The design process can involve a lot of outsourcing. One's vision may depend on the procurement of something, whether it be a brush, a texture, an object, or a shortcut for the things we creative minds just can't figure out, no matter how hard we try. It's not simple. Much sifting ensues. Deadlines approach. There's something missing in the composition. Well, Creative Market is teeming with solutions, I call it "designer's gold." It's not a one-stop shop for buying your design. It's a one-stop shop for completing your design. For instance, I designed everything but the backdrop for my Seafarer's Pillow Set mockup. It still sells my own patterned pillow, but it markets the product better with the help of a sleek and professional backdrop, one that I did not have the time to put together on my own.
And since lists of design must-haves that other graphic artists put together are a great resource, here's a list of my own. Happy outsourcing!
Here is a great tutorial for converting colors in your work to Pantone Colors. I often find a set of colors and create a palette for a project. This is a perfect set of actions to add to your workflow for professional results. It makes a very simple when a client or printer asks for those numbers when it goes into production.
So I begin with my completed design which for this example is a simple floral design. I always create my elements as symbols which in the long run makes it a snap to adjust colors.
Here is my set of symbols that is used in the design.
Here I have selected all of the elements without expanding the symbols.
With all of them selected I choose "New Color Group" at the bottom of the color palette menu.
Save the color group with a unique name and check the "Selected Artwork" and I also check the "Convert Process to Global" and "Include Swatches for Tints."
This is what your swatches palette looks like with your new color group. When you select the color group you are now given the option to "Edit Color Group" which is at the bottom of the swatches menu. Click it and you will be taken the the "Recolor Artwork" menu.
When this menu opens I make sure the "Recolor Art" is selected and now I am ready to choose the appropriate color book. This particular menu is very powerful and is a great way to try out different color combinations with your completed artwork. That is another tip for another day!
Here is where you make your choice of Pantone Color Books. I chose the PANTONE + CMYK Uncoated for this example and saved my changes.
Now, when I hover over my swatches in my palette you can see that they have all been converted to PMS colors! Wasn't that easy?
Do you regularly work in Photoshop? It is just as easy. If you create a spot color in Illustrator or InDesign just create a small square of that color and copy and paste it into Photoshop. Use the eyedropper tool to click on the color so it now becomes the foreground color. Then click on the foreground color and when you select color libraries it will automatically highlight the closest Pantone color. Nice, huh?
Over seven years ago I made the leap from traditional illustration to digital design. Many times I am asked what methods I utilize in the creation of my illustrated pieces. Today, I will walk you through what has become one of my favorite methods for illustrating digitally. It encompasses three software programs, Adobe Illustrator, Adobe Photoshop and Corel Painter.
This is the final illustration which in its creative entirety utilized a traditional pencil and the three above mentioned software programs.
This is my initial pencil sketch which is hand done and scanned into a digital file.
Here is the next step in the process which entails taking the scanned sketch and placing it into a new Adobe Illustrator file. Next, I create a line drawing with color in mind. Every area that I know will be a different color is place on a different layer.
Now I take each layer and fill it with a base color that I will work with in Corel Painter. It is key to keep the pieces on separate layers with unique names. This is really helpful especially in highly detailed work with many layers. The next step is important for the transition of importing it into Corel Painter. Export the file as an Adobe Photoshop .psd with layers.
Now it is time to open the layered .psd file in Corel Painter.
And then the fun begins. It is a tedious process which entails creating custom brushes to suite the subject matter and style. Then it is all about "painting" each layer to achieve the desired texture and detail. Once the piece is completed it can be exported in any number of formats.
One trick I have learned is how to create a Corel Painter file where the end result is a transparent background. If I just wanted to use the image of the giraffe from the final version of this illustration I would export the Painter file as a layered .psd. I open it in Photoshop and eliminate all of the layers I don't want to use and leave a transparent background. Once again I re-save it as a new .psd file and then I am able to place it into an AI file that utilizes a totally different background.
I have never looked back when it comes to making the leap into digital design. In the beginning I spent many hours on www.lynda.com viewing learning videos. It was well worth the time and effort. I would have to say that my steepest learning curve in the process was Corel Painter. In the end the combination of using these three programs has served a great purpose. After all, this particular workflow has provided a great foundation for the creation of our dogs from the Barkley & Wagz collection of wall art.