Creating illustrations for your book. Illustrations for the book

Hello! My name is Hatice Bayramoglu, I am a 3D artist and illustrator from Turkey. In this lesson I will show you how to draw and color a hero - an illustration for a children's book. As the lesson progresses, I will explain my choice of certain tools and my thoughts on illustration. My tutorial shows how I create an illustration from initial sketch to full drawing. I believe that after reading this lesson you will find something useful for yourself. To create the work I will use Photoshop and a Wacom tablet.

This drawing will be created entirely in Photoshop CS2.

Step 1: Sketch
Start by creating a new document in Photoshop. Its dimensions should be about 800x778 pixels. I started by creating a quick sketch that captured my main idea. Here is the main sketch environment around the main character.

So, as you can see, this sketch shows the main character - a little girl, standing nearby with an apple tree with an apple in his hands. She smiles because she is happy, and perhaps a little sad.

Step 2: Setting Up Brushes in Photoshop
Here is the one and only brush that I use to paint my heroine. For painting I will use standard brushes.

Before you start painting, you need to set up your brush. Start by choosing a tool Brush(Brush), then use the standard brush shown below.

(click on image to enlarge)

Step 3: Color palette
You must decide on the colors you will use before you start painting. Here are my colors used in my work:

Step 4: Layers (Layers)
Create New Layer(New Layer) and name it Sketch. You can create this sketch in Photoshop or on paper. Once you have created the sketch layer, change it Blend Mode(Blending Mode) on Multiplication(Multiply) and always keep it on top of all layers so you can see what you are painting over.
Now look at my layers palette. Here are separate layers for each sketch object. Painting each detail on a new layer makes it easy to make adjustments as you paint. It's much easier to correct mistakes if the main elements of your illustration are located on separate layers. This step is really very important!

Step 5: Working on the Background Color
Here let me show you how I color the background. Choosing a tool Fill(Paint Bucket) (G). Once you fill the background it should look like this. Make sure the layers are arranged as shown in the image below.

Step 6: Coloring the Basic Shapes
Before we start coloring, let me show you the order of the layers again. I changed it because the sketch layer should be on top of all layers, and also set to Multiplication(Multiply). At this point we can start coloring the sketch and can identify the main shapes. Using the tool Brush(Brush) (B), start painting the main character and the tree on separate layers. Make sure that Rigidity(Hardness) of the brush is set to 100%. A brush with soft edges may result in a somewhat blurry result.

And in this step I would like to change the size of my file because I want to add more subtle details. So I open Image(Image) - Image Size(Image Size) and increase the file size to 1500x1495.

Step 7: Adding Details
Now I can start adding details. In this step I started by painting the face. main character. Make sure you are working on the proper layer before painting.

And here I created a copy of the tree layer and added some details to it. I also hid the first layer with the tree.

Here's a screenshot to show you the details. I started adding even more details to my drawing, such as grass and small flowers. At this point I created a layer called Flowers.

I add even more color and fine detailed lines on the wood.

Now look at the details I just created. I continue to add details and, if necessary, create new layers.

Step 8: Special attention to the main character
Now that I'm happy with the detailing of the decorations and wood, I'll add detail to the girl's outfit. At this stage I noticed that my character looked very plain and not very attractive, so I thought I should take the time to make some changes. I tried to give a slightly different look to the heroine and continued to add more details. Again, pay attention to the order of the layers. As you can see, in this step I have a few more new layers. All layers have their own names.

Now I'm starting to add little details to the heroine, adding more yellows and greens. By the way, don't forget that you don't have to detail everything in this step. At this stage I work on the main details and light until I get a nice contrast. Sometimes I change some colors. I'm almost finished painting her clothes and body. I also moved the sketch layer a little to one side so that you can see what the heroine looks like without the sketch base.

Step 9: Adding Highlights and Contrast
I used the tool Clarifier(Dodge) (O) to brighten areas. This is what the work looks like after all the adjustments made by the tools Clarifier(Dodge) (O) and Dimmer(Burn). I continue to add more detail to the tree using brushes of different sizes and colors. Once enough detail had been added, I began to smooth it out using a soft edged brush. I also use tools Clarifier(Dodge) (O) and Dimmer(Burn) to give shade to branches.

I also add a few strokes with the tool Finger(Smudge). I use this because I want to add soft blurry areas to the clouds and background. At this stage I noticed that my clouds were not very detailed. So I created a new layer to paint the details to the cloud using two tools: Finger(Smudge) and Brush(Brush).

Step 10: Adding More Details
At this stage, I noticed that I needed to add more flowers to my drawing. So I create a new layer and, as you can see, I draw some cute and simple flowers. I continue to add more details. Adding some touches with a tool Clarifier(Dodge) (O), I'm doing this because I want to add some lightly lit areas of grass.

Now that the grass and background are complete, I can start adding more detail to the girl's hair and face. Selecting the brush mode Lightening Basics(Color Dodge) and add a few strokes to her face.

Now notice the details I added using just the brush in mode Lightening Basics(Color Dodge).

Step 11: Color Correction
The drawing is almost finished except for color correction. To start Drain(Merge) all layers. Now in Image(Image) - Corrections(Adjustments) - Brightness/Contrast(Brightness/Contrast) let's change the color a little. I want to give the illustration a more sunny effect.

Set the parameters that I set. This is what the illustration looks like - more sunny and joyful.

Finished illustration
Here is the finished illustration, I hope you found this tutorial interesting. Thanks for reading.

You'll see me create a concept sketch, a background, and then gradually refine the image by drawing out the details. By the way, you can easily apply the techniques shown in this lesson when creating your illustrations, logos and other projects! Following tutorials like this will always make the drawing process easier, but if you think you're not good enough at drawing, it's never a bad idea to just give it a try, since the goal of these tutorials is to improve your skills, one way or another! I'm sure that those of you who are unable to draw large scale drawings can start with quick sketches like this one.

I used the following tools:
- Photoshop CS3
- Wacom Graphire 3 USB Tablet (Blue)

Step 1: I started with a sketch. Then I painted the surface of the ground. Here, as you can see in the finished drawing, there is a lot of green grass and it reminds me old song: "Green Green Grass near the house." So try to imagine something like this. Perhaps there is a small house nearby an old oak, in the shadow of which you loved to play so much as a child. Once I decided on the scene, I began to think about colors: main and background shades. Here I tried to imagine a clear image. I started drawing on a blank background to which I added some flowers. I don't like to work with drawings whose background is simple and inexpressive. Adding different colors keeps the image interesting and also helps achieve the desired mood.

Step 2: I added details using a small diameter brush. For these illustrations, I only use the brushes that Photoshop already comes with by default. You can download other brushes if you want. Here are the brushes I used for this illustration. In my drawing I will only use standard brushes. Before you start painting, you need to set up your brushes.

Step 3: Now you need to choose the main colors for your composition. And here are my colors for this illustration. As usual I want to create a very bright drawing. For the background I chose yellow and blue shades. All other colors are for environment. Open another file and save your colors. And keep this new file always open while you draw.

Step 4: I decided to remove the old car that was parked near the house. She really doesn't fit here at all. This car doesn't fit with the rest of the picture. So I had to erase the car and paint an old oak tree instead, you might want to paint some other tree. I made a rough sketch in color with a hard round brush. large diameter, and then roughly painted the details with the same brush only with a smaller diameter. I also created a new layer for the grass and did a rough sketch.

Step 5: I then started to paint in more detail on the green grass with a small hard round brush and a soft round brush to smooth out the image... but I may change this later, for example there might be some reddish blue or yellow flowers. But on this moment, I think green grass is just what you need.

Step 6: When I search suitable color, I do this:

Step 7: Now pay attention to how I draw the wood. I don't show many types of wood in this tutorial. There are only two types presented here: one for the door, and the second for the fence.

Step 8: Now let me resize the canvas. As you can see, if you want to get a drawing with a lot of detail, then you will have to work on canvas big size(approximately 2000 or 2600 pixels).

Step 9: Add details using a small brush. Here, pay attention to how I draw the details of the roof.

Step 10: In the next steps, I'm going to create some more layers for the green grass. The reason for creating multiple layers is that you will need to adjust the drawing later. It's much easier to correct mistakes if the main elements of your drawing are separate objects. I roughly colored the drawing using a large, hard round brush, and then added details with the same brush, but with a smaller diameter. I also created a new layer for the hair and did a rough sketch. Returning to the question of how to draw grass. Just click on the brush icon, select a different color and paint as shown in my sketches. Then just repeat the same action.

Step 11: Now it's time to start detailing the clouds. When drawing the clouds, I colored the shape white on separate layers, and then changed the layer's blending mode to Overlay so that the effect would be visible in the drawing. And I only used two layers for the clouds. One color is used as a base color, and the other color is used to increase the brightness of the background. Try to find a balance by combining different shapes brushes, and try to draw clouds using different strokes. You also need to define the light and shadows. Photographs of the real sky will help you in this matter. Just search in Google different cloud shapes.

Step 12: I also wanted to add some brightness sunlight and other details, such as a flash of lightning. After several attempts, I settled on the option shown in my drawing. It looked pretty rough at this stage, but I'll come back to that later. I should also note that each element of the design was on its own layer, which allowed me to quickly select the desired object and change colors with ease. Press Command+Click (on Mac) or Control+Click (on Windows) on the layer icon in the Layers palette to select the opacity.

Step 13: Settings. It is very important. You can choose the right color and thereby change the entire atmosphere. Now I use Color Balance. After that I changed the brightness and contrast. You will notice how the lighting effect changes.

conclusions:

Now it's time to close Photoshop. I hope you enjoyed it! As a finishing touch, I add a Smart Sharpen filter to the flat image to get sharper, sharper images. sharp lines. This helps highlight small parts, such as glare. I hope you enjoyed reading this tutorial.

During the work on the publication, the original illustrations are being prepared for reproduction and placement in the text. The illustrations in the book are line and halftone. When creating illustrations, I relied on the following criteria:

• ·All drawings must be made in proportions corresponding to the design project of the publication. It is the layout of the book that allows you to accurately determine the final dimensions of the illustrations.
• ·The volume of illustrative material used, as well as the method of its rational placement, was determined together with the author on initial stage working on a book.
• ·The requirements that the illustrative material must satisfy can be summarized as follows for line and halftone images:

Line originals:

• · drawings must be made on smooth white art paper;
• · corrections should be made by painting with a bright white color;
• · the drawing must be made on a scale of 1:1, 1.5:1, 2:1 in relation to the future illustration in the book and have an appropriate thickness of strokes. You should not allow too thin strokes, which may disappear when the size is reduced;
• · shading with dotted lines or cross-hatches should be uniform, with a gradual transition, and not have too thin or short strokes in the texture. They may be lost when downsizing.

Single-color halftone originals:

• · black and white prints on glossy paper (not tinted, not matte, not embossed);
• · a wide range of tones is acceptable, but with a gradual transition of shades, without too obvious contrasts;
• · the ability to use approximately one and a half sizes to obtain a printed size;
• · must not be bent or damaged.

The design must be on a flexible substrate so that it can be scanned.

Working on an illustration, the artist solves a wide variety of professional problems: compositional organization, decorativeness, emotional expressiveness, stylistic correspondence to the spirit of the literary work, the era depicted. Book illustration is part of a book. The artist must take into account the type of publication, method of reproduction, format, proximity to the font stripe, the presence of graphic decorations in order to find a harmonious solution and create artistic image illustrated book.

The artist’s intention concerns mainly the visual system in illustrations, the task of which is to lead to the best educational and explanatory result. The artist solves not only issues of the visual and plastic side of the future series of illustrations, but also - this is the main thing - issues of figurative structure, interpretation of the work and its artistic features, creating a compositional whole from individual drawings, which, entering the book and merging organically with the text, would imperceptibly lead the reader-viewer to that aspect of the interpretation of images that was intended by the artist in order to most fully and vividly convey the idea of ​​the work to the reader. This feature of the design concept work of art has a profound influence on the thematic plan of illustration. Without going into consideration of topics in all their diversity, the general thematic range of illustrating a work of art can be presented in the following list.

Description of the thoughts and feelings of the character, his characteristics appearance, facial expressions, gestures, manner of speaking, acting. In illustrations, this material corresponds to a portrait, which can be of a generalized nature, without reference to any place in the text, or, conversely, with reference to a specific small or very short piece of text, when the character is depicted in a specific internal or external action. Portraits can be depicted outside of any environment, with the environment as a background, sometimes symbolic meaning, and in an environment that actively characterizes the person depicted. The main purpose of a portrait is to give social and psychological characteristics portrayed character.

2. Description of the events that occur during the meetings of the characters, their clashes with each other and nature. Of this group of topics, those that clearly reveal the character of the characters or are turning point in their fate, as well as those that, without playing a special role in the development of the plot, at the same time emphasize the main idea in the artist’s plan. In illustrations, this material is expressed through plot-thematic compositions. Their main goal is to reveal the character and state of the participants in the event in action, to reveal the meaning of the depicted scene in the course of events and to express the main idea. These are the most common illustrations. Like portraits, scenes can be depicted outside of an environment, with the environment as a background, and within an active environment.

Description of pictures of nature, city views, interior spaces, emphasizing and helping to understand and feel the leitmotif, tonality, general mood, main idea works, character surrounding the hero environment and its effect on him, the character of the hero himself and his mood. This material corresponds to a landscape or interior, having as an illustration independent meaning, so independent that the figures of the characters of the work inscribed in them serve only to emphasize that the image belongs to specific place text or to highlight its main theme and intent. Of the illustrations for this group, the most common is landscape.

Description of individual structures, buildings, household items, plants, animals, etc., which highlight and help to understand this or that trait in the character and mood of the character or have special meaning in the development of events. In illustrations, this group of themes corresponds to peculiar graphic still lifes or isolated images of an object or figure. Illustrations belonging to this group are rare.

Each of the described thematic groups can be divided into subgroups depending on what acting persons refers to: main, secondary, tertiary or episodic. And also subdivide the group depending on whether it belongs to the main one storyline or to the side, whether it accompanies the plot or belongs to the extra-plot parts of the work.

The range of techniques used in modern book graphics is very wide. From the finest watercolor works to silkscreen printing, from gouache and pastel to knife cutting on calf parchment, from pen drawing to collage and experimental digital forms. The positions of artists are different: from absolutely serious to naive, from ironic to skeptical. High quality and amazing variety is what should characterize modern work.

Modern illustration, often created using computer graphics , getting closer and closer to design . Works can be performed in a wide variety of techniques - vector graphics, painting and drawing, mixed media.

Illustration work requires attention to detail, intimate knowledge of the subject being discussed, and the ability to convey graphically complex ideas. Some illustrations are created using watercolor and gouache techniques and belong to the fine arts, others are created using computer programs, others are a synthesis of traditional means and computer technology. Here the work of the hand and eye is intertwined with the work of programs and machines.

In the illustrations for the play “Oh, our life is a bitch!” Three topics (episodes) were taken: “Khirin with a dog”, “a millionaire’s conflict with bank representatives and police officers at a masquerade ball”, “defending the interests of Merchutkina’s husband in front of those present at the wedding”. And in the illustrations for the play “The Demon Confused!” three topics (episodes) were also taken: “the general’s conversation with Blistanov,” “Lomov’s conflict with Natalya Stepanovna and Chubukov,” “the proceedings of Blistanov and Natalya Stepanovna.”

An important role in the composition of illustrations is given to the environment in which the action takes place. The environment of the characters is of great importance for revealing the content of the picture. The unity of impression, the integrity of the composition is achieved by finding a typical Russian interior at the turn of the 19th-20th centuries.

The illustrations for the book "Chekhontins" were created using the technique of black and white contrast graphics, black ink using a pen and rapidograph. After scanning processed in Adobe program Photoshop using a graphics tablet.

Within this thesis the goal was set - to create a layout and illustrations for the design of the book edition of G. I. Yudenich "Chekhontins", taking into account the peculiarities of perception of the adult category of people, using the basic graphic tools characteristic of creating book graphics. The goal of the work was not just to create the graphic design and illustrations of the book, but also to design a holistic layout that would harmoniously combine all the elements of the book.

Comprehensive work was carried out to review book illustration How special type graphic art revealed distinctive features book graphics from other types visual arts.

From a design point of view, book graphics are not only an object of fine art (creating illustrations or fonts), but also an object of creative activity, including technical editing, typesetting, layout, etc.

In order to identify distinctive features book graphics from other types of art, books and periodicals about the art of books were studied.

In addition to the layout rules, the work examines the special requirements established by state standards.

Comprehensive work was carried out to study the history of the development of book illustration and to identify the main features of development. Illustration evolved and often responded to trends that existed at the time. The main tools that are used today to create illustrations have been identified.

Historical experience shows that the state of the book business has always been a determining dominant in the development of society for many centuries. The very invention of printing served as a powerful impetus for fundamental changes in the life of mankind, serious transformations in the sphere of productive forces and production relations, in the field of science, culture, education, and in solving many social and economic problems.

Having studied the structure of the book, we can conclude that one of the the most important features illustration - her dependence on literary text. Its purpose is to complement the author’s narrative in visual images. In contrast to easel graphics, which arise as a result of the artist’s direct observation of his environment and study of materials historical reality. Book graphics have as their starting object not life itself, but literary work, which is already a reflection of life through the prism of this or that writer or poet. Illustration not only interprets the text, but also enriches it in its visual images, comments, develops and complements the thoughts and images of the writer or poet.

A book is, although complex, a single organism. And therefore, in its design everything is interconnected. You cannot decide the external design of a book in isolation from the internal design, assign a font size regardless of the format, choose a format without taking into account the degree of complexity of the illustrations, etc.

Based on the findings obtained, the set goal was achieved - an illustrated book was created based on the work of G. I. Yudenich “Chekhontins”. This book is intended for adults. It was created taking into account the preferences of this age group. A book layout was developed, systematizing the arrangement and characteristic shape of the illustrations. It made it possible to harmoniously reunite the font design of the main text, headings with illustrative material and other graphic components of the book, such as column numbers. The style of illustrations is hyperbolic, with elements of the grotesque, but close to reality. It is quite elaborate and detailed. To create the layout and illustrations we used modern technologies. Particular attention was paid to the development of the cover, for which an illustration was created, including font composition. All elements created to build the image of the book are innovative in their uniqueness.

The work performed corresponds modern trends in the development of book graphics. It's like there's a discovery going on right now. new era book art, in this regard, of particular interest is the study of the world history of book publishing, identification, search for the subtleties of artistic and technical design of ancient masters. The main vector of this search is improvement contemporary art book publishing based on new technologies.

I have for last days some kind of unprecedented creative and working upsurge. Finally like it own works, made both for customers and for stock. Therefore, it is easy to draw and layout, it’s nice and makes me happy.
I want to reveal the secret of the workflow a little. I’ve been thinking about making a video for a long time about how objects are drawn for stock, but so far I haven’t gotten around to it, so I’ll show it only in pictures and words.

Step 1. Choose a topic
Where does the work begin? From choosing a topic. To be honest, I’m not yet particularly sophisticated about trends, choosing niches (maybe that’s why I have modest numbers in my wallet), I draw what I want. I chose a style for myself, calling it “multi-realism”, that is, realistic enough to convey volume and shadows, but at the same time leave a cartoonish rage and gloss. Currently I am working in the “objects” genre, but later I plan to include people and small stories here.

I am never faced with the question “What to draw”, rather “What to draw first”. I am impressed by absolutely everything: food in cafes, store windows, beautiful photos people, the works of other authors. Fortunately, I don’t have to sit at the monitor, dragging different flowers back and forth in the hope that something decent will come out. I completely abandoned creating backgrounds, textures, business cards and other things that were quite popular among other stockers. It just didn’t work out, I didn’t enjoy the process of making them, and accordingly they didn’t sell at all.
When I sit down at the computer, I always already have an idea of ​​what I want to see as a result, but I’m getting a little ahead of myself.

So, choosing a topic. I always and everywhere carry a diary with me, which, by the way, also quite puts me in a creative mood. And as soon as an idea comes to my mind, I add it to the Mind Map. I won't go into detail about what it is. this information I’m calmly googling, I’ll just clarify that the method is really cool. Allows you to structure ideas without squeezing them into a framework, allowing the development of one thought indefinitely.
This is what my cards usually look like.
Ideas are written down on a web, then thought about and analyzed. Something is postponed, and something gets life in the second stage.

Stage 2. Sketches
Everything here is extremely simple and clear; if I choose a topic, then I list which items may relate to it. And then I look for pictures of the necessary items and copy them into my moleskine. It is necessary to copy, stock photos do not allow you to use other people’s photographs as direct references (redrawing of other people’s photos), but if you select several pictures, take something from one, something from another and eventually get your own drawing, then everything is fine, the author’s the right was not affected.
To be honest, I draw so-so, my hand is not put into creation straight lines, but this is not particularly necessary, which is why I love the vector.
The sketches here serve as approximate schematic sketches, from which I will take general shape. Illustrator tools that allow you to draw will later save you from crooked lines. smooth circles and rectangles.

Stage 3. How do others do it?
For myself, I have established the basic principle of working with stock images: my pictures should be no worse in quality than those presented on the first pages of popular ones. If the work isn't up to par, I'll tinker with it until I'm satisfied with the result. Naturally here we're talking about and works on the same topic and in the same technique as mine.

Yesterday I decided to draw on Fast theme Food. Using this search query, I found cute sausages in dough, potatoes, and cola. I chose what I would buy myself if I had such an order, and just what pleased the eye. I directly throw the pictures I find onto the sheet where I’m going to work. I don’t take anything from them, neither color, nor shape, nor style. I only need a general impression, everything else will come from my sketches and selected palettes.

Stage 4. Design of basic forms.
Then work with the computer begins. I have Graphics tablet, but I use it extremely rarely, I like to brag that all my works were done with a mouse, which, by the way, is absolutely true. Main tool: pen. Those who understand vectors will understand what the essence is. In short, the pen allows you to draw using points and vectors curved lines any forms.
With a pen (for objects that require evenness: mugs, plates, boxes - ellipses, rectangles), I outline the main details, paint them in chaotic colors, just to determine the shape.
As a result, you get such unattractive illustrations, but the general idea is already clear, then only complication.


This 5. Color selection.
Color selection, one of the most important moments, which I categorically don’t trust myself and don’t choose the colors myself. There are many services that allow you to collect beautiful palettes, but this is not quite the same. The main assistant in color selection was the service: shutterstock.labs. Interesting stuff, I recommend digging around, even just for the sake of general development. The site allows you to select photographs on topics of interest, taking into account your preferred palette. For example, I know that to draw Fast Food I will most likely need yellow, red, orange, brown and their shades. I create a corresponding search query and the program gives me ready-made photographs with the same hot dogs, potatoes, etc., and even in bright, beautiful flowers, which I will subsequently use in my work, thanks to the eyedropper tool.

Stage 6. Subject development.
The rough part of the process is completed, let's start creating. For the rendered details, I select colors from found photographs, then add new details: shadows, highlights, light, texture. As a result, I get a set of individual items that can now be assembled.


Stage 7. Composing compositions.
The items are drawn, it's time to think about how to present them. Even during my short activity as a stocker, I managed to realize that compositions sell better than just items on a white background (although I also upload them in this form and sometimes they buy them). So now I’m just combining our entire collection into different pictures, with backgrounds, without backgrounds, with inscriptions, without them. The more you can create from one collection of pictures, the better. I especially like it when some items can be taken from past works. For example, I added ice cream from the “Summer” collection to the “Fast Food” set. That’s why I try to draw in the same style so that I can combine everything.


This is what my work on pictures looks like. I discovered that such stages left an imprint on my design work, I began to make products of a different style and of much higher quality, which is also pleasing.