Creating digital illustrations

In 2010 after my jewellery brand launch at the concept store Atelier1 (earlier I was creating several illustrations for their corner in Doverstreet market) I have received many unexpected phone calls from the magazines in Kiev to support my jewellery line. Everybody believed in my work from the first sight.

In those days I met the charming Natalya Guzenko (chief editor of Harper's Bazaar Ukraine, now – Natalya Boudier, an editor of who didn't want to limit her curiosity to my work with the jewellery line only. In 2012 she forced me to create an editorial for the jewellery brands (including Mikimoto, Chaumet, Ripka and others, and of course my jewellery line) for the Harper's Bazaar issue.


Marjushka from "Finist the falcon", Swan princess and Vasilisa from Eastern European fairy tales.  

Her always creative out-of-the-box approach "bloomed" the idea to draw fairy tales, well known in post-soviet countries, and this is how I created one of my favorite digital artworks. We became friends and later her strict editor mind forced me to aware myself as an artist and not just an illustrator or jewellery designer. The brain full of fairy tales, sounds, splashes of colours and gems and the stories carefully written during years can not be bound to one small cliche word: "Designer". The word "artist" at least can provide more space for all of the ideas.

I have started with usual vector parts which basically look like "logos" with no transperency and no gradients. As an example here is my first logo created in 2004 (on the left) or vector illustrations of bunnies (on the right):


Then little by little many objects like this need to be added, with the layers one above the other, with the multiply effects or not, with the different transparencies depending of your feeling, until you get the "right feeling" sculpturing the skin tones, the hair flows, the texture of the clothes.



The parts curved by the knots are usual for vector graphics and look like this (in 3D design the knots look the same way):



You are creating separately different parts such as jewellery which may consist itself of thousands of vector parts to create a feeling of shining gems. Until finally you have the right feelings about everything and can add the white splashes of the light by using a tool which creates steps from one white (or any colour) object to another one (for example bigger one) around him, where the main one will be (in my case) white with the 100% of transparency and the out-one will be 0% transparent. 



This is how, by using "oil painting" technique, you bring a new breath the light to the vector graphics.



And you see the final result of non-limited resolution of the rays of light and plays of colours.