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It‘s at this stage that you begin stamping your own style on the illustration – it’s the last creative touch. 23 Keep working with different tones until you’re happy with the result. Try to view your work as an illustration, rather than copying a photo – this is the only way to get the finish you are looking for. Try to find new solutions on small details, which will help create an original piece of work. 21 Check how your illustration looks from a distance – do this several times so that you don’t waste time on areas that people won’t see.

When we talk to clients, we tend to concentrate on specific aspects. It’s hard to get your head round the whole overview. ” More murmurings. “Ah, more work. I see. ” Murmur. “World domination. ” He pauses, trying to sum it all up. “Your goals have to be job satisfaction and not lying awake at night worrying. Oh, and more knitted toys. ) THE T N E V N I O RE “WE TRY T Y TIME. WE COULD G ER WHEEL EV ALL DAY MIMICKIN SIT HERE AKIN’S STYLE, BUT FRED DE LD GET BORING” THAT WOU being our clients just through the club.

8 When you draw hard shadows and clear lines in the wood, change between the different curve adjustment layers to find the shadow version of your preference. All paths you’ll draw will now be collected to ‘The nun’ path layer. Use the Posterized layer to get a hint of where there are differences in the image that you might not be able to see that easily. A combination of these two techniques should prove successful. If you work in the Posterize layer, put a clear red coloured layer with the Blending mode Multiply, and you’ll easily see your Pen tool icon while drawing.

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