issue 01
ilystration
i love you illustration
ily ilystration issue 01 ilystration.com @ilystration facebook.com/ilystration
“As an illustrator you need to understand the human body - but having looked at and understood nature, you must develop an ability to look away and capture the balance between what you've seen and what you imagine.� - Quentin Blake
“You don't put your head above the parapet and become a personality if you're an illustrator - it's not part of it; it's not possible. You are a servant to the story.� - Robert Ingpen
Digitally coloured marker drawing
LETTER FROM THE EDITOR Hello precious reader! Welcome to the very first issue of ilystration. Our debut issue is jam packed full of inspirational material for every creative. Whether you are a photographer, designer, illustrator or just looking for a visual feast, we have something for everyone. Here at ilystration, we endeavor to explore and portray the diversity within the genre of illustration; from quick marker drawings, to digital coloring, to finely rendered graphite drawings, paper collage, computer generated illustration and vector art, we try to cover it all. We believe it is important that all different types of image making and illustration are shown and equally appreciated. Our artists sometimes spend months completing a single piece or create them in a touch of a button. What really matters is the vision behind it and the choice of method to create their pieces. For our first issue, we want to introduce you to some of the fundamentals of illustration. A ‘how to’ guide on how to begin a career in this industry. Covering the basics in out first issue if you will. This will then be followed by an introduction to some of the sub-genres within illustration such as portraiture, landscape and still life to provide an insight on how some of our illustrators approach these very different areas. I hope this issue triggers your creativity and makes you think about the different types of approaches possible within image-making. The visual content of this magazine is modern, innovative and refreshing, but respectful of the past; all things that will surely interest even the most hardened illustration critic. I don’t know about you, but I love you illustration!
Photography and digital techniques
ily Table of contents // issue 01
02 How to be an Illustrator
12 Gridscapes
22 Portrait Mapping
34 Colour and Steel
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HOW TO BE AN ILLUSTRATOR
T
he term illustration is very broad, and covers a wide variety of styles and techniques. Illustration is by definition ‘a visualization or a depiction of a subject made by an artist, such as a drawing, sketch, painting, photograph, or other kind of image of things seen, remembered or imagined, using a graphical representation’. If your intention is to be a successful illustrator, you must understand how it varies from other forms of creativity. Modern illustration must serve two purposes if it is to be considered successful. The first is that it needs to resonate with the viewer. It should tell the viewer a story, visually depict an idea, convey a message, deliver information, and offer a visual representation of text. Basically, the work of a successful illustrator does not just look good visually, but it also communicates a message. Second, it should present these ideas in a visually interesting way. Illustrators combine personal experience with pictorial representation in order to convey ideas. Illustrations should trigger the imagination of the viewer and tie moments in their personal history with the illustration they are viewing.
To embark on a career choice that can feel very misunderstood, an illustrator must have a huge amount of determination and passion in order to face the stresses and difficulties. A professional life without a clear career path is not for everyone. To establish a career as an illustrator and then create longevity within the design industry, one must be committed. Exploring new media and materials, solving visual problems and experimenting with ideas all motivate most illustrators. Seen by many as a hobby rather then a career, the commitment must be comprehensive if an illustrator is to establish their self in commercial world. The life of an illustrator is unlikely to involve a Monday to Friday job, and as such it demands total involvement. Despite the difficulties, if one has a strong enough desire to pursue their passion, there will always be a way to defy the odds. Working across the board, breaking across boundaries, experimenting and mastering media, illustrators will always find ways to make their mark. Lets consider some of the essential components that contribute to making a successful illustrator.
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THE PROCESS
When thinking about what you need to do to make an illustration, first think about what it is you want to say and what materials are best used to achieve this. Poor execution will always have a negative impact on your illustrations, so do yourself a favor and make sure your techniques are up to scratch. However, remember that skill is not the only tool necessary, you also need strong vision and aesthetic. Lets consider some of the main points in the illustrative process.
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Document Look at your process and try and point out your strengths and weaknesses. Consider areas that could use more experimentation and and study how you progress from one stage to the next.
Assess Find objective eyes. Being critical of your own work is very hard so sometimes fresh eyes are needed. If you don’t hear what you want, try and figure out why the viewer came to the wrong conclusion and adjust your work to solve this. Put down your pencil occasionally and just take a few minutes to look at what you did and evaluate. Look at your work from different perspectives. It will immediately point out bad angles, odd skews of lines, etc. If you’re working traditionally, just hold up your drawing to a mirror. You will be amazed at how cross checking your work can show things that need to be fixed.
Grasp the Basics Understanding the basics of form, light, perspective, media, mediums, etc. The more you understand, the easier it will be to go from idea to final piece. Having each of these skills is not a necessity, but it will certainly assist in creating better work. The more knowledge you have to draw from, the more you can focus on creating your work.
Don’t go overboard Always think ‘pare down’ and ‘less is more’. Its highly possible that you have created more then was necessary. If you over embellish your artworks, you run the risk of the viewer becoming confused about the meaning of your piece or being distracted by less important content. Think about directing their attention with useful elements.
Trial and Error The ability to create images that are underpinned with strong creative thinking and that have problem-solving ideas at the heart of the solution is of great importance. If you arrived at a decision ‘by accident’ that doesn’t necessarily mean it’s inappropriate or unjustified. In fact, experimenting is often the only way to determine if something works or not. Look for ideas you want to be doing. You want to be happening upon them, be surprised by them. The only way to evaluate if your ideas are ‘the best’ or not is to compare it to something else - and if you make lots of variations of your idea, the more successful ideas will very clearly shine against the less successful ones. This type of experimentation is absolutely invaluable and will always provide you with more scope to create bigger and better pieces.
Digitally coloured marker drawing
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THE SUPPLIES
Whilst the fundamental part of a successful illustration may be how well it communicates, it is the materials used that can really determine how well a person may engage with an illustration. To arrive at the best illustration possible, one needs to visually depict their idea using the best and most appropriate media with excellent execution. If this is your goal, find the materials that work best for you. Cast your net wide and try a broad range of products and brands. This will allow you to work out which items you are most comfortable with that give you the best results. Trial end error is crucial to discovering the right tools and materials. As an illustrator, you should explore a range of materials, therefore creating images with what you consider to be your favorite media. Traditionally, drawing has always been the
dominant form of illustration, however it is the ever-expanding list of illustration techniques that appear in the work of today’s image-makers. These new and exciting forms of image making have allowed illustrators to consider mixed media, finding the techniques that best fulfill the requirements of a project. This experimentation is the key to finding out what works best for you and your style to help build your creative process. When viewing the work of today’s illustrators, one will usually witness a mix of digital, photographic and traditional techniques. Having talent is not enough anymore. To be successful, an illustrator must have a good understanding and knowledge of the equipment they are using.
Paper collage
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THE COMPUTER
Where modern illustration is concerned, the computer has had an incredible influence over the processes and possibilities that are utilized by today’s illustrators. With the technologies now accessible to illustrators, computers are now able to take traditional mark makings and transform them into a whole new expanded list of new marks. The role of the computer in relation to illustration has seen somewhat of a renaissance for the discipline. Seen by many as a mediocre form of art, the computer and its various digital techniques has given illustration a new found respect. To survive, illustrators have had to become technically proficient in these digital
Vector art
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techniques, and it is this enforced new skill set that has seen a more equal relationship with design. However, a finished and good illustration doesn’t at all mean it was made or enhanced digitally. When you create using limited resources, your outcomes are usually much stronger because you have to do more with what you have. Many of your best ideas are unachievable unless you come across them through experimentation, and it is much easier and more liberal to experiment using hands on processes.
THE PORTFOLIO
For an illustrator, it is essential to invest in a high quality portfolio. As a freelance illustrator, finding work can be very difficult without a great portfolio. In fact without a good portfolio it may be impossible to keep working in this profession. One should also consider putting their portfolio online. Getting a portfolio website up and running is not an easy task and requires great understanding. Having a website is essential for today’s illustrators and without this tool, you are really selling yourself short. Look into other websites that feature illustration and learn how these websites use the Internet as a tool for showcasing their illustrations. If building your own website seems like too much of a task, consider employing a web designer for the job; they will bring expertise to the project. Think about the message you want your site to convey and the content you want to put on it before you explore its look and feel. Whether tucked under your arm or placed on the web, a great portfolio is essential.
THE AGENCY
With the skills of an illustrator down pat, you now need to be able to maintain a strong career in the industry. This involves marketing, publicity, organizing delivery of works and keeping your portfolio up to date. If this seems too overwhelming and you want to just focus on creating, consider securing representation from an illustration agency. There are many different types of agencies out there and they provide a great link to the professional world. Many illustrators are not good at undertaking the business side of their careers or simply lack the time and this is where an agency can really assist. Having this external ‘face’ is a very useful tool, so much so that many artists are prepared to shed a percentage of their fee for the service.
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Mixed media drawing
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THE STUDIO
Illustrators work from some very individual spaces, ranging from the home, rented studios, desks at design firms, shared lofts, etc. Regardless of where you choose to work, it is essential that you find a space that best suits your personal needs and that is an environment that supports creative thinking and activity. Setting up a studio is a challenging and exciting endeavor and requires planning. One should also consider a solo or group space. Many illustrators want silence and isolation,
while others find they work best amongst the noise and energy of shared studio spaces. There are pros and cons to any studio space which should be carefully considered before making any decision. Illustrators create spaces they are comfortable working in, with these spaces becoming an extension of the illustrator’s creative expression. Whatever your preferred style of workspace, an illustrators studio is never a dull space.
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GRIDSCAPES
L
andscape illustration depicts natural scenery such as mountains, valleys, trees, rivers, and forests. Based on a wide view, elements are arranged into a coherent composition, sky is almost always included, and weather is often shown. When working out how to illustrate an environment, creating the effect of that environment coming to life can range from the very obvious to the dramatic. The first thing to decide is what you actually wish to portray and its scale. You need to settle upon what the form is, how big it’s going to be and what sort of landscape it’s going to be a part of. You should also think about what visual impact you want to make and what response you want the viewer to have.
main subject. Train your eyes to look for lines, patterns and shapes. They give structure to your picture and help highlight the three-dimensional quality of your subjects. Lines lead the viewers’ eyes into or out of the picture. These lines can also be used to direct the viewer towards the main part of your illustration so consider using leading lines to achieve this. Keep your horizon out of the center of the picture. If the sky is more interesting pull the horizon down and if the land is more interesting push the horizon up. Try to include a subject that would give the viewers a scale of the scene in the frame. Use people or objects that let viewers relate size in your composition.
Composition is key in landscape illustration and there are many compositional tips to consider if you want to create a successful landscape illustration. Be aware of the rule of thirds. The human eye is generally drawn to a point one third of the way in from any side of an image. Creating the rule of thirds is as simple as it sounds. Just divide your paper into thirds both horizontally and vertically and consider placing focal points on the sections where these lines cross. Don’t always try to fill the frame. Negative space can be used to your advantage. Remember, it is just as important as the
Remember, these tips are only a guide and do not always need to be followed faithfully. Sometimes knowing when to break the rules is the most important thing, as this will allow you to create more individual illustrations. Lets also remember that landscape illustration can take a completely different approach. The traditional use of pencil doesn’t have to be applied, and instead you could consider collage, digital art, vector generated imagery, mobile phone art, etc. Basically, whatever form of image-making is most successful in helping your translate your vision into a reality.
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Scanography and digital illustration
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PORTRAIT MAPPING
O
ne of the most widely recognized and popular types of illustration is portraiture. Despite its popularity, this is also one of the hardest types of illustration. Before undertaking any portrait, remember to practice and research. Learn about your subject matter. Having background information will allow you to have a clearer idea of what pose to put them in and the areas that can be highlighted. The more practice you undertake, the quicker these decisions can be made, leaving more time to create the piece. Knowing about the subject of your portrait will also create a more authentic illustration, as you will be able to include elements that relate to their personality and lifestyle. So cast your net wide. Read, interview, get to know your subject. It will all lead to a much better outcome. When creating portraits, you need to work out what features you can accentuate with different marks. If someone has quite prominent stubble, for example, find which kind of a mark is going to work best, something that’s really going to draw attention to that feature. You should pay close attention to the eyes. Colour and eyes are of top priority when it comes to illustrating a portrait. The eyes in particular are a very
important thing to portray accurately. When drawing portraits, consider starting with the light spots in the eyes. Then build the pupils around it, followed by the eyes and the rest of the face, this way you can make sure the portrait appears to be looking at the viewer. Don’t try to make people look perfect, but rather focus on something strange in their faces. When starting on a project involving people, one of the first questions you tend to ask yourself is the style in which you do it. This then will dictate the style of skin shading you’ll do. While some artists approach the area with fine detailing and precisely layered shapes, others may use a more random style and minimal elements. Learning the basics of anatomy, you can help yourself to create more realistic and refined portraits and skin shading. Knowing how the skin curves on the body can help a great deal with being able to produce more flawless skin. Remember skin is not perfect and does have pores, moles, spots and more if you want to get even more realistic. Next time you view a portrait look beyond the hair, eyes and lips and see how much work has gone into creating great skin, after all it is the biggest organ of the human body.
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Photography and digital techniques
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Photography and digital techniques
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RHYS PARKINSON W
hen thinking about our portraiture content, we decided it would be very interesting to use one illustrator and ask them to create a series of self portraits based on a single theme. A simple way of seeing one artists various approaches to a particular topic. For this, we decided to ask illustrator Rhys Parkinson to create a small collection of self portraits based on a single theme of his choice... Portrait mapping. Who are you and what type of creative are you? Well my name is Rhys Parkinson, I’m a Melbourne based artist, designer and illustrator. I have studied fine art and design and have won numerous awards and participated in many different exhibitions. I guess you could say I live to create. What got you interested in illustration? Well this definitely goes back to when I was a kid. I’m left handed which apparently means I’m right side brain dominant which is the creative side, so it’s all my brains fault ha ha. But seriously, when I was younger, I looked up to my father who was a mural artist and spray painter so he really motivated me to be creative. From there, it just snow balled. What inspires you? Easy question. Everything! I believe it is important to be very diverse in what you create. I have a large portfolio that explores photography, drawing, painting, typography, etc. And within each of these genres, I am constantly finding different things that make me want to create. Whether I am looking at the work of different artists, or seeing things that catch my eye in my daily travels, it all ends up forming the basis of what I create. What is your creative process? That’s a much tougher question. I don’t think I have one particular process. I think there are some common points in how I work in different projects though. Research is so important. I always try and look for a precedent for whatever my idea is. That way I can see what other people have done and get an idea of how to approach my piece. Experimentation is also so important, and lots of it. Diving straight into a final piece is not an easy task, and if I’m not absolutely sure of what my approach is, I always explore my idea through trial and error.
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What was your inspiration behind this set of portraits? Coming from a fine art background, I am very accustomed to creating faithful and accurate drawings. This becomes very time consuming and restricting after a while, so for these portraits I wanted to explore some very innovative and visually striking approaches. I decided that after spending so many years focusing on tone and rendering, that instead I would focus on the structure of the face. This became what I call ‘portrait mapping’. Exploring self portraiture, I created a series of pieces that aimed to dissect my appearance to apply somewhat of a visual mathematical equation to my face. What is the toughest and most rewarding part of the process? Toughest part would be arriving at my idea. Delving through all the research and coming up with my approach always takes time. But once I have done all the ground work and know exactly what I am going to do, it makes it all worth it. This is also where the rewarding part comes in... Getting to create the work. Realizing my vision always puts such a smile on my face, especially when it is a really successful outcome. What are your favourite tools/ media for your work? Well coming from a fine art background, I really learned the value of quality materials. I buy a lot of my supplies from art supplies stores around Melbourne. I like paper brands such as Fabriano, Saunders and Arches. I find watercolour papers to be the best for drawing. I use a variety of pencils, however my favourite coloured pencil brand has always been prismacolour. I also really like the prismacolour markers for quicker, more graphic drawings. How do you occupy yourself while working on projects? I often find myself working late into the night so I will usually just have late night television on in the background, or movies. Lots of movies! Half the time I don’t even pay attention to what I’m watching as I am so focused on the work I am creating, but I have to have some kind of background noise. Website: www.rhysparkinson.com Facebook: https://www.facebook.com/rhys.parkinson Email: rhys.parkinson@hotmail.com Insta: @rhyspark
Drawing and digital techniques
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Digitally coloured marker drawing
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Photography and digital techniques
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Photography, marker drawing and digital techniques
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Photography and digital techniques
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Photography and digital techniques
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COLOUR AND STEEL A
still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural (food, flowers, plants, etc) or man-made (glasses, books, vases, etc). Still life illustration provides the artist freedom in the arrangement of design elements within a composition. Still Life teaches an illustrator how to look at objects with an awareness of perceptive, shape, proportions, tone, color, texture, form and composition. When drawing from life, make sure you are always looking at the objects you are illustrating. The only way to correctly draw shape, proportion and detail is to look at the source. Observation is key, as your eyes must continually go between the paper and the object. Drawing objects from life provides a great deal of visual information. Changing light conditions, rich textures, views of the subject from alternate angles, etc. Converting a three-dimensional object to a two-dimensional drawing is much harder than drawing from a photograph, but it provides more authentic illustrations. Perspective is a very important part of still life illustration. If working from a photograph, try using a grid to draw the shape first. If working from life, roughly sketch the overall form. This will allow you
to get the proportions and perspective right, before adding any details. You should think more about how things compare to one another as opposed to how they look individually. When applying tone, look at your light source and consider the placement of shadows. Your illustration should have a full range of tone, from black, to many different grey tones, through to white. Consider using illustration techniques to convey the textures of the subject matter. There are many different techniques such as hatching, dashes, smudges, dots, line-work, etc. It is also important to know what to leave out. As long as decisions are based on what is aesthetically best for the illustration, there is nothing wrong with ignoring certain details. In fact, often the composition is less cluttered and easy on the eye because of it. Observational drawings are usually expected to be realistic in nature. Sometimes, however, it is the difference between the real item and the drawing that matters. The unrealistic parts (the unexpected markmaking, the individual style, the small mistakes) allow for artistic interpretation and expression and often strengthen an illustration immensely.
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Digitally coloured marker drawings
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Digitally coloured marker drawings
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THANK YOU FOR READING! Be sure to follow us on-line and on social media to keep up to date with future issues, new artists, cool new artworks and all things illustration. ilystration.com @ilystration facebook.com/ilystration Until next time, keep illustrating!
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ily issue 01
i love you illustration