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Meditation, Motivation and Manifestation are the 3Ms that Lovely Kukreja, relies on while illustrating. Taking us on step-by-step approach through his painting Goddess Durga, he explains the basic guidelines that play a pivotal role in the final outcome.

Meditation

Nowhere related to the spiritual practice, meditation, here is the thought process, creative thinking before starting any project.

Step 1

Great ideas start as random scribbles (thumbnails, rough drawings and armatures). This will help in deciding the posture angle and composition. While doing these initial sketches, it’s important to mull over the subject aka meditate to set the mood; the vital areas to focus on to bring in freshness.

Step 2

Once satisfied with the sketch of Goddess Durga, start blocking tones in the grey-scale mode with the basic air-brush. You don’t really have to go fancy by trying several textured brushes. Just do the basic block-in while keeping the area to be focused well-lit.

Step 3

Convert your painting to RGB mode and start adding colours on a layer overlaid on it. Choose colour palette as per the theme. For the Goddess Durga painting here, I chose the unsaturated soft shades. Close your eyes and try to see the picture you have in your thoughts.

Tip

Stay away from textured brushes as it may blur the edges of your drawing.

Motivation

Never search for style, but study. This is where research comes into the picture; the motivation gained from creative intuition, studies and reference materials. At this stage, it is important to collect facts about the subject of creation.

Step 4

Once the basic look and the feel of the painting is established, bringing the volume on each object can begin with the direction of light decided in the very beginning. At this stage, it is important to collect facts about the subject of creation.

Step 5

Detailing the elements e.g. water, foliage, trees and grass. Motivation is the key, to paint better with each stroke passing.

Step 6

Now it’s time to break the barriers and go beyond the sketch. After deciding the intricate details (cloth texture, ornaments, fur and hair), paint over the sketch on a new layer with free-hand for each subject.

Tip

If you are in process of learning to paint, try not to use any image.

Manifestation

It finally boils down to manifesting all the effort, knowledge and studies into strokes of brush applied. This is when you bring ideas to life. Those final touches, elaborating it with all those tiny details is vital to make it your personal piece of work.

Step 7

The working area is closed and fine details are added to each object after thorough research.

Step 8

Tonal values, sharpness and colour balance is adjusted.

Tip

Stay away from textured brushes as it may blur the edges of your drawing.

Step 9

Adding foreground elements gives a sense of depth to the scene. Elements like foliage, leaves and any life-full character create liveliness.

Tip

I suggest you to always keep the subject close to its originality. You are allowed to bring freshness while you keeping it intact within logical boundaries.

Issue 40-Motion Graphics Special

Published in Issue 40

We all have favourite TV shows and we passionately discuss the stories and characters of it. But sometimes, we tend to ignore the channel and its branding. Now with many different channels to choose from, we are experiencing many new branding overhauls to grab the audience’s attention. In this issue, we focused on Motion Graphics design and people behind some awesome channel rebrandings. If you are interested in moving design or animated content then this issue is a must-read for you! So go ahead and order your copy or subscribe if you want to keep receiving your regular dose of inspirations!

 

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Creative Gaga - Issue 52

 

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Even with the conquest of digital technology in every realm of life, something is best enjoyed the traditional way. A portrait, for instance. Pencil artist Aakash Ramesh sticks to the old style and sketches out the realistic portrait of a popular personality. He shares the steps of the process.

Step 1 – Papers and References

Selected a good plain sheet of sketching paper. Placed the smoother side of the sheet over a plane. Chose the best reference picture with good shades and lightings. Took a print out of the reference picture in an A4 sheet by scaling it to the size planned. Grid the reference picture with a 2H pencil to avoid darker impressions, at the dimension of a 1-inch scale as shown.

Step 2 – Outline

Used the grid lines to fix the position of each element of the portrait falling into the perfect size while sketching the outline. Made the outline of the portrait with an HB pencil, which was lighter and could be erased and corrected at any point in time. Once the outline was finished, took up detailing using the shades of 2B and 4B pencils. To have a good start with the detailing, as a practice, always begin with the eyes as they are the most important factor and an element of a portrait.

Step 3 – Eyes

Used ‘Paper stumps’ or ‘Paper Tortillions’ to smudge the darker parts of the eyes as the character in the portrait had used darker eye cosmetics. The reflections of the eyes are very important as they make the eyes look real. Sketched the eyelashes individually and smudged it using the stumps. Made the shades below the eyes subtle so that the pencil strokes would not be visible. Took up the eyebrows and made them sharp at the edges as per the reference. It’s advisable to use a dusting bristle brush to wipe off all the pencil powders around the portrait in order to produce a quality output without messing it.

Step 4 – Nose

Used the stumps instead of the darker pencil strokes to detail the nose. It was the only projected part of a portrait and the shades should have been very subtle so avoided darker lines.

Cheeks, Lips and Skin

For this particular portrait, there were several shades required to create the cheeks, like in the reference picture. The character in the reference had a smile. To get the skin texture, used the ‘tissue papers’ for smudging the pencils strokes made over the side portions of the face. Gently rubbed the sketching sheet with the tissue paper so that the strokes smudged and smoother shades appeared.

 

Be careful to have no patches or dark shades while smudging with tissue papers, especially of your own fingerprints. Lip lines had to be darker while the shades were to be lighter by smudging. After finishing the shades in the lip, gave details to the texture of the lips with gentle strokes, using the 2B pencil.

Step 5 – Hair

Hair was the trickiest part of this portrait. The reference picture showed how darker and the deeper the shades of the hair were. Every hair had to be shown in detail to make it look realistic. At the beginning, strokes had to be made with the flow of the hair from the root of it because only by this an illusion of creating the hair with perfect shades could be attained. Made sure not to shade at the parts where it had to shine or glow.

 

Used various pencils to show the depth of the flow. Used 4B and 6B pencils, had them sharpened and made gentle and firm strokes. Took care not to make an impression on the paper by not giving it a harder press. Details that were required to make the hair look real were also making all the single hair look separated. This would make the hair to wave through the air.

Step 6 – Detailing

The final objects of the portrait would be the neck and the dress. The texture of the dress used in the reference picture varied due to the lighting. So used different pencils to show the difference in the shades. Strokes should not be visible as they would make the portrait look messy. Smudged the strokes until the texture cloth was created. Kept it gentle as there were chances of damaging the sheet due to over smudging.

Step 7 – Finalising

Used the ‘kneaded eraser’ to show the highlighted regions of the portrait. There was a small reflection of the lighting near the right cheeks. Used the kneaded eraser gently to wipe out the shades and make it look like a glow. Took off all the grid lines from the sheet as a last step. Erased all the unwanted shades around the portrait. Arrived at the final image.

Published in Issue 17

We tried to capture the time of chaos and confusion we all are in. How it inspires and influences creative thoughts. Starting with the cover design by Ankur Singh Patar, who captures the duality in the way we treat women. Followed by a conversation with Italian illustrator Giulio Iurissevich who explores beauty behind this chaos. And many more inspirational articles to explore.

 

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Creative Gaga - Issue 52

 

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Women, the kind around us, represent two faces of existence. One, which is treated like a commodity, shackled in the age old misdoings of the tradition. And the other which is breaking all boundaries to follow the dreams of freedom. Digital artist Ankur Singh Patar chronicles this duality in his artwork and explains the process of creation.

Artwork

Step 01

Drew a row sketch to get an idea of how the artwork would be. Created rough lines to get a feel.

Step 02

Added a background colour to decide on the skin tone of the woman. This would act as a base colour for the whole illustration. Also added more details in the face with a soft brush, taking care of the highlights and shadows.

Artwork

Step 03

With the help of a pen tool, created the lines and gave them little bit of shadow. With the help of big soft round brush added some softness and some more highlights and shadows to give depth to the portrait.

Step 04

To add more details in the artwork, changed the shape of the lips slightly. Also added a texture to the whole portrait, giving it a rustic feel.

Artwork

Step 05

While on the go, decided to change the illustration for good. On the canvas made the woman portrait smaller so that some more area could be achieved around her to play with. Took the help of slightly harder round brush to made these swirl shapes around her face.

Artwork

Step 06

Added more details around the portrait with the help of thin soft round brush. It’s all about highlights and shadows which add the depth and drama.

Artwork

Step 07

On Adobe Illustrator created a few abstract 3D shapes. Imported the shapes to Photoshop and with the help of dodge and burn tools, added the highlights. Wanted to give it a glow effect which was achieved through dodge tool.

Artwork

Step 8

Used some stock imagery and some more abstract edgy elements. Adjusted the colours and saturation to mix it with the illustration. Also adjusted the light source by painting the areas of the dome to the ambience.

For a portrait, it’s all about highlights and shadows, which add the depth and drama to it.

Artwork

Step 9

Created some more element and placed on top left of the canvas to make the composition complete and add meaning to it. For the eyes, added two earthen lamps to make it look like a reflection of light and to add life to the illustration.

Artwork

Step 10

Keeping with the idea of festivals, added those flags. Used a pen tool to create a triangle, filled it with a colour, reshaped it with warp tool and used dodge and burn tool to add depth to them. More depth was needed to the gate. So with a hard round brush added that.

Step 11

Painted the bricks on the face with the help of med-soft brush.

Step 12

To achieve the concept of two faces in one, half of it was broken with top skin removed and bricks inside. The other one was outer part or the body which was beautiful and flawless but underneath was all broken. Painted ornamental elements to make it look royal. Also added more colour and contrast into the whole illustration. More elements, like the abstract sharp edgy depicting a heart and a gear and queen in chess were added.

Step 13

Added gears underneath the bricks layer which depicted that part of our society which consider women as mere objects. Made the gears in Illustrator and imported them to Photoshop. Using a brush highlighted the areas where light might be falling and then added shadows. More things were needed to make the message clear. One of them was freedom, depicted by open wings. So, added couple of wings and painted the areas to mix them with the surrounding environment.

Step 14

Lastly, added some contrast and some more texture. Texture always helps in giving your illustrations some depth. Added some more flags at the top to complete the illustration. Achieved the final artwork.

Published in Issue 17

We tried to capture the time of chaos and confusion we all are in. How it inspires and influences creative thoughts. Starting with the cover design by Ankur Singh Patar, who captures the duality in the way we treat women. Followed by a conversation with Italian illustrator Giulio Iurissevich who explores beauty behind this chaos. And many more inspirational articles to explore.

 

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Creative Gaga - Issue 52

 

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Art is all about materialising your expressions. Vishnu PR takes us through his tutorial of how he transforms the expressions in his mind or even the expressions visible in a piece of art into his style and statement by creating a digital portrait.

Creating from imagination and references is one thing, adding your personal touch to these references and imaginative thinking completely changes the structure of the artwork for the good, defining the artists’ style.

 

For the creation of a portrait, inspired from an oil painting, in his own style, Vishnu has represented his personal touch in various forms of detailing like managing the light, shadow and highlights and addition of textures in just the right amount.

 

Follow the step by step guidance to know the secrets of making a digital portrait look real and surprise yourself with your own creation.

Make a Digital Portrait

Step 1

Start by making an outline of the image that you want to create.

Make a Digital Portrait

Step 2

A suitable base colour needs to be added to the created outline. Base colour is an important factor to create a digital art or portrait.

Make a Digital Portrait

Step 3

The next step is to add different tones of colours in order to achieve the desired light and shadow effects. To give the skin a realistic look, use texture brushes to create a textured effect on the skin.

Make a Digital Portrait

Step 4

In your mind, divide the picture into multiple parts and start by detailing out one part of the picture at a time. This organisation helps in a clear analysation of what exactly needs to be done next and is a smooth way of developing the picture.

Make a Digital Portrait

Step 5

Then comes the time to adjust the levels of light, shade and highlights. This will take the picture art a step closer to the actual image.

Make a Digital Portrait

Step 6

The fixing of lights and shades is followed by the addition of textures. The more accurately the textures are added, the more detailed will the outcome be.

Make a Digital Portrait

Step 7

The textures add depth to the portrait. This is then followed by the detailing of the face and its parts like the eyes, nose, lips, etc.

Make a Digital Portrait

Step 8

Now focusing on the hair and detailing it out to perfection. But always keep in mind that doing the hair is time-consuming and requires a lot of concentration.

Make a Digital Portrait

Step 9

Finishing up the hair gets us very close to the finished portrait. Make sure that all different parts are detailed out in the proper manner and in the right amount of detail. As a mistake, as small as that of placing a strand of hair at the wrong place can disturb the portrait.

Make a Digital Portrait

Step 10

The final steps to finish up the portrait include last-minute touch-ups and detailing.
The amount of time put into creating a portrait is directly proportional to the outcome! This painting in particular was done by Vishnu in about 15 hours.

It is not easy for an artist to explain all the details and steps required through just a few words! Every step described above is needed to make it look the way it looks. Missing out on even one step can change the final result.

Published in Issue 43

With the changing weather comes the season of Interns, with fresh new energy everywhere and your talented creatives wanting to test their skills and knowledge in the real world of live creative briefs and super creative professional environment.
This issue is a must-read for internees and fresh talents. Go ahead and order your copy here or subscribe to not miss any future issues!

 

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Creative Gaga - Issue 52

 

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A visual artist in the form of a cartoonist and animator, Manoj Sinha shares his process and details of one of his digital portrait, one bit at a time, in order to achieve the right balance across aspects such as the tone of colours, the shades of lighting.

Portrait Tutorial Details

Depth in Details.

Manoj Sinha likes to play with simple elements in a rather detailed and no-nonsense way to create a portrait that is very much life-like if not larger than life. He starts out with the basics and rough works, turning basic aspects of the persona more and more real with each step as he progress towards the final outcome. The result is a sharp artwork with lively qualities.

Portrait Tutorial Details

Step 1

Started with a simple, rough sketch. Since this involved a pretty basic shading-like technique in order to give the portrait an outline and overall context. This is good enough to start with and build upon.

Portrait Tutorial Details

Step 2

This step involved applying the base colours on the face alongside some light shading. The rest of the elements i.e. the hair, the dress and the earrings were kept the same as in the rough sketch that was the starting point.

Portrait Tutorial Details

Step 3

Further details were added to the lips and teeth. The smile brings out the core of the personality’s expression and so it was highlighted.

Portrait Tutorial Details

Step 4

Just one ear of the subject has been made visible in the portrait and so it was important to provide it the right amount of attention. So, more detailing was done on the ear.

Portrait Tutorial Details

Step 5

Dark textures and sharp lines were added around the eyes to give the persona a practical look. Similarly, the eyeballs were also given details highlighting the reflection of light in the eyes.

Step 6

Shadow of the hair falling over the right eye was done. Which enhanced the lighting effect that was given to the image in the previous steps, thus bringing about an actual feel of the subject by making the portrait more realistic.

Step 7

Details were added to the earrings, hair and face in the form of greater definition, colour and texturing.

Portrait Tutorial Details

Step 8

The final details to hair and skin colour were then added with fine lines and rough stroke smoothing. Reached the final desired result, bringing out the real personality of the subject.

Published in Issue 41

Every year brings many opportunities and hopes along with celebrations. For this issue, we reached many visual artists and designers to know their expectations from the year 2018. This issue’s cover designer, Shreya Gulati is exceptionally impressed by the advancement of technology in design, especially how VR & AR has impacted new ways of creating. Whereas Seerow Unni, a digital artist sees the simple and minimal design is here to stay for long. So, whether you have many or none expectations for the year, this issue is a must-read. Go ahead and order your copy here or subscribe to not miss any future issues!

 

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Creative Gaga - Issue 52

 

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They easily make us laugh, but caricature design is a tough form to master. Here, one has to feel the expression and manifest it through the use of colours and exaggerations. Keya Mahata dwells on these to bring characters to life. Below, she takes us through a demonstration for caricature design of Steven Tyler.

Caricature

Step 1

At first, various high resolution reference images of the subject are selected which are then arranged on a layer in Photoshop. A jpeg file of the reference is created as well.

Caricature

Step 2

This is followed by using a white page Photoshop as a canvas. Then, using a 19 pt brush, started drawing. While drawing a caricature, it’s important to retain the basic form and character of the Steven Tyler and simultaneously exaggerating what is necessary.

Caricature

Step 3

This way, full drawing of the subject is completed. While doing so, focus on the expression and never deviate from it.

Caricature

Step 4

The layer is then copied and coloured in. A de-saturated colour is used to make it soft.

Caricature

Step 5

Once coloured in, the opacity of the brush is reduced and the colours are merged. The teeth are made yellow with some bits of grayish colour to resemble the real person.

Caricature

Step 6

Once the facial colours are set, detailing of the face is carried out. This includes wrinkles of the eye to making his singing posture. One thing to take note of is the filling in of a darker shade in one side of the character’s face in order to give it 3D feel.

Caricature

Step 7

In this step, some off white colour on nose, tongue and check is also used to give a highlight.

Caricature

Step 8

Once, the colouring in of the face is completed, the body is started off with.

Caricature

Step 9

For the body, once again a desaturated colour tone is used. It’s important to maintain wrinkles to maintain his aged body.

Caricature

Step 10

Once the body is finished, the focus is on the hair. Gentle brushes are used to soften this area. Various shades of browns and blondes are used to define volume and depth.

Step 11

Dark brown and shade of gray is used for the dark part of the hair.

Step 12

This particular shade makes the hair appear soft and effortless.

Step 13

After careful finish of the hair, additional detailing is carried out using a brush on shape dynamic mode. A brush on colour dodge mode is also used to add highlight.

Step 14

Once hair is completed, a little bit of highlight is added on the whole figure.

Step 15

After fully finishing hair and body, the background is coloured in with semi-violet. Some yellow is also added to establish lighting, giving the overall design a bright look. A large brush is used for this step.

Step 16

The lemon yellow colour is softened and then blended with the violet background.

Step 17

A spotlight is then created using off white colour and a round brush.

Caricature

Step 18

Once the whole body, hair and background is finished, selected areas are infused with shadows using brushes on multiply mode.

Caricature

Step 19

Finally, the caricature design is finished with the addition of slight brushing and leveling.

Product and Automobile Design

Published in Issue 27

This issue explores one of the widely discussed product design and automobile #design which is very close to our heart. We spoke to few leading names to find out the future of product design and understand the Indian designer sensibilities and practices. Everyone believe that it’s not just functionality but also the visual appeal of the product which plays a crucial in the success of a product. This issue is a bundle of inspirations and insights from the well know product and automobile designers. A must read which you will enjoy for sure.

 

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Creative Gaga - Issue 52

 

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They say imitation is the greatest form of flattery. For a designer, it doubles up as a way to pay homage to an icon and inspiration. Digital artist Pankaj Bhambri re-creates a portrait of the duo from a reference picture, adulation and following. He explains how.

Portrait

Step 01

Picked the reference image to start the portrait. Observed three things that would play an important role in the illustration – mid tone, highlights, and shadows.

Portrait

Step 02

Started with basic doodling. Worked in layers as that would help to separate elements in the composition and allow experimenting with lights.

Portrait

Step 03

Found a cardboard texture on the net. Used it as a base for the illustration which would act as a middle tone. Multiplied that layer after importing it into the composition.

Portrait
Portrait

Step 04

Refined the doodle a little more and then started with wet media brushes with the respective colour palettes. The first palette was for Lata Mangeshkar while the second one was for Asha Bhonsle.

Portrait

Step 05

Started with blocking shadows first with thick round brush of size 12 px.

Portrait

Step 06

Added black with round wet brush for more details in shadows. Downloaded ink splatter brushes from the net. Used them in different angles as highlights in the composition.

Portrait

Step 07

Used one of those brushes with scattering count 5. Refined till the desired effect was achieved. Used a round brush of 3 px for detailing with stylized black and white lines.

Portrait

Step 08

With the colour palette for Asha Bhonsle, started blocking shadows and then highlights. Lots of practice and observation of objects in different lightings helped in this job.

Step 09

Blocked with the colours in the palette choosing dark for shadows and light for highlights.

Step 10

For highlighting, used a wet round brush with white colour as a contour over it.

Step 11

Used splatter brushes for final detailings.

Step 12

Made a random flow of colour to differentiate the main object from the background. This made the composition balanced. Used writing brushes downloaded from the net on the splatter layer that separated the background.

Step 13

Added writing brushes on a new layer and filled the splatter layer with different brush sizes. Erased the edges to blend the writing with the splatter brushes.

Step 14

Used floral texture downloaded from the net to give some interesting background.

Final Portrait

Published in Issue 11

This issue also explored the Jewellery Design & Wedding Photography with some cool techniques to learn from experts in Gyaan section.

 

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Creative Gaga - Issue 52

 

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Though we are a country full of festivals and colour all around the year, but this special time of year when not only you change your calendar but also the gifts, family dinners, celebrations and new year resolutions all makes it a special time in everyone’s life. Nithin Rao Kumblekar decided to capture this memorable time for the cover of Creative Gaga. Here he explains his thought process and step by step tutorial.

For any painting, to begin with, sketching is not only the most basic but the most important thing. The whole painting depends on it and can be considered as the backbone of any painting.

 

Here, I have focused on the subject from the top angle with slight fisheye effect. I did some scribbles first and then fine tune the outlines to make the subject clearer for the next stage. For sketching, I use Adobe Photoshop with Wacom Cintiq monitor and several different brushes which give the real feel of sketching with the pencil.

Colour

I normally use “Hard Round Pressure Size” brush by enabling brush pressure as well as thickness buttons in the top brush control panel. This will serve the purpose of getting the pencil sketch effect. This feature is also useful while colouring.

Colour

I have kept the main source of light from top hence the play of light and shadows are pretty simple in this illustration. Also, the characters expressions play very well depending on how we choose to place the light source.

Colour
Colour

Here, I wanted to get the festive feel in the entire colour tone. So I chose to get the orange and yellow tone which gives a warm feeling in the environment. The final colour tone can also be achieved even at the last stage by adding just a flat colour layer on top of all layers and then by trying different mode options in the layer pallet. But here, I chose to set the colour tone layer by layer. I did not use any colour filters, as I mostly knew which tone the final illustration should have.

Colour

The character colouring steps

To avoid any spill of colours at this stage, start by creating the characters and the props in different layers. And If you want to colour a specific part without disturbing the nearby object then you need to create each and everything in different layers and then group it under the character or the object name.

 

For example, in this illustration, I’ve created layers for the skin and clothes within the characters. And for the background, there are many layers for all the objects and that is where you may get confused.

 

When you have multiple layers then the convenient way to work on the desired layer is to hold the control/command key and then click on the part of the illustration that you want to select. The correct layer will be selected and then for colouring, again hold the control/command key and click on the selected layer under the layer panel, this will highlight/select the layer with selection marquee and you can begin the colouring. There won’t be any spill of the colour outside this selection.

Colour
Colour

After all the characters and objects are coloured it is time for the background light fixes. In these images, you can see the difference as I’ve added slight glow as well as little shadows to make the characters stand out. And finally after completing everything sometimes you might want to change the size of some objects or change few colours. Since we had everything in layers it is easier to do these minor adjustments even at the final stage. I had increased the size of the boy by about 15%. And we have reached the final illustration.

I almost forgot to mention one important thing that to always save the file and keep duplicating it. As sometimes, the file might get corrupted due to some system error or something else. But If you have duplicate files then you don’t have to begin the illustration from scratch. So saving is a good habit but duplicating the files is even better. Good Luck!

Published in Issue 35

The season of the festival has started and everyone is preparing to have a unique one this time with less cash and more fun. We interview many creatives who creates promotional or calendar design each year. As most of the thing around us had shifted to digital, even calendar design and the promotion has shifted. But Yorick Pintos, a strategic consultant at studio Kohl suggests that best option would be to a mix of both, the traditional and digital media. Digital Illustrator Nithin Rao Kumblekar also shared his love for the printed calendars and emphasis on the effectiveness of it. If you are interested in print design & want to understand the future of the same. So, go ahead and order your latest issue copy!

 

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Creative Gaga - Issue 52

 

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It’s a digital age, one doesn’t need a subject to pose before them for hours, simply a photograph is enough. Graphic design student, Sri Harsha Andukuri takes us through a step by step guide on making a digital portrait of any famous celebrity, in this case, Hollywood’s own Scarlett Johansson.

Step 1

Fixing the Canvas and Preparing the Outline

The process of portrait begins by fixing of the canvas. This is achieved through Photoshop, where a new file is opened with an A3 size. This is followed by creating an outline of the image using a red colour, on a new layer. The colour red is selected because it highlights profiles and edges in the middle of the painting. Then, marking of highlights and shadows in a new layer using red colour and a textured brush with opacity 7% and 14%.

Step 2

Filling Base Colour for Skin

Once the above step is completed to satisfaction, a colour palette of shades, tints and neutrals are made for the skin. A new layer is then added and a neutral colour with full opacity is used as the base colour for the body. At this point, any colour exceeding outlines is erased.

Digital Portrait of Scarlett Johansson

Step 3

Detailing the Face

This is then followed by creating a new layer yet again, where the base colour of the eyes is filled using a brush with full opacity. Here, colours exceeding any outline are erased. Subsequently, a new layer is created for highlights, shadows and details for the eyes. The next step requires painting in highlights and shadows of the nose and other facial areas using a colour palette with a textured brush bearing 7%, 14% and 21% opacities.

Step 4

Detailing the Lips

Following the fixed colour palette, a base colour is filled with 100% opacity first for the lips. Highlights and shadows of the lips are drawn in a new layer with a small size textured brush with 7% opacity. Using a small brush at this point enhances precision and detail.

Step 5

Painting Rest of the Skin

Going further down, shadows and highlights of the neck area, collarbone and chest are painted using the colour palette for the skin. Used a textured brush of opacity 7% and 14% in a new layer.

Step 6

Painting the Dress

In a simi