Illustration technique vol.3 redjuice pdf download

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Contact us View my complete profile. Official Website English Japanese. Back to the top page. Use the the darks and lightening the lights until Clone Stamp tool S , to alter some of you have a posterised look as shown the detail on three of the sides, so it in the image.

For this resource I wanted a high-contrast edge with almost no alpha pixels. Then one day I noticed they created a cool edge when broken, so I started saving them. Leave some small artifacts into a creative and unique design tool.

I find in your image, so that it looks more that breaking them slowly creates more authentic and distressed. Note the degraded edge with are downloadable from scanning them easier.

They can also offer an element of surprise 3D masterpieces that breath new life into your theartistsguide. If you create artwork start by planning a dummy version of digitally with a graphics tablet then you your pop up first. Begin with a piece of can go straight to using that. They will need tabs STEP to stand up, which will be glued later to your base.

Select the Line tool and set it to a width of 10px. Draw two simple tab shapes at the base of your artwork. Holding down Shift while you click and drag will snap the line horizontally and diagonally.

Look for natural horizons within your artwork. With the the centre fold. This will place a guide in the centre of your canvas, This will separate your selection onto a new layer. Repeat that from which all your pops will function. Use the grid on a cutting mat to find perfect horizontal and vertical score lines. A rubber-based metal ruler also reduces the risk of your artwork slipping as you cut.

This is where the pop folds away from you. From the centre fold guide, draw a diagonal line on a new layer. Copy the layer twice and position the lines underneath at equal distances. Conceal the tabs by gluing them away from you behind the artwork. Copy that layer and so they are top-heavy in the canvas.

Allow a little time for the glue to dry. Link both layers and folded in half. At this stage you may need to trim and rework the shapes of your pops if they are too big. Other elements from the original artwork have also been added to the base. Measure with the wrong side of a scalpel blade. STEP the width of the artwork to find The grid on the cutting mat is useful the centre and create a vertical score for lining up your artwork to find an line. This is best done by pressing gently accurate vertical centre line.

Make sure that your dummy 11 STEP folds and works properly, so that the pops do not catch on one another. Most traditional pop-up book PaPerweight spreads protect the pops within the dimensions of the page. For this pop-up spread on the nature of your artwork, so the I used a gsm artwork spills from the edges of the A4 satin photo-inkjet paper. It keeps pop-ups 08 Print out your base.

It will need the base along the centre line and fold pages when they are closed. Experiment STEP robust and it also gives to move freely when folded so it a couple of times so it finds its natural with the sizes and shapes of your pops a high quality finish that the whole pop-up functions well. Score resting position. Using drawing, collage and digital ink, Simon is inspired by play, travel and film soundtracks, creating a world of colourful explosions and childlike expressions.

He has to finish the artwork and re-draw in worked for clients such as Macmillan the gaps that have been left behind. In the Layers able to see through and beyond each panel change the blending mode to Multiply so that your glue pop as it sits on the base. Print out the base. Leaving a small white edge will enhance the definition of your pops when you glue them in place later.

Score the centre line resting position. This helps to release any unwanted tension and the tabs. Experiment further with different score lines or maybe holes in the artwork that you can see through. There are so many possibilities! He draws with a range of regular pencils from montage techniques.

He then singer Beth Ditto for an editorial Having followed this tutorial, you brings the results into Photoshop, illustration. When these drawings sit alongside digital components, the overall effect pops right out. And as before, I created an outline as well as a solid form.

This means that 01 Before you start, remember to consider how your drawings will be the shape is more flexible and easily STEP manipulated once scanned. You must ensure that what you produce is selected when passing certain elements versatile enough for the purposes you have in mind. I work from a range of reference photos of my subject. I start by drawing just I also experimented with a the face, which I scan into Photoshop you should use a resolution of at least dpi photograph of glitter over the lips, for this key element.

The hair and other elements will be drawn individually and using a Lighten blending mode at saved in separate layers in Photoshop. I often 04 clipping mask layer STEP pencil, putting this in its own layer. I gave the the contrast and creating an outline of it. These sit on their own This effect was used elsewhere to add element together.

A graduate in illustration of Kingston University, Paul has also applied his techniques to skin, working as a tattoo artist while still living in the UK. He is fascinated by Once the microphone had popular culture, and his mark-making 09 STEP methods are witty and often boast colour applied, I duplicated 12 The necklace in the illustration STEP it to produce a pair that I arranged on was inspired by lyrics from unique twists. Paul has been freelance since his move to France. I also overlaid a gold leaf hair.

I then added a duplicate layer of texture — created by scanning an actual the original hair over the microphones, piece of gold leaf — and added some plus reflections to lend the work a lighting effects as with the microphones. I played with layer effects and opacity until I had the look I wanted. With all the components that you can invert the selection where together, I could also make any tweaks necessary, erasing or masking parts of that I felt the composition needed.

To finalise the portrait, I linked all the layers together and saved out the Above top GaGa self-initiated. So what is the secret of convincing portraiture, whether done digitally or in traditional media or a mixture of the two?

And how important is it that depictions be faithful to the subject, or is there a great deal of latitude in terms of personal interpretation? We talked to a group of leading illustrators to find out. Predictably, there was no outright consensus, though everyone offered useful individual insights into how they produce memorable work. When drawing or painting a face, Finnish illustrator Anje Jager anjejager.

Above A club poster by Miika Saksi. These questions matter whether smoothness of skin. I start 0. He starts out by taking the skin, and the shape of the face. His clients include the BBC and many leading newspapers and magazines. To generate ideas, Field will often start by juxtaposing different bits of reference material or pre-existing sketches and textures.

I also do lots of very straightforward naturalistic sketches from my own reference photos or, where possible, from direct observation. Often I also digitally combine several drawn elements or background textures. Asking before you start can save a lot of trouble later on.

This helps me important to the development and to distinguish the lines from the image delivery of his art. While retracing with the Pen Working mainly from photos for tool, I work in outline view to have the his commercial art, he acknowledges background image always visible. The x cm painting sold almost immediately when first exhibited. A gave even more name for a mythological lady. So the skin blue and reddish reference are visible. Her portraits begin with her sketching the composition, she says.

I take a hand from one image, a face from another, and the hair from somewhere else. I basically create a new picture that resembles the one I have in mind.

I make my drawing based on the montage I made. I then scan the finished drawing and join the parts together. In some cases I merge patterns and structures from the original photograph to the drawing. My goal, though, is always to keep the feeling that the picture is completely hand-drawn.

Minni advises that you spend time right Two pieces explains. Getting with each other. I use mainly Photoshop and Corel Painter.

Roses bring a particular feeling of luxury and passion. I try to keep it so there is no dead off the nose slightly better. Having as it will accentuate the chin and draw from observation and you see one eyebrow higher than the other neck.

It sounds simple, yet so many Fascinator and Persephone by interested in the note of it in your head. Which features you exaggerate, and by how much, determines whether you stay on the right side of cheesy, he says. For his part, he usually chooses to accentuate the girth of the neck or the shape of the face. Illustrator Sam Kerr bit.

A prime example is his depiction for GQ magazine of musician Jack White playing a cloud-and-lightning guitar top right. Peter will also often work by symmetrical, and so on. It Stanley Chow. I can, then sometimes down. You can make eyes cent anatomically accurate. The Photoshop fashion illustration work should be about enhancing the image and fixing small errors — not slogging to deal with major mistakes.

Abigail Daker swiftly creates a dynamic composition by digitally colouring a hand-drawn image ashion illustration is often done to very tight F deadlines and the artist can be required to work from life, with very little time in which to detail the figure and his or her surroundings fully. Here, Abi Daker shows how to balance a fashion composition while working at a snappy pace. She also shows you how to colour around a complex hand-drawn shape and how to edit the drawing in preparation for colouring.

The techniques here are especially pertinent to fashion illustration, but they can be used with any subject matter and will help anyone wanting to work on a hand sketch in the digital realm. Abi worked from a photo taken at London Fashion Week , but she says you can use a catwalk photo of your choice to follow the tutorial.

You want the background to set off the figure, not detract from it. Draw in any areas of detail background. Redraw any incomplete STEP lightly draw a grid to divide that need to be emphasised. It will be much vertically. The grid lines should help you keep the background simple compared decide where to place the key elements. Do corrections with the Brush tool instead, as mentioned in Step I used graphic pens for the clothes, though watercolour pencils would also have worked well.

Use the same colours as in the original photo and draw in more details of the clothes and fabric patterns. Using pencil on the face can make the features look too dark, but pencil shading on the dress may lend the figure greater depth.

Use the Color Picker to sample the background colour of the paper and then use the Brush to correct any smudges. Also add make any major mistakes, you still have figure visible on screen at the maximum some deeper hues to the folds in the your original scan to return to. This lets us work on it with no fear of affecting the main model.

Her work, created using both hand-drawn and digital techniques, is influenced by fashion, cinema, literature, landscapes and old maps. Abi regularly does book illustrations, and works for a range of editorial and advertising clients.

This gives us clear allow the figure to stand out better. Zoom in and ensure that you have gone over all the relevant lines in the background. Correct any gaps using the Brush tool with the size set at 5 pixels or so. Erase any bits of the drawing you feel need reworking, redrawing the lines to match what you already have. Choose a blue or mauve the eye tends to associate these Finally, we need to revert the 16 Above top Personal work based on a STEP colours with the background and fill in red lines of step 12 back to fashion photo at andreacrews.

Above centre Le Smoking features the a few sections with it. You can add another set of lines with a different gradient; try moving multiple anchor points and experimenting.

Select both and drag-and-drop them them. Select the your football player appear to be at theartistsguide. STEP an ellipse with no fill. Select the whole shape and group drawing crosses with the Pen tool. Make most of the shape so it fits nicely. Repeat copies of these drops and rotate, reflect the shape elsewhere in the image and stretch them a bit. Bring them into where you think it will work. You can the image, changing some of the colour also experiment with the Transparency fills to add interest.

If you like, you can export the result to Photoshop for some final colour correction, as I have done with the finished artwork opposite. With the Transparency of them with a gradient.

Select them BoomArtwork. Keeping world. Press OK. After finding good reference material, I decided to create a piece with figures looking to the skies in a stirring fashion. First I took pictures of Leo and myself in the correct pose. A vignette Select parameters as you like, though is a darkening at the edges, to help your choices will depend on the size of direct focus on the centre.

If you work painted on, with dust and scratches at dpi you will need more grain than added shown above left. I then positioned the Berlin.

I wanted something light another, exploring various styles with I selected a colour scheme, picking and ethereal that surrounds an edgy and playful aesthetic. I ended up converting some stock images of clouds to greyscale and increasing the contrast. I then applied them using a Screen blending mode, so only their highlights appear. I always enjoy this step of the process, giving a little extra life to the vector base using texturing. Orient all subtly across the whole composition.

Above top right the gradients, so that the dark parts To create the circular elements, I drew Carebear my ass. Above left Leonard correspond to shadows. Note that the some circles and turned them into Drunkbass cheekbones are lighter than the area clipping masks, then painted inside Above right Straaatch Cracking.

Duplicate it a few times at the photo the layer different sizes and filled with gradients just below, and hide 01 The first step in creating of different colours above left. STEP it. Regularly unhide it this style of artwork is to so you can compare Create a series of variations using choose a good stock photo.

Go My starting point right was the original image. Place the image in a new A3 portrait Photoshop document, making sure you have some free space around the margins for the effects we will create.

Hide this layer. Again, there is no need to lines with the Pencil tool B. Set the Create a third layer at the top of the incorporate much detail. You highlights in the original photo and that a tablet. To give it more depth, create a new layer and set its blending mode to Screen. I prefer. Map and Photo Filter. It required looking closely at a lot of references to understand how I can achieve these kinds of effects. Scan in your picture. Create a new 04 To make the beak, first draw STEP layer and start drawing an a round shape and fill it with eye.

With the Ellipse tool L a base colour. Using the Mesh tool U , create a circle, making sure add some columns and rows. Create a mesh points with the Direct Selection radial gradient using several tool A to get the shape of the beak, shades. Adjust the colours and then fill the outer points with darker position of the sliders using colours to add volume.

Then add some the Gradient tool G and details such as reflections and nostrils Gradient toolbar. Refer with the Pen tool. To add depth, I made a glossy reflection using the Direct Selection tool. Fill it with a a radial gradient of opacity create a two-colour gradient with gradient from top to bottom.

Place the the same colours and make the outer colour transparent. Then, using the Selection tool V , distribute copies of the feathers around the eye. Adjust the scale and 09 STEP rotation for each feather to make them a little chaotic — this Now we need to make an atmospheric background.

Continue adding I want to make a tundra landscape with a sense of feathers, placing them around the eye area. Draw a rectangle the full size of your canvas, and place it on a new layer behind all the other layers. Fill this background shape with a gradient with the brighter colour at the top. Draw hills using the Pen tool and fill them with gradients, making the nearer hills darker than the distant ones to add depth.

Draw fog using the Pen tool, fill it with a light colour and make it transparent, placing it in front of the tree shape. To make furry creatures 10 STEP first we need to create a custom brush. Draw the shape of the brush with the Pen tool and drag it into the Brush panel F5 , choosing Art Brush. To do this, I selected some of the shapes and made the gradient colours darker. Spend a lot of time playing with colours, making some parts of the owl brighter or darker to create the effect of volume.

When all it. Fill it with a bright gradient to make it contrast the fur is ready, select all the strands and expand them with the eyes. To add Pathfinder tool, unite all the fur with the body shape. Apply shadows under the claws, copy all the shapes that make a gradient and add details like eyes, ears, nose, and so on. Make some round shapes and fill fog.

Copy groups of grass to save time. Fill in the background them with a gradient that consists of some bright colours in with similar elements, making distant layers lighter. Create some shapes in the same way as you made the sun, but in different colours. Make them nearly transparent and place them on the picture where you want to add some additional soft light.

In tundra, the STEP light is pale and scattered. So make a simple circle and fill it with Light Radial gradient. Make the outer colour of the gradient fully transparent. Use this technique to make small particles and distribute them over the picture.

Her subtle, vector- based style walks the line between sinister and cute, which has made her work particularly suited to T-shirts and other garments.

She is a featured designer at clickforart. Above A Very Long Journey. The accurateness of the cute character sketch contributes to the success of a vector illustration. Step by step, the pencil drawing is completed. Select an A4 portrait size and principles. Here he reveals the rules of evil guys to flight. Cute but pitiless! Set Raster Effects to High ppi. The Pen and Ellipse tools and the Pathfinder panel are your main tools.

Passivity and an arrangement of characteristics. Here, the eyes from the former. Babies also have big eyes compared to an adult — so should our character. Draw each eye and cheek with the Ellipse tool L. Duplicate and flip them with the Reflect tool O.

Then create the torso. The then add overlapping kidney-shaped 10 Draw eyebrows with the Ellipse STEP body should appear soft and round outlines to create the three parts of the and the Knife tools — just draw baby fat is cute.

Leave out the forehead. Use the same Duplicate-then- a whole circle then cut off the excess. The after the head is drawn. If the mouth or the of the linework within the head. Place the mouth and nose halfway between the eyes. Create them with the Ellipse tool, Pathfinder panel and the Knife tool using the same techniques as before. Remove These should be blobby like a those of empty element with just a line round it.

The reduction to the its fill, give it a 0. Draw costume details with your Pathfinder likewise enjoy the little and elongate it so that it has an the palm of the hand with the Pen tool, tools. Draw the other lines using the figures. Simple is cute! Besides, the characters Pen tool.

Ensure that everything fits to become ageless. Repeat this procedure Repeat the same procedures as before the volume of the body. He loves creating colorful vector illustrations. Bubblefriends have fun enriching the world with always-happy figures and pictures. In doing so, Sascha does not stop at illustration, toy or game design. Unite sharp edges. Apply some shadows each other. The cuteness of your character can be emphasised with colour. While high contrast colours such as red and blue are powerful and used for adult superheroes like Superman, soft colours like pink, yellow and light blue are innocent and pure — and are perfect for cute figures.

Because of their tonal value, pastel colours are also useful. Also, too much white takes some energy out of the picture. Ensure that you avoid high contrasts secondary characters. Now our overall tone, ensure you also use website. Flash manages layers in the Timeline window: rename and lock the tracing layer, then create a new layer for each element. Drawing in Flash is easy: using the Line tool N , click and drag to create a straight line; click on the line and drag it to make a curve.

Use the Line tool or Pen tool to trace all the elements apart from the focal lines. Use the Line tool to n this tutorial, character art artwork quick and simple. Lock this layer and, in a new layer, draw black lines white artwork — using Flash. Shih says: lines to create fills for a comic book- that drag out from the red focal point. Drag the edge point of each line drawing tools that make creating this the artwork as you create. To create the metal pipes in middle, use the Line tool N to create some random pipe lines and increase the line size to 17pt.

Convert the lines to fill, use the Ink Bottle tool S and click on the fills: this creates lines around the fill. Materials rendering is usually flat and simple, yet it symbolises materials so well.

His work is about events and characters, and is inspired by his surroundings. He says that this artwork, Hollow Threat, takes him back to his original love of drawing and doodling. This trick is particularly useful for black-and-white images: theartistsguide.

One key new shapes, and tweak lines to give of your central flower or reason for its clear-cut appeal is its them a sense of flow. Drag as you place the balanced and orderly, but it retains a in a range of other vector-based second anchor point, so that you can sense of movement. Select and join the endpoints. Place a guideline in the middle of your artboard and align your teeth, choose Divide in the Pathfinder image so that its centre is on the guideline.

This guideline will be the pivotal element tool and ungroup. Delete the parts you of your whole illustration. This will be the bottom line of the bottom. Close the two to Shape in Pathfinder. Click Expand. Make sure nothing Select all and click on the Reflect tool point, making it a teardrop shape. Place sticks out of the banner. Choose make multiple copies.

STEP Select it and grab it by the left anchor point. Draw a curve and reflect it to create the bottom part of the flower, then join the endpoints. This can all be done the same way as we made the other shapes before. You can either copy the central figure, resize it and add some new detail, or you can play around with new shapes if you prefer. Creating organic shapes is much easier with a graphics tablet. Again, we draw only the left or right STEP side of the illustration and then reflect it.

Try to draw lines by hand using the Pencil tool as this gives a more spontaneous feel to your image. Create a circle and drag a guide from the top and side to the middle of the circle.

Centre a small circle on the top anchor point of the bigger one. Fewer anchor points means a better flow. Drag the curve handles on the anchor points use the white arrow and tweak them until the lines have the right flow.

This will take some time and practice. When you feel this side looks good, select all the flowers, curls and vines and use the Reflect tool to copy and flip it. Again, use a empire of colourful guide in the middle to graphics and keep the face symmetrical characters. Led by their passion for — this is a great timesaver.

Rotate it plushies, T-shirts and more. R to fit.