For my magazine illustration, I am creating a digital painting of my dad, who I am using as the chef Dan Lovell-Bray. For the digital painting, I first began drawing the outline for where the skin is, in this outline I also drew details within the skin such as where veins are, so when I begin to do the painting I know where areas need to stand out. I then began using the colour picker tool, to select the colours from within the photo I was using. I would draw above where the colours are. Once I had created the base colours for my painting, I used the filter blur tool to blur the colours together. This resulted in it being easier for me to then work on. After being blurred together I used the mixer tool, within the paint brush options to start blending further and creating details. After I had finished creating the painting I used the outside of the original drawing to remove where the painting had gone outside the guide. This resulted in smooth and clean edges. For the nose area I had to create this on another layer so when mixed together the nose wouldn’t blend on the left side, creating a face with dimension.
A failure while producing this work was creating the dimension within the face, as my first try left the nose mixing with the rest of the skin, and therefore disappearing. To overcome this issue I decided to create the nose illustration on a different layer and pick colours from the painting to make the nose feel attached to the right side. This resulted in creating a realistic illustration.
I decided to use a digital painting process as I want to create a realistic illustration, if I were to use arcylic paint to create the illustration it would be more time consuming and the colours, and blending wouldn’t be as smooth and as real as I wouldn’t be able to pick up the colour from the photograph.
The quality of this illustration at this point is good. It needs improving in realism, but this will be created once more elements are added such as hair and clothing.
To create the clothing within the illustration I decided to go for a flat, pop art style drawing. To do this I began drawing there the t-shirt is with a blue paintbrush. I used a bright blue colour as visually once my illustration is finished it will look exciting within the piece, but the blue also allowed me to see where I had already drawn. After making sure I had created the correct shape for the top. I then decided that I wanted to add texture to the top as a flat top looked odd against the detailed painting. I created the texture by using the paint brush tool and drawing were the highlights, and shadows are. I used the mixer tool to abstract the lines and make them more energetic. I changed the colour of the top to a darker blue and put the textured top on a layer style so once overlayed created a vibrant textured purple top. I carried on with this process with the apron and its drawstring but decided to keep this as a flat illustration.
Creating the texture of the tshirt is working successfully while producing this illustration, this is down to the style and type of paint bursh used. The colours also are working successfully as they are creating, this light, airy but bold top which is helping me create emotions of crazy cooking.
Creating the correct shapes within the texture has been a struggle during the production of this piece as I was finding it hard to place the shadows and highlights, but I managed to overcome this by adjusting areas which didn’t work – either by transforming them, or repainting them.
Looking at Avid Granov’s Iron Man Concept Art illustration influenced my work, as they have created texture, light and shadows within their illustration by using various photoshop functions. They also used digital painting which allowed them to constantly re-adjust and imporove their illustration. I could use Avid Cranov’s illustration to influence my work even more, by looking at how I could use a background to enhance the illustration.
I began adding more details within my illustration by creating the hair. To do this I started off with a bright pink colour – this so I could see where I was drawing. I used a round circle brush with the pressure brush presets on, so the opacity would change depending on my pressure and so would the size, allowing me to create realistic hair. After using various brush sizes to create the layers and thickness of the hair, I used the hue and saturation to change the hair to different shades of browns and blacks. I also began creating the eyelid details. To do this I drew a faint black line which I then blended into the face, this to make it look natural. I then created eyelashes by drawing small think black lines off the eyelid.
Creating the eyelids and eyelashes were a failure within the production of the work as they weren’t looking realistic, and were too prominent within the illustration. To fix this issue I decided to not use as thick, dark and long lines – making the eyelashes subtle within the illustration.
Creating the hair was a success within this illustration as I managed to make it appear natural and full, to do this I duplicated the layer and had them all slightly different colours, this meaning in areas the lightest browns were able to come through the dark brown.
The quality of this illustration is of a good standard, and would be something I would expect to see as a perfessional illustration. Areas which could be improved more would be to add more texture to the skin, such as moles, and where veins are, I would also add the slight hairs to where the arms are. This would result in me creating an extremely high quality illustration but due to the size of the illustration and where this illustration would be sat on the spread the hairs and smaller details wouldn’t be seen.
To produce this illustration I began by drawing the outline of the pan so I could create the flat shapes I need to work on to. After creating the outline I filled in the shapes with bold colours of blue and purple. I did this as I want the pan to look different, crazy, not something you would expect to see. I then began the shading for the inside of the pan, this is to make it look realistic. To do this I used a large soft brush and used dark blues and vibrant blues which contrasted from the sky blue used for the flat colour. I used the mixer brush tool to mix the colours together. After being happy with how the colours were mixed together I erased where the colour wasn’t needed using the selection tool on the pan drawing layer and removing it on the shading layer.
Creating the shadows and textures within the pan has worked successfully while producing this illustration. The curve around the inside of the pan creating dimension within them. What wasn’t as successful while producing this illustration is the colours. They don’t compliment the rest of the illustration. I will use the hue and saturation tool to adjust the colours to make them work within the illustration.
I originally had decided that I was going to have the human illustration appear to be rasing their arm, and each time the arm moved the utensil would change. I decided to not do this as practically would take too much time to create various arm paintings, but also creatively would become extremely messy.
Looking at the work of Jing Zhang has influenced this work, as they used bold colours to compliment and contrast from different elements. They also have created extremely realistic illustrations which I have been aiming to do throughout the whole of this project.
I decided I didn’t like how the blue worked with the illustration so used hue and saturation to make the pan oranges and corals. Doing this has worked successfully as it compliments the drawstring in the apron. I then drew with a yellowish orange spirals coming from the pan. These lines will be suggesting the direction of the ingredients which will appear to be flying from the pan.
I am using oranges to compliment the purples within the illustration. I am also using orange due to the emotions or excitement and energy conveyed. This is allowing the illustration to evoke craziness.
I used my research into WHY NOT JAMES’ illustration for inspiration with the bold colours. In their illustration they used a flat red with bold colours on top to create a striking illustration.
Currently my illustration is slowly meeting the brief. The use of colours and the line work are evoking the chefs crazy style of cooking, but the lack of text means it isn’t a double page interview spread at the moment. I need to do more work to my illustration for it to meet the breif.
I created my avocado illustration in a similar style to how I made the digital painting, but to create the skin of the avocado I used a stroke effect to the illustration this giving the whole shape a 4pt green stroke. I then began adding all my ingredient illustrations into the work, transforming them horozontally or vertically, and in size. After doing this I placed them onto the line work.
The positioning of the ingredients and the angles which they are placed are working well to create a balanced, and visually appealing illustration.
I created watercolour and ink illustrations of chillis and aubergines. These I scanned in and did the same as my digital illustrations and placed them along the line work. After doing this in the background I decided to create a faint pattern of the ingredients. To do this I gathered the illustrations together, merged them as one, duplicated them and reflected this layer. Doing this created a repeating pattern. I then chaged the fill to 40% and started erasing areas which didn’t compliment the shape within the foreground.
The use of different textures and colours from the background v the foreground is working successfully in creating a dramatic illustration. They use of watercolour and ink is also working successfully in giving the illustration different textures, as just digital illustration can lead to smooth and flat textures, which isn’t exciting.
Composition wise I have found it chanelleging to decided where the background elements should go, as I don’t want to distract from the main illustration. I had begun with the pattern of food covering the whole spread, but decided this was too much, and too distracting. I then decided to minamize the pattern and remove some of the illustrations so it would compliment the line movement within the main illustration. This worked successfully within the illustration and was a good improvement.
I decided that the background needed texture as when looking at the illustration without a background it appeared flat, but also boring – not conveying the crazy style of cooking. This was a good creative decision I made, and has excelled my illustration.
I am using bold, vibrant and contrasting colours to create an exciting illustration. Using bold colours gives your eyes many areas to look at.
The use of mixed media was influenced from the work of Julie Notarianni and Holly Exley. They both use watercolour and ink within their illustrations, for a stylish affect. In Notarianni’s illustration chillis have been created using vibrant inks which I thought worked extremely well in drawing attention on the page – so within my illustrations I decided to use bright pink ink to bring it to life. Within Holly Exley’s illustration she uses watercolour to create illustrations that depict the tones and textures within the food. This is what I aimed to do within my illustrations.
I also used influences from Isabel Arenas magazine illustration. She has used layer effects to overlay drawings and colours to create a dramatic illustration. I decided to use this effect within the background of my illustration. I also did this within the top details.
The quality of my illustration is extrmely high. This is down to the effort, and thought put into the colours used and the style of illustration.
I downloaded handwritten typefaces from dafont to use within my illustration. I wanted to use a handwritten style typeface as this would make the illustration feel more personal, less informal, and be suitable for an interview magazine spread. After finding the typeface I was going to use for the title, I wrote Dan Lovell-Bray in a grey colour. I used grey as I haven’t used black within my illustration and feel using black for the typography would stand out too much. I then copied the type and changed it to a yellow colour. This I positioned behind the grey text and moved slight down and to the left. Doing this created a shadow style to the text. I then changed it’s opacity to 50% so it wasn’t as bold. I decided to use Times New Roman as the second typeface so it would contrast from the hand written style title. I positioned the text Interview with: just above Dan, with the middle of the text being aligned to the D.
Deciding on the composition and the placement of text was a failure while producing the work, as I wanted the illustration to appear more creative, out of the ordinary and protray the life style and cooking style of the chef, over having a traditional magazine spread layout. I decided having the type fit in between the negative space of the illustration would work successfully, as it would feel as one, and not two elements placed together.
Looking at the work of Natalya Zahn influenced my choice in using different typefaces, as within her illustration she used an array of different type faces, and styles to create an interesting composition between illustration and text. This is why I decided to use a handwritten style, decorative type face for the title, with the clean and neat Times New Roman for the rest of the writing within the illustration.
Currently this illustration isn’t fully meeting the breif as it needs more writing to become a double page interview spread.
To make my illustration suitable as a double page spread interview illustration, therefore fulfilling the brief I put text at the bottom of post sides of the illustration. I made sure there was a bored between the text and the illustrations so it was clear and easy to read.
I used my research into Holly Exley’s illustration for Acquired Taste Magazine to influence where the text will be placed. Having the text at the bottom of the magazine spread means that your eyes move down the page, allowing you to take in the illustration, and then read.
This illustration fulfills the brief with it being a double page interview spread, a magazine illustration, using various mediums and evoking the crezy style of cooking Dan Lovell-Bray has.