Top 10 survival tips for Cara's class 2015
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Top Ten Digital Illustrating Tips
By Dave Bell 2013
1. A finished rendering will only be as good as the under drawing that structures it. The more details you construct the base drawing the better, you can never give yourself too much information. (see step 2 through 4 Under drawing on the “How it’s made” page).
2. Similar to an actor feeling his role. You must feel in your head the piece from beginning to end. Feel what textures like wood, metal, rubber, skin or fabric might be like. This is critical thinking when illustrating in a digital environment with only your imagination to define textures, contrasts and differences.
3. Spend as much time with the last square inch as you do with the first. This is true for the under drawing as well as the finished rendering. It is the first step in developing a consistent look and feel throughout your piece. Don’t be afraid to walk away and come back to it.
4. Always think about lighting. I use a form of the Classical lighting technique. Classical lighting assumes that light will be cast both on the object and a surface behind the object. Therefor it is possible that the light falling on the imagined surface behind may be reflected back upon the object. This adds dimension to the piece. Generally speaking, light comes from above, ie; Sunlight, light bulbs etc. So to mimic reality. My personal habit id to assume a light source that is above left. (lighting may be different for dramatic effect etc.) I apply this with every component as I illustrate it so my finished rendering will reflect reality better. (see step 5 and 6 Under drawing on the “How it’s made” page). Lighting helps define a perceived third dimension on a two dimensional platform.
5. Pre-plan complicated areas or components. Often it is possible to save a lot of rendering time with a little pre-planning. Some items may require the same texture or the same blending technique. Think about this as your illustration progresses. This will also help insure consistency between different textures and surfaces.
6. Let the happy accidents happen. It is quite common to discover new techniques by accident. For instance when creating blends or transparencies different visual effects might occur. This will be true for everything you do. If it works – use it. And store it in your memory. Collect as many of these as you can. It is what will ultimately help to define your own unique style in a digital environment that starts everyone on the same playing field. Remember that as a digital artist you do not have the choices a painter might have so you have to develop your own set of techniques. (call it your digital pallet).
7. Repeat every colour at least once. With exception of special objects or unique items. It is easier on the eye and helps to draw the eye away from specific components unless otherwise desired. For instance it may work well if you want to draw particular attention to the eyes in a portrait to have them coloured uniquely. However if the eyes are not the focus of your illustration you may wish to apply this technique to help draw the viewer’s attention away.
8. Be consistent with detailing. This is the second biggest step you can do in developing a consistent look and feel. If you are drawing every eyelash on a portrait then it is reasonable to think that you should draw every hair on the head. Think about things like that. If the hair looks like this? Then what would an eyebrow look like. Some artists will try squinting their eyes when looking at subject matter to help. If you can see wood grain in your drawing. What kind of texture can you see in a stone if it is in the same drawing? This and lighting is what will hold your illustration together.
9. Be cautious of solid whites. A solid white can often work as a highlight on a glass or chrome etc. However it struggles with blending and other techniques. As a further tip. If or when going to press, your image will need a printable dot in the highlight and shadow areas so having at least a 5% dot capability in these areas is desirable if your pressman is to match your original as close as possible.
10. Excepting to tip #1 – When rendering, it is less about the drawing and more about seeing. One sees both with their physical eye and their “minds eye” (or imagination). How well you see a detail and process this information is critical to understanding how you might consider rendering it. Consider a white cylinder such as a coffee cup. Are the edged furthest away really white? Is the portion closest to you with your lighting technique applied white? Maybe it is the glossy reflection you see on the rim of the cup? If it is the glossy reflection then everything else must be a shade of grey.
By Dave Bell 2013
1. A finished rendering will only be as good as the under drawing that structures it. The more details you construct the base drawing the better, you can never give yourself too much information. (see step 2 through 4 Under drawing on the “How it’s made” page).
2. Similar to an actor feeling his role. You must feel in your head the piece from beginning to end. Feel what textures like wood, metal, rubber, skin or fabric might be like. This is critical thinking when illustrating in a digital environment with only your imagination to define textures, contrasts and differences.
3. Spend as much time with the last square inch as you do with the first. This is true for the under drawing as well as the finished rendering. It is the first step in developing a consistent look and feel throughout your piece. Don’t be afraid to walk away and come back to it.
4. Always think about lighting. I use a form of the Classical lighting technique. Classical lighting assumes that light will be cast both on the object and a surface behind the object. Therefor it is possible that the light falling on the imagined surface behind may be reflected back upon the object. This adds dimension to the piece. Generally speaking, light comes from above, ie; Sunlight, light bulbs etc. So to mimic reality. My personal habit id to assume a light source that is above left. (lighting may be different for dramatic effect etc.) I apply this with every component as I illustrate it so my finished rendering will reflect reality better. (see step 5 and 6 Under drawing on the “How it’s made” page). Lighting helps define a perceived third dimension on a two dimensional platform.
5. Pre-plan complicated areas or components. Often it is possible to save a lot of rendering time with a little pre-planning. Some items may require the same texture or the same blending technique. Think about this as your illustration progresses. This will also help insure consistency between different textures and surfaces.
6. Let the happy accidents happen. It is quite common to discover new techniques by accident. For instance when creating blends or transparencies different visual effects might occur. This will be true for everything you do. If it works – use it. And store it in your memory. Collect as many of these as you can. It is what will ultimately help to define your own unique style in a digital environment that starts everyone on the same playing field. Remember that as a digital artist you do not have the choices a painter might have so you have to develop your own set of techniques. (call it your digital pallet).
7. Repeat every colour at least once. With exception of special objects or unique items. It is easier on the eye and helps to draw the eye away from specific components unless otherwise desired. For instance it may work well if you want to draw particular attention to the eyes in a portrait to have them coloured uniquely. However if the eyes are not the focus of your illustration you may wish to apply this technique to help draw the viewer’s attention away.
8. Be consistent with detailing. This is the second biggest step you can do in developing a consistent look and feel. If you are drawing every eyelash on a portrait then it is reasonable to think that you should draw every hair on the head. Think about things like that. If the hair looks like this? Then what would an eyebrow look like. Some artists will try squinting their eyes when looking at subject matter to help. If you can see wood grain in your drawing. What kind of texture can you see in a stone if it is in the same drawing? This and lighting is what will hold your illustration together.
9. Be cautious of solid whites. A solid white can often work as a highlight on a glass or chrome etc. However it struggles with blending and other techniques. As a further tip. If or when going to press, your image will need a printable dot in the highlight and shadow areas so having at least a 5% dot capability in these areas is desirable if your pressman is to match your original as close as possible.
10. Excepting to tip #1 – When rendering, it is less about the drawing and more about seeing. One sees both with their physical eye and their “minds eye” (or imagination). How well you see a detail and process this information is critical to understanding how you might consider rendering it. Consider a white cylinder such as a coffee cup. Are the edged furthest away really white? Is the portion closest to you with your lighting technique applied white? Maybe it is the glossy reflection you see on the rim of the cup? If it is the glossy reflection then everything else must be a shade of grey.