There are some great tools out there for painting and drawing, but if you have enough talent then even just a finger (and the right software) will do the job. This is an amazing example of a photo realistic painting from UK based visual artist Kyle Lambert. When I first saw the end result I just assumed it was a well taken photo, and it took watching the video to convince me otherwise:
Have you ever been working in Adobe Illustrator with the Color Guide and wished that you could take your colours into Photoshop, or more importantly choose colours in Photoshop in a similar kind of way? Well there are two ways to go about this.
In Illustrator, you can choose you colours in the Color Guide and add them into the swatches (see earlier blog post about this). However, once you’ve done that, you can then save the swatches panel as an ASE file.
In this section we’re going to look at a few basics of the Adobe Exchange. In the Window menu of Photoshop, go to Extensions > Adobe Exchange. This will bring up a palette called the Adobe Exchange palette and we’re going to click on the Free button at the top. These are features that can be added to Photoshop, and as you can see in the picture, there are all kinds of features.
The one I’m going to demonstrate to you is the Paper Textures Pro feature. This is created by Russell Brown, a well known Adobe evangelist.
Having created and run the Highlander courses for the last 3 years, I can see some really useful things on the horizon. HTML5 has been a great step up from HTML4, and there has been, and continues to be, great things created with HTML5, but more is coming. So what is next in HTML5? Well I am talking about Web Components. You can read the spec here…
This actually comprises of…
The Shadow DOM
These are all very new, but you can already use them today. However you must use an up-to-date browser. There is already an excellent polyfill called polymerjs:
Using the clock hand we created in the last session, I scaled this down a little, made a copy and scaled that down further to create the smaller clock hand. In order to make a copy of the clock hand I double clicked on the Scale tool, chose 70% as the scaling amount and then clicked Copy (not OK). As with the previous blog post I used the Alt technique to place a registration point but instead of using the Reflect tool, I did it with the Rotate tool. I then put in my desired degrees and clicked OK.
We’re going to make a clock now and I’m going to start off making the hand using symmetry. I’ve drawn half the hand using the Pen tool.
I now want to make a symmetrical copy so with this object selected, go to the toolbar and find the Reflect tool.
Don’t click and drag the object with this tool, even though it seems like the right thing to do because you’ll end up with half a clock going all over the show.
Cutting and joining is vitally important when you’re trying to build interesting artwork and there are a number of different ways and tools that we can use for this.
We’re going to look now at some of the cutting tools first.
The first tool is in with the Erase tool. It’s called the Scissor tool. This tool allows you cut a path by clicking on the path with a tool.
Click on the path to create a cut and then do the same on the other side of the shape. You can now use the selection tool to separate the 2 shapes. This tool then leaves you with an open path.
We’re going to use the Live Paint tool to colour up a piece of artwork. If you’ve not seen it, please refer to Part 1.
I’ve got this very basic cartoon of a shoe and I’d like to colour it up and give it some ‘go faster stripes’, a different colour toe-cap and an interesting heel area.
The first thing that I’ve done is add the stripes, the heel and toe line. As you’ll notice, I haven’t worried about staying within the shape of the shoe and for the stripes I’ve just put in rectangles.
Have you ever been frustrated working in Illustrator when you have tried to fill an object only to find that it is either made up of several objects or open paths and as a result the area that you wish to fill won’t fill?
There are a number of ways to get around this!
You could try using some Pathfinder methods but what most people tend to do is re-draw the shape that they want to fill.
Let’s have a look at how the Live Paint tool works.
Last time we looked at an introduction to the Perspective Grid. Today, I’d like to show you how to adjust the objects whilst still keeping your perspective.
Let’s start with doing a drawing, which is not in perspective and then converting it so that it is in perspective.
We’re going to draw a simple window. To make things easier, I’ve grouped all the objects within this.
Now bring up your Perspective Grid, by clicking on the Grid Tool in the toolbar.
Choose the plane from the gizmo, you’d like to put the window into.