Vector Art Illustrator - Car Illustration tutorial [EPISODE 1]

 Vector Art Illustrator - Car Illustration tutorial [EPISODE 1]

This is the First Episode of Car Illustration Series and in this video you will learn how to setup your illustrator document along with layer management so that you have hassle free experience while illustrating car. I have explained why these layers are required and how they can help you in improving your workflow. Time Stamps: 0:00 Intro 0:30 Importing Reference Image 1:30 Creating Layers for Organization 5:38 Explaining the Process 8:15 Ending  =============================================== Instagram: https://www.instagram.com/itishammad/ For Business Inquiries: hammadaslambusiness@gmail.com Discord: https://discord.gg/KeZXEdq =============================================== Adobe Illustrator CC | 1 Year Subscription (Download) https://amzn.to/32rXE1a Adobe Illustrator CC Classroom in a Book (2019 Release) https://amzn.to/33znB09 Huion Inspiroy H640P Graphics Drawing Tablet. https://amzn.to/2K6l5ql Wacom Intuos Graphics Drawing Tablet. https://amzn.to/2CtkU4d Welcome to My Channel where you’ll about Adobe Illustrator, Vector Illustration, Adobe Photoshop and Graphic Designing. I have uploaded number of video tutorials on above topics which will help you to polish your skills, it doesn’t matter if you are a beginner or at intermediate level you’ll still get some value out of my videos. In Future I’ll be uploading video tutorials on Photoshop and Premiere Pro, So Join my hands and stay tuned to my Channel =============================================== For more exciting updates, Please subscribe My Channel www.youtube.com/channel/UCAm22j8FezI7WJDtZC7pqiw?sub_confirmation=1 #vectorartillustrator #carillustrationtutorial ================================================

Vector Portrait illustrator tutorial | Cartoon Portrait Avatar Drawing SpeedArt tutorial

Vector Portrait illustrator tutorial | Cartoon Drawing SpeedArt tutorial

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Cartoon and Caricature

This Is How A Cartoonist Falls In Love With Cartoons

A woman had a question at the opening of ‘The Further Chronicles of Now,’ my show of cartoons at New York’s Anderson Contemporary gallery last week. Was there a difference between Brit and American humor?

Well, is there?

Charles Addams was the first American cartoonist I met. It was in London years ago at a Punch lunch. A once formidable humor weekly, Punch become waiting-room fodder, but their lunch was a hot ticket and Addams was a catch, being something of a star, for his New Yorker work and also for The Addams Family, the TV series about his gruesomely comic characters—which is now a musical.

As we spilled into the street together after lunch, he asked if I could tell him how to get to the Tower of London, which was where two Royal princes had been famously murdered in the 15th century and it had been the venue of beheadings so it was such a pitch-perfect Addams question that I was sorry to have to tell him that I had no idea.

I grew up connecting with cartoon, caricature and illustration, as the young do, long before I developed an eye for fine art. The stuff I fed on included such 19th century greats as Edward Lear, Honoré Daumier and Heinrich Hoffmann, who both wrote and illustrated Struwwelpeter, which was a comic book pre-comic books and which delivered a near-sadistic frisson like much great cartoonery.

I also enjoyed fin de siècle whizzes like Aubrey Beardsley and Max Beerbohm and from there it was a short haul to vintage cartoonists including four born in the 1880s, the Brit, H.M. Bateman and the Americans Rube Goldberg of the proto-Dada machines, Winsor McCay of Little Nemo and, at the tippy top, George Herriman of Krazy Kat.

Herriman was much admired by such avant-gardists of his period as T.S. Eliot and E.E. Cummings, who both wrote warmly about Krazy Kat. It’s also worth noting that Lyonel Feininger, who was born in New York in the 1870s, had been a working cartoonist with two strips in the Chicago Tribune before he emigrated to Berlin and became a leading Expressionist painter.

I was a reporter, a writer and a sporadic cartoonist. I had cartoons in a magazine at Cambridge University before anything I wrote had been in print and at the time of the Punch lunch a weekly cartoon ran with the column I worked on at the Sunday Telegraph.

This incidentally led to me being buttonholed by Jack, the union head at the paper, who noted that they had a problem with individuals who both wrote and drew for the same publication--the perp was keeping either a writer or a drawer out of a job--but he was low-key and that was the last I heard of that.

These were years of upheaval in the world of cartoonery and comicbooks. In the UK the energetically tasteless pen of Willie Rushton was turning Private Eye into an anti-Punch and the era of Satire--it was usually capitalized--was upon us.

This was a practice that ping-ponged to and fro across the Atlantic, as Punk would later do, and Peter Cook who had been in Beyond the Fringe which brought Brit Satire to New York, started The Establishment, a club to see performers in Soho, London.

I did the drawing for the invite and most remember Lenny Bruce’s appearances, which were at once compulsive and barely watchable because he would either be wasted on smack or deliver his material in the headlong New York manner, not waiting for the laugh as Brits tended to do.

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So, yes, there was an Anglo-American difference right there. But that was performance. Ralph Steadman, a Brit, would shortly be along, catching Hunter S. Thompson with hallucinatory exactitude in Fear and Loathing in Las Vegas. And he never even went to Vegas.

There were further upheavals in the comic landscape. On a trip to New York I interviewed Stan Lee, the progenitor of the newly mighty Marvel empire for a Brit magazine.

The pictorial language of superhero comics would not so long after vie with Disney. Robert Crumb’s Zap Comix, ruled in San Francisco, where I stayed for a while with Wilfried Sätty, a hospitable fellow, and probably the most occult member of the San Francisco poster movement.

In the mid 70s I moved to New York and a desk at New York magazine, mostly to write, but persevered with the drawing, doing a weekly cartoon in the magazine for a while, a hi-lo moment being when Glenn Bernbaum, creator of the then piping hot eatery, Mortimer’s, offered a free meal to anybody who could explain one of them.

I had shows at art-friendly clubs like Kamikaze and Palladium, a store and a couple of small galleries.

So things were going great? Not so. Indeed one of the mercies of making work in the pre-digital epoch was that so much of it is lost, and barely recoverably so, because I don’t much care for that early work, and was always driven to keep moving along, and enjoying others’ work.

Ad Reinhardt, that austerest of Abstractionists, best-known for his all-black canvases, was also an astute and incisive cartoonist. Robert Storr, the dean of the Yale School of Art, who curated a Reinhardt show at the David Zwirner gallery in 2013 included a room of cartoonery.

There are ironies here. Françoise Mouly, the art editor of The New Yorker who reviewed the show for the magazine, made sure that the on-line version of her piece included a slide show of cartoonists referencing the Reinhardt black-on-black canvases to mock the supposed humbuggery of contemporary art--as indeed cartoonists have been having fun with lumps of sculpture with holes in them and women with two eyes on the same side of their nose since Modernism was a toddler.

Well, there are two sections of artworld-related cartoonery in my show at Anderson Contemporary. But the Artist’s Statement doesn’t much appeal to me as a form. So just go. There will be sporadic performances and things going on. I’ll leave the commentary to you.

Anthony Haden-Guest’s The Further Chronicles of Now is at Anderson Contemporary, 180 Maiden Lane, NYC, until June 9.

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Vector Portraits and Cartoon Caricature

Saturday, 6 May 2017

Vector Portraits and Cartoon Caricature

Cartoon portraits are most popular now a days. you can use your cartoon version as a profile picture on every social media platform. Similar most of the bloggers are using their cartoon portrait on their website or blog. 

Now a days these cartoon portrait adopted a new level they are now used as logo. Many famous companies like KFC are using caricature logos as their logo

So for the new/small companies its a great thing to use caricature logo as their standard logo its enhances the business and build trust to your customers which in return increases your sales.

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Cartoon and Caricatures

Caricature and cool animated film, in photo artwork, comically distorted drawing or likeness, carried out with the purpose of satirizing or ridiculing its issue. Cartoons are used today normally for conveying political observation and editorial opinion in newspapers and for social comedy and visible wit in magazines.

Caricatures

Caricature is the distorted presentation of a person, type, or action. Commonly, salient characteristic or feature of the problem is seized upon and exaggerated, or capabilities of animals, birds, or greens are substituted for parts of the person, or analogy is made to animal moves. Commonly, one thinks of cool animated film as being a line drawing and supposed for e-book for the entertainment of people to whom the unique is understood; the personal trait is typically present.

Caricature, after its spread as concept and practice from Italy and France to awesome Britain inside the 18th century, have become instead a huge time period. Inside the late 19th century, gilbert and Sullivan, the English creators of comic operettas, pointed out considered one of their sub heroines as having “a caricature of a face.” perhaps, therefore, it isn't surprising that, despite the fact that cartoons as they are now regarded developed steadily out of cool animated film from the 15th century, caricature is a 19th-century phrase.

Satirical deformations and comedian analogies in sculpture, the drama, and vase painting are older than merely graphic cartoon. The ancient Egyptians represented guys as animals; Greek comedy had by-products in burlesqued figures on vases and in terra-cotta statuettes; Romanesque and Gothic sculptors made amusing of human failings in stone capitals and wood miserere seat carvings in the course of the center a long time. The marginal flourishes of illuminated manuscripts include ugly faces and coffee exaggerated scenes from each day existence, or references to the morality plays, that have the equal courting to those plays as Greek clay representations must the level. All such works verged upon cool animated film inside the narrow non-public feel; a few have been cartoon in a extensive sense. In the generations due to the fact that caricature became a genuinely described idea, there were occasional examples in painting and sculpture along the extra standard drawing for replica.

Cartoon

A cool animated film at the start turned into and nonetheless is a drawing, a great sample for execution in painting, tapestry, mosaic, or other form. The cool animated film turned into the final degree inside the collection of drawn preparations for painting in conventional renaissance studio practice. Inside the early 1840s, while that studio exercise become unexpectedly decaying, caricature as an alternative received a brand new that means: that of pictorial parody, nearly continually a multiply reproduced drawing, which with the aid of the devices of cartoon, analogy, and ludicrous juxtaposition (regularly highlighted by written dialogue or remark) sharpens the public view of a cutting-edge occasion, folkway, or political or social trend. It is typically humorous but may be definitely savage. Just as the personal cartoon changed into for an audience that knew the unique, so the cartoon was and is based on extensive acquaintance with the challenge. It serves as a capsule model of editorial opinion while it makes political satire, and it's far a jogging observation on social alternate, on occasion intended as a corrective to social inertia.



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