I moved to California a little over a year ago and continue to be astonished by how beautiful the landscape is here. I’m an animal lover (my illustrations usually feature creatures of one sort or another) and California is just brimming with amazing wildlife. During an excursion to the Point Reyes seashore a while back, we saw an elephant seal so enormous we thought he was a beached whale! Inspired by all of this life, I decided it would be fun to create a map of some of the state’s wildlife and offer it in my shop, which specializes in art & prints for children’s rooms & nurseries.
All posts tagged Illustration
Finding a foothold in the creative industries is tough. It’s over saturated, which has it’s pros and cons, but for a budding designer it’s not only daunting, but a lot of hard work to launch yourself into a career.
Just looking around the end-of-course exhibitions at universities you can see the outpouring of creative talent that comes like a wave each year. More and more talented illustrators pouring into the sea of graduates (and self-starters) all bobbing with their portfolios in hand, hoping for their next big break commission.
As I said, it’s tough, but there’s no shortage of tips and advice to help you on your way and get you some work. The main thing you have to remember is not to expect too much, too fast – keep it realistic and don’t feel downhearted if it’s taking you a while to get noticed. For most successful creatives it takes time. You work a part-time job to pay for your hours of late night illustrating. You spend months emailing, promoting, entering competitions and networking but still feel like you’re getting nowhere. You tweet, and blog, and post your illustrations on Tumblr hoping for a flurry of likes and retweets that never come. It might seem hopeless, but it’s not – think of it as planting seeds. Those seeds need time (along with a few other important factors!) to grow into saplings and on into a full blown, flourishing career tree.
If you’ve just graduated, I’m guessing that you’re feeling a little daunted at the moment. The post-grad world is never as easy or glossy as you might have expected in the womb of your uni course, no matter how well they prepared you. The deadlines aren’t about grades anymore, they’re about getting high-quality work to your client, on time and hoping that A: They’ll commission you again, B: That it will lead you onto your next job and C: That you’ll get some rent money soon. You’ll soon start to miss that group support of being in a studio with your peers, and the freelancer loneliness will kick in. In fact, you might be struggling to find any motivation at all.
When I graduated in 2010 from University College Falmouth I had been filled to the brim with professional practice preparation and some great industry experiences (think a week in New York booking meetings with some of the top publishers and agents in the business!) I’m a hard worker, and I had high hopes – so I was all set to go.
The first notable point in my career, or at least a point which gave me some much needed confidence, was at the New Designers exhibition the summer after my graduation. From our course, we each had a board to show off a number of our best illustration works to the hundreds of attendees. I got a lot of interest in my work, with a number of people coming up to talk to me about possible commissions (looking back, none of them did happen though!) and being awarded a Hallmark Cards gift bag because they loved my work so much. Great news for my fledgeling ego. It was also at this exhibition that my first agents spotted my work and contacted me asking if I’d be interested in being represented by them.
My point is, get involved with any exhibitions or events that your uni or fellow graduates are organising. Industry professionals are always buzzing around graduate art shows looking for fresh new talent (think of them as talent scouts) – so make the most of it by making sure your work, professionalism and attitude are tip top from the off set. You never know who might see your work and where that might take you.
Tigerprint have really stood out to me as a company who really take the time to scout out promising graduates and fresh talent. They’re very keen on offering up internships and taking chances on new designers to illustrate greetings cards, wrapping papers, gift boxes etc for some high-end clients.
I spoke to them about this and what they look for in a designer-
At Tigerprint we are constantly searching for new talent that could enhance our already amazing portfolio of design.
Our involvement in college projects, online competitions and sponsoring exhibitions like New Designers gives us a great opportunity to see a great breadth of creatives and the chance to invite them to work with us. We look for : originality – something fresh and exciting, a strong skill base, diversity, commercial potential, an open mind and a personality to match! (Personality counts for so much, if you can’t talk through your portfolio and get us excited, who will??)
In terms of product type, we look for all sorts so try not to limit your market too much – many graduates that we speak to have not perhaps considered cards as a career, but maybe books, editorial etc but there are many opportunities within our industry, hence I mention keeping an open mind.
Our designers are requested to be on the ball, ahead of the game and challenged, we in turn look for this in future potential designers – are they interested in trends? Do they look at the market and see what the competition is up to? Do they fill a gap in the market place?
Your portfolio needs to cover all of this and more but especially keep it concise!
Do you see a running theme with this and some of the interviewees from the portfolios article? These clients know what they want, and need to see that you’re really on the ball and heading in the right direction with your portfolio. Keep this in mind in portfolio reviews and email correspondence. Show off your passion and professionalism!
I think we’re very lucky to be freelancing in such an age of social networking. I can’t stress how much it’s helped to develop my career in terms of both finding new commissions and having a social support network of illustrators to egg me on.
Building up an internet presence through not only my website, but Twitter, Facebook pages, Tumblr, blog sites and writing articles like these have opened my work up to a huge audience as well as allowing me to make personal connections with industry peers and potential clients.
I’d seriously recommend stretching out your fingers and sending some well-written emails to some blogs who you think might like your portfolio, and who’s audience is similar to that of your work (I’ll write a list of some that featured my work at the bottom of the post, as well as a great guide to contacting blogs for features and Creative Boom’s 72 places to get your work seen!).
Make sure you do interviews, write articles, submit work you’ve done to online magazines and blogs – all this will get your work seen, and that’s the key.
I mentioned just now about Creative Boom and wanted to take a minute to really praise these guys. Founder Katy Cowan has done a brilliant job in creating a hub for budding creatives to get together, get advice and get seen. I grabbed some quotes from Katy about what Creative Boom aims to do for freelancers and how it started up.
Creative Boom was established in July 2009 to support, celebrate and inspire creative freelancers and firms all over the UK and beyond. It was an idea I had after realising the amount of talent that was being left undiscovered out there, and I wanted to do something about it.
You see, I’m a trained journalist and run my own PR firm. I’ve got the skills to raise my own profile and attract new customers but not everyone knows how to market themselves. That’s how I hope Creative Boom helps.
We have articles in our ‘magazine’ section to tell the world about different freelancers, organisations and agencies. We have a directory where people can get listed and found. We have a jobs board. We share people’s work. And then we offer extra support by writing tips articles to provide essential creative advice.
Apparently, because we have so many monthly visitors and a big following on Twitter, whenever we ‘share’ things, the person in question always sees a spike in web visits and many have told us that our help has led to new business.
This is essentially what we’re trying to do. Help others to become successful in business.
It’s doubtful you’ll get far in this industry without really focusing on building relationships with your creative peers. It’s all about supporting each other, cross promoting and sharing knowledge. Networking is so important, digitally and in the real world. Meeting people who have had different experiences in their career and sharing your ups and downs will help strengthen your own illustrative practice, and it’s fantastic to make bonds with people in the same metaphorical boat as you- freelancing can be very lonely sometimes! Why don’t you try banding together and organising an exhibition or collaboration – Hey! maybe even go the whole hog and start a collective? Using each other’s talents, secret powers and contacts will ultimately benefit you all – raising your profiles all round and showing potential clients that you’re easy to work with and a good old fashioned team player.
Now, I’ve touched on this before, and it’s a delicate subject which ignites flames of anger in some creatives: working for free, with the promise of exposure. You won’t believe how many ‘clients’ come forth with the glimmer of a fabulous commission but then drop the bombshell of “Oh, well, we don’t have the budget to offer payment to illustrators, but it’s an opportunity for some great exposure!”. It raises some particularly difficult morality issues if you’re starting out and don’t have any other offers of ‘real work’ on the horizon. It’s oh so tempting, and yes, I’ve been tempted into it before – mainly so I have something with a bit of direction to work on. But I have to say in a awful lot of cases I regret it – none of those promises of exposure ever delivered and it seemed like a bit of a waste of time, I could’ve been working on something I really love for my portfolio.
The main problem with clients seeking out illustrators that will work for free is that often they know there always will be illustrators willing to work for free. Post-graduates in this exact situation, like I was, and like you might be now. You’re waiting for commissions and will take what you can get for the exposure and practice – it’s nothing to be ashamed of, but it does become a problem when clients stop giving out paid jobs because they can prey on the newbies. Just look at these offers with a skeptical eye, weigh up if it’s really worth it and make sure you’re not undermining yourself for future commissions.
Of course in some cases working for free isn’t a bad thing at all. I’m very passionate about using my illustration work to help others through charity. It feels great to be helping others, gets you working to a brief and (without sounding like a cold-souled businesswoman) does often bring in good exposure. I’ve used my work to raise lots of pennies for some great charities in the last few years – I suppose most notably I’m very proud that I raised over £1000 for charity by auctioning screenprints of a clean up support illustration I made following last year’s London riots, and I’m currently working on some illustrations for the 2013 ‘Snowflake Ball’ in Ottawa, raising money for three great charities. It’s good to share the love!
One aspect of freelancing I often get asked about is how to go about contacting agents, publishers or art directors. It’s a tricky subject, and of course there’s no set technique. Different publishers obviously want to see different things – it’s just all about appropriating your work for your intended commissioner and understanding what would make them tick.
As a general rule: keep it concise. That means with both electronic correspondence and good old fashioned snail mail. Most potential clients won’t want to be bombarded with high-res email attachments that crash their computer, or a envelope overflowing with hundreds of print outs, stickers and business cards. Just select a few (say maybe 3-5) of your most appropriate examples of work and for email attach them as 72dpi, low resolution images – and via post put together a ‘tear sheet’ (see an example of one of mine here) or a few keepsake items (say, some nicely packaged, gorgeous postcards).
In terms of writing, stick to that same concise rule. It’s likely that your intended commissioner will receive an inbox full of emails like yours per day (not to discourage you!) – you don’t need to write in the exact details about what grade you got in your degree, or every single one of the fabulous clients you’ve worked for. The point is fore-mostly getting the client to actually look at your work.
So keep the text short and sweet, be polite and professional, but get to the point. Explain who you are, what you do and why you think your work is appropriate for their audience. Do your research and look at what sort of work they commission, use this knowledge to your advantage! I’ve found it has often broken the ice to exchange a few meaningful words on Twitter beforehand – yes, yes, I know a lot of people will scoff at this and think it’s unprofessional – but in my experience it has worked, again this is going back to that building human relationships idea.
In the end that’s what it’s all about. Publishers are just people, as are the art directors for those huge magazines, CEO’s of advertising corporations, your dream client is just a person and so are you. It’s inevitable that some people will listen to you and others won’t, that’s just the way of the world. It’s worth noting though that people like to connect on a human level and will be more willing to work with someone who’s friendly, easy to work with, positive and modestly confident (but of course with that all important element of professionalism.)
Just keep check of the way you present yourself in the creative realm, consider your actions carefully, support others and above all don’t give up – if you put your all into it, you’ll get there in the end. Enjoy the journey along the way!
Resources to check out -
Creative Boom – 73 places to get your work seen.
Oh my Handmade – How to ethically & successfully pitch to blogs
Freelance Switch – Kickstart Guide to Breaking into Freelance Illustration
Anna Goodson Management – How to get started as a professional illustrator
Illustration Castle blog – Getting recognised in the industry
Written by Emmeline Pidgen
Hi everyone, this month’s post is slightly different to last month’s about portfolios, but very important none the less – especially if you do, dabble, or are thinking of dabbling in digital illustration.
Whether you venture out into the world taking snapshots of rusted signs and twisted woodgrains or just download stockpiles of digital textures online; using textures in digital illustration can add real warmth, charm and element of something physical to your digital work. The use of custom, textured or stamp brushes in digital illustration can evoke a stylistic atmosphere and depending on your choice of brush, can change the aesthetics of the illustration entirely.
There’s always going to be the undercurrent debate of ‘traditional vs digital’ in illustration, but I believe, as I assume many others do, that a happy medium incorporating elements of both is the way forward. There’s something so convenient about digital illustration, I won’t be the first to admit painting in gouache and having the flicker in my mind to press Ctrl, Alt, Z to undo a mistake– no such luck there. But on the other hand there’s such a beautiful element to physical work, the accidental smudges with your hand, the splashes of ink on the page, the smell of the paint.
Personally, in my illustration work, I use both. Whilst at University I tended to focus more on pure painting, I had so much time to dedicate to experimentation. But now, a few years on, as I get more commissions, tighter deadlines and, ahem, fickle minded clients, I’m finding that digital illustration is an awful lot faster and easier to make alterations to. I most often paint linework in ink and use digital colouring and textures to enhance and complete the illustration. The convenience of digital with that organic element of textures and paint splat brushes I’ve collected to keep the atmosphere of my illustration work.
Von Glitschka is an illustrative designer, avid photographer of found textures and author of the book ‘Crumble, Crackle, Burn’, an anthology of illustration and the use of found textures within them. I asked Von what he thought the use of textures brings to an illustration and the grey areas using textures have between the ‘digital vs traditional’ stance.
“Even though our industry is digitally driven, ideas are still best developed in analog. A drawn design that is than executed on digitally. Sometimes this move from analog to digital loses that nice tactile quality that a hand drawn creation has to it. Digital art at times risks looking too perfect, too sharp, too clean, too digital. So if you make it a habit of taking pictures of real-world surface textures and texturize your digital art using these real-world textures than you can get an nice authentic and organic quality to the aesthetic that pure digital vector art can’t really deliver on.
The nice thing about textures unlike most graphics in our industry is they’ll never go out of style. A texture you use now will be completely appropriate for a project in twenty years. So if you get in the habit of collecting them you have an endless archive you’ll be able to leverage for a lifetime.”
So how do other professional illustrators use textures in their work?
Kali Ciesemier works entirely digitally, using textures and custom brushes to add variation and extra detail to her work. She broke down the various techniques she uses into three steps for me -
“Making your own and downloading other people’s custom photoshop brushes is an easy way to start adding texture to your digital images. I used to only draw with the standard hard-round photoshop brush, but now I draw everything with a subtly textured custom brush that adds a little bit of tooth to my lines and edges. Sometimes I’ll add shading in an image with a rough textured brush, too.”
Clipping masks & texture ‘stamps’!
“As you can see in this walkthrough, you can use texture scans or texture brushes like stamps on your work. Clipping masks (or layer masks) can help out a lot here! Adjusting the opacity can keep the effect subtle or bold, however you want to use it.”
Texture scans & layer modes!
“Usually the final step in my illustrations involves me placing several layers of scanned texture on top of my image. Then I set each of the texture layers to different opacities and layer modes (Color Burn, Vivid Color, Soft Light, etc.), sometimes adjusting the colors or levels if needed. It helps that I have a big handy library of textures that I’ve scanned myself and downloaded from other sites, so I always have options to choose from, from vintage paper to splattery watercolors to gritty asphalt. Generally I add anywhere from 2 to 6 layers, but I set them all to very low opacities, usually somewhere around the 10% mark, sometimes less. I also try and balance the lightening and darkening effects of each- if one layer is set to the Color Burn layer mode, I’ll likely set another to Color Dodge, so none of the layers really mess up my color scheme.”
There is a delicate tactic to using textures in digital illustration work, it’s not just a case of slapping on a wood grain and expecting the piece to work effectively. I asked Kali what she thought the benefits of adding textures through a range of different techniques can add to a piece.
“Incorporating textures in a subtle way has been the approach that’s worked best for me. Sometimes juxtaposing a very clearly readable texture onto a graphic image has the opposite effect of making the image seem more computerized, because you can clearly identify the source of the texture. For me, adding in hints of texture doesn’t really hide the fact that the image was made in Photoshop, nor does it need to, but it does blur the lines a bit (sometimes literally!), and I think that nebulousness provides added interest.”
I stumbled upon these great illustrations by Troy Cummings for the “Let’s Take a Hike” card game. Troy uses custom brushes and textures to evoke that nostalgic aesthetic of 1950′s/1960′s illustration. I asked him about the techniques he uses and the reasons behind them.
“I’ve been experimenting with textures and splotchy brushes in Photoshop for the past few years. My goal has been to develop textures, shading, lines, etc. that feel like they could have been painted with a real brush. I’m a big fan of kids’ book illustrators from the 1950s and 1960s, (Like Mary Blair or Art Seiden). I love anything with flat, kooky shapes, surprising colors, and simplified characters. I tried to bring some of that to the “Let’s Take a Hike” card game. I think those splotchy textures can hint at leaves, fur, tree bark or whatever, while still keeping things loose.”
I spoke to illustrator Andrew Lyons about his heavily textured illustration work and process.
“To create my textures I play around with ink and charcoal, or pencil and paint on different papers, then scan them so I have a library of textures to pick from. In any one illustration I’ll probably use around 4-5 different textures on different parts of the image, or blend 2 textures together on low opacity.
As I use Photoshop, I’ll normally place a large, sepia coloured paper texture on the top layer, and set to ‘colour burn’ in the blending modes window. This overall texture helps to unite the colours and different shapes of the illustration.
I’ll delve into the illustration and single out certain parts that need a bit of texture. I’ll lay a texture on the layer above the object, rasterize and then crop it to the right shape (by selecting the shape: cmd/click on the layer, and then inverting the selection and hitting delete when on the texture layer.) Then I’ll play around with blending modes and opacity until it looks right.”
So that’s that! Basically, just have fun with it. Go out with your camera and take hundreds of snapshots, play with layers and effects, just experiment!
Here’s some fantastic resources to keep you going -
Downloadable brush sets Downloadable textures
Don’t forget to take a look at the work of the illustrators who have kindly contributed to this article – Kali Ciesemier, Troy Cummings and Andrew Lyons. Kali has also written some very useful bits about texture stamping techniques and the Photoshop brushes she uses.
Note! All images used with permission, it’s the right thing to do.
Photo c/o Ben Schlitter. Images: I – Kali Ciesemier. II – Troy Cummings. III – Andrew Lyons.
So, dear fledgeling illustrator, your metaphorical bag is packed. Filled to the brim with motivation, business cards, pencils and (hopefully) a ton of natural talent.
But hold it right there; before you jump out into the freelance world, you need to make sure your portfolio’s set to go.
Be it luxe and leather bound or a minimalist online slideshow, an illustrator’s portfolio is invaluable. A good portfolio will simply and clearly highlight not only what you’ve done before, but the potential you have for future projects.
It’s likely that at some point in your career you will be invited to drop off your portfolio for review. This omits your chance to explain each piece of work, so you have to make sure your portfolio not only communicates each piece clearly, without a need for description, but also represents you as a potential freelance co-worker.
A dog-eared plastic folder stuffed with crumpled, pixelated images isn’t going to cite you as a competent professional as much as a beautifully bound book, but saying that, it’s not a case of the amount of money you spend. Sure, a £200 embossed leather portfolio might look stunning, but if your work doesn’t speak for itself it won’t do you any good.
You need to set aside some time and a little money to invest in slick presentation, good printing and a carefully selected and organised array of work. Think user-friendly, simple, with clean pages and a rhythm and flow from piece to piece throughout the portfolio.
Tailor the pieces in your portfolio to the person viewing it; narrative and character work for children’s publishers; more conceptual, communicative or decorative work for editorial. It’s often a good approach to imagine yourself in the shoes of the person you’re showing it to and ask yourself ‘Would I understand this piece without it’s context?’ ‘Does this piece fit with the others in the portfolio?’ and ‘Do these illustrations represent my work and what I want/can do?’. Have a clear view of who you’re aiming your work at and what you want out of a meeting.
I spoke to Ed Burns, founder of Advocate Art agency about the key elements art buyers look for in portfolios:
“In our experience when meeting artbuyers they are looking for continuity, colour understanding, characterization (candid, clever poses), a design element (decorative elements), relevancy to the age group, if it matches the rest of your folio, if it’s ahead of trend or on trend and most importantly an application.“
For success in this field everything in your portfolio needs to be relevant to the industry and show your commercial potential. That is opposed to a barrage of self-indulgent pieces which may be difficult for an art buyer to see the suitability for your work in context.
You need to put on your ruthless hat and fearlessly cut out any pieces here that don’t fit or quite make the grade, no matter how much time you spent on them or how sentimentally attached you are to it. It’s much better to show a few pieces of incredible work than those diluted with fifteen others you’re not confident about. Keep an objective eye, stand tough and ask a particularly honest friend or professional to give their opinion.
I asked Fig Taylor, head portfolio consultant at the AOI what she would describe as a client-stopping portfolio, and what would leave them feeling cold-
‘A good portfolio, regardless of format, has to say two things to your client: “This is who I am and this is how you can use me”. In other words you need to show a consistent body of work, some of which directly addresses the needs of your potential client. A bad portfolio, in my opinion, is one that leaves everything up to the client: a random, unfocused hotchpotch of work that tries to be all things to all commissioners; too much self-indulgence, (endless pages devoted to highly personal projects that bear no relation to the real world, things yanked out of sketchbooks and given prominence for purely sentimental reasons), and/or a protracted or shambolic presentation. Most commissioners are busy so you need to cut to the chase pretty quickly. The only thing that’s going on in their head when they’re viewing your work is, “Is this. Illustrator any good and what have I got on at the moment that they might be able to help me with?”’
One thing you’ll hear a lot about is the importance of having a consistent style. A unique visual identity that sets you apart from the rest and have folks murmuring ‘Hey! Isn’t that blahblah’s work? I could recognise that style anywhere!’. But, it’s most certainly not uncommon for illustrators to have more than one style using different techniques, mediums or for another audience entirely.
There’s no crime in lacking a set style at this point, it’s an ongoing process of development. To be honest, if you’re set in stone on a style from the get-go you’re probably limiting yourself from some all-important growth room. Many popular illustrators have more than one style; digital and painting, for children and for adults. It’s just a case of maintaining a balance in your portfolio and appropriating the work you include for the client you’re showing your portfolio to. For example on your website, create sections for your different styles/audiences so the art director or client can see exactly what they want with one click.
I spoke to Cathy Olmedillas of Anorak magazine about what they look for in a portfolio to commission an illustrator.
“What we generally look for is someone who has a consistent style across his/her portfolio. The reason for that is that our illustrators get absolute freedom to treat stories as they wish, so we need to ensure that what we see in the portfolio is close to what we will get.”
This will be the case with most publications as it’s much easier to feel comfortable commissioning someone if you can expect what you’re going to get stylistically.
If you do have different styles, don’t panic. It’s more important to create a continuous ‘feel’ through your work, no matter what medium. A unique voice to the visual language you’re using, tying everything together neatly. Experienced art directors will be able to pick up on this and see that it’s a positive thing that your work can be appropriated into different contexts.
However, if your styles are completely different you could consider having two websites or even use a pseudonym to separate things out.
Just remember to keep it all simple, professional, user-friendly and appropriate. You’ll be fine.
Take a look at these other guides to a tip-top portfolio -
How to build an illustration portfolio by Heather Castles
Lots of good, clear advice in here on this and other topics about the illustration business.
Heart agent portfolio advice interview on Ideas Tap
Really useful little interview with Jenny Bull, an agent at Heart Illustration Agency about her likes and dislikes in illustrator’s portfolios and some advice to those starting out.
Digital Artists portfolio advice article
Lots of tips, experiences and quotes from industry professionals in here (the likes of Rebecca McCubbin, art buyer for Mother London, Richie Manu, creative director of Consurgo and Fig Taylor of the AOI). Some very useful bits, take the time to read it.
Fig Taylor – portfolio consultant for the AOI
I’ve mentioned her above but thought she deserved her own link. Fig is a long-time industry professional and illustrator portfolio aficionado. On my course at University College Falmouth I was lucky enough to be given a one on one portfolio review with her, which I found very useful. You can book yourself an in-depth portfolio review with her (for a fee) by contacting email@example.com.
There’s also a good interview with her here – http://www.macworld.co.uk/blogs/?entryid=721&blogid=8
Today we have the super awesome (and super nice) Will Aslett giving us a peek into process for his piece called ‘Let’s’ which uses hand drawn pieces and digital colouring in Photoshop. Will is a designer/illustrator and animator based in London, England. We’ll let Will take it from here!
I keep several sketchbooks, one near me at all times. I can’t bottle my thoughts unfortunately, so I scribble them down so that I can go back and develop them later. To start off with, I’ll sketch some large shapes in blue pencil and get the size and composition down. Then I go in with a Palomino Blackwing – the pencil of kings, it’s like drawing with silk magic – and start constructing the line work. This is probably the most challenging part for me as it can take a while for me to ‘nail it’.
When the ‘it’ is nailed, I’ll wait for dark and use my evenings preciously, getting my lightbox out and using Kuretake brush pens to ink the main piece on a fresh sheet of paper. The amazing Scott Campbell introduced me to these pens one chilly day in East London at a comic book workshop. The way the tip flows gives you really amazing lines. This part of the process is pretty relaxing after a full day at work in the studio.
When they’re all inked, it’s time for scanning and cleaning up the drawings in Photoshop.
PRO TIP: Before I resize the original ink, I convert it to a smart object to retain the original size and resolution. I can go inside that object (as a .psb) and edit it later on if need be.
Now for some colour! I use a Wacom Intuos 4 and some custom brush sets in Photoshop. I’ll adjust the opacity and flow until I’m happy with the way it feels to colour with.
From here I’ll spend time ‘stamping’ large brush marks over the drawing to get some initial texture down. When the base is done, it’s time to return with smaller brush strokes to layer up some tone and detail.
I’ll clear up the colour with a layer or folder mask for all of the colour work. Using a blending mode like multiply allows me to colour in and retain the clarity of the line work. Sometimes I’ll use an adjustment layer to colour the inked line work if I feel it’s a bit heavy going with the particular illustration.
Finally, from this monster ‘master’ Photoshop file I’ll create a new one for the main composition, lay everything out, throw in a couple of adjustment layers to get an overall colour tone and it’s done. Then it’s back to the sketchbook to start planning what I may draw next – only after some video games, cartoons and coffee of course!
A HUGE thanks to Will for giving us a glimpse of his process – his work is so cute – and he uses such amazing textures it’s sometimes shocking to know it’s a completely digital coloring process. I thought it was extremely interesting – and I’m excited to use some of his tips in my work! Hopefully you found it just as helpful.
Name: Jesse Tise
Location: South Pasadena, California
Q: How and when did you first become interested in art and illustration?
Art making was my natural creative outlet since childhood, inspired by the steady diet of comics and cartoons and anime and manga I grew up on. The graphic style of storytelling in all of these eventually drew me to illustration, which I had been exposed to before, despite my complete ignorance of the field. I realized that many of the artists I admired had studied illustration in art school, which led me to take up the trade as well.
Q: Do you have a strategy for starting a project? Any warm-up rituals?
Generating imagery is a very fluid and organic process. I think its important to switch up that process as much as possible. Drawing thumbnails and color studies is one way of starting an illustration, and I’ve done those plenty of times, but sometimes diving right into a painting or drawing with no prelim sketch whatsoever works just as well. The accidents that happen because of this often lead to a better finished piece anyway.
Q: Do you have any advice for fighting creative block?
Creative block arises when artists forget to step away from their drafting tables and live their lives. Its important to engage in non-art related pursuits as well, whether that means reading a book, watching a movie, or going on a field trip to somewhere you’ve never been before. Some of my best ideas are a direct result from activities parallel to art.
Q: Where did you attend college? Did you go to school for art/illustration? What was your experience like there?
I studied illustration design at Art Center College of Design, which was a really great experience for me. We live in an age where illustration, fine art, and graphic design have more or less merged, so my education included a lot of things that weren’t strictly illustration (our teachers often encouraged us to pursue self-authored projects and assignments). I had the opportunity to install a mural in a major ad agency, build props and sets for a stop motion animation, learn how to design and make books, all because of my education.
Q: You currently live in LA – How does where you live inspire you? Do you have plans/dreams of moving anywhere new in the near future?
I used to really hate LA – that was before I moved back home from school in New York. But I’ve since discovered that there is a really amazing community of creatives here if you know where to look – I love discovering a new gallery or boutique store I’ve never been to before, and within the last year alone I have met some truly talented fellow artists at various small press / art events. The overwhelming amount of creativity makes LA quite unique. (New York is still cool though – maybe I’ll visit again).
Q: What was your first illustration gig? Did it go smoothly?
Since graduating, I did my first freelance illustration gig for AI-CIO magazine, working for the amazing SooJin Buzelli (she found me and my work via Twitter – thank you, social networking!) Really fun job to work on.
Flying Lotus, without a doubt. His music continues to be a huge source of inspiration for my art. I actually got to meet him at this year’s LA Zine Fest, which was a totally unexpected but amazing experience. If I ever get to do a poster or an album cover for that guy, I can die happy.
Q: What has been your favorite Ten Paces swap so far? If you had to add a theme to the line-up, what would it be?
Definitely the heavy metal jam that Niv Bavarsky curated – so many fun and awesome trades in that week! My suggestion for a theme, though – kaiju monsters! Wouldn’t that be a great theme?
Q: What are your favorite pastimes outside of creating art? (Hobbies, collections, interests)
I recently started a full time teaching job, teaching print making to students with developmental disabilities. Its one of the most rewarding and enjoyable parts of my life right now, I get to work in a really creative and experimental environment with some super talented people, which inspires me later in the day when I sit down to start my own work. When I’m not teaching or making art, I usually try to catch up with friends and spend quality time with my girlfriend / illustrator, Liz Mamont.
Q: What advice would you give to individuals interested in pursuing illustration?
Don’t worry about finding a ‘style’. It will only limit you and prevent you from exploring your work and process. It will also severely narrow the possible application of your work in the commercial field. Also, remember to have fun! If you’re not enjoying what you do, chances are you’re doing something wrong anyway.
Name: Angela Rizza
Location: New York
Q: How and when did you first become interested in art and illustration?
I first got into art at a very young age. My grandfather was an illustrator and would often give me art related presents and supplies around the holidays, such as my first art desk and set of paints. Whenever I spent time with him, I’d try to draw what he was painting at the time. When I was a kid, it started out as a past time but then once I got into elementary school and realized I could make a living off of it, I then became more focused on it.
Q: Do you have a strategy for starting a project? Any warm-up rituals?
All of my projects start out in my sketchbook. I draw a ton of thumbnails and develop elements and characters, then take what I like and make it into a final sketch. From there I gather my reference and do my research, fix what looks weird or isn’t right, and then begin drawing.
Q: Do you have any advice for fighting creative block?
When I get stuck in a block I usually take the day off to recharge. I go out and walk the dog, cook a nice dinner, and spend the night watching visually beautiful movies like The Fall or Hellboy 2. By morning after a good night sleep I usually come up with an idea and start all over again.
Q: You’re a graduate of F.I.T. in New York. What was your experience like there?
I had a good experience there. Because I live in NY the tuition was great and I don’t have to worry about paying off student loans. I got to live in a beautiful dorm in midtown Manhattan and my overall experience in NYC was amazing. The Associate Degree program was a bit outdated and some of the teachers honestly shouldn’t be teaching, but I had some great ones that really taught me good foundation lessons. The Bachelors program was so much better and I loved being there. They taught me how to use every Adobe program, a variety of mediums, and the teachers were all very helpful. It was in my fourth year when I began to tighten my style and focus my portfolio on what I wanted to do. Illustrating Children’s Books and Mentor were my favorite classes.
Q: You currently live in NYC – How does where you live inspire you? Do you have plans/dreams of moving anywhere new in the near future?
I grew up in a rural neighborhood where you had to drive to get anywhere. Moving to NYC and away from my friends and family was at first very frightening to me. For my first semester I didn’t travel beyond a ten block radius and I was afraid to use a subway. But now I go everywhere and am always looking for someplace new. While walking down the street you always encounter new characters and great architecture which end up being reused in pieces. For inspiration I visit places like Books of Wonder or The Society of Illustrators and look at contemporary and classic art. My favorite place to go and draw is The Museum of Natural History. There are many places I would love to go one day like Vancouver or Providence, RI but I think I would spend most of my life near NYC.
Q: What was your first illustration gig? Did it go smoothly?
My first illustration gig was designing artwork for a ceramics company. I was creating collections based on seasons and other themes which were then sold to companies like Mikasa. I had never done CAD before and it was definitely outside of my comfort zone, but the pay was good and I had a lot of fun making salt and pepper shakers look like witches or other weird things.
Q: Is there an artist you’d like to collaborate with? What is your dream project?
There are a few great contemporary fantasy illustrators I love such as Cory Godbey, Coriinne Reid, Sam Bosma or Joy Ang. My dream project would be to create a heavily illustrated storybook filled with folktales. Maybe some written by Italo Calvino or some of the newly discovered German tales gathered by Von Schönwerth.
Q: What has been your favorite Ten Paces swap so far? If you had to add a theme to the line-up, what would it be?
My favorite swap so far was the one I had with Krissy Diggs and I created the cocktail party of dogs in ugly sweaters. I had a lot of fun looking for inspiring sweaters and putting character into the dogs themselves. If I had to pick a theme it would probably be biased and based on something involving fantasy. Maybe a theme based on the movie Labyrinth or Contemporary versions of classic fairytale.
Q: What advice would you give to individuals interested in pursuing illustration?
Set short term and long term goals for yourself. It helps you to remain productive and you feel less discouraged. Short term goals usually last from one week to three months for me. They are things like create one finished illustration a week, or create a series of illustrations inspired by Harry Potter in two months. Long term goals for me are create a finished children’s book and get an agent by 2013. Another piece of advice would be to keep a sketchbook and draw in it at least once a day. It helps you develop ideas, perfect your skills and find your style.
Q: Is there anything else we should know about you or your work?
I’m going to be sharing a table at the MOCCA festival from April 28th to the 29th. Two of my fellow alumni Chase Stone and Anastasiya Tarasenko will be with me so if you’re in NYC that weekend you should come say hi!
Today for our process post we have the lovely Siobhan Gallagher stepping in to show us her process, and explain how she works between Photoshop and Illustrator to create beautiful, textural works of art. Siobhan is an illustrator/designer from Halifax, Nova Scotia and a student of NSCAD University. We love the playful sense of style and color in her illustrations, and we’re so happy that she has taken the time to share how she works. Without further adieu I’ll let Siobhan take it away!
1. I mock up in pen how I want the illustration to end up looking like.
2. After scanning my drawing, I drop it into Illustrator and lock it in its own layer so I can comfortably draw over it using the Pen Tool, cleaning it up and making it more symmetrical.
3. Once the figure looks the way I want it, I start filling in colours and playing around with whether or not I want it to have outlines filled in or just solid blocks of coloured shapes. For this li’l owl, I figure I’ll do both.
4. Once the colours are filled in and consistent in Illustrator, I’m ready to bring it into Photoshop to add texture. This Illustrator file consists of about five layers so I can have more control over what I want to select.
Pro Tip: If you place it into Photoshop as a smart object you can always double click the layer and edit the image in Illustrator. This allows you to make quick tweeks. This is especially helpful when messing with color!
5. Sometimes, once I bring it into Photoshop, I realize I hate the colours I originally chose and decide to switch them up a bit, selecting the colours I want changed with the Magic Wand Tool and filling them in with another colour.
6. The way I add texture to my illustration in Photoshop is very simple: I select whatever colour I want to add a texture to using the Magic Wand Tool and add textures to that space using my mini library of different brush textures. This is kind of a paint-by-numbers technique. There are tons of great brushes you can find in different online resources or make yourself but I have a specific set I like to use most.
7. I try to keep my colour palette consistent so I took the colour I used for the owl’s outline and used that shade for the texture in his neck and upper wing feathers.
8. After adding textures to all colours, it ends up looking like this guy!
9. I wanted to add a background to my owl here so I saved my .psd file and dropped him back into Illustrator, where I’m most comfortable. After copying and pasting circles slightly on top of one another in an even and rotating order around the owl, I selected all circles and went to Pathfinder > Shape Modes > Unite, which joins all the circles together where each piece overlapped and creates one big shape.
Pro Tip: If you want to paste a Photoshop file back into Illustrator with no background – delete the background from the Photoshop file, and save it as a PDF. When done properly this the PDF can be brought into Illustrator with a transparent background!
10. After deleting this big shape’s inner points, I have a prettier, flowery shape in the background.
11. And finally, I added a grain effect to my flower shape by adding a gradient to it and then going to Effect > Texture > Grain to play around with how much density and grain worked best. To top it off, because I like my owls girly, I added circles to each of the flower’s petal shapes, resulting in what I like to call my Pink Moon Doily Owl (catchy, no?). And c’est fini!
To view more of Siobhan’s beautiful work you can visit her website and blog! A big thanks to Siobhan for sharing her process with us. If you have any additional questions feel free to leave them in the comment section!