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Rocklets, a popular brand in the category of chocolate and confectionary in Argentina, wanted to give away headphones as a present with the purchase of Rocklets Easter Eggs. Morphine Motion Graphics created two fun and cool 3D illustrations for the packaging design of the giveaway.

 

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Packaging Design
Packaging Design
Packaging Design
Packaging Design
Packaging Design
Packaging Design

Here is an interesting portrait series created on the phone by Miten Lapsiya. This series is a collection of celebrity portraits like Amitabh Bachchan, Sachin Tendulkar, Barrack Obama, and more. Miten uses very realistic paint styles like watercolor for this series. Thus the portraits beautifully capture the essence of each personality.

 

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Celebrity Portraits
Celebrity Portraits
Celebrity Portraits
Celebrity Portraits
Celebrity Portraits
Celebrity Portraits

Shaivalini Kumar

Always Start with a Sketch

Even though a lot of our work happens digitally, It’s important to establish a basic structure of what you wish to create! Physically sketching out the illustration is always a good practice.


Ideate

While ideating, create mood-boards, mind maps and write down everything that seems enticing. Narrow down on what you wish to create gradually and you’ll get your core idea.


Get Inspiration

Gathering inspiration is an important part of the process. Inspiration can also come from the smallest of things be it a conversation, a person, a place or a thought.


Build a Story

A trick can be used while illustrating characters is writing a short story around them, that entails details about the character’s personality traits. It makes the process of illustrating the character much more engaging.

Be Informed

Reading about areas outside of design is important for gathering content and making your illustration relatable to a larger number of people.


Experiment

Sometimes spontaneous decision to experiment with colours, textures, shapes and forms, can lead to unpredictable outcome, which can be interesting and unique.


Trial Runs

It’s okay to start from scratch, even multiple times. You may often end- up starting all over – but that contributes to making the final illustration much more refined and closer to what your core idea.

Render and Detail

Once you establish your base illustration, adding hints of details that are complementary to the forms will bring more life to what you have drawn.


Get Feedback

It’s always good to see what people feel about your creation and process, by getting feedback on your work you may be able to identify points that you might have missed out.


Practice

A lot! As you know, practice can make you perfect!

Published in Issue 30

We interviewed the branding experts, who are behind some of the very successful brands. Lopez Design, have shared the story behind the recently developed branding of ‘Bihar Museum‘ and also shared the basics of brand creation in the ‘Gyaan’ section. Young visual communication designer like Shaivalini Kumar shared her love for the letter design while experienced graphic designer Anup Shah dwelled upon his passion for calligraphy. In brief, this issue is packed with branding and typography design experts who can help you solve the mystery of the brand creation!

 

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Advertising is one such arena where one can achieve as much as they’d like; provided, that they’ve got the skills, talent and of course the courage. Nasheet Shadani, believes it’s for every illustrator to make the most of this opportunity and create magical pieces that can manifest themselves as memorable communications.

Advertising
Poster for Vodafone India
Advertising
Poster for Vodafone India
Advertising
Poster for Vodafone India

If the Idea is the Soul of Any Work Then Illustration is the Body.

It is common belief that it’s tough for a fresh college graduate to walk in with a portfolio and land into advertising directly. Common notions are that one needs ‘contacts’ and ‘references’. That’s not true. A good portfolio is the key into this exciting world, provided that the work contains not only cool designs and illustrations, but strong and unique ideas behind them as well. Once you make your way in, the world is yours. And for an illustrator, it’s a very exciting place. There is a bit of illustration in everything you create, whether it’s a logo design, typography, calligraphy or even a photo shoot.

Advertising
Poster for Vodafone India
Advertising
Poster for Vodafone India
Advertising
Poster for Vodafone India
Advertising

Love Problems More Than Solutions.

Pablo Picasso once said, “God is really only another artist. He invented the giraffe, the elephant and the cat. He has no real style, He just goes on trying other things”. Once a new style is cracked, the job is done. Then it’s all about moving on to explore something new. It’s important to go for the best style that suits the brief rather than retro fitting what you are good at. It also depends on the brief, if the best solution is a minimal vector graphic then why waste energy and time in creating intricate miniature art?

Poster for Vodafone India
Poster for Vodafone India
Dancer Meets Potter, Dancer Meets Puppet. Surajkund Mela theme is used to invite people on behalf of Vodafone using vivid and vibrant illustrations.

Do the Doodle.

Whatever is the result, it all starts with a doodle. Never sit on the computer directly. It is always better to think, let your subconscious work on the problem then transfer your thoughts into paper and use that doodle as a building block. Remember that even though we’ve got incredible programs and software at our disposal, they can’t do the thinking; they cannot generate ideas. Surrounding yourself with interesting and creative things can help inspire. Whether it’s things you collect from your travels or simply dig deep into the rich Indian culture, design and artistic forms are all around us.

The Elves and the Shoemaker, Santa’s Gift and Wicked Harry.

What’s Stopping You?

Short deadlines, overnight work, client’s not so friendly feedback and budget issues are few things that, sometimes, stop us in doing great work. But it ultimately depends on the kind of brand you’re working with. There are clients like Vodafone who love illustrations and there are other clients who are more focused on photo shoots or stock images. Can you imagine Amul advertising without those funny illustrative ads? Once you figure out that illustration is the best answer to this brief then the real job starts to convince the client on the benefit of using illustration in that particular case. Illustration in advertising is very different from illustrations elsewhere. Here, every single line must serve a purpose and should add to that overall message.

Advertising
ORIYA, URDU, MALAYALAM. A campaign to promote the dying art of calligraphy.
Advertising
COUPLE. A print ad to show the ill effects of bad breath in a funny way.
Advertising
Illustration for Taxi Fabric

Published in Issue 24

Gone are the days when Illustrations would take a back seat. Now, they are becoming more proactive and are evolving the way we communicate. This time, Creative Gaga focuses on how the advertising world is opening its doors to this exciting form of design. Featuring renowned Illustrators like Chris Beatrice, Nasheet Shadani, Vijay Kumar, Gabriel Mareno and much more, this issue promises to leave no page unturned!

 

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It’s not enough to create a character. What makes a difference is the way you portray it. Illustrator Neeraj Menon works on one of his creations to render it a disposition that presents it in a new light. He explains the process.

Render
Render

Step 01

Started out with a basic sketch. Used a fairly large canvas, usually A4 at 300 dpi, in case you would want to print it out later. It also gave enough room to zoom in and add detail.

Render
Render

Step 02

Rendered the basic details on the face. Modified the drawing on the left arm slightly. Used only grayscale on the majority of this painting. Realised this was the best way to ensure values and separations remained correct. Blocked in the shape of the goggles and added in the orange lenses. This would be one of the only actual colours used in the entire piece. Used a basic calligraphic brush for most of this painting.

Render

Step 03

Blocked out the basic shape of his flowing coat. This would help form his silhouette. Also blocked out basic folds and lines at this step. Cloth is usually tough to render and it helps a lot to have ready reference at hand. It’s best to shoot your own reference if possible.

Render

Step 04

Added in highlights and detail on his coat, such as bullet holes and tears/rips. Also, to help in the design of his armour, opened up alchemy, a free drawing software. Saved the design and imported into a Photoshop file. The free-flowing shapes in alchemy helped come up with a unique design which could be used as a base for the armour design.

Render
Render
Render

Step 05

Started fleshing out the armour here. Added shapes and light. Also, added some screws all over it. Used a simple custom brush. Also, at this stage, added a layer of flat purple in pin light mode to give the greys a bit of colour. It helped bring out a sterile sci-fi look.

Render

Step 06

Modified the armour further and added more light and shade.

Render

Step 07

Added a hexagonal pattern on the armour to suggest high tech. Used a brush for this to control the size of the pattern. Used the texture setting on the brush and paint it in.

Render

Step 07a

Added some fiery/glowing edges to the bullet holes on his jacket and small wisps of smoke from them.

Render
Render

Step 08

Added in bullet impacts on his armour. Added some stitching on his armor which was a simple modification to the calligraphic brush and added some decals overall on his armour.

Render

Step 09

Moved back to the face again. Finished rendering the hair and added some cuts/wounds on his face. Used custom brushes for some of these, which were mostly scanned splatter effects. Such brushes can also be downloaded online.

Render

Step 10

Added in details on the goggles. Used a pattern to suggest texture/material on the frame.

Render

Step 11

Rendered the right hand and then moved on to the gun. Looked for references that would help.

Render

Step 12

Added light shade on the gun and added some screws and glowing bits to suggest it came from the same family as the goggles and armour.

Render
Render

Step 13

Used some photo reference to get the swordhand right. Added some rim lighting around the edges and tightened up some details futher. Removed the shell casings from the gun. Added a pattern in the background and some sparks with a red gradient in the foreground for an added visual boost. Also added a noise filter in overlay mode on the image for added texture.

Render

Step 14

Arrived at the final image.

Published in Issue 15

In this issue, we invited leading Gaming professionals to share their inspirations along with their suggestions to improve the Gaming Art in India. Featuring some of the big names of Gaming Art like Vinay Vikram Singh, Sandeep Menon and Neeraj Menon along with Internationally renowned Russian studio, ‘Grafit Studio‘ and many more talented creatives. So, go ahead

 

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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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Gone are the days of drawing a portrait using pencils and brushes. Digital is the new canvas and Photoshop is the new tool. Digital Illustrator, Vivek Nag is fascinated by ‘Sadhus’ and here he takes us through the making of a portrait using Photoshop.

Portrait

Step 01

The first step is to make a rough patchy sketch of the character. It’s best to do this using a chalk brush or special Photoshop brushes which are meant to replicate a traditional look on the digital canvas. The lines mostly trace the shadows and/or contours of the face as seen in the image.

Portrait

Step 02

Taking the rough sketch as the base, the next step is to start making line art. This is made using the pressure sensitive round hard brush to create thin and to the point lines. Detailing is important in this step. Building upon the rough chalky sketch is beneficial. When satisfied, hide the sketch layer to proceed.

Portrait

Step 03

The next step is to start with the colours. Irrespective of the colours being used in the portrait, it’s best to dim down the background. This offers contrast and a better understanding of how bright the colours that are being used in the painting actually are. The next step is to make a palette of colours using the original image. Depending on the intricacy of colors in a photograph, it’s advisable to make a palette of 5 to 8 colors. In this case, a palette of six colours was used. It’s best to select colours in such a way that for any other shade or tint you require, one’s ability to create that using a combination of the set colours in the palette. As seen above, start filling the composition with patchwork. Using flats helps launch into the fray of the painting.

Portrait

Step 04

Taking the previous step forward, it’s now all about concentrating on detailing. Smaller brush strokes are employed as well as the colours being used are more varied. Notice how the freedoms of the strokes have become a little more restricted here. The line art acts as guiding points and this is the stage where it is put to most use.

Portrait

Step 05

Minute details start from here. The eyes are the most important part of a portrait. A lot can be conveyed from the eyes. For the most natural look, one needs to make the eyes detailed and relatable. The blending of the strokes also starts from this step. As is evident in the image, a certain level of ‘rawness’ is maintained with every stroke rather than applying a smooth blend. Keeping hints of patches provides a natural feel, especially on the skin. Also, one needs to keep the sheen of the eye in mind that is executed with a simple brush stroke, keeping minimal blending. The more striking the sheen, the better the eye tends to look.

Depending on the intricacy of colours in a photograph, it’s advisable to make a palette of 5 to 8 colours while performing a digital sketch.

Portrait

Step 06

The next step is replicating the previous steps with the lips and beard. Here, treat lips the same way skin near the eyes was treated. The beard however forms a rather tricky part of the portrait. The beard is mainly just brushed strokes with hardly any blending at all. The direction and the thickness of each stroke matters. For example, the brushes below the lip and at the origin of the beard are thick, whereas the strokes in the beard are rather fine.

Portrait

Step 07

The prior two steps are repeated on the remaining parts of face. The sides of the face are left undone because it will add on to the next steps. There are still many strokes on the face which are strongly patchy and look undone. However, this adds to the composition. The parts of any illustration with the most amount of detail and/or contrast attracts attention first; in this case, the eyes.

Portrait

Step 08

Once the face is done, this is where one needs to start working on the background. Against the already set dull gray background, start putting horizontal strokes with fine art brushes. The colours used are part of the portrait itself – reds, yellows and whites. This enables the background to compliment the main subject of the painting and establishes a flow to the composition. But also remember not to steal the focus from the subject by using colors that are too vibrant.

Portrait

Step 09

This step is called ‘The Haze’. This is where the focal points and edges are merged into the background. For example, the yellow ochre on the forehead is transformed into a form of smoke (haze) which drifts away from the head. This is still done using fine art brushes. Along with that, more horizontal strokes have been pulled around the beard and hair. These strokes are pulled in about 30% opacity and serve to blend the edges till the background looks like a part of the subject itself.

Portrait

Step 10

The last and final step is to add a layer mask. This is where curves are applied to the artwork. This is where contrast is also added to the painting. This helps the shades to pop out and there is a lot more depth than there was before.

Published in Issue 22

This issue is dedicated to the talented design graduates who are not just looking to work but seeking experience in order to realise the greater goal of life. The issue features various designers from India and abroad. Kevin Roodhorst from The Netherlands realised his goal so early in life that propelled him to start his career as a designer as young as 13. To name a few talents we have Vivek Nag from Fine Arts from Rachna Sansad Mumbai, Simran Nanda from Pearl Academy New Delhi, Anisha Raj from MAEER MIT Institute of Design Pune, Giby Joseph from Animation and Art School Goa and many more. This issue gives a fresh perspective of talented graduates and their unique approach to design.

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Whether real life or reel life, we are surrounded by interesting characters. Some pass us by, but some get stuck in the mind and hearts. It’s no different for caricature expert Shijo Varghese, who wanted to draw Captain Jack Sparrow’s illustration for his eye-catchy attitude and appearance. Here he takes us on a step by step guide on how he achieved to create a beautiful illustration.

Illustration

Step 01

Drawing Detailing.

After finalising the subject, a bunch of pictures were collected to study elements like facial features, expressions, actions etc. After a reference picture was selected, an outline sketch is drawn using a Faber Castell mechanical pencil 0.5 on an 85 GSM paper. It’s better to start with the nose, the central element in any face, and then draw everything else around it. After the outlines are finalised, it’s time for detailing. Detailing always starts from the eyes. The hatching technique is used according to the shape, which are generally a group of straight lines. Once that’s achieved, it’s break time. That means, leaving the artwork alone for a few hours and returning to it. If all looks fine, it is then scanned as a 300 dpi JPEG.

Illustration

Step 02

Colouring.

Once the image is scanned, it is then opened in Photoshop CS5 for colouring. Keep in mind that the drawing (illustration) is placed on top of the layer as multiply and lock and a neutral tone is filled below the drawing layer, which serves as a foundation.

Illustration

Step 03

This is followed by creating another layer above the neutral colour layer. This layer is used for detailed colouring along with soft and hard round brushes.

Illustration

Step 04

Colouring is the critical part that is used to bring the character to life. A vast majority of time is then spent on fine-tuning the depth of colour using neutral tones because that’s what the subject demands.

Illustration

Step 05

More character and drama is created using a hard rounded brush in 30-50% opacity.

Illustration
Illustration

Step 06

The last step involves the addition of highlights to finalise the image.

Published in Issue 24

Gone are the days when Illustrations would take a back seat. Now, they are becoming more proactive and are evolving the way we communicate. This time, Creative Gaga focuses on how the advertising world is opening its doors to this exciting form of design. Featuring renowned Illustrators like Chris Beatrice, Nasheet Shadani, Vijay Kumar, Gabriel Mareno and much more, this issue promises to leave no page unturned!

 

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Here is a captivating illustration series created by Karolina Misior, a Polish illustrator. The theme of the series is a bunny, which portrays all of us. The illustrations capture the bunny on both good days and bad. And to showcase this, the style has a different approach with an interesting use of colours and abstract compositions.

 

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Illustration
Illustration
Illustration
Illustration

Words can take your breath away, more so, when the words are written in mesmerizing hand drawn letters. Tobias Saul is a freelance designer based in Düsseldorf, Germany, and specializes in letter design. Here is an assortment of his work between 2017 and 2018. The range in style and depth of detail is absolutely mind boggling in this collection.

 

Tobias Saul gives a lot of thought to each of the lettering designs, where he plays with vintage ornamental elements to contemporary clean layouts, all the way exploring and creating delightful compositions.

 

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