Liz Anderson is a designer and illustrator based in Atlanta, GA who loves learning new things just as much as a good rhubarb pie! Visit her at: Below Liz talks about her experimentation with the new texture plug-in – Texturino

I am always very excited when Astute Graphics announces a new plug-in and couldn’t wait to try TexturinoI knew the piece I created would be living on the web, so the process is a bit more organic and textures are applied at 72dpi. Astute Graphic plug-ins have opened up the possibilities of working fluidly in Illustrator! Here is he completed illustration: 

Step 1: Scan & Place the Artwork

I started this piece offline by brushing a series of illustration elements in my sketchbook.

I then took a photo of the separate elements that I drew with the Adobe Capture app. This was a great way to get vector elements into Illustrator quickly by publishing them to my Library. The vector elements created in the app can then be dragged from the Library onto the artboard. (This is a benefit of working with Adobe Creative Cloud.) The downside of this app is the image tracing produced through this app tends to over-simplify your artwork.

Step 2: Clean Up

The art needed cleaning up in Illustrator. I used Dynamic Corners to soften harsh corners. I used the Eraser Tool to quickly get rid of marks that were over-simplified. Selecting a group of extraneous points left over from the Eraser Tool, I used PathScribe to quickly delete the points, leaving a nice, smooth curve in their place.



Step 3: Apply Textures (New in Texturino 1.1)

Now it is time to apply the textures to the vector elements. I selected the shape of the seahorse and added the ‘Undulating Render’ texture by clicking the + button in the Texture panel.

Next I changed the blending mode of the texture to Knockout in the Texture Tool annotation.

Step 4:  Add Details

I used DrawScribe to add details that maintain the hand-drawn look. I selected all the strokes and outlined them (Object > Expand Appearance). With all the outlined strokes selected and grouped, I applied another texture and set the Blending Mode to Hard Light.

Next I filled the interior of the seahorse by duplicating the seahorse shape and deleting the interior, knocked-out shapes and filling it with a lighter blue.


Step 5: Keep Adding Textures

I then repeated the previous steps to add texture to the other vector elements in the illustration—the coral and the background.

For the water background I chose a great wood grain that comes with Texturino.


Step 6: Add a Glow

After putting all the elements together, I felt that the seahorse needed a little more separation from the background. I created a new layer under the seahorse and created a pink rectangle to cover the entire background. With the Opacity Brush selected, I drew around the seahorse. I then set the box to multiply against the background.

Featured Artist: Texturino Sea Horse by Liz Anderson

Here is the completed illustration.




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