Project fo­cus

An artist with a tra­di­tional back­ground, Anas­ta­sia Su­vorova had lit­tle ex­pe­ri­ence in us­ing Pho­to­shop brushes; but that didn’t stop her cre­at­ing a chil­dren’s book with the soft­ware

Photoshop Creative - - NEWS -

Anas­ta­sia Su­vorova learned to use Pho­to­shop in record time and used it to cre­ate her own chil­dren’s book

“With imag­i­na­tion, ev­ery­thing comes to life and the world be­comes an adventure full of mir­a­cles, magic and mon­sters,” says Anas­ta­sia Su­vorova, about how she fu­els her cre­ativ­ity. “In my work,

I’m in­spired by trav­el­ling, read­ing and ex­plor­ing the world around me.”

Anas­ta­sia’s Good Night’s Book project is one that com­bines this mag­i­cal in­flu­ence with the idea of cre­at­ing some­thing that chil­dren can set­tle down and en­joy. The warm, child-like il­lus­tra­tions for the project all came to­gether to form a book that’s had thou­sands of views on­line and been fea­tured in Be­hance’s Il­lus­tra­tion gallery. We asked her more about the magic be­hind her il­lus­tra­tions, and how she came about cre­at­ing this project as a whole.

Where did the idea for this project come from?

This was one of my projects that be­came a part of my study in the Book and Print­mak­ing course at the Saint Peters­burg Art and In­dus­trial Academy. I de­cided to make a ‘good­night’ book for chil­dren. It was my first time ex­per­i­ment­ing with com­puter graph­ics and mov­ing away from the tra­di­tional print­mak­ing and il­lus­trat­ing tech­niques that I’d learned.

So was this your first ex­pe­ri­ence of us­ing Pho­to­shop?

I’ve been us­ing Pho­to­shop for a long time, but I started us­ing it for il­lus­tra­tion about a year ago. For some time I en­joyed try­ing dif­fer­ent tech­niques that would help me to ex­press my ideas in the best way. It turned out that dig­i­tal il­lus­tra­tion is the clos­est to me. Now I mainly work in Pho­to­shop. I cre­ate ed­u­ca­tional, com­mer­cial and my own art projects. In gen­eral, I use it for ev­ery­thing and ev­ery day. Pho­to­shop is one of the few pro­grams I have open all the time now!

As a dig­i­tal artist who is rel­a­tively new to the pro­gram, can you tell us which tools you have found the most use­ful?

Most of­ten I use the stan­dard brushes and brushes that I made my­self. I also wanted to buy a Kyle T Web­ster brush set for a very long time, and now I’ve down­loaded his set from the Pho­to­shop web­site in­clud­ing brushes like Me­ga­pack, Guash, Dry Me­dia and I am very sat­is­fied with them.

Brushes must have played a big part in this project, then

Yes. In my il­lus­tra­tions, I usu­ally make the colour com­po­si­tion and sil­hou­ettes of the fig­ures and ob­jects with sim­ple brushes,

then I de­cide where to add tex­ture, de­tails and greyscale by us­ing the tex­tu­ral brushes. Specif­i­cally in the chil­dren’s book, I used the stan­dard brushes from the ba­sic set in Pho­to­shop, such as Chalk brush, Pen­cil and the usual round brushes. It was in this work that I first en­coun­tered the prob­lem of find­ing a gen­eral style for the whole book, as I was not yet very fa­mil­iar with dig­i­tal il­lus­tra­tion. Now I use dif­fer­ent sets of brushes, some I made my­self, some are made by other artists, but I still use stan­dard brushes of­ten.

How im­por­tant are tex­tures in your work?

Ev­ery­thing de­pends on the project [I’m work­ing on]. I like to use dif­fer­ent tex­tures in my work, though. I pho­to­graph and scan tex­tures, which are part of na­ture or of dif­fer­ent ma­te­ri­als, and var­i­ous types of pa­per. I also draw and paint tex­tures made with tra­di­tional ma­te­ri­als such as wa­ter­colour, pen­cil, gouache or char­coal.

I’m re­ally in­ter­ested in com­bin­ing tra­di­tional ma­te­ri­als with dig­i­tal tools. In my il­lus­tra­tions I ap­ply tex­tures with dif­fer­ent types of lay­er­ing. This makes them look sim­i­lar to a tra­di­tional art tech­nique such as wa­ter­colour, and some­times peo­ple do not re­alise that my work is cre­ated in Pho­to­shop.

Why do you think this project has been so pop­u­lar on­line?

Hon­estly, I do not know the way that peo­ple per­ceive my work be­cause as the cre­ator, I see it in an­other way. I just know that I wanted to do some­thing in or­der to make the lives of chil­dren warm and cosy. My wish was to cre­ate ev­ery­day magic; to guide a child’s way through the fan­tas­tic pas­sage be­tween the real world and the world of dreams, fan­tasy and sto­ry­telling. I am re­ally happy that peo­ple feel the ten­der­ness that I try to con­vey through my il­lus­tra­tions and I’m im­mensely grate­ful to ev­ery­one who’s re­acted to my work.

What other projects do you have lined up?

As an il­lus­tra­tor and graphic de­signer I am busy and work­ing hard and I have many plans and projects, but I am still look­ing for­ward to new job op­por­tu­ni­ties. I hope to have the chance and sup­port to make more book il­lus­tra­tions and con­tinue to de­velop in this field. Next year I am fin­ish­ing my MA de­gree, and I’d like to make a pic­ture book with­out words. I like these kind of il­lus­trated books be­cause it fas­ci­nates me how the read­ers can have their own as­so­ci­a­tions and come up with the story them­selves. This also makes the whole process of con­nect­ing with the book very per­sonal. What makes the book even more unique is the in­di­vid­ual that reads it. Maybe one day I will also want to write the story and do the il­lus­tra­tions my­self.

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