The post contains a selection of training lessons on creating vector graphics. In my opinion, most of the materials will seem interesting to beginners just starting to comprehend vector art. But I think that specialists will also be able to find useful lessons for themselves.
The tutorials are free, but almost everything is English language. For convenience, they are divided into three categories: getting started, creating faces, character design, landscape and environment, and special effects.
So, here we go:
This tutorial explains how to create vector illustrations using Adobe Illustrator. Key parameters and tools are explained, complemented by expert advice.
In this comprehensive tutorial, you'll learn the basic terms, workflows, and techniques that will help you get started with vector graphics.
The pen tool is one of the main ones in the program's arsenal; it is especially important for the initial mastery of vector graphics. This detailed guide aims to introduce you to the features and methods of working with an indispensable tool from Adobe. And also with the most rational ways to use it.
This video tutorial is a truly valuable resource that explains how to create vector graphics in Illustrator and what role drawing plays in this process.
From using Bezier curve points to strokes, fills, and making vector graphics look more natural, these are just a few of the Illustrator secrets in this tutorial that will greatly enhance a beginner's arsenal.
Learn how to create simple organic shapes in Illustrator with this easy-to-follow tutorial from Veerle Pieters, graphic and web designer.
7. Adding Texture to Vector Illustrations
Adding texture is great way make your vector graphics more expressive and emphasize its perspective. This is very available video Illustrator expert Alexandra Cecilio demonstrates how to do this.
This tutorial from Andrei Marius will help you create a vector line graph. Step by step: starting with a simple grid to guide lines, using only the Appearance panel (one of the most powerful tools in Adobe Illustrator) with the addition of some simple pieces of text and fine shading.
Creating faces
9. Creating a vector eyeThis is very useful video tutorial that shows the process of creating a vector eye, as well as darkening the skin.
This is an in-depth video course that will help you master the art of creating vector portraits from photographs.
Another great tutorial on vector graphics. Ruslan Khasanov shows how to manipulate the work of vector lines and gradients to give the work dynamism.
With the resurgence of the geometric trend, it is fair to say that WPAP can be introduced in more various aspects of design. This tutorial will show you how to create WPAP yourself in Illustrator using the WPAP Wizard.
Drawing hair in vector can be quite tricky. This tutorial shows you step by step how hair from a photo is turned into vector hair.
In this tutorial you will be able to create an illustrated self-portrait in a geometric style. Your own photograph will be used as the basis for the illustration. She will help you draw a sketch and then complete the rest of the work.
Illustrator and designer Yulia Sokolova shows how to create a set of portraits that are ideal for social media or, for example, to indicate different categories and professions on your website.
Jonathan Ball, founder of Poked Studio, explains how to use Illustrator to geometric figures transform into unique, colorful characters.
In this tutorial you will easily and fun create a very simple stencil that can be used on a variety of surfaces (including t-shirts, walls, canvases). L. Carroll's fairy tale "Alice's Adventures in Wonderland" inspired the author to create a vector image and write a tutorial.
With this tutorial, Mary Winkler is going to show you how to draw a chibi character from scratch using the Shape Builder Tool (Shift-M), Pen Tool (P), transparent gradients, and many other Illustrator tools.
The tutorial walks you through the process of creating a simple anime character from start to finish.
Learn how to create cute bunnies in this vector art tutorial. Training uses simple shapes and gradients that can easily be applied to illustrations of other characters.
This tutorial introduces a lot of basic shapes to achieve a really slick illustration style. And then he “animates” the yeti using a palette of cool colors.
Here you can see how video game characters are created. You will have the opportunity to examine the work from the first sketch to the very final.
If you are an avid football fan, then this tutorial will be especially useful. In the lesson, Sergey Kandakov creates a bright illustration with a retro style effect.
Landscape and environment
25. Creating a vector infographic picture
This tutorial from vector artist Andrei Marius shows how to create a simple card design in Illustrator.
This tutorial demonstrates how to create a stunning landscape in Illustrator. environment. Basic knowledge of the program tools will be sufficient to complete the task.
A very simple and consistent lesson from Diana Toma, which shows how to draw beautiful flowers using gradient meshes.
In that step by step guide You'll learn how to create "electric" text in vector.
Tom Mac shows how to create a drip-effect portrait in Illustrator using the Pen tool and some additional techniques.
In this tutorial we will make a simple and beautiful oriental pattern in Adobe Illustrator which will consist of various objects Asian culture.
Over the years, vintage illustrations and retro styles have become popular again in design. In this tutorial, developer Ben Steers shares his techniques to help you transform vector art into a retro style.
Using Illustrator, you can create flawless vector graphics. But sometimes illustrations are required that resemble artistic sketches made on a quick fix. The lesson shows how to draw vector drawing in this style.
By following this tutorial you will be able to create a glitter effect in Adobe Illustrator. The illustration is based on three effects: note paper, stained glass and torn edges. With a quick trace they turn into a shiny vector texture.
Halftone is a way to reproduce a monochrome image. It is based on the specific perception of the picture by the human eye for which an area of the image filled with large dots is associated with darker tones. Conversely, an area filled with smaller dots is perceived as lighter. Artist Chris McVeigh shows you how to create a vector halftone.
In this tutorial, you'll learn how to create a graphic Batman logo using simple shapes in Adobe Illustrator. Are used simple tools, like Ellipse Tool (L) and Shape Builder Tool (Shift + M).
36. Convert raster image to vector
This Inkscape tutorial demonstrates how to convert a raster image to a vector image using the Trace Bitmap function.
Slider is a popular web design element. This tutorial shows an option for creating a slider in a vector.
Ciara Phelan will show you how you can create an amazing collage by combining vector images and photographs.
This tutorial from a design studio shows you how to easily draw and trace a photo. The example uses a simple gradient fill to create a realistic illustration.
This tutorial shows you how to create a cross stitch effect in Adobe Illustrator. The Appearance panel and swatches will be used for this.
Illustrations in a book are an important emotional factor influencing the reader. fiction, which provides aesthetic and semantic influence. Illustrations contribute to a better perception of texts of any level of complexity, helping to make a choice in favor of a specific publication!
In this article we will introduce you to the main points of illustration and tell you about ways to do it. All you have to do is choose the appropriate way to decorate your book with illustrations.
The size, format and location of each illustration in the book has its own purpose. You need to become familiar with how illustrations are typically laid out and drawing techniques so that you can communicate with illustrators on the same language.
The following types of illustrations are distinguished:
- Frontispiece. Such an illustration for a book is printed on a separate thick sheet of paper and glued to the left side of the first book block, spread title page before the first page of text material. Typically, this sheet displays main idea, the action of the story. In some cases, a portrait of the writer or the main character of the work’s plot is placed here.
- Screensaver. It is used to decorate the beginning of a chapter or section, and reproduces the thematic decoding of the content of the entire heading section of the publication, this is a kind of graphic introduction. The intro prepares the reader for the development of the plot, emotional perception works. In addition to thematic pictures, at the beginning of sections they often use an ornamental, symbolic, subject-decorative thematic composition called a ruler.
- Strip. A drawing that takes up the entire page of a book.
- Half-strip. A picture that is located anywhere on the page: top, bottom, right or left.
- At the centerfold. The image that occupies the spread of the publication.
- Defense. Thematic image framed with text.
- Drawings in the margins. Small images distributed along the edge of the text strip.
- Background. Often used in color gift editions. The text is placed on top of the image.
- Ending or vignette. A picture or graphic element is placed at the end of the text. It is performed in the same plot-thematic execution with the screensaver.
The following are the basic drawing techniques:
- pencil or charcoal;
- watercolor or oil;
- line drawing in the style of books from the glorious times of the USSR;
- computer graphics, including 3D;
- photo collage - an illustration made up of several photographs;
- photorealistic drawing.
Check out the illustrations made in different techniques, and choose the appropriate option for yourself.
Coal 
Watercolor 
Pencil 
Photorealistic painting 
Line art 
Photo collage
Attractive publication cover, aesthetic and memorable appearance, thematically correctly selected illustrations are a guarantee of the future success of the book. And here it is important for the author to decide which illustration method to choose.
Method 1: Order illustrations from an illustrator
Hiring a professional illustrator or graphic designer is one of the best options providing your written creation with high-quality images in full accordance with the presentation. All illustrations for the book are made using the same drawing technique, supported uniform style, agreed with the author.
Hiring an illustrator to work is not the cheapest method, but it is the most advantageous in terms of quality and accurate representation of the author’s intention.
Method 2: Select ready-made illustrations for an existing plot
This method is well suited for poems or stories where all the illustrations are not connected by a common theme.
On the Internet you can find many ready-made images on the theme of the work. But you must use them to design your book only with the permission of the artist or photographer, since in this case there are copyrights to the image. Failure to comply with this requirement can lead to unpredictable consequences: litigation, monetary fines.
Therefore, it is better to turn to the services of photo banking sites, where all photographs, reproductions, drawings are provided for a small fee, and sometimes for free. A wide selection and high-quality images allow you to design literary work without violating the copyrights of others. Our publishing house uses the services of the photo bank www.lori.ru, where you can quickly find a suitable image using keywords.
Method 3: Find an artist among your relatives or friends
If you ask, you will be surprised how many people you know can draw. Even if not very professional, but very sweet and sincere. These people will welcome the opportunity to illustrate your book for free, or for a small fee or return favor. Let them draw on paper. And then the publishing house will professionally scan the illustrations and insert them into the book layout.
Services of illustrators of the publishing house TRIUMPH
Our specialists create illustrations in any technique. By ordering the publication of a work from our publishing house, the author gets the opportunity to work directly with the illustrator, which allows him not only to discuss the technique of performing the work, the number of drawings, but also to agree on the cost. Payment is also made directly to the artist.
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, maybe even 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 a single drawing style, sometimes you have the opportunity 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. To be honest, he was drawn terribly, but it was catchy how the same character finds himself in 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 than more details, all the better. Yes, a large number of little things 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 gained some useful knowledge.
And, yes, don’t forget that to create digital illustrations you need Graphics tablet)) I've been looking at Aliexpress lately, there are a lot of tablets by low prices . I have bought things from the Chinese more than once and in the near future I plan to buy myself a brand new tablet... otherwise my vakcom is already completely worn out T_T
Everyone creative mood Friends!
For many artists, creating an illustration begins with a pencil and a piece of paper. In this tutorial, Andreas Preis will show you how to create a beautiful mixed media illustration. To begin, he will sketch the illustration on paper and then add color and effects in Photoshop.
Final image:
Before you start, watch the video on how the sketch was created:
Step 1
It all starts with a white sheet of paper. You can draw the illustration that the author used, or you can draw your own.
Step 2
First of all, create a pencil sketch of the illustration.
Step 3
Now draw the outlines:
Step 4
This is the final step: start drawing with ink. If the illustration has a lot of detail, drawing may take some time.
Step 5
After several hours of drawing, the illustration looks like this:
Step 6
Scan the sketch in grayscale, set the resolution to between 600-800 pixels. However, please note that the larger the file, the slower the computer will work. After scanning, open the illustration in Photoshop.
Step 7
You need to enhance the contrast of the image using the command Curves(Image - Correction - Curves) (Ctrl + M). You need to add as many white and black shades to the image as possible:
Step 8
Now you need to correct some inaccuracies in the illustration (for example, remove extra lines). Invert the image (Ctrl + I) - then it will be easier to see those inaccuracies that need to be corrected.
Using tools Clarifier And Dimmer(Burn/Dodge Tool) (O). Remove any discrepancies and then invert the image again.
Step 9
Now you need to separate the image from white background. To do this, select the image (Ctrl + A) and copy (Ctrl + C), then add mask. Click on the mask while holding down the ALT key. Now, you can paste the illustration onto the mask (Ctrl + V).
Step 10
Invert the layer mask ( Ctrl + I).
Go from the mask to the layer by clicking on its thumbnail and fill the canvas with black.
Apply the mask: first press Ctrl + G and then Ctrl + E (this method will first place the image layer in a group, and then merge the group).
Step 13
If necessary, you can adjust the proportions in the image. To do this, use Plastic filter(Filter - Plastic) (Filter > Liquify) Here you can change some lines and curves.
Step 14
Now add a white background layer.
Step 15
Select the image with the tool Magic wand(Wand Tool) (W) and invert the selection (Ctrl + Shift + I). Shrink the selection by 5 pixels (Selection - Modify - Compress) (Selection > Modify > Contract). Create a new layer (Shift + Ctrl + N) under the illustration layer and fill it dark color- this will be the hair color.
Step 16
Above the hair layer, create a new layer - this will be the face layer. To paint the face, use white color and the Brush tool ( Brush Tool)(B).
Step 17
For each individual part that you are going to paint, create a separate layer. Now under the face layer create a new layer for the scarf.
Step 18
Finally, create a new layer called “Pearls” and draw pearls in the hair.
Step 19
Now you need to lock the opacity for each layer that was colored. This will help you avoid going over the edges of each layer when you darken them.
Step 20
Now you need to color your hair in different shades. This can be done with the Brush tool ( Brush Tool) (B).
Step 21
To create light and shadow we will use different brushes. Download the image of a dark spot from the lesson resources - we will use it to make a brush.
Step 22
At this stage, you need to increase the contrast of the image again. To do this, create a brush and a dark spot image ( Editing - Define Brush /Edit > Define Brush Preset).
In the window that opens, set the name of the brush:
Step 23
Open the palette Brushes(F5) and select the newly created brush:
Go to the tab Dynamics of shape(Shape Dynamics) and experiment with the Size Jitter and Angle Jitter settings.
Step 24
Using this brush, start adding light and shadow to each layer. Start with your hair.
Step 25
You can use additional colors, such as the ones I used when coloring the scarf.
Step 26
Color the pearls different shades yellow and brown colors:
Step 27
Working with the face is the most the hard part. You need to figure out where to add shadows and highlights. Refer to the screenshot:
Step 28
Create a new layer called "Makeup", paint makeup on it and change the Blending Mode to Multiplication(Multiply).
Step 29
Let's move on to creating the background. To create it, you can use any type of paint: acrylic, aerosols, and brushes. Don't be afraid to experiment.
Step 30
The background can be anything, including paint and scratches.
Step 31
For this particular part you will need colored spots, drops, etc.
These are photographs of two parts of the background (for example):
Step 32
Scan the background you created (make sure the paint is dry). It is advisable to use quite high resolution(about 900 pixels).
Step 33
Transfer the scanned background to the main image. You can delete the white background layer, and place all layers related to the illustration in a separate group. To change the background color, add (Hue/Saturation) to it.
Step 34
You can use any color you like as the background. I chose the turquoise shade.
Step 35
Add a second background and rotate it (Ctrl + T).
Step 36
Create a new layer (Shift + Ctrl + N) under the second background layer, fill it with black and merge this background layer with the layer filled with black (Ctrl + E).
Step 37
Add a mask to the merged layer and load a selection (Ctrl + A). Hold down the ALT key and click on the mask thumbnail. Press Ctrl + V to paste everything. The colored background now works as a mask.
Step 38
Go from the mask to the layer, and now go to the mask again, but without pressing the Alt key. This way you can see what's happening on the canvas, but you can also continue working on the mask. Now run the command Curves(Curves) (Ctrl + M).
Step 39
The bright areas on the second background will now become visible:
Step 40
Create a new layer above all layers and add a shadow on the shoulders.
Step 41
Now add more color spots. This will give the illustration a "street art" feel. Draw each drop on a separate layer.
Step 42
Reduce the opacity of each droplet layer to approximately 33%.
Step 43
Select all layers with drops while holding down the Shift key and place them in a group (Ctrl + G). Add a mask to the group with drops and use various brushes to remove some parts of the drops to give them a more interesting look.
Step 44
Now I'm going to use an old paper texture - you can find it online or you can scan it.
Step 45
Transfer the image of the old paper into our document and place it above all layers and groups. Add to it Hue/Saturation adjustment layer(Layer - Adjustment Layer - Hue / Saturation) (Layer > New Adjustment Layer > Hue/Saturation) and reduce the brightness of the texture.
Step 46
To blend the texture of the old paper with the background that was painted with paints, change the blending mode of the old paper texture to Multiplication(Multiply). Add a mask to the old paper texture layer and remove the old paper texture in some places of the image (for example, from the face).
Step 47
Now you can use the same trick that you used to create the colored drops. Add a mask to the “Woman” group (it contains all the layers related to the illustration). Now erase some small parts from image different brushes to add texture.
Translation: Slutskaya Svetlana
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.
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 full-page illustrations, important events in 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. 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 emerging; this can be black and white line art (used when depicting one black line, without shading, spots and fills), inclusion of a little bit of strange neo-Gothic in the drawing, there may 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 the public is beginning to tire of vector and digital graphics in general.
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- a 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 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.
