAD also offers plenty of opportunities to study art and design at domestic and international locations.

Offered through the School of Communication Arts SCAD offers a BA in Visual Communication with a Concentration in Illustration (Atlanta, Savannah), a BFA in Illustration (Atlanta, Hong Kong, Savannah), an MA in Illustration (Atlanta, Savannah, eLearning), and an MFA in Illustration (Atlanta, Savannah, eLearning). Minors include Animated illustration and Publication Design, Scientific Illustration, Illustration for Entertainment, and Illustration for Surface Design. Related degrees include a BFA in Sequential Art (Atlanta, Hong Kong, Savannah).

The Animated Illustration and Publication Design Minor is offered at the Atlanta, Hong Kong, and Savannah campuses. All other Minors are offered at the Savannah campus only. Minor programs are 25 hours and include courses such as Digital Illustration, Illustrative Anatomy and Perspective, Imaginative Illustration: Character Refinement, and Type and Image for Illustrators.

Students in SCAD’s Illustration degree programs will learn to create “fine-art drawings, bringing ideas, characters and personalities to life using both traditional and digital techniques,” says the school. Students will work in a “professional environment through a program structured like a working studio,” and they will “develop a personal style and technique, learning to express their own unique vision while forming a well-rounded perspective on design.”

Students in all programs have the opportunity to study outside of their main discipline by taking courses in Advertising, Graphic Design, Motion Media, Printmaking, and Sequential Art. Course highlights include Contextual Character Design, Directed Projects in Illustration, lllustrating Beyond the Page: The Narrative Experience, Illustration Business Strategies and Entrepreneurship, Illustration Markets, Illustration for Publications, and Materials and Techniques.

The BFA in Illustration has four Concentration options including Animated Illustration and Publication Design, Concept Design for Animation and Games, Illustration for Games, and Illustration for Surface Design. Each Concentration requires four courses, and students have the opportunity to choose from 10 elective hours to enhance their focus.

Graduates of the Illustration Programs at SCAD are prepared to take on careers such as Advertising Illustrator, Animation Character Designer, Art Director, Book Illustrator, Editorial Illustrator, Illustrator for Entertainment Design, Illustrator for Game Design, Storyboard Artist, and Surface Design Illustrator. Graduates have been recruited by A&E, Bento Box Entertainment, Comedy Central, Converse, Game Informer, ImagineFX, Revolver Studios, The New York Times, and Walt Disney Imagineering.

Pratt Institute (Pratt) prepares its nearly 5,000 students for careers in Architecture, Art, Design, Information Science and Liberal Arts, and Liberal Arts and Sciences. Founded in 1887 and situated in the historic Clinton Hill section of Brooklyn, New York, the school, which offers more than 25 undergraduate degree programs and concentrations along with more than 26 graduate degree programs, has additional campuses in Manhattan and Utica, New York. At the main campus in Brooklyn, students are enrolled in programs in the schools of Architecture, Art, Design, and Liberal Arts and Sciences.

Founded in 2014, the School of Design offers “up to four of Pratt’s oldest and most esteemed disciplines,” says the school. This includes Communications Design, Fashion Design, Industrial Design, and Interior Design. Options for aspiring illustrators include a BFA in Communications Design with an Illustration Emphasis and AOS and AAS degrees in Illustration, and an AAS in Graphic/Illustration offered in the School of Art.

The school says students who select the BFA with an illustration Emphasis “take a series of upper-level studio courses that explore topics particularly relevant to image-based communication such as advanced storytelling, socio-political commentary and authorship. Courses throughout the major encourage experimentation with multiple technologies, platforms and techniques.”

A variety of unique electives “provide opportunities to explore a wide spectrum of contemporary illustration practice including graphic novels, animation and 3D modeling, independent publishing, editorial illustration, children’s books, concept art and illustrated typography.”

The AOS in Illustration is a career-oriented track, which prepares students for careers in the Art and Design professions. The AAS in Illustration is transfer-oriented track, which positions graduates to transfer directly into the junior year of the Pratt BFA Programs in Fine Arts or Communication Design. The AAS in Graphic Design/Illustration follows an art and design curriculum that includes a liberal arts component that prepares students to transfer to Pratt’s BFA in Communications Design or the Fine Arts Department.

Upon completion of the program, BFA graduates are prepared to seek positions in a variety of industries or they may enroll in Pratt Institute’s Graduate School of Arts, which offers an MFA.

Pratt Institute alumni have landed positions at major studios such as Blue Sky, Cartoon Network Studios, Curious Pictures, Digital Domain, DreamWorks Studios, Gameloft, Industrial Light & Magic, Rhythm and Hues, Sony Imageworks, Walt Disney Animation Studios, and more.

Founded in 1826, Maryland Institute College of Art (MICA) is the nation’s oldest independent, continuously degree-granting college of art and design. The College enrolls nearly 3,500 students from just about every state 50+ countries and it attracts more than 175 visiting art historians, critics, designers, poets, and writers from around the world each year.

MICA offers around 80 programs leading to the BFA, MA, MFA, or MPS degree. Study areas include art education, design, electronic media, fine arts, liberal arts, and professional studies. A number of post-baccalaureate certificate programs are also offered.

Undergraduate programs for aspiring illustrators include a BFA in Illustration with Concentrations in Book Arts, Illustration + Humanistic Studies, Sequential Art, and Studio. Interdisciplinary options for Specialized Study include Studio Concentrations in Animation, Book Arts, Graphic Design, and Printmaking. In addition to first-year and liberal arts requirements, undergraduates will complete 54 credit hours in illustration. Course highlights include Illustration I & II, Life Drawing, Studio Drawing, and Professional Development. 

“Seniors are mentored in two semesters of portfolio building work in Senior Illustration I and II to prepare a solid body of work in order to become professional illustrators,” says the School. “Professional Development for Illustrators includes portfolio preparation, business practice, intellectual property, and copyright issues.”

Graduate programs include an MA in Illustration and an MFA in Illustration Practice. The MA is a one-year program for students interested in a career in illustration or in refining their existing illustration practice. The degree culminates in independent work in the form of a capstone portfolio project, exhibition, and review panel. The MFA is a two-year program that attracts “experienced illustrators, advanced students from related disciplines, including writing, design, animation, film, digital media, etc., and students with a cultivated passion for illustration in all its forms.”

Students in the program will develop an independent, second-year thesis project using a medium appropriate to their personal direction and emerging illustration markets, including an exhibition and accompanying case study book.

Graduates of the Illustration Programs at MICA have gone on to land positions as Author and Illustrator of "Nimona," Book Illustrator, Brand Illustrator for Uber, Illustrator and Comic Artist for Random House, and many others. MICA alumni have also continued their education in graduate programs or have successful careers as Freelance Illustrators or with their own studios.

California College of the Arts (CCA) is a private nonprofit institution founded in 1907 by German-born cabinetmaker and art teacher Frederick Heinrich Wilhelm Meyer. The school opened as the California Guild of Arts and Crafts with just three teachers and 43 students. Today, some 100 full-time and 400 part-time faculty members serve 1,850 students from more than 40 states and nearly 50 countries.

Degree options at CCA include 22 undergraduate and 11 graduate programs. This includes a BFA in Illustration and MFA programs in Comics, Fine Arts, and more. A BFA in an Individualized Major is also available.

The BFA in Illustration is taught by “Award-Winning Illustrators” and “digital innovators using the latest technology,” says the school. The curriculum is interdisciplinary, which allows students to explore courses outside the program such as Animation, Creative Writing, Fine-Art Painting, Graphic Design, and Printmaking. The program also provides the opportunity for students to develop as entrepreneurs through courses such as Portfolio, Professional Practice, and Thesis.

Other course highlights include 2D, 3D & 4D, Illustration Studios 1-3, Illustration Tools: Digital Illustration, Illustration Tools: Painting for Illustrators, Literary & Performing Arts Studies, Media History: History of Illustration, and Visual Studies. 

Thanks to the Illustration Program’s “position within a top art and design college” students have “access to cutting-edge software and digital tools, print and painting studios, shops, labs, and a community of thinkers and makers eager to collaborate.”

Graduates of the CCA’s Illustration Program are prepared to pursue positions at magazines, for the entertainment industry, and for books, comics, packaging, posters, products, websites, and more.

The New School was founded in 1896 by American Impressionist William Merritt Chase. Back then, the school was known as The Chase School. In 1904, Arts Educator Frank Alvah Parsons joined the school, later becoming its sole director. Between 1904 and 1910, parsons launched Advertising, Costume Design Interior Decorating Programs.

Today, known as The New School/Parsons (or just Parsons), this art and design college serves 5,100 students enrolled in 130 degree and diploma programs across five schools including the Schools of Art and Design History and Theory (ADHT); Art, Media, and Technology (AMT); Constructed Environments; Design Strategies; and the School of Fashion.

The School of AMT offers a BFA in Illustration that prepares students to work in a range of areas including Animation, Editorial and Advertising Illustration, Graphic Novels, Hand Lettering, Picture Books, Surface and Display Design, and Toy Designs. Course highlights include Drawing/Imaging (Studio), Space/Materiality (Studio), and Time (Studio), and others such as Intro to Visual Culture: Recitation, Language and Letterform, and Objects as History.

Program highlights include the opportunity to work with peers in Collaboration Studio courses and other projects, internships with Parson partners such as AIGA, Apple, Eyebeam, and Red Cross, access to events such as Comic Arts Brooklyn, MoCCA Fest, and more, and the opportunity to connect with New York–based professional organizations such as American Illustration and the Society of Illustrators.

Otis College of Art and Design (OTIS) was established in 1918 by General Harrison Gray Otis—founder and publisher of the Los Angeles Times. The school, which serves approximately 1,100 full-time students, is a private nonprofit institution and national leader in art and design education. “Alumni and faculty are Fulbright, MacArthur, and Guggenheim grant recipients, Oscar awardees, legendary costume designers, leaders of contemporary art movements, entrepreneurs, and design stars at Apple, Abercrombie & Fitch, Pixar, DreamWorks, Mattel, Nike, and Disney,” says the school.

OTIS offers 11 BFA degree programs including Architecture/Landscape/Interiors, Digital Media (Animation, Game and Entertainment Design, and Motion Design), Fashion Design, Communication Arts (Graphic Design, and Illustration), Fine Arts (Painting, Photography, and Sculpture/New Genres), Product Design, and Toy Design. The school also awards an MFA degree in Fine Arts, Graphic Design, Public Practice, and Writing, and a variety of Minors and Certificate Programs are available.

Specific programs for aspiring illustrators are offered through the Communication Arts Department. Options include a BFA and a Minor in Illustration. Program highlights include conventions, field trips, student exhibitions, and visiting artists. Students can expect to take foundation courses such as Connections Through Color and Design, Drawing Studio, Form and Space, Introduction to Visual Culture, and Writing in the Digital Age.

Illustration course highlights include Advanced Illustrative Applications, Alternative Materials and Procedures for Illustrators, Entrepreneur 101, Illustration Communication Studio I-IV, and Typography for Illustrators. Students will also take Entrepreneur 101, Practicum I-III, Senior Project/Seminar, and Senior Thesis/Research Paper. A Capstone course is the signature course and culminating expression of the Liberal Arts Program.

Graduates of the Illustration Program at OTIS have been hired at Conde Nast Publications, Disney Consumer Products, Hallmark, Interscope Records, Los Angeles Magazine, Mattel, Ogilvy Worldwide, Sony Music, Twentieth Century Fox, WB Network, Young & Rubicam, and more.  

Fashion Institute of Technology (FIT) opened in 1944 with just 100 students on the top two floors of the High School of Needles Trades. Today, as part of the State University of New York (SUNY) System, FIT spans an entire city block and serves more than 10,000 students enrolled in a variety of programs. Just a few include Cosmetics and Fragrance Marketing, and Menswear, which are unique to the college, and Fashion Business Management, Visual Presentation and Exhibition Design, and Toy Design, the first of their kind in the country.

Programs are offered in five academic divisions including the Schools of Art and Design, Liberal Arts, and Graduate Studies, Jay and Patty Baker School of Business and Technology, and the Center for Continuing and Professional Studies.

The School of Art and Design offers 17 programs that provide “a practical, hands-on, real world based education,” says the school. Serving approximately 3,322 students, the School of Art and Design houses the Illustration Department, which offers AAS, BFA, and MFA Illustration programs.

Department highlights include a close affiliation with the Society of Illustrators—the industry's top professional organization, 50 award wins by students in highly competitive student art exhibitions, including the prestigious Society of Illustrators Annual Scholarship Competition, and the mentoring by art directors or illustrators who analyze students’ work and offer professional advice and support.

Students will learn the business of illustration and they are required to take a nine-course selection of computer classes (unique to FIT) that will keep them up-to-date in the skills many employers require. Students will also have the option to specialize in either Fashion or General Illustration. An optional Study Abroad course in Italy is also available.

Other course highlights include 2D Computer Animation, Advanced Visual Story Studio, Applying Color to Illustrate the Written Word, Book Illustration, Comic Book Illustration, Digital Illustration Techniques, Illustration Rendering Techniques, Illustrating the Written Word, Mentor/Specialization Projects, Stylistic Illustration, The Business of Illustration, The Illustrator’s Heritage, and Visual Storytelling for Evolving Media I-II.

The Illustration Portfolio Thesis is a final preparation for students entering the illustration business. This three-credit, six lab hours course highlights guest speakers from industry that provide students with insight into business practices, entrepreneurial strategies, and freelance and staff employment. Students present and defend their visual thesis before faculty and peers.

FIT Illustration graduates have gone on to build successful careers at Advertising Agencies such as BBDO, DDB, J. Walter Thompson, Ogilvy & Mather, and Young & Rubicam, and at corporations such as American Greetings and Hallmark, Magazines such as Harper’s Bazaar and Vogue , and entertainment companies such as DreamWorks SKG, LucasArts Entertainment, Walt Disney, and Warner Brothers.

Established in 1886, Minneapolis College of Art and Design (MCAD) sits on a three-acre campus that shares a block with the Minneapolis Institute of Art—home to more than 90,000 works of art representing 5,000 years of world history. MCADs more than 800 students have access to creative spaces/classrooms, professional facilities, galleries, student housing complexes, artist studios, and a sculpture garden.

Student also have access to 23 art and design degree programs and undergraduate minors. Degree programs lead to the BFA, BS, MA, or MFA. Program options for aspiring illustrators include BFAs in Illustration or Comic Art.

The BFA in Illustration begins with foundation classes to help develop technical skills and work ethic and progresses to courses that build both conceptual and technical illustration skills. Course highlights include Children’s Book, Digital Illustration, Editorial Illustration, Foundation 2D and 3D, and Illustration and Products.

In the junior and senior years of the program, students will gain real-world experience through a required internship. They will also have the opportunity to study abroad or elsewhere in the U.S., participate in the Emerging Talent Showcase, and share their work with potential employers. Students will “develop and complete a semester-long project to culminate in the Commencement Exhibition,” says the school. The exhibition showcases the work of MCAD graduates.

Comic Art students will experiment with conventional and experimental aspects of comic storytelling, gain foundational skills in a variety of creative media, explore traditional and digital comic formats, and acquire the skills and knowledge for a professional career in comics. Students in this program will also benefit from MCADs required internship and study abroad opportunities.

Over 93% of MCAD alumni are working and more than half (57.1%) are working in their field. Potential careers include Advertising Illustrator, Book Illustrator (one MCAD alum is an illustrator for all of the American Harry Potter books), Children’s Book Illustrator, Comic Illustrator, Concept Artist, Courtroom Illustrator, Editorial Illustrator, Fashion Illustrator, Fine Artist, Freelance Illustrator, Illustration Agent or Representative, Medical or Technical Illustrator, Surface Designer, and many others.

Massachusetts College of Art and Design (MassArt) began as Massachusetts Normal School in 1873. Today, the college is known as “the Commonwealth’s Art and Design School.”

MassArt serves 2,000 undergraduate, graduate, and continuing education students enrolled in dozens of programs in areas such as Animation, Film and Video, Glass, Illustration, Industrial Design, Painting, Printmaking, and Sculpture. Programs lead to the BFA, MFA, MDES, MAT, or MArch.

The Illustration Department at MassArt offers a BFA in Illustration that “emphasizes the understanding of character development and narrative techniques,” says the school. Students in the program take a variety of Illustration and Liberal Arts courses taught by instructors who are freelance illustrators or illustrators who have their own businesses.

Liberal Arts course highlights include Introduction to Western Art, Literature/Writing/Film, and Thinking, Making, Writing: Using Words with Clarity and Flair. Major course highlights include Advanced Drawing Projects for Illustrators, Black and White Illustration, Book Arts, Color for Illustrators, Digital Illustration, Digital Painting and Techniques, Experimental Illustration Techniques, Human Figure Illustration, Media Techniques, Narrative Illustration, Painting for Illustrators, Professional Illustration, Studio for Drawing, Technical Illustration, Virtual 3D Illustration, and Word and Image.

A Course Assistantship, Independent Study, Professional Freelance Studio, and an Internship are also part of the program.

During the final year of the program, students will complete Illustration Portfolio, Senior Illustration, Studio Electives, and the Thesis Project. Students will present their Portfolio to invited professionals from advertising, corporate, editorial, institutional, and publishing markets.

Columbus College of Art and Design (CCAD) was established in 1879 as Columbus Art School. Famous visitors to the campus during the school’s early years through the 1930s include American artist Georgia O’Keefe, First Lady Lucy Hayes, and Writer Oscar Wilde. One of the oldest private art and design colleges in the United States, CCAD graduated its first class in 1885 and later added programs such as Advertising, Illustration, and Industrial Design. By 1970, CCAD had produced its first class of BFA graduates.

Today, Columbus College of Art and Design serves more than 1,300 students enrolled in dozens of degree programs, concentrations, and minors. Programs for aspiring illustrators include a BFA in Illustration and an Illustration Minor. Students can add any 15 credit Minor to the program and/or any Concentration. Just a few Minor options include Advertising & Graphic Design, Animation 2D or 3D, Comics & Narrative Practice, Copywriting, Film & Video, Photography, and Social Practice.

Concentrations include Animation/Experimental, Animation/Game, Fine Arts/Ceramics, Fine Arts/Drawing, Fine Arts/Glass, Fine Arts/Jewelry, Fine Arts/Painting, Fine Arts/Printmaking, Fine Arts/Sculpture, Illustration/Entertainment Design/Drawing, Illustration/Entertainment Design/Modeling, and Illustration/Illustrative Design.

Illustration students will “master the latest technology, study under industry leaders, and go on to create beautiful works that tell stories through printed books, motion graphics, or fabric patterns,” says the school. Students will also “grow as creatives in a school and city that embrace comics, through class projects such as Spitball , which pairs artists with professional writers, and Cartoon Crossroads Columbus, which brings together cartoon storytellers, comic makers, and animators for professional panels, lectures, and more.”

Course highlights for the 120 credit hour BFA program include Character and Environmental Design, Digital Design Lab, Digital Media Illustration, Digital Sculpting, Illustration Markets, Illustration Self Promotion, Illustrative Figure Drawing, Motion Illustration, and Traditional Media Illustration. During the final year of the program, BFA students will complete the Illustration Portfolio Project and Illustration Capstone.

CCAD BFA graduates have gone on to a variety of position and fields including Advertising Graphics Designer, Apparel Graphics Designer, Book Illustrator, Character and Asset Designer, Designer for Web and Mobile, Editorial Illustrator, Film Effects Creator, Fine Artist, Freelance Illustrator, Greeting Card Designer, Newspaper Graphic Artist, Poster Artist, Product and Toy Designer, and Video Game Designer.

Companies that have hired CCAD graduates include American Greetings, Cartoon Network, CBS News, DC Comics, Disney Consumer Products, DreamWorks, Hallmark, Hasbro, Marvel Comics, Ogilvy & Mather, Pixar, Sony Pictures, The Wall Street Journal, and many others.

The College for Creative Studies (CCS) traces its roots back to 1906 when a group of local civic leaders formed the Detroit Society of Arts and Crafts. The Society members began teaching informal classes in basic design, drawing and woodcarving and in 1911, and they opened a gallery where students and prominent modern artists could display and sell their work.

In 1926, as the Art School of the Detroit Society of Arts and Crafts, the Society became one of the first arts and crafts organizations to offer a formal, four-year program in art, with an enrollment of 280 students. Today, CCS is a private, fully accredited college that offers BFA and MFA degrees to more than 1,400 students.

Programs for aspiring illustrators are offered through the Illustration Department. Options include a BFA and a Minor in Illustration. The Minor is 15 credit hours, including nine credits of illustration electives. Students will choose credits from the BFA Program.

The BFA curriculum “emphasizes the fundamentals of image making, visual language and visual storytelling and teaches how to translate various traditional media into digital illustration,” says the school. Course highlights include 2D Design, 2D and 3D Techniques, Anatomical Figure Illustration, Beyond the Portfolio, Concepts & Methods/Visual Culture, Creative Perspective, Digital Fundamentals, Figure Illustration, Future Illustration Media, Illustration Intensive, Illustration Techniques, Junior Illustration Studio, and Visual Narration.

Other BFA program highlights include access to a large network of key industry players via alumni, sponsored projects and a faculty of freelance illustrators, creative directors, art directors and concept and storyboard artists. Students also have the opportunity to complete an internship. Previous internships include Anthropologie, Cartoon Network, Diane von Furstenberg, Disney Consumer, Fisher Price, Insomniac Games, Mattel, Spark, WJBK Fox 2 News, and others.

Students will graduate from the BFA program with experience in traditional methods of illustration, newer digital trends, and with “the understanding of how traditional media translates into the digital illustration workflow process” known as “tradigital.” Career options include Advertising, Illustration, Children’s Book Illustrator, Comic Book Artist, Creative Director, Digital Compositor, Editorial Illustrator, Graphic Novel Illustrator, Illustrator for Video Games/Film,  Motion Illustrator/Designer, Multimedia Designer, Storyboard Artist, Visual Artist, Visual Development Illustrator, Web Designer, and many others.

Graduates of the BFA program may also enroll in any of CCA’s MFA Programs in Color and Materials Design, Interaction Design, Systems Design Thinking (formerly Integrated Design), and Transportation Design.

Kansas City Art Institute (KCAI) was established in 1885 as a Sketch Club. Today, the school serves nearly 700 students, enrolled in 13 BFA programs with courses taught by practicing artists, designers, and scholars. The Department of Illustration houses the school’s BFA in Illustration Program.

Program highlights include mandatory collaborative assignments, studio and classroom technology that prepares “students for diverse areas of professional practice,” says the school, and the opportunity to “work in digital and analog environments designed to facilitate creativity and interdisciplinary approaches to image making.” To enhance the degree, students may also double major in Creative Writing and Illustration. A mandatory internship is also part of the program.

KCAI Illustration students have interned at the Nelson-Atkins Museum of Art, the American Jazz Museum, The Kansas City Star, Porter Teleo design firm, Boulevard Brewing Company, and other noted businesses in the area.

Courses for the BFA in Illustration Program are taught by Department faculty members who are all “practicing professionals working in the four corners of the illustration field,” including Advertising, Editorial, Institutional and Publishing. Course highlights include Analytical Drawing Systems, Covers and Pages Graphic Form for Illustrators, Illustration Professional Practice, Mechanical Perception, Paper and Ink, Sketchbook: The Cultural Safari, and US: Collaboration, Teamwork and Flexibility.

Students will also complete a several studio courses each year during the sophomore thru senior years. Studios include Sophomore Studio: Organic Perceptions, Sophomore Studio: Image and Form, Junior Studio: Conceptual Problem Solving, Junior Studio: Exploring Narrative Image, Senior Studio: Image and Thesis, and Senior Studio: Image Thesis II.

Potential job opportunities for Graduates of the KCAI Illustration BFA Program include Advertising, Children’s Books, Comic Books, Computer Gaming, Digital Animation, Editorial Illustration, Greeting Cards, Fashion Illustration, Graphic Novels, Magazine and Book Illustration, Movie and Music Posters, Product Design/Branding, Web Design, and more.

Recent graduates can be found working at American Greetings, Hallmark, MTV, Nickelodeon, Nike, and many others. Their work has been featured in many publications such as The New York Times , Wired , and Women’s Day , and numerous children’s books. Some graduates have won awards in publications such as American Illustration, Communication Arts , Print , and the Society of Illustrators .

Virginia Commonwealth University (VCU) was established in 1838 as the medical department of Hampden-Sydney College. This public research university serves around 31,100 students enrolled in more than 200 programs in 13 schools and one college.

The School of Arts (VCUarts) serves more than 3,000 students and it houses 16 departments and programs offering 18 bachelor’s and five master’s degrees. The VCUarts Department of Communication Arts houses the VCUarts Illustration Program. Several options are available: a BFA in Communication Arts OR Communication Arts with a Concentration in Scientific Illustration, and a Minor in Scientific Illustration.

The Minor is 21 credit hours and acceptance to this unique program is based on a portfolio and application review. The BFA in Communication Arts prepares students for careers in illustration for print or digital publishing, comic book art, or a scientific illustration. The program consists of many new and elective courses “designed to reinforce and expand the drawing, design, and illustration components of the curriculum,” says the school. Students will have the opportunity to develop a variety of projects in illustration and complete an internship and/or study abroad experience.

Course highlights for the program include 3D Modeling for Concept Design, Color Theory, Game Design, Theory and Practice, Imagery for Children, Imagery for Science Fiction and Fantasy, and The Figure in Illustration. Program alumni are 3D Modelers and Animators, Editorial Illustrators, Fine Artists, Game Designers, and Interactive Media Designers. 

The BFA in Communication Arts with a Concentration in Scientific Illustration requires 32 credits in the biological sciences and chemistry, in addition to communication major and illustration courses. Students in the program will also have the opportunity to complete an internship and/or study abroad experience. Course highlights include 3D Modeling, Basic Human Anatomy, Digital Drawing, Drawing Studies: The Figure Observed, Environmental Science, General Chemistry, Mixed-Media Illustration, and Scientific Illustration. Program alumni are 3D Modelers and Animators, Concept Artists, Scientific Illustrators, and more.

Syracuse University (SU) established some of the nation’s earliest architecture and fine arts programs. Founded in 1870, the school serves approximately 22,322 students enrolled in more than 200 majors and minors, and 200 advanced degree programs across 13 academic units. Programs are offered at SU’s main campus in Syracuse and at locations in New York City, Los Angeles, and Washington D.C.

SU houses the College of Visual and Performing Arts’ (VPA) School of Art, which offers BFA and MFA degrees in Illustration. Students in the 126 credit hour BFA in Illustration will take classes in “traditional, digital, and alternative media to develop competency and techniques,” says the school. Students will study “conceptual thinking, research methods, and how to communicate narrative while developing familiarity with illustration history and the contemporary field.”

Four focus areas help students explore specific industry specialties. They include Editorial, Product, Sequential, and Visual Development. The Editorial Focus covers magazines, newspapers, book jackets, and online publishing. The Product Focus includes patterning, packaging, and products, while the Sequential Focus covers comics, graphic novels, and children’s books. The Visual Development Focus includes visual and character development for animation and gaming. 

Other program highlights include engagement with nationally and internationally known visiting artists each year, courses taught by practicing illustrators and artists whose work is published and exhibited nationally and internationally, global study opportunities at the SU campus in Florence, Italy or other countries, workshops and lectures, and visits to New York and Los Angeles.

All BFA students will have the opportunity to develop a portfolio that will be shown to Art Directors and Illustrators for feedback.

Alumni from the SU VPA Illustration Program have gone on to work in Illustration for the Advertising industry, Book and Online Publishing, Children's Books, Comics, Gaming, Graphic Novels, Greeting Cards, Licensing, Newspapers, Television, and Visual Development in Animated Films.

The MFA in Illustration requires a three-year residency and 60 credit hours of study. Classes for the program “encourage experimentation, stimulate growth, and ultimately, lead to a focused body of work.” Course highlights for the program include Drawing on Location, Illustration Graduate Studio I-II, Illustration Grad Workshop, Illustration Practice, Licensing from Studio to Market, and Printmaking for Illustration I-II.

Students may also take advantage of special elective travel courses during the Maymester and summer program to gain credits. Courses include Illustration Graduate Summer Intensive (NYC), and LA Illustration Studio. Two Thesis Courses, MFA Thesis I-II, are required as well. The program ends with an MFA Exhibition.

Established in 1857, San Jose State University (SJSU) is known as “Silicon Valley’s Public University.” The school employs nearly 3,600 employees, making it “an essential partner in the economic, cultural and social development of Silicon Valley and California,” says the school.

More than 250 areas of study at the bachelor’s, master’s, and doctoral levels are offered in eight colleges. Programs for aspiring illustrators are offered in the College of Humanities and the Arts, Department of Design. Options include a BA in Design Studies Specializing in Animation/Illustration, a BFA in Animation/Illustration (Professional Degree), and an MFA in Digital Media Art.

The BA in Design is a Liberal Arts degree that provides “basic preparation for entry-level jobs in the entertainment industry.” Optionally, students “can later apply to a graduate program in Animation/Illustration or similar fields of study.”

The curriculum for the BFA in Animation/Illustration combines traditional and innovative educational strategies, including color design, conventional and digital painting, theory, and perspective. Students will also study the principles of traditional and 3D animation, character design, modeling, physics of motion, storyboarding, and visual development. Upper-division classes offer the opportunity for students to specialize in an area of their choice. Students also have additional learning and networking opportunities through the Department’s speaker engagements.

The BFA program has developed tight bonds with industry partners over the last 25 years, giving students the chance to hear from speakers from big name corporations like Bento Box, Blizzard, Blue Sky Studios, Cartoon Network, Disney, DreamWorks, Hallmark, Industrial Light & Magic, Nickelodeon, Pixar, SONY Pictures Animation, Warner Bros., and many others.

The MFA in Digital Media Art is offered in collaboration with the CADRE Institute which “reflects the innovative atmosphere in Silicon Valley,” says the school. Academic programs here emphasize artistic experimentation within a context of historical, cultural, and theoretical study. The program is intended for students with interest in contemporary research. CADRE's diverse community of faculty and graduate students produce artworks involving visualization, simulation, hypertextuality, information, mapping, telepresence, networks, and interactive systems.

Technical facilities include a wide range of computing resources. Students work across the boundaries of computer visualization, animation, digital video, multimedia, electronic sculpture, sound and virtual reality. CADRE supports its own networking environment and offers excellent opportunities to produce internet-based artworks.

Graduates of the Illustration Programs at SJSU have worked on films such as A Bug’s Life , Finding Nemo Monsters, Inc . and Shrek . Graduates have also been hired at more than 135 animation studios, game design companies, film studios, and academic institutions. Just a few include 20th Century Fox, Animation Mentor, Blue Sky Studios, Blizzard Entertainment, Cartoon Network, Cogswell Institute, Disney Interactive, Electronic Arts, Lucasfilm Animation, NBCUniversal Studios, Nickelodeon, Pixar, Sony/Columbia, The Art Institute of Las Vegas, Disney Animation, and Zynga.

Founded in 1882, Cleveland Institute of Art (CIA) serves around 600 students from across the country and around the world. The school, which has 15 majors in the Craft, Design, Digital Arts, and Fine Arts, offers BFA degrees in Illustration and Life Sciences Illustration. Students in both programs will enter their major as a sophomore and “spend three intense years building skills and mastering techniques,” says the school.

The BFA in Illustration provides the opportunity to experiment with a variety of traditional materials and techniques, including acrylics, collage, inks, pencils, and oils, “while mastering contemporary digital processes using Adobe Photoshop and Illustrator,” says the school. Students in the program will learn to create polished illustrations for all current and emerging markets including Advertising, Entertainment, Gaming, Licensing, Publishing, and Social Expression.

Course highlights include Character Design and Development, Community Projects, Graphic Novels and Sequential Art, Illustration: Advanced Illustration Studio Projects, and Illustration for Publication. Students will also complete a BFA Preparation course, Final Project: Illustration Portfolio, and the Illustration Internship.

Other program highlights include interaction with visiting artists, the opportunity to share the final portfolio with employers, illustrators, and designers who are invited each year to CIA, and a rigorous mandatory Business + Professional Practices curriculum that all CIA students complete. This means, in addition to core courses and small-group seminars, students take a professional writing course and travel out into the field to see artists and designers at work in art studios, advertising agencies, and more.

Graduates of the program “will be prepared to enter the industry as a staff artists, freelance illustrators or creative entrepreneurs.”

The Life Sciences Illustration program is one of only a few BFA degrees of its kind in the United States. The program “combines science and art to create visual solutions for the public and researchers, as they prepare students for graduate education beyond.” Students will work on topics in Biological, Botanical, Zoological, and health sciences while becoming proficient in Animation, Illustration, and Information Design. Students will learn how to blend their “artistic talent with a researcher's intellect, displaying strong visual communication skills.”

Course highlights include 3D Bioforms: Intro to Modeling, Anatomy for the Artists, Cellular + Molecular Illustration, Digital Color: Style + Representation in Science, Educational Media Installation, Life Sciences Illustration: Advanced problems, Concepts, and Media, Information Visualization, Life Sciences Illustration: Forensic Imaging/Modeling, Natural Science and Zoological Illustration, Serious Game Design: Theory + Applications Surgical Illustration, and Veterinary Illustration. Students will complete a Portfolio, BFA Thesis and Exhibition, and an Internship.

Other program highlights include CIA’s Engaged Practice, which provides opportunities to learn through experience by working on real-world projects with external partners or clients, or in the public sphere—all before graduation. CIA has professional partnerships with Case Western Reserve University, the Cleveland Botanical Garden, Cleveland Clinic, and the Cleveland Museum of Natural History.

Life Sciences Illustration graduates have gone on to land positions such as 3D Animation Artist/Designer, Art Director, Biomedical Illustrator, Illustrator, and many others.

Established in 1961, Laguna Beach College of Art and Design (LCAD) began as Laguna Beach School of Art (LBSA). Inspired by “pioneering cultural ventures” of the early 1900s such as the Laguna Playhouse and the Laguna Beach Art Association, this not-for-profit institution serves more than 700 full-time students today, and it is considered one of the leading colleges of art and design in the U.S.

LCAD offers around 30 degree programs, minors, and specialized minors in areas such as Animation, Experimental Animation, Game Design, Illustration, and Painting. Options for aspiring illustrators include BFAs in Drawing + Painting with an Illustration Emphasis, Graphic Design + Digital Media with an Illustration Emphasis, and Illustration in Entertainment Design. An Illustration Minor is also available.

The Minor consists of 15 credit hours and includes courses such as Computer Imaging, Graphic Illustration, and Illustrative Painting. The Drawing + Painting BFA helps students develop branding, exhibition, and entrepreneurial skills. Students will also “develop as mural artists and learn how to present their work and contributions to city planners, urban developers, and private owners who bring artistic works to large, public audiences on shared visual spaces.”

Course highlights include Applied Art Reproduction, Artistic Anatomy, Digital Photography for Fine Artists, Experimental Drawing, Figure in Environments, Illustration, Illustrative Painting, Mural Painting, Pictorial Design for Illustration, and Rendering.

The Drawing + Painting BFA Program prepares students to work in traditional and mixed-media art, “while honing imaginative, narrative, and design-based aesthetics for commercial and non-commercial pursuits,” says the school.

Classes for the BFA in Graphic Design + Digital Media with an Illustration Emphasis (GD+DM) are project-based and include titles such as Communication Design, Design Drawing, Digital Videography, Fundamentals of Illustration, Rendering, and User Interface Design. Students in the program will have the opportunity to complete a professional portfolio and complete real-world projects with industry partners such as Obsidian Entertainment, OC Art Studios, and Xist Publishing.

Graduates are prepared for careers in 3D, Advertising, Illustration, Motion Graphics, Package Design, Photography and Video, Social Media, User Experience and Interfaces, and Virtual Reality.

Students in the Illustration in Entertainment Design BFA program will learn how to combine art and technology to create live shows, museum exhibitions, themed events, themed restaurants and parks, TV and film productions, and more. The curriculum provides “real-life, hands-on instruction with concept design, model and prop-making, and 3-D digital tools,” says the school. Course highlights include Artistic Environment Design for Entertainment, Art of Costume, Fundamentals of Maya, Pictorial Design for Illustration, and Visual Storytelling for Entertainment.

Graduates of the Illustration programs at LCAS work at a variety of major companies and studios including Blizzard Entertainment, DreamWorks Animation, Fox Television, Google, Marvel Entertainment, Microsoft Studios, Obsidian Entertainment, Warner Bros., and many others.

In 1957, California State University Fullerton (Cal State Fullerton or CSU Fullerton) became the 12th state college in California to be authorized by the Legislature. The school serves nearly 41,500 students enrolled in 110 undergraduate, graduate, and doctorate programs. Programs are offered in eight colleges, including the College of the Arts, which houses the Visual Arts Department—home of the Illustration Program. Program options include BFA, MA, and MFA Degrees in Art with a Concentration in Illustration.

The BFA program is designed for students interested in developing skills in a focused area or to prepare them for graduate study. Course highlights for the Illustration Concentration include 3D Computer Animation, Cartooning and Caricature, Digital Narrative Illustration, Elements of Sequential Art, Lettering and Typography, Life Drawing, Special Studies in Illustration, and Visual Development and Background Painting. All students will have the opportunity to complete an internship.

The focus of the MA program “is to deepen the students understanding of craft and visual problem solving skills demonstrated in a portfolio that prepares graduate students to reenter the workforce,” says the school. Students will study “contemporary and historic issues in illustration with an emphasis on story concepts, design, color theory, perspective, theatrical composition and lighting, stylization, further development of the drawing and painting process, visual problem solving, and portfolio presentation.”

The program consists of nine units of required studio courses and at least 12 units in Illustration. Students may also take an additional three to six units in Illustration or other electives. All students will complete a project to exhibit in one of the Department of Arts graduate galleries. Graduates will have the skills needed to reenter the workforce, or enter a program leading to the terminal degree.

The MFA is a “rigorous” studio program that requires 60 units to graduate. Students in the program must take 24 units in the Studio Area of the Illustration Concentration, at least 12 units of electives, and independent study. Students must pass the semiannual comprehensive portfolio review and a studio project is part of the program. The project “constitutes a professional one-person art exhibit. It is installed in one of the department’s graduate galleries and announced for public view by the student as the final phase of the MFA program requirements.”

Graduates of the Illustration programs at CSUF have found employment at major entertainment and publishing companies, such as the Cartoon Network, DreamWorks SKG, Lucas Films Ltd. and Walt Disney Company.

Founded in 1853, Washington University in St. Louis serves nearly 15,000 students enrolled in more than more than 90 fields of study in seven schools. The Sam Fox School of Design and Visual Arts consists of the College of Art, the College of Architecture, and the Mildred Lane Kemper Art Museum. Founded in 1879, the College of Art was the first professional, university-affiliated art school in the United States, and is the only art school to have fathered a major metropolitan art museum. The College of Architecture was established in 1910, and has the distinction of being one of the 10 founding members of the Association of Collegiate Schools of Architecture. The Mildred Lane Kemper Art Museum (formerly the Washington University Gallery of Art) was founded in 1881 as the first art museum west of the Mississippi River.

The Sam Fox School, College of Art, offers a BFA in Communication Design with an Emphasis in Illustration, and an MFA in Illustration + Visual Culture. A Design Minor that allows students to mix and match courses in areas such as Communication, Design, and Illustration, and the Illustrated Book Studio, is also available.

The BFA in Communication Design with an Emphasis in Illustration is a collaborative program that combines Graphic Design, Illustration, and Interaction Design. This means, students in the program can choose to focus on illustrating stories, creating comics, and designing printed posters and books, as well as study the history of printed images, advertising, and creating pictures for games and motion graphics.

During their senior year, “students will pursue a capstone project that culminates in an illustrated book, zine, screen-based presentation, graphic novel/mini-comic, or digital experience,” says the school. The final project is displayed in a public exhibition and reviewed by external design professionals.

The MFA in Illustration + Visual Culture (MFA-IVC) is a two-year, fully residential program that combines studio practice in illustration with curatorial training in visual and material culture. The two-year program consists of courses such as Comics and Cartooning: A Survey, Illustration Studio: Artist, Author, Audience, Illustration Studio: Drawing & Voice, Literatures of Drawing, Readings in Visual and Material Culture, and The Illustrated Periodical. Students in the program will also complete an internship.

Graduates of the MFA program are prepared to work as Author-Artists of Graphic Novels and Picture Books, Critical Writers on Popular Culture, Curatorial Staff in Museums, Libraries, and Auction Houses, and Professors of Illustration.  

Established in 1929, Academy of Art University is a family-owned institution that serves more than 7,200 students from 112 countries, making it one of the largest private, accredited art and design schools in the nation. Program offerings range from acting, animation and architecture to visual development, web design, and writing for film and television. Degrees are offered at both the undergraduate and graduate levels, and many programs are available entirely online.

The School of Illustration offers five programs for aspiring illustrators. Options include a Certificate and AA, BFA, MA and MFA degrees in Illustration. The degree programs are available entirely online, and some courses for the Certificate in Illustration are offered online.

The AA in Illustration focuses developing skills in the areas of anatomy, figure drawing, rendering, and traditional media including charcoal and paint. The Digital Media component for the program focuses on imagery using both vector and bitmap tools. The BFA program consists of eight semesters of coursework covering areas such as composition and color, drawing, presentation skills, professional development, tools and techniques, and visual problem solving.

Course highlights include Advanced Perspective for Illustration, Analysis of Form, Blogging: Content Creation & Promotion, Editorial Illustration for Apps and Publication, Film & Games, Digital Media 2: Illustrative Imaging, Elements of Digital Painting, Illustration for Consumer Products & Licensing, Interactive and Vector Art, Interactive Illustration, Portfolio Preparation and Self Promotion, Social Media Strategies, and Web Design. Students in the program will also complete a number of collaborative projects, an internship, and a study abroad experience.

The MA and MFA programs prepare students for intermediate to advanced positions in a range of industries. They are also prepared for success as entrepreneurs or freelancers. Sample courses include Head Drawing for Illustrators, Perspective for Characters & Environment, Professional Practices for Illustrators, Skill Enhancement: Advanced Digital Painting, Skill Enhancement: Interactive & Vector Art, and The Rendered Figure. Graduate students will attend a Graduate Seminar in Europe, complete a thesis, and participate in a study abroad experience.

Students in all programs benefit from guest speakers, workshops, and events that the school says help students “create an insider network” that connects them with industry professionals. They have the opportunity to work with WRiTE BRAiN BOOKS, which has been a partner to Academy of Art University for more than half a decade, and to collaborate with “artists, designers, and innovators outside of the classroom.” Internship opportunities are also available.

Graduates of the program are prepared to pursue a career as a Children’s Book Illustrator, Comic Book Artist, Concept Artist, Advertising or Editorial Illustrator, Graphic Novelist, Interactive Illustrator, Storyboard Artist, and many others. Graduates have been hired by Chronicle Books, Marvel, Random House , The Atlantic , The New York Times , Wired , and more.

Founded in 1875 by The Church of Jesus Christ of Latter-day Saints (LDS), Brigham Young University (BYU) serves more than 33,000 undergraduate students—the largest undergraduate enrollment of any private university in the U.S. The school also serves close to 3,000 graduate students enrolled in 64 master's degree programs, and 26 doctorate programs. Around 186 undergraduate majors and 110 undergraduate minors are also offered in dozens of colleges and departments.

The College of Fine Arts and Communications serves nearly 5,700 students enrolled in programs in the Department of Art, the School of Communications, the Department of Dance, the Department of Design, the School of Music, and the Department of Theater and Media Arts. All College of Fine Arts and Communications students “undertake research projects, pursue internships, and participate in study abroad programs across the globe,” says the school.

The Illustration BFA in the Department of Design is a limited enrollment program of 40 students. Students in the program “will learn skills that prepare them to excel in the competitive and evolving illustration market. Courses prepare students in how to manage personal business and marketing work as an illustrator.” Course highlights include Advanced Storyboarding, Bookbinding, Character Design for Illustration, Environment Design, Gesture Drawing for Animation, Introduction to Entrepreneurship, Introduction to Photography and Digital Workflow, Marketing Management, Narrative Illustration, Painting-Mixed Media, Professional Practices for Illustrators, Sketchbook, and Typography.

Students will complete several Senior Illustration Studios, the BFA Capstone Project, and an internship. Study abroad experiences are also part of the program as well as job placement services. Nationally and internationally acclaimed artists are also invited to campus each month to present to students.

Graduates of the program “work in diverse genres and publishing markets,” including Advertising Design, Books, Corporate and Institutional Publications, Editorial, Genre Fiction, Graphic Novels, and Young Adult Fiction. Graduates work as Concept Designers creating characters, environments, vehicles, and other digital artwork for entertainment productions.

Other opportunities involve licensed products, toys and collectibles, online exhibitions, and private commissions. Positions may be in-house with production companies, in design studios, or on a freelance or project basis.

California State University-Long Beach (CSULB) opened on September 28, 1949 in a small converted apartment building under the name Los Angeles-Orange Country State College. The school had 160 students and 13 full-time faculty. Today CSULB employs more than 4,000 professionals serving over 38,000 students.

One of the 23 campuses of the California State University System, CSULB offers more than 300 programs in eight colleges. One of the school’s most popular colleges is the College of the Arts. Made up of six separate academic units, the College houses the School of Art (SoA), which offers a BFA in Art with an Illustration/Animation Option and an MFA in Studio with an Animation/Illustration Track. Certificate in Biomedical Illustration is also available.  

Students in the BFA program may choose the Animation or Illustration Track, but they may take courses in both tracks and work with students in both tracks in the digital lab. Course highlights for the program include Advanced Illustration, Advanced Life Painting, Costumed Figure Drawing, Experimental Animation, Special Studies in Illustration, Storyboarding for Film and Television, and Visual Development.

Workshops presented by faculty and visiting artists are part of the program as well as courses taught by resident illustration faculty comprised of experienced professional artists currently working in the fields of illustration and animation. Internship and study abroad opportunities are also highlighted.

MFA Program “is designed to foster both interdisciplinary and discipline-specific dialogue by engaging students in a set of core department-wide requirements, interdisciplinary opportunities, and discipline- specific courses and curricular “tracks,”” says the school. “Within the MFA degree in Studio Art students develop a personalized program of study within established curricular parameters, and with the consultation and approval of the student’s faculty committee.”

“Students develop a more personalized program of study within curricular tracks reflecting the School of Art’s varied programs in Ceramics, Drawing and Painting, Fiber, Illustration/Animation, Metal, Photography, Printmaking, Sculpture/4D, Graphic Design, and Wood.” All students will participate in the final MFA Exhibition.

The Certificate in Biomedical Illustration is sponsored by the Art and Biological Sciences Departments. The program is available to students who are presently enrolled in a degree program in the Biological Sciences or in Art at CSULB. Students in the program will take courses such as Anatomy for Artists, Biomedical Illustration, Biomedical Rendering, Computer Animation, Foundation Computer Art, Illustration 2, and Special Studies Illustration. The Certificate Program requires 30 units of study.

Graduates of the Illustration Programs at CSULB are prepared for professional positions as an artist or designer, and for teaching studio art within a selected specialization. Alumni “work in a variety of fields such as film and entertainment (gaming, animation and live action film), advertising, textiles, biomedical illustration, the gift market, educational illustration, architectural illustration, print publications (newspapers, magazines, graphic novels and books) and more.”

Many alumni have also “distinguished themselves in visual journalism, in storyboarding for film and television, and in all aspects of editorial art as well as gallery exhibition.”

Founded in 1909, Pacific Northwest College of Art (PNCA) is a Fine Arts and Design college that offers 12 undergraduate majors in art and design, eight graduate degrees, one Post-Baccalaureate program, and eight minors. Serving 650 students, the school has “Four Core Themes” including Critical Inquiry, Professional Practice, Studio Practice, and World View. Program areas covered include Animated Arts, Graphic Design, Intermedia, and Illustration, to name a few.

The Illustration Program is one of the top undergraduate options at PNCA. A BFA is available as well as a Community Education Certificate. PNCA also offers an MFA program. The BFA in Illustration “combines development of technical skill in traditional studio media and new and emerging technologies,” says the school, along with “conceptual inquiry to empower {students} to create visual messages capable of engaging clients and changing culture.”

Course highlights include 3D Design, Advanced Illustration Studio, Cultural Marketplace, Design & Image, Drawing for Illustration, Exploring Visual Culture, Painting for Illustration, Time Arts, Visual Elements 2-D, Visual Elements: Digital Tools, Visual Elements: Digital Tools, Word & Image, Visual Technique, and Writing in Context. A Thesis is also required.

Other program highlights include mentorship programs, professional practices instruction, portfolio preparation, and internship opportunities. Internships for seniors and recent graduates have taken place at companies such as Dark Horse Comics, Microsoft, Nike, Nintendo, and Wieden+Kennedy.

PNCA students also have the opportunity to show their work at the school’s annual end-of-year showcase hosted by the Illustration Department at a downtown Portland gallery.

Founded in 1974, Milwaukee Institute of Art and Design (MIAD) is Wisconsin’s only four-year, private college of visual art and design. The school is also a member of the Association of Independent Colleges of Art and Design (AICAD)—a consortium of 39 leading art schools in the United States and Canada.

MIAD serves nearly 900 degree-seeking students, 600 pre-college students, and 250 outreach/special programs students enrolled in five BFA degree programs and more than a dozen minors. Programs include Communication Design, Illustration, Interior Architecture and Design, New Studio Practice: Fine Arts, and Product Design.

Programs for aspiring illustrators include a BFA in Illustration and a 15-credit Illustration Minor. BFA Program highlights include internship and semester-long study abroad opportunities, the opportunity to build a professional portfolio, and networking opportunities through MIAD’s Illustration Seminar, “where a series of workshops are presented by practicing professionals, including MIAD Illustration alumni, representing a cross-section of the field,” says the school.

Course highlights for the program include Computer Studio, Digital 2D, Figure Drawing for Illustration, Illustration Media, Professional Practice for Illustrators, Systems of Drawing, Typography, and Visual Language. Students in the BFA in Illustration program may also complement the degree with a Studio Minor such as Art Management, Book Arts or Digital Media Production. Popular Liberal Studies Minors include Advertising, Copywriting, and Writing.

Graduates of the MIAD BFA in Illustration Program are prepared for positions in everything from Advertising to Publishing to Web Design as in-house Illustrators, Freelancers, or Entrepreneurs.

In 1968, University of Central Florida (UCF) opened in as Florida Technological University with less than 2,000 students. The first graduating class consisted of 423 students, and the school granted its first doctoral degree in 1977. Today, UCF leads all universities in Florida in conferring more than 17,000 degrees a year. Serving nearly 72,000 students, the school is also the largest university by enrollment in Florida and one of the largest universities in the nation.

UCF offers 103 bachelors and 91 master’s degrees, 31 research doctorates, three professional doctorates, and three specialist degree programs in 13 colleges. The College of Arts and Humanities at UCF houses the School of Visual Arts & Design (SVAD), which offers a BA with a Studio Track, a Studio Art BFA, and an MFA Program in Studio Art. UCF also offers a 24 credit hour Minor in Studio Art.

Specializations for the BA and BFA degree programs include Book Arts, Ceramics, Drawing and Illustration, Drawing and Printmaking, Painting, Photography, Sculpture, and Type and Design. The Studio Art BFA with a Specialization in Drawing and Illustration requires more credit hours than the BA with a Studio Track. The BFA is recommended for aspiring illustrators seeking immediate employment in the field or for students who plan to attend graduate school.

“The degree provides a solid foundation in techniques and theory in focused areas of competence,” says the school. BFA students must complete the Portfolio and Exhibit/Seminar courses and BA students must pass the Studio Art Portfolio Review.

Course highlights for the Illustration Programs include Advanced Drawing, Advanced Illustration, Art as Interface, Design Fundamentals-Three Dimensional, Intermediate Illustration, and Screenprinting. Students in all programs have the opportunity to complete an internship and participate in both local and international study experiences.

The MFA program requires 60 credit hours and students will have the opportunity to experiment with Traditional and New Media. Graduates are prepared for leadership positions in Art and Design, Education, Media, Publishing, and more.

Founded in 1958, California State University-Northridge (CSUN) is one of the 23 campuses of the California State University System. Situated on a 356-acre campus in the heart of Los Angeles’ San Fernando Valley, CSUN is a community of 38,310 students and more than 4,000 faculty and staff. Nine colleges provide bachelor's degree programs in 133 disciplines, 84 master's degree options, and doctorates in educational leadership and physical therapy.

The Mike Curb College of Arts, Media, and Communication houses the Department of Art, which offers BA, MA, and MFA degrees in Visual Arts with a Concentration Illustration.

Illustration students will “study illustration as both an art form and as a profession,” says the school. “Topics cover historical and contemporary illustration and its evolving styles and technologies.” Professional preparation topics include business and trade practices, goal setting, portfolio and website development, researching employment opportunities, and self-promotion. Students “learn methods for creating new ideas and for the effective visual communication of those ideas. Projects emphasize a wide range of technical skills in fine art and digital media, conceptual problem-solving abilities, composition and design, self-expression and the development of a personal artistic vision.”

Other program highlights include interaction with visiting artists, study abroad experiences, and the opportunity to exhibit illustrations at various showcases. In addition, all Curb College Department of Art students have the opportunity to participate in industry and studio events, organized studio tours, and ongoing collaborative educational partnering with DreamWorks studios and Seoul Institute of the Arts.

Students also participate in industry events and internships with Disney, Film Roman, Nickelodeon, Warner Bros., and many other studios.

Rocky Mountain College of Art and Design (RMCAD) was founded in 1963 by educator and illustrator Philip J. Steele founded Rocky Mountain School of Art. Steele’s mission for this proprietary institution in the foothills of Colorado was to build a “community of creatives” that that would instill in all students a passion for creativity, innovation, and a desire for lifelong learning in the fine and applied arts.

Today, better known as Rocky Mountain College of Art and Design (RMCAD), the school is considered one of the nation’s premier art and design institutions. Serving more than 1,000 students, RMCAD offers 16 degree and certificate programs available in campus/hybrid and online formats.

The school’s offers two programs for aspiring illustrators: the BFA in Illustration and the BFA in Illustrative Design. The BFA in Illustration has three Concentrations including Children’s Book, Concept Art, and Sequential Art. The program covers Composition Theory, Drawing Mastery, Innovative Storytelling, Portfolio Development, Self-Promotion, and Traditional + New Media. Students in the program also benefit from RMCAD’s collaborative environment, flexibility, knowledgeable professors, and small class sizes. The BFA Program may be completed on campus or online.

Graduates of the RMCAD Illustration Program are prepared to seek positions in Children’s Book Illustration, Comic Books and Graphic Novels, Concept Art for Games & Animations, Editorial Illustration, Product Design & Licensing, and Technical & Medical Illustration.

The BFA in Illustrative Design is a 123 credit hour program that “provides students with a hybrid degree” combining the skills learned in Illustration “with the approach to design thinking” learned in Graphic Design, says the school. The goal of the program is to provide students with “the technical, aesthetic, critical and practical skills necessary for career success.”

Areas covered include Innovative Storytelling, Media and Digital Skills Development, Sustainable Practice, and Typography. Students will also learn to solve communication and design problems. The program also emphasizes Portfolio Development.

Graduates of RMCAD’s BFA in Illustrative Design Program are prepared to pursue careers in a variety of design fields. Potential job titles include Art Director, Creative Director, Graphic Designer, Illustrator, Motion Designer, Package Designer, and Typographer, to name a few.

The University of the Arts (UArts) was formed in 1876 by the merging of two century-old institutions: Philadelphia College of Art and Philadelphia College of the Performing Arts. In 1987, the school was granted university status, making it the largest institution of its kind in the nation. Today, the university says UArts “is the only school in America that makes it possible to work and collaborate across traditional boundaries.”

UArts serves approximately 1,800 students enrolled in more than 40 programs at the University's Avenue of the Arts campus. Twenty-three minors are also available and open to all students. This means, aspiring illustrators can take sculpting classes, creative writers can take classes in illustration, dancers can minor in ceramics, and industrial designers can study guitar. 

Programs are offered through the Schools of Art, Dance, Design, Film, Music, and Theater. The School of Art offers a BFA in Illustration and a Minor in Figurative Illustration. An MFA in Studio Art is also available. The BFA in Illustration blends creative visual problem solving, digital experiences, drawing, figure modeling, illustration, painting, picture making, digital experiences, and graphic design, as well as self-discovery through mentor-student relationships, and history of pictorial image making.

Course highlights include Business and Preparation for Design Practice, Children’s Book Illustration, Comic Creation, Design Studio, Drawing as Thinking, Figurative Interpretation & Personal Voice, Illustration Markets and Promotion, Illustration with Digital Media, Motion-Based Illustration, New Media Illustration, Object & World Building, and Printmaking. Students will also complete Thesis Studio I-II.

Students may also select one option from the following: School of Design Workshop, Illustration Workshop: Personal Viewpoint or the Design Internship. Interns have the opportunity to work at professional venues ranging from individual artist studios to large branding firms such as Anthropologie (Urban Outfitters), Cartoon Network, and Sterling Publishing (Barnes & Noble).

Other program highlights include shared studio spaces, small class sizes, and training in industry-standard digital software such as Adobe Photoshop, Illustrator, InDesign and After Effects. Students also receive training in anatomy, integrating typography, experimenting with traditional painting methods, and developing narratives for a well-rounded experience across media.

The focus of the Minor in Figurative Illustration “is on enhancing skills and knowledge related to figurative drawing, painting and general image-making. This is accomplished by working with the figure and the figure in space, and through introduction to various media and picture-making issues.” The program requires 15 credit hours if study including Figure Anatomy, Figure Communication or Figure Painting, Illustration I: Pictorial Foundation, Illustration II: Illustration Methods, and Responsive Drawing.

The MFA in Studio Art is a low-residency, year-round program that consists of an immersive eight-week on-campus summer semester, independent study (fall and spring), and mentoring. This 60 credit hour program “allows candidates to explore in a multitude of artistic disciplines.” Course highlights include Contemporary Topics in Art and Design, Culture Study, Graduate Drawing, Graduate Seminar, Independent Studio, Major Studio, Professional Practices, Studio Topics, Thesis Preparation, and Thesis Writing Project. An MFA Thesis Exhibition is also part of the program.

Graduates of the Illustration Programs at UArts have gone on to create illustrations for ESPN, Fortune, Ralph Lauren, Random House, Rolling Stone , The New Yorker , The New York Times , and many others.

Columbia College Chicago (Columbia) was founded in 1890 as the Columbia School of Oratory. Serving nearly 7,000 students from all 50 states and 60 countries, Columbia offers 150 majors, minors, and graduate programs. Programs for aspiring illustrators include BA and BFA degrees in Illustration.

The BA is a flexible program that allows students to choose a minor or second major. Minor that complement the degree in Illustration include Animation, Creative Writing, Game Art, Journalism, Graphic Design, and Motion Graphics. Second major options that complement the degree include Computer Animation, Game Art, Graphic Design, and Traditional Animation.

Course highlights for the program include Cartooning, Children’s Book Illustration, Design Lab, Design Thinking, Digital Illustration, Drawing the Graphic Novel, Figure Drawing, Freelance Illustration, Illustration Studio I-III, Illustration: Materials & Techniques, and Survey of Typography. A Portfolio course is part of the program as well as a mandatory internship. Both BA and BFA students typically intern at an advertising agency, art gallery or design firm.

The BFA requires more advanced illustration courses than the BA program does, which leaves little time for a minor or a second major. BFA students will also take many of the same courses as BA students will, along with a Portfolio Development course and the internship. Because many illustrators work independently, both the Ba and BFA programs emphasize business skills in entrepreneurship and freelance. Students will learn how to write contracts, talk to clients, complete taxes, and self-promote through branding and identity.

The BA and BFA Illustration Programs at Columbia prepare students for positions in industries such as Advertising, Book and Magazine Publishing, Entertainment/Film, Fashion, and Product Packaging.

Program alumni are Cover Illustrators for The New Yorker , Professional Illustrators and Graphic Artists for HBO’s Last Week Tonight with John Oliver , Illustrators for advertising campaigns on films such as Baby Driver, and Illustrators for American Express, TimeOut Magazine , VICE Media, and many others.

Founded in 1928, Kendall College of Art and Design (KCAD) is a college within Ferris State University. The school serves more than 1,000 students enrolled in around 24 BFA, BS, MA, MFA, and Certificate programs. KCAD offers BFAs in Illustration and Medical Illustration and a 15 credit hour Minor in Illustration.

Launched in the 1960s, the BFA in Illustration focuses on the traditions of illustration, while incorporating a wide variety of media, techniques, and processes—traditional and digital. The “focused study of illustration will be complimented by courses in drawing, digital imagery, art history, and studio electives,” says the school, helping them broaden both their “perspective” and “notions of creative possibility.”

Course highlights for the program include Advanced Inking, Digital Illustration Painting, Graphic Design for the Illustrator, Illustration Life Drawing, Illustration Professional Practices, Illustration Techniques, Narrative Perspective, Natural Science Illustration, Rendering, and Watercolor Techniques for the Illustrator. Students will also have the opportunity to build a Professional Portfolio of their best work.

Program highlights for the BFA in Illustration Program include access to KCAD galleries, labs, and the Urban Institute for Contemporary Arts (UICA), focused study of illustration, and participation in the KCAD Illustration Society. Students also have opportunities to participate in summer travel/study experiences as well as internships during the academic year and summer months.

Graduates of the BFA program are prepared to pursue careers such as Art Director, Cartoonist, Editorial Illustrator, Fashion Illustrator, Freelance Illustrator, Mural Designer, Storyboard Illustrator, and more.

The BFA in Medical Illustration is a three-year program that consists of classes from KCAD, Ferris State University, Grand Rapids Community College, and Michigan State University. “Through a blend of focused artistic instruction and scientific exploration, students learn to transform complex information into compelling visual communication.” Students in the program will take a combination of Art, Communication, and Science courses. Examples include Dialogue and Personality, Digital Illustration Painting, Human Gross Anatomy, Medical Illustration Animation I-II, Medical Illustration Methods I-II, Pathophysiology, Professional Practices for the Medical Illustrator, and Writing.

Medical Illustration students will also complete the Capstone course: Advanced Problems in Biomedical Art. Graduates of the BFA in Medical Illustration Program are prepared to seek intermediate to advanced positions in the field or for further graduate or professional level study.

Rochester Institute of Technology (RIT) began with the merging of prominent cultural association, the Rochester Athenaeum (est. 1829), and a technical training school known as Mechanics Institute, (est. 1885). The Institute adopted the name Rochester Institute of Technology in 1944 and awarded its first Bachelor of Science degree in 1955. Today, RIT has campuses in Rochester, New York, Dubai, Croatia, Kosovo, and China and it serves nearly 19,000 students majoring in everything from Art and Design to Robotics and Science Exploration.

The College of Art and Design at RIT houses the School of Art, which offers a BFA in Illustration and BFA and MFA degrees in Medical Illustration. Program highlights for all pathways include small class sizes (maximum 16), more than 15 visiting artists each year for in-person or virtual demos and lectures, and the opportunity for students to exhibit their work at least once in one of RIT's gallery spaces.

The Illustration BFA “mixes traditional drawing skills, the latest digital imaging technologies, and sculpted dimensional methods for effective visual communication,” says the school. Course highlights include 3D Applications: The Figure, 3D Design, Anatomical Illustration, Dimensional Illustration, Dimensional Illustration, Drawing II Workshop: Topics, and Illustration I-III.

Students will also complete an Illustration Portfolio and the course—RIT 365: RIT Connections. This course allows students to “participate in experiential learning opportunities designed to launch them into their career at RIT.” With an 81% employment rate, graduates of the program also work for Advertising Firms, Corporate Art Departments, and Publishing Companies, as well as create and design concepts for Animation, Cinema, and Games.

“The highly sought-after Medical Illustration BFA is one of only a few offered in the country.” Students in the program will “take complex scientific and medical information and distill it into stunning visual images.” Course highlights include 2D Composition and Color, 3D Animation of Organic Forms, 3D Modeling of Organic Forms, 4D Design, Anatomical Illustration, Computer Applications in Medical Illustration, Contemporary Media I-II, Illustrating Human Anatomy, Scientific Visualization, and Surgical Illustration.

With an 86% employment rate, graduates of the BFA in Medical Illustration Program are prepared to seek positions such as 2D Medical Animator, Exhibitor, Forensics Illustrator, Information Graphics Illustrator, Medical Book/Texts Illustrator, Medical Editorial Illustrator, Medical Interactive/Interface Designer, Medical Legal Illustrator/Litigation Support Specialist, Medical Web Designer, Ophthalmologic Illustrator, Prosthesis Designer/Anaplastologist, and many others.

The MFA in Medical Illustration is one of only five such programs in North America and the only program in the northeast. The program “combines training in human anatomy (with illustration students observing complete cadaver dissection in RIT’s Cadaver Lab), immunology, histology (the cellular structure of organs), and pathophysiology (the study of disease) with extensive training in 2D and 3D digital graphics, interactive media, and animation.”

 Students in the program will learn to “transform complex medical information into visual images that are used in education, research, patient care, public relations, legal cases, and health care marketing.” The MFA in Medical Illustration has a 100% employment rate.  Graduates are ready for a range of leadership positions in Medical and Legal Illustration, Animation, Computer Modeling, Information Graphics, and more.

Established in 1969, Indiana University-Purdue University Indianapolis (IUPUI) serves 29,390 students enrolled in 450 undergraduate, graduate, and professional programs in 19 distinct schools and colleges. The Herron School of Art + Design offers a BFA in Drawing + Illustration. The school also offers an MFA in Visual Arts.

The BFA is a professional degree that includes access to the latest equipment and technology in the student’s choice of studio space, the opportunity to enhance the degree with a Minor in Book Arts or Design Production, and classes taught by faculty who are working professionals in the field. The curriculum “provides broad exposure to both traditional and contemporary techniques in all media including digital technology,” says the school. “Students develop skills from both fine and applied arts perspectives.”

Coursework, which consists of extensive studio experience in both Drawing and Illustration, includes Advanced Drawing & Illustration, Building & Making, Digital Rendering, Image & 4D Studio, Intermediate Illustration, Narrative Drawing, and Studio Art & Technology.

Graduates of the BFA in Drawing + Illustration Program are prepared to pursue positions such as Animator, Children's Book Illustrator, Comic Artist or Graphic Novelist, Editorial Illustrator, Packaging Designer, Scientific or Technical Illustrator, Set or Exhibition Designer, Storyboard or Concept Artist, or Toy or Product Designer. Some graduates go on to work as freelance artists or designers, while others start their own businesses.

The MFA in Visual Arts is a flexible degree that highlights private studio space, exposure to artists, designers, and industry professionals through Herron's endowed lecture series, and cross-campus and city-wide collaborations and commissions with Herron's and Indianapolis' many cultural institutions, social initiatives, and corporate and government partners—all facilitated by Basile Center for Art, Design and Public Life. Study abroad trips are also part of the program.

Established in 1785, University of Georgia (UGA) is the state’s flagship institution. The university’s 17 colleges and schools enroll more than 38,000 students and offer 370 fields and areas leading to the bachelor’s, master’s, specialist education, professional, or PhD degree.

The Franklin College of Arts and Sciences houses the Lamar Dodd School of Art, which offers a BFA in Art with a Concentration in Scientific Illustration. “Students pursuing the BFA degree enter the School of Art as Intended Art majors,” says the school “and will apply to an area of concentration via the School's area portfolio review in the second year of study.”

Course highlights for the program include Advanced Drawing, Advanced Scientific Illustration, Anatomy of the Figure, Digital Narrative Systems, Graphic Systems, Illustration, Intermediate Scientific Illustration, and Special Problems in Graphic Design. The BFA also requires ARGD 3340 Senior Exit, which consists of the Senior Exhibition, Critique, Portfolio, and Evaluation.

Other program highlights include the opportunity to work and learn in dedicated classroom space, facilities and studio and hands-on experience through internships and study abroad experiences. UGA has more than 100 study abroad and exchange programs in 75 countries.

Graduates of the Scientific Illustration Program at UGA work at/for Academic Medical Centers, Advertising Agencies, Associations (trade or society), Federal Government (military), Hospital, Clinics, or Medical Practices, Medical Education Companies, Medical Legal or Law Firm, Pharmaceutical (device or biotech companies), Publishers (books or journals), Research Institutions, Science Communication or Animation Studios, Software/App Companies, Veterinary Schools, and more.

Authorized by the Texas legislature in 1899, Southwest Texas State Normal School opened its doors in 1903. After four name changes, the school became Texas State University-San Marcos, and finally, Texas State University.

Serving nearly 38,000 students, Texas State University offers more than 200 undergraduate and post-graduate degrees in nine academic colleges. The College of Fine Arts & Communication houses the School of Art and Design, which offers a BFA in Studio with a Specialization in Drawing. This 120 credit hour program offers heavy illustration coursework and emphasizes interdisciplinary experimentation and new media integration.

Course highlights include Character Development for Illustration, Color Theory, Digital Illustration, Digitally Handmade for Artists and Designers, Drawing I-II, Editorial Illustration, Expanded Media, Graphic Novels and Zines, Illustration Techniques and Materials, and Studio Art Foundations I-II.

Studio Art students have access to the University Galleries, which are home to yearly program of exhibitions featuring international artists as well as faculty and student work. “Every Summer, two faculty members, one studio and one art history, lead a study-abroad trip to Florence, Italy.”

Every area of specialization culminates in two semesters of Thesis work, a final Thesis Portfolio, and a BFA Thesis Exhibition. The Studio Art Program “serves a wide range of student interests and pursuits, and prepares students for professional careers as artists and arts professionals.”

The University of Colorado Denver (CU Denver) began as an extension of the University of Colorado Boulder in 1912. The school became an independent campus in 1973 and one of the four campuses of the University of Colorado System. What began in one building in downtown Denver has grown to more than 125 acres and more than 15,000 students enrolled each year.

More than 100 degree and 76 certificate programs are offered in 13 colleges and schools. The College of Arts & Media houses the Illustration Program, which consists of a Fine Arts BFA with an Illustration Emphasis and a Minor Illustration.

BFA students “receive instruction in conceptual illustration, digital illustration, rendering, perspective, painting, exhibition preparation, professional practices, and the use of various artistic and illustration techniques,” says the school. Course highlights include Anatomy for the Artist, Digital painting, Graphic Novel Workshop, Painting, Drawing & the Printed Image, The Business of Art, and Typography Studio.  Students will also take Illustration I: Image Making, Illustration II: Digital Media, Illustration III: Investigative Methods, Illustration IV: Thesis Development, and Illustration BFA Thesis. An internship is also part of the program.

Other program highlights include access to state-of-the art digital labs, sculpture studios, industrial equipment and darkrooms and opportunities at the Denver Art Museum, in galleries across the Front Range, and at digital studios like Pixar.

Graduates of the program are prepared to pursue positions in a “multitude” of fields including Advertising, Animation and Games, Graphic Design, Engineering, Entertainment/Film/Television, Healthcare, Illustration/Medical/Scientific, Marketing, Publishing, and more.

Founded in 1946, University of North Carolina Charlotte (UNC Charlotte) serves more than 30,000 students enrolled in over 200 undergraduate, graduate, and doctoral programs in nine colleges. The College of Arts + Architecture (COA+A) serves 1,000 student enrolled in 33 degrees and concentrations. The Department of Art and Art History here offers Art Education, Art History, Design and Studio Art programs.

The Department also offers a BFA in Art, Studio Art, with a Concentration in Illustration. Course highlights for the program include Children's Book Illustration, Illustration: Media/Method, Illustration Projects, Illustration Sequence/Story, Interactive Art and Design, Mixed Media Painting, The Figure in Illustration, Topics in Illustration, and Video Art. Students will also have the opportunity to participate in the BFA Illustration Exhibition, and complete a paid internship.

The COA+A has relationships with institutions such as the Bechtler Museum of Modern Art, Charlotte Ballet, Charlotte Symphony, Theatre Charlotte, the Blumenthal Performing Arts Center, and The Mint Museum. Students may also participate in the UNC Charlotte Study Abroad Program, which houses the recurring Summer Program in Rome, Italy.

The University of Connecticut (UConn) was established in 1881 as Storrs Agricultural School, opening with just three faculty members and 13 male students. Today, the school employs more than 18,000 faculty and staff members serving a coed population of more than 33,600 students (Fall 2020).

Consisting of one main and four regional campuses, UConn offers eight undergraduate degrees in 119 majors, 17 graduate degrees in 88 research and professional practice fields of study, and six professional degree programs (JD, LLM, MD, DMD, PharmD, SJD) in 14 schools and colleges. The School of Fine Arts houses the Department of Art and Art History, which offers a BFA in Art with an Illustration/Animation Concentration.

Students in the program will gain working knowledge of both traditional approaches and new technologies. Illustration courses “stress the creation of images that expand a text,” says the school. “ Text is broadly defined and may include manuscripts, posters, websites, or self-authored works by the illustrator.” Course highlights include Going Pro, Illustration, and Topics in Illustration.

Students will have the opportunity to pursue a wide variety of projects “in both analog and digital environments,” including 2D and Stop Motion Animation, Book, Cartoons, Character and Environment Design, Children’s Illustration, Comics, Design for Products, Editorial, Graphic Novels, Institutional, Self-Promotion, and more. Other program highlights include visiting artists, internship opportunities, and study abroad experiences.

Established in 1885, University of Arizona was the state’s first university. The school serves nearly 47,000 students enrolled in hundreds of bachelors, masters, and doctoral degree, first professional and specialist programs in dozens of colleges and schools. The College of Fine Arts houses the School of Art, which offers BFA and MFA degrees in Studio Art with an Illustration and Design (I+D) Emphasis. Separate Tracks in Illustration and Design are offered to undergraduates.

The I+D program “encompasses a diverse faculty with expertise in graphic design, illustration, letterpress, book arts, visual narratives, animation, motion graphics, information design, and interdisciplinary collaborations with the environmental sciences,” says the school. “These specializations are reflected in a broad array of curricular offerings including: field trips, team projects with community clients, internships, and study abroad programs.”

The Illustration Track provides “rigorous education in constructive anatomy,” says the school. Students will “learn to describe the human form realistically and expressively and find personal methodologies in traditional and digital media.” Graduates will leave the program with a high quality portfolio and a web presence.”

The Design Track “provides a foundation in design principles and methodologies, creative problem solving and digital processes.” As students advance in the program, they will gain “knowledge and skills in professional practice including identity systems, web design, typography, motion graphics, history, contemporary criticism, and theory.” Graduates will leave the program with a professional portfolio and “a broad understanding of the business of design as well as its potential as a medium of critical inquiry and community involvement.”

The MFA is a 60 unit terminal degree comprised of interdisciplinary, graphic design and illustration courses as well as seminars, and independent studies “developing a body of self-authored work that contributes to the broad and expanding field of illustration, design and art.”

“Focused studio and course structures explore the theory, philosophy, and making of contemporary illustration, design and art. The program provides a range of opportunities for focus in visual narratives, community engagement, social practice, environmental projects, and technology, with a firm grounding in contemporary and historical contexts.”

Students in all programs have access to studio spaces, computer labs with Wacom Cintiq Touch screens and animation stations, a digital imaging lab with large format printing, mounting and other services, letterpress equipment, photopolymer platemaking equipment, metal and wood type collections, binding equipment, darkrooms, wood and metal shops, sculpture foundry, and ceramics labs.

Students also benefit from external resources such as a library that houses an extensive book art collection, the Center for Creative Photography, the Poetry Center, and the University Museum of Art.

Founded in 1907 as a teacher training school, East Carolina University (ECU) serves around 28,800 students, making it the third largest university in North Carolina. The school, which offers more than 200 undergraduate, graduate and minor programs, consists of 12 colleges and schools. The College of Fine Arts & Communication houses the School of Art and Design (SoAD), which offers an “umbrella degree” that allows students “to explore the School’s broad variety of disciplines,” says the school.

The BFA in Art offers 11 concentrations from Animation/Interactive Design and Illustration to Sculpture and Textile Design. The BFA is a professional art degree that prepares students for entry-level work in their chosen field. While a portfolio is not required for admission to the program, after two years of study, students are required to apply to their chosen area of concentration.

During the first year of in the SoAD, students will “build a foundation of critical thinking, making, and problem-solving skills. Utilizing the lenses of twelve disciplines, animation/interactive design, ceramics, drawing, film and video production, graphic design, illustration, metal design, painting, photography, printmaking, sculpture, textile design,” students will “build the art essential competencies and design thinking skills that will propel” them “to the next level of study.”

This innovative approach allows students to interact with faculty from across the skill, learn more about the unique disciplinary perspectives in the SoAD, and try new ways of thinking and making.

Students will complete an internship that will help them gain hands-on experience, and at the end of the program, students will complete a Film, Portfolio, Reel, or Senior Exhibition, depending on the Concentration. “This culminating experience is an important capstone experience that prepares” students to “pursue their professional goals beyond ECU.”

Other program highlights include access to mentors and professional advisors, extensive facilities in Jenkins Fine Arts Center, and the opportunity to apply to the SoAD Living Learning Community (A + D LLC). This residential campus community of undergraduate students focuses on learning more about art and design through exhibitions, field trips, and workshops created specifically for the LLC. Study abroad experiences are also available in locations such as the Krosno, Poland, Tuscany, Italy, and the United Arab Emirates (UAE).

Watkins College of Art at Belmont University (formerly Watkins College of Art, est. 1885) merged with Belmont University’s existing art and design programs in Fall 2020. Providing hands-on instruction in a studio setting, Watkins offers BFA degrees in Art Education, Design Communications (Graphic Design), Experiential Design and Studio Art, and BA degrees in Art and Art History. Minors are available in Design Communications, History, Painting, Photography, and Studio Art. Graduate programs include a Master of Arts in Teaching (MAT) in Art Education and an MFA in Studio Art.

The Design Communications BFA offers a Studio Track that includes Illustration. During the first year of the program, all BFA students will take the same Core Foundation Studio courses. The sophomore year covers basic design principles, with classes gaining in complexity through the senior year.

Course highlights for the program include 2D: Principles of Color, 3D Design, Advanced Studies in Drawing, Advanced Studies in Figure Drawing, Advanced Studies in Painting, Art History I-II, Creative Visualization, Drawing I-II, Figure Drawing I-II, Figure Drawing: Identity and Branding, Illustration I-II, Interactive DesignNarrative and Advocacy Design, Painting I-II, and Printmaking I-II.

Other program highlights include mandatory attendance at a minimum of five student, faculty and guest exhibits, artist workshops, assemblies and master classes for each semester students are enrolled as a declared major (and two semesters total for all Art Minors), and participation in the Senior Exhibition. Throughout the program, students will work on a Professional Portfolio and upper-division students will have the opportunity to study in a foreign country. Internship opportunities (up to two) are also part of the program.

Students will intern in art related areas such as Advertising or Publishing, or at galleries. In recent years, Watkins students have gained experience at Advent, Anderson Design Group, Prosper Press (San Francisco), The Buntin Group, Vanderbilt University Creative Services, Warner Brothers Nashville, and many others.

University of Illinois at Chicago (UIC) was formed in 1982 by two U. of I. campuses—the Medical Center campus, which dates back to the 19th century, and the comprehensive Chicago Circle campus which, in 1965, replaced the two-year undergraduate Navy Pier campus that opened in 1946 to educate returning veterans. Today, with more than 33,500 students enrolled, UIC is the largest university in the Chicago area. 

UIC offers 260 degree programs and 66 certificate programs in 15 colleges. The College of Applied Health Sciences houses the MS in Biomedical Visualization (MS BVIS) Program, which is the largest and second oldest of four accredited programs of its kind in North America. A Minor in Life Science Visualization is also available.

The Minor requires 16-17 semester hours of study and includes courses such as Anatomical Figure Drawing, Biological Illustration Techniques, Digital Sculpting for Life Sciences Illustration, and Life Science Animation, Storytelling, and Storyboarding. This program is open to students from any college or major with a sophomore standing.

The MS BVIS Program “integrates medicine, life science, communication technology, visual learning, education science, research and artistic training,” says the school. MS BVIS students will collaborate with Bioengineering, Medicine, and other departments at UIC and gain real world, hands-on experience through UIC’s “close relationships” with other Chicago medical universities, medical advertising agencies, museums, pharmaceutical companies, professional medical societies, animation studios, and software companies.

Course highlights for the program include Advanced Craniofacial Anatomy, Anatomical Visualization, Animation, Biomedical Visualization Techniques, Business Practices, Graphic Design, Human Neuroanatomy, Illustration Techniques, Interactive 3D, Ion Channels Structure, Function Pharmacology and Pathology, Medical Legal Visualization, Modeling, Surgical Illustration, 3D Space, Video Game Design and Development, Virtual Reality and Stereography in BVIS, Visual Learning & Visual Thinking, and Web Development.

Graduates of the program go on to become “highly-skilled science visualization specialists” in Medical Illustration, Animation, Gaming, Haptics, Interactive Media, and Virtual and Augmented Reality.

Founded in 1740, the University of Pennsylvania (UPenn) serves 26,552 students enrolled in more than 400 programs in four undergraduate and 12 graduate schools. Since 1929, the school has partnered with Pennsylvania Academy of Fine Arts (PAFA), established in 1805 and the first museum and school of fine arts in the U.S. The partnership “provides students with an unparalleled opportunity to pursue their artistic passions and intellectual pursuits in the Ivy League,” says the school.

PAFA BFA students have access to more than 800 courses in 50+ areas of study. Programs for aspiring illustrators include the PAFA/Penn BFA in Illustration and a Certificate Illustration (PAFA). An MFA program is also available. The PAFA/Penn BFA in Illustration combines studio training with a fine arts focused liberal arts education. The program helps students develop skills in storytelling, visual communication, and entrepreneurship.

Course highlights for the program include Business Practices of Art, Digital Drawing and Painting, Digital Print and Web Design, Graphic Narrative, Illustration I-II, Illustration Projects, Letterpress and Book Arts, Narrative and Sequential Drawing, Narrative Projects, Professional Practices, and Visual Narration. Students will also take courses with Master Illustrators such as David Wiesner and E.B. Lewis, and complete the Illustration Portfolio course and Thesis Seminar I-II courses.

Students in both the BFA and Certificate program have 24-hour access to digital facilities and workspaces including two sky-lit painting studios, a number of large painting classrooms, illustration/drawing studios and painting studios, and a rooftop terrace, often used for cityscapes.

Graduates of the PAFA/Penn Illustration Programs are prepared to pursue positions in Advertising and Marketing, Animation, Book and Magazine Illustration, Film and Television, Graphic Design, Graphic Novels, Medical Illustration, Poster and Storyboard Art, and more.

Founded in 1925, University of Miami is a private research university that serves more than 17,000 students from around the world. More than 100 majors and programs are offered in 11 colleges and schools. Founded in 1926, the College of Arts and Sciences is the largest academic unit within the University of Miami, home to over 4,200 undergraduate students, 640 graduate students, and 450 full-time faculty. The College houses the Department of Art and Art History, which offers an MFA in Studio Art.

The MFA degree in the professional practice of studio art is a three-year program that offers the opportunity to Specialize in one of five Concentrations including Ceramics, Digital Imaging-Illustration/Photography, Painting, Printmaking, and Sculpture.

Students will take 24 credits in the Concentration, 12 elective credits, and nine in Art History. Several seminars are part of the program as well as an Exhibition Preparation course and the Master’s Thesis. “Each student's MFA thesis exhibition will be a solo show at the off-campus departmental gallery in Wynwood,” says the school, or at an alternative location, such as an art space or “commercial gallery that has been arranged by the student and approved by the Thesis Committee.”

Graduates will leave the MFA program with a polished portfolio of their work, which will allow them to seek positions in the professional, studio art world or teach in academic and other environments.

Maine College of Art (MECA) was established in 1882 as part of the Portland Society of Art. The school awarded its first BFA degrees in 1975, following accreditation in 1973 by the National Association of Colleges of Art and Design (NASAD) and the New England Association of Schools and Colleges (NEASC). Today, as one of just 42 private, nonprofit, degree-granting professional art colleges in the country, MECA awards the BFA in eleven studio majors (including Illustration), the MAT, and an MFA. Launched in 1998, the MFA was the first program of its kind in the country.

MECA serves just over 450 students and more than 1,200 adults and youths annually, in the region, through more than 200 credit and non-credit public courses in its year-round Continuing Studies program.

The school’s BFA in Illustration highlights small class sizes, internship opportunities with Illustration/Animation studios in Portland, and classes taught by “distinguished professional illustrators and artists.” Course highlights include Advanced Techniques Masterclass, Editorial Illustration, Illustration in Context, Illustration Majors Studio, Intro to Ink for Illustrators, Methods and Media in Illustration, Motion Graphics and Animation, Narrative/Sequential Illustration, and Portrait Drawing in Illustration: People and Animals.

During the final years of the program, students will complete 3YR Seminar: Motive, Method, Making (GD & IL), Professional Studio, and Senior Synthesis. Around 63% of program graduates work as professional artists, 23% are employed as Art Directors, Graphic Designers, and Illustrators, and 47% are self-employed, independent contractors, or freelance workers. Nearly 100% of graduates create art in their spare time.

Founded in 1869, Art Academy of Cincinnati serves around 200 undergraduates and 10 graduate students, making it one of the smallest four-year art colleges in the country. The school says the small student body allows for “individualized attention from faculty,” and the freedom for students to “develop their personal vision,” and “carve out their identity.” Degrees granted include the AS, BFA, and MAT.

Art Academy of Cincinnati offers a BFA in Illustration that consists of a trans-disciplinary curriculum that provides the opportunity for students to “learn the language of visual communication,” while experimenting in areas that “integrate animation, drawing, new media, printmaking, photography, painting, design, sound art, motion graphics, digital sculpture, and installation.”

Course highlights include Academy Design Service, Animation 2D and 3D, Artist as Writer, Artist Books, Comic Book Art, Film, Video, and Audio: Motion Graphics, Going Big: Professionalism Workshop, Illustration: Communication, Composition, Narrative, Process and Media, and Special Topics, Social Practice in the Arts, Storyboarding and Compositing, and Storytelling Art for Motion Graphics.

The BFA in Illustration also requires a “rigorous studio thesis and professional practice experience both inside and outside the classroom.”

Around 75% of Illustration graduates are still employed in fields related to their major, compared to the national average of 27%. Today’s graduates are prepared to compete for work in a variety of industries including Advertising, Book and Magazine Publishing, Corporate Branding, Entertainment (Film/Video/TV), Motion Graphics, Packaging, Retail Merchandising, Social Advocacy, Video Games and more.

Notable illustrators who have graduated from Art Academy of Cincinnati include Charley Harper, Chris Sickels, Fahrudin Omerovic, Jahaziel Minor, Julio Labra, and Will Hillenbrand, among others.

Chartered in 1957, University of Hartford (UHart) is a four-year private university that serves 6,600 students from 49 states and 47 countries. Spread across seven schools and colleges, the university offers around 200 programs spanning the Arts, Business, Education, Engineering and Technology, Health Professions, and Humanities.

Serving 310 students, Hartford Art School (HAS) at UHart offers eight studio majors leading to the BFA, a BA in Art History, and three MFA programs. BFA majors include Ceramics, Illustration, Integrated Media Arts, Painting/Drawing, Photography, Printmaking, Sculpture, and Visual Communication Design. MFA programs include Illustration, Interdisciplinary Art, and Photography.

The 120 credit hour BFA curriculum is designed to introduce students to the processes and techniques used by illustrators. After the foundation year, the program guides students through a series of independent studios and illustration intensives focused on Advertising, Bookwork, and Editorial using both digital and traditional methods.

The program covers the three primary markets for illustrators: Advertising Illustration, Book Illustration, and Editorial Illustration. Course highlights include Advertising, Book, Digital Illustration, Drawing for Illustration, Editorial, and Illustration I-III (Oil, Acrylic, and Watercolor).

Sophomore and Junior Reviews are part of the program and students will complete Portfolio Prep and the Senior Project course. In the Portfolio course, students learn to prepare their work for professional presentation. “Considerable emphasis is placed on the development of personal style and direction throughout the program,” says the school.

The MFA in Illustration is a low-residency program designed for working adults. The program highlights “intensive, on-campus sessions” in the summer with travel during spring and fall. Fall and spring semesters take place off-campus in places such as Dallas, New York City, Pasadena, San Francisco, and other destinations.

Other program highlights include guest speakers, museum visits, and studio visits to places such as Communication Arts Magazine , Disney Animation Studios, DreamWorks Animation Studios, Electronic Arts Entertainment, Lucasfilm, Nickelodeon Studios, the Society of Illustrators, and many others.

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By Kate Shaw

Contributing Opinion Writer

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