Posts in Category "Designers"

September 19, 2013

Times Square by Bert Monroy

Panoramic View of Times Square by Bert Monroy

Panoramic View of Times Square by Bert Monroy

“Adobe Illustrator was crucial for Times Square because of the sheer size. Everything being resolution independent, everything was planned in Illustrator. It’s a 25-foot file. If I had done it completely in Photoshop, it would have been a 130-foot file—which Photoshop can’t handle.”
—BERT MONROY

Artist Profile

Bert Monroy has had a long career in the graphic arts. His first printed piece appeared in 1963, and by the early 1980s he and a business partner had their own ad agency. It was his partner who had the idea to computerize. “I told him fine, get your computer, but don’t expect me to be entering data,” said Bert.

Soon enough, though, Bert was experimenting with early graphic arts programs like MacPaint. “I got hooked,” he remembered, and he even created one of the first graphic arts packages, “Human Forms,” a clip-art collection of more than 1,000 human forms in different positions.

When Illustrator 1.1 debuted in 1987, Bert got hooked once again. Illustrator was “clean and sharp,” and without the “pixelated look of MacPaint.”

“I just went crazy with Illustrator. I started using it for all kind of things. Everything I could, I would do in Illustrator. That became my major tool.”
—BERT MONROY

Bert kept up with every new version of Illustrator, and his own evolution as a digital artist kept pace. One of his favorite tricks became playing with the resolution-independent capabilities of the program: “I could create as much detail as I wanted and then shrink it down as much as I wanted, yet preserve the detail and integrity. I once made a drawing of a Mac Plus into a tiny dot. It added 20 minutes to the processing time on a Linotronic 300—but to be able to do that!”

At Photoshop World 2006, Bert unveiled what was, at the time, his largest and most ambitious work: Damen, a digital painting of a Chicago train stop created in Illustrator and Photoshop. A massive work, it measured 40 inches by 120 inches and 1.7 gigabytes. It took nearly 2,000 hours over the course of 11 months for Bert to create it, and Illustrator was integral to his process.

The complete Damen, a 1.7-gb digital painting.

The complete Damen, a 1.7 GB digital painting.

“These little arches are a perfect example of the blend tool. To get that perspective, I would create a single arch, put it closer to the viewer, then I would duplicate it and shrink it and put it in position at the end. The blend tool was crucial.”
—BERT MONROY

Just a few years later, Bert would outdo himself yet again with his painting Times Square. But through it all, Illustrator was the foundation of many of his paintings. “I don’t touch traditional media anymore,” he said. “With Illustrator and Photoshop, I can get more detail, I can change my mind, I can change colors. It’s enhanced my workflow. My imagination just flows—it’s not hindered by tools.” With traditional media, Bert “would lose the feeling for an image after changing colors and cleaning tools.” Running out of tools would never be a problem in Illustrator.

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February 7, 2013

An Interview with Cristiano Siqueira, aka CrisVector

In this series of three artist interviews, we’ll be speaking with several of the Adobe Illustrator artists who are featured in my new book Adobe Master Class: Illustrator. This book showcases the work of 31 talented, innovative vector artists, giving us insight into their workflows and creative inspirations. Eleven of these artists share their design process via tutorials. Today we talk with one of these artists, Cristiano Siqueira, and also let you know how you can get a 35% discount on a copy of the book! So let’s get to know Mr. Siqueira…

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April 13, 2012

Vector Art from Mexico

Introduction

Today is the third part in our series of Vector Art from around the world, and we’re focusing in on Mexico. I’d like to introduce you to two friends, Rafael Aguilar and Beto Garza. Both have an abstract and somewhat surreal edge, yet their rendering techniques are different. They are both passionate vector artists and fellow fans of Adobe Illustrator.

In addition to getting to know them better and featuring their work, we’ll also gain unique insight into the detailed workings and processes behind Rafael’s work, as he’s kindly shared with us some work-in-progress screenshots!

Beto Garza aka Helbetico

Beto Garza uses simple, minimal palettes to create his vector work. Using geometric shapes and patterns, his work has a childlike, playful edge, yet still maintains a sophisticated, abstract look. This is partly due to the shapes and minimal palettes he uses, and he pulls it off very well.

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March 28, 2012

Vector Art from Indonesia

Introduction

In today’s “Vector Art from…” article, we’re going to look at a collection of vector artists from Indonesia.

Please let me introduce Samuel Sinaga, Aedel Fakhrie, and Jimmy Balia, three friends from Indonesia with a shared passion for vector art, all with contrasting styles. Having known them for years, it’s been great to watch their styles develop and change over time, and it’s an absolute pleasure to share with you their thoughts on vector design and their amazing work.

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February 26, 2012

Vector Art from France

Introduction

In today’s “Vector Art from…” article, we’re looking at vector art from France with Adobe Illustrator users Nastasia Peters and Dhella Rouat, two talented female illustrators. We’ll learn more about the artists behind the work and their processes, and, in addition, Nastasia has shared some great insight into the process for creating one of her fantasy inspired pieces that is line art oriented. So let’s get to it and meet the girls.

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