How to create an illustration. Create an Adorable Baby Illustration in Photoshop
ARIZONAN ASPID (lat. Micruroides euryxanthus) is the smallest snake from the family Elipidae (slates), its length is only 40 cm. Despite the small size of the Arizona asp, it is difficult not to notice it - the spectacular color of this snake immediately catches the eye. It consists of alternating black, red and yellow rings. Perhaps the most important feature The uniqueness of the Arizona adder lies not in its bright color, but in the structure of its dental apparatus. On the maxillary bone behind each poisonous fang (there are two in total) they have another small tooth. However, asps need poisonous teeth not for protection from enemies, but rather for obtaining food. When in danger, this adder draws air into its lungs and exhales it rhythmically, while emitting a series of rapidly alternating clapping sounds. The little snake makes similar unusual sounds to scare away enemies.
Harlequin asp
HARLEQUIN ASPID (Micrurus fulvius) is one of the largest snakes of its genus, reaching almost 1 m in length, and is distributed to the north further than all the aspids of America. This snake poses a known danger, since with its considerable size it can easily bite a person. When biting, the asp grabs tightly with its teeth and tightly squeezes its jaws. The percentage of deaths from harlequin adder bites is quite high. If the necessary measures are not taken, the person usually dies 20-24 hours after the bite. Asp venom affects mainly nervous system(paralysis, collapse), there is no tumor, but there is a sharp pain in the area of the bite.
Cobra adder
The cobra snake (Micrurus frontalis) is one of the most spectacular snakes of the Aspid family. Despite its small size (up to 60-70 cm in length), its color immediately attracts attention: red rings alternate with black, and each black ring is crossed by two more, pale yellow ones. Unfortunately, the cobra adder is poisonous and its venom is fatal to humans. This is the most dangerous neurotoxin, therefore keeping snakes of this species in a home terrarium is extremely undesirable - the death of household members or neighbors from a snake bite falls under Article 109 of the Criminal Code of the Russian Federation “Causing death by negligence”, which is punishable by restriction of freedom for up to two years or imprisonment for the same term.
Coral adder
Representatives of this species of snakes lead a predominantly nocturnal, secretive lifestyle. It can rarely be found in the open, although there are situations when the coral adder is found near human habitation. He prefers either a cool, damp watering can or a sandy one. Adders appear on the surface extremely rarely; this occurs during rains and during the breeding season.
The body length of this snake reaches 60-70 cm. The head is blunt and small in size. The tail is also not very long - about 10 cm. The mouth is slightly stretchable. The color of the coral adder is very impressive. The main color is red, which is interrupted by regularly spaced black rings surrounding the body.
Coral ribbon asp
ASP CORAL Ribbon (Micrurus lemniscatus) Lives in Brazil, in the north South America and the islands of Trinidad. It is colored similar to the cobra adder, but the yellow stripes that break up the black ribbon are much narrower. This species is one of the most common adders in southern Brazil. He has local residents its name is ibiboboka, which also penetrates into scientific literature.
Collared slender asp
Slender collared asp (Leptomicrurus collaris) – relatively young and quite rare view from the aspid family (Elapidae). Together with the Arizona and coral adder, it is part of the American adder group. Moreover, all three genera - slender, Arizona and coral adders - are sometimes combined under the name American coral adders. However, the slender collared asp, unlike other representatives of the group, can be called endemic to the Amazon River basin, since it is the original inhabitant of these places and is only rarely found in other parts of the mainland. This snake got its name due to its slender, graceful body, from which it is not so easy to determine where the head is and where the tail is - both are decorated with thin yellow rings. Like all adders, the slender collared adder is poisonous. But all its weapons are two relatively short poisonous fangs on the upper jaw, so the snake bites extremely reluctantly and only in rare, most dangerous cases.
Denisonia splendid
Denisonia superba is a rare snake whose venom is fatal to humans and animals, like the venom of most adders, which has a neurotoxic effect. This is not the most major representative family - only one and a half meters in length - living on the Australian mainland along with other 19 species of Denisonia. So this genus can be called endemic to Australia. Denisonia splendid is distinguished by an amazing quality that is not typical for reptiles - viviparity. And although people and pets prefer to avoid this snake, it cannot be called overly aggressive, such as, for example, cobras.
Black echidna
BLACK ECHIDNA (Pseudechis porphyriacus) or black snake, distributed throughout Eastern and Southern Australia, reaches a length of 1.5-2 m. The shiny black color of the upper side of the body is effectively combined with the reddish color of the belly. The black snake lives in moderately damp low-lying areas and along river valleys, willingly goes into the water, swims and dives well. It feeds on frogs, lizards, and snakes. Juveniles prefer insects and other invertebrates. In captivity, the black snake eats mice well.
Ferruginous snake
[b]The common ferruginous snake (Maticora intestinalis) is a representative of the Aspid family. Its range extends across the Philippine and Sunda Islands. It inhabits Thailand, Burma, and the Malay Peninsula. Prefers to settle in moderately humid areas, abundantly overgrown with trees and shrubs. This species is quite small in size - about half a meter in length. It is brightly colored - a red stripe runs along its back and is bordered by black stripes. On the sides there are yellow stripes bordered in black. The main diet of the ferruginous snake consists of pygmy snakes. Its venom is neurotoxic and very strong, but it bites quite rarely, preferring instead to attack to evade pursuit or to scare with a deceptive maneuver. In the skeleton of this snake there are no rudiments of the pelvis and hind limbs. The left lung is also missing. The ferruginous snake, like most representatives of its family, is oviparous. In captivity, keeping it is practically impossible; the snake refuses to take water and food, and dies quite quickly.
Two-striped ferruginous snake
The ferruginous two-striped snake belongs to the largest family of snakes in the order of snakes and has all the corresponding features. She has a thin and slender body and is overall very beautiful. The color of this snake is a combination of orange, black and blue colors. It is also incredibly poisonous, which is emphasized in the very name of the reptile – glandular. This snake has overly developed venom glands, and they are located not only in the head area, as in other slates, but also continue into the body cavity, occupying almost a third of its length. Because of this, the heart and other organs of the snake seem to be pushed back. Its poison is very dangerous for humans and animals; first of all, it acts on the central nervous system of the victim.
The same word “illustration” refers to images that differ in content and form, in meaning for the work and the reader, in the connection between the drawing and the text, in the technique of execution. “According to the purposes pursued by the image, illustrations can be divided into scientific and educational(maps, plans, diagrams, drawings, etc.) and artistic and figurative(interpretation of a literary work by means book graphics). Illustrations may be an explanatory image for the text, complementing the text, and an image almost completely independent, sometimes even subordinating the text".
“Depending on the size and location in the book, there are the following types of illustrations:
- Frontispiece. An element of artistic design of a publication, which is an illustration placed on the left page in a spread with the title page.
-Screensaver. Splash illustrations are placed at the beginning of a part or chapter of a book on the imposition page along with the text; they mark the beginning of one of the parts of the story; they are usually located at the top of the page and are separated from the text by a white margin. They help the reader focus on new material and emotionally tune in to it. Titles may depict the scene described at the beginning of the chapter; talk about main topic parts or chapters; show a scene or landscape that should evoke a corresponding mood in the reader. Screensavers can also be decorative or symbolic.
- Striped illustration (full page), half-strip (on half a page), double-page (on two pages). The choice of illustration format is determined depending on the importance of the illustrated event, image, etc. The content of such illustrations usually has a direct relationship to the text that precedes or follows them. For large double-page or strip illustrations, important events of the work are chosen. Illustrations largely determine the architecture of the book, so it is necessary to pay attention to their rhythmic alternation and their uniform saturation throughout the text.
- Defense(small drawing surrounded by text), drawings in the margins - less significant events.
- Ending illustrations placed at the end of parts, chapters or the entire book. They, just like screensavers, can be plot-thematic, ornamental, decorative or symbolic.
Openings and endings should be done in the same style, since they are interconnected and are often located next to each other on a book spread.”
Technician There are a lot of illustrations. They can be used either independently or combined with each other. Let's look at some of them.
- Painting materials(watercolor, gouache, acrylic);
- Graphic materials(charcoal, sanguine, sauce, retouching, Italian pencil);
- Collage(French collage – gluing, sticker) – a technique for creating a work of art when various materials(fragments of newspapers, wallpaper, colored paper, finishing materials, fabrics, wire, wood, rope, metal) are attached to the base and are perceived as a fragment of reality. Collage was introduced by P. Picasso and J. Bracom in 1912. C. Carra, G. Severini, H. Arp, A. V. Lentulov worked in this technique.
- Application - lat. applicatio - application). Pieces of any material (fabric, paper, fur, straw, etc.) are sewn or glued onto fabric, paper, cardboard. The images or ornament created in this way give the work a special relief and expressiveness. .
- Photomontage- a composition made up of photographs and their fragments, sometimes supplemented with graphic elements. Used in the twentieth century. in printed graphics, posters. The name was coined by Berlin Dadaists to refer to works assembled from photographs. Photomontage was used by J. Hartfield (1891–1968), A.M. Rodchenko, L.M. Lisitsky.
- computer graphics:
"Raster image is a data file or structure that represents a grid of pixels or color dots (usually rectangular) on a computer monitor, paper, and other display devices and materials.
Vector graphics is the use of geometric primitives such as points, lines, splines, and polygons to represent images in computer graphics. The term is used in contrast to raster graphics, which represent images as a matrix of pixels (dots)."
3D graphics (3D, 3 Dimensions, Russian 3 dimensions) - a section of computer graphics, a set of techniques and tools (both software and hardware) designed to depict three-dimensional objects. It is most used for creating images on the plane of a screen or sheet of printed materials in architectural visualization, cinema, television, computer games, printed materials, as well as in science and industry.
The most ancient way of illustrating is using printed graphics. Linocut,woodcut,zincography, lithography, cardboard engraving, copper engraving, etching, mezzotint, aquatint, drypoint.
Each instrument has its own sound and feel in your fingers. The choice of tools greatly influences the character of the image. Often the theme of the illustration itself determines the technique and style of the image. “Style is largely a choice of instrument. Good typography always shows the mark of the calligraphic tool. This is not a problem if you do an illustration on paper, but in digital graphics you need to make a special effort to preserve the genetic imprint of a live drawing.” For example, Jonathan Edwards uses a vector, but his illustration lives (Fig. 25. Appendix 1). Drawing, even using raster, vector or 3D graphics, requires keeping the image alive.
Absolutely all techniques of fine art are accessible to illustration; according to tradition, graphic materials are used in illustration, but this is far from the case.
In modern illustration, certain innovations and trends are constantly being formed, this could be black and white line art (using one black line when depicting, without shading, spots or fills), including a little bit of a strange neo-Gothic style in the drawing, there could be small op-art effects, vigorous color expressionism, street art.
But the question is, which trend should a modern illustrator support - the one that is abundant in various publications or the one that he likes?
And yet there are signs that vector, and in general digital graphics The public is also starting to get bored.
There is a trend recently discovered Sergei Pervushin(Fig. 26. Appendix 1), a famous illustrator: a photo with hand-drawn elements, a way to talk about the presence of the unknown. “The presence of photographic elements in the illustration (it seems rather the other way around, here photography occupies most of the space - but the drawn elements confidently sweep it up and turn it into an illustration) gives it so much graphic sophistication, so much authenticity that, in general, it’s strange that this the story has not yet been integrated into a normal illustration, but remains some kind of self-sufficient game.” As soon as you go slightly beyond the plane of the sheet, much more interesting things begin. Illustrators work with collage, using traditional materials (paper, fabric, photographs), or such media as
- plasticine(Figure 27, Appendix 1);
- papier mache;(fr. papier-mâché “chewed paper”) - an easily moldable mass obtained from a mixture of fibrous materials (paper, cardboard) with adhesives, starch, gypsum, etc. Papier-mâché is used to make dummies, masks, teaching aids, toys, theatrical props , boxes, etc. In some cases, even illustrations;
- sculptures from books(Fig. 28. Appendix 1) - Books can not only be read, but, it turns out, you can create from them. Like Nicholas Jones, for example.
- paper plastic(Fig. 29. Appendix 1) - in terms of the type of creativity it is very similar to sculpture. But, in paper plastic, all products inside are empty, all products are shells of the depicted object.
As a result of bending a sheet of paper, a system of stiffening ribs is created for any structure. For more complex products, in addition to straight lines, curved ones are used. Illustrations can also be objects for depiction in this technique.
Yes, anything, the main thing is that the material corresponds to the theme of the work. "Needlework - great way to compensate for the lack of pure drawing skills - a method that is more effective and, most importantly, trendy than the imposed trends associated with the pure use of graphics editor technologies.”
The type and technique of illustration should be a function of the creative task. The choice of technique, as a combination of proven moves, allows the artist to be confident in the quality of the illustration.
Conclusions on the second chapter
In the history of illustration, we are talking about its constant change, in accordance with the development of culture and art in general. About its synthesis with fine art, design and book graphics. Illustration trends of the 20th century are also discussed. the influence of the styles of the Art Nouveau era on her. And the main trends n. XXI century, relate more to the side of illustration technique. The concept of illustration is revealed according to three characteristics; according to some characteristics it can be classified as high art. What distinguishes it as a special genre of fine art. These are drawings, works of painting and sculpture that were made on literary themes, but at the same time had independent artistic significance. According to others, illustration is a type of book graphics, which is a work intended to be perceived in a certain unity with the text, that is, located in the book and participating in its perception during the reading process. According to the third, illustration is an explanation of the text by demonstrating a visual image, an active interpretation of the text. These are scientific and educational illustrations (maps, plans, diagrams, drawings, etc.), as well as illustrations that decorate utilitarian products (images on money, stamps, information materials, envelopes, packaging). Such an illustration can be classified as applied graphics.………………………… The correct choice of technique and type of illustration allows the artist to be confident in the quality and relevance of the illustration.
In this tutorial we will learn how to create an adorable children's illustration using digital painting techniques in Photoshop. Let's start!
The result of our work will look like this:
Lesson details:
- Software: Adobe Photoshop CS5
- Difficulty: medium
- Duration: 8 hours
IN this lesson The following materials were used:
- Texture 1
Step 1
Create a new layer File > New (Ctrl + N). The author of the lesson chose the A4 format.
With the “Paint Bucket” tool (“Fill” – G), fill the background with a desaturated blue color and add a new layer (Ctrl + N). For the very outlines of the design, use a darker color that you like. The author made several sketches, 3-5 minutes each, leaving three that are more or less suitable for the work.
Step 2
We select the sketch with which we will work. On a new layer with the tool “Brush” (B) we begin to clean and define our drawing.
Step 3
Select the layer on which the sketch is located and set the opacity to 15-20%. Create a new folder below with layers individual parts drawing (body, legs, horns), coloring all parts simple flowers.
Step 4
Before we set the volume of our figures, we need to understand where the light is coming from. IN in this case the light falls slightly to the left. We will take a shade of white (a little blue, not pure white) and paint large areas of incident light onto Clipping Mask (clipping mask), to create which you need to create a layer above the layer with the body and with the key held downALT click between two layers. Take the "Eraser" tool ("Eraser" - E) with low transparency to create a soft gradient.
Repeat these steps for the horns and legs. For the horns, use a dark color since the base color is brown. For the legs, use a blue similar to the body color.
Step 5
With a hard brush and a dark blue color paint the eyes, nose and mouth on a new layer.
Now use white to outline and highlight the nose and a little blue for the eye sockets.
Step 6
In this step we will use blue to draw the shadow of the volumes and, if necessary, a little white to further define it. Use brushes with or without pressure depending on whether you want to cover large areas or paint more precise outlines. Use "Eraser" (Eraser - E) to create a soft gradient.
Step 7
Select all layers of the body and duplicate them (drag layers while holding down the ALT key). Merge the new layers into one (Ctrl + E).
Open the panel "Levels" (Ctrl + L) and add some contrast to the image.
Step 8
We create wool. With the Smudge tool we make zigzag paths. Remember that you need to draw fur based on the volume of the body.
Continue drawing the fur, only now inside the body. Especially in areas of color transition.
Step 9
Let's take a break to create a hair brush. Create a new file File > New (Ctrl + N). Set the width to 500 pixels and height to 300 pixels.
Add a new layer with a transparent background.
Go to Image > Mode and select “Grayscale”.
Make a few dots with a round brush different sizes, as seen in the image.
Click Edit > Define Brush Preset and give your brush a name.
Select your new brush and activate the "Transfer" pressure method. Set "Spacing" to zero. Test your brush until you are happy with the result.
Step 10
With a new brush we draw a new layer of fur. Use the same color as for the body, improving the volume of our figure. Try to draw the hair in some kind of "mess" to make it more realistic. Also note that the coat is longer in some areas, such as on the back or belly, while it is shorter on the face or chest.
Continue working on the fur. Try to design the shadow of some strands to create a sense of movement.
Step 11
On a new layer paint some blue spots. Blend mode “Multiply” so that the fur below remains visible.
Use the Smudge tool to create the desired look, always paying attention to the direction in which the fur grows.
With the Eraser Tool (E) set to very low opacity, erase the spots in line with the rest of the strands.
Step 12
Use a soft brush and paint a dark blue area as shown in the image. Do this on a layer with a blending mode of “Multiply” with an opacity of 33%.
Soften the shadow with the Eraser tool at low opacity.
Step 13
Add a layer of "Clipping Mask" for the legs. We draw a shadow in the same way as for the body.
Use the brush with the Smudge tool to simulate fur on the legs.
Step 14
As was done in Step 12, draw white and light areas with the “Overlay” mode.
Time to draw the horns on a layer with the “Multiply” mode. Use the same brown base color for the shadows using "Eraser".
Step 15
Now let's leave the creation of the bear for a while and make the layer with the sketch visible. Below we will make two folders: one for a boy and one for a girl. For each folder, make different layers with simple colors for the face, hair, legs, scarf. The author uses Orange color to create contrast with blue.
Step 16
On a new layer draw two circles for the eyes and use white for the highlights. Add a layer below and use a color that is a mix of brown and light pink for the eyelids and underside of the face (nose and mouth).
On the new layer below set the mode to “Multiply” with 50% opacity and use a light red for the cheeks.
With a stiff and small brush we make several freckles, some of them darker than the rest, above the cheeks and near the nose.
Step 17
With a hair brush (for fur), paint the hair on a new layer with an orange-brown color.
Add single hairs along the edges.
On a new layer with the “Overlay” mode draw yellow hairs.
Step 18
For the jacket, add “Clipping Mask” in “Multiply” mode. We use the same orange to draw shadows.
Let's add a little more to the new shadow layer, only with brown color. Mode - “Multiply”.
Use yellow to draw light.
Step 19
We do the same for other items of clothing. We will place folds on the clothes.
Use dark brown for shadows on sleeves and arms, for wrinkles and folds. Use light brown for light.
Let's do the same for mittens and shoes.
Step 20
For the scarf, try to define the folds using several shades of dark, especially below the face.
With a small brush and using the same color as the scarf, make random little stripes.
Step 21
Select all the layers with the boy and duplicate them. Merge the duplicates (Ctrl + E). Add a layer with a Clipping Mask set to Multiply. Use a desaturated blue with a soft brush and darken the baby's right side.
On another layer, set the mode to Overlay with Opacity 54% and use a light blue for the left side.
Now we draw the girl using the same steps as we drew the boy.
Step 22
Select all layers and duplicate them. Add a new layer with the “Multiply” mode, painting dark blue shadows on the girl, softening with the “Erase” tool.
Darken the parts of the girl that come into contact with the animal.
Add the boy's shadow on the creature's belly.
Step 23
Add a Multiply layer between the character folders and the background and draw a shadow on the ground.
Step 24
Add a layer below and draw snow.
With the Eraser Tool (E) at very low opacity, softly outline the shadow on the ground.
Step 25
Below the snow layer, create a gradient (from orange-pink to transparent) with the Gradient Tool (G). Set the options as shown in the figure.
Time to draw the clouds. Use pink and white colors for the top. Draw circles using brushes of different transparency.
Use "Eraser" to make the clouds less expressive.
Step 26
Go to “Adjustment Layer” > “Level” and put the background on top, as shown in the figure.
Step 27
Add a layer below the pink gradient and make another one from blue and blue to transparent background- top down. Just in this case, make it a little shorter than the previous one.
Set the shadow layer's Fill to 72%.
Step 28
Add a layer on top of everything and make a gradient from dark red to transparent. Set the mode to “Multiply” and fill to 33%.
We erase a little in the area of the characters, especially in the light area, and a little in the shadows.
Step 29
Let's give some attention to the snow using a wool brush. The main thing is to set the distribution interval “Spacing” for scattering points. You can keep trying various options depending on the effect you want to achieve. The author of the lesson set the value as shown in the figure below.
Lower the layer below the rest and draw snowflakes.
Duplicate the layer with snowflakes and go Filter > Blur > Motion Blur.
Install as shown.
Erase a few snowflakes on the first layer and a few from the blur layer.
Step 30
Create a new folder and place it on top of all layers and folders.
Duplicate the folder and combine Ctrl + E.
Place the texture on top of all layers. Click on the bottom right and select "Rasterize". Using the Magic Wand Tool (W) with the options you see in the image below.
Place the image on top of the texture and create a Clipping Mask. Move the layer down and fill it with color using the Paint Bucket Tool (G). We'll use blue, but we'll change it later.
Double-click on the slider to go to “Layer Style”. Select “Drop Shadow” and set it as in the image.
Duplicate the texture and place it on top with a fill of 40%. Double click on the texture to open “Layer Style”. Select “Inner Shadow” and set it as below.
Step 31
Add a gradient with the same color as the background on a layer set to “Multiply”, filling 54% between the background and base texture layers.
Go to “Adjustments” > “Photo filter” and place this layer at the top as “Clipping mask”. An example in the picture below.
Go to “Adjustments” > “Hue/Saturation” and place this layer on top of the background. Change the background color.
Step 32
Almost done. Add a new layer to add some details to the illustration, a couple of strands to the girl's hair.
Final result
My Virtual School has been conducting courses and trainings on working in Adobe Illustrator . Back in 2012, I recorded a short video course “Adobe Illustrator in One, Two, Three,” which I still distribute for free to my subscribers.
Then, in 2014, together with my team, I launched an online training on creating vector illustrations for microstocks. The training turned out to be very popular and successful - we recruited groups of 50-70 people 4 times.
During the course, many of our students were able to not only create high-quality portfolios - they actually started making money on microstocks!
Several works of training participants
To view the entire image, click on its thumbnail
Alumni of our Adobe Illustrator training often asked me if I was planning to prepare a new training for advanced illustrators.
The question is quite logical, because in vector illustration, as in design, there is no limit to perfection!
Learning to draw simple icons, ornaments and textures that are starting to be sold on microstocks, people are getting a taste for it. Drawing vector illustrations becomes not only a hobby for him, but also a constantly growing income. Of course, everyone wants to earn as much as possible, and for this you need to be competitive and constantly improve your skills.
It's no secret that there is huge competition on microstocks. If you enter this market with a standard set of icons, abstract backgrounds and mockups, then it will be extremely difficult for you to stand out from the thousands of competitors with similar portfolios.
For your work to be noticed, it must be different in some way, have its own "zest".
There are 2 ways for this:
The first way: persistently search for new non-standard forms and visualization styles in order to stand out from the crowd of illustrators.
The second way: find a niche with relatively little competition and become one of the best in it.
You don't have to be a sociology professor to figure out that the second option has a much greater chance of success.
But how to find such a niche? And how do you know that you can really succeed at it?
One day, while searching for materials for lessons on working with a gradient mesh in Adobe Illustrator, I found illustrations on the Internet Andrey Panchenko.
In addition to the “adult” themes in the author’s portfolio, I saw many funny “cartoon” characters - mostly illustrations of cute little animals with big eyes and shy smiles. The quality and attractiveness of these characters also did not raise doubts about the author's skill.
I searched for Andrey's work on several stock sites and discovered that
what do they have good rating- it’s no coincidence that they appear on the first page of Google when searching for children’s cartoon characters.
I decided to contact Andrey and discuss possible cooperation. It turned out that the creation character illustrations- a fairly profitable stock niche, since, unlike others, there are not many competitors in it yet.
Andrey sold his first illustration on microstock 9 years ago, when he only had a few in his portfolio basic work. Moreover, the work is far from “killer”. Andrei himself says today that back then he could do little. However, since then his illustrations have been sold almost every day and bring the author a stable income, which is in no way affected by fluctuations in the ruble-dollar exchange rate!
I also learned that Andrey himself had long been thinking about teaching others, he even recorded several videos for YouTube, but he never got around to doing anything more... In a word, he readily agreed to become one of the teachers of our Virtual School .
Meet:
Andrey Panchenko
Illustrator,
microstoker.
“I have been illustrating for about 10 years. At first it was a hobby, but now it is my main professional activity.
Participated in many freelance projects, in particular, performed work for the Disney Channel. Worked with several large furniture companies, such as OJSC Vector and Leader, on the design of preschool products.
Currently, I sell my illustrations on microstocks - I actively work with almost all major microstocks and draw custom illustrations.”
Andrey's portfolio:
We decided to prepare a new training on the topic of creating character illustrations. Why on this topic?
Firstly, as I already said, the niche of character illustrations is quite in demand with relatively little competition. By learning to create such illustrations, a microstock illustrator or freelancer can significantly increase their regular income.
Secondly, drawing vector characters requires high level possessions Adobe tools Illustrator. Therefore, such a course will be especially useful to all those who want to properly “hone” their professional skills.
Well, thirdly, I was extremely inspired by the workflow of creating illustrations performed by Andrey. His work is distinguished by high precision, confidence and rationality of all actions. It’s simply mesmerizing to watch how clean slate funny mischievous characters appear before your eyes - puss in boots, a tiger cub or a sheep.
I am sure that it will be extremely useful for novice illustrators to receive mastery lessons from Andrey.
The most interesting thing is that in his work Andrey deliberately does not use Graphics tablet- he draws all the illustrations with a regular mouse! Moreover, he doesn't have a tablet at all. Thus, he clearly debunks the myth that high-quality illustrations can only be created using a Wacom tablet.
Don't forget to turn on the sound on your computer
It took us more than six months to develop and create the course. As a result, Andrey recorded 30 detailed video tutorials, in which he showed in detail the process of creating a professional character vector illustration - from a pencil sketch to the final implementation in Adobe Illustrator.
Hello! We haven't seen each other for a long time and probably haven't written off for even longer. Today I want to convey to you all my experience that I have gained while drawing for this blog over the past year. Let's go!
I would like to boast of a large number of it, and even as an application to newspapers, magazines, news portals, books, which can be appreciated by tens of thousands of people every day... but the experience is modest and consists of one newspaper for pensioners and this blog.
I won’t tell you that “you need to do it this way and no other way”... although, in principle, I never said that, and I’ll just share my experience in creating illustrations for articles for a blog site
What is illustration
Let’s leave the free interpretation of this term in the depths of my head, and turn to the global web.
An illustration is a drawing or any other image that explains the text; this can include photographs, engravings, and much more.
The purpose of the drawing is usually to highlight the subject about which we're talking about, rather than showing form, explaining or showing textual content by graphic methods.
Used to convey emotions, the atmosphere of the text, depiction of the characters in the story, demonstration of objects, step by step instructions and diagrams in technical documentation.
How illustrations are used
Where do we meet them most often? IMHO, the priority is children's books, then websites, newspapers, magazines, and other books.
Newspapers mostly depict caricatures that ridicule the situation described in the text, while magazines use more photo collages and, if necessary, drawings that can be purchased on stocks.
A real treasure trove is children's books and websites. There is an opinion, and not just mine, that a person whose portfolio is made in the same style and similar topics than someone who has a hodgepodge of styles, techniques, topics, etc.
And what conclusion does this suggest? That's right, if you want to make money by drawing pictures to accompany the text, then you need to adapt to the market, and not the market to you.
In fact, when you understand the rules of the game and stop resisting, sticking out your “D’Artagnan” at the show, then you can count on working in this field.
With websites, in my opinion, the situation is different. There are many of them, and despite the fact that you still have to adapt to the client, no one here forbids you, and even recommends making your portfolio as diverse as possible, so that the client can choose the style in which he wants to accompany the illustrations on his portal.
So, to summarize, in order to draw a commercial illustration, which is what paid drawings are called, you need to choose the area in which you want to apply your talents, create a rich portfolio in one style ( for a narrow area, such as children's books), or in different ( for websites and projects with a wide range of topics) to demonstrate your experience to the customer.
I hope we both understand that today the question of how to draw in general will be omitted and we will talk about the idea and concept, and not shapes and lines. Here we go... again!
1. In the first lines you need to understand, or rather ask how the customer sees the illustration . If the answer is in the style of “At your discretion,” then consider yourself lucky, while others create a picture in their head in advance and complain when it does not coincide with what came from your pen.
Of course, I am my own customer and performer, but if I ordered illustrations from “someone,” I would definitely say what exactly needs to be drawn and how I see it, and not “there is text - illustrate.”
2. As a rule my illustrations are based on subtitles , but there is not always enough information to form a clear picture. In other cases, I re-read the text and isolate a sentence from the entire section, or better yet, the context and try to somehow play with it.
3. I have a blog and according to my observations Most of the illustrations drawn for Internet sites are of an entertaining nature. and they want to make the reader laugh, dilute the atmosphere, and give them a break.
Large online publications, like adme, lookatme and others like them, often need specific and creative drawings. With books it’s simpler – just a drawing illustrating the text, without any allusions or secret meanings.
4. Illustrations on websites are needed first of all so that the reader doesn’t go crazy while reading this sheet. Therefore, the more drawings there are, the better. However, be careful, drawing eight illustrations for one article is difficult, but possible, and drawing eight illustrations for ten articles is fucking suicide (I know T_T).
The same is true for books. If the customer strictly determines the number of drawings per square centimeter, then first of all you need to assess whether you can do it. How to evaluate? Take it test, it can even be unpaid, because if it suits you, then they will cooperate with you, and if not, then you will buy yourself FREEDOM from slavery to a project that in the future you will only associate with pain.
5. The color in the illustration sets the mood for the entire text. Light and bright drawings associated with good mood and they say that the text is “friendly”, is not written in depressive tones, and does not try to scare you. Dark colors on the contrary, they can thicken the colors to convey all the horror that is described in the text.
6. Black and white drawings are created faster than colored ones, but not as fast as it seems at first glance ... Okay, this advice is useful, perhaps exclusively only for me (with my drawing style...), but in Lately I’m starting to add colors more and more often and... I wouldn’t say that I’ve been drawing noticeably longer. So this is it, advice for those who don’t know how to paint yet and think “my style will be black and white” - as I thought.
7. Optimize your backdrops. Often in an illustration the object is important and the background is not at all important. The background can be abstract or just some pastel color. If the customer does not require such an “Atmosphere” from you, then don’t bother - you’ll save yourself a lot of time.
8. Try to stick to one drawing . Yes, very strange advice, the answer to which can be the phrase: “The stump is clear!” But we are beginner artists (if you are not, then what have you forgotten here?) and each of our drawings teaches us something new and after each work we draw better and better.
9. For websites, newspapers, magazines: when you choose uniform style drawings, then sometimes it is possible to come up with a character. If you remember the illustrations for the newspaper, which I constantly looked for as a child, there was such a character as Petrovich. Honestly, he was drawn terribly, but it was catchy how the same character gets into different situations.
That’s what I did for my blog, I have two main characters (well, I’m a substitute), who illustrate everything that happens in my articles.
10. If the text is descriptive, draw an object; if it is narrative, draw an action.. Now I’ll explain - if they describe to me what a gorgeous vase my neighbor has, then I draw the vase, if they tell me how this vase got to him, then I can draw its entire path from the factory to the house, how it was produced, how it was dropped , glued, transported, etc.
11. Not the most categorical advice, purely in my opinion, the more details, the better. Yes a large number of little details lengthens the production process, but at the same time helps the reader read the picture better. The eyes cling to one thing or another and the image is deposited in the head. But there is a fine line between a moderate amount and a strong excess... you have to find this line yourself;)
Well, there’s not much here, but as I said, this is my experience in creating illustrations and some points that I noticed for myself personally.
I hope you found it interesting and got some useful knowledge.
And, yes, don't forget what to create digital illustrations you need a graphics tablet)) I've been looking at Aliexpress lately, they have a lot tablets by low prices . I have bought things from the Chinese more than once and in the near future I am planning to buy myself a brand new tablet... otherwise my vakcom is already completely worn out T_T
Creative mood to all, friends!
