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'''Step 2With the drawing on the board,I now begin my monochromaticunderpainting in acrylics (fig.'''<br>3). Iイメージした特徴を合わuse a limited palette of umbers andせ、形にしていきます。siennas, adding ultramarine blueこのとき、あまり複雑になfor my darker mixtures. My brushesらないように、シンプルare nylon sable (synthetic) rounds.な形を意識する。襟は、They are resilient and keep a good両側に描くと形が多くなpoint, allowing me to draw as wellるため、片側だけ描きまas lay down tone. I establish valueした。<br>patterns keeping my paint fairlyThen, transparent so I look at how don’t lose theinformationfeatures will come togetherin my drawing. It’s especiallyimportant for me to make reinforcethe details in the overall shape.faces which carryDuring so much interest in this stage, I don’t letthings become to complicated,and focus on simpleshapespiece. I draw both parts ofNotthe collar, but just one sideto keep things simpleconcerned with color at this point.
'''Step 3I then cover my board with a transparentwash of yellow oxide/rawsienna using a flat 1˝ brush (fig. 4).'''<br>絵に少し動きが欲しいのThis warm veil of tone gives me aで、線の流れがきれいにgreat surface to judge my colors見えるように調整しながらand values against and unifies my髪の形を変えます。<br>I decided I wanted underpainting. I’ll take a littlemore movement in the drawing,10-15 minuteso I adjusted the way thelines flow break and modified theshape of the hair allow this to dry.
'''Step 5.'''<br>鼻と口とあごがつながって、ひとつの流れができたので口の形を削り、一本の線にしました。輪郭から出ていた口の形がなくなり、すっきりとしました :)<br>I decide to connect the nosemy background shouldbe a light value, mouth and chinyellow willfit the mood of the piece. Establishingthis will help greatly in mywith one, flowing lineremaining color decisions. Fig. I streamline even more by5deleting part shows some of the contour of the mouth, andfaces startingredrawing the collarto come alive.
'''Step My painting is achieving volumeand form and I like where it’s headedin fig. 6.'''<br>I will stop short of finalボール紙に、下描きをトレースします。<br>Next, I transfer the sketch to a board usingrendering and will save that for mytracing papernext and final phase in Photoshop.
'''Step 8.'''<br>For this final “polishing up” stage,アクリル絵の具（ホワイト／ダークブラウン）で顔、髪、服を塗ります。顔は、ボール紙の質感を残すように、薄く重ねて塗っていきます。<br>Using acrylic I will paint in white RGB and dark brownchoosecolors directly from my paintingwith the eyedropper tool. Flesh, I paintthe faceclothing, background, hair and clothesetc. On will bepainted on separate layers allowingme to tweak one element independentof the face, whole. I want some ofdon’t usetexture a big variety of the board to show throughbrushes, so I apply just thepaint in thin layersbasic hard and soft round brushesalong with the #24 brush.
'''Step 9.'''<br>Before going too far, I drop the顔のパーツを描きます。MyPlate graphic into the paintingはじめに描いた線の片側に、ランダムに凹凸（on its own layer. I skewed it approximatelyおうとつ）をつけます。<br>beforehand, and onceNow in place, I work on inking fine tune and skew theindividual parts of the faceperspective until it’s just right.IThe first line I drew has aalso lay some brush strokes overrandom roughness on onethe top of it to tie it to its surroundingssideso it’s less foreign.
'''Step 10Next, I zoom in on important details.'''<br>In fig. 7 you髪のつやを塗らずに残そうと思ったんですが、変更をしてデザcan see Michelle’s face before (left) and after digitalインカッターで削ります。<br>refinement (right). Using a soft round brush andFor the hair highlights instead of not painting those areasopacity set around 85%, I’ll smooth rough transitionsusing existing colors in her face. I decide tostrengthenhighlights and make sure dark accents carry enoughremove some of weight. I deepen the paint darks in her hair and definestrands with the hair using a utility knife#24 brush, and I’ve also decided tobrighten Michelle’s dress.
'''Step 11.'''<br>These are the type of refinements I will make化粧品のほほ紅（チーク）で唇とほほに色をつけます。<br>throughout the rest of the illustration, but will beselective where I lavish my attention. I add a little crimson color do not wish to his lips andcheeks, using inexpensive blush/makeup“over model” digitally as I like some of my traditionalfrom the dollar storepainted hand to show through.
'''Finished!'''<br>Around mid morning of deadline day I deem it色鉛筆で影を入れて、眼を描き入れたらfinished, flatten the file, convert to a CMYK tif,私のエルビスが完成and～:)<br>send it to the art director using yousendit.com. AnI put in some shading with coloredemail back from the art director telling me she lovespencils and finish drawing it makes my day. Here is the eyefinal illustration (fig. 8).Now my Elvis -----''Mike Tofanelli is complete!a freelance illustrator and party caricaturist based in Elk Grove, California. His illustrations have appeared in numerous national and regional publications. His work has also been included in American Illustration 27, 29, and 31. Find more of Mike’s work at www.miketofanelli.com and visit his blog at [http://www.miketofanelli.wordpress.com www.miketofanelli.wordpress.com].''
''専門学校横浜日本デザイナー学院卒業。その後、星の子プロダクションに入り、似顔 絵をはじめる。2006年フリーランスとして活動をはじめる。現在、店舗でのライブスケッチと、雑誌でのイラストレーションを描いています。<br>After graduating from Designer Gakuin College of Yokohama, she began drawing caricatures with Hoshinoko production{{2012. She began working as a freelancer in 2006. Currently she does retail live sketch and magazine illustration. See more of her work at www.boo-bana.com''3Navbox}}
Mike Tofanelli Illustration Process (view source)
Revision as of 05:02, 5 August 2020
, 05:02, 5 August 2020no edit summary
'''Mike Tofanelli Gives the Dish on his Illustration Process'''
==Article Transcript==
This is an illustration assignment I did last summer for Westchester Magazine,
a full page opener for their 914 section. It accompanied a humorous opinion
article about the new “MyPlate” food guide, introduced to the American public
by Michelle Obama and the USDA. The premise was that a lot of people find
the guide more confusing than educational.
'''Preliminary Sketches, Brainstorming'''<br>
The beginning of any illustration starts with small
thumbnail sketches (fig. 1). These are not intended to
show the art director but just to help me figure out what
will work visually. These are quick and rough and I’ll do
as many as it takes. I’m not getting hung up on details
here; my main focus is composition and concept. At the
same time, I am going through reference photos of Michelle
Obama and working on her likeness. The sketch
on the above right (fig. 2) evolved from a thumbnail and
is one of two sketches that I scanned in and emailed to
the art director. You can see the indication of a masthead.
It’s important for me to know its placement and
not let any important elements interfere with it. This is
the one that got approved.
Typically, I submit one or two sketches, as part of my
responsibility is to weed out the lame ideas. As an editorial
illustrator, I’m hired for my way of thinking as well
as my artistic style.
'''Step 1.Acrylic Underpainting'''<br>動画や写真を見て、モデルの形をイメージI print out my approved sketch at aして記憶する。<br>comfortable painting size, aroundFirst11”x14”, about 125% of final reproductionsize. I study photographs tape the sketchto a sheet of cold press illustrationboard and videos using a graphite sheetunder the sketch, I trace over thesketch to transfer it to observethe board. Irefine and redraw my drawing onthe person’s appearance board using 2h or h graphitepencils and commit their/or Verithin’s brown,features to memoryblack, and terra cotta coloredpencils.
'''Step 4.Acrylic Rendering'''<br>顔のパーツを「線」と「図形」で描いていく。I expand my palette to includealizarin crimson, cadmium red lighthue, cadmium yellow deep hue, veridianパーツのすべてを描きすぎないように意識green, ivory black, and titaniumします。<br>white, and start applying localNextcolor to flesh, clothing, background,etc. I draw begin with “given” colors likethe lines flesh, and shapes of as you can see in fig.4, I’ve started with the facialtwo faces onfeaturesthe upper right. The idea is to layin a midtone translucently so I try canstill see my underpainting, and thenblock in lights and highlights (more opaque) and dark tones (transparentto remain aware and not draw tootranslucent). As I model themuch forms, I keep mindful of all the parts (keep it simple)directionof my light source.
'''Step 7.Going Digital'''<br>眼や髪のつやを描き、線をきれいに整I scan my painting at 355 dpi. Ofえて、下描きは完成。<br>course my painting is too largefor my scanner so I draw the highlights scan it in the hair twopieces and the eyejoin them together inPhotoshop.Yeah, that part’s apain but watcha gonna do? OnceI clean up the lines as this will be the roughscans are pieced together andsketch/draft that color adjustments made, I rely on for can nowstart painting using my final piece21" Cintiq.
