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Von Glitschka is known for his witty, colorful illustrations, logos, and design work. But how do his drawings make it from refined sketches to polished pieces? This installment of Artist at Work enables you to follow along with Von's coloring and shading process, as he transforms this vector-based graphic in Adobe Illustrator. He starts with a scanned sketch and builds out the basic vector shapes. He then adds shading, highlights, and color—the finishing details that make his illustrations so extraordinary. Von's methods are simple to follow and will help create a new level of depth and richness in your own vector creations.
So the illustration that I'm going to take you through the whole creative process from the first initial anchor point all the way to the final coloring of it, is going to be this dog illustration. A few things I just want to say right up front before I get started, and the first one is. You'll notice there is no plugins over in, the tool bar over here. Normally, when I'm working in my studio, I use a plugin by Astude Graphics called Vector Scribe. And within that plugin, there is a tool, called the Path Scribe tool.
Which allows you to grab A path and just bend it kind of like clay, it's kind of like molding vector clay and I use that all the time. But, for this process I'm going to show you how to build it with nothing more than the core tools existing form Illustrator out of the box. That will slow me down a little bit, not too much but it'll slow me down a little bit. So the plug-in Just allows you to go faster, so, that's why I like it, it makes me a little more efficient with my time. Another thing I want to point out before I begin here is that if you look at my swatches palette right here, you'll see this is my standard issue swatches palette that I have pre-loaded into a files of mine when I begin creating anything regardless of what the project is.
And you can notice that I have a bunch of different types of tonal families. I have browns and flesh tones up here at the top and lighter shades of blue to darker shades of blue, green, red, so on and so forth. I use these within illustration projects all the time. They've been what I consider real world tested and that I've used them in actual print projects. So I've seen how they, come out on the opposite end when they're printed and they work really well. So, those are all going to play a part in helping me decide what colors to use in this illustration.
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