We took life drawing classes in college. Aside from the somewhat uncomfortable aspect of having a (mostly) naked person posing in front of you, it was a great way to move outside our comfort zones. Our instructor, Jan (that’s pronounced “Yawn”) had a particular critiquing style that was a cross between facetious and sarcastic. As he walked around the room, he would comment on our work. “Good heavens, the fingers look like little sausages!” or “Good heavens, the folds of the dress look like a radiator!” It was because of this particular wit that we all loved Jan.
I wanted to share some thoughts on my recently completed TV remote project. I ran into a few difficulties that I thought were worth sharing.
There comes a point in my projects where I start to squint and tilt my head from side to side. It’s missing something, but I’m not sure what. Iteration is an important part of the process. We need to experiment, and fail, to find out what works, and what doesn’t.
In the previous two posts, I wrote about vectorizing the art and editing the paths.
In this post, I’ll wrap up the tutorial by completing the editing and adding some colour.
In the previous post, we imported and converted our pixel-based artwork into vector. Let’s go ahead and start editing our paths.
Select your art with the Selection Tool (Keyboard: V). That’s the solid arrow. Go to Object > Ungroup (Mac: SHIFT-CMD-G: PC: SHIFT-CTRL-G). This will ungroup all the elements into separate pieces so we can edit and move them around.
While it’s possible to scan—or photograph—your art and go directly to Photoshop, I sometimes prefer an intermediary step. This is a good method if I know I’ll be working with flat shapes.
One of the advantages to working with a vector based program like Illustrator, is that your art can be scaled to any size. Photoshop, being a raster based program, is much less tolerant at sizing files up. This may not be super important for displaying work on-line, but for print it can be critical.