A_P_TPC_Vol11_2015_

20 TIPS FOR BETTER GRAPHICS & ILLUSTRATIONS

9. COLOUR CONTROL AND SELECTIONS
   Emi Haze (www.emihaze.com) explains how
   Photoshop’s staple tools are essential to good
   illustrations: “I use blending modes – Multiply,
   Overlay, Soft Light – to obtain peculiar effects in the
   combination of different layers and textures, for
   instance the double exposures. The blending allows
   me to combine different elements, colours and
   images in a single work, creating shape and colour
   compositions beyond imagination.
   “Colour is an element of primary importance for
   the final perception of the artwork. Thanks to the

Tex ture:it into surfaces to make things a little more lively I often use the Brush tool with texture and apply

Paintbrush: The Paintbrush is a master tool when it comes

to adding highlights in illustrations

Gradients: The Gradient tool helps me bring depth

and interesting colour shifts in areas that I select

Burn tool: The Burn tool gives the final touches

when giving objects more volume

8. BRING IN
   ELECTRIC COLOURS
   Van Orton (www.vanortondesign.com) is
   comprised of twins Marco and Stefano from Italy,
   working as illustrators and designers. Their work
   is distinctive thanks to their use of electric, popping
   colours, which are retro but utterly modern at the
   same time. How can you add a touch of the
   electric to your own illustrations? You have to go
   back to the Eighties, say the duo. “We are very
   inspired by the graphics and illustrations of the
   Eighties and Nineties. In those years, these electric
   colours were used everywhere. For our work we
   really like to start from two or three main colours
   and add more and fill the palette evenly. Also, the
   use of pattern and texture in pop-art style is critical
   to finish the work.”


9. A DIGITAL ARTIST’S TOP TOOLS
   DIGITAL ARTIST FREDY SANTIAGO SHARES THE TOP FOUR
   TOOLS AND TECHNIQUES THAT MAKE UP HIS IMAGES

application of colour adjustments to every single

layer – like Curves, Levels, Hue/Saturation,

Selective Color – I have complete control over the

colour throughout every phase of my work.

“Finally, I can’t forget the Selection tools. There

are a multitude of techniques to obtain a good

selection: from a bitmap or vector mask, the Color

Range tool, selecting with colour channels or,

especially when working with a [graphics tablet],

the fastest way to be precise is using the Lasso

and Pen tool.”

© Sugar Coated

© Van Orton Design

© Emi Haze