PRINTING INSTRUCTIONS CAN BE FOUND HERE
(Most of the examples below show three—not two—people. Your assignment requires only two people. We will not be doing the high contrast version)
Refer to the following additional Resource Links:
Assignment:
In this assignment we will be exploring two different styles of drawing. Each of these styles will be a portrait of a different person—a highly recognizable/famous person + you (soon to be famous :). ) Think of the famous person as an influence on you. You will be “tracing” photographs as an initial step in the drawing process. Choose carefully which drawing style to apply to each and also their pose and expression. (the styles are described below). The finished/final composition will be a grouping of both of you so plan accordingly. Ask yourself, “What connections or meaning might you infer between the person you choose and you by your choices of graphic style and overall arrangement—composition?” Your portrait is the only one that will be in color, so it will naturally demand a lot of attention by comparison with the other drawing. Use this to your advantage as you decide on the placement of the three images in creating the final composition/grouping.
- Step 1—Grayscale Posterization
- Step 2—Color “scanner darkly” Posterization
To print accurate color when you are finished with this (and all projects) you want to prepare your Illustrator file properly right from the start. This involves the following steps:
- Always open the file from the folder saved to your computer, not from the cloud or any external drive. When finished for the day, always back up this file to the Cloud or an external device. This way you will always have two up-to-date-copies.
- Make the color mode for your Document RGB if printing to the Epson printers and CMYK if sending to a commercial printer. (For this assignment you will be printing to the Department Epson printers.)
- From the Edit menu, select Monitor RGB Display
- From the Edit menu, Assign Profile: RGB
- Save all files and placed (imported) image files into the same folder.
Key Tips for Step/Style I—Grayscale Posterization
GOAL for STEP 1
Create a grayscale, no color, shape oriented version of the person chosen for step one. Determine the minimum level of detail that is needed for step one. Generally speaking you are doing a posterization, simplifying all gradations of tone/vale to just 6-10 values of gray. The 50% level is arbitrary. You can decide where “50%” is. However, you must be consistent throughout the entire image.
PROCESS for STEP 1
- The Posterization effect is similar to a High Contrast effect in that you are translating the smooth graduation of form into specific numbers of value shape ( at least 6 in this step.) To start this process you need to first create a value scale or ramp containing 10 values of gray. There are two options for you to do this (see below).
- Create a grayscale version of your reference portrait photograph in Photoshop. (Image>>Mode>>Grayscale). Manipulate the Levels (Image>>Adjustments>>Levels) to boost contrast in the image to make it easier for you to identify shadow and highlight areas (shapes of light). Save it as a 100 ppi JPEG.
- Use the Place command to import your PS JPEG image to Illustrator. Put it in a Template layer
- Create additional drawing layers on top of the template layer. You will do your drawing in these layers.
- You can alternatively turn the grayed template layer off or on to check your drawing progress and accuracy.
- Determine the direction that the primary light source is coming from.
- Look for shadow and highlight shapes —SHAPES OF LIGHT
- Set the stroke color to none and the fill color to black to draw with the pen or pencil. This is the opposite settings that we might normally use with either of these tools.
- Tip: Use Illustrator’s rectangle shape tool to create a small (1/4″) rectangle. Fill it with 50% gray and no border. Then with the Selection Arrow, drag it over your template photograph. By comparing it with the value on the area of the photograph that is directly beneath the rectangle, you can tell whether that area of the face should be darker or lighter than 50% gray. (Darker than the rectangle=black)
- Use Beziér handles to control smooth curves, not a lot of points.
- Draw the shadows and highlights not the objects or features (eyes, nose, etc.) Again, think shapes of light.
Grayscale Ramp OPTION #1
- Change the file color mode to CMYK (File>>Document Color Mode)
- Open the Color Swatches window (Window>>Swatches)
- From the Swatches Window Options, Select All Unused Colors and delete them by clicking the small trash can in the lower right hand corner of the window.
- Click/Select the black swatch and Duplicate it from the Options list
- Double click the duplicate Black swatch and make it a Global color and change it’s percentage of Black to 90%. (CMY should all be zero)
- Repeat this duplication process 9 more times. Change the % of Black on each duplicate to be 10 points fewer than before.
- In other words each of the resulting swatches should be a global swatch. There should be individual swatches in increments of 90%, 80%, 70%, 60% and so on down to 10% or Swatches of 10 levels of gray (10%, 20%, 30%… 100% black). If you have done this correctly will be indicated by each swatch having a small white triangle in their lower right corner (indicating global color). You should use a minimum of 6 of these values in your drawing. You can use all ten if you choose.
- Global Colors make it possible for you to fine tune the drawing once you have drawn all the shapes and filled them
- Now make 10 small squares on a separate layer of your drawing. Fill each of them with one of the color values from your Swatch Grayscale ramp.
- You can now drag any of those individual squares over your drawing to see what values belong in each area.
Grayscale Ramp OPTION 2
- Also from the Swatches Window Options, Select Open Swatch Library>>Default Swatches>>Print
- In the window that pops up, Click on the tiny little folder icon that is just to the left of the grayscale colors. This will automatically add those gray swatches to your Swatch Window
- Double click each of the grayscale ramp colors to open them
- Change the color type to Spot Color and change the Color Mode to Grayscale. (you should also notice that the color is now a Global Color). click the OK button
- You should end up with a grayscale “ramp” of 10 swatches. Double click each of the resulting swatches and confirm that each is a global, spot grayscale swatch. You do not need to change the values of these swatches.
- If you have done this correctly it will be indicated by each swatch having a small white triangle in their lower right corner (indicating global color) You should use a minimum of 6 of these values in your drawing. You can use all ten if you choose.
- Global Colors make it possible for you to fine tune the drawing once you have drawn all the shapes and filled them
Notice that if you now REOPEN a swatch info window it will now look slightly different, like the window image below. It will now show three or four sliders, one each for either RGB or CMYK. not just the K or Black slider. Don’t be alarmed by this. It should still indicate that it is a Spot color and a Global color. The confusion of the additional sliders is because of either how the color is being prepared for printing (CMYK) or for on screen (RGB). In either case, notice that the only slider that has any percentage/vale of color associated with it is the K or Black slider. All other sliders (CMY or RGB) should be at zero. Be sure you don’t accidentally add any values to those sliders or you will no longer have a grayscale color swatch.
Pablo Picasso by Andrew Ciminelli
Additional Tip
If your placed image file is either too dark or too light for you to easily see the shadows and highlights in the midrange areas, you may want to return to PhotoShop and further adjust the value range on the image or create a second reference image that has an increased contrast range. This can be especially helpful for you to be able to see shapes on hair for example.
To do this easily, first go to your Links pallet and choose your image. Then from the options select “Edit Original”. This will open the file in PS where you can make adjustments. Save the changes and when you return to Illustrator the file will automatically update in exactly the same spot and size.
If your file opens in Preview instead of PS, you may need to do one additional setup step. From the Desktop select (not open) any JPEG file. Then from the Menu bar>>File select “Get Info” or press command + I keys. Locate the “Open With” option and select Photoshop. Lastly click “change all” to apply this to all future JPEG images. Now, when you do the “Edit Original” step in Illustrator, the placed JPEG will open in PS not in Preview.
Use the eyedropper tool to sample values from the image. You can also create small squares, each filled with the vales from the grayscale ramp you created. Move these over the template image to compare values and help you determine where there are similar values throughout the entire image.
Key Tips for Step II Color “Scanner Darkly” Posterization
GOAL for STEP 2:
The third portrait follows a slightly different, but similar, process than that of the first two drawings you have been working on. This is meant to give you a little experience following a different approach to building a drawing in Illustrator. It is one that is often followed in drawing for animation/film.
PROCESS for STEP 2:
The is a technique that is well represented in the movie “A Scanner Darkly.” Refer to the steps in this link as a reference for achieving the effect. In general, this technique is based on the concept of working from dark to light as you develop or build the values/colors of the image. Dark in this techniques means black lines first, followed by the darkest color, next darkest color and so on till you get the the highlight shapes last. The following are additional tips or updates to the tutorial.
In contrast to the Pen tool, the process of drawing with the Pencil tool mimics that of drawing with a real pen on paper. In reality, the Pencil tool is the exact opposite of the Pen tool. With the Pen tool, you define the anchor points, and Illustrator completes the paths. With the Pencil tool, you draw the path, and Illustrator creates the anchor points for you.
If using the Pencil tool to draw paths sounds a lot easier than creating anchor points with the Pen tool, remember that the mouse isn’t the easiest tool to control when you’re trying to draw. Although the Pencil tool is easier to use to create paths, it’s not as easy to create exact or precise paths with it. However, if you have a pressure-sensitive tablet available, the Pencil tool is a bit easier to control.
For technical drawing and precise illustration work, including logo creation and letterforms, you’ll most likely find that the Pen tool offers the fine control you need. You’ll find the Pencil tool useful when you’re working with creative illustrations, cartoons, and projects that require a more natural feel. Most drawings require you to use both the pen and the pencil tool, alternating between them for reasons of speed (pencil) or fine control/accuracy (pen).
Use the Smooth Tool (option from the Pencil Tool) to selectively simplify or smooth out small parts of an outline. Use the Simplify Object command (found under the Object Menu) to do the same for an entire shape. Double click the pencil tool to bring up these options and reset to look like the settings below. (the options panel in the tutorial is from an older version of Illustrator and looks a little different).
- Fidelity and Smoothness. Available for both the Pencil and Smooth tools, the Fidelity setting determines how close the vector path is drawn in relation to the movement of your mouse or input pen. A lower Fidelity setting results in a path that more closely matches the exact movement of your mouse. A higher Fidelity setting results in a path that is smoother and less jittery but that may not match your stroke exactly. If you’re good with handling the mouse or if you’re using an input pen, you might go with a lower setting. If you have trouble controlling the mouse or pen precisely, you might benefit from a higher Fidelity setting. The Smoothness setting refers to how much smoothing Illustrator applies to paths as you draw them. The higher the Smoothness setting, the fewer anchor points you’ll see on your paths. If you’re looking for more fluid strokes, increasing the Smoothness setting will help.
- Fill new pencil strokes. By default, Illustrator creates paths drawn with the Pencil tool as paths with a stroke but no fill. Selecting this option gives you the ability to choose a fill color and create filled paths as you draw them with the Pencil tool. This setting is available for the Pencil tool only, not for the Smooth tool.
- Keep selected and Edit selected paths. With Illustrator’s default behavior, when you draw a path with the Pencil tool, the path becomes selected as soon as you complete it. You can change this behavior by deselecting the “Keep selected” option. When the “Edit selected paths” option is selected and your pointer is within the specified number of pixels from an existing selected path, Illustrator allows you to modify the selected path by simply drawing over it with the Pencil tool. This can be helpful because it allows you to tweak a path to perfection as you are drawing it, almost as if you were using the Smooth tool. Where this gets in the way, however, is when you intend to draw a new path but inadvertently end up editing a path that is selected instead. This can happen often if you have the “Keep selected” option selected. Many designers prefer to deselect the “Keep selected” option but leave the “Edit selected paths” option selected. This way, if they do need to edit a path, they can Command-click (Ctrl-click) a path to select it; at this point, the “Edit selected paths” option lets them draw over it.
- Option Key Toggles to Smooth Tool. This is a nice convenient and quick way to switch (toggle) back and forth between the pencil and the smooth tools without having to go back and forth to the tool box. When using the Pencil, simply press the Option key to change it to the smooth tool. Releasing the option key changes the tool back to the pencil.
After drawing with black to identify main shapes, you should then proceed with the colored shapes. In general, you want to do this by working from dark to light. Make a separate layer for each color. Be sure to stack the darkest layers on top with succeeding lighter colored layers underneath. Regardless of how many layers/colors you have, make sure the layers are stacked in an order of dark on top to light on the bottom. Make sure to change each of these color swatches to GLOBAL COLOR SWATCHES.
The exception to this is for the hair. If you have black or dark hair, place this layer in the middle of your layers. Then the only layers that go above the hair (black) layer will be the layers for the hair highlights, proceeding dark to light going up. The layers below the hair (black) layer should still proceed dark to light with the lightest on the bottom.
Use the eyedropper to sample colors from your template image. The point is not to sample and use all of the colors, just pick 8–10 of them. After each sample, be sure to drag it to the Swatches Palette. Then double click the color to see its options window. Change from Process to a Spot color and check the Global box. (You will know if you have done this correctly by the white triangle (global) and dot (spot) now showing in the color swatch) In the example below, Green and Yellow swatches have been changed to Global Spot colors, while Blue is still a Process color.
From the Options in the upper right hand corner of the Swatches window, “Select All Unused Colors” and delete them by clicking on the small trash can lower right hand corner of the swatches window.
PRINTING INSTRUCTIONS CAN BE FOUND HERE
Optional STEPS
Gradient Mesh
The purpose of this style optional step is realism. The gradient mesh tool is the single most effective tool in achieving this modeling/chiaroscuro effect. However, combinations of all gradient tools and special brushes are usually necessary to achieve a lifelike 3D form. Your 3 main tools or options for achieving shading in Illustrator are the mesh tool, the blending of two shapes, and the gradient fills. The blended shaded, versions of the morphs below relied heavily on the use of the gradient mesh.
Online tips and tutorials for getting the most from the Gradient MESH TOOL:
- BOOT GRADIENT MESH TUTORIAL
- OVERLAPPING AND JOINING TWO GRADIENT MESH SHAPES
- REALISM TIPS
- PORTRAIT TUTORIAL
- First draw the main contour of the face, excluding hair, ears, beards, etc.
- Change your color palette to Grayscale, not RGB or CMYK
- Create Swatches of the 5 or 6 levels of gray and make those swatches global colors
- Fill the face shape with a 50% gray value. Then lower its transparence (opacity) so that you can see the photographic image underneath.
- Using the gradient mesh tool click once on the location of the main highlight, usually the tip of the nose.
- Adjust the resulting mesh lines so that the vertical one follows the middle of the nose up through the center of the forehead and down through the middle of the lips and chin.
- You may have to delete a shape contour point in order to reposition a mesh contour point. Then add the shape contour point back if necessary, now on the other side of the mesh point.
- Generally, add as few mesh lines as possible. Add them by clicking on an already existing mesh line and on a point where other facial highlights occur, for example on the cheek bones. Adjust the lines as necessary to follow the basic bone structure of the face.
- Add separate shapes for ears, lips, nose eyes on top of the main face mesh.
- Use radial gradients or blended shapes, or gradient meshes on these smaller individual feature shapes to give them dimension.
- Smooth the value between these added features and the main mesh by sampling the values with the eyedropper. Then fine tune by adjusting points, and using feathering.
- Hair and beards, can be created with the watercolor brushes. Adjust weight and color (Value) of the brush shape for the best results.