(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:

• Illustrator Tools
• Scanner Darkly
• GIF Animation
• Assignment related Zoom video 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.

---

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

Choose either your Grayscale or your Color posterization to print. (after everyone has had a chance to print you may also return and print your second image).

On the file you have chosen to print you want to follow the following steps:

• from Top Menu>>File>>Save As> add the word PRINT to the title 
• From Swatches Window Options (upper right hand corner of the Swatches window) >>Select All Unused>>Click Trash Can
• From Layers Window Unlock all layers and delete the template layer and its image
• From Layers Window Options>>Flatten Image
• From Top Menu File>>Document Color Mode>>RGB
• From Top Menu Edit>>Assign Color Profile>> Change ARTBoard to 11 x 14 size
• Select All parts of your drawing and Group
• Rotate the drawing 90 degrees (double click on the rotation tool and type in 90)
• Fit to new ARTBoard
• Save
• Print

 

 

 

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.

---

Step III—Combine files and Typography

Goals for this Step

• Create a unified Composition
• Integrate the typography with the entire composition
• Choose meaningful quotes where the words have a relationship/meaning to one another.

Process 

• Once you have completed both drawings:
• Do “Save As” for the self-portrait, Scanner Darkly drawing and name it “2 portraits.”
  • Resize the artboard to a 12 x 18 inch horizontal layout (artboard) (show rulers, guides, artboard tool)
  • Group each drawing (command + G)
  • Copy and Paste Step 1 into the Step 2 file (command + C, Command + V) and immediately rename it by using the “Save As” command.  
• Resize images and do final tweaks on each so they work together compositionally.
• Add a background. This could think of this as a “setting” or it could be because of the way the three images connect with one another or it could be a stylistic reference, graphic novel look, expressionism, graffiti, etc. Crop in on the group to create a more dynamic composition.
• Find a quotation from your famous person. 
• Create a quotation for yourself based on the wording and sentiment of the first. It should have something in common with the first quote, similar words, similar topic, etc.—same topic.Imagine if both of you were together having a conversation. Your quote is essentially what you might say in that conversation.
• Arrange the typography of each quote so that they integrate with the images. Choice of typeface, placement, size, etc. are prime influences on doing this successfully.
• Create bleed area (main menu»
  • Document Setup»bleed».125″)
• extend (bleed) all image parts that go to edges of your paper out to the red line (bleed area surrounding the artboard)
• Save As, again and name “Final print + your name”
• Be sure to make a backup copy of this file

SAVE YOUR FILE AS A PDF AND UPLOAD TO THE CANVAS ASSIGNMENT PAGE

---

Time to Print!

WHEN READY TO PRINT

• Select all unused colors from the Swatches window options  and delete them.
• Flatten all layers
• Select all type and convert to outlines
• ”Save As“ with a new name but one that is related to your original file name.
• Create a BLEED area for your file Menu>>Document Setup
• 
• Follow all the steps  for Printing that we used on the previous assignment (see below)
• You are printing a 12 x 18 inch file to a piece of paper that is 13 x 19 inches so…
• In the main Print window, select TRIM MARKS
• Depending on what setting you used on the previous assignment (Perceptual, Absolute Colormetric, Saturation or Relative Colormetric) choose either the same setting or choose a different one to compare the color results.
• check the “preserve RGB #’s” box from the Color Management options in the main Print window.

Color Management

Detailed Steps for Printing to the Epson Printers

• Quickstart Instructions for printing to the Department Epson Printers:
• WHEN READY TO PRINT
  • Flatten layers (option found in the layers window)
  • Select and Delete all unused colors (found under the Options of the Color Swatches window)
  • Convert all type to outlines (found under “Type” from the main menu)
  • Select all unused colors from the Swatches window options  and delete them.
  • ”Save As“ with a new name but one that is related to your original file name.
  • When you get to the Print stage you will also select “Perceptual” and check the “preserve RGB #’s” box from the Color Management options in the main Print window.
  • Flatten all design layers and turn off the Guides and Grid layers. (option found in the layers window)
  • Convert all type to outlines (found under “Type” from the main menu)
  • Create bleed area (main menu»Document Setup»bleed».125″)
  • Extend (bleed) all image parts that go to edges of your paper out to the red line (bleed area surrounding the artboard)
  • Confirm once again that the Document Color mode is RGB (main menu »Document Color Mode»RGB)
  • All images imported from PhotoShop or your camera should already be in the RGB format. Confirm this however before importing to Illustrator. Your Illustrator file should be saved in RGB color space not CMYK. (normally, for commercial printing this setting would the opposite and instead be CMYK) File >> Document Color Mode >> RGB Acrobat
  • If you decide to print from Acrobat instead of Illustrator:
    • save your file as a PDF, making sure to change the default PDF setting for export. Change the setting to be High Quality Print instead of the default.

  Success with printing, regardless of printer or paper type always requires a proper match between paper type, color profile (ICC Color Profile), size of document relative to the size of paper, and color management by the software NOT the printer.

  ON THE PRINTER PANEL

• • Select Single (Cut) Sheet Icon (not roll Paper)
  • Confirm that Matte Black ink is being used (lower right-hand corner of Printer window.
  • Menu Button
    • Paper>>Paper Type>>Matte Paper>>Enhanced Matte

FROM ILLUSTRATOR

• • Change Document Color mode to RGB (main menu »Document Color Mode»RGB)

FROM ILLUSTRATOR”S PRINT BUTTON

• • File Menu >> Print >>
    • Page Set-Up Button
      • Format >> Epson StureColor P5000
      • Paper Size >> select your paper size
        • (Super A3/B is 13 x 19 Sheet Borders)
          it is the bottom choice
        • (Manage Custom Sizes to add a size that is not showing there)
    • Set-Up Button
      • Show Details button to reveal all the available options
      • Color Matching >> Color Sync>>SC-P5000_Series_LLK EnhancedMattePaper_MK
        Your Goal is to match your specific type of paper to your specific printer with the type of black ink your printer is using. (MK=Matte Black Ink)
    • Printer Settings
      • page setup
        • Sheet, Borders Maximum
      • paper source
        • Manual or Cassette (depends on where you are loading the paper)
          Place print side of paper face down when loading to the cassette
          place print side of paper towards you when loading to manual feed
      • media type
        • Matte Paper
          • Enhanced Matte Paper
          • Matte Black Ink
      • output resolution
        • SuperPhoto—2880 dpi
          • Super Microweave
          • uncheck high speed
          • Finest Detail

• • • • Print Button
    • Main Print Window
      • General
        • 1 copy
        • Do Not scale
        • Center Placement
      • Marks and Bleeds
        • Trim Marks
      • Color Management
        • Color Handeling
          • Let Illustrator determine colors
        • Printer Profile
          • SC-P5000_series EnhancedMattePaper_MK
        • Rendering Intent
          • Pick one and remember your choice
      • PRINT BUTTON

---

• Detailed/Specific Instructions for printing to the Department Epson Printers:
  • Printing to lab inkjet printers from Adobe Illustrator
  • Digital Printing to the Epson and Ricoh Printers
  • Digital Printing Step-by-Step—Epson
  • Digital Printing Step-by-Step—Ricoh

  For the Epson 5000 be sure to do the following:

  • Use ISO numbers when specifying  paper size. For example, select Super A3/B (Sheet) as the paper size for 13 x 19 inch paper. 
  • If printing 12 x 18 images with bleeds to Super A3B paper (sheet), select “fit to page” under the General Print settings to print all trim marks.

---

Beyond Printing

To be able to complete this part of the assignment you MUST have your colors saved as GLOBAL swatches. If you failed to do this, you must do it now before proceeding.

• GIF Animation

---

Below are various examples of portraits completed in some sort of posterized style. they are meant to give you some ideas about color or composition or style. They are not meant as literal examples of this assignment.

---