Fashion Illustration 2

Illustration 2

lisa.earley@solent.ac.uk

lisa.earley@solent.ac.uk

ILLUSTRATION 2

The aim of this session is to experiment with Illustrator brushes and Photoshop fills and layer masks to mimic illustrative styles.

The objectives are to: • Use the Pen, pencil and brush tools efficiently • Make and disrupt layer masks to create highlights.

For these exercises I have used a range of illustrations found on Pinterest.

Nina Kosmyleva

You will can apply the techniques learnt to help develop your own illustrative style.

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Judith Van Hoek

Start off with a pencil or pen drawing.

Scan this in and clean it up.

Place it in Illustrator.

Here we are using a sketch by Judith Van Hoek

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I drew the blanket stitch with the pencil tool and chose a calligraphic brush to change it’s shape.

Copy the path and reflect it.

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Save each path as a pattern brush.

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Use the pencil tool to draw in paths you’d like to use the blanket stitch on, then select the brush.

Adjust size via stroke.

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Sketch in short paths using different ink or charcoal brushes

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Double click on a brush to change it’s orientation. Double brush some areas to make a stronger mark.

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You can adjust the spacing in the brush window by double clicking on the brush once the path is selected and adjusting ‘spacing’.

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Lock all the brush paths on one layer and copy the background drawing.

Paste it into a Photoshop doc (300 dpi).

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ILLUSTRATION 2 I found a fabric swatch I wanted to use and adjusted the colour to teal. Define this swatch as a pattern.

Use the pen tool to draw around the different shapes you want to fill with the fabric. Save these as separate paths.

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Load a swatch a slightly larger size than needed and turn down the opacity.

Use the warp tool to make the fabric take on the shape of the garment.

Load the path as marching ants. Switch to ‘Layers’, mask to crop the shape.

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Up load the spoon graphics watercolour / dry brushes. https://blog.spoongraphics.co.uk/freebies/14-freewatercolour-brushes-adobe-photoshop.

Chooses a brush and change its orientation with the dial.

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Paint into the layer mask using a black brush to create texture.

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Repeat the process for all other parts of the garment.

You can directly fill the marching ants shape if no warping is required, but still use a layer mask.

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Repeat the process of working into the layer mask with a black brush to create texture.

Here I used drawing and stamping with a dry brush Int the layer mask with the opacity turned down a bit.

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Smaller shapes can be filled directly with the swatch into a marching ants path.

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When all the parts are filled this is how the layers will look

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Merge these layers when happy.

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Pop up a new layer to add in some skirt colour, using a dry brush.

Make a selection for the skirt and apply a layer mask.

Make sure this layer appears underneath the jacket fill one.

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Copy the layers illustrator under the paths layer and paste them into Photoshop.

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Place into Photoshop

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Use levels to adjust the paths definition.

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Apply a brush stroke shadow to the skirt

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Alternatively place the Photoshop textured flayers back into Illustrator and apply a shadow using the pencil tool and a brush.

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Photoshop

VS

Illustrator

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Here we are looking at how to add rendering to a free form illustration.

Start with a pencil sketch scanned into illustrator.

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I started by adding Rita Ora’s eye, cut out from a photoshop document.

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Paste onto the Illustrator file

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Next add textured marks by using a pencil tool and converting it to a variety of calligraphy or ink brushed You can flip the brush in the brush window (double click on the brush when the path is selected) using ‘flip along’.

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Select ‘apply to strokes’.

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Experiment with the pencil tool and calligraphic brushes. Adjust the stroke weight and colour to taste.

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Use a variety of calligraphy brushes in different stroke weights and opacities applied with the pencil tool to render the hair.

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Arrange the eye ‘to front’ to bring in front of hair.

Go to effects : filter : smudge stick to change the eye image quality.

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Use the pencil to draw a little curl. Copy this and paste to back, then slightly offset and reduce opacity.

Save this double curl as a symbol. Choose graphic symbol.

These can be pulled out repeated times to create textures.

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Also save this as a brush. Use this on a drawn path, where you can adjust the spacing in the brush window.

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Pull out several symbols to make a small group.

Save as a scatter brush and reshape using the spacing option.

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These can be recoloured and textured with other brushes to create small grouped symbols.

Pull out the symbols and rotate and resize them to create a curved shape.

Select all and copy and paste behind

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When larger areas have been formed, copy and save these as grouped symbols.

Start to draft and save other elements as symbols.

Resize and reflect these to add variety.

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Create textural patterns with the pencil tool and charcoal brushes.

Save these as patterns by going to Object : Pattern : Make.

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Save these patterns in your swatches.

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On a lower placed layer, draft out a shape that you want to fill with this texture You can rescale the size of the pattern using the scale tool

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Patterns can be rotated using the rotate tool. Make sure ‘Transform Objects’ is switched off.

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Continue to make other shapes of various sizes and colours to use as textures. Save these as symbols too.

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Pull out groups of these symbols to fill textures and build the illustration.

Add rectangles filled with the same blue with the opacity turned down.

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Recolour and change stroke styles of symbols by ‘breaking link’

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Select all the paths and symbols drawn, copy and paste into Photoshop.

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Pop up a new layer and place in the sketch. Up load the spoon graphics dry brushes. https://blog.spoongraphics.co.uk/freebies/14-free-watercolour-brushes-adobe-photoshop.

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In a new layer, set to Multiply, choose a brush (set to multiply) and use it as a stamp on this bottom layer. I have used a pale blue colour

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Paste in the Illustrator paths layer.

On a new layer set to multiply, stamp out a brush pattern block,

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If you are using multiply with brushes, the illustration is best left in Photoshop, as these layers become opaque in Illustrator if transferred back separately, unless you bring them back in on the pencil sketch.

Continue to work the drawing (reflecting some paths etc, until you have got the look you are wanting to achieve.