Click Print-Ready Portfolio and Professional Reflection
I specialize in illustration and employ use of a variety of design software for the majority of my drawings including Adobe Illustrator, Photoshop, Sketches, Picsart and Medibang Paint.


Motosloths
I’ve made use digital drawing software on an Ipad (including Sketches, Medibang Paint and Picsart) at a high resolution and imported a 300 dpi sloth illustration into Adobe Illustrator. As this design is a logo for a hobbyist motocross club, I decided to illustrate an image of their mascot and incorporate it along with their club name, the Motosloths. Taking on feedback, I switched from the original stencil style typography to a more modern racer-style typography – Orbitron. Designed as a vector in Adobe Illustrator, the logo can be scaled to any dimension and will not lose image clarity (Barnhart 2020). The logo shows evidence of craftsmanship and attention to detail. The image is clear, readable and the color palette is simple.


Treefrog
Illustrated on an Ipad, this piece was drawn with the intention of putting it on a t-shirt. T-shirts have been made for my wife, son, mother, and myself. The color palette selected was based upon the actual resource imagery, and so it is accurate to an actual tree frog of this nature. It transcribes quite well as the color palette includes complementary colors red and green as well as blue and orange (Anas 2020). Elements of light and shadow have been considered regarding the light source and the resulting balance of colors and hues within the illustration. As with all of my other illustrations, it has been illustrated at a large enough canvas size for successful importation into Adobe Illustrator to make it into a vector for scalability.


Elephant
Continuing the theme of animals with some additional designer-style play, the typeface ‘Elephant’ was selected to title this illustration of the animal. Color, light and shadow have been strongly emphasized, as well as the use of texturing through the use of hatching and contour hatching (Ali 2023). A minimal color palette has been used to better match accurate rendition of an elephant. As with my other illustrations, all assets have been built into Adobe Illustrator for ease of scalability and exportation to print and screen compatibility.

Red Rooster
A project currently in the works, I’ve been collaborating with a former colleague on a potential design company. We’re currently working with the word ‘Red Rooster’ as well as some unique creative imagery in order to draw attention to the logo. The typeface ‘Rage Italic’ was selected for its ‘script’ style, matching the idea that the logo protagonist, the rooster, was writing with a stylus as opposed to typing. Warm colors have been selected to match the actual animal. A fun play of semi-realism with the style of the rooster and the silliness of it having a drawing tablet tucked under its wing is meant to draw attention and amusement.



Frog
This piece showcases light and shadow to give depth to the illustration. Patterns are utilized to help demonstrate form. Near-complementary colors of yellow and blue help give contrast and make the image more eye-catching. As with the aforementioned illustrations, drawing software on the Ipad, as well as the use of Adobe Illustrator for scalability, general formatting and typography has ensured a high quality illustration which showcases an attention to detail.


Spider
I utilized my general workflow process using software on my IPad to illustrate, color and shade before exporting a PNG with a transparent background and importing to Adobe Illustrator to create a scaleable vector. This subject had a lot of intricate little details such as hair and reflection off the eyes. I’ve used light and shadow to bring a feeling of whimsy to this piece. The font selected was Mistral as it has a wispy feeling, much like thread. Illustrated on a large canvas on a transparent background, the image was made into a vector for easy transfer and resizing. Use of mockups have been used for this piece (and all other pieces) to showcase how the designs will look in the real world (Bruski 2021).


Penguin
This piece has a limited palette, so it was necessary to ensure that the linework and shading helped define the form. Clear use of shading can be used to create the illusion of volume and make the illustration look more three-dimensional (Lundgren 2020). I placed this on a mockup of a skateboard design as the penguin is renowned for moving fast once it slides on its belly. It seemed like a playful way to display the image. As with all the other illustrations, it was rendered in a large canvas size at high resolution so that it will maintain clarity when resized.

The Dolphins
I illustrated one single dolphin and then duplicated it to create the ‘school’ of dolphins. Lucida Calligraphy Italic typography was utilized for it’s wavy design. I also matched the color of the font with the underbelly of the dolphin to maintain a consistent color palette. Empty space was left around the school of dolphins to give the illusion of movement through the air.


Squirrel
Showcasing an animal with a slightly different texture to its bushy tail, this was illustrated on an Ipad. A camouflage overlay was placed over the color layer to add some variability to the color and make it fun. Again, the image was placed on a mockup to demonstrate how it will look upon a product, in this case a kids t-shirt.



Grizzly
Additional hatching was added into this piece to give it a texture like quality. Adding texture to an illustration can help give a ‘feeling’ to an illustration (Padron 2015). A bold outline was used to demonstrate how it may look like as a military style patch. The use of stencil typography was included to match this aesthetic. As with the aforementioned illustrations, drawing software on the Ipad, as well as the use of Adobe Illustrator for scalability, general formatting and typography has ensured a high quality illustration which showcases an attention to detail. All illustrations were rendered at 300+ dpi with transparent backgrounds before importation into Adobe Illustrator.
References
References
Ali, A. (2023) 6 Types of Hatching in Drawing (With Examples). Binge Drawing https://bingedrawing.com/techniques/types-of-hatching/
Anas, B. (2020) Understanding color theory: the color wheel and finding complementary colors. Inside Design https://www.invisionapp.com/inside-design/understanding-color-theory-the-color-wheel-and-finding-complementary-colors/
Barnhart, B. (2020) Why every logo needs to be done in vector graphics. Linearity https://www.linearity.io/blog/vector-logo-design/
Bruski, C. (2021) What Is a Mockup & Why Do You Need One. Visme https://visme.co/blog/what-is-a-mockup/
Lundgren, A. (2020) How To Shade Your Drawings. Avalyn Studio https://alvalyn.com/how-to-shade-your-drawings/#:~:text=When%20you%20shade%20your%20drawings,canvas%20to%20create%20volumetric%20illusion.
Padron, A. (2015) Can’t “Feel” Your Illustration? Add Some Texture! Children’s Book Academy https://www.childrensbookacademy.com/blogonauts/cant-feel-your-illustrations-add-some-texture#:~:text=Many%20editors%2C%20agents%20and%20art,avoid%20illustrations%20looking%20too%20flat.