Tuesday, 31 January 2017

Illustrating bubbles - Adobe Photoshop Tutorial



Say 'hello' to Norman!

Norman loves swimming, talking to fish and exploring sunken ships, but Norman is currently missing a few bubbles. 

Bubbles are one of those things that seem like they should be really easy to draw but actually are quite difficult. They're moving, reflective, translucent balls of air and trying to draw one without it looking like a white circle is definitely a challenge. Here's my tutorial on how I create a good-looking bubble using Adobe Photoshop! 



Step One - The Outline

Using the tools panel, select the paintbrush tool. I always use a hard round brush and set the size to 3 and the hardness to 100%. Your size might differ if your canvas is a different size to mine, so play around until you can create a line of similar width to mine.

It's worth noting that I draw with a Wacom tablet and keep the Opacity Pressure tool on so that the lighter I press the less of a line appears. 

With white as your colour, draw a circle. Don't worry if it's a bit wobbly as bubbles usually are! 








Step Two - The Centre

With the paintbrush tool again, this time select a soft round brush. Set the size a lot bigger at 95 and the hardness a lot less at 0%

At the top of the Photoshop panel there will be two options; Opacity and Flow. Set the opacity to around 50% but leave the flow at 100%

Now fill in the bubble. The tip here is to fill in about half of the bubble randomly, using two or three strokes. I let my strokes overlap and one of my strokes was more of a 'dot' than an actual stroke but you can play around to create a unique bubble for you.





Step Three - Delete the middle

It seems silly to delete what we just did, but this makes a nice round middle for our bubble and gives it some depth. 

In the tools panel select the Eraser tool and set the brush to a soft round brush the same as we just used but with a bigger size. The size wants to be big enough to delete the middle of your bubble in one click but not too big that it deletes some of the white centre we just made. You should end up with something like this;



Step Four - Add some highlights

Again, select the hard round paintbrush with a hardness of 100. My size is 72 here, a bit bigger than our outline. The Opacity should be around 50% again and the flow stays at 100%.

You might find slightly different settings work better for you, which is fine!


We are now adding some highlights to our bubble. I like to change the highlights on each bubble so they are all different, but usually the top has the most highlight and a few bits elsewhere. I also selected the eraser again and with a smaller size (but the same settings as I used before) I deleted some more bits of the bubble next to my highlights so they stood out a bit more.


Step Five - Add some colour

Using the same settings as we did for the highlights, just change the colour. 

I used pink because Norman is purple and the bubble is reflecting Norman's colour. you should select a colour which is a lighter or more washed-out version of whatever the bubble is in front of or near. 

Make sure you don't fill too much of the bubble with highlight and colours (we still want to see through it!) and don't forget to change the colour depending on the bubble's surroundings.




And there you have it! The more bubbles you create, the faster and easier it will be.

You can copy and paste the bubble and change the size to create lots of little bubbles, or just play around with the process to make oblong and wonky bubbles - feel free to be creative! They really look effective when placed over objects like Norman's body. If you put any bubbles in the background, try turning their Opacity down to make them harder to see. (They will have to be on their own layer to do this.)





I hope you enjoyed the tutorial - have fun making bubbles! Bye Norman!









Tuesday, 29 November 2016

"ALL CHILDREN ARE GOOD" An interview with Peggy Barons, author of The Little Christmas Angel

I recently completed illustrations for a festive themed story called The Little Christmas Angel. Written by Peggy Barons and published by Carpenter's Son Publishing. I caught up with Peggy a few months after the book's release to see how she was getting along, and was pleased to see The Little Christmas Angel was a success! Peggy was kind enough to answer a few questions for you all so we could find out a little more about the process she went through. 





Hello Peggy! Wow, what a great response to your book! Your story is well written and engaging, it's hard to believe this is your first published book. Did you like to write as a child?

Yes, I wrote plays and my friends and I would act them out. I also  
liked to write poems and stories. But I was never very good at
drawing so I learned to use descriptive words instead.



Who did you look to for support and inspiration while you worked  on your project?

Actually, I looked to my own young adult children to help me  
remember what they loved about The Little Christmas Angel when they  
were little, and also to my two grandsons to see how stories  
interested them and what held their attention. I knew they loved  
finding tiny unexpected little surprises in the illustrations like a  
cow wearing a necklace or mice playing checkers - even if that  
didn't have anything to do with the actual story.
 


What would you say has been the easiest part of the process for you, and what was the hardest?



The easiest part was actually writing the story. We had a special little Christmas Angel that I found at a holiday craft fair that "flew" around our house at Christmas time and my four little children loved finding her in a new place everyday. When I decided to do this project, I imagined a back story for the Angel, starting  
with the original first Christmas, and then bringing her into modern times. It was fun!



The hardest part was finding a publisher. After several big publishing houses decided to pass, I found Carpenter's Son Publishing who was really great at helping to get this project off the ground. They helped connect me with toy manufacturers, book designers and a great illustrator, Izzy Bean.

Do you have plans for anymore stories or books?

Yes, - they are still in the incubation stage at this point, but I'm  
excited about two different stories I'm eager to tell. We're very  
busy right now though focusing on The Little Christmas Angel. It's  
already in it its second reprint and it was just released six weeks  
ago!




eBooks have become very popular lately, but you chose to keep your story as a traditional hardback book, why is this?


I love holding a real book in my hands - both for reading to little  
ones and even reading on my own. I had a Kindle for a while, but I  ended up giving it away. Parents today wisely try to limit screen  time for their kids and books, (real, physical books) are great for  that!





Well thank you so much for talking to us, and I hope your book continues to sell well!

The Little Christmas angel makes a great Christmas gift, you can purchase yours on Amazon.com 


Monday, 7 November 2016

'Bluebird' Children's Book Illustration - Speed painting

Bluebird Illustration Speed painting



I love watching speed paintings, and now I'm addicted to making them too! There's something very satisfying about watching a blank canvas transform before your eyes, I cant help but watch it over and over.


I hope you enjoy watching it as much as I enjoyed making it!










This illustration was created for Laura Bullock's book; "Where Do You Live, Animal Friend?" and is available on Amazon here; Where Do You Live, Animal Friend?


If you need an illustrator for your children's book, you can email me at izzybean@izzybean.co.uk



Thursday, 30 June 2016

WORDS AND PICTURES - How to balance text and illustrations in an illustrated book.


When writing your children's book, you probably took a lot of time with your words; writing, reading them and then re-writing until you had crafted those words into a sentences, sentences into paragraphs and those paragraphs into a beautiful story that you can't wait to share with the world.

Then, like so many other authors, you let someone else handle the rest and they 'plop' the words onto the middle of a page in Times New Roman. Sigh.

I've worked as a full time illustrator for over seven years and one thing I have learnt is that exactly where and how you plop the words in a book makes a huge difference. The typography and placement is just as important as the illustrations. The two should come together and create a visually appealing page that reads naturally instead of clashing.

Here's some of my own DOS AND DONTS for making the most of your text. You can use these yourself, or pass them along to your illustrator or designer who can try them out for you. I'm always interested in hearing your thoughts too, so if you've got some ideas that I haven't mentioned, please feel free to comment below!


DO match your font to the story.




Try and pair your font with the nature of your book. For example; a story about a Princess who chews bubblegum might be light and rounded, but a book which involves monsters and dark forests may suit a spindly, spider-like text.

You can try more than one font and even mix them up as you go along, having different fonts for different actions or characters. Just be sure that whatever you choose, it is ALWAYS legible.

Here are some great websites for sourcing fonts - and some of them are free!

www.dafont.com
www.1001fonts.com
www.fontsquirrel.com

DON'T plonk your font down anywhere and leave it there.


You must think about the placement of your text. It's a long process that will involve lots of edits and tweaking until you get it right, but a good designer will never get annoyed with trying out different placements. When you think you've got it right - try another placement just in case!

Is your text on the same page as an illustration? 
Which one do you want to see first - the words or the picture? 
Does the text get lost in the colours? 
It is in the same place every page? 

One thing is certain - you must be aware of bleed and trim. The text should never be too close the edge of a page. 

DO test with other people to see if they can read it.


This seems obvious, but it's hard to test your own book properly when you already know what it says. Ask friends, family and other writers to read it out in front of you. Do they read it in the correct order? Do they stumble on words or struggle to find the next sentence? As beautiful and your layout might look, if it isn't easy to read by your target audience you may as well bin it now.

DON'T be boring.


Black, Times New Roman in a white box... yawn! 

What about red text? Text with a pattern? Text with a texture? Now there's an idea. How about text that curves around the illustration it is describing? If your text is being shouted, why not place it inside a huge illustration of a mouth? Get creative and try different things - if it looks good and can be read easily then make it work WITH the illustration instead of leaving them to battle for space. I'm not saying you can't keep a neat, monochrome theme if that suits your book; just don't automatically default to it without at least thinking about your options. 




DO your research.


Look at as many popular children's books as you can, and see if you can find common themes they all have. Assess their typography, the size of the font, where they place it... these bestsellers must be onto something.

Don't be afraid to try some of their ideas yourself - use them for inspiration! (Just be careful not to plagiarise anyones work, of course.)

DON'T have too much text on a page.

This is a common error that new writers make. 500-800 words is the recommended average for a 32 page children's book and it's like that for a reason - it leaves just the amount of text on each page.  Filling a page with text leaves no room for illustration and makes it feel cramped. If you need to say more, consider moving text to an adjacent page or cutting out a less important sentence. It's tough to cut your story short, but it will benefit the book in the end.



DO have pages without any text at all.


Some clients are horrified when I suggest this. No text on page 13? But what will they do?! What will they read?! 

This is a great opportunity to break your book up and make your audience pay attention as long as you use it in the right place. (You may not have a right place for it in your book, and that's OK too!)

The best tip here is to use it as a build up or passage of time and let the illustrations to do the talking for you. A story about someone digging a hole to the other side of the world may leave three pages of nothing but illustrations of the character digging... getting lower and lower until they disappear entirely... The next page that includes text should then have a big action or reveal as the climax;

...SUPRISE! He's now in China!

This is where your illustrator's talents come in handy. When there is no text on a page, you need to give the reader plenty to look at. Hidden items, background characters and lots of detail will make this trick work.

DO create your own font


While I appreciate this is not something everyone is able to do, it may be something your illustrator could do for an extra fee. Creating your own font has many benefits; If you can't find one that looks right you can create one to fit perfectly. No other books will have the same font which makes yours unique. Not using easily recognised or default fonts means some readers (and publishers) will take you more seriously and know you have put the extra work in. 

Finally, here is a list of words and what they mean. They aren't 'Dos and Don'ts' - but they will certainly help you discuss what you need with your illustrator and be able to understand what they are saying to you! I hope you enjoyed reading my tips and tricks to making words work for you. Now get writing that next bestseller - and good luck!



SERIF - Fonts that have little details or accents to make the words easier to read. "This is an example of Serif"

SANS-SERIF - Font's that don't have the little details or accents. On computer monitors we are restricted to dots per inch and so the details and accents are not as easy to scale down or read.  "This is an example of Sans-Serif"

TYPOGRAPHY - The way type is arranged to achieve the desired effect

TYPEFACE - A kind of type. For example; Times New Roman

LINE SPACE (SINGLE, DOUBLE, ETC) - The amount of space between the lines of text







Tuesday, 21 June 2016

Developing a character and listening to feedback.

A live project example, complete with client feedback!


It's not enough to just be able to 'draw' to be successful in the illustration game - you need to hold a myriad of essential skills, two of which are; 


- being able to listen to criticism and, 

- making changes to your work based on that criticism. 


To demonstrate this ability in a real-world setting, I decided to share with you a recent character development project. You can see my sketches, plus the actual client feedback along the way and how it affected my work!


1. The first draft.

The brief was to create a character which will be used in a children's book as the main antagonist. Here's what I was given;

Could the girl be designed with brown hair and a pink dress? 

While this seems quite vague, I have already read the script so I know more about the character from her role in the story. She's a young girl who has a wobbly tooth. Here was my initial sketch based on the description given and my interpretation of the script.


2. The second draft.

 
I really like these examples from your website, would it be possible to combine these three together somehow? Perhaps with longer hair in pigtails? 



2. The third draft.

I like the twin tail look, but could we try the design as a cuter, younger, more rounded design? 




2. The fourth draft.

Great! Much better. Can we add the twin tails back?




2. The fifth draft.

Thankyou for the sketch. I think we're pretty close. Could we make the hair a bit more defined with it being a bit more pronounced and maybe some bobbles or flowers?




I think we've got it! Let's proceed to colour.

As you can see, most characters go through a series of changes before we finally settle on one to move forward with. Here is our character once we added colour, the client loved her!





This cutie will be featured in her very own adventure soon... watch this space!



Tuesday, 17 May 2016

Illustrating a children's book character from sketch to finish - speed painting

Illustrating a children's book character


 From sketch to finished work - a 4 minute speed painting!




Illustrating is a very personal process and every illustrator will have their own way of doing it. So when I decided to record myself illustrating a new children's book character, I realised it might be a good way of showing my clients exactly how I work and give a little more insight into how the illustrations are created, from initial sketch to the final, finished illustration.

Although this video is only 4 minutes long, the entire process took just under two hours. Phew!

This was my first attempt at making a speed painting, and I didn't quite figure out how to add music or do anything too flashy, but I hope you like it!

video


For those who would rather not (or don't have the time) to sit through the full video, here's what the final illustration looked like. Cute, isn't he?!









Saturday, 26 March 2016

Little Meerkat's BIG PANIC! A book about learning new ways to stay calm, by Jane Evans


Little Meerkat's BIG PANIC!

 A book about learning new ways to stay calm, by Jane Evans


I've been working alongside child trauma parenting specialist and author Jane Evans for some time now, and full disclaimer here, I'm a huge fan! Her expert knowledge has been featured on Channel 5's My Violent Child and for a good reason - she really knows her stuff!



We collaborated on a book together last year called Kit Kitten and the Topsy Turvy Feelings so I was both honoured and excited when she asked me to join the dream team again on Little Meerkat's Big Panic.



This story follows Little Meerkat - a cute but anxious animal who panics when given responsibility. As with all of Jane's books, the story gives children with similar thoughts and feelings a chance to understand why their brain works in the way it does and how they can manage it. The text not only serves as a clear and helpful narrative but also proposes questions for the reader to ponder. 

"Little Meerkat flies into one big panic after waking up to find the whole meerkat gang has disappeared! Luckily, Small Elephant and Mini Monkey stumble across Little Meerkat during the big panic, and offer to help find the missing meerkat gang."

When the books arrived, I was thrilled at just how beautiful they turned out. Jane opts for square hardbacks published by UK based Jessica Kingsley Publishers with great results. They are excellent quality from the front right the way through to the very end and even the simple act of turning the pages felt great!









The story itself can be read by any child - not just those who would benefit from the lessons inside. The characters are cute and fun and each page is packed with questions and adventures accompanied with bright illustrations.




Combining her experience working with children and natural talent for story telling, Jane has created a product which is essential for helping children learn and grow and manage their problems instead of neglecting them, whilst still appealing to the need for a fun, colourful book. 

Want to know more about how the Meerkat brain features in this story? Take a look at Jane's fantastic Ted X Talk where she discusses the role the Meerkat, Elephant and Monkey brain effect us all everyday.





"My great expectation for the future is...

… that we will globally move away from raising children by shaming, bribing and punishing them and only use emotional connection, respect and compassion to teach them." - Jane Evans




If you'd like to find out more about Jane, her work and her writing you can visit her official website and social media.



Little Meerkat's Big Panic is available on Amazon or direct with Jessica Kingsley