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A behind-the-scenes look at the illustrations for Blueprint

Net neutrality! Countries spending millions on social media advertising to subvert elections in other countries! The intersection of society, technology, business and government is getting more and more complicated.

Blueprint is an annual industry forecast by Lucy Bernholz, that looks into these sorts of issues, and a whole lot more. Blueprint is published by the Center on Philanthropy and Civil Society at Stanford University, about the ways we use private resources for public benefit. The Huffington Post calls Lucy a “philanthropy game changer” and Fast Company magazine named her blog Philanthropy2173 “Best in Class.”

You can download the 2018 edition of Blueprint here.

This year I was privileged enough to be asked by Lucy to do the illustrations for Blueprint. I thought it’d be helpful to show a step-by-step look at how I did them.

The all-important brief

The first thing I did was to take a brief from Lucy and the team, about the scope and nature of what they were after: who is the audience? What context do they bring to how they read Blueprint? What are the main messages to be communicated? What is the desired visual character and tone? And when does it all have to be done by?

Previous issues had used a mix of stock imagery, digital boxes and arrows and custom illustrations, so the set of each issue’s illustrations didn’t really have a visual coherence. I wanted to fix that.

Estimating for this sort of work is notoriously hard, mostly because I couldn’t know how many specific illustrations would be needed until I had read the draft of Blueprint and we had discussed a rough number and placement. To tackle this, we settled on a rough amount of time I would spend, where I would produce as many illustrations as I could within the directions of the brief and within that time.

Microsoft Word - Illustration styles.docx

I also provided a page of sample illustration styles I’ve done in the past; it’s much easier for clients to point to a visual style they like rather than describe it. The team preferred the sketchnote style.

Initial sketches

I read the draft version of Blueprint, as well as several back issues, to get a feel for where illustrations would benefit the most. Lucy also had some specific illustrations and placements in mind, too, which helped tremendously. I then spent some time just doodling and sketching up lots of different ideas to help enhance the text using Procreate (an amazing work of genius software made in Australia) on my iPad Pro (set to ‘HB pencil’ / Black).

Microsoft Word - Illustration styles.docx

The sketches above use three different kinds of representation:

  • Literal representation – all three images display some concepts as real-world objects, e.g. security cameras, people, and a dustpan and brush. They’ve been abstracted, but nonetheless are depictions of real-world objects
  • Diagrammatic representation – the first image displays literally represented elements grouped as three entities (civil society, government, markets) by circles, separate from one another. The circles belong to Venn diagram visual language, which our brains recognise as meaning separate non-overlapping entities.
  • Metaphorical representation – the second and third images are using metaphors to communicate their meaning. The second image has a fence around the figures, meaning that they are bound by something and can’t escape. The third image equates the digital traces we leave from our digital activity as tiny pieces that are inspected (magnifying glass), collected (dustpan and broom), and stored (bin).

Some of the draft sketches were fine as-is; most needed refining (as far as clarity visual meaning went), and some were just downright off the mark! But some of the off-mark drafts still triggered new ideas in the team for other illustrations to try. I always enjoy this stage, for those moments of serendipitous creativity.

Refining and finessing

Often the biggest challenge I find with freelance work like this is not being able to be physically in the room with the team. Sure, there’s lots of great digital tools we could use, but ultimately the most effective efficient way of sharing my work and gauging steering and feedback was just to email them in batches, and either have a group discussion (through Google Hangout) where I would capture their feedback, or an email chain.

By reducing each ‘HB pencil sketch’ layer to 50% in Procreate, I’m able to sketch over the top in subsequent layers, using it as a guide. I used the ‘Studio Pen’/Black setting at about 30% width, to get close to the sketchnote style they had seen (which was actually done with a real marker and pen).

bencrothers-sketching-iPad-Procreate

In the photo above, you can see the layers palette open, and the ‘pencil’ layer showing ‘underneath’ the black Studio Pen drawing.

Microsoft Word - Illustration styles.docx

At this point, I started to refine an overall visual style and character to apply to all of the illustrations. I parked the choice of colour initially, while exploring other elements to use. I ended up using a loose sketchy style overall, and a white grid in the background to be a uniting visual element.

Several of the sketches incorporated some text as well. I thought about just using my own handwriting, but in the end I opted for a font that was similar to my own handwriting (Draftsman), for consistency and ease of editing.

The final result

The colours in the style guide for the Center on Philanthropy and Civil Society were basically black and red; I wanted the illustrations to have a complementary colour to the red titles and call-outs, so I showed the team a range of options. I also showed them what they would look like using a dummy in-situ sample, like this:

StanfordPACS_BrandIdentity_DIG_V2_6.15.16

In the end, they settled on the gradation of a desaturated lilac to teal that you see here:

Microsoft Word - Illustration styles.docx

So there you have it! I hope it’s useful for you to see my process, and for how these sorts of illustrations come together. Do you do any digital sketching or illustration? What’s your process? I’m keen to find out how other people tackle illustrations like these.

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It’s #Inktober time again!

I had a lot of fun with the Inktober challenge last year, so it was brilliant to get stuck into this year’s Inktober challenge. And just like last year, it was a chance to get a bit more creative and use a few more materials than what I normally do.

Here are the 31 sketches I did. Enjoy!

Day 1: Swift

Inktober2017-1-Swift_sml

Day 2: Divided

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Day 3: PosionInktober2017-3-Poison_sml

Day 4: UnderwaterInktober2017-4-Underwater_sml

Day 5: LongInktober2017-5-Long_sml

Day 6: SwordInktober2017-6-Sword_sml

Day 7: ShyInktober2017-7-Shy_sml

Day 8: CrookedInktober2017-8-Crooked_sml

Day 9: ScreechInktober2017-9-Screech_sml

Day 10: GiganticInktober2017-10-Gigantic_sml

Day 11: RunInktober2017-11-Run_sml

Day 12: ShatteredInktober2017-12-Shattered_sml

Day 13: TeemingInktober2017-13-Teeming_sml

Day 14: FierceInktober2017-14-Fierce_sml

Day 15: MysteriousInktober2017-15-Mysterious_sml

Day 16: FatInktober2017-16-Fat_sml

Day 17: GracefulInktober2017-17-Graceful_sml

Day 18: FilthyInktober2017-18-Filthy_sml

Day 19: CloudsInktober2017-19-Clouds_sml

Day 20: DeepInktober2017-20-Deep_sml

Day 21: FuriousInktober2017-21-Furious_sml

Day 22: TrailInktober2017-22-Trail_sml

Day 23: JuicyInktober2017-23-Juicy_sml

Day 24: BlindInktober2017-24-Blind_sml

Day 25: ShipInktober2017-25-Ship_sml

Day 26: SqueakInktober2017-26-Squeak_sml

Day 27: ClimbInktober2017-27-Climb_sml

Day 28: FallInktober2017-28-Fall_sml

Day 29: UnitedInktober2017-29-United_sml

Day 30: FoundInktober2017-30-Found_sml

Day 31: MaskInktober2017-31-Mask_smlDid you do Inktober too? Let me know if you have your sketches up online, I’d like to see them. :)