1. digitalillustration+design
plainfield central – mr. lawler art + design
part 1: digital basics
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2. digitalillustration+design
plainfield central – mr. lawler art + design
the parts of a pen tablet and how a pen tablet works
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Accuracy
Graphic tablets are computer peripherals which allow
computer users to interact with their computers more
accurately and naturally than a mouse. The accuracy of
moving the cursor to a precise location on the screen is
improved by the user touching a stylus pen to a graphic
tablet. A mouse, however, requires users to test and feel
their way around the screen. With a graphic tablet the
user knows where the cursor will be on the screen to a
greater degree of certainty.
The Pen (Stylus)
The stylus pen, or digitizer pen, is operated without the
use of batteries, which allows the pen a lightweight design
(giving it the feel of an ordinary ink pen). A graphic tablet
gives power to the pen via electromagnetic waves.
Because it is more natural for people to hold a pen, as
opposed to a mouse, the trigger finger syndrome (pressing
a mouse button by reflex) is removed from the computing
experience. A digitizer pen with an eraser end allows the
user to erase text, or even activate the eraser tool in
graphics applications like Photoshop or Paint.
Pressure
Graphic tablets come in different levels of sensitivity to
pressure applied on the surface by the digitizer pen.
Applied pressure on the drawing surface of the graphic
tablet gives a mark or line its thickness. Pressing the
digitizer pen hard against the drawing surface will result in
the line or mark being very dark. Lightly touching the pen
to the surface of the graphic tablet will result in a lighter
mark or line. With pressure sensitivity the user
experiences a more natural approach to drawing on a
computer (as opposed to using a mouse).
Tablet Size
Tablet sizes range anywhere from 4-by-5 inches, to 10-by-
13 inches. Variety in tablet size is important to different
users. Drafters and illustrators, for example, will use the
larger graphic tablets for need of extra surface area for
complex drawings. However, the typical computer user
will select the smaller size graphic tablet in order to
reduce unnecessary arm movement to navigate their
operating system. A smaller surface area means less strain
on the arms, wrists and hands. As for monitors, the
tablet's surface area is irrelevant to monitor size, because
the software that comes with the tablet maps the surface
area of the tablet to the monitor's screen display area.

3. digitalillustration+design
plainfield central – mr. lawler art + design
connecting the tablet to your computer and printing
image creation
illustrating software
output (printing)
printing services
online services
storage device
personal computer
USB cord connects pen tablet
to computer or laptop
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4. digitalillustration+design
plainfield central – mr. lawler art + design
BIT DEPTH AND THE DIGITAL IMAGE
0 0 0
0 1 0
0 0 0
0 95 191
31 127 223
63 159 255
one bit per pixel produces a two tone image (black and white)
eight bits per pixel produces a 256 range image (white, grays, and blacks)
255
0
0
0
255
255
0
0
0
0
255
0
255
0
255
140
63
184
0
0
255
255
153
51
255
255
255
twenty four bits per pixel produces a true RGB color image (16,777,216 colors)
MEGAPIXELS, RESOLUTION & PPI (DPI)
All of these numbers indicate the quality of an image and the maximum size the
image can be printed before the “pixels” become unfavorable noticeable (what we
call pixelation). Megapixels determine how large an image can be sized.
An 8 in x 10 in 100 PPI image if resized to a 4 in x 5in will then have 200 PPI.
MP (megapixeL) = one million pixels; 3.1 megapixels (2048 × 1536 = 3,145,728)
PPI (DPI) pixels per inch (dots per inch) = resolution quality (number of pixels)
Height x Width = image size measured in inches
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5. digitalillustration+design
plainfield central – mr. lawler art + design
part 2: design basics
5

6. digitalillustration+design
plainfield central – mr. lawler art + design
ILLUSTRATION AS A BRANCH OF DESIGN
Simple design principles and techniques which will enhance your illustration skills.
Using line can help lead the viewers eyes through the composition by creating
perspective. Line helps establish boundaries, creates pattern, shows rhythm, points
directions, implies movement and defines shape.
Shape is defined by lines and can be geometric or organic. Empty shapes allow the
viewer to imagine; complete shapes create variety and interest through pattern.
Texture and pattern are each comprised of the repetition of shapes and lines. Texture
and pattern can both be used to create detail which the viewer sees as visual interest.
look for basic elements apply them in principle
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7. digitalillustration+design
plainfield central – mr. lawler art + design
ILLUSTRATION AS A BRANCH OF DESIGN
Simple design principles and techniques which will enhance your phototaking skills.
Value is the measure of lightness and darkness established by exposure. When bright
highlights are paired with deep shadows, you can achieve quality, contrast image.
Color, saturation and temperature are properties of light. Saturation refers to the
intensity of a color where temperature refers to mood, feel and coolness/warmness.
Harmony is established by the relationships of color in an image. Certain colors go
better with other colors – we call these color schemes. Complimentary colors are
those that are opposite one another. Analogous colors are grouped in a row on the
color wheel. Triadic and Tetradic schemes are based on geometric pairings.
look for basic elements apply them in principle
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8. digitalillustration+design
plainfield central – mr. lawler art + design
THE USE OF VISUAL SPACE
“Space is not just something to be filled in; it is itself a valuable tool for achieving engaging, clear
visual messages. White space can help direct the viewer’s eye to positive elements. White space is
necessary for creating designs with balance, harmony and clear hierarchy”
– Garr Reynolds, Zen Design: Simple Design Principles and Techniques
negative space: referred to as
the empty area or sometimes
called white space
positive space: objects and
forms which occupy space;
sometimes called black space
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43
2
alignment: refers to where objects are
placed on the page. good compositions try
to balance white and black space, but also
use position to create focus and. emphasis.
1. center alignment – viewer look
directly in the middle of the page
2. cropped – the image is cropped and
draws the viewer into the corner
3. left alignment – draws the viewer to
the left side of the page
4. right alignment – draws the viewer to
the right side of the page
balance: balance is created through the use
of symmetry. there are three types of
symmetry: bilateral, radial and
asymmetrical. the illustration to the left
demonstrates bilateral symmetry as the
object can be divided in the middle with
mirror images on both sides of the axis (in
nature this is more loose than in
mathematics).
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9. digitalillustration+design
plainfield central – mr. lawler art + design
RULES OF COMPOSITION – USING LINE, SHAPE + BALANCE
Framing
There are two ways in which you can use
framing to create a strong image.
The first is frame-within-a-frame: that is,
having the viewer look through a frame such
as a doorway or window. This draws the
viewer inside the image.
The second is filling-the-frame: this is similar
to cropping and refers to a full bleed image
which has a lot if impact. These images are
achieved by using macro photography.
Leading Lines + Proportion
Like framing, you can draw the viewer into
your picture through the use of depth.
When you use lines to create direction,
movement, or perspective, the viewer
follows those lines into the image.
You can also create depth by establishing a
clear foreground, midground and
background. The objects in the foreground
should overlap the other objects and
proportion should be established by scaling
sizes of objects.
Rule of Thirds
An image should be imagined as being
divided into a 3x3 grid. Important
compositional elements should be placed
along the lines or at the intersections.
Aligning a subject with these points creates
more tension, energy and interest in the
composition by placing the focus off center
(avoiding bull’s-eyeing the subject).
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10. digitalillustration+design
plainfield central – mr. lawler art + design
RULES OF COMPOSITION – USING EMOTION
Tension
Images with tension are engaging. There are
many ways of creating tension in an image,
but some of the best ways include:
1. visual tension: lonely, off center objects
2. psychological tension: image depicting
tense moments or allow the viewer to
anticipate action
3. chaos vs. order: images which show
order through pattern and then a
disturbance of that order
4. out of place: objects or forms that are
out of place in comparison to the
context of the image
S-Curves
The elusive s-curve - an art term for a
sinuous body position. S-curves were
identified by the Ancient Greek sculptors as
being the best way to position a figure.
Why? Because the curve appears sensual,
sensuous, and seductive.
S-curves can also be found in nature,
evoking the same titillating or romantic
feelings. Using the s-curve plays on a
person’s emotional drives.
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11. digitalillustration+design
plainfield central – mr. lawler art + design
SCANNING + IMAGE STORAGE
TIPS ON SCANNING
Color Depth: when scanning try
to use true color whenever
possible. The best color depth
will be measured in the millions
(typically 16 million). Scanner
programs also offer a 256 Color
mode. The advantage of 256
Color images is that the files are
significantly smaller than true
color image files.
Resolution: A computer monitor
might have a resolution of 72
dpi, while a laser printer might
be 600 dpi and an ink jet printer
can be anywhere from 300 –
720 dpi and even higher. For
printing I recommend 200 or
300 dpi as a minimum. However
these files can become very
large.
STORAGE DEVICES
When you connect your hard
drive to your computer and turn
it on, you do not need to install
any software or drivers to make
the drive available for use.
1. The drive will appear as a
drive letter in (My)
Computer (ie: Drive E:, F:, or
some other letter) within
approximately 30 seconds of
connecting and turning on
the drive.
2. Often the AutoPlay window
will appear within 30
seconds.
3. Then you can simply drag-
and-drop data, or copy-and-
paste data, into the drive to
use it manually.
external hard drive
connects via a USB cable
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12. digitalillustration+design
plainfield central – mr. lawler art + design
part 3: photoshop basics
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13. digitalillustration+design
plainfield central – mr. lawler art + design
ADOBE PHOTOSHOP WORK SPACE
photoshop tool bar photoshop layer menu
photoshop menu and status bar
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14. digitalillustration+design
plainfield central – mr. lawler art + design
3D GRAPHICS IN PHOTOSHOP
Step 1 • NEW DOCUMENT 10” x 10”
(200 PPI – resolution)
• Use the GRADIENT TOOL
• then change the GRADIENT
MODE  DIFFERENCE
• Draw dozens of gradients going
different ways
Step 2 • DUPLICATE the LAYER
• Use the ELLIPTICAL MARQUEE
and draw a perfect circle
• Go to FILTER  DISTORT 
SPHEREIZE 100%
• Go to FILTER  SPHEREIZE
(preloaded) and repeat to taste
• CTRL SHIFT I or SELECT INVERSE
• Hit DELETE & DESLECT
Step 3 • DUPLICATE LAYER
• On the middle layer (should be
the ball on a transparent
background) increase the
LEVELS to make it very dark
• Then BLUR  GAUSSIAN BLUR
30 or to taste
• Use the MOVE TOOL to nudge
this layer downward creating a
shadow effect around the top
layer
Step 4 • Go to the BACKGROUND LAYER
and increase the LEVELS
• Experiment with BLUR 
MOTION BLUR
Step 5 • Make a NEW BLANK LAYER and
drag this to the top
• Draw a white circle on the top
right corner of your ball
• Make sure you have nothing
selected and then FILTER 
DISTORT  SPHEREIZE
• BLUR and TRANSFORM to taste
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15. digitalillustration+design
plainfield central – mr. lawler art + design
USING THE BRUSH TOOL (FOR ERASERS, BURN AND DODGE)
select the BRUSH TOOL and the BRUSH MENU
appears at the top in the STATUS BAR
selecting the brush tool
brings up a menu of its
own – you can select how
big the brush is and how
soft the brush is, as well
the brush type and shape
the play button brings up
different brush families
tools like BURN, DODGE,
ERASER and others use the
same BRUSH settings
when using these tools I
recommend starting with:
1. SIZE: use a large brush
100 px – 400 px
2. TYPE: try a soft brush –
if you hover over the
brush types it will tell
you the name of the
brush
3. HARDNESS: use a soft
opacity 10% or so
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16. digitalillustration+design
plainfield central – mr. lawler art + design
CREATING A BRUSH IN PHOTOSHOP
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Step 1 • NEW document 200 PX
(width and height do not
matter)
• Make a NEW blank LAYER
from the LAYER MENU
• On this LAYER draw
something in BLACK only
Step 2 • If you want to use an
image or a scan, import
this to the blank layer
• Then use EDIT  IMAGE
 ADJUSTMENTS 
THRESHOLD to turn this
image solid black
• -OR- you can use FILTER 
SKETCH  STAMP
• I recommend using a SOFT
FUZZY BRUSH and making
a scattered pattern
Step 3 • Then using the
RECTANGULAR MARQUEE
tool select the entire image
• Go to EDIT  DEFINE
BRUSH PRESET
• Name your brush
• Now you will see your
CUSTOM BRUSH in the
PRESETS when changing
your BRUSH SELECTION

17. digitalillustration+design
plainfield central – mr. lawler art + design
BASIC DIGITAL PAINTING IN PHOTOSHOP
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Step 1 • NEW document 10 x 10 (200
PX)
• Scan in a sketch or create a
rough sketch in Photoshop
• Make sure to think about
negative space and composition
(see rules)
• I started with a very basic
drawing using a low opacity
brush (50%)
Step 2 • Think about the light source –
where is the light coming from?
• I used the PAINT BUCKET and
turned by BACKGROUND a light
blue because my painting is
going to have a cool color
scheme
Step 3 • Make a NEW BLANK LAYER
• Start by painting just your mid-
tones – I used my custom brush
at a low opacity
• At this stage it is not about
accuracy and more about
getting color on the page
Step 4 • Start adding contrast by putting
in the highlights and the
shadows
• Do this in selective areas and
do not worry about blending
• To do this, simply EYEDROPPER
a midtone and then using the
COLOR PICKER change the color
to a SHADE or TINE
Step 5 • Use the EYEDROPPER and
COLORPICKER to start pick
BLENDING TONES
• USE ALT as you paint to quickly
color pick and change the
opacity to 30%
• I tend to work in circular
motions as I blend

18. digitalillustration+design
plainfield central – mr. lawler art + design
BASIC DIGITAL PAINTING IN PHOTOSHOP (CONT’D)
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Step 6 • I also tend to work in the
background first and then build
on top
• I find that if you vary your brush
size, opacity and continuously
choose colors you can move
very quickly
• Remember the toggle keys { }
allow you to change BRUSH
SIZE quickly
Step 7 • After blending and adding
highlights and shadows, begin
adding details
• I also use this time to paint in
negative spaces – areas of
emptiness and background
Step 8 • Begin to add midground and
foreground shapes
• Again focus on blotches of color
and not precision
• You will add details later
Step 9 • NEW BLANK LAYER
• Use this layer to add the
foreground details – this will
help create emphasis
Step 10 • SMUDGE PAINTING – this is a
technique where you use the
SMUDGE tool to blend and
smear areas
• SMUDGE painting works great
for reflections or shiny surfaces
Step 11 • Use the burn and doge tools to
create areas of shadow
• Use other editing tools such as
levels or curves to increase the
contrast of the work
my final product