If You Can't Meet 'Em, Make 'Em!

PROCESS AND TECHNIQUE

Okay, since it comes up from time to time, I've decided to throw together a couple of pages about my Illustrator technique. This is more or less the same process I use for all of my Illustrator pieces--it's all pretty standard stuff, actually. In fact, apart from the blurred objects (and seeing it in color), I don't think there's anything going on in these files that I couldn't have done way back in Illustrator 88 (yes, I've been using it that long). For the record, I'm currently using AI10 on a G4 867 Macintosh, running OS X Jaguar.

Anyway, here's an overview of the techniques I used for Amelinda. I start with a 13x13 inch canvas (since I know I'm going to be outputting to 13x19 watercolor paper, and trimming it). Image-wise, in Amy's case, I start with the face, since that's very much the focus of her character and this portrait. There are probably more sophisticated ways of going about this, but I find it works for me to just start laying in lines, as though I were drawing the face. Great thing about Illustrator is the ability to change or delete things until they're juuust right. I redid her facial lines more times than I like to think about.

But you can see, below, that the shapes themselves are pretty simple. Just using the Pen tool to create lines and fills. I set the transparency mode to Multiply and the opacity to 50% or so, so I can build up tone in the same color with successive overlapping shapes.

Eyes are added the same way (on a new layer, because I know I'll need to adjust the shape and I don't want the facial lines being selected by mistake).

Amy looks a little crazed without eye hilights, so I add those (this time set to Normal, but at 70% or so opacity). Ah, much better.

Just to show the underlying structure, here.

So, now we pull back to sketch in the hair and other details. Remember that I'm constantly adding and deleting lines until it builds up in just the right way. There's a generous liberty taken with expressive details like this and I go "off model" at will to get across the right expression and attitude. The whole idea is to make it look as spontaneous as possible while holding the solid, unmistakable character of the actual person. Some portraits survive a lot of sketchy extra lines, and others it just detracts from. In this sense, this is more of a graphic design discipline than and illustrative one, really. Anyway, at some point, I'll decide I'm pretty happy with the hair and stuff.

So, I add some background color. This is mostly to provide some tonal middle ground to push in shadows and pull out hilights. You notice there that the shading is all sharp, solid shapes. We'll blur these in a minute.

So, she needed some lighter areas and an overall softening of the shading. These changes in tone help create dimension and focus attention where I want it--namely on her killer smile and beautiful eyes. Add a digital signature, and here we are. Usually I will put a piece away for a day or two before changing and adding last-minute details. This one sat overnight and I wrapped it up in the morning. This extra time helps me gain a new perspective on it the next time I see it. Interestingly, as I get more comfortable with this, the amount of time needed keeps getting less and less. Encouraging! :-)

Even after blurring the shading elements, Illustrator still sees them as shapes and fills and effects. Well, I hope you enjoyed this little trip through Scruffy-land. Or, better yet, I hope you find it useful and helpful somehow.

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