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If you’re a graphic designer, you will often have to work with off-the-shelf material created by others — for instance, combining ready-to-use fonts with images from a photographer or stock website. Also, you’ll often have to follow the branding already developed by someone else.
If you’re a graphic designer, you will often have to work with off-the-shelf material created by others — for instance, combining ready-to-use fonts with images from a photographer or stock website. Also, you’ll often have to follow the branding already developed by someone else. It’s OK; it’s a part of the job, and you shouldn’t be bothered by it.
But the part of a project that almost every graphic designer likes and is proud of the most is something that you can do from scratch, something that you have control over and can sign off on confidently: illustration. It’s why I love illustration projects so much. You can show your individuality in every detail and create every stroke of the artwork, trusting your vision and fully exercising your skills.
Given this love of mine, it’s no surprise that I took on illustration duties for the Smashing Book #4 without hesitation, despite it being quite a large and lengthy project (20 illustrations). I pulled myself together and started working, promising to myself that no matter how hard it turned out to be, I would find the time and internal resources to complete the project.
I’m very keen on the traditional way of drawing — by hand, using paper, pencil, watercolors and so on. Of course, I’m not against using computers when necessary — especially nowadays, when we have drawing tablets and pens and all of that other digital stuff that mimics hand-drawn work. But it seems to me that there is still no substitute for the charm of a well thought out and elaborate handmade drawing.
My process for transforming illustrations into vector files is a little complicated and sometimes long, but it’s the only way to capture my drawings down to the smallest details. Retracing every line of the illustration as a curve using the Pen tool (in Adobe Illustrator, in my case), I am able to really feel every line and make the drawing as close to perfect as possible.
I began each of the 20 illustrations with many ugly sketches, trying to grab hold of an idea. I’m not able to think first and draw after. The two processes are one for me: I draw while thinking. I’ll waste piles of paper and use any surface at hand to capture an idea that suddenly comes to me. Reviewing the sketches now, I’m intrigued by the evolution of the ideas and the birth of the characters.