vector

Interview with Vector Artist Caramelaw

marcos333 — Tue, 28 Feb 2012 20:00:32 +0000

Today we have a special guest here at Abduzeedo, I'm proud to present this interview with Sheena Aw, also known as her illustrator alias Caramelaw. She told us more about her story, her creative process and other cool topics. Check it out.

You can see more of Caramelaw's work at her 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 motion graphics began?

Hello and thank you very much for having me. :)

Well, I was always a dreamer when I was young. Sketching on any possible surface I could. I love animations and cartoons, and was very fascinated by them from a very young age. I often wonder how do people make cartoons and how to make an illustration move. I wanna do that when I grow up!

2) Which artists do you use for reference?

Takashi Murakami, Tokidoki, Tado, Pete Fowler, Friends with You, Camilla D'Errico, Mark Ryden

3) Your style is extremely happy, colorful and childish in some way and I must say you got some quite distinguishable characters and use of color. How did you develop this style and how would you describe it?

I was doing a lot of random stuff at first. Manga, cartoons, graphic design etc... Honestly, I knew I love art and illustration but I've got no idea what I was looking for. It's quite frustrating at first, trying out all sorts of techniques and looking at different forms of art but nothing hit me. Until one fine day, I decided to play with colours and candy, since these are the 2 most elements I am attracted to. I made the 1st piece of candy at titled "My World of Madness". It felt right, the candy colours, the whimsical characters, the flying butt, rainbows and everything I could possibly want in an art piece. That was when I knew I have found the Caramelaw style. It took me a good 5 years but I'm glad I did eventually. It had to start off somewhere, from this piece I developed my style further and became the candy-coated Caramelaw today.

My World of Madness

4) Describe us a bit about your creative process while creating a piece.

It starts with my handy sketchbook, a bit of a walk, see something I like and doodle it down. After which I'll bring the goodies back to the studio and do a sketch based on what inspired me that day. I like using blue pencils for sketches. After that, I'll scan the sketch into the computer and start tracing it in Flash, export out each individual element to do further com-positing in Photoshop. That's where all the magic happens. Where my individual-layered characters make friends with gradients, colours and effects. Its lots of fun, its like piecing a puzzle together.

5)You've been working not only with illustration, but also with toy design. How is your relationship with this kind of media?

I'm a toy fanatic. Vinyls, dolls and vintage My Little Ponies. Since my art is a little bit child-like, what's better than linking my art to toys? I think its great to work on a different media once in awhile. Its like painting on a different canvas and the results are pretty satisfying, to see your art on a 3D object, rather than just on the computer screen. Toys inspire me and my art too. I see a toy, be it colours or just something interesting about it, I'll gather infomation from there and make it into a piece of candy art. So it works both ways and I think its brilliant.

6) How do you describe your daily routine?

Alarm rings. Presses snooze. Alarm rings again. Presses snooze again. (I can go on forever, let's just skip to the main part)
I go to work in the day as a video editor/motion graphic artist. After work hours, its Caramelaw time! I'll head back home and work on my candy-art or custom dolls/toys. I feel like I'm leading a double life but it keeps me sane.

7) Which is your favorite piece so far?

My favourite piece would be "Trees in Heaven". I'm a nature lover, I believe in mother nature and my art usually reflects on that. "Trees in Heaven" was made to show that humans are just taking everything on earth for granted. Whenever I see reports on forest fire, deforestation, it angers me. For what they had provided us with no complains. They should go to heaven. Where birds and squirrels and other magical creatures would provide its every need.

Trees in Heaven

8) Tell us five lessons you believe are really important for every illustrator.

Be humble - be nice to everyone, regardless of whom. It only reflects yourself as a person and an artist.
Be open to ideas - share, learn and open up. Meet new people. Talk. Work on collaborations. Its through experiences like these that you learn more.
Travel - See the world. Its so big and its so beautiful. Everything and anything can inspire. Its just how you look at it.
Keep trying new things - I know it can be frustrating when you just can't find the style you were looking for. But it takes time. Some earlier, some later. I took 5 years though. But through these 5 years I didn't stop exploring and looking at new mediums. Its fun and you learn lots.

Honestly, I think I only had 4 lessons. :p

9) Tell us some websites that you like to visit

www.depthcore.com

www.behance.com

www.flickr.com/ (don't be surprised, you can actually find lots of good art stuff here!).

10) Thanks again for your time, please leave a final message for the ones who are starting out on this kind of business.

Never give up. :)

About the author

My name is Marcos Torres, I'm Graphic Artist from Porto Alegre, Brasil. You can get to know more about me by acessing my Personal Website or by following me on Twitter: @marcos333. You can also see some of my last projects at my Flickr.

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Create Courage, The Cowardly Dog in Illustrator

marcos333 — Mon, 27 Feb 2012 04:41:42 +0000

I don't know about you guys, but Cartoon Network was like the Disney of the Tv channels when I was a kid, such a big range of awesome series and characters. So today I decided to pick one of them and highlight on a tutorial. I know some of you may not be familiar with Courage so here's a brief video that explains a bit this hilarious character.

I would say this tutorial it's half a case-study and half a tutorial, I'm just saying that before someone may complain of the fast pacing on some parts. Anyway, If you're used with my illustration tutorials, this will not be a big deal, please have fun.

Step 1

Ok, let's begin opening Illustrator, create a 31 x 23 cm canvas. Let's begin with the background.

Using the rectangle tool (M) create two big rectangles and thin one between then, just like the sample bellow.

Select the upper one and go to the gradient panel, create a golden radial gradient on it, use the gradient tool (G) to posicionate it on the right place.

Add another gradient on the lower big rectangle, use the previous tool to place it on the correct place.

I decided to apply a pattern on the upper one in order to make it look more like a grandma house ambient. You can get this texture here.

Later I used the blending mode multiply, with the texture over the previous gradient.

I also decided to apply some wood texture on the ground, go it on the same place.

Yeah and as you can see, i did the same with the thinner one, just watch for the bleding modes and the gradient directions.

Step 2

So, I did a rough sketch of what I would like to obtain, the main concept was to make Courage's shadow a frightening demon image. Also, trying to make the best use of the lightning. Create a exclusive layer for the shadows (command + L / ctrl + L)

Ok, let's start by the shadow, using the pen tool (P) start by the leg and elbow, the shadow got a refraction on the wall, that's why it look like bend on the half.

Before proceeding on the rest of the drawing, you should give attention to the hands, since as most people know, some hands can be very tricky to draw.

Ok, then draw the rest of the body as the original sketch. Paste the hand you created, duplicate, reflect and resize it to the other side, then use the pathfinder option called Unite to make then and the body one piece. Unite the legs also.

Use the pen tool (P) to create the demonic ways, it's pretty much just like drawing triangles, don't forget to add a bit of perpective on it.

After that, draw the sharpy teeth mouth, then select both mouth, eyes and body, go to the pathfinder panel and use the option called Minus Front.

Finally, add a black to white gradient to the shadow, use the gradient tool (G) to place it correctly. Then use the Multiply blending mode to make it look like a real shadow.

Step 3

Ok, let's skip to the main part, first create a exclusive layer for him (command + L / ctrl + L). Start by making a circle on the belly using the ellipse tool (L).

Make a circle and use the previous shape to make a clipping mask over it.

Drae the tail using the pen tool (P)

Use the ellipse tool (L) to create the eyeballs.

And the pupils.

Make the head using the rounded rectangle tool

Use a simple circle to make the cheek.

And also to make his lips

Draw his nose using the pencil tool (N).

Use the previous tool to make the ears.

Draw the sad eyebrowns using the pen tool (P), just make sure they loo like damn scared.

Use a ellipse and sharpy shape to create the mouth.

Use the pen tool (P) to trace the rest of the snout.

The leg it's quite simple: Make it using the pen tool (P), then using the ellipse tool (L) make the fingers, use the selection tool (V) to adjust them.

Then you're going to just redo this process three times again.

Now let's start blending the shapes, first start by the feet, select all shapes and use the Unite option at pathfinder panel.

I used the path eraser tool to erase the bottom of the leg and so give the impression of normal drawing dash.

Ok, now unite all arm shapes.

Unite the head and body shapes.

And all the mouth circles and shapes.

Remember the eyebrowns? Ok, let's duplicate both of them, select this copies and the eyeballs and use the Exclude option at the pathfinder panel, this will remove the eyebrown shape form the eyeballs, just don't forget to remove the rest of the shapes.

Step 4

Let's add Courage main colors on the shapes we already have. Then let's start adding some fine details.

Using the brush tool (B) to make the whiskers.

Use the pen tool (P) to make the wrinkles.

Also use it to make the teeth divisions.

Add some grey shades on the ears and nose using the pencil tool (N) and the pen tol (P).

I also added this shades using a similar process used on the legs.

Step 5

Let's make anotehr new layer. I drew some drips and pools of blood on the floor, that's pretty basic you just need to draw some round shapes using the pencil tool (N).

Then add some white reflexes and lower their opacity.

I also added some shades and made a clipping mask on them.

I went back on the shadows layer and added some behind those drips on the same direction as the demon shadow.

Step 6

Ok, the tv it's pretty simple, first let's draw half of the body using the pen tool (P), also I drew the top of it.

Add some perpective corners.

Use the rounded rectangle tool to create the monitor.

Duplicate, reflect and Unite it.

Make the antenna using first a circle and them creating this sharpy shapes using the pen tool (P).

Duplicate the monitor shape, then go to Effect > Grain. Let's turn this on real Tv, so use the same set up as the picture of the panel bellow.

Add a shadow and a light on the antenna.

Ok, now let's add some flat colors on it.

But in order to look like a real Tv, it should have some knobs, it's pretty eays to create them, as you can figure out on the pics bellow.

Also decided to add a speaker on it, doing the inverse process used on the knobs in order to give depth on it. Later just added a grid over it, just to look as old fashioned speakers.

I decided to use a really classy font on the title inside the Tv, so I used this one, don't worry it's free and quite useful.

And another sans serif font for the lettering, nothing special.

Step 7

Let's go back to the shades layer and make some for the Tv, it's quite easy, just do on the same direction of the previous one, use the pen tool (P) for this task.

Now that all the shadows are set, let' only verify If your layers are organized as they should be.

Now we just need a main light source, so make a big rectangle that fits all the canvas, use the gradient tool (G) to posicionate it's focus on the lower right on the screen. Then go to the tranparency panel and use the blending mode called Overlay.

Conclusion

Download the Adobe Illustrator File

Download the Adobe Illustrator file used for this tutorial

About the author

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Nice Vintage Badge in Pixelmator

abduzeedo — Fri, 24 Feb 2012 06:42:40 +0000

Last year we published a tutorial showing how to create a nice badge in Photoshop and Illustrator. Now we decided to do the same, or similar effect using Pixelmator and its new vector tools. The result is very good and there are some nice techniques to overcome the lack of some more complex shapes.

So in this tutorial we will show you how to create complex shapes in Pixelmator and add round corners to it. After that we will show you how to make it look like an old badge using textures and some basic filters and blending.

Step 1

Open Pixelmator and create a new document. I am using 1680x1050 pixels. After that using the new vector tools, select the Rectangle Shape and add a square by holding the shift key.

Step 2

Duplicate the square and rotate it 30º.

Step 3

Duplicate the rotated square, then go to Edit>Transform>Flip Horizontal. You will have the base of our badge.

Step 4

Select the 3 squares and merge them into a layer. Layer>Merge Layers. After that go to FIlter>Blur>Gaussian Blur. Use 7 for the radius.

Step 5

Go to Image>Levels. Change the Black to 86%, the grey to 88% and white to 90%. After that you will have a nice shape with rounded corners. If you want it to be more rounded you can use a higher value for the blur in the previous step.

Step 6

Go to Filter>Color>False Color. Use red for the color.

Step 7

Duplicate the shape and rotate it to have more sides on the badge.

Step 8

Change the color of one of the layers to blue and change the Blending to Multiply.

Step 9

Select both layers and merge them. Then with the Magic Wand Tool (W) select the center area. After that use black for the false color.

Step 10

Now let's start adding some text. I used a font called Carnevalee Freakshow for the font. Also used the Rectangle Shape Tool to add some other elements.

Step 11

I added more text using another font, called Birch Std for the words San Francisco and Abduzeedo. Also change the opacity of some text to 30% white.

Step 12

Let's add some texture. The one I used is from Subpatterns.com and can be found here: http://subtlepatterns.com/patterns/paper.png

Use one layer with it for the background and another on top of the other layers. With the one on top go to Image>Levels. Use 95% for Black, 99% for the Grey and 100% for White. Then change the Blending to Screen and the opacity to 60%.

Step 13

Select the badge with the text layers and duplicate them. After that merge the duplicated layers into one and go to Filter>Blur>Gaussian Blur. Use 5.2px for the Radius.

Step 14

Change the Blending to Hard Light at 60%. You might need to delete a bit of the center area to make the text more visible.

Step 15

Duplicate all layers and merge them again into one. Then go to Image>Desaturate. You can change the opacity of this layer to 60% to make the colors less vibrant or...

Conclusion

You can have the layer in black and white, which is my favorite. So the idea of this tutorial was to show you how to create some more complex shapes using Pixelmator vector tools. You can go much further and add more details, but that now is up to you :)

Conclusion

Download the Pixelmator File

Click here to download the Pixelmator file used for thist tutorial

About the author

Abduzeedo is a blog about design. There are all sorts of articles for those who want to look for inspiration. Also you will find very useful tutorials for the most used applications out there, with a special selection of Photoshop Tutorials and Illustrator Tutorials. You can get in follow us via Twitter at @abduzeedo

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More Outstanding Works by Grzegorz Domaradzki

PauloGabriel — Fri, 02 Dec 2011 16:57:43 +0000

Grzegorz Domaradzki is one of those artists that often appear here at Abduzeedo. His works are definitely outstanding and he's got many more new pieces worth showing the world.

If you didn't get to see any of his work here before, Grzegorz is a Polish illustrator that makes these simply stunning designs. He's done vector movie posters and other pieces, and today I'm featuring a few of this latest works, like these amazing designs for snowboards. For more of his works you should visit his portfolio at Behance or personal website. I hope you enjoy these! Cheers. ;)

About the author

Hello, everyone! I'm Paulo Gabriel, designer from Porto Alegre, Brazil, born in 1984. I have worked as a webdesigner since 2006, but websites and blogs have been a hobby for me since 1999. Here in Abduzeedo, I try to bring only the hot stuff for you... and hope that all of you enjoy my posts! For more cool stuff, you may also follow me on Twitter.

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Funky Illustrations and Graffiti by Low Bros

marcos333 — Tue, 22 Nov 2011 05:08:54 +0000

I love vector graphics, but I'm also a great fan of the aesthetic side Graffiti. If I could mix something that would be a hybrid between those two kind of medias, it would be something really familiar to the art of Low Bros. I mean, these guys got such a interesting flat and polygonal style with a really good use of colors. They really know how to make some really cool and funky characters, also their canvas and illustration work are pretty neat, so check them out.

You can get in touch with more of this awesomeness by accessing via their Flickr.

About the author

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Beginner Tutorial: Create Super Mario's Head on Illustrator

marcos333 — Mon, 07 Nov 2011 05:50:06 +0000

Hi everyone, following my latest beginner tutorials today I'm going to show you how to create a Super Mario face using mostly simple and easy to create shapes. As every kid born in the 80/90's , I'm still a huge fan of this Nintendo character, so this will be another "nostalgia tutorial" , hope you guys enjoy it!

Just a reminder: this is a beginner tutorial, eve though some of you are really skilled on this software, I would recommend you to take a a time to read this as you can get some insights and ideas from this tutorial. Please comment If you have any problems or doubts, have fun! And before we can begin, please listen to THIS while reading.

Step 1

So, the deal on this tutorial is to create this Mario's face using the most round and simple objects as possible, why? Not just because it's easier than using the pen tool for it, but as drawing analysis, understanding that everything is created by simple and geometric shapes. It's a work of observation and it really takes time to understand, but with time you will find easy to see shapes on every object you see.

Ok, so I saved a color pallet on the source file so you guys don't need to screen grab this JPEG or getting busy figuring out what colors we're going to use. Let's begin by creating a ellipse using the ellipse tool (L).

Make another ellipse using the previous tool and adjust it using the direct selection tool (A), this will be the nose.

Mkae another ellipse on the right side of the big one, this will be the ear.

We're going to create more three ellipses on the bottom of the big one, this will be his chin, Mario being a chubby guy should have some cheeks.

Then select all those three, the ear ellipse and the big ellipse, go to the pathfinder panel and choose the option called Unite. They should turn all into one.

Add some beige fill to it and go to the brush panel, choose the one called 5 pt. Oval, it's a good one for cartoon characters outline, so use a thick one. Use the path eraser tool on the pencil tool (N) panel to erase past of the nose, like pic bellow.

Step 2

Let's skip to the eyes, basically you're going to crete several ellipses and one last sphere using the ellipse tool (L).

Add some color and fill as the examples bellow.

For the other eye you're basically going to duplicate or do the same procedures, don't forget that this one should be with the nose partially on the front.

The mustache is really piece of cake to do, first make a line of ellipses with different sizes like the sample bellow.

Select all them and use the patfinder option called Unite.

Use a black fill on them.

Make another ellipse over them and use the pathfinder option called Minus front.

Don't forget to put the nose on the front.

And add some thick stroke on the mustache.

Step 4

Oh the eyebrows, just another piece of cake part. First make two ellipses under the eyes as the samples bellow.

Make the intersection with other ellipses like the sample bellow.

Then just go to the pathfinder panel and choose the option called Minus Front., then add some black fill on it.

The ear detail is the only part made 100% using the pen tool (P), If you're not used with the tool you still can try to do it using the brush tool (B) or using some ellipses and pathfinder modes to achieve it.

Super Bald Mario heheh ok let's start to give some sense on it guys. Let's proceed by creating the mouth.

First let's make a ellipse and adjust the vector points using the direct selection tool (A).

Make a ellipse over it and use the pathfinder tool called Minus Front.

Use the brush tool (B) to give this little detail, use a thick brush.

I love using this tool: use the pencil tool (N) to draw the tongue, do the same procedure to draw the teeth.

Step 5

Ok I'm tired of looking to this bald Mario, so let's put a hat on him and give him some hair. First make a ellipse and a circle like this.

Add some red fill and a thick stroke on it.

Make the white circle where we are going to put the "M".

Use the brush tool (B) on the hat to add this detail.

The flap is bit tricky to do, first create a ellipse using the ellipse tool (L).

Make a sphere bellow it and use the pathfinder option called Minus front.

The result may be a little messy, but first you should ajust Mario's head using the direct selection tool (A).. After it you should adjust the flap like the samples bellow

Draw the "M" using the pen tool (P), that's no big deal.

In order to draw the hair let's first make two circles, resembling almos a "8".

Then using the pencil tool (N) or the pen tool (P) to make this part.

Select all and choose the pathfinder option called Unite.

Add some black stroke and a brwon fill on it and we're done.

Final Result

Download the Illustrator File

Click here to download the Illustrator file used for this tutorial.

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Quick tip: Make a Worm on Illustrator

marcos333 — Mon, 10 Oct 2011 03:04:04 +0000

Hi everyone, today I'm going to show you some quick tips on how to make a simple but effective vector illustration inspired on the classic video game, Worms. If you are from the 80's or 90's you probably heard of it or had the chance to play it, it is "the predecessor of Angry Birds" in the words of my mate Mike Austin.

On this quick tip I will have a more tradicional illustration approach, focusing less on tools and more on drawing and logic, hope you guys appreciate it and show your version on the comments, have a good time.

Sketch

Sometime ago I thought that movement lines, geometric shapes and croquis were totally bullshit, but the thing is you can't make a proportional and equilibrated illustration without a appropriate sketch of it. So first I made a rough line of the movemment/pose I wanted.

I opened Photoshop to draw the sketch, I divided the body in a circle that would be the head, neck, breast, belly and limbs (or sort of). This allows me to make a more proportional and equilibrated character.

On the following I made a outline to have a better Idea of the silhoutte.

Now I tried to place the main characteristics and expression of it.

Erased the circles, now it's ready to "ink" using vectors.

The Worm

After placeing it on illustrator. the first thing I did was create its shadows by using the ellipse tool (L).

Using the pen tool (P), I made a rough trace of the silhouette in beige.

I added a loose stroke over it and as always I decided to expand it's appearance to make things easier when resizing and adjusting it to look more hand drawn. You can do this by accessing Object > Expand Appearance.

Make a trace on the helmet using again the pen tool (P).

Use the brush tool (B) to make the stroke on it.

Draw the eyes using the pencil tool (N) or if you prefer do it using the pen tool (P).

Same thing for the mouth hole.

And the same fo the strip.

Using the pencil tool (N) let's draw the two lines of teeth, leave a space on the borders of each one, as it was gnashing then in panic.

Add a stroke on the strip fill then expand it's apperance as already showed above.

Add some circles using the ellipse tool (L) to indicate the holes used to adjust the helmet.

Add a stroke around each eye and expand their appearance too.

In order to make the eyes, first make a circle using the ellipse tool, make another one and place on the corner of the previous one.

Select both and now go to the pathfinder panel and choose the option called Minus Front.

Place them inside the eyeballs.

Using the pencil tool (N) create these random shapes over the helmet, use different green shades to look like camouflage.

Select all them, make a trace around the helmet shape and then make a clipping mask (command + 7 / ctrl +7).

Also draw some gray shapes on the border of the helmet, select them and choose the blending mode called Multiply, pretty simple.

Uinsg the brush tool (B) I drawed the wrinckle on the cheek and the chin of the Worm.

Using the pencil tool (N) I drew some shadows on the teeth, then made a clipping mask over it to fit in.

Make the eyebrown by using the pen tool (P), add a white fill on it.

I repeated the same technique of shading used on the teeth on teach eye, it's pretty simple, should no take much time of you.

Let's add some shades on the body, I used a darker beige color for this. As you can see, I was very specific about the lightning, as it should make sense. So the eyes, chin and helmet generate shadow on it's body.

Ok, the worm is done.

The Dynamite

Using the pen tool (P) draw this dynamite body.

Using the ellipse tool (L) make the shadow of it.

I traced the top of it to make a top, then added a darker red.

Using the brush tool (B) you can draw the fuse.

The sparkle can be drawn using the pen tool (P), then just copy it, rotate it, resize it and add a orange fill.

Also added some lights on the right side using the pencil too; (N).

Made the same on the left side to make the shadow, that's it, it's finished.

Conclusion

I hope you guys digged this tutorial and learned some quick tips on making simple illustration, but at the same time effective. Don't forget to share you results and doubts with us, see you next time.

Download the Illustrator File

Click here to download the Illustrator file used for this tutorial.

About the author

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Interview with Mike Austin (Human Nature 84)

marcos333 — Tue, 04 Oct 2011 17:44:43 +0000

Today we will have the pleasure to interview one of the best vector illustrator ever: Mike Austin also known as Human Nature 84. Mike have impressed everyone on the digital art community with his new approach on making vector graphics and being a high defensor of this media. Hope you guys dig this enlightening interview.

You can find more about Mike on:

Flickr

Devianart

Twitter

Vectology News

1) Before we start, I'd like to thank you for the opportunity to interview you, it's a great pleasure Mike. First I'd like to ask you when first go in touch with art/design and when did you become interested in illustration?

Well, where do I begin? I guess it all started with the Teenage Mutant Ninja Turtles. That cartoon introduced me to a world of fighting ninja turtles, old ninja master rats, and insane animation. Drawing those little green turtles for classmates made me feel like a star in my elementary classroom. I was cool without having to be a class clown or a sports freak...and the rest is history.

2) What are your influences? What artists and illustrators inspire you?

Well let me just say that my major influences aren’t all necessarily figurative or part of the art scene. One of my major influences, for his dedication to his art form is the one and only King of Pop Michael Jackson. I would watch him dance and sing and though “man, that guy must practice like all day long” so I took that regimented approach and apply it to my artwork. My screen name HumanNature84 is two-part homage to the king of pop and my lovely wife Amanda, (Human Nature is my favorite song by MJ and my wife was born in 1984 the same year the song was released). A list of my style influencers as follows:

Glen Vilppu

Bert Monroy

Carlos Huante

Burne Hogarth

Michael Hamilton

3) So, when you had the idea to try to do concept art using vector graphics?

I started out with PS like everyone else, but my school also taught Ai. I fell in love with vector around 2008 when I stared dabbling in animation and I discovered a lot of similarities between Ai and Ps and the rest is history.

4) You're not just an excellent illustrator, but you also got a really particular style. When and how did you develop this style? How would you describe it?

I have always been keen on cartoon styled artwork but I also love the old masters dedication to the figure and 3d space. I combined fun world of cartoons and the old masters mentality, so I guess you could call my style Cartoon Realism.

5) After reading some of your comments on your DA profile, I notice that you're really worried about the future of graphics and, more specifically, vector art. So, what's the main idea about changing how people see this kind of art?

I really feel that the vector art documentation is lacking, that’s pretty much the simplest way I can explain the situation.

6) How would you describe your daily workflow?

I basically sketch something, then it’s on to Ai.

7) What is your favorite artwork and why?

My favorite is Calling Home because I really pushed myself to the limits
with this piece.

8) Tell us five characteristics necessary for every vector illustrator and why.

All are self-explanatory:

1: Master your tools.

2: Stay original.

3: Keep a positive attitude.

4: Find someone that has mastered what you are doing and study his or her' work.

5: Practice, Practice, And Practice!

9) Tell us five sites that you'd like to recommend.

vectologynews.wordpress.com

cgsociety.org

figuredrawing.info

conceptart.org

characterdesigns.com

cgmwonline.com

10) Thanks again for the opportunity to interview you Mike, please leave a last advice for the students and everyone who is beginning at this kind of business.

DRAW, DRAW, and DRAW!

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Psychobilly Inspired Illustrations by David Vicente

marcos333 — Mon, 29 Aug 2011 15:43:21 +0000

It's really pleasurable find illustrators who have a particular style, but it's more refreshing find some with a specific thematic on their artworks. David Vicente got a cool realistic vector style, but he also works mainly with the psychobilly aesthetic. In fact, most of his clients works are related to this culture, check out.

You can see more of his artworks and know more about him by accessing his Behance Profile.

Deimos Air Cooled

Poster Bernie Dexter

The Kooples

Poster Rattle'n'Roll 2011

Poster Wanda Jackson

Wheels Fest

Design Sportster XL 48

Other Illustrations

About the author

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Interview with Joshua Smith (aka. Hydro 74)

marcos333 — Wed, 24 Aug 2011 15:01:28 +0000

Today we're really glad to publish a high anticipated interview with Joshua Smith, well known on the design community as Hydro 74. Since I started on the creative, I always loved Hydro 74 artworks, so this is quite a great accomplishment to me ann the blog. I hope you guys like and learn more about Josh and his life experience.

Here a couple of links to find Hydro 74 online:

Website

Behance Profile

Twitter

Facebook

Exclusive Discount Code at Hydro 74 Shop:

Also Joshua was really kind and offered a special discount code to our readers, so go to Hydro 74 Shop and grab some awesome posters before it's over ;) .

Coupon code: 'abduzeedohydro' is good for 30% off of everything.

1) Before we start, I'd like to thank you for the opportunity to interview you, it's a great pleasure. First I'd like to ask you when did you become interested in Graphic Design and illustration?

Appreciate it. Sorry it took a minute to get back to you on this, but just been nutty busy of late.

You know, I never wanted to be a designer. Never had much interest in it nor thought about it. It wasn't till a couple years into college (1996) going for the teaching degree that I became upset with the program since I was too 'punk rock' at the time to allow to student teach. I was just poor so the best I could do for cloths was Thrift Stores and didn't care what I looked like on campus since I was there to learn. I ended up taking some art classes (painting, drawing, etc) to keep my GPA up since I decided to switch to liberal arts and get the hell out of there. A new class started called Visual Communications where they were going to teach Photoshop, and basic standards in Graphic Design. I got hooked playing on the computer. I think I took design actually seriously was when I got a couple illustration gigs for various record companies. They paid well and supplied me with a lot of music, so it was total win. About a year out of the program I decided to drop out since I was on the same learning curve as the professor at the time and my fine art professor was giving me shit about being a graphic designer. He insisted I should focus on Fine Arts. I disagreed since I already had a hell of a school debt.

So yeah, getting into design was all chance. I always doodled and took art classes because they were easy, but nothing I ever wanted to take seriously.

2) What are your influences? What illustrators inspire you?

I'm a bit old school when it comes to the people who's work I appreciate. There are a lot of great new designers but they are just creative replicas of previous designers. But the short list: Rick Griffin, Jim Phillips, Greg Irons, Michael Manoogian, Gerard Huerta, David Quay, Giant, Obey, Aaron Horkey, Munk One, 123Klan, Julie West.. So on, so forth

The thing that inspires me is not so much the designer but the technique. When I see different artist doing things with pen and ink or in typography I always ask myself, how can I accomplish that in Illustrator. So my list is short, but there are quite a few.

3) I'm great fan of your illustration style, since he's really remarkable and detailed. Nowadays he's quite copied by some illustrators and digital artists, what shows how popular you've become. When and how did you develop this style? How would you describe it?

Trial and error really. It took me years to redefine my technique to create pieces that are put together in a structuralized fashion that is easy to work with for clients. Before I use to create shapes and place shapes on to shapes and use that as the basis for a illustration. But over time I've become rather a annoying perfectionist to my line work. I hate brushes and strokes (but use them from time to time) because I like to draw the whole line. I like to make it feel raw, organic and not clean. I believe it was a few years back when I was looking at something as simple as deer skull and noticed it wasn't smooth. The core smooth areas are limited thus having the time and effort to make sure each line is unique expands the over all structure and makes it more prolific. But that is me tho.

I don't know tho. Just took me years to figure out. Almost every time when I do a illustration I always try to find more methods and new ideas to expand upon my work.

4) Nowadays you work at your own studio and you're your own boss, being well known thru the design community as one of the top vector illustrators. How was this transition from working at agencies to becoming a freelancer?

Well, I was never one to play nice with others. Actually I enjoyed working a few companies as I was starting my career. I learned so much from trial and error and learned to take each project in stride. Some of the places I worked taught me to work really quickly and figure out simpler solutions but making it feel more complex. The moment when I decided to go independent was at a pretty amazing time. As a Creative Director at this one company, I was at my mental end with the boss because he would never remember if he approved something or not. I was scared to be honest, never knowing what the road ahead had, but I took the chance and quit my job.

Since then I have never looked back and don't miss it. I enjoy setting up my own rules and my own approach. I can work as early or as late as I desire and also have time to focus on self & marketing. I love it. It isn't for everyone in the end. The only way I was able to even consider my plight to being a freelancer was because I saved up 3 months worth of income that I could rely on if freelance didn't go well. From there I could gauge each month if I met budgets or not. If I didn't, then after that 3 month span, I would have to look for employment.

5) How would you describe your daily workflow?

Pretty standard. Wake up, coffee, email, twitter, figure out what I'm doing, do it, play a little Xbox, work more, coffee whenever the cup is empty and .. More work. If I have nothing going on, then I focus on creating fonts or organizing for the next project.

6) You have worked for many apparel labels and, since you got famous on the web, some people started copying your illustrations, tracing them and using it without your permission. What's your opinion about your artworks copyright? And what is your concept about inspiration and plagiarism?

It's a tough one. As designers there is limitations to what we can sue and not sue for. It's just about how much you want to invest for a limited return. There isn't a whole lot a person can do about it unless it's a major company. I personally just contact them and try to deal directly with them. Most of the time it's a overseas vendor who hired some kid in Indonesia and paid him a few bucks.

But on the same token, I try not to stress about it.

7) You're probably almost 10 years or more working as a illustrator, what you think was the best moment of your career? And what was the worst moment?

Best: Probably getting my first project from Nike. I was on Vacation in Key West when I got the job and it was a quick flip so I cut my vacation early and worked on it. I would of never of expected Nike to contact me for anything. So it was a big deal. Worst: Probably those times when clients don't pay you. It's rare, but it happens and it's just depressing that you are taken advantage of.

8) What is your favorite artwork and why?

Julie West's work. Just like her work a lot. I guess it's because it's something I wouldn't do and appreciate the fact that her work looks amazingly clean both in vector and illustrator.

9) Tell us five characteristics necessary for every illustrator / artist and why

1. Be Nice – Obvious really
2. Your clients are human, they want to go home, so make their jobs easier when you can.
3. Step away when you are not feeling it. Let the mind and hand unite
4. Market yourself, or just learn basic marketing
5. You don't always need to upgrade. Upgrading is a money pit. Use what you love and upgrade software when you really find a use for it.

10) Tell us five sites that you'd like to recommend.

1. http://www.legacyofdefeat.com (shameless plug)

2. http://lostinasupermarket.com/

3. http://inkbutter.com/

4. http://soundcloud.com/thefuturecop

5. http://counter-print.co.uk/index.php

Thanks again for the opportunity to interview you Josh, have a nice day.

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Vector Movie Posters by Grzegorz Domaradzki

paul0v2 — Thu, 11 Aug 2011 14:37:45 +0000

Grzegorz Domaradzki has been a freelance illustrator since 2005, working out of from Poznan, Poland. His work is totaly awesome and his vector illustrations are amazing.This vector movie posters series is an experiment work where Grzegorz picked his favorite movies to work with, the process was simple, as he picked and vectorized his favorite actor out of each movie and then added some typography to finish the posters.

The result is very unique, and some of these posters could very well be the real poster for the movies represented. Which movie poster would you like him to create next?

For more from Grzegorz visit www.iamgabz.com

About the author

Hi there! I'm Paulo Canabarro, 26 year old web designer - paulocanabarro.com I'm from Brazil currently living and working out of Providence RI, USA. I'm truly passionate about design of all kinds, finding and sharing inspiration here has become part of my life. If you like to know more about me or get in touch visit my website paulocanabarro.com Stock me at Twitter and Dribbble

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Impossible Vector Art by Human Nature 84

marcos333 — Tue, 09 Aug 2011 17:24:01 +0000

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

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Create a Badass Gas Mask in Illustrator

marcos333 — Mon, 25 Jul 2011 05:55:48 +0000

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

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Amazing Vector Illustrations by Konstantin Shalev

PauloGabriel — Tue, 17 May 2011 03:36:17 +0000

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. ;)

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Beautiful Vector Illustrations by Julien Renault

PauloGabriel — Wed, 11 May 2011 04:26:41 +0000

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. ;)