Send a Card to a Friend Day Clip Art
13 ways to meliorate your card art
Even though I started dabbling in how to draw fantasy art as a teen, for a long fourth dimension I never thought of it as any more a hobby. The start decisive footstep on the illustration path was putting my all-time pencils to one side and getting a Wacom tablet. Switching to digital eventually proved to be a game changer for me because information technology solved both the issue of speed and the high cost of fine art materials.
I attended an art schoolhouse, merely constitute that the emphasis was placed on contemporary trends, so I had to learn most of what I know about figurative painting on my own.
Nonetheless, a formal art educational activity gave me a better perspective on technical matters and peradventure created a framework for an efficient learning approach. So the tips in this workshop are an assorted collection of theoretical principles I picked upwardly in schoolhouse, personal observations and advices I found online.
I'm currently illustrating cards for Applibot'south Legend of the Cryptids, a fantasy game for smartphones, so I'one thousand going to employ images I created for the visitor to show how I apply this information in practice and, hopefully, provide some useful insight for those who are interested in producing similar work.
01. Deciding on the composition
At that place are basically two types of composition: dynamic and static. The first is characterised by diagonal lines that add move, while the 2d features strong verticals and horizontals that either help to create a calm atmosphere if horizontals predominate or advise harshness if the verticals are emphasised.
I prefer static compositions, but they tin be a bit dull for fantasy themes. Equally a compromise, I utilize softer diagonal shapes as accents in the foreground. For example, placing objects such equally flowing fabric here and there helps to break up the monotony and develops a pleasing contrast with the background.
02. When to use symmetry
There'due south a time and a place to use bilaterally symmetrical layouts. Indeed, I'd become and so far as to say that this type of composition should exist used sparingly, but it's certainly effective in advisable contexts. Its visual bear upon is loftier because all lines converge and the eye is fatigued towards the centre, so illustrated subject area matter such as book covers or film posters can benefit from it.
Symmetrical poses can brand a grapheme look regal, powerful or heroic. They usually work especially well with characters who have wings and mythological beings in full general, because they remind the viewer of iconic representations.
03. Apply the S-curve principle
This goes back to ancient Greek art and is considered ideal for depicting the human figure. The body should be positioned in a manner that describes an Due south-shaped line, then that the shoulders and the hips are angled differently. The nigh basic pose that uses this principle is contrapposto, where the figure rests all its weight on one leg.
In illustration, this formula can be taken even further, and curves and proportions can be exaggerated or stylised according to your own painting method.
04. Develop focal points
The kickoff thing people notice in a picture are human faces, and then they become natural focal points and should, as such, exist placed carefully. There are several means to accentuate them or shift the involvement towards other areas of the epitome. Ane is manipulating low-cal, such as keeping virtually of the paradigm relatively equally lit and have strong calorie-free hit the area we want to stand up out.
Variation in brush strokes or colours can also be used, rendering the focal point and keeping the remainder of the image rougher and more desaturated.
05. Dramatic light
Interesting lightning can quickly give an paradigm a fantasy look. One of the nearly usually used – and my go-to lightning scheme – comprises a main softer lite and a harsher back lite. This combination is even more hitting if the low-cal sources have complementary colours, just this tin can presently go cheesy if overused!
Another of my favourite fix-ups is a single light source filtered through a window, placed at an bending that suggests the late afternoon sunlight.
06. Framing techniques
Depending on the purpose of an illustration, some limitations can come into play and one of them is framing. My card art is viewed on smartphones, so the characters need to be large enough to discern details and this means sometimes they won't fit into the frame.
There are a few rules of thumb on how to crop figures: don't cut where there are any joints, never cut through the hands (they should be either visible or out of the picture) and, for portraits, avoid cropping the ears or mentum.
07. Detail placement
People organise visual elements in categories and grouping them into larger shapes, based on their proximity to each other. The Gestalt theory of visual perception has derived a series of rules from this premise.
An open area or a barely suggested object will be "autocompleted" by the viewer, equally long every bit its shape is recognised as a whole. This is why it'southward not necessary to smooth every detail or worry virtually perfect edges – just ensure that the main shape is readable from a distance.
08. Make more of the background
In game cards the focus is obviously on the character, but backgrounds and other details add a whole new dimension. You lot can hint at a character's personality through their surround or describe their social status or occupation with various nearby objects.
A scholarly graphic symbol could be surrounded past former tomes and scrolls, a warrior volition expect more menacing with a stormy heaven as a backdrop, and a character could be recognised every bit a witch even without stereotypical costumes, but past decorating her place with alchemical paraphernalia and other mysterious-looking items.
09. Costume design
The greatest challenge I face when designing game cards is coming upward with fresh ideas for costumes, weapons and accessories. I follow various fashion, history and civilization-related sites and blogs, and I salvage the most interesting clothing and armour designs in an inspiration folder.
I occasionally use Alchemy, which generates unpredictable brushtrokes and random shapes, and then I endeavor to find patterns in the resulted paradigm. Costumes can become quite detailed, so to prevent them from looking too monotonous and "crowded", details should be grouped and placed but in a few key places.
Fantasy fine art draws inspiration from historical sources, so ornate armour and weapons are commonplace. When dealing with metal objects, I often block in solid shapes and use the the Bevel and Emboss option (Layer> Layer styles).
This is only to create a quick base to piece of work with and shouldn't exist used as a standalone technique (except perhaps for very small details), because it'll produce an bogus-looking event. As a final touch, I add together a few highlights using a textured brush that's assail Color Dodge mode.
11. Advice for painting pare
Subtle colour variation is crucial for illustrating realistic pare, simply it tin also take a while to blend assuredly. To save time, I've reduced this principle to alternate between the common cold and warm hues that correspond to value zones: if low-cal is warm, so shaded portions are cold and darkest shadows warm again, and vice versa.
The transition line between lite and shadow should exist slightly more than saturated. Peel is slightly translucent, and so vivid light will shine through it, especially in areas with prominent bones and/or less muscles, such as the cheeks or fingers.
12. Colour considerations
In theory, information technology seems simple to choice a colour scheme co-ordinate to the established fine art theory rules, simply achieving realistic results involves more effort than that. You have to keep in heed that an object's colour isn't every bit much adamant past the fashion it'southward pigmented, but decided more by its environment: direct and reverberate light, atmospheric condition, fourth dimension of the day and then on.
On the other hand, values are even more important; washed right and you can get away with less-than- perfect-hues. Complementaries are my customary color scheme, with the warmer colour equally an accent.
13. Beyond fantasy
At that place's no need to limit your concepts at dogmatic sword & sorcery themes; clashing elements that piece of work unexpectedly well together are definitely skillful for fantasy designs, whether the approach is serious or playful.
Too the obvious cross-pollination betwixt fantasy and sci-fi art, other types of imagery, ranging from Renaissance art to make clean 3D looks tin be incorporated into illustrations to varying degrees. Steampunk aesthetics are known to behave well in the mix and classical pin-upward styles are a perfect way to spice up a card graphic symbol.
This article originally appeared in ImagineFX effect 131.
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Source: https://www.creativebloq.com/illustration/13-ways-improve-your-card-art-41619873
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