For many artists, creating an illustration starts with a pencil and paper. In this tutorial, Andreas Preis will show you how to create a beautiful mix illustration. To begin with, he will create an illustration as a sketch on paper, and then add color and effects in Photoshop.
Final image:
Before you start, watch the video on how the sketch was created:
Step 1
It all starts with a white sheet of paper. You can draw an illustration that the author used, or you can draw your own.
Step 2
First of all, sketch the illustration with a pencil.
Step 3
Now draw the outlines:
Step 4
This is the final step: start drawing with ink. If the illustration has a lot of detail, it may take some time to draw.
Step 5
After several hours of drawing, the illustration looks like this:
Step 6
Scan the sketch in grayscale, set the resolution between 600-800 pixels. However, please note that the larger the file, the slower the computer will run. After scanning, open the illustration in Photoshop.
Step 7
It is necessary to increase the contrast of the image using the command Curves(Image - Correction - Curves) (Curves) (Ctrl + M). You need to add as many whites and blacks as possible to the image:
Step 8
Now we need to fix some inaccuracies in the illustration (for example, remove extra lines). Invert the image (Ctrl + I) - then it will be easier to see those inaccuracies that need to be corrected.
Using Tools clarifier And Dimmer(Burn/Dodge Tool) (O). Remove all inaccuracies and then invert the image again.
Step 9
Now we need to separate the image from the white background. To do this, select the image (Ctrl + A) and copy (Ctrl + C), then add mask. Click on the mask while holding down the ALT key. Now, you can paste the illustration on the mask (Ctrl + V).
Step 10
Invert the layer mask ( Ctrl+I).
Go from the mask to the layer by clicking on its thumbnail and fill the canvas with black.
Apply the mask: first press the keys Ctrl + G , and then Ctrl + E (this method will allow you to first place the image layer in a group, and then merge the group).
Step 13
If necessary, you can adjust the aspect ratio of the image. For this, use plastic filter(Filter - Plastic) (Filter > Liquify). Here you can change some lines and curves.
Step 14
Now add a white background layer.
Step 15
Select the image with the tool Magic wand(Wand Tool) (W) and invert the selection (Ctrl + Shift + I). Compress the selection by 5 pixels (Selection – Modify – Compress) (Selection> Modify> Contract). Create a new layer (Shift + Ctrl + N) under the illustration layer and fill it with dark color - this will be the color of the hair.
Step 16
Above the hair layer, create a new layer - this will be the layer for the face. To paint over the face, use white color and the Brush tool ( brush tool)(B).
Step 17
For each individual detail that you are going to paint, create a separate layer. Now under the face layer create a new layer for the scarf.
Step 18
Finally, create a new layer called "Pearls" and paint pearls in the hair.
Step 19
Now we need to lock the opacity for each layer that has been colorized. This will help you not to go beyond the edges of each of the layers when you darken them.
Step 20
Now you need to color your hair in different shades. This can be done with the Brush tool ( Brush Tool) (B).
Step 21
To create light and shadow, we will use different brushes. Download the dark spot image from the resources of the lesson - we will make a brush out of it.
Step 22
At this stage, you need to increase the contrast of the image again. To do this, create a brush and dark spot images ( Editing - Define brush /Edit > Define Brush Preset).
In the window that opens, specify the name of the brush:
Step 23
Open palette brushes(F5) and select the brush you just created:
Go to the tab Form dynamics(Shape Dynamics) and experiment with the settings of the items Size fluctuation (Size Jitter) and Angle fluctuation (Angle Jitter).
Step 24
Using this brush, start adding light and shadow to each layer. Start with hair.
Step 25
You can use additional colors, such as those that I used when coloring the scarf.
Step 26
Color pearls in different shades of yellow and brown:
Step 27
The face work is the hardest part. You need to figure out where to add shadows and highlights. Refer to the screenshot:
Step 28
Create a new layer called "Makeup", paint makeup on it and change the blending mode to Multiplication(Multiply).
Step 29
Let's move on to creating the background. To create it, you can use paints of any type: acrylic, aerosols, also brushes. Don't be afraid to experiment.
Step 30
The background can be anything, including paint and scratches.
Step 31
For this particular part, you will need colored spots, drops, etc.
These are photos of two parts of the background (for example):
Step 32
Scan the created background (make sure the paint on it is dry). It is advisable to use a fairly high resolution (about 900 pixels).
Step 33
Transfer the scanned background to the main image. You can remove the white background layer and put all the illustration related layers in a separate group. To change the background color, add (Hue/Saturation) to it.
Step 34
You can use any color you like as a background. I chose turquoise.
Step 35
Add a second background and rotate it (Ctrl + T).
Step 36
Create a new layer (Shift + Ctrl + N) under the second background layer, fill it with black and merge this background layer with the layer filled with black (Ctrl + E).
Step 37
Add a mask to the merged layer and load the selection (Ctrl + A). Hold down the ALT key and click on the mask thumbnail. Press Ctrl + V to paste everything. The colored background now works as a mask.
Step 38
Move from the mask to the layer, and now move to the mask again without pressing the Alt key. This way you can see what's happening on the canvas, but you can still work on the mask as well. Now apply the command Curves(Curves) (Ctrl + M).
Step 39
The bright areas on the second background will now become visible:
Step 40
Create a new layer above all layers and on it add a shadow for the shoulders.
Step 41
Now add more color spots. This will give the illustration a "street art" feel. Draw each drop on a separate layer.
Step 42
Lower the opacity of each blob layer to around 33%.
Step 43
Select with the Shift key pressed all layers with drops and place them in a group (Ctrl + G). Add a mask to the group with drops and use various brushes to remove some parts of the drops on it to give them a more interesting look.
Step 44
Now I'm going to use the texture of old paper - you can find it on the Internet, or you can scan it.
Step 45
Transfer the image of the old paper to our document and place it above all layers and groups. Add to her Hue/Saturation adjustment layer(Layer – Adjustment Layer – Hue / Saturation) (Layer> New Adjustment Layer> Hue / Saturation) and reduce the brightness of the texture.
Step 46
To blend the texture of the old paper with the background that was painted with paints, change the blending mode of the old paper texture to Multiplication(Multiply). Add a mask to the old paper texture layer and delete the old paper texture in some places of the image (for example, from the face).
Step 47
Now you can use the same trick that was used to create the colored drops. Add a mask to the "Woman" group (it contains all the layers related to the illustration). Now erase some small details from the image with different brushes to add some texture.
Translation: Slutskaya Svetlana
Hello! We haven't seen each other for a long time and probably haven't written off even more. Today I want to convey to you all my experience that I have gained drawing for this blog over the past year. Rushed!
I would like to boast of a large amount of it, and even as an application to newspapers, magazines, news portals, books, which can be appreciated by tens of thousands of people every day ... but, the experience is modest and consists of one newspaper for pensioners and this blog.
I won’t tell you that “you need to do it this way, and nothing else” ... although, in principle, I never said that, and I’ll just share my experience in creating illustrations for articles for the blog site
What is illustration
Let's leave the free interpretation of this term in the depths of my head, and let's turn to the global web.
An illustration is a drawing or any other image that explains the text; photographs, engravings, and much more can be included here.
The purpose of a drawing is generally to highlight the subject in question, rather than to show form, explain, or show textual content in graphical ways.
It is used to convey emotions, the atmosphere that is created in the text, the image of the heroes of the story, the demonstration of objects, step-by-step instructions and diagrams in technical documentation.
How illustrations are used
Where do we meet them most often? IMHO, such a priority is children's books, then websites, newspapers, magazines, other books.
Newspapers mainly depict cartoons that make fun of the situation described in the text, while magazines use more collages in photos and, if necessary, drawings that can be bought on stocks.
A real treasure trove is children's books and websites. There is an opinion, and not only mine, that a person who has a portfolio made in the same style and similar topics will be hired to draw illustrations for a book than someone who has a hodgepodge of styles, techniques, themes, etc.
And what is the conclusion from this? That's right, if you want to make money by drawing pictures that accompany the text, then you need to adapt to the market, and not the market to you.
In fact, when you understand the rules of the game and stop resisting, sticking out your "D'Artagnan" for show, then you can count on work in this area.
With sites, in my opinion, the situation is different. There are many of them, and despite the fact that you still have to adapt to the client, no one forbids you here, and even recommends making your portfolio as diverse as possible so that the customer can choose the style in which he wants to accompany the illustrations on his portal.
So, to summarize, in order to draw a commercial illustration, and this is what paid drawings are called, you need to choose the area in which you want to apply your talents, create a rich portfolio in the same style ( for a narrow field, like children's books), or in different ( for sites and projects with a wide range of topics) to demonstrate your experience to the customer.
I hope we both understand that today the question of how to draw in general will be omitted and we will talk about the idea and concept, and not forms and lines. Rushed ... again!
1. In the first lines you need to understand, or rather ask how the customer sees the illustration . If the answer is in the style of “At your discretion”, then consider yourself lucky, while others create a picture in their head in advance and complain when it does not match what came out from under your pen.
Of course, I am my own customer and performer, but if I ordered illustrations for “someone”, I would definitely say what exactly needs to be drawn and how I see it, and not “there is a text - illustrate”.
2. Generally my illustrations rely on subtitles , but not always enough information to draw a clear picture. In other cases, I reread the text and isolate the sentence from the entire section, or better yet, the context and try to somehow beat it.
3. I have a blog and according to my observations most of the illustrations drawn for websites are for entertainment purposes and they want to make the reader laugh, dilute the atmosphere, give them a break.
Large online publications, like adme, lookatme and others like them, often need specific and creative drawings. With books it is easier - just a drawing illustrating the text, without any allusions and secret meanings.
4. Illustrations on websites are needed first of all so that the reader does not go off the rails while reading this sheet. Therefore, the more drawings, the better. But be careful, drawing eight illustrations for one article is difficult but possible, and drawing eight illustrations for ten articles is fucking suicide (I know T_T).
The same is true for books. If the customer strictly determines the number of drawings per square centimeter, then first of all it is necessary to assess whether you can do it. How to evaluate? Take a test task, maybe not even paid, because if it suits you, then they will cooperate with you, and if not, then you will buy yourself FREEDOM from slavery on a project that in the future will be associated with you only with pain.
5. The color in the illustration sets the mood for the entire text.. Light and bright drawings are associated with a good mood and indicate that the text is “friendly”, not written in depressing colors, not trying to scare you. Dark colors, on the contrary, can thicken the colors to convey all the horror that is described in the text.
6. Black and white drawings are created faster than color ones, but not as fast as it seems at first glance. ... Well, this advice is useful, perhaps only for me (with my drawing style ...), but lately I have been starting to add colors more and more often and ... I would not say that I draw noticeably longer. So that's it, advice for those who don't know how to paint yet and think "my style will be black and white" - as I thought.
7. Optimize your backs. Often in an illustration, the object is important and the background is completely unimportant. The background can be abstract or just some pastel. If the customer does not require such an “Atmosphere” from you, then do not bother - you will save yourself a lot of time.
8. Try to stick to one drawing . Yes, a very strange piece of advice, which can be answered by the phrase: “The stump is clear!”. But we are novice artists (if you are not, then what are you doing here?) and each of our drawings teaches us something new and after each work we draw better and better.
9. For websites, newspapers, magazines: when you choose a single style of drawing, sometimes there is an opportunity to come up with a character. If you recall the illustrations for the newspaper, which I constantly looked for as a child, then there was such a character as Petrovich. To be honest, he was drawn terribly, but it was catching how the same character gets into different situations.
So I did for my blog, I have two main characters (well, I'm a substitute) that illustrate everything that happens in my articles.
10. If the text is descriptive, draw an object; if it is narrative, action. Now I’ll explain - if they describe to me what a gorgeous vase my neighbor has, then I draw a vase, if they tell me how this vase got to him, then I can draw it all the way from the factory to the house, how it was made, dropped , glued, transported, etc.
11. Not the most categorical advice, in my opinion, the more details the better.. Yes, a large number of small things lengthens the production process, but at the same time helps the reader to better read the picture. Eyes cling to one thing or another and the image is deposited in the head. But there is a fine line between a moderate amount and a strong overabundance ... you have to find this line yourself;)
Well, there is not much here, but as I said, this is my experience in creating illustrations and some points that I noticed personally for myself.
I hope you enjoyed it and got some useful knowledge.
And, yes, do not forget that you need a graphics tablet to create digital illustrations)) I have been looking at Aliexpress lately, there are many tablets at low prices. I have already bought things from the Chinese more than once and in the near future I plan to buy myself a brand new tablet ... otherwise my vacom is already completely erased T_T
All creative mood friends!
The illustrations in the book are an important emotional factor influencing the reader of fiction, which has an aesthetic and semantic impact. Illustrations contribute to a better perception of texts of any level of complexity, helping to make a choice in favor of a particular publication!
In this article, we will introduce you to the main points of illustration and tell you how to do it. You just have to choose the appropriate way to design your book with illustrations.
The size, format, and arrangement of each illustration in a book has a purpose. You need to get familiar with how illustrations are usually posted and drawing techniques in order to communicate with illustrators in "the same language".
There are the following types of illustrations:
- Frontispiece. Such an illustration for a book is printed on a separate thick sheet of paper and glued to the left side of the first book block, the spread of the title page before the first page of the text material. As a rule, this sheet displays the main idea, the action of the story. In some cases, a portrait of the writer or the main character of the plot of the work is located here.
- Screensaver. It is used to decorate the beginning of a chapter or section, and reproduces the thematic transcript of the content of the entire rubric part of the publication, this is a kind of graphic introduction. The screensaver prepares the reader for the development of the plot, the emotional perception of the work. In addition to thematic pictures, an ornamental, symbolic, object-decorative thematic composition, called a ruler, is often used at the beginning of sections.
- Strip. A drawing that occupies the entire page of a book.
- Half-band. An image that is located anywhere on the page: top, bottom, right or left.
- On the turn. The image that occupies the spread of the publication.
- Defense. Thematic image framed by text.
- Drawings in the fields. Small images spread around the edge of the text strip.
- Background. Often used in color gift editions. The text is placed on top of the image.
- Ending or vignette. A drawing or graphic element is placed at the end of the text. It is performed in one plot-thematic performance with a screensaver.
The following are the main drawing techniques:
- pencil or charcoal;
- watercolor or oil;
- line drawing in the style of books from the glorious times of the USSR;
- computer graphics, including 3D;
- photo collage - an illustration made up of several photographs;
- photorealistic painting.
Get acquainted with the illustrations made in different techniques and choose the one that suits you best.
Coal 
Watercolor 
Pencil 
Photorealistic painting 
line drawing 
photo collage
The attractiveness of the cover of the publication, the aesthetic and memorable appearance, thematically correctly selected illustrations are a guarantee of the future success of the book. And here it is important for the author to decide which method of illustration to choose.
Method 1: Order illustrations from an illustrator
Hiring a professional illustrator/graphic designer is one of the best ways to ensure your written work has high-quality images that match the presentation. All illustrations for the book are made in a single drawing technique, a single style is maintained, agreed with the author.
Involving an illustrator in the work is not the cheapest method, but the most advantageous in terms of quality and accurate transfer of the author's intent.
Method 2: Choose ready-made illustrations for an existing plot
This method is well suited for poems or stories, where all the illustrations are not connected by a common theme.
On the Internet you can find many ready-made images on the subject of the work. But you need to use them to design your book only with the permission of the artist or photographer, since in this case there is a copyright on the image. Failure to comply with this requirement can lead to unpredictable consequences: litigation, monetary fines.
Therefore, it is better to turn to the services of photobank sites, where all photographs, reproductions, drawings are provided for a small fee, and sometimes for free. A wide choice, high-quality execution of images allow you to design a literary work without violating other people's copyrights. Our publishing house uses the services of the www.lori.ru photo bank, where you can quickly find a suitable image by keywords.
Method 3: Find an artist among your relatives or friends
If you ask, you will be surprised how many people you know can draw. Let not very professional, but very nice and sincere. These people will welcome the opportunity to illustrate your book for free, for a small fee, or a favor in return. Let them draw on paper. And then the illustrations will be professionally scanned at the publishing house and inserted into the layout of the book.
Services of illustrators of TRIUMPH publishing house
Our specialists create illustrations in any technique. When ordering the publication of a work in our publishing house, the author gets the opportunity to work with the illustrator directly, which allows him not only to discuss the technique of performing work, the number of drawings, but also to agree on the cost. Payment is also made directly to the artist.
I still receive letters with the same constancy: “I want to become an illustrator, where do I start?”, “How can I learn to draw?”, “What if I can’t draw, do I have a chance to become an illustrator?”
At first glance, the questions are rather strange. You don’t know how to draw, you don’t want to start and try, you don’t even want to learn how to draw - which illustrator are you? Why do you need it? But everything is not as simple as it seems at first glance.
Recently, I came across on the net a higher private school in Hamburg, which trains only illustrators in a narrowly focused way. On the very first pages of "About Me" they report that an illustrator is a designer who can draw.
I felt funny because I am a graphic designer and received, without false modesty, a good education. Over the years of training, we were relentlessly told that any designer should be able to draw, handle a camera, understand typography and understand art.
Along with such subjects as typography, we were taught drawing and photography - things that were reflected in my ideas about illustration. I devoted several sections to the influence of photography on illustration in my book "Profession - illustrator. Learning to think creatively" at once.
The saying that an illustrator is a designer who can draw seemed very strange to me. At first, I decided that people simply do not know what modern designers are taught. But then I think I understood what they were about. Namely, that an illustrator is a professional who owns a wide variety of skills and image techniques, which can often already be called rather design ones.
Indeed, the modern illustrator is no longer tied to traditional visual techniques: he does not have to work only with paints or pencils on paper. He doesn't even have to be very good at drawing. It is enough to be able to handle paper and scissors, wood and chisel, fabrics and a sewing machine, to be able to draw only at the level of contours and sketches, and at the same time be no less successful and marketable illustrator than colleagues working in traditional techniques.
Today I would like to draw your attention to the techniques of modern illustrations.
To questions like "Where should a future illustrator start?" I already answered, and below you can follow the link to my answer. And to the question whether someone will become an illustrator if he has not learned to draw traditionally, academically, I will affirmatively say yes. Because if paper and chiaroscuro are not given, you should try yourself in some kind of unconventional technique, if in spite of everything you want to do illustration professionally.
For inspiration, I will show you a beautiful book - a collection of works by illustrators and artists working in non-traditional illustrative techniques.
Book on American Amazon:
German Amazon book: Illustration Play: Craving for the Extraordinary
The cover is made on very beautiful, textured paper with real stickers. 
And this is what the content looks like - a list of presented illustrators. 
Illustrations made with a burner. Author: Genevieve Dionne 
Illustrations-installations from various materials. Author: Stephanie Dotson 
Illustrations-installations made of paper and wood. Author: Aj Fosik 
Illustrations on old packages, envelopes and more. Written by Melvin Galapon 
The same word “illustration” refers to images that are different in content and form, in meaning for the work and the reader, in the connection between the drawing and the text, in the technique of execution. “According to the goals pursued by the image, illustrations can be divided into scientific and educational(maps, plans, schemes, drawings, etc.) and artistic and figurative(interpretation of a literary work by means of book graphics). Illustrations may be an explanatory image to the text, complementing the text, and an image almost completely independent, sometimes even subordinating the text".
“Depending on the size and location in the book, there are the following types of illustrations:
- Frontispiece. An element of artistic design of the publication, which is an illustration placed on the left page in a spread with the title page.
- Screensaver. Screensaver illustrations are placed at the beginning of a part or chapter of a book on the slippage along with the text, signify the beginning of one of the parts of the story, are usually located at the top of the page and are separated from the text by a white margin. They help the reader to focus on new material, emotionally tune in to it. Screensavers may depict the scene described at the beginning of the chapter; talk about the main theme of a part or chapter; show a scene or landscape that should evoke the appropriate mood in the reader. Screensavers can also be subject-decorative or symbolic.
- Strip illustration (full page), half-page illustration (on half a page), double-page illustration (on two pages). The choice of illustration format is determined depending on the importance of the illustrated event, image, etc. The content of such illustrations usually has a direct bearing on the text that precedes or follows them. For large centerfold or strip illustrations, important events of the work are chosen. Illustrations largely determine the architectonics of the book, so it is necessary to pay attention to their rhythmic alternation and uniform saturation of the entire text with them.
- Defense(small figure surrounded by text), marginal drawings - less significant events.
- Ending illustrations placed at the end of parts, chapters or the whole book. They, like screensavers, can be subject-thematic, ornamental-decorative or symbolic.
Intros and endings should be done in the same style, as they are interconnected and are often side by side on a book spread.
Technician there are a lot of illustrations. They can be used alone or combined with each other. Let's consider some of them.
- Painting materials(watercolor, gouache, acrylic);
- Graphic materials(charcoal, sanguine, sauce, retouching, Italian pencil);
- Collage(French collage - sticking, sticker) - a technique for creating a work of art, when various materials (fragments of newspapers, wallpaper, colored paper, finishing materials, fabrics, wire, wood, ropes, metal) are attached to the base and perceived as a fragment of reality. Collage was introduced by P. Picasso and J. Bracom in 1912. K. Carra, J. Severini, H. Arp, A. V. Lentulov worked in this technique.
- Application - lat. applicatio - application). Pieces of any material (fabric, paper, fur, straw, etc.) are sewn on, glued onto fabric, paper, cardboard. Images or ornaments created in this way give the work a special relief and expressiveness. .
- Photomontage- a composition made up of photographs and their fragments, sometimes supplemented with graphic elements. Used in the 20th century. in printed graphics, poster. The name was coined by Berlin Dadaists to refer to works assembled from photographs. Photomontage was used by J. Heartfield (1891–1968), A.M. Rodchenko, L.M. Lissitzky.
- computer graphics:
"Bitmap is a data file or structure that is a grid of pixels or dots of colors (usually rectangular) on a computer monitor, paper, and other display devices and materials.
Vector graphics is the use of geometric primitives such as points, lines, splines, and polygons to represent images in computer graphics. The term is used in contrast to raster graphics, which represent images as a matrix of pixels (dots)."
3D graphics (3D, 3 Dimensions, Russian 3 dimensions) - a section of computer graphics, a set of techniques and tools (both software and hardware) designed to depict three-dimensional objects. It is most commonly used to create images on a screen plane or a sheet of printed matter in architectural visualization, cinematography, television, computer games, printed matter, as well as in science and industry.
The oldest way of illustrating is to use printed graphics. Linocut,woodcut,zincography, lithography, engraving on cardboard, engraving with a chisel on copper, etching, mezzotint, aquatint, drypoint.
Each instrument has its own sound and its own feel in the fingers. From the choice of tools largely affects the nature of the image. Often the theme of the illustration itself determines the technique and style of the image. “Style is pretty much the choice of instrument. In good typography, the trace of the calligraphic tool is always visible. It's not a problem if you're illustrating on paper, but in digital art, you have to make some effort to keep the genetic imprint of living drawing." For example, Jonathan Edwards - uses a vector, but his illustration lives on (Figure 25. Appendix 1). Drawing even with the use of raster, vector or three-dimensional graphics is necessary to "keep the life" of the image.
Absolutely all fine art techniques are available for illustration, according to tradition, graphic materials are used in illustration, but this is far from being the case.
In modern illustration, certain innovations and trends are constantly being formed, it can be black and white linart (the use of one black line when depicting, without shading, spots and fills), the inclusion of a bit of such strange neo-Gothic in the drawing, there may be small op-art effects, vigorous color expressism, street art.
But the question is, what trend should a modern illustrator support - one that is abundant in various publications or one that one likes?
And yet there are signs that vector, and in general digital graphics, is beginning to annoy the public as well.
There is a trend recently discovered Sergei Pervushin(Fig. 26. Appendix 1), a famous illustrator: a photo with drawn elements, a way to tell about the presence of the unknown. “The presence of photographic elements in the illustration (it seems to be rather the opposite, here photography occupies most of the area - but the drawn elements confidently scoop it up under themselves and turn it into an illustration) gives it so many graphic delights, so much reliability that, in general, it is strange that this the story has not yet merged into a normal illustration, but remains some kind of self-sufficient game. It is worth a little to go beyond the plane of the sheet, as much more interesting things begin. Illustrators work with collage, using traditional materials (paper, fabric, photographs), or such medium as
- plasticine(Fig. 27, Annex 1);
- papier mache;(French papier-mâché “chewed paper”) - an easily moldable mass obtained from a mixture of fibrous materials (paper, cardboard) with adhesives, starch, gypsum, etc. Papier-mâché is used to make dummies, masks, teaching aids, toys, theatrical props , jewelry boxes, etc. In some cases, even illustrations;
- book sculptures(Fig. 28. Appendix 1) - Books can not only be read, but, it turns out, you can create from them. Like Nicholas Jones.
- paper plastic(Fig. 29. Appendix 1) - in terms of creativity, it is very similar to sculpture. But, in paper plastic, all products are empty inside, all products are shells of the depicted object.
As a result of folding a sheet of paper, a system of stiffeners is created for any design. For more complex products, in addition to straight lines, curvilinear ones are used. Objects for the image in this technique can be illustrations.
Yes, anything, the main thing is that the material corresponds to the theme of the work. "Needlework- a great way to compensate for the lack of pure drawing skills - a way that is more effective and, most importantly, trendy than the imposed trends associated with the pure use of graphic editor technologies.
The type and technique of illustration should be a function of the creative task. The choice of technique, as a bunch of proven moves, allows the artist to be confident in the quality of the illustration.
Conclusions on the second chapter
In the history of illustration, we are talking about its constant change, in accordance with the development of culture and art in general. About its synthesis with fine art, design and book graphics. The tendencies of illustration of the 20th century are also considered. influenced by the styles of the Modern era. And the main trends 21st century, refer more to the side of the illustration technique. The concept of illustration is revealed according to three signs, according to one sign it can be attributed to high art. What distinguishes it as a special genre of fine art. These are drawings, works of painting and sculpture, which were performed on literary themes, but at the same time had an independent artistic value. According to others, an illustration is a type of book graphics, which is a work intended for perception in a certain unity with the text, that is, located in a book and participating in its perception in the process of reading. According to the third, an illustration is an explanation of the text by demonstrating a visual image, an active interpretation of the text. These are scientific and educational illustrations (maps, plans, diagrams, drawings, etc.), as well as illustrations that design utilitarian products (images on money, stamps, information materials, envelopes, packaging). Such an illustration can be attributed to applied graphics.………………………… The right choice of technique and type of illustration allows the artist to be confident in the quality and relevance of the illustration.
