For many artists, creating an illustration begins with a pencil and a piece of paper. In this tutorial, Andreas Preis will show you how to create a beautiful mixed media illustration. To begin, he will sketch the illustration on paper and then add color and effects in Photoshop.

Final image:

Before you start, watch the video on how the sketch was created:

Step 1

It all starts with a white sheet of paper. You can draw the illustration that the author used, or you can draw your own.

Step 2

First of all, create a pencil sketch of the illustration.

Step 3

Now draw the outlines:

Step 4

This is the final step: start drawing with ink. If the illustration has a lot of detail, drawing may take some time.

Step 5

After several hours of drawing, the illustration looks like this:

Step 6

Scan the sketch in grayscale, set the resolution to between 600-800 pixels. However, please note that the larger the file, the slower the computer will work. After scanning, open the illustration in Photoshop.

Step 7

You need to enhance the contrast of the image using the command Curves(Image - Correction - Curves) (Ctrl + M). You need to add as many white and black shades to the image as possible:

Step 8

Now you need to correct some inaccuracies in the illustration (for example, remove extra lines). Invert the image (Ctrl + I) - then it will be easier to see those inaccuracies that need to be corrected.

Using tools Clarifier And Dimmer(Burn/Dodge Tool) (O). Remove any discrepancies and then invert the image again.

Step 9

Now you need to separate the image from white background. To do this, select the image (Ctrl + A) and copy (Ctrl + C), then add mask. Click on the mask while holding down the ALT key. Now, you can paste the illustration onto the mask (Ctrl + V).

Step 10

Invert the layer mask ( Ctrl + I).

Go from the mask to the layer by clicking on its thumbnail and fill the canvas with black.

Apply the mask: first press Ctrl + G and then Ctrl + E (this method will first place the image layer in a group, and then merge the group).

Step 13

If necessary, you can adjust the proportions in the image. To do this, use Plastic filter(Filter - Plastic) (Filter > Liquify) Here you can change some lines and curves.

Step 14

Now add a white background layer.

Step 15

Select the image with the tool Magic wand(Wand Tool) (W) and invert the selection (Ctrl + Shift + I). Shrink the selection by 5 pixels (Selection - Modify - Compress) (Selection > Modify > Contract). Create a new layer (Shift + Ctrl + N) under the illustration layer and fill it with a dark color - this will be the hair color.

Step 16

Above the hair layer, create a new layer - this will be the face layer. To paint the face use White color and the Brush tool ( Brush Tool)(B).

Step 17

For each individual part that you are going to paint, create a separate layer. Now under the face layer create a new layer for the scarf.

Step 18

Finally, create a new layer called “Pearls” and draw pearls in the hair.

Step 19

Now you need to lock the opacity for each layer that was colored. This will help you avoid going over the edges of each layer when you darken them.

Step 20

Now you need to color your hair in different shades. This can be done with the Brush tool ( Brush Tool) (B).

Step 21

To create light and shadow we will use different brushes. Download the image of a dark spot from the lesson resources - we will use it to make a brush.

Step 22

At this stage, you need to increase the contrast of the image again. To do this, create a brush and a dark spot image ( Editing - Define Brush /Edit > Define Brush Preset).

In the window that opens, set the name of the brush:

Step 23

Open the palette Brushes(F5) and select the newly created brush:

Go to the tab Dynamics of shape(Shape Dynamics) and experiment with the Size Jitter and Angle Jitter settings.

Step 24

Using this brush, start adding light and shadow to each layer. Start with your hair.

Step 25

you can use additional colors, for example, those that I used when coloring the scarf.

Step 26

Color the pearls in different shades of yellow and brown:

Step 27

Working on the face is the hardest part. You need to figure out where to add shadows and highlights. Refer to the screenshot:

Step 28

Create a new layer called "Makeup", paint makeup on it and change the Blending Mode to Multiplication(Multiply).

Step 29

Let's move on to creating the background. To create it, you can use any type of paint: acrylic, aerosols, and brushes. Don't be afraid to experiment.

Step 30

The background can be anything, including paint and scratches.

Step 31

For this particular part you will need colored spots, drops, etc.

These are photographs of two parts of the background (for example):

Step 32

Scan the background you created (make sure the paint is dry). It is advisable to use a fairly high resolution (about 900 pixels).

Step 33

Transfer the scanned background to the main image. You can delete the white background layer, and place all layers related to the illustration in a separate group. To change the background color, add (Hue/Saturation) to it.

Step 34

You can use any color you like as the background. I chose the turquoise shade.

Step 35

Add a second background and rotate it (Ctrl + T).

Step 36

Create a new layer (Shift + Ctrl + N) under the second background layer, fill it with black and merge this background layer with the layer filled with black (Ctrl + E).

Step 37

Add a mask to the merged layer and load a selection (Ctrl + A). Hold down the ALT key and click on the mask thumbnail. Press Ctrl + V to paste everything. The colored background now works as a mask.

Step 38

Go from the mask to the layer, and now go to the mask again, but without pressing the Alt key. This way you can see what's happening on the canvas, but you can also continue working on the mask. Now run the command Curves(Curves) (Ctrl + M).

Step 39

The bright areas on the second background will now become visible:

Step 40

Create a new layer above all layers and add a shadow on the shoulders.

Step 41

Now add more color spots. This will give the illustration a "street art" feel. Draw each drop on a separate layer.

Step 42

Reduce the opacity of each droplet layer to approximately 33%.

Step 43

Select all layers with drops while holding down the Shift key and place them in a group (Ctrl + G). Add a mask to the group with drops and use various brushes to remove some parts of the drops to give them a more interesting look.

Step 44

Now I'm going to use an old paper texture - you can find it online or you can scan it.

Step 45

Transfer the image of the old paper into our document and place it above all layers and groups. Add to it Hue/Saturation adjustment layer(Layer - Adjustment Layer - Hue / Saturation) (Layer > New Adjustment Layer > Hue/Saturation) and reduce the brightness of the texture.

Step 46

To blend the texture of the old paper with the background that was painted with paints, change the blending mode of the old paper texture to Multiplication(Multiply). Add a mask to the old paper texture layer and remove the old paper texture in some places of the image (for example, from the face).

Step 47

Now you can use the same trick that you used to create the colored drops. Add a mask to the “Woman” group (it contains all the layers related to the illustration). Now erase some fine details from the image with different brushes to add texture.

Translation: Slutskaya Svetlana

From the Al Power design studio about why it is important for any brand to develop its own style of illustrations and how to create an accessible guideline for them.

Illustration is a form of design. Without prescribed restrictions, this is just an element of art. We use guidelines to bring clarity to our illustrations.

What is it for

The key to identifying your style is identifying your core values ​​and justifying the use of illustrations. Once you create a certain stylistic consistency, you will have an overall style that will harmonize with your images. This will mean that any illustrator can easily work with your platform and be confident that they will not disrupt the overall style.

To create a consistent style, it is essential to define key indicators, such as color scheme or font weight. However, don’t forget about the importance of illustrations for your overall style and the function they serve on your platform.

Illustration style example

You can't just pick it up and draw it

Before you begin any project, it is important to decide what you and your stakeholders want to achieve with the project.

I usually ask a few questions that help me and the stakeholder better understand what we are trying to get out of the project.

Goals

• Why do you want to add illustrations?
• How will you evaluate the project?

Existing style guide

Having a style guide that already exists usually helps a lot. It should not be based on illustrations. Basic design guidelines and everything that distinguishes a given brand on the platform will help you focus on the project correctly.

You also need to understand how the illustrations will fit into the existing color scheme. Just because a company has its own color scheme doesn't mean the illustrations will work harmoniously with it. After all, illustrations should stand out from the rest of the interface elements, so using brand colors in images can have a negative effect.

Values

How appropriate do you think illustrations are for your platform? Do you think they will highlight your brand's personality? Will they be crisp, clear, funny, detailed, etc.?

In essence, this is the main characteristic of the style. Even before starting work, you should understand what role you assign to illustrations in the interface. How will you use them: as a user guide, to fill gaps, or simply to add personality to your project.

Moodboards

Create style mood boards that complement your product well. This will make it easier for the illustrator to understand the moment a stakeholder points at a style element and says, “I want that.” Of course, this will not be the final solution, but at least it will give the designer an understanding of what they want from him.

When creating a moodboard, you should not go into details. Mood boards serve more to set a direction vector for further work. There are plenty of resources for research in this area, such as Behance, Dribbble, Pinterest, iStock, or the same good old Google image search. This is all done in order to collect as much information as possible before starting to create the first artboard.

Don't rush to get to work right away. First, understand what you are doing and why.

Time to roll up your sleeves

Fortunately, I have created such guidelines before. When I joined the Globoforce team, I was given the task of creating an illustrated style for use on our white-label platform.

The main purpose of the illustrations was to add some personality to areas where our project felt unfinished. At the simplest level, it was: create a common illustrative style that would bring consistency across the entire platform.

Try, try and try again

Nobody says this process is quick and easy. We explored many styles that ended up not working for us. It's all about exploring ideas. Nothing is done in vain; all ideas help shape the final decision. It's like jumping over one more obstacle before the finish line.

Some styles work, some don't. And you must be ready to discard ideas that are obviously good, but not suitable for your project.

Language of illustrations

It's important that everyone speaks the same language when it comes to terminology. You need to create a language of terms that will be understandable and convenient for everyone. Find terms that people will understand. You don't need to go into detail: you just need a specific set of words that will allow designers and stakeholders to communicate.

Our icons

To improve the usability of our site, we use icons. Our style guide outlines the rules for using them, as well as choosing their size (from 12 to 64 pixels).

Iconography

Our text illustrations

Text illustration helps demonstrate a certain feature or describe some experience. Such illustrations are pleasing to the eye, do not take up much space on the page and add personality to the interface.

Text illustrations

Our illustrations of the unoccupied state

Illustrations of an unoccupied state are used to explain a feature, but never as the main focus of a component. In most cases, they are needed to indicate the need to fill an empty space.

Illustrations of unoccupied state

Scene illustrations

Scene illustrations are placed in a larger space and serve the function of explaining a feature or scenario to the user in more detail.

Scene illustrations

Our approach

Illustrations can be used to bring the interface to life. They serve to inform the user and attract his attention.

Keep it simple

Since our product is white-label, the illustrations will be used for a wide variety of customer categories. That is why we decided to stick to the most simple and passive style possible.

Using Characters

We refrain from using characters all over the place. Using characters raises questions about race and gender, and given the diversity of our clients, simplicity is best.

Color scheme

Our color scheme was chosen based on business goals. Her unobtrusive nature reflects ours. wide circle clients. Our goal is to delight users with illustrations, and not to delve into the understanding of brand colors.

Color balance

In general, we stopped using a lot of colors in the illustrations. We tried to focus on our "ghost white", using the other colors in the scheme purely for balance.

White is our main color. Try using it for key elements in an illustration

Causes

Color should not be chosen subjectively. Illustrations should be passive and not attract too much attention. Colors can be used, but selectively. The style should be neat and subdued.

Color scheme for illustrating inactive states

For the inactive states option, we used our "ghost white" color and stroke. Here only shadow is used and no colors. In order to reduce visual load, we used a transparency of 50%.

Empty state illustration

Stroke

Typically we use a six pixel stroke. If there are small details, select a three pixel stroke. We also use roundings on the corners everywhere. The stroke color is always the same - #8A8EA0.

So

The main goal of an illustration guide is to create a consistent, recognizable style that reflects the core values ​​of your platform. To do this you need to follow three steps:

1. Determine why you need illustrations.
2. Create a style that works for you and your business goals.
3. Document your style in such a way that you can easily clone it for other concepts.

The full study can be viewed.

Hello! My name is Hatice Bayramoglu, I am a 3D artist and illustrator from Turkey. In this lesson I will show you how to draw and color a hero - an illustration for a children's book. As the lesson progresses, I will explain my choice of certain tools and my thoughts on illustration. My tutorial shows how I create an illustration from initial sketch to full drawing. I believe that after reading this lesson you will find something useful for yourself. To create the work I will use Photoshop and a Wacom tablet.

This drawing will be created entirely in Photoshop CS2.

Step 1: Sketch
Start by creating a new document in Photoshop. Its dimensions should be about 800x778 pixels. I started by creating quick sketch, which reflects my main idea. Here's a sketch of the main environment around the main character.

So, as you can see, this sketch shows the main character - a little girl standing next to an apple tree with an apple in her hands. She smiles because she is happy, and perhaps a little sad.

Step 2: Setting Up Brushes in Photoshop
Here is the one and only brush that I use to paint my heroine. For painting I will use standard brushes.

Before you start painting, you need to set up your brush. Start by choosing a tool Brush(Brush), then use the standard brush shown below.

(click on image to enlarge)

Step 3: Color Palette
You must decide on the colors you will use before you start painting. Here are my colors used in my work:

Step 4: Layers (Layers)
Create New Layer(New Layer) and name it Sketch. You can create this sketch in Photoshop or on paper. Once you have created the sketch layer, change it Blend Mode(Blending Mode) on Multiplication(Multiply) and always keep it on top of all layers so you can see what you are painting over.
Now look at my layers palette. Here are separate layers for each sketch object. Painting each detail on a new layer makes it easy to make adjustments as you paint. It's much easier to correct mistakes if the main elements of your illustration are located on separate layers. This step is really very important!

Step 5: Working on the Background Color
Here let me show you how I color the background. Choosing a tool Fill(Paint Bucket) (G). Once you fill the background it should look like this. Make sure the layers are arranged as shown in the image below.

Step 6: Coloring the Basic Shapes
Before we start coloring, let me show you the order of the layers again. I changed it because the sketch layer should be on top of all layers, and also set to Multiplication(Multiply). At this point we can start coloring the sketch and can identify the main shapes. Using the tool Brush(Brush) (B), start painting the main character and the tree on separate layers. Make sure that Rigidity(Hardness) of the brush is set to 100%. A brush with soft edges may result in a somewhat blurry result.

And in this step I would like to change the size of my file because I want to add more subtle details. So I open Image(Image) - Image Size(Image Size) and increase the file size to 1500x1495.

Step 7: Adding Details
Now I can start adding details. In this step I started by painting the face. main character. Make sure you are working on the proper layer before painting.

And here I created a copy of the tree layer and added some details to it. I also hid the first layer with the tree.

Here's a screenshot to show you the details. I started adding even more details to my drawing, such as grass and small flowers. At this point I created a layer called Flowers.

I add even more color and fine detailed lines on the wood.

Now look at the details I just created. I continue to add details and, if necessary, create new layers.

Step 8: Special attention to the main character
Now that I'm happy with the detailing of the decorations and wood, I'll add detail to the girl's outfit. At this stage I noticed that my character looked very plain and not very attractive, so I thought I should take the time to make some changes. I tried to give a slightly different look to the heroine and continued to add more details. Again, pay attention to the order of the layers. As you can see, in this step I have a few more new layers. All layers have their own names.

Now I'm starting to add little details to the heroine, adding more yellows and greens. By the way, don't forget that you don't have to detail everything in this step. At this stage I work on the main details and light until I get a nice contrast. Sometimes I change some colors. I'm almost finished painting her clothes and body. I also moved the sketch layer a little to one side so that you can see what the heroine looks like without the sketch base.

Step 9: Adding Highlights and Contrast
I used the tool Clarifier(Dodge) (O) to brighten areas. This is what the work looks like after all the adjustments made by the tools Clarifier(Dodge) (O) and Dimmer(Burn). I continue to add more detail to the tree using brushes of different sizes and colors. Once enough detail was added, I began to smooth it out using a soft edged brush. I also use tools Clarifier(Dodge) (O) and Dimmer(Burn) to give shade to branches.

I also add a few strokes with the tool Finger(Smudge). I use this because I want to add soft blurry areas to the clouds and background. At this stage I noticed that my clouds were not very detailed. So I created a new layer to paint the details to the cloud using two tools: Finger(Smudge) and Brush(Brush).

Step 10: Adding More Details
At this stage, I noticed that I needed to add more flowers to my drawing. So I create a new layer and, as you can see, I draw some cute and simple flowers. I continue to add more details. Adding some touches with a tool Clarifier(Dodge) (O), I'm doing this because I want to add some lightly lit areas of grass.

Now that the grass and background are complete, I can start adding more detail to the girl's hair and face. Selecting the brush mode Lightening Basics(Color Dodge) and add a few strokes to her face.

Now notice the details I added using just the brush in mode Lightening Basics(Color Dodge).

Step 11: Color Correction
The drawing is almost finished except for color correction. To start Drain(Merge) all layers. Now in Image(Image) - Corrections(Adjustments) - Brightness/Contrast(Brightness/Contrast) let's change the color a little. I want to give the illustration a more sunny effect.

Set the parameters that I set. This is what the illustration looks like - more sunny and joyful.

Finished illustration
Here is the finished illustration, I hope you found this tutorial interesting. Thanks for reading.

The post contains a selection of training lessons on creating vector graphics. In my opinion, most of the materials will seem interesting to beginners just starting to comprehend vector art. But I think that specialists will also be able to find useful lessons for themselves.

The tutorials are free, but almost everything is English language. For convenience, they are divided into three categories: getting started, creating faces, character design, landscape and environment and special effects.

So, here we go:

This tutorial explains how to create vector illustrations using Adobe Illustrator. Key parameters and tools are explained, complemented by expert advice.

In this comprehensive tutorial, you'll learn the basic terms, workflows, and techniques that will help you get started with vector graphics.

The pen tool is one of the main ones in the program’s arsenal; it is especially important for the initial mastery of vector graphics. This detailed guide aims to introduce you to the features and methods of working with Adobe's indispensable tool. And also with the most rational ways to use it.

This video tutorial is a truly valuable resource that explains how to create vector graphics in Illustrator and the role that drawing plays in the process.

From using Bezier curve points to strokes, fills, and making vector graphics look more natural, these are just a few of the Illustrator secrets in this tutorial that will greatly enhance a beginner's arsenal.

Learn how to create simple organic shapes in Illustrator with this easy-to-follow tutorial from Veerle Pieters, graphic and web designer.

7. Adding Texture to Vector Illustrations

Adding texture is a great way to make your vector graphics more expressive and emphasize their perspective. In this very accessible video, Illustrator expert Alexandra Cecilio demonstrates how to do it.

This tutorial from Andrei Marius will help you create a vector line graph. Step by step: from a simple grid to guide lines, using only the Appearance panel (one of the most powerful tools in Adobe Illustrator) with some simple text and fine shading added.

Creating faces

9. Creating a vector eye

This is very useful video tutorial that shows the process of creating a vector eye, as well as darkening the skin.

This is an in-depth video course that will help you master the art of creating vector portraits from photographs.

Another great tutorial on vector graphics. Ruslan Khasanov shows how to manipulate the work of vector lines and gradients to give the work dynamism.

With the resurgence of the geometric trend, it's fair to say that WPAP could be introduced in more numbers various aspects design. This tutorial will show you how to create WPAP yourself in Illustrator using the WPAP Wizard.

Drawing hair in vector can be quite tricky. This tutorial shows you step by step how hair from a photo is turned into vector hair.

In this tutorial you will be able to create an illustrated self-portrait in a geometric style. Your own photograph will be used as the basis for the illustration. She will help you draw a sketch and then complete the rest of the work.

Illustrator and designer Yulia Sokolova shows how to create a set of portraits that are perfect for social media or, for example, to designate different categories and professions on your site.

Jonathan Ball, founder of Poked Studio, explains how to use Illustrator to geometric figures transform into unique, colorful characters.

In this tutorial you will easily and fun create a very simple stencil that can be used on a variety of surfaces (including t-shirts, walls, canvases). L. Carroll's fairy tale "Alice's Adventures in Wonderland" inspired the author to create a vector image and write a tutorial.

With this tutorial, Mary Winkler is going to show you how to draw a chibi character from scratch using the Shape Builder Tool (Shift-M), Pen Tool(P), transparent gradients, and many other Illustrator tools.

The tutorial walks you through the process of creating a simple anime character from start to finish.

Learn how to create cute bunnies in this vector art tutorial. The training uses simple shapes and gradients that can easily be applied to illustrations of other characters.

This tutorial introduces a lot of basic shapes to achieve a really slick illustration style. And then he “animates” the yeti using a palette of cool colors.

Here you can see how video game characters are created. You will have the opportunity to examine the work from the first sketch to the very final.

If you are an avid football fan, then this tutorial will be especially helpful. In the lesson, Sergey Kandakov creates a bright illustration with a retro style effect.

Landscape and environment

25. Creating a vector infographic picture

This tutorial from vector artist Andrei Marius shows how to create a simple card design in Illustrator.

This tutorial demonstrates how to create a stunning environmental landscape in Illustrator. It will be enough to complete the task basic knowledge about the program tools.

A very simple and consistent lesson from Diana Toma, which shows how to draw beautiful flowers using gradient meshes.

In that step by step guide You'll learn how to create "electric" text in vector.

Tom Mac shows how to create a drip-effect portrait in Illustrator using the Pen tool and some additional techniques.

In this tutorial, we will make a simple and beautiful oriental pattern in Adobe Illustrator that will consist of various Asian cultural objects.

Over the years, vintage illustrations and retro styles have become popular again in design. In this tutorial, developer Ben Steers shares his techniques to help you transform vector art into a retro style.

Using Illustrator, you can create flawless vector graphics. But sometimes illustrations are required that resemble artistic sketches made on a quick fix. The lesson shows how to draw a vector drawing in this style.

By following this tutorial you will be able to create a glitter effect in Adobe Illustrator. The illustration is based on three effects: note paper, stained glass and torn edges. With a quick trace they turn into a shiny vector texture.

Halftone is a way to reproduce a monochrome image. It is based on the specific perception of a picture by the human eye, for which the image area filled with large dots is associated with darker tones. Conversely, an area filled with smaller dots is perceived as lighter. Artist Chris McVeigh shows you how to create a vector halftone.

In this tutorial, you'll learn how to create a graphic Batman logo using simple shapes in Adobe Illustrator. Are used simple tools, like Ellipse Tool (L) and Shape Builder Tool (Shift + M).

36. Convert raster image to vector

This Inkscape tutorial demonstrates how to convert a raster image to a vector image using the Trace Bitmap function.

Slider is a popular web design element. This tutorial shows an option for creating a slider in a vector.

Ciara Phelan will show you how you can create an amazing collage by combining vector images and photographs.

This tutorial from a design studio shows you how to easily draw and trace a photo. The example uses a simple gradient fill to create a realistic illustration.

This tutorial shows you how to create a cross stitch effect in Adobe Illustrator. The Appearance panel and swatches will be used for this.

During the work on the publication, the original illustrations are being prepared for reproduction and placement in the text. The illustrations in the book are line and halftone. When creating illustrations, I relied on the following criteria:

• ·All drawings must be made in proportions corresponding to the design project of the publication. It is the layout of the book that allows you to accurately determine the final dimensions of the illustrations.
• ·The volume of illustrative material used, as well as the method of its rational placement, was determined together with the author at the initial stage of work on the book.
• ·The requirements that the illustrative material must satisfy can be summarized as follows for line and halftone images:

Line originals:

• · drawings must be made on smooth white art paper;
• · corrections should be made by painting with a bright white color;
• · the drawing must be made on a scale of 1:1, 1.5:1, 2:1 in relation to the future illustration in the book and have an appropriate thickness of strokes. You should not allow too thin strokes, which may disappear when the size is reduced;
• · shading with dotted lines or cross-hatches should be uniform, with a gradual transition, and not have too thin or short strokes in the texture. They may be lost when downsizing.

Single-color halftone originals:

• · black and white prints on glossy paper (not tinted, not matte, not embossed);
• · a wide range of tones is acceptable, but with a gradual transition of shades, without too obvious contrasts;
• · the ability to use approximately one and a half sizes to obtain a printed size;
• · must not be bent or damaged.

The design must be on a flexible substrate so that it can be scanned.

Working on an illustration, the artist solves a wide variety of professional problems: compositional organization, decorativeness, emotional expressiveness, stylistic correspondence to the spirit of the literary work, the era depicted. Book illustration is part of a book. The artist must take into account the type of publication, method of reproduction, format, proximity to the font stripe, and the presence of graphic decorations in order to find a harmonious solution and create an artistic image of an illustrated book.

The artist's intention concerns mainly visual system in illustrations, the task of which is to lead to the best educational and explanatory result. The artist solves not only issues of the visual and plastic side of the future series of illustrations, but also - this is the main thing - issues of figurative structure, interpretation of the work and its artistic features, creating a compositional whole from individual drawings, which, entering the book and merging organically with the text, would imperceptibly lead the reader-viewer to that aspect of the interpretation of images that was intended by the artist in order to most fully and vividly convey the idea of ​​the work to the reader. This feature of the design concept work of art has a profound influence on the thematic plan of illustration. Without going into consideration of topics in all their diversity, the general thematic range of illustrating a work of art can be presented in the following list.

Description of the thoughts and feelings of the character, his characteristics appearance, facial expressions, gestures, manner of speaking, acting. In illustrations, this material corresponds to a portrait, which can be of a generalized nature, without reference to any place in the text, or, conversely, with reference to a specific small or very short piece of text, when the character is depicted in a specific internal or external action. Portraits can be depicted outside of any environment, with the environment as a background, sometimes symbolic meaning, and in an environment that actively characterizes the person depicted. the main objective portrait - to give social and psychological characteristics of the portrayed character.

2. Description of the events that occur during the meetings of the characters, their clashes with each other and nature. Of this group of themes, especially important are those that clearly reveal the character of the characters or are a turning point in their fate, as well as those that, without playing a special role in the development of the plot, at the same time emphasize the main idea in the artist’s plan. In illustrations, this material is expressed through plot-thematic compositions. Their main goal is to reveal the character and state of the participants in the event in action, to reveal the meaning of the depicted scene in the course of events and to express the main idea. These are the most common illustrations. Like portraits, scenes can be depicted outside of an environment, with the environment as a background, and within an active environment.

Description of pictures of nature, city views, interior spaces, emphasizing and helping to understand and feel the leitmotif, tonality, general mood, main idea works, the nature of the environment surrounding the hero and its effect on him, the character of the hero himself and his mood. This material corresponds to a landscape or an interior, which, as an illustration, has an independent meaning, so independent that the figures of the characters of the work inscribed in them serve only to emphasize the belonging of the image to a certain place in the text or to highlight its main theme and intent. Of the illustrations for this group, the most common is landscape.

Description of individual structures, buildings, household items, plants, animals, etc., which highlight and help to understand this or that trait in the character and mood of the character or are of particular importance in the development of events. In the illustrations, this group of themes corresponds to peculiar graphic still lifes or isolated images of an object, figure. Illustrations belonging to this group are rare.

Each of the described thematic groups can be divided into subgroups depending on what acting persons refers to: main, secondary, tertiary or episodic. And also subdivide the group depending on whether it belongs to the main one storyline or to the side, whether it accompanies the plot or belongs to the extra-plot parts of the work.

The range of techniques used in modern book graphics is very wide. From the finest watercolor works to silkscreen printing, from gouache and pastel to knife cutting on calf parchment, from pen drawing to collage and experimental digital forms. The positions of artists are different: from absolutely serious to naive, from ironic to skeptical. High quality and amazing variety is what should characterize modern work.

Modern illustration, often created using computer graphics , getting closer and closer to design . Works can be performed in a wide variety of techniques - vector graphics, painting and drawing, mixed media.

Illustration work requires attention to detail, intimate knowledge of the subject being discussed, and the ability to convey graphically complex ideas. Some illustrations are created using watercolor and gouache techniques and belong to fine art, others are created using computer programs, the third is a synthesis of traditional means and computer technologies. Here the work of the hand and eye is intertwined with the work of programs and machines.

In the illustrations for the play “Oh, our life is a bitch!” Three topics (episodes) were taken: “Khirin with a dog”, “a millionaire’s conflict with bank representatives and police officers at a masquerade ball”, “defending the interests of Merchutkina’s husband in front of those present at the wedding”. And in the illustrations for the play “The Demon Confused!” three topics (episodes) were also taken: “the general’s conversation with Blistanov,” “Lomov’s conflict with Natalya Stepanovna and Chubukov,” “the proceedings of Blistanov and Natalya Stepanovna.”

An important role in the composition of illustrations is given to the environment in which the action takes place. The environment of the characters is of great importance for revealing the content of the picture. The unity of impression, the integrity of the composition is achieved by finding a typical Russian interior at the turn of the 19th-20th centuries.

The illustrations for the book "Chekhontins" were created using the technique of black and white contrast graphics, black ink using a pen and rapidograph. After scanning, processed in Adobe Photoshop using a graphics tablet.

Within this thesis the goal was set - to create a layout and illustrations for the design of the book edition of G. I. Yudenich "Chekhontins", taking into account the peculiarities of perception of the adult category of people, using the basic graphic tools characteristic of creating book graphics. The goal of the work was not just to create the graphic design and illustrations of the book, but also to design a complete layout that would harmoniously combine all the elements of the book.

Comprehensive work was carried out to review book illustration How special type graphic art revealed distinctive features book graphics from other types visual arts.

From a design point of view, book graphics are not only an object of fine art (creating illustrations or fonts), but also an object of creative activity, including technical editing, typesetting, layout, etc.

In order to identify distinctive features book graphics from other types of art, books and periodicals about the art of books were studied.

In addition to the layout rules, the work examines the special requirements established by state standards.

Comprehensive work was carried out to study the history of the development of book illustration and to identify the main features of development. Illustration evolved and often responded to trends that existed at the time. The main tools that are used today to create illustrations have been identified.

Historical experience shows that the state of the book business has always been a determining dominant in the development of society for many centuries. The very invention of printing served as a powerful impetus for fundamental changes in the life of mankind, serious transformations in the sphere of productive forces and production relations, in the field of science, culture, education, and in solving many social and economic problems.

Having studied the structure of the book, we can conclude that one of the most important features of illustration is its dependence on the literary text. Its purpose is to complement the author’s narrative in visual images. Unlike easel graphics, which arises as a result of the artist’s direct observation of his environment and the study of materials from historical reality. Book graphics have as their starting object not life itself, but a literary work, which is already a reflection of life through the prism of a particular writer or poet. Illustration not only interprets the text, but also enriches it in its visual images, comments, develops and complements the thoughts and images of the writer or poet.

A book is, although complex, a single organism. And therefore, in its design everything is interconnected. You cannot decide the external design of a book in isolation from the internal design, assign a font size regardless of the format, choose a format without taking into account the degree of complexity of the illustrations, etc.

Based on the findings obtained, the set goal was achieved - an illustrated book was created based on the work of G. I. Yudenich “Chekhontins”. This book is intended for adults. It was created taking into account the preferences of this age group. A book layout was developed, systematizing the arrangement and characteristic shape of the illustrations. It made it possible to harmoniously reunite the font design of the main text, headings with illustrative material and other graphic components of the book, such as column numbers. The style of illustrations is hyperbolic, with elements of the grotesque, but close to reality. It is quite elaborate and detailed. Modern technologies were used to create the layout and illustrations. Particular attention was paid to the development of the cover, for which an illustration was created, including a font composition. All elements created to build the image of the book are innovative in their uniqueness.

The work performed corresponds to modern trends in the development of book graphics. Currently, there is a kind of opening of a new era of book art, in this regard, of particular interest is the study of the world history of book publishing, the identification and search for the subtleties of artistic and technical design of ancient masters. The main vector of this search is improvement contemporary art book publishing based on new technologies.