newbie Darren Firth demonstrates the advantages of mixing up software packages and uses , and to tackle the troublesome issues of picking colours and creating random shapes
Creating busy compositions is one of the hardest things for a designer to approach. Where do you start? And, more importantly, when do you stop? Which colours are best? What a headache! And all this is made twice as hard when working with vectors, because all your assets must be produced from scratch.
There is no sure-fire way of producing a composition, and the best pieces often materialise from unplanned sparks of imagination. Rather than getting all technical, this tutorial will take an informal tour through my design process, offering practical advice and opinions along the way. It's important to develop a strong idea before even thinking about turning on your machine. If you have a strong idea, good things should follow. So don't be scared to deviate from the original concept, because this is usually where the more interesting work occurs.
Most of this tutorial will be based in Flash, a process that you may find strange, especially when producing work for print. Remember that there are no set rules to follow when creating vector illustrations, so experiment with different software and techniques.