Computer Arts - UK (2019-06)

out to see them side by side. This comparison

method is another great feature in Illustrator’s

tool box. It makes it easy to gain an overview and

let your eye guide you to the best combinations.

Once all the vector shapes are in place I drag

the whole layer over into Photoshop as a Smart

Object. I then arrange it in the layer stack with

the original sketch to ensure the composition

is going to be in the right place for the cover

package. I then place a new layer at the top of

the stack for the line work.

Using a rough brush I reduce the sketch

layer’s Opacity to a low setting of around 30 per

cent, and on my new layer I start to draw in the

line work for the illustration. The low Opacity

setting means that I can keep the sketch as a

guide for the drawing while retaining a sense of

spontaneity in the line work.

DRAWING OUT DETAILS

I try not to trace the original sketch, but rather

use it as a starting point. In my illustrations I

use line work sparsely, so I try to really weigh up

which elements I want to draw in with the brush.

In areas where I want to try out different choices

I add extra line layers for the different options.

Once I start adding in multiple line layers I go

back to the layer palette and make a folder for

the line work. This ensures that all the line work

stays in the right place in the layer stack. Easy to

find and easy to alter.

MAKING AMENDS

With the line work and vector shapes in place

the bones of the illustration are set. The final

stage for the illustration is to add textures, but

first I send it back to the art director for his

input. Once I start to add texture the layer count

starts to rocket, so it’s much easier to amend

the main elements of the composition first.

The art director feels that the writer in the

background, wearing a light blue jacket, needs

to be larger and holding a book. We go back and

forth with the compositional amends until we’re

both happy with the layout.

As much as I love the flexibility and precision

04 Revealing the
vector frames
demonstrates
how the artist is
able to build up
the image.

05 The final vector

composition is

now ready to be

transferred into

Photoshop for the

refining stage.

06-07 A fresh,

bright palette,

helps to tie the

whole image

together.

08 Next, Wignall

creates the

characters’

line-work in

Photoshop using

a rough brush.

“I like to

introduce

natural textures

and find some

small surprises

in the final look

of my work”

04 07

05

06

WORKSHOP

COMPUTERARTS.CREATIVEBLOQ.COM

JUNE 2019