Join Von Glitschka for an in-depth discussion in this video Building a complete linear line illustration, part of Drawing Vector Graphics: Linear Line Illustration.
In the previews movie I showed you how to approach your free style drawn linear artwork in an iconic format, and build it out using some of the same principles I covered in my drawing vector graphics course for Lynda. And I'm going to show you the exact same methods will apply to a more complex linear piece of artwork. So, here's another drawing that I created. This one was inspired by one of my favorite movie critics, Gene Shallet, and he just has such a great personality that I kind of drew off of that, pardon the pun.
And so this is more inspired by photography in essence, even though there's a lot of creative license going on here. Not quite as crazy as his real life hair would be but that's why I wanted to draw it. So we're going to start working on this one in terms of how I approach building a more complex linear illustration like this, and it's using the same principles. Now anywhere where your artwork comes to a point is going to get to a point. So I'm starting with his nose because that's where my linear path starts.
Where it comes to a point gets a point. Now with this curve, the same principle as before with the clockwork method. We'll put a 3 o'clock one. Just pull the Bezier handles far enough to access them. Not far enough to try to form the final shape. We'll worry about that at a stage two process after we get the initial vector paths laid down. So, now we're approaching this curve so this would be a six. Then you have the 12. Go over here to another six.
Where it comes to a point gets a point. This will be a six again. The point gets a point. Same here. And knowing that this is going to curve out this way will eventually pulled a handlebar out here. So that'll form this curve. So we're going to want to put an anchor point right about here, goes to the point. And this shows you how fast it goes on some of this content because, all of the curves will be easily made via the Bézier curves you're going to pull out.
Here's another six, so on and so forth. All the way through the art, I'll lay down my initial vector shape so you can see, right now it's not completely aligning with my underline drawn linear art, but that's okay, you're just after creating what I call a rough build. So if I look at the rough build for this specific piece of artwork here, you can see that this makes up the entire vector path, all these various segments.
And I'm going to now go in and either select the Bézier curve handles that I've just pulled out enough to access them. So if we look at the top of his glasses on the right side here, you can see I have these Bézier handles. So I'm going to pull those out. And now I'll start to finesse my shape so it aligns with the underline drawing. Now, once again, the creative heavy lifting on this style is going to happen in analog, meaning you need to spend the required time to draw it out so you know what you're going to build before you try to build it.
It's always going to come out better that way. So I'll go one and finesse all this curves that are control by a Bézier curve. Now, where it's not controlled like that, for example, we'll go down to its mouth here, we're going to use another approach and that is we're going to back to the anchor point tool, select it, and this is where we can just click right on the path itself and pull it down. Those are easily manipulated that way. And we're controlling their shape and form via this method.
Now, you'll still want to go in and make little adjustments with the Bézier handles that they automatically create once you pull that path out so that you can form and shape it exactly the way you intend it to look. So it's all about just taking your time, going around the whole art work and working it out until you have everything formed and shaped the way you intended. So you can see how that mouth is coming out, and it aligns with my underline drawing, so. My underline drawing is acting like a road map for me to build my vectors on top of, and when you go through all of your artwork like this you're going to end up with a final vector path like this.
And that's what you want. Once you have this, it's all about controlling what size you want the final stroke to be. So if we turn off our sketch now and we go to the stroke and we might pump this up to about three points. And I'm going to cover some detailing tricks later in this course to help guide you as you do this so you can do it well. So you can see how you can control the beefiness of the line, that way very easy, it's just a stroke.
And in the final form, we decide to make it brown and give it a subtle drop shadow. So we're going to be covering a lot of tips and tricks regarding the specific linear aesthetic that pulls off an illustration like this. But the principles that apply to simple apply to the complex, and it all comes down to taking your time and making sure you're doing it well and paying attention to the details.
- Drawing freestyle and photo-based LLIs
- Building simple and more complex illustrations
- Shape building
- Vector welding
- Introducing color, symmetry, and motion in linear drawings