Creating a Maneater Vector Girl through Collaboration In this tutorial you'll see a collaboration between two vector artists. Ashley S. Benson will be responsible for the initial composition layout and coloring while Sharon Milne (me) will be refining and adding further detailing to the collaboration. You'll learn techniques from both artists and learn some helpful collaboration tips. Introduction Let me introduce you to my collaboration partner Ashley S. Ashley and I have been friends for a long time. While mine has been of a limited palette and predominately using stock as a base, Ashley uses her own sketches and wild color schemes. Initial Collaboration Discussion Before any collaboration, it's worth laying some ground rules. Looking upon our strengths, Ashley's strength is being able to sketch a composition from scratch and put it together, where as mine is using stock which is present and adding to it. So with this in mind, Ashley will begin her portion of the collaboration. Ashley Step 1 Step 2 Now we focus on the shape of the body. Step 3
The Science Behind Design Color Theory Color Theory has been a subject of interest for years in the art community. The rules and guidelines hold true when working on digital projects just as much as physical items. There is a lot to learn in the subject of color so I’m going to cover just some of the key points. Terminology is something many designers get caught up on which really shouldn’t scare you or hold you back. The science behind color theory is brilliant yet elegant. Color Terminology Terms are very important when it comes to working as a designer. Hue is one I’m sure most have at least heard of before. Most web developers are familiar with RGB values for hues. Saturation is another buzz word designers have probably heard of but never truly defined. Color sets with less saturation work best as background elements in a website. Their light-blue background is the perfect level of saturation to fit in a background setting. Tone or value is a term most haven’t heard of. Relationships for Color Theory Conclusion
Frederik Jan Bruijel - Inleiding op mijn werk Blending with Pantone or spot colors Today I received an Illustrator related question from a reader that really stumped me. I didn't have an answer straight away, so I had to try certain things out to be able to offer some help. Here is the thing: If you're using the blend tool to create a blend between 2 spot colors, it seems that Illustrator turns the values in between these colors into CMYK values. Is there a way so the blend consists of various hues of the Pantone colors, rather than CMYK values? I guess, if it's possible to change the blend into a simple gradient going from spot color 1 to spot color 2 it solves the issue in a simple way, but what if that isn't possible? Create style effect on both ends Create a style effect on both ends of the blend, using 2 fills on top of each other via the Appearance palette. When I thought of this idea, I was thinking "Aha! And so I tried something else… 2 blends on top of each other Create a blend using spot color 1 going from 100% opacity to 0% opacity.
Weekly Vector Inspiration #98 Vectips is a site dedicated to Illustrator tutorials, tips, tricks, and resources. It was created by Ryan Putnam of Rype Arts who is now an exclusive vector art contributor to iStockphoto. The site is now operated by his good friend Victor Jansen and his little dog Lou. Learn More We're currently looking for writers that can write articles on topics such as Adobe Illustrator, design and illustration techniques. Learn More Vectips is visited by over 200k beginner and advanced illustrators each month.
Simple, Practical Color Theory The mastery of color theory, relations and harmonies is one of the primary steps to uncovering the full beauty and potential of your images (in the realms of art, design and/or photography). Find out more in this simple, practical, colorful guide. Color Models Depending on your background and your purpose, you will view primary colors differently. There are three generally accepted models: RGB (red, green, blue), CMY (cyan, magenta, and yellow), and RYB (red, blue, yellow). Primary color models can be divided into two categories: additive and subtractive. The additive primary colors are obtained by light: red, green and blue (RGB). The subtractive primary colors are obtained by the subtraction of light: cyan, magenta, and yellow (CMY). Color Model Application: RGB: Photography, video/film and design. CMYK: Print design. RYB: Art, painting and design. RGB and RYB Confused? Now that we’ve covered the various color models and their uses, we can proceed with confidence. RGB Color Model Monochromatic
Color Psychology by David Johnson Like death and taxes, there is no escaping color. It is ubiquitous. Yet what does it all mean? Colors often have different meanings in various cultures. Black Black is the color of authority and power. White Brides wear white to symbolize innocence and purity. Red The most emotionally intense color, red stimulates a faster heartbeat and breathing. The most romantic color, pink, is more tranquilizing. Blue The color of the sky and the ocean, blue is one of the most popular colors. Green Currently the most popular decorating color, green symbolizes nature. Yellow Cheerful sunny yellow is an attention getter. Purple The color of royalty, purple connotes luxury, wealth, and sophistication. Brown Solid, reliable brown is the color of earth and is abundant in nature. Colors of the Flag In the U.S. flag, white stands for purity and innocence. Food for Thought While blue is one of the most popular colors it is one of the least appetizing.
Printing & Prepress Basics While art and design schools do an impressive job of teaching the importance of form, function, and how to use flashy Photoshop techniques, it's rare that designers have been taught the skills necessary to pass off their projects to printers so that they may not only successfully, but smoothly, produce a designed work. In this article, I'll discuss the basics when it comes to translating your brilliant ideas (and surely hours of your precious time and energy) into successfully printed projects with a printer, making it easier to keep your deadlines and maintain a blissfully happy and healthy relationship with your vendor. Four-Color Process Printing While other printing processes like letterpress or screen printing are great options for producing your work, this article will discuss offset lithography printing specifically, which is the more standard means of producing most any printed work in mass quantities. Get the Mode Right Image Quality One of These Blacks is Not Like the Other Bleed
more than daily inspiration. — талантливый иллюстратор, который занимается созданием по-настоящему качественных иллюстраций, создаёт концепции и разрабатывает эскизы, рисует плакаты и афиши. Его работы выглядят просто завораживающими и по-настоящему способны вдохновить и удивить каждого. Он выработал собственный стиль, который подчёркивает весь профессионализм дизайнера. Вообще Aaron Horkey — совершенно таинственный молодой человек, который, по всей видимости, так поглощен своей работой, что ни на что другое у него времени не остается. is the talented illustrator who is engaged in creation of really qualitative illustrations, he creates concepts and develops sketches, draws posters and playbills.
Color Management: Calibration and Profiling – Graphic design tut Introduction Welcome to the second post in our color management series. Be sure to check out Part One if you haven’t already done so. Today we’re going to talk about the importance of calibrating and profiling your input & output devices in your color management workflow. This is probably the most important step in the color management process, especially calibrating and profiling your monitor display because you need to trust that the color you see on your monitor is true and correct in order for you to be able to make color and luminosity decisions. Profiling the display When we’re looking at a photo, or anything for that matter, on our monitor display, we’re basically looking at a huge number of pixels, each of which displays a certain color. Furthermore, the monitor display changes the way it interprets color information overtime, so you need to constantly tune your monitor to display color correctly, and this is when calibration and profiling of the monitor display comes into place.
How to Draw the Head From Any Angle The Basic Forms To draw the head from any angle you must first understand its basic structure. Look past all the distracting details and visualize the underlying forms. This ability to simplify can be applied to the features of the face, but when starting the drawing you could look even further. Ignore even the features and simplify to the most basic form of the head. I use a method taught by Andrew Loomis in his book, “Drawing the Head & Hands”. The head deconstructed into its basic forms, is a sphere as the cranium and a block as the jaw and cheek bones. A Sphere as the Cranium The sides of the head are flat, so we can slice off a piece from both sides of the ball. A Block as the Jaw and Cheek Bones Attach the shape of the jaw. Constructing From Any Angle Step 1 – Determine the angle of the ball The angle of the head is established at the very beginning of the drawing with the ball. X Axis - The up and down tilt is established by the angles of the horizontal and vertical lines in the oval.