Transcripts
1. Introduction: Hi, I'm Ohn Mar and I'm an illustrator and surface designer. In this class, I'm going to take you through a really great project where we're going to create a vintage inspired illustrated recipe. Whether it's your mom's apple crumble, any recipe that you have. Adding that vintage element is a lot easier than you think. I'm going to take you through the process of researching it and then drawing out your ideas, and then compiling it and illustrating it. Please join me because this is going to be such a fun class.
2. Examples: I uploaded this recipe to They Draw & Cook and called it, let's bake scones. I know there you can see the scones on the right. I have given over probably a good two-thirds of this layout to the vintage elements. To the ingredients and the packaging. When you first see this, What do you initially think? What clues are there that tell you this is a slightly vintage setting? I have to say I haven't had to do very much, and this is the whole premise of this class. There are clues there, and if you research them enough, you will be able to pick up on them and add these elements to your own recipe yourself. Little up things like the way that the sugar label has an outline, a very decorative lettering as well, and also the baking powder was referenced from an actual product from the turn of the 20th century. I also want to add that I didn't slavishly copy things that I saw. What I did was take elements from it like this milk, this glass bottle is very evocative of milk bottles that I may have grown up with, but it still existed from the beginning of the 20th century. Also, the little decorative elements on the handle of the spoons and the whisk and even the cookie cutter. Lettering does play a really important part in creating an atmosphere. If you were to just look at the scones just as they are on this side of the layout, they don't actually say vintage. It's not until you see everything together that it creates this vintage vibe. Now, the scone recipe, I was able to reformat it into a greetings card, and this has actually been printed by a card company in the UK. Again, I used lettering to denote a certain style, and I've replaced some of the lettering with things like trust and honesty. What I wanted to show you, was even though the scones aren't there, even though the recipe isn't there, I'm able to translate the vibe because I've drawn the images in a certain way and I've applied certain decorative features, and it still reads as a vintage. I also turned back into a tea towel, you can see here. It's great that it can be made into greetings card at this scale and turned into a tea towel at this scale, and because you've got all the different little designed features and they're very small, but it all very much makes up the image. It's a very important aspect of this, just having these little details make such a difference. Again, that's something to be mindful of. Here we have my layout for coffee bundt cake. Again, a recipe for They Draw & Cook. As you can see, there is a 1950s diner vibe, and this was really easy to create, not a lot of elements in here. We have a few coffee cups and coffee pot scattered around and in the background is this starburst pattern, and that's been lifted from Pyrex dishes and repeated as a motif that you can see in the coffee pot and the coffee cups. What also gives it this vintage '50s feel, is the coffee maker and the hand lettering. Now you can see in the way that I've handled the lettering, the drop shadows that you can see in coffee bundt cake is very prevalent in adverts from the 1950s and even the free refills. Again, that device happens quite often in posters or packaging from the 1950s. That's the things I wanted to include. Again, it's just giving more information to the viewer, and it makes it easier for them to understand. This is what you're trying to communicate. The bundt cake in the foreground, and illustrated it more than the other elements. Or visually, there's a lot to support what's going on, like the sugar pourer and also this coffee pot that has got such a distinctive shape, and if you research that era, that coffee pot really only belongs in a set era from the 20th century.
3. Research Eras and items: Although there are many resources for looking at vintage food and drink items on the Internet. I just quickly wanted to show you some book that I've got. This is a Dover book which is copyright-free. I refer to this now and again because it's got these lovely images of various containers and kitchenware items that are just really glorious, and there's lots of decorative elements to it. I do have a thing about packaging and look at all these lovely different packaging ideas that I could use potentially. Even the way that fruit is illustrated. It's got a really lovely vintage quality that I would probably find it hard to recreate, but it's great for reference. Another book that I've got again from Dover is Label Art. Oh look at these labels, I think this must be for fruit squashes or cordials, and I love all the lettering that's on an angle. The way that the fruit has been created and the printing process, you can probably see that. I know this might be a bit too much information for you, but you can definitely get ideas from the way that they've laid it out and even the color combos. You can see here that they've used literally only three colors, and they've not printed in the white. That's just a few things that you might want to look out for when you start researching, but I'm going to show you how to research on Pinterest as well. If you've seen some of my other classes, you know that I'm a big fan of Pinterest, for researching various design and illustration elements. Now, for this project, I just want to quickly show you how I would go about doing this. I'm just going to type in "kitchen utensils". This is what comes up initially, and as you can see there's various different elements. But, I'm going to type in now vintage. This is what it throws up. Again, straight away you can see that there's a quite a lot of different things happening here. We see things like rolling pins, spoons, knives, fish slices, colanders, and I get really excited when I see things like these, because they're all displayed very nicely. Even things like these vintage style goblets I've got a thing about. This is very similar to depression glass, which I've got a thing about. When you go through a feed like this, I want you to think, what am I immediately drawn to? Like I really liked that depression glass. I don't know if I'm going to use it yet, but we're just going to look through this, oh and this, look 1970s kitchen utensils. I'm of that era, and I do remember various things like these, and I inherited some of my grandfather's Pyrex dishes. I'm just going to quickly type in Pyrex because that was my train of thought and see what that throws up as well. You may have to be of a certain age, but I love Pyrex like these. I have taken some of my parents' Pyrex, and my grandfather's Pyrex, and I just love these and I don't know if I can use it at the moment. But this is what I'm initially drawn to, so I might research this some more. When you look at this you think, why is this so evocative for me? I'm not saying you're into 1970s Pyrex. But what is your reason for liking this stuff? I am reminded of my grandparents' kitchen, I'm reminded of my mom's kitchen and that's why it speaks to me in that way. You just have to find out your story behind it, and think to yourself, how do I feel about this? I just saw something, hold on. No word of a lie, I have parts of this Pyrex collection that I inherited from my grandfather. I really have a personal connection to this, and I'm quite keen on this stuff because of that, and I want you to find out why you might be attracted to certain things as well. I'm just going to go back and type in "bake ware", because I wanted to show you what comes up when you use Pinterest and just type in different key words like this. Suddenly, look at the colors, look at the palette, it's pastels, and we've got things like, it says retro pastel colors, that'll make you squeal. We've got the signage, the lettering, the typography up here. Mixing machines, bowls stacked in that way, and also measuring jugs and things like that. I'm just going to see what else we've got coming up when you type in bake ware. This is another area that I'm really drawn to. I'm not saying you have to look up bake ware, please type in key words that you are really interested in. Oh look at the shape of that coffee pot. If you think on the feelings that you feel when you see images like that, and you can try and convey that in your recipe, and it will create a much better communication between you and the viewer of the recipe. Think back on your recollections of maybe your aunt's kitchen, or your mom's kitchen, when you are researching your recipe. Because I think it creates much more of an impact.
4. Reaserch Lettering: Slightly more in-depth with lettering styles and I'm just going to quickly type in 1970s lettering and see what comes up. We click images to show you what was around that time. What does Google think is 1970s lettering? You don't have to be a typographer to see that when you see certain typefaces or fonts, you just think, oh, that is so 1970s, like this, the way that has been set up with the drop shadow and also this has popped up. I mean, look at the color combo on that, anything like this could be used on your mood board to give you further inspiration. Oh, look at that one. During my research, I saw a lot of typefaces like this, so I need to make a note of certain typefaces. Maybe I'm going to go to a font library, like MyFonts, and see if they've got them. Look, this is Caslon, which comes up really often in typography. Caslon has been around for ages, the way that they've used the treatment of the swash, I believe it's called, and it just gives a really great evocative glimpse of the 1970s. The website I mentioned was MyFonts. Again, this is another great resource, and this is MyFonts dot com. I'm just going to type in 1960s in this box up here to see what typefaces come up. You can see just scrolling through this very slowly, there is already typefaces coming up that gives you a flavor of what you might have seen in the 1960s or this is MyFonts version of what they think might have been around that time. You can use this as a resource. I do use it very often. This one looks more like 1950s personally. But, this one looks like The Man with the Golden Hand that Saul Bass did. Sorry, I've gone off at tangent, but you can tell that, this is a really great resource and just have a look around the site and find something that's going to work for you in your era. Here we have the mood board that I created from images that I collected by a Pinterest and also Google. What you see here is a selection of fondue parts, but also I wanted to include elements like decoration, color, typography, and it really gives me a good basis and grounding. The type of vibe I'd like to create is a very social occasion and people having a good time, and they used to have fondue parties. I think that's the thing that I'm going to try and recreate. I do recommend that you have a quick look at my other class about the food illustration basics like layout, because I'm not going to be able to repeat that in this class. But I will show you some of the ideas that I'm going to come up with via this mood board.
5. Read the recipe and layout ideas: I've printed out the recipe for cheese fondue. That's what I've decided to do and I'm going to start circling and making notes of things that I want to be thinking about. Words like grated. In terms of using props, it means that potentially I could use a cheese grater, chopped and also grams, that means measuring. Perhaps I could have some scales, I don't know at this moment. The 300 milliliters of white wine. That means a measuring jug, cornflower, a teaspoon, tablespoon of kirsch. I'm not sure about that. Garlic, good grinding of peppers. So pepper grinder there and also grating of nutmeg. These are all clues potentially of items you could have featured in your recipe, as well as the ingredients that you're going to dip in the fondue like the carrots. I have drawn few layout here of different ideas that I had for this fondue illustrated recipe. One of the things that really struck me was in a lot of the appetizing for fondue there's always people dipping pieces of bread and that's something that I think would be great to incorporate with the ingredients. I found a lovely image of a cheese grater from the 1970's that ingredient to use as well. Also, what came up for me was some of the wallpaper is incredibly distinctive and maybe I can put that in the background. I'm not sure if this is going to work and to get the party for you. I'm thinking maybe all the cut up things that you did inside the fondue could be dancing around the edges. The same here. Where the cheese and the grater would be a bit larger in this layout and the rest of the vegetables would be dancing around the outside here. Often I find that it's not until I start putting together the actual layout in Illustrator that I get to really get a feel for if it's going to work or not. So these are just really guidelines and I might flip between one or the other is not setting stone at this stage, not until I stop compiling it.
6. Drawing the icons: First of all, I drew my fondue pots. I did three different versions using a black Pentel brush pen, but you can use any pen that you've got. I did use many different references, but I didn't always include the pattern because I'll get into that later on. Try and work quickly, and please don't overthink. Just try and get some line work down by adding these two details that you think might be necessary. I'm going to draw some of the ingredients that you dip into the cheese, and I'm still undecided as to how these will appear within the layout. But what I tend to do is, also I drew these just earlier. These would be the cubed bread. But I like to have a selection, and in general, a lot of art directors do like to see a fair selection of food items just so that they got a little bit more to work with. Because if you were to draw them, lets say, two cubes of bread, and if neither of them really work in the layout, the vision of their layout, you end up drawing almost twice as much. As I do want to let those, do you want to like that. I'm going to do several versions, and these would be the baby potatoes that you cut in half and you can do the cheese. One of the other ingredients that features in fondue is actually little corner cons or pickles or gherkins. I just thought that would be really interesting in terms of texture because it would contrast with the apple slices I'm drawing in terms of color and also the shape of them. Now we're moving on to the two cheeses that feature in this fondue recipe. It's emmental and Gruyere Swiss cheeses. I've found very good reference.You can either use Google or an image library like Shutterstock. One has that very distinctive holes in it, so I quite enjoy drawing that out. Again, it's fun for me to do this and you must always try and keep hold of that fun element. This is the retro 1970 greater that I found is bright orange. Even though it's quite a simple shape, there's just something about it that just says it's of that era or maybe it's because it's so bright orange. I really wanted to include this in my layout. You can see I've made a few errors with my brush pen, but it doesn't really matter because the main thing is that the lines get drawn and I'll take them away in Photoshop. What I also like to do is some Pyrex patterns. Even though Pyrex probably never manufactured fondue dishes. It is of that era. I'm not overly keen on some of the patterns that did appear on the side of fondue pans. I'm not going to slavishly be copying exactly because what we're doing if we're just trying to set up a scene so that the viewer understands what your vision was, and as you may have noticed when I went through the Pinterest from the 1970s, I do have a big thing about this old stuff. I think what I might do is probably substitute some Pyrex pattern. I'm not sure if it's going to be this one. I'm going to draw several and then decide later down the line. I always find it handy to have more icons than you need. You don't know how they are going to fit together, and it might provide a few serendipitous surprises and they'll have many uses within your layout.
7. Drawing the hands : In this short video, I'm going to show you how I draw hands holding the fondue sticks. Please bear in mind that I have been drawing figures and hands for a very long time in my career. My number 1 tip would be find good reference and try several attempts. I didn't know when I started this one, if it was going to work out. I just had very good reference in front of me. It also helps if you're able to form certain positions with your own hands as well so that you can understand the dynamics of what's really going on, and which finger is holding what part or the angle that it's at. As you can see, even though I speed up this video, I am assessing all the time the relationship between one line to another. I wish I could tell you the secret for drawing nice hands, but I'm afraid it does boil down to a lot of practice and a lot of dedication. You have to just draw it again and again. This is one of the great advantages of using the brush pen.I can make the line thick or thinner or depending on which part of the fingers or hands I'm trying to draw. The way that I interpret it later on in Illustrator, these lines play a really important part. So it's also the way I draw which is very distinctive. Everybody's version will be different. That's what makes it unique.The way I draw hands would be different to the way you draw hands, and it's something to be celebrated. I tried to keep the strokes really long and flowing. Often I imagine the line in my head before I put it down on thinking, if I lay down a line there, will it work? Personally, I think that finger is just a little bit too thin. Then I put in a stroke for the nail, which isn't quite right, but that's okay because we do have Photoshop and Illustrator to edit it afterwards. The main thing is to get the line work in and then we can take it from there.
8. Scan & levels: Here I've got some of my scans. I put them in at 350 dpi. Personally for me, what I like to do is to copy and paste it all into one ginormous document when it comes to compiling. Using my lasso tool, draw an outline and so I'm just going to copy and paste it into this document because it makes it so much easier. We can make Canvas size a bit bigger. I'm just going to use this as an example for now. If you go very close, you see that actually the lines are just a really dark gray and when it comes to the image tracing may not pick up all the little details and nuances so what you want to do is change the levels. Do Command L. Now bring up the levels or you can go up here, which is, Image, Adjustments and Levels. Same thing, so what we're going to do is click this Eyedropper here it is got the black inside it and go to one of the dark gray lines and do that, and what it will do is just really boost the black really so that those little faint nuances will be picked up. I'm just going to press ''Okay'' and I'm going to copy and paste all the artwork into this one document. Here we are. I know it is very long and thin, but I'm just going to save this as food icons.
9. Place Basic layout: I'm going to drag my saved document over to Illustrator and open it up in that program. Here we go. I'm just going to make that smaller so you can see it's one ginormous big document. I'm going to click on that using the direct selection tool and up here is the image trace box. The easiest option to choose to turn this into vector artwork that we can work with is sketched art. I'm working in Creative Cloud Illustrator, and then we're going to expand that. We've sketched that, I'm just going to quickly draw a box here and you can see that the color can be laid in the background and you can see through it. There are settings where you can't do this. So this is what we want. What we're going to do is select all which is command A and take over the drawn quick layout. I will give you a PDF of this. Now what we're going to do is go to file, place and call up the mood board that we created. There we go and it's a really good reference for what we're going to be needing to do. Now first of all, I'm going to just put a background color in and I'm just going to choose directly from my mood board here. I've got the eye dropper tool, and I'm just going to see what may work. Look at the color of that coffee. Lets try that. Could work, but we won't know until we start messing about with all the other elements, so let's just leave that for now. Now one thing we do have to talk about is this books that runs down the middle of this layout, I'm going to cut that and put it on a new layer to show you placed in front. This is the gutter guide and you really shouldn't put too much lecturing of any sort in this area, because if they were to print your recipe in one of their books, it's very, very tricky. So bear that in mind. Now the next step is choosing the form do pot for me. Now as you can see here, I've got this version and they're all slightly different shapes. This one's a bit thinner, and this one's got unusual thing happening on the sides there. I like them all really, I think to be fair, this one is probably the simplest. I know there is no decoration in there at the moment, but that doesn't matter. We're going to copy and paste it a few times and work from those. Just leave that there for now. I'm going to start just putting the basic elements within this layout. The chopping board, I will just drag the various elements over the chopping board and the cheese and just arrange them so that I've got a really basic framework to work with. I think we need to bring in the lettering now, so let's have a quick look at that.
10. Bring in the lettering: Now I've done exactly the same thing as with the other scans. It was scanned of 350 dpi and illustrated to image trays. I wrote out FONDUE twice. I thought the top version was a little bit shaky, so I think I'm going to use this one. I'm going to copy and paste that just underneath. Again, this is a process that I use in my other class where I take the inside of each letter out using the direct selection tool. I'm just clicking on the inside of the letters and I'm just going to delete those to make them solid shapes. If you hold down the Shift key, you can choose more than one item at a time. I'm going to delete that. It's a little bit wonky. If you do apple eye you can bring up the rulers. I don't know how that came out, but it is definitely wonky. I'm just going to use the direct selection tool and just tweak it by holding down command and this box comes up, and just bring it out so that it's sitting on this blue guideline. Again, this U is still a little bit weird. I'm going to manually press Command and the box will come up. I'm just using my mouse to turn that around. That's a little bit better. They do need a little bit of tidying up. What I normally do is I use a mixture of the pen tool and my eraser tool, that's the eraser tool here, or you can press Shift and four. That's what happens. I don't want this to be perfect, but I will be bringing down another guide to see how far out it is. It's not too bad. I'm going to clean up using my eraser tool some of these areas here where it is really quite bumpy and just going to show you quickly, go to the pen tool. I'm just going to delete a few points here because that really is too bumpy. I'm going to make it just a tiny bit more even. That'll do for me because I quite like some of these little nuances. There we go. I think that one's all right. There's a bit of a kink here. I'm just going quickly even that out because it doesn't look very nice. We've got to this stage and I have added cheese party to either side of it. There we go. I'm referring to my original test layouts and I don't think it is going to fit in that area, so I'm going to have to place cheese on top of that. That's still not going to fit, bearing in mind not to get it to close to the guttering. That could look good. Yeah, quite like that. That's could be a good read. But then I have issue of what I'm going to do with this space here. I'm just going to go back a step and put the party just underneath the FONDUE. Let's see how that is going to look. That means if I work with this, I have a lettering that fills up most of the space and I think that could look really good.
11. Manipulating the vector 1: I'm just going to quickly add the cheese grater, because I think that needs to be with the cheese. That's a bit big, hold on I'm just going to reduce that down. I tend to localize a lot because when I work like this, I do have every item on a different layer to ensure that it gives me maximum control and editability. That's not looking too bad. I'm going to go back to my fondue set. I really love this bold shape here. In order to create that, again, this was something that I touched on in my last class, I'm going to take it just a little bit further this time. I'm just going to copy and paste it underneath just to show you. What I didn't realize when I drew this out was I was going to have hands coming in, maybe here, here and here, so that we don't actually need to delete all those so I'm just going to use my eraser tool again. Shift and E for the eraser and if you get closer, I'm just going to take this section off. I've gotten rid of the lid. Now in order to get the effect that I'm wanting, I'm going to need to take apart these different elements so that we've got the stand, we've got the handle and we've got the main part of the pot. I'm just going to copy and paste that again. Copy and paste three versions of this. I first of all, again, we're going to use the eraser tool and first one, I just want the pot. I just want the outline of the part and I'm going to get rid of everything else. Now, the second version, I want the base. Get rid of that, so now we've got the base. In this version I want the handle so delete that. We've got three different elements that make up the part. I've got my direct selection tool. I'm just going to delete the inside and that's going give me the solid shape. I know it's a little bit wonky. We're going to correct that in just a minute. Move on to the base, delete these bits. I do like this. This is just the indication of the edge of this heater here where the candle or the heating element would go. I'll just delete those things. If you do Command Y, you can see that it's still that. I'm just going to highlight those and bring it to the front. I'm going to change these colors quickly just to show you and also the handle. Now, this handle has two different elements, so I'll just copy and repeat that again. This, if you've done any printmaking either silkscreen printing or just linen printing, this is almost in theory the same setup. I'm creating, the screen or the blocks for each color in this, it's very similar to that. That's why I always tell myself anyway. Just to show you, I'm just going to color the handle, that color and this handle I'm just going to use that and the pop would be that yellow for now. We can now put these together. I would be inclined to put these on separate layers. You can now play about with it a lot more. I think I said when I was drawing out the phone do pots, I wasn't that keen on some of the patent work, but I did look at Pyrex patterns. The one that I'm drawn to is this one. I just did a very quick outline of this and I'm still really keen on that. I think I'm going to see how this looks. Hold on, I'm going to copy that, bring it over to my photon fondue. We're not going to sleep on this phone day set. Again, takeaway the inside part is, just a case of copy and paste in front and then I'm going to take the object, transform and reflect vertical. We got a mirror image of that part of the pattern, which makes for an easier lives. Again, I'm going to put this on a new layer. It will make your life so much easier. Do another copy of that here in the middle of the fronted pan. That could look really good. I'm just going to knock the other layers and maybe see what it's going do side-by-side. Three in a row, and I'm going to have to reduce these. It's nice. For me I just find it a little bit too repetitive. I'm just going go back and take that off for now. What I did see just here was this pattern, which is a lot more simpler. Take it back down here and see how it looks next to this main pattern that I was looking at just earlier. There's a bit missing. This is my little trick. I use the pen tool and just draw the missing bits in like this. Eyedropper, make it black, use the pen tool again, this bit up here is missing where the life image stress, didn't quite pick it out because maybe my line was too thin. Then highlight those areas you can see here and here. We're going to shape pathfinder. This is the tool that will make it into one whole path. There we go, you can see that everything is joined up now. Let's try another version where we've got this one in the middle and then I just felt that three in a row was a bit too heavy and repetitive for me. Put this on the same layer, this pink layer. I think that's going to work much better. That's just a little bit more fun to look at as well. Copy and paste in front, I'm just going to drag it over to this side and yeah, I'm really liking that one. Don't forget to save. This is what we've got right now. I've taken the colors, I've literally just being playing about with the eye dropper, looking at what combinations work, and looking back again at my mood board, it is quite obvious it's a pretty limited color palette. So I'm thinking for my recipe, I've only just decided this now. But I do think a limited color palette would work quite well, maybe sticking to about 5, 6, 7 colors, the maximum and I want the lettering to link in with my fondue. I've used the same yellow for cheese and party and the fondue is the same as the handle of this pan. Now, we need to look at this space here, and start filling up the spaces all along here. First off, I'm going to look at the cutting board or chopping board wherever you want to do it. The same technique again as the fondue. I'm just going to highlight the outside with my Direct Selection tool, copy and paste that. So now we have a silhouette of the actual chopping board. What I do, and let's just quickly put color on that for now. We can play with it later. What I do is to get this aspect of the cutting board. I just use my eraser tool. Delete the insights and what you have is this shape. If I lift it off, you can see it will fit in nicely here. Cut and paste it in front. Just to show you quickly, there it is, that you've created the depth that you can see.
12. Manipulating the vector 2: I've already done these vegetables, but I'm going to quickly show you a time lapse of how I did it. It's exactly the same as what you've seen me do in the other instances of the chopping board and the pan, so take the outline of this apple slice. Then what we're going to do is erase. This is going to be the skin, this bit here, the red skin. I'm going to erase that section and that section, get rid of the middle and then highlight it. We placed that on top and that's going to be kind of a warm color or neutral pink, let's say. That's basically it. I'm going to go and show you some of the bread. Again, choose one of the bread pieces. Click on the outside to create the silhouette. To get the crusty part of the brand, you simply erase the bits which would be the page part of the bread and then copy and paste it onto the silhouette and then make the background, the page red color. Moving on to the radishes, again, silhouette it. Cut out any shapes that would be two different colors, as in, the green part of the radish and the red part of the body. Then once you cut them out, you can place them together and choose a color that's suitable. The gherkins were so easy to create, just take the silhouette of the outside and then change the color and then add the interior textures which make up the bumpy skin. Now, moving on to the cheese is, again, really simple, just silhouette the shape and then I cut out the inside lines and then pasted it onto that block of cheese and then change the color. Same again with the gruyere, I silhouetted the outline and then I simply cut away at the line work and then placed it inside that triangle of cheese and change the color. Now, let's take this opportunity to see what the layout looks like.
13. Adding the hands: So here we have the original hand with the fondue stick, and something that's being dipped in the cheese. I'm not overly keen on how thin this wrist, the wrist is fine, but in a human hand, this gets a little bit thicker, going toward your elbow. So I'm just going to amend that by disconnecting that line there and rotating it just a tiny bit. Like so that's already looking better. I think that will do actually say, I'll just combine those together so it makes a whole path. Also the other thing, in order to make it solid, I have to join up this end to this end, like I've done here, so I've just used the pen tool. Again, I've joined it altogether using the merge tool in Pathfinder. Now, what you can see here, because she's holding that fondue stick, I'm going to have to split those two elements apart. So in this picture, you can see that I've deleted the fondue stick, and the fondue stick is down here. So I've extracted it from her hand. If we look at this version, this is the final version, that's the silhouette. Let me take these apart for you then you can see. So there is the silhouette and that's the line that I've taken directly from my sketch and I've just placed it on top, and here is the fondue stick, which I've constructed exactly the same way as the chopping board, and the apple, and gherkins. So there we go. Now, this will be easier to manipulate later on.
14. Adding the background: I'm just looking around and I'm mindful of all the lovely patterns that I can see just directly up here, on the mood board. I think what would be good is if we were to stop putting wallpaper type pattern or a repeat pattern in the background and the given other dimension. We are able to again, bring in elements that directly relate to these areas that we've used colors of this area because we've chosen them from our mood board. I'm just going to go and look over at what some of the little icons that I drew. There's enough here to try and compile into the old pattern and going to use this one. I'm just going to play around for now and see what else we've got here. We've got this little element, this little icon bringing over and just to balance out, copy and paste and then stick it on the other side. We need something to fill up the space here. I think we can use one of these. Let's see how it looks in repeat. I'm just going to do a really, I'm not going to be doing a technical repeat, I'm just doing it by eye, and pasting in front and then go up here. Now, you see that it's fine. That's all I need to do at this stage. I think I've reduced it down and then we'll see how it looks. I wanted it to be very prominent. It's just to give a little tester of the error. Again, that is so subtle and I think I'll keep it that color, but you can see already it's so subtle and it adds just that little bit extra. So it communicates better what you're trying to achieve. Then I'm going to play around with this just for a little bit more. This is what I've done, I'm going to switch this layers off, just so that you can see what I'm doing. I thought it would just be easier to read if it was slightly darker than the background color. So that looks good.
15. Adding the texture: This is great setup for now. I'm just scanning across and seeing how it's looking. Now, I know there's other bits floating around the outside, but let's just assess where we are at. I really like the layer. I like the tumble of the bread and the potatoes and stuff, and also because the handle of this fondue stake is red, it draws your eye to that area there as well. All we need to do now, as you can see, I've left spaces there for the ingredients and the recipe, so we're just going to place that in now. The next stage now, what we were talking about when I did the initial research was looking at textures. Let's move on to that. I've got a file here called Halftones and I downloaded this from the Internet and I will make this available for you. I'm just going to show you what we've got here. We've got various dots happening. They don't look terribly interesting, but once you start adding this to your work and I dare you do this, I have done this on actual work for clients, it does make such a difference. Let's just open this one up and I'm going to zoom-in on this so that you can see that they're not perfect. But what I'm intending to do is going to create a really lovely quality. I'm just going to highlight this. You can either use the direct selection tool, which we'll just select a box basically if you drag over or you can use the Lasso tool. With a Lasso tool, you can draw something like that and you can go copy and paste and you can see this. I just want to show you how it's going to add another dynamic to your layout. Now what I've done here is taken that halftone texture on a completely different layer and the layer on its own and I started adding it to some of the elements like the typography and the cheese. I'm thinking where are the shadows basically or how can I add depth to this? You can see it just here where I've added a darker shade here in the hands. As you can see, I've gone around all the different aspects, the hands, the actual fondue pot and I've even added here using the halftone dots to add the hint of a flame. I don't believe they used night lights, but it was it was some sort of a heated element that vaguely resembled that. I didn't want to illustrate something that complicated, so I've used this instead. Again, we talked about adding highlights and lowlights to the cheese, and I've done it on this one, and again, I felt the grater just needed a little bit of a contrast. I've added the highlight there. This is what it looks like overall. I'm really pleased with that. One last thing I'd like to mention is the chopping board. All I did was use the actual flowers that I'd drawn in one of the fondue pots and I just added it in there, is repeated along the chopping board and there was something quite similar that I saw in my mood board, so I'm really pleased that I included that and I'm just glancing around, checking everything and I'm going to start getting rid of everything else that we've got happening around the outside because this is how I tend to work.
16. Upload to TDAC: Now we're ready to export. We go to export, export as, clicking on new art board and go to Photoshop and there's just one last thing we need to do. We do want it as RGB and we want it as high resolution, so it will be 300 DPI. Now we're going to go to the Draw & Cook website. Here we go. Click "Submit a Recipe" at the top and type in your title which is Cheese Fondue Party and you add a little description. I'm just going to complete make this up the top my head. Bring back some vintage party vibes. I'm happy for it to go on. They Draw & Cook's display and merchandise so I'm going to choose my file. Now, it's uploading and double-check everything and I'm going to press "Submit". There we go and it says the illustration was successfully submitted.
17. A Different Era -Tomato Relish: I want to show you another example only because I want to contrast it quite a lot with the 70s vibe that I showed you previously, and for this one I'm thinking much earlier in the 20th century. I compiled this mood board completely specific to let's say the 1930s or 1940s but it's of that era, and I wanted to say something like, garden produced rather than farm fresh. It's homely, and the recipe that I thought of was like a tomato relish that you'd have when you'd grown too many tomatoes and you're making it in your kitchen with equipment from that era. I also sourced some of these illustrations which I think I showed you in the Dover book, and I really love some of these color ways, and one of the prevalent colors is this deep eggshell blue, and it's reoccurs or something that I'm just drawn to, so I want to include that in my recipe as well and using heirloom tomatoes which are more interesting to draw than the basic round varieties. I'm going to talk you through a really quick demonstration of how I compile this tomato relish recipe. I've started laying out my recipe, putting in a few positionals, but first we're going to concentrate on the scales. I've already created part of it, but I wanted to show you again the same technique that I've shown you before, where I am cutting things out and placing them on top of the original sketch so that you can see here that I'm creating the round shaded part, the outside part of the scales. Then I colored them up to make them look like it's in shadow. Quickly moving onto the colander. I did call up the reference just so that I understood how it was shaded and put together, so I cut out the inside part of the colander and then placed it so you can see that it forms that section there, and then I took the round parts where the water drains out and then placed it on top. Then I thought it would be a good idea to place them onto the actual scales, they look quite nice there. In this part we're going to look at compiling the tomatoes, I took them all over to one side so that I had a clear view of them, and same principle here I started cutting out and forming the silhouette of each tomato, then I colored them to the desired shade of red and I added the line work, again I use my original sketches to add that. The stalk is really easy to do, you just copy and paste the original image and then cut out the stalk shape and then shade it to your desired shade of green. I did exactly the same way with all the other tomatoes. Then I placed all the tomatoes in the colander and I'd arrange them so that you could see that there was a little bit of depth involved. To echo their colors, I changed the entering to the rim of the colander and the warm red of the tomatoes. Fortunately, I already had some vintage jars and also vintage spoons that I had already in my file, so I started placing them within the layout and they worked really well. I wanted to quickly look at the lettering again and the 1930s, 1940s era they were still using a lot of drop shadow and that's what I was trying to recreate here, so I just put the lettering in a different color in the layer underneath and that makes a great effect. Tablecloth texture was then added and then I played around with the vintage leaking spoon, which I placed next to the lettering and then added other little components like salt and pepper or spices and also the cider vinegar. Then I added a ditsy floral pattern in the background, which I thought was in keeping with the era, and it just really sets everything off I feel. Then I took the whole lot into Photoshop where I added a bit of texture to the lettering and the tomatoes because I really wanted it to look a little bit more worn, and I'm hoping the overall effect makes it look that it's from a slightly different era through the props that I've used and the coloring, and also some of the texture.
18. Final thoughts : I sure hope you've had a great time watching this class and picked up some great tips. Please remember that if the era speaks to you, you'll have a lot more fun with this project and it will come across in your work. Do research the era well, look at kitchen utensils and equipment of the time and try to include at least one, two or three items in your layout so that the era really comes across. Now, I've recorded just a really short video about creating atmosphere in your layout, so I hope you enjoy it. Another example I wanted to quickly show you was this cocktail illustration I did for a book called the Healthy Hedonist. In here you can see that there's a cocktail shaker in the background and also the mixing spoon while we have the two cocktails on either side of those. I placed it on a dark background so that the main characters, let's say the cocktails, really pop and the cocktail shaker and the spoon are the supporting cast. You can see how these elements place them within a situation. The dark background also creates a mood and an atmosphere. Now, I've opened up so that you can see the back cover and the brief that I was given wanted the elements to carry on. I had to think overall, what kind of atmosphere do I want to create and would it work throughout the entire layout. I'm thinking on several levels here and that's the thing I want you to be mindful of. Thank you very much for joining me in this class. I can't wait to see all your amazing vintage inspired projects. If you want to hashtag your work on social media, please use #ohnmarskillshare and I look forward to seeing it on Instagram. Bye bye for now. Have a great day. Hi, I'm Ohn Mar. I'm an illustrator and surface designer. In this class, I'm going to take you.
Ohn Mar Win, Illustrator Artist Educator
