People always ask me If ever get bored of doing vectors and the answer is always "I can't". Why? Because, as most of you, I also got heroes on what I do and these guys are one of the main reasons I can't quit. Human Nature 84 is probably my favorite vector artist, not just because of his personal style, but because of the revolution his making on vector graphics. As me, you won't believe that every of this artworks bellow are all vector made, no mesh or blends used, just pure vector. Ok now, even If you're not a vector fan, you should defnitely check his Flickr or his Devianart to witness the evolution of this revolutionary artist, god bless him. The Process
Hi everyone, it's been a while since I dropped my last illustrator tutorial and so I decided to teach a really classy lesson this time. I've been a huge fan of vector art ever since I started working as an art director then as an illustrator. And I always appreciated the work of some of the masters like Pale Horse Design, Hydro 74 and Chris Vector. Their extremely detailed illustrations are really eye catching and sharp, I always wanted to understand how they do that. Years and lots of hours of illustrating later, I think I can finally understand aspects such as sketching, outlining, shading, hachures and filling that are most used to make great artworks. So, today we are going to learn how to create this gas mask using only vectors. This is a really advanced tutorial, not only for the ones who are familiar with this software, but for the ones who are used to making traditional illustration too. I hope you learn a bit about depth, shading, hachures and other aspects involving this illustration, and, of course, have fun. So hey, If some of you get a bit confused, please contact me later ;). Sketch As always, I try to sketch the idea before going to the software, I think a sketch is more than 50% of the work, it's the concept, it's when you see what can be possible and what cannot. So my suggestion to you is to always try to test every graphic possibility before refining it. Think about the sketch as a rough diamond, you know it's a diamond, you just need to understand how to refine it through a better way. Outline Step 1 One thing I started to note is that every artwork has some kind of outline. That's when the artist tries to a set the parts of the illustration without refining it. So, let's open Illustrator and create a 22,55 x 20,5 cm (8,88 x 8,07 inches) RGB, 300 dpi. Using the rectangle tool (the shortcut is the letter M), create a square that fit outside the canvas We're going to need some rulers to help us, press ctrl + R / command + R to visualize them, then pull one vertical and align it to the center of the canvas. We're going to use the pen tool (P) to create this part of the face, use the direct selection (A) If you need to adjust any of the points. Select the face shape and using the selection tool (V) + alt , duplicate it. Right click on the duplicated side, a panel will pop up, choose the option called Transform > Reflect. Then, choose to reflect the vertical Axis. Go to the pathfinder panel, select both sides and choose the selection called Unite to blend it all together. Use the line segment tool (\) to create a divisory between the face, it will be used later. Step 2 Using the pen tool (P), we're going to create the shape of the glasses. Use this tool again to make this shape and give the idea of depth on it. Just duplicate the glasses shape, resize and place it using the selection tool (V). Use the pen tool (P) to create this shape and give the idea of a border on the glasses. Just duplicate, reflect and place on the other side. Step 3 Let's make the part where the elastic is usually held. Use the pen tool (P) to create this shape above the glasses. You can make a litte pill shape using the pen tool (P) or the ellipse tool (L) and adjusting it later. Make this tiny shape behind the pill shape using the pen tool (P). Make this shape using the pen tool (P) and the grabber it's done. Duplicate, reflect and place on the other side. We're going to use the same shapes, we're just going to adapt to put them on the top of the mask. Step 4 I bet you thought I used the 3D tool to achieve the filter shape, but no. One thing I noticed from a long time using this software is that the 3D render (as the gradients) make the files slower and heavier, so studying vanishing point and other depth disciplines can be pretty handy not just for drawing, but to make files lighter. Ok, back to the filter, use the ellipse tool (L) to make the bottom of it. Use the pen tool (P) to create the whole shape, adjust the error using the direct selection tool (A). Use the ellipse tool (L) to make the socket part. Duplicate and resize the same cirle. Use the pen tool (P) to make the bridge of the filter. Make another circle in the bottom using the ellpse tool (L). Make a ribbon shape on the body of the filter using the pen tool (P). Finally make a little circle inside the circle of the bottom using the ellipse tool (L). I really dig this trick to make the fans follow this procedure. First create a circle using the ellipse tool (L), use only a black and thick stroke (20 pt or less). Go to the stroke panel and set the dashed line to 2pt dash. You should get these. Select it and go to Effect > 3D > Revolve, set the parameters by using the preview to see if everything is on the right perspective, or just copy mine. Duplicate, reflect and place it on the other side. Step 5 Let's make the central filter. First create a perfect circle by using the ellipse tool (L) and holding Shift. Use the pen tool (P) to create the shape that fits the nose. Make this shape using the pen tool (P) to make the border. Add this other one to give depth to this part. Make another circle inside the main circle. This is really cool: Proximity and distance can cause depth effects. So here we're going to duplicate the previous circle and just adjust it a little bit smaller. One more circle with a bigger spacing. Remember the fan vector? Go there and get a copy of it without the Revolve effect, place it on the center. Yeah, you must be tired of making circles hehehe but here goes another one. And another one... ...and another one... ...and the last one, watch for the proximity used here, or you probably won't get the depth effect. I also added this shape to be like sustentation piece, use the pen tool (P) to create it. Then duplicate, reflect and place on the other side. Do the same thing with the lower part. Ok, so the outline is finished, now let's skip to the shading part. Shading Step 1 Before starting this part we should "clean the mess", so go and adust your layers like this, make an exclusive layer for the central filter and hide it for now. Let's begin with the right filter, using the pen tool (P) you're going to add these black shapes on the ribbon. Some of you may fear this type of hachure as a drunk fear rehab, but you've got to use it. It takes time to master and make it quick but go easy with the pen tool (P) using a white fill and you're going to achieve it. Just add this divider to make the reflection on the ribbon clear. Go to the little circle of the bottom of the filter and make this shape using the pen tool (P). Duplicate, resize and use the Minus Front option on the pathfinder panel to make a hole in it. I call this type of filling "Cracky filling" because it's not uniform, it can be simply achieved by using the pen tool (P). Now this is a really old trick that I already showed you guys on the Hellboy tutorial: Create a triangle, make it slim, duplicate it many times and group it. Ok, now go to the body of the fliter and place it like this the hachures. Make a trace on the area you want to be filled using the pen tool (P). Make a clipping mask on it (ctrl + 7 / command + 7). Repeat the same procedure on the other extremity, just watch the direction of the hachures. Let's create some black shapes on the bridge using the pen tool (P) to make some reflexes. I added some cracks to look like it's embedded to the mask, this will take some time, but as you see, it's just some sharp shapes using the pen tool (P). I also added some "cracky filings" on this part. The filter is done, time to go to the rest of the mask. Step 2 So, using the pen tool (P), you can make the indie part with black fill, but let a border space to create a white stroke on it. You can add some details like the hachure on the top and other extremities. On the lower part of the mask just did the same thing. You've got to get something like this, then we can start adding some minor details. Now you can show the central filter layer, to make some shading around it. Using the pen tool (P) you can add some hachure shapes, like this one below the glasses. Also one next to the nose part. On the top of the glasses. And a lonely hachure here. Let's apply some hachures on the elastic grabbers next. Step 3 These are really tiny details, so don't worry If they get a bit strange, nobody will notice from a far distance. Start by adding this hachure on the side of the grabber using the pen tool (P). Add some black space shapes on this part. Do the same here. And here. Do the "cracky filling" again on this part. No shortcuts here, it's a boring hacure, I know, but do it easy with the pen tool (P). Following the same idea of the other grabber, add a hachure here. Some black spaced shapes here. The same here. And here. "Cracky filling" on this part. And the "boring hachure" on the center. That's it, time to start the glasses. Step 4 First make a big black fill inside the glasses cavity using the pen tool (P), but let a thin white space on the left/upper side. Let's add some classic rectangular reflections on the center of it, use the pen tool (P) for it. Yep, you're going to have to do one by one of this sharp shapes to make this curve hachure, don't forget to use the "alt+click" trick on the vector points to mute the curves. After you do the first one, you can just copy and adjust it on the other places using the direct selection tool (A). Repeat this procedures here... ...and here. Use some "Cracky filling" around the glasses border. Group all these elements, duplicate, reflect and place it on the other side. That's it, time for the final step. Final Step Before anything, make a new layer above the central filter layer and call it "shading". Using the pen tool (P) , let's start by making these reflections on the center of the filter. The ruler on the center will be pretty handy right now. Unfortunately, you're going to have to make shape by shape here, but don't worry, you're basically going to duplicate and reflect it on the following steps. Reflect horizontally here. Use a "cracky filling" on this part. You can copy the previous hachures and adjust to insert on this part (or just make some new ones, which I found way better and faster). Duplicate, reflect horizontally and place it. Do the same here. And here. More hachures guys! hehehe just follow the same procedures and everything is going to work fine. Duplicate, reflect horizontally and place it. Just duplicate the first one and place it here. Just duplicate the second and place it here. Lets use the triangles again on this part, make a group and place it above the fan part. MUse the pen tool (P) to trace the area you want to set it and make a clipping mask (ctrl + 7 / command + 7). Duplicate, reflect and place it on the lower fan part. More "cracky filling" on this border. Make some hachures with the pen tool (P) here. More "cracky filling" on this part. I must admit here I tried some really random shapes with the pen tool (P), but as the aesthetic effect was sucessful, I decided to maintain them. Ok, now just group everything (ctrl + G / command + G), duplicate, reflect and place on the other side. Conclusion By this point, even If you did all these steps, you're probably wanting to kill me hehe just kidding guys. I know how hard it is to master some techniques, it takes time and a lot of observation to understand some aspects. Even If you have not followed the whole tutorial and just read it, you probably have learned a bit. You can download the file with the illustration at the end of the post, use it to study or for whatever you guys want, it's a little gift to you, have fun. Download the Illustrator File Download the Illustrator file used for this tutorial
I won't call it a series, but I definitely enjoy posting vectors every week. There are tons of great illustrators out that yet to be showcased here, so let's keep walking. The man of the round is Konstantin Shalev. Konstantin is a Russian illustrator that comes up with some notorious and astonishing pieces of vector art. I guess there's a whole school for that kind of style: ultra colorful, cartoonish, thick outlines, really clever. I'd love to see more artists from that school of art. What should we call it? Vector Badass Cartoon or something like that? I suppose. Anyways, for more of his work, you may visit his portfolio at Behance. I hope you enjoy these! Cheers. ;)
I got vector fever. I can't get enough of it lately! I was looking for some cool vectors to post here for you guys to see and found these stylish illustrations that are simply beautiful. These are the work of French illustrator Julien Renault. He's got an awesome portfolio at Behance, and I really recommend you to check it out for more of his great work. I hope you enjoy these! Also, if you know any other good vector illustrators like Julien, drop us a link! Cheers. ;)
There are some works that we often get to see all over the internet, in various sites, for various reasons and purposes. I remember seeing the work of Jessica Finson in tons of sites for the past 4 or 5 years, but never got to know the artist. So checking out DeviantART I actually got to find the source of all that work scattered in the internet, her beautiful portfolio. Unfortunately, and mysteriously, she hasn't update it for at least 2 years. I found her at Facebook and asked for some new pieces of her art... I hope she does reply me, so that I can update this post later. Anyways, these will do for now. For more of her work, check out her portfolio... she's truly a great artist, and the visit will be totally worth it. Enjoy! Cheers. ;)
Hey guys, for this month I did a Graffiti inspired pack. Basically it's a couple of vector icons and ABDZ in graffiti letters (thinking hard about developing a special font like this). So, tell me what you think about it, please download it and use it as you want to. Download the files CLICK HERE TO DOWNLOAD ALL FILES Content Spray Cans Wheat Paste Graffiti
Is really interesting how simple shapes can tell many stories, definitely Fernando Togni is one this illustrators that can make the simple look really complex. Using basically Adobe Illustrator, he creates some awesome psychodelic illustrations using a lot of patterns, basic shapes like circles, rectangles, squares and triangles. Nowadays Fernando lives in Porto Alegre, Brasil and works as a Freelancer, doing many works for clients like Wired, Pino, Super Interessante and Oryx Magazine. If you want to know more about Fernando and his work, please access his website.
Hey guys, since I've started blogging on Abduzeedo I thought I should share with you some cool freebies. So since it's summer here in Brazil I made a pack with some figures related to this season, use it as you wish :) Download the files CLICK HERE TO DOWNLOAD ALL FILES Content Surfboards Sun Glasses Drinks
Some weeks ago, while watching the Montreal Meets I remember that Fábio and James talked about watching Top Gun. Some of you may not know, but Top Gun is a 80's classic, I was even born when it came in to the cinemas, but I watched later and I must say it is really badass. So, after watching my buddies speech, I just found myself watching the movie again and that gave me a nice idea for a tutorial. Today we're going to learn how to create this vector badge and add some extra feature to it look more awesome, this is a pretty simple tutorial, you probably won't have bigger problems to execute it, hope you like it (and watch Top Gun, of course). Step 1 First of all open Adobe Illustrator and create a A4 canvas (29,7 x 21 cm / 11,69 x 8,27 inches). It was pretty hard to find a font similar to the original one used on the logo, but I found one called NovaMono that is quite similar, you can it download here. After installing the font, use the Type tool (T) and write TOP GUN in Uppercase. Now add some heavy black stroke to it and adjust the kerning between the letters. Create outlines (right click on the font and then select it) and make a grey metallic gradient using the Gradient tool (G) , make sure the gradient of all letters is on the same direction. Now access Object > Expand set to only expand the Stroke, this will turn it to a separated path, then add the same gradient to its fill using the eyedropper tool (I). Step 2 Then, using the Rectangle tool (M) create these four rectangles and align them like these. Get the last three rectangles using the selection tool (V) and decrease their width a bit. Here's a cheap trick: in order to get the same diagonal in all rectangles corners, create four triangle with the polygon tool or the star tool, make sure they are one exactly above another. Then access the pathfinder panel and chosse the option called Minus front. Change the upper rectangle to a metallic gradient, than access the "N" group till you find the original "stroke path", then access the pathfinder panel and choose the option called Unite, that should get things together. Using the gradient tool (G) make a dark red gradient in the other rectangles. Finally, repeat all the steps again in the other side, that should take some time. Step 3 Create a five points star using the polygon tool or the star tool, posicionate it above the type. Duplicate one of the red gradient rectangles using the selection tool (V) + alt then get a ruler (ctrl + R / command + R), access the transform panel and rotate it 30º degrees. That will help you to align the vector points in the same diagonal, use the direct selection tool (A) to adjust them correctly. Remember to copy the gradient from the letters using the eyedropper tool (I) on the lower rectangle. Step 4 First create a new layer ( ctrl + L / command + L ) and call it background, put it above the title layer. Create a blue circle around the title using the ellipse tool (L).. Group ( ctrl + G / command + G ) all the elements of the title, then just duplicate it using the selection tool (V) + alt, send this layer to back, now we have a hard shadow. Create another circle using the ellipse tool (L) but disable its fill and use a white stroke. So, here I used a 40 pt stroke, but if you are using a scale different of mine you may probably have to adjust till you get this fat stroke. Access the stroke panel and activate the Dashed line option, set the first dash to 3 pt, you should get something like these. Again, repeat the procedure of expanding the stroke showed on Step 1, after it choose a gold gradient and using the gradient tool (G) spread the gradient all along the circle. Using the selection tool (V) + alt duplicate the circle and turn its fill to black, send it to back to look like a hard shadow. Step 5 Using the pen tool (P) create this semicircle with stroke only, now select the text tool called type on path tool then write "United States Navy" in uppercase, I used Helvetica but you can use wherever font you think it's better. Using the the selection tool (V) + alt duplicate the text, chage the fill to black and send it to back to create the hard shadow, don't forget to turn it all in curves after. Step 6 Using the ellipse tool (L) create a circle, then with the gradient tool (G) make this blue gradient on it, use the eyedropper tool (I) to copy the same gradient to the bigger circle on the back, but just change the gradient of it to the opposite direction to give depth. Choose the "United States Navy" text and use a grey mettalic gradient on it. Step 7 The airplane part will be pretty easy if you are good with the pen tool (P), you will have to basically draw it, duplicate it, reflect it and use the Unite option from the pathfinder panel to make it one path. Just repeat the same procedure you did in another steps to make the hard shadow and it's done. Step 8 If you want, you can open photoshop and add a few more details to it. First I used some drop shadow, inner shadow and bevel and emboss (right click on the selected layer) to make it pop a little bit. Then added some Gradient (G) to make a main light (use the overlay blending mode after creating it a layer above the original badge). And finally, added some Gradients (G) on the background and a metal texture. Final Result I hope after reading and completing this tutorial you got a better notion of how to use the pathfinder tool and strokes. There are other ways to execute this image, but this seems to be the easier. The photoshop part was more like a bonus that's why I didn't went more deep in this part, but you can add some metal textures or wherever you want, get it rad. Download the files CLICK HERE TO DOWNLOAD ALL FILES USED FOR THIS TUTORIAL
Simon Fernandes is an art director, designer and illustrator from Sao Paulo, Brazil with a really cool style, his portfolio has illustrations with different styles, from the very clean vectors of the Agua Viva artwork to the sort of retro style of the Copo poster. We were really impressed with his work and now we are sharing that with you ;) For more information about Simon Fernandes visit his Web site at http://www.simonfernandes.com/ Planetario MTV Planetário from ODA on Vimeo. Pedaço de coral Plus Ultra Menina Flutívago Agua Viva Copo Paisagem Colorido Buda Doido
ChewedKandi is the name of artist/designer Sharon Milne. She lives in the North East of England and has a passion for vector art. Sharon has been interviewed and featured on a variety of websites. She has recently began writing tutorials for VectorTuts+. Since 2001, she has been creating and appreciating digital art and was even noted as being one of the artists to inspire a new genre of art known as vexel art. For more information about Sharon visit her Web site at http://chewedkandi.net/ or you can also take a look at her DeviantArt page or learn from her tutorials at VectorTuts+ at http://vector.tutsplus.com/author/sharon-milne/ Some Works
I have been playing with the Halftone filter in Photoshop for the past few weeks and trying different things we can do with it. I also discover the Width Tool in Illustrator CS 5 and it was a great surprise because now we have much more freedom when playing with strokes. So with these two things in mind I decided that I had to create an image using them, and then the idea of a design inspired in Roy Lichtenstein. There are quite a few tutorials showing how to create this type of image, but I decided to try it myself. I haven't checked any tutorial because I wanted to play with the tools, so the technique might be the same as other tutorials but I really don't know. Besides I think a tutorial on Roy's style is always a great add to the tutorials section of Abduzeedo. Roy Lichtenstein (October 27, 1923 – September 29, 1997) was a prominent American pop artist. His work was heavily influenced by both popular advertising and the comic book style. He himself described pop art as, "not 'American' painting but actually industrial painting". - Wikipedia Step 1 Let's start the tutorial in Illustrator. Open Illustrator and import the photo you will apply the effect. The one I'm using is courtesy of Shutterstock and you can find it here. Step 2 In Illustrator, select the Pencil Tool (N) and start drawing over the photo using it as references. I started off with the eyes. I also use the Ellipse Tool (L) for the pupils. Step 3 Keep drawing with the Pencil Tool (N) and with the Pen Tool (P) when you need more precision, however it doesn't need to be super perfect. Step 4 With the Pencil Tool (N) create the contour of her hair. Step 5 Stll with the Pencil Tool (N) add some details for her hair. Step 6 Here I have all the vector elements I drew to create the girl. You can add more if you want, it will depend on the photo you are using. Step 9 Get rid of the photo and start playing with the vectors only. Here you can see all the elements without any color and the same stroke size. Step 10 One of the best tools in the Illustrator CS5 is the Width Tool (Shift+W). You can change the width of parts of the stroke, it's fantastic. Step 11 Still with the Width Tool (Shift+W) play with the strokes on her hair and hands. Use the image below for reference. Step 12 Time to add some colors. I used beige for the skin, yellow for the hair, white for the eyes and black for the details. For her blouse I used green. Step 13 Now let's go to Photoshop. Open Photoshop and import a paper texture to use for reference. The one I'm using is courtesy of Shutterstock and you can find it here. Step 14 Import the girl photo too. We will use it for reference for the vectors from Illustrator. It will also be used to create the halftones. Also change the Blend Mode of the layer to Multiply. Step 15 Mask the photo of the girl so it will be over the paper area only. The best way to do that so we can use the same mask for other layers is to create a group and mask the group in Photoshop. Step 16 Add a new layer beneath the layer girl but still inside the folder with the mask. Change the Blend Mode of the new layer to Multiply and fill it with Cyan. Step 17 Copy the vectors from Illustrator and paste them in Photoshop. I used Smart Objects for the option when paste it because that way I can change the vectors anytime I want and see the results in Photoshop. As you can see in the image below I changed the Opacity of the Layer to 70% so I can adjust the position more easily . Step 18 Once you find the right alignment change the opacity back to 100%. Step 19 Reorder the layers so the photo of the girl is on top of the vector layer. After that go to Image>Adjustments>Desaturate. You will have a black and greyscale photo now. After that go to Image>Adjustments>Levels. Change the Black Inputs to 60 and the White Inputs to 195. After that change the Blend Mode to Multiply. Step 20 Go to Filter>Pixelate>Color Halftone. Use 15 for the Max. Radius and 199 for the channel values. Tip: Depending on the size of your design the Max. Radius will have to be different. Step 21 Here is the image after the halftone filter. It's almost done but there are a few details to work on so the image gets that old/vintage look. Also the halftones are over the teeth and the eyes so we have to fix that. Step 22 Duplicate the paper layer and just move it on top of the others. After that Change the Blend Mode to Linear Burn. Conclusion Here is the final design. As you can see I clean the halftones over her eyes and mouth and also added a diagonal pattern in the background. This design was just an experiment using halftones to create a Roy Lichtenstein inspired design. I'm working on some new designs where I go a little bit further with this technique, but as you could see, the halffones and the vectors with the paper textures do a pretty decent job in recreating Roy's incredible style. Download the Photoshop File Click here to download the Photoshop file used for this tutorial
Cristiano Siqueira aka Cris Vector is one of the finest digital illustrators from Brazil, he has worked with clients from all over the globe, striking everyone with stunning illustrations. Here you can check out some of his latest work. Enjoy! For more visit crisvector.com
Hey guys! For this tutorial/making of I created a fun illustration for my sister Stella's blog. In her blog she writes about funny daily situations and I thought that it would be nice to develop an illustration that expressed that somehow. I hope that this step by step help the new designers and illustrators. So, prepare yourself, and continue reading because even though it is a quite long post I hope it might be useful for your illustration projects. Also, feel free to share your thoughts with comments. Step 1 - Brainstorming ftw When I’m creating an illustration for someone, I like to make a brainstorm and write down stuff that person likes, to create a moodboard and capture her personality in the drawing. In my sisters case, for example, Italy, Trips and Pasta were mandatory in the illustration. In this step I also make preliminary roughs, testing new shapes and interesting compositions. Step 2 - Roughs, Sketches & Drawings After I pick the elements that will be part of the final illustration, and develop an initial graphic style, I start the rough that will be used as a direct reference for the vector. In this step I like to use a lot of details to simulate strokes and vector gradients. Lots of people ditch this part and go straight to the computer, but I personally prefer to create first in the paper. No only I feel more creative, it’s also a pretty good excuse to leave the computer for a change. Step 3 - Vector madness After I finish the rough, it’s time to scan it. (0r take a picture of it, if the paper it’s too big for your scanner). Then, I place the jpg file into a vectorial illustration software. My favorite software is illustrator, but feel free to use the one you like the most. Right now I only care about making the strokes and outlines, leaving the colors and filling for later. I recommend using a color that contrast with your sketch, to help you visualize it. In this case i chose a red stroke. Step 4 I like Illustrator because it offers you a ton of cool resources to help your vectorizing process. A solution that I often use is called Pattern Brush. Instead of drawing a whole flower, for example, you can make just one petal, turn that petal into a patten brush, create a shape with that outline, and achieve fun results! This tip is specially useful to illustrators that prefers abstract compositions, like me. Step 5 - Cleaning up the house After I finally finish the whole vector madness, I spend a little while organizing the file, putting the objects into the right order. All this to help the next step, that I consider to be the hardest part… Step 6 - Choosing Colors The moment to chose the colors and paint the illustration is the hardest and longest part to me. In this project I was inspired by the italy flag colors, mixed with the vibrant colors of the brazilian flag, all this with a vintage look and feel. In this step I also develop some gradients and chose the textures that I’ll use later. My tip is to take a look at the patterns from illustrator, hidden inside Swatches » Patterns » Basic Graphics. Step 7 - Color Groups & Inspiration A great site to search for color inspiration is colourlovers.com. There you can search between endless palettes developed by their creative users. After I chose my color palette, I find really usefull to create a new color group with the chosen tones. Step 8 - Almost there Sneak peek of the coloring process. Step 9 - Typography Choosing a font to use in the illustration is really fun! I love to test lots of combinations and to “hunt” for new fonts. The problem is that I get *too* excited in this step, and sometimes I download 30 fonts, and later I simply can’t decide which one to use. For this illustration I imagined a strong, bold and modern font, making a visual contrast with a script font. Step 10 When you are going to use the same shape over and over again, a good tip is to use the symbol tool. You make a motion clip, and spread the object in your comp, according to your preset. With the tool’s options you can increase or decrease the symbol, change it’s opacity, position, etc. This way you don’t have to duplicate and reposition the object manually. Step 11 - Blending Modes After I fill al my shapes with my chosen colors, I like to refine the composition with gradients and textures. Some illustrations look better with solid colors, but in this case I decided to use gradients to create more volume. One secret to a visually rich comp is to test different textures and blending modes. My fav ones are: multiply, overlay and softlight. I also like to play with different opacities. Step 12 - Photoshop After I finish the vector process, I export my work for a final polishing in Photoshop. At photoshop I mix the vector with bitmap images, to achieve a more organic feel. I also use the adjustment layers e test some colors adjustments, levels, curves, etc. And use brushes. Step 13 - Don’t be messy It’s common to make a lot of layers in Photoshop, and It’s really easy to lose yourself in the mess. Try to avoid that, and keep a file with the layers named in an appropriate manner and use organized layer groups. Step 14 - Brushes and Scribbles With the idea to create an organic look in mind, I blended the original vector illustrations with hand drawn scribbles, to create a hybrid composition. I also added brushes, colorful gradients, all in separated layers, preserving the original illustration. Conclusion And that’s it. Now It’s time to create the rest of the layout… But thats for another making of. Thanks for reading the whole post! If you want to read more nonsense from me, or for more cool tips and random links, feel free to follow me on twitter: www.twitter.com/carolrivello. About the Author I’m Carol Rivello, a graphic designer who loves to work with web design, art direction and illustration. Now I live in Florianópolis, a pretty island located in the south of Brazil, and just started to work as a freelancer. I love pigs, I have more than 300 of them. I also love: Internet, Music, Traveling, Movies, TV Shows, Illustration, Sketch Books, Motion Design, Home Decor, T-shirts, Pigs, Chocolate, Ice cream , Birds, Clouds, Sun, Sea and almost everything from the 80’s. For more information visit my site at http://www.carolrivello.com/
Jan Feliks Kallwejt is freelance graphic designer and illustrator currently based in Barcelona and Warsaw. He co-operates with clients from Europe and North America. For six years he has worked with agencies in Warsaw and Hamburg. Currently, Jan focuses on illustration, apparel design and personal art projects. Simple yet sophisticated forms are the essence of his work. He juxtaposes and multiplies them bringing to life the complex and tricky compositions, spiced up with attention to detail. He usually limits color palette, operating within two or three tones. To render the reality he employs multilayered symbolism, occasionally dropping in a dose of perversion where not expected. Some Works For more information and visit Kallwejt's website at http://www.kallwejt.com/
I introduced Jurryt a couple of weeks ago, and with his previous feature, he has proven himself truly worthy of an interview. Aiden Kolh, a writer, photographer, and painter, sat down with Jurryt for quite an intense and eye-opening interview. Enjoy! Think positive, live day by day, set your goals and make sure you got the will to reach them. That is life at its best. Aiden: Hello, Jurryt! Now, you are from Holland. In itself, the Netherlands is a rather artsy country where many, many famous artists have come from. Tell us about yourself, and, if so, how has the Netherlands’ reputation for artists such as Van Gogh, Escher, Kooning, and so on, influenced you to create digital art? Jurryt: Hi! My name is Jurryt Visser and I am a graphic designer and a digital artist. The Netherlands is a really artistic country as well, maybe together with England the country where you need to be for arts. Everything around here is quite fashionable and art really 'lives' here. Without any doubt, the environment, commercials and attitude of the people influence me greatly in everything I do with design. The Dutch history is full of art as well. Think about van Gogh, who inspired me a lot when I was younger. He had a great style which no one appreciated, but still very unique in that time. Besides the historical and modern famous artists, the history for example with the VOC (Verenigd Oost Indisch Compagnie) inspired me as well. It still does. The Dutch have been all over the world and left their fingerprints basically everywhere. It's the same what I want to do. I want to go to Indonesia to stay there for a long time, to focus and dedicate myself to make unique arts which can be related to the Dutch history as well. So to come back to your question if the Netherlands inspired me in what I do. Yes, it did and still does. Aiden: You are now 20 years old. When did you start graphic design, and what motivated you to do so? You mentioned van Gogh as being an influence when you were younger. Where did you begin? Jurryt: Well, at a very young age I started drawing and people said I had the feeling for it. I never did something with it, because I just didn’t know you could make work out of it. Years later, when I was, I think, 14, I started to go to the graphic design university and I gained so much interest when doing "my own thing". I had some teachers with who I could philosophize about arts, design and being an entrepreneur, so within 2 years, I was sold by arts. My last 2 years at school, was more free time than school. I almost didn’t go to school at all, because I had my own clients and I prefer being alone when I make digital arts. Finally in 2007, I had my first 'piece' online, which seemed to be getting popular with many people. That was really cool and motivated me to develop myself further. Van Gogh inspired me, besides mentioning his style, in the way no one ever appreciated his work. But now, everyone adores his work. It motivates me to keep trying to be unique, even if the "mass" of the people don't appreciate it. Eventually you are the one who makes something unique everyone likes. Aiden: You have a rather unique style of art that you create. Tell us about it, and how you developed it. Also, if you could, briefly relate how you go about creating such images? Jurryt: Thank you. It started several years ago. I told a teacher of mine: I want to create something that combines and balances photography with digital arts perfectly. He was laughing a bit and wasn't really serious about this. I always looked up at this teacher, because he has a certain reputation which everyone wants to have in his line of business. But because he was a bit "good luck", it motivated me to just do it and show him and everyone else that I can do it. I wanted to prove myself. I devoted several hours playing with this idea and eventually I had my first art piece which balances photography with digital arts, I think, quite good. In that time, I received a lot of positive comments about the style, that I wanted to try more, bigger, better quality. I came with some pieces which were not really good, but others were really loved by the people as well. I asked a friend of mine to make a photo in this pose. He did this. After tweaking the image in Photoshop the best I could back then, I started to illustrate it in Illustrator. I was rather amazed I was able to design this and opened my eyes to try to do it even better. Many people already have mixes of digital arts and photography, photography with digital arts elements in it. I wanted to make the perfect balance between them. Aiden: A while back you showed me a picture you created of a panda bear. What made you design that, as you said it was experimental? Jurryt: Um, because I am very busy with my work, doing graphic design for clients, I almost haven’t any time to do digital arts as well. I was bored, had some spare time and wanted to draw something. Just for fun. But why a panda? I don't know for sure. As you know I love Asia and in Asia there are pandas. For some reason pandas really adorable, but they are still bears. Aiden: You have mentioned to me in the past that you work about 80 hours a week, all graphic-design related work. Tell us about that, and any goals you have for the future. Jurryt: Yes, I work as a Creative Director at the design agency I work and besides that I have my own international business running. Besides digital arts, I really enjoy designing a brand identity, website, or any other print media. As long as I am the designer and the one who makes the graphic decisions. With my own business, I want to go all over the world. I'd like to see a great verity of cultures, arts, corporations... and food! With my own business I'm planning to go to Indonesia next year. I first want to stay in Singapore, Jakarta and of course other places to get inspirations. I will stay there for at least one year and want to work there. I still have clients here in the Netherlands who are willing to go further with me, even when I am in Indonesia. That says something. I already have a designer here in the Netherlands who is willing to freelance for me here. After 1 or 2 years, I want to go to China and / or Japan. Feeling, tasting, seeing their way of working and thinking. Helping people there with arts from a Dutch designer. I want to show the people all over the world that nothing is impossible as long if you want it. If I want to go to Indonesia and other countries, I will do that. I will blog about it, I will work for it. With this, I hope to inspire people to look further then just their own country, or state. There is so much more about arts and design than we think we know. Aiden: Beyond historically influential artists like we’ve talked about, who are some modern-day designers that you enjoy watching? You are a part of the slashTHREE artgroup, you contribute to deviantART, as well as the Behance network. What about people you see here on the internet? Jurryt: I'm not sure if I really enjoy 1 designer in particular. I enjoy their works and just random work I see. I have respect for many artists and digital artist. For example, I have major respect for Anton Corbijn. The way he get things done and his vision about arts and life are really good. And for business like, I enjoy Armani. The way he reached the top. Really inspiring. I don't think someone should get totally crazy about 1 person. If you are like that it is so much harder to create something that is your own. I think people limit themselves when they focus too much on others. Aiden: You mentioned that you wanted to blend photography and digital work perfectly. What inspires the pieces you create, pieces like “Boss”. Jurryt: Everything actually. Sometimes just music, other times movies, my mood, etc. Also talking to people about arts an design, about your goals, it motivates and inspires to create a new piece. Boss was inspired by a movie. Not sure what movie, but I had this idea to catch the movie's atmosphere in this piece. It is really mysterious and you are able to create your own story behind it. Aiden: Personally, “Soul” and “Reality” are some of my favorite pieces from you. Tell us a little about them, what inspired you, and how you went about creating them. Jurryt: Both are actually really personal. After "Portrait", "Reality" was my first bigger art piece again. I wanted to show, as I want in all of my works, the difference between "Reality" and "Fiction". Someone wants to get out of the reality, or out of the place you want are living in right now. It hurts and people don't like it when you try to, but everyone has thought about it. “Soul” was made for slashTHREE and has basically the same concept as my other work: getting out of reality. To get out, it's so hard and painful.... and you have to do it all by yourself like in our society…individualism. Aiden: And they are great pieces indeed. There are a million other things that we could talk about here, but our interview has gotten pretty long. Thank you for taking time out of your busy 80-hours-a-week schedule to talk with us! It has been great talking with you. Do you have any last statements you wish to make? Jurryt: Think positive, live day by day, set your goals and make sure you got the will to reach them. That is life at its best. Featured Artwork: About the Interviewer: My name is Aiden Kolh, and I am a 19 year old writer, photographer, and painter. I have an insatiable lust for music theory, and, on top of writing literature, I compose music for my band, and other groups on a paid basis. I am currently a student at the Art Institues, Detroit specifically, and am pursuing a career in art, photography, and music composition. On the side, I administrate the community at slashTHREE, and will be interviewing artists from time-to-time here at Abduzeedo!
Jurryt Visser, born January 1989 in the Netherlands, began drawing at a very young age. People said he had an “eye” for the arts. In years to come, he would take a course in an effort to learn the finer points of graphic design. It fit him perfectly. He began to create digital art, improving with each piece. Always wanting to be unique, he found his own vector style, like many of our readers find their own individuality. Fast forward a few years, his passion for the arts continued, but his interests gravitated steadily toward graphic design. Why? He values uniqueness and a sense of individuality. He considers himself to be a "koppige" designer, meaning he is very original. Following three Iears working with different design agencies, originally as a designer and finally as an art director, he started his own business: free to do as he pleased and portray the world in his own manner. His goal is to reach out to clients and satisfy them with unique artwork. Someday, he hopes, his hard work as an artist will take him to the top. Keep an eye out for his featured artwork and interview, exclusively here on Abduzeedo.