In Part II I started a list of some personal process-oriented thoughts on illustration—more specifically about some ways to help broaden the creative process and make its execution more effective. In this Part III, I’ll wrap up the list in the same vein as Part II’s, with a few more of my thoughts on the subject.
Once again, while I hope these tips strike the right chord with readers from all creative fields and levels, I share them partially because many of them are still so freshly new in my head, and I can recall vividly their having planted themselves there during my time as a student. That said, there’s plenty more learning to be done on my end as well, and I invite you to share your responses and your own additions to the list in the comments, no matter what corner of the creative world you are from.
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In Part I we skimmed the surface on a few points regarding when an image becomes an illustration. But, of course, this knowledge isn’t very useful if we don’t know how to apply it to our work when the pencil hits the paper! Or, stylus hits the tablet, whatever it is you do.
In this second part of the article, I’d like to share some of these practices that have been invaluable to me as an illustration student, and ones that I will carry with me for a long time to come.
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We have been publishing articles about CSS3 for a while now, and we keep receiving angry e-mails from some developers who complain that it doesn’t make sense to use CSS3 today. Yes, Internet Explorer doesn’t support most CSS3 properties. And yes, CSS3 vendor prefixes are bad for maintainability (and this is why we recommend extracting vendor prefixes in a separate CSS3 file).
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“Art” is something philosophers have spent centuries trying to define, sadly with no satisfactory result (a debate that is far beyond the scope of this article). But illustration, while it covers a broad range of image-making, does have very distinct meanings, and it is very different from just artwork.
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Today, we’ll look at what it’s like to develop print material in cooperation with a major marketing company for top-name brands and retailers using Adobe Photoshop and Illustrator. For anyone in the print industry, we’ll share methods and resources that you’ll hopefully find helpful. For others, this article will shed light on what it’s like to work for a design firm. You’ll gain in-depth insight not only into the methods of professional print designers but also into the marketing implications of their work.
Though many newcomers to the design industry lean towards Web design, professional print design is still very much a viable alternative. Despite declining print sales of magazines and newspapers, print-based marketing (such as for in-store signage, direct-mail campaigns and free-standing inserts) doesn’t seem to be going anywhere soon. If anything, the industry is eager to hire talent from the next generation to bring much-needed fresh ideas and innovation to the table.
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Since its emergence, the digital photography market has gradually supplanted the traditional one. APN and digital SLR cameras entered our lives, and some people announced the death of silver-based images. This is not all lie, and yet old-fashioned images have been particularly popular in the past few years.
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Close your eyes and picture this scenario. You have just landed a dream contract with a client and you are anxious to start working. You have already consulted with them regarding the subject matter (a logo, a website, a brochure, etc.) and you’ve written up a design brief. It’s time to let your creative juices flow. For goodness sake, this is why the client signed the contract and sent the check. Now, go ahead and “wow”them!
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When you hear the word “creative”, what type of profession comes to mind? Maybe a graphic designer, painter, sculptor, illustrator, or writer? It’s unlikely that you would consider a “programmer” when thinking of creative fields of work. But programmers have the potential to be creative and come up with ideas or concepts that will impact others in positive ways.
We often turn to programmers to solve mathematical-related problems, but the concept of mathematics in programming is what powers programmers to innovate. When you think of mathematics you imagine numbers, expressions, and equations. But what about art, music, or even beautiful visuals? Those numbers and equations that we often view as mundane and overly-formulaic can generate beautiful visuals and music. This article will present dozens of examples of motion graphics and interactive visuals created with computational code, along with some useful references and resources.
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This is the perfect tutorial that teaches you how to draw a cute little tiger that you will be able to use in your projects or simply as a desktop wallpaper. Get ready for looots of cool Illustrator techniques.
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As promised, here are some amazing outer-space tutorials for your learning. This is part 2 of the “Out of This World” series. I’m sure that you have seen some of these tutorials before, but hopefully, you will find a few that are totally new. So what are you waiting for? Go ahead and choose a few of these tutorials and try them out for yourself.
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