Digital art allows us to experiment with all sorts of compositions. We have seen quite a lot of styles from surreal to sci-fi/light effects. There are some ideas, however, that are truly amazing. One in particular that has inspired us most is the Jan Matejko Battle of Grunwald - an impeccable example of how to reconstruct a painting from the Romantic era in 3D. Today's post shines a spotlight on this incredible project done by Platige Image. Jan Matejko Battle of Grunwald in 3D is a reconstruction of a painting done entirely in 3D. In order to do that the Platige image team created 67 unique characters, each rendered as three-dimensional models and put together to form a clear spatial composition. Original painting The Battle of Grunwald is a painting by Jan Matejko depicting the Battle of Grunwald and the victory of the allied Crown of the Kingdom of Poland and Grand Duchy of Lithuania over the Teutonic Order in 1410. The canvas dates to 1878 and is one of the most heroic representations of the history of Poland. It is displayed in the National Museum in Warsaw. Video Jan Matejko's "Battle of Grunwald" 3D (fragment) from Platige Image on Vimeo. Depth and perspective appear "within arm’s reach", inviting the viewer into the canvas to experience it from a new perspective. Process
Goverdose is a collaboration group between Polish artist, it started back in 2008 as a result of online collaboration between digital artists. Group has released only one e-zine in the past however our friendship and passion for creating has never died. This is their 4th chapter release and the theme is Trip. New Goverdose is online collective of digital designers with unique styles, techniques and desire to create new amazing projects. Goverdose is our way to forget about groove and everyday commercial work. We want to bring new amazing work and ideas with every theme pack as well as progress in our areas and have fun by doing it. www.goverdose.com www.facebook.com/goverdose TRIP "I travel not to go anywhere, but to go. I travel for travel's sake. The great affair is to move." ~Robert Louis Stevenson Digital Art Collective from Poland. One Way Trip - Krzysztof Nowak Welcome To The Trip - Krzysztof Zdunkiewicz Trip - Łukasz Wrona Trip - Mateusz Kołek Nature - Mateusz Terczewski He - Przemek Nawrocki Poison Beats Wojciech - Magierski Trip - Paweł Rębisz The Trip - Omash One Trip - Krystian Ścigalski
Our friends over at Slashthree have released another exhibition, this time divided in seven chapters. The World Exhibition III features digital art, photography and illustrations from amazing artists like Liran Szeiman, Martin De Diego Sádaba, Tarin Yuangtrakul, Karim Fakhoury Gaétan Weltzer. Slashthree is proud to present the seventh and final chapter of World Exhibition III, as it comes to a successful close headlined by illustrators Liran Szeiman, Martin De Diego Sádaba, Tarin Yuangtrakul, Karim Fakhoury Gaétan Weltzer, and photographer Benny Brand. New additions Rachel Rusk and Remi Chevalier showcase their first submissions to Slashthree in this final installment. Over the course of five months, 50 pieces of art, photography and music were produced in this first ever exhibition format at S3. Be sure to view the exhibition as a whole if you missed one of the previous six installments. We hope everyone enjoyed the incremental updates and wonderful work created for WE III. For more information and to check out all images visit http://www.slashthree.com/exhibitions/19/ A Weird story around the fire by Francois Leroy Dead Flower by Wojciech Magierski Each Night Meeting by Liran Szeiman and Martin de Diego Sadaba Domakesaydie by Marco Casalvieri New Era by Karim Fakhoury The Keeper by Nicolas Monin-Baroille Tattoo by Man-Tsun Feel the Quiet River Rage by Samuel Pereira Sunset by Nichlas Boysen The Deaparture of Innocense by Adam Martinakis Pneuma by Marco Casalvieri Sleepers by Wojciech Magierski
Desktopography is a wallpaper exhibition that is released once a year. Curated by Pete Harrison and supported with visual artists from all over the globe, this year is no different. The exhibition is completely incredible and hope you will enjoy it too. Designers and developers spend about 90% of their waking life in front of a computer so the most appealing genre for a wallpaper would be one that has beautiful design mixed with the all important aspect of being outdoors. For more information about Desktopography and her wallpapers, you can visit their website at Destopography.net also like them on Facebook. Memorial by Heiko Klug Natural Freedom by Magyar László / Lacza The Morning Star by Adam Spizak Invasion by RDN Hidden Nature by Martin de Diego Sádaba Crimsonland - Trisme Last Rays by Bastien Grivet The Trespasser by Adam Spizak Hungry for Blood by Mart Biemans Raging Water by Marek Playground by Mike Harrison Back to the Beginning by Oliver Gareis Desktopography by Przemek Nawrocki Beta of Barsoom by Fresh for Death Desktopography'12 by Richard Roberts Zenith by Dean Falsify Cook Circles by Justin Maller L'effondrement dy ciel gris by Fatkur History repeats itself by Edit Animals by Bartosz Piotrowski Dock of Sound by Bự Blind Horse by Thomas Gayet Lifestream by James Zwadlo Gaia by Kode Logic Nightfall by Pete Harrison & Jordy Roelofs Kitsch Me If You Can By Falcon White
It's really awesome to know that some highly skilled person as Rafael Sarmento is actually from Brazil, more specifically from Santa Maria, Rio Grande do Sul. Working both in traditional and digital media, this artist is probably one of the greatest revelations of brazilian illustration.You can see more of this amazing art from Rafael at his DevianArt Gallery.
Power is an artwork by Samuel Carter Mensah, a graphic designer and typography specialist from London. This piece is inspired by Kanye West song Power and each letter was hand made to symbolize old withered gold from ancient civilizations. Enjoy. For more from Samuel Carter Mensah visit behance.net/smbstudios and somemustbelieve.tumblr.com “He who controls others may be powerful, but he who has mastered himself is mightier still” - Lao Tzu Artwork I did recently. I've wanted to do this piece for a long time, pretty much ever since i heard the song which i consider is probably Kanye's best purely because of it stands for. I tried to incorporate everything power stood for including the handmade font to symbolize old withered gold, and added some visuals from the video etc. and some ancient civilizations influence. "I've seen people use power abuse power misuse and then lose power". the reason why all civilizations eventually collapse, POWER. Visually i knew to represent Power was not an easy feat. What Power meant to a Pharaoh or an Aztec king. to really understand Power you must go back the dawns of civilization and see where it all came from in the earliest of cultures. So i began looking at old typefaces the first ever languages and noticed the forms and structures and how they in themselves symbolized power in their history and influence. What is Power? is it a million people bowing at your feet and your name being remembered forever? Or is it knowing yourself and what your own capabilities are and how to use them to your best ability? Inspiration Typography Process Background Process Final Piece
I remember when I decided to work on the creative business 5 years ago, one of my first references as master in their craft was definetely Jason Levesque a.k.a. Stuntkid. 5 years after I finally had the opportunity to interview one of my idols and, in my opinion, one of the best illustrators out there at this moment.You can see more of this stunning artist at his Official Website. 1) First of all I would like to thank you for doing this interview, it's an honor for us to present more about you to our readers. I would like to start asking you about when your interest for illustration and art?I've always been interested in art. I think that is likely true for everyone. We understand drawings long before we understand the written word. As children, we all draw. A 5 year old with a story to tell can illustrate a situation with more detail than that child can write it out. At some point a lot of kids stop drawing, either from disinterest or disappointment in how slowly the skill is developing. I wasn't great at drawing as a child, but i really enjoyed it. I was also lucky enough to grow up in a family that encouraged me not only with praise, but with encouragement to improve. 2) Which artists do you use for reference?I'm inspired by so many artists, a few off the top of my head... Ashley Wood, Joao Ruas. Erik Jones, Conrad Roset, Tom Bagshaw, and more classic artists like Ernst Haeckel. 3) Your style is quite influenced by comics and art nouveau. How did you develop this style and how would you describe it?I feel like i've gone through so many phases over the years. My interests and influences have drifted so wildly, i feel like it's difficult now to describe the path i took to get here. Influences like Akira, my earliest influence and later artists like Mucha and Klimt have remained with me. I don't know if i can describe my work now in stylistic terms. I'm sure someone else can, likely with ease. I'm too close, haha. 4) Describe us a bit about your creative process while creating a piece.It's not often i'll sit and think of what to draw. Usually the ideas come to me randomly or in bed as i'm falling asleep. I read a lot of science books and find a lot of inspiration in learning new things, biological and otherwise. Once I have an idea, i'll go through my thousands of reference photos i've shot and look for a good pose match. Sometimes i'll have to shoot something new. Referencing the photo i'll sketch out a rough composition on paper or, more often, in photoshop. With a little refinement i'll start coloring using the pen tool. Finished pieces usually take me somewhere between a few hours an a few days depending on the level of detail. 5)What's the best thing about working with illustration and what is the worst?I love doing commercial illustration. I make more money with less work when i do commission work. The constraints of the project often push me to learn new things, or draw subject matter i'm unfamiliar with. It can be a huge learning experience. Quite often the work will get lost in committee with too many voices making creative decisions. When that happens I find myself detaching from the work and setting my goals to just doing the best i can do in the amount of time given. Commercial work is simultaneously the best and worst part of illustrating. 6) How do you describe your daily routine?Art, art, art, eat, art, art, talk about art with wife, art, eat, sleep and dream about art. 7) Which is your favorite piece so far?Currently "Hecate" which also happens to be my newest piece, is my favorite. It felt like a stepping stone for me and i intend on doing more work like it. A limited edition print will be release early October through 1xRun. 8) Tell us five lessons you believe are really important for every illustrator.1.) You'll only get better by practice. It takes thousands of hours to hone a skill, drawing is no different. If you don't know what to draw, draw anything. Keep your pencil moving!2.) Embrace criticism. What people say to your face, they say more often behind your back. Recognize the difference between quality criticism and the venom of hateful people. If someone isn't suggesting an improvement, disregard their feedback. They are the background noise time will forget.3.) You'll never "arrive" creating art is a journey. You'll make slow progress, sometimes you'll make quick progress, you'll never "get there". Get over it. There will always be less deserving people ahead of you and more deserving people behind you.4.) Encourage other people, as you get better don't forget how painfully discouraging your early art years were. Keep your eye out for people who are still there and advise and encourage them whenever possible.5.) Try not to get so married to a process that you keep yourself from growing. Illustrators and fine artists need a recognizable product, but too many artists literally paint themselves into a corner and never progress. 9) Tell us some websites that you like to visit.To be honest, i'm on tumblr quite a bit. I follow most of my favorite artists there and have discovered many new artists through "tumbling". Instagram, of course, is growing in popularity and a lot of artists are now using it to post their works in progress. The now defunct CGunit.net was a daily visit for me for years. It still holds archives of amazing artists. Oh! And in their last days they did a countdown of their favortie artists and gave me the 6th position. I was hugely flattered. 10) Thanks again for your time, please leave a final message for the ones who are starting out on this kind of business.Bad situations are usually the best learning experiences and if you're lucky you'll have lots of them!
With a particular view and talent for detailment and completion, Ethan is one of the most singular comic artists to illustrate traditional super heroes like Superman, Flash and Batman. Nowadays, Ethan is a comic book artist for DC comicsYou can see more artworks from Ethan at his Comic Art Community profile.
Patrick Brown is a digital artist from Australia and his art is just simply incredible. If you're a gamer or a fan of popular series of film out there, Patrick will definitely give you a great load of inspiration. Here's a showcase of his latest work and it's totally badass!I have always been greatly inspired by many things, from games to movies and even TV series. If I like something I draw it. Most people call me a fan artist, but I like to think of it as giving me a reason to draw something so I can improve myself for better things. I love what I do, I always have.For more information about Patrick Brown, you can check out his DeviantART and give it a like on Facebook.All Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick BrownAll Rights to Patrick Brown
Hi everyone, hope you guys had fun with my last tutorial about a realistic PS3 controller. For today's tutorial we will follow the same idea and keep practicing our vector skills. We're going to create a classic Gibson Flying V guitar using a similar process of rendering using Illustrator.This is intermediary tutorial, so if you have any problems with some parts, don't worry. Try to redo that or come up with work arounds, it's the best way to learn how to use any tool. That's another reason that in order for you to make this study more useful I decided to leave some decisions up to you guys, you wil see it further, hope you have fun. SketchLet's open Adobe Illustrator and start by creating a new canvas (command + N / ctrl + N) with 24 x 55 cm, RGB, 300 dpi.Using the rectangle tool (M), create what will be the arm of the guitar. Use the direct selection tool (A) to ajust the lower vector points so they will get more wide open.Use again the rectangle tool (M) then use the selection tool (V) + alt to copy the same shape until you have 21 frets. There's no shortcut to adjust the distance between them, you will have to do it manually, just make their width vary as the fret board get's larger. Or you can use the Blend Tool for the same purpose.Using the ellipse tool (L) make a little circle and duplicate it 10 times. These will be the position markers, they are traditionaly placed as I did in the image bellow.Now using the pen tool (P), let's create what will be the V body shaped. Create first the left side, then using the selection tool (V) + alt duplicate it, right click over the new shape then go to Transform > Reflect and choose to rotate the Verticas axis.Use the rounded rectangle tool to create the strap pin, use the pen tool (P) to create the vertical shape, duplicate and mirror it.Here're the settings to create this rounded rectangle. Later you will duplicate this whole shape to make the other strap pin.Let's draw the humbucker pickups. It's quite simple, you just have to create it using this measures with the rounded rectangle tool.Now using the ellipse tool (L) and the pen tool (P) we will create the pattern for the screw we will use along the guitar. The trick here is to rotate the center shape so it won't look the same screw when you look at.You're going to just copy and paste them for now on. After you finished the first humbucker, you can duplicate and mirror it horizontally.Let's skip to the tail piece, using the pen tool (P) make this triangle, duplicate and mirror ir vertically.Add some screws on it and the strings hole using the ellipse tool (L).Now let's do the adjustable saddle, first make two ellipses, then a rounded rectangle, rotate it a little bit until it gets a bit in a diagonal angle.Add some screws.And using the rectangle tool (M) create the saddles hoels and the saddles. It's really important to make this saddle holes parallel to the rounded rectangle. Display the saddles like the image bellow.Now let's draw the jack output. First make the structure using the ellipse tool (L). Using the polygon tool create this hexagon then make two circles inside of it.Don't forget to add some more screws.Using the pen tool (P) let's draw the guitar shield.Now using the ellipse tool (L) let's make the knobs used for tone and volume. They may look like a bunch of circles, but this will make sense later.Finally, let's draw the pickup selector, first draw this couple of circles.Later, using the rounded retangle tool and the direct selection tool (A) you will create the selector.Don't forget to add the screws again.Now we have already created the lower part, let's go to the upper parts. Using the rectangle tool (M) make the nut above the neck of the guitar.Using the pen tool (P) make the headstock, first draw the right side, duplicate it and mirror it vertically.Using the rounded rectangle, make the tensor cover. Add some crews later.Using the rounded rectangle and the ellipse tool (L) you will create machine heads.You will notice that the pin on them gets thinner as their position gets higher, this is due to the fact I wanted to give some perspective to it.I added the Abdz logo, but you can add wherever you want to. Let's draw the tuner, you're going to use the rectangle tool (M), the rounded rectangle tool and the pen tool (P) for this, it may be harder than it looks like. Later just duplicate and place it as the image below.The strings are pretty much the easiest part, using the pen tool (P) make a line from the machine heads to the bridge holes as the sample below. ColorsSo, now that you have all the shapes you will need, you should use the Unite command (find it on the pathfinder panel) on all the mirrored pieces, this will be necessary for the next steps. Now we will procced to a step that I find very important for the organization of the image. Let's add the flat colors I used on each shape, this way you will adjust the layer other and won't miss any shape placement.I advise you to duplicate the sketch shapes and make a new layer for this step (command + L / ctrl + L). To add the colors of the color pallete, just use the selection tool (V) to select the shape then use the eyedropper tool (I) to get the color.Here're a couple of screengrabs that will help you a bit to figure the best colors to use: GradientsNow that you got all the colors we can skip to the gradient part. As you noticed, I created two color palletes: one for the flat color process and one for the style we want to give to our design.Let's star by apllying it on the top to the bootom of the instrument. The process will be always the same: use the selection tool (V) to select the shape, use the eyedroppper tool (I) to get the gradient color and use the gradient tool (G) to adjust the range. You already got the pallete, so you will just have to do it, not a big deal, don't you think?You're going to use two golden gradient for the machine head: one radial for the pin and a linear for the rest of the shapes.It's really important to apply this same gradient scheme on all screws, I know, this will take time, but great work only come with great efforts. It's basically a radial and a linear gradient, find them on the gradient pallete.The tuners also got two types of gradients, take a look on the scheme.On the gradient pallete you will find a relly intricated linear silver gradient, this one is for the strings.I added a radial gradient on the logo, on the tensor cover and on the head stock, they make look similar but have some slight differences.The nut and the frets have all the same linear gradient, just to get some volume on them.I also added a linear gradient on the position marker to make them look a bit shinning.The neck got a brown linear gradient to mek it look more like wood.Don't forget to add the same scheme on the screws, we don't want to create any Frankestein here.Use this linear golden gradient on the pickup cover, you will see that I got pretty addcited on it, because he's actually pretty good for almos t all metallic shapes.On the saddles, start always with the screws. later you're going to add the previous golden gradient on almost every shape, waht's going to vry it's how you posicionate the gradient, this is what gives depth to the image.On the bridge, start with the srews, than add again the golden gradient.On the jack output, make the screws first, than add the golden metallic gradient on the requested directions.I also used a radial grey gradient on the platform.On the shield, star with the screws.Them get the gradient selector, add a radial grey gradient on the selector and a the golen gradient on the rest of the circles.The volume and tone knobs and just a few radial and linear gradients as you can see below.Be careful with this shade of gradient, as you're going to have to adjust this parameter on the gradient panel lowering it's opacity to get this effect.You can add the same radial gradient used on the jack output platform on the guitar shield.I also added the same radial grey gradient used on the head stock into the body of the guitar. This will give it some volume.Finally, on the stripe pin, you're going to use a radial golden gradient and a linear golden gradient like the pics below. Conclusion Download the Adobe Illustrator FileDownload the Adobe Illustrator file used for this tutorial
Do You Remember When This World Was Ours? is a digital art project by Justin Mezzell where he creates a graphical narrative of the fiction worlds he imagined. Each movement is represented by an awesome image fro you to enjoy. For more from Justin Mezzell visit justinmezzell.com and behance.net/JustinMezzell Do You Remember When This World Was Ours? Living & Dying in the Afterword Do You Remember When This World Was Ours is a graphical narrative into fiction and the created worlds left vacant by the conclusion of the story. As the characters continue to live on in our memories, their bodies remain in a sort of stasis while the world begins to be reclaimed by the earth and ultimately into the void--forgotten. It is told in seven movements.
Brand New Nostalgia is a group of comic artists of varied backgrounds, styles, and nationalities bringing you themed works on a weekly basis. That brief description summarize what this awesome guys are all about, here I posted three themes they developed recently, but please don't forget to access their site for more awesomeness. You can see more inspiration from this talented artists at Brand New Nostalgia Website or at their DevianArt Profile. Ancient Egypt Filipe Andrade Giannis Milonogiannis João Vieira Joe DellaGatta Jorge Coelho Brian Churilla Monster Alexis Ziritt Giannis Milonogiannis João Vieira Joe DellaGatta Joseph Querio Mateus Santolouco Brian Churilla Jorge Coelho Scott Wegener Ricardo Venâncio Pshychobilly João Vieira Giannis Milonogiannis Alexis Ziritt Ricardo Venâncio Scott Wegener Tradd Moore Jorge Coelho Logan Faerber Filipe Andrade
Nowadays the boundaries between digital and tradicional art are totally blurred, most of the time you can't really say when a artwork it's digital, traditional or a mix of both. But knowing how to make use of both medias and their techniques can make you a really great artist, that's the level of awesomeness I think Tarin Yuangtrakul, aka. Tab Name, have reached on this point of his career. You can see more of this young talent at his Official Website.
Massimo Carnevale is one of the best comic book artist of the last 5 years. Even though he mostly did covers for comic book companies, he already got a straight comic style on his artworks, making it most digital but with a traditional feeling. For more illustrations from this amazing artist, please access his Blog.
For our tutorial this week we're going to show you a simple way to create a realistic, but illustration style, Playstation Controller using Illustrator. Since I'm a video game enthusiast, although I actually never had a Playstation, this was really fun to do, hope you guys enjoy doing it too. This is a tutorial less focused on drawing skills and more into the Illustrator tools, so this should not be that hard for begginers. You execute it using a mouse or even a track pad, good luck. Sketch Ok, let's begin by opening Adobe Illustrator, create a new canvas with 14 x 10 cm , RGB, 300 dpi. In order to make things easier, I decided to create a color pallete that contains the only colors we will use during this tutorial, this includes the gradients. Using the ellipse tool (L), create two spheres with the same horizontal alignment. I think it will be a lot easier If we design one side tha duplicate it later, so let's do it with the left side. Create two more spheres using the previous tool this will be the left analog stick. Using the pen tool (P) create the left grabber. Use the direct selection tool (A) to organize and balance the vector points. Use again the ellipse tool (L) to create what will be the shadow later. Now click on the round rectangle tool to configurate it like the panel bellow, it's really important that you use the same corner radius. Make one rectangle than duplicate it using the selection tool (V) + alt , then rotate the copy till you have cross like this. We will add the buttons there later. Using the pen tool (P), create this trapezium shaped form that will be the L1 and L2 button. Duplicate it using the selection tool (V) + alt, then resize it. As you can see I duplicated it a fez more times, as this parts will be the light reflexes and divisions that you will see further. I did the ssame process on the analog stick, duplicate the main shape to create the light reflex later. And this one is for the shades of it. Repeat the same process for the D-pad as the screengrabs bellow, there's no tricks here. Ok, now we are ready to duplicate it, select all the shapes, use the selection tool (V) + alt to duplicate them, then right click over it and go to Transform > Reflect. Choose to rotate the vertical Axis. Ok, now let's proceed by create the buttons of the right D-pad, use the ellipse tool (L) for this. Use the segmetn tool (\) to create the 'X', the ellipse tool (L) to create the 'o', the star tool to create the triangle, and finally the rectangle tool (M) to create the square. Let's skip to the left side, the direcional may take you sometime to adjust, since it's rounded. The easiest way to do it is to create a rounded rectangle, then make the rounded triangle by using the pen tool (P). Duplicate it and rotate it till you got the four you will need. Now make some triangles using the star tool or the polygon tool. Duplicate them later to create the light reflex. Yeah, we can forget the classic 'SELECT' and 'START' buttons (and the Plastation button). So, using the ellipse tool (L), the rectangle tool (M) and the star tool, you can create them on the center of the control pad. You will have to duplicate them a few times to create the reflex and the shaded of it. The Pst button got a special effect that we will add later, for now you can create three ellipses as the sample bellow and put the Pst logo on the middle (or put your logo If rather). Now it's time to create the pad body, using the rectangle tool (M), make this thin rectangle on the top. I still don't now how to call this little leds on the top of the pad, anyway, you can create them using the rectangle tool (M). And here a few rectangles you should create on the center of the pad using the previous tool. I decided to use your logo on the top, you can get it here of use the original form Sony If you want to. I would advise you to group the shapes on a more dimensional way, I mean, out the shapes that are buttons on hte front nad the body shapes on the back, this will be clear further, but it's really important to organize them. Color So, here' a colorful render of the controller, some may ask e why I didn't skip directly to the gradient part, well, it's quite simple: layers hierarchy. So, now you should use the eye dropper tool (I) and get each of this colors on your sketch. You will notice that the layers may be on the wrong order, so that's the time to avoid later headaches. You aldo may have notice that I united some shapes as the D-pad buttons, this is quite simple: Select the two shpes you want to unite (in this case the round rectangle and the round triangle), go to pathfinder panel > Unite. I used the same process on this other two shapes, as you may notice. I also wrote the titles 'START' and 'SELECT' using the helvetica medium, but you can use other sans serif font If you don't have this one. You probably already notice on this sketch some white lines, so this was what I was talking about when I said light reflexes. As you can see, the light comes from the top, so that's why I made this white mark on some shape, take you time to figure out by yourself too. Gradients Ok, now it's time to start with the gradients in order to make this control pad ore realistic. This may look complex, but it's way more easier than you cna imagine. Let's start with R1/R2 button. As I said before, I used the colors from that color pallete to create even this gradients, now it's more about adjusting them using the gradient tool (G) and the gradient panel, it's really important to set them correctly as radial or as linear gradients. As you can see, all the gradients beside the white ones, are radial. Use the color pallete to find the ideal color range, I won't tell exactly as this should a observation exercis for you guys. Don't forget to break the font in outlines (command + shift + O / ctrl + shift + O), as it's impossible to aplly gradient on editable font. Duplicate or repeat the same process for the L1/L2 button. I really hate having to use blur on Illustrator, as this effect is really heavy, so the best way to make this shape is by creating a radial gradient, then adjust the range of it using the gradient tool (G) as you can see bellow. Let's skip to the pad body, this gradients are a bit more complex, I must admit. As you can see, the shape on the top and the one on the botton use the same linear gradient with a darker and lighter area, this is piece of cake to adjust. You may have problems on creating this one, but please don't get nervous about it, If you adjust the gradient panel settings as the ones bellow, this will be easier. The logic of this one it's that he got some light on the top and a bounced light form the bottom. I used a radial soft gradient on both of the grabbers, this should be use to adjust. I used the same proccess of the L1/R1 button on the buttons pad. You can even copy the same gradients tu use on it, but don't forget to adjust it correctly using the gradient tool (G). Later you will just haeve to copy the same setting to the other side. I must admit that the analog stick gradient is way more complex, let's start by creating the shading one. You're going to make a black to black radial gradient, but one of the sides mus have a opacity at 0%, configure this on the gradient panel. You can alos use a Multiply blending mode on it later, so this will give a better aspect on it. The light reflex it's basically the same on you used previously. Ok, now this radial gradient it;s a bit more complex, you should first adjust the colors on the gradient panel, then adjust it using the gradient tool (G). The cross of the D-pad is going to use a more specific linear gradient, also it got a reflex on the bottom, as we want to give depth on it. The directionals are wuite simple, just a linear two colors gradient, they also got a reflex on the top as well. The tiny triangles got a light repfex on the bottom, as we're trying to give depth on it again. Now you can repeat the same proccess used on the left side on the buttons pad, it's easy as that. e Let's not forget about the little leds, they don't need big adjustments, just some simple linear gradients as you can see bellow. I also broke the type in outlines (command + shift + O / ctrl + shift + O) so I could add a light gradient on it. This Pst button got me a bit busy, but it's not that hard to achieve. I first used the same radial gradient on each of the internal spheres. Later I just used the same gradient settings for the light reflexes. I used a white logo then just set the bleding mode called Overlay and duplicate it to get a brighter effect. the 'START' button had some little adjustments, as teh triangles are a bit desunited. I added two shapes in here, but you can actually use only one, just adjust you gradient with white solid top. This one was adjusted to give a aspect of button (I mean the shape, not the gradient). As you can see, there's also a gradient on the bottom of this button so I could reach the "cavity" illusion I wanted. I applied the same dynamics on this other little bud, so you should know by this point how to solve it. I hope you guys made to this point, congratulations and see you next time. Final Result Download the Adobe Illustrator File Download the Adobe Illustrator file used for this tutorial
Our buddy Neil Duerden sent us some of his recent experiments on type design, some of them are part of his latest project called "26 letter created in 2 weeks". Hope you guys dig it. You can see more of his type experiments from Neil at Alpha Typography Website and you can see more of this great designer at his Official Website.
Yesterday a new chapter of Depthcore was released and and I was completely amazed by the quality of it's work and the creativity along the members. From drawings to typography, from illustrations to photo manipulations, even music is displayed in this new chapter. Check it out! To view entire chapter visit ECHOES A SONG OF MADNESS | Radu Pop About ECHOES The Depthcore Collective is delighted to release it's 44th Chapter, "ECHOES". Featuring work themed around the concept of reflected sound, thought and memory, "ECHOES" is a diverse collection of artwork produced by members old and new over the course of the last eight months. This Chapter embodies it's theme in several interesting ways. We've had a great showing from old members, artists who have been releasing with us for years and years. This is juxtaposed with more work from new members (and more new members) than any Chapter in recent history, including some members who got their start in digital art after seeing our early exhibitions. We're seeing styles that take the aesthetics of yesterday and present today's phase of it's evolution, as well as work that directly references aesthetic touchstones from our past sitting next to work created in a style never before present in a Depthcore Chapter; echoes converging that mirror the old and then move on to create the new. Whilst perusing the Chapter in preparation for writing this article, it occurred to me that this may well be the first Chapter where traditional art outweighs digital. We've worked hard to create a balanced aesthetic within the collective, but it seems that in analysing our memories and delving into our past to create this exhibition, many of our members are reverting to their creative point of origin. There are also more series of work in this Chapter than ever before - quite appropriate when one considers the "Echoes" theme. Here are some of the images from ECHOES, to view the entire chapter visit depthcore.com/chapter/echoes FJAER | Waldez Snegotskiy LAIN WITH THE KRAKEN | Erik Schumacher BEAUTY ECHOES | Pete Harrison CLASSIC DISASTER | Heiko Klug SOUND VISION | Taylor Crisdale REVERBERATION_01 | Peter Olschinsky TIME TRAVEL IN A TIME OF REGRET | Jared K. Nickerson ACID WASHED DREAMS | Ronald Ashburn A SYMMETRY | Emeric Trahand BURIAL | Mike Harrison & Justin Maller SMOOTH | João Oliveira