Post pobrano z: How to Create a New York Stamp Icon Set in Adobe Illustrator

In today’s tutorial, we’re going to pull
out our architect hats and learn how to “build” our very own miniaturized set
of New York’s most iconic buildings, using nothing more than the basic shapes
and tools that we work with on a daily basis.

So, assuming you’ve
already refilled your coffee mug, let’s get to it!

And don’t forget, you can always expand your collection by going over to
GraphicRiver, where you’ll find tons of awesome vector buildings.

1. How to Set Up a New Document

Since I’m hoping that you already have
Illustrator up and running in the background, bring it up and let’s set up a New Document (File > New or Control-N)
using the following settings:

• Number
  of Artboards: 1
• Width:
  800
  px
• Height:
  600
  px
• Units:
  Pixels

And from the Advanced tab:

• Color
  Mode: RGB
• Raster
  Effects: Screen (72ppi)
• Preview Mode: Default

Quick
tip: some of you might have noticed that the Align New Objects to Pixel Grid option
is missing, which is because I’m running the new CC 2017 version of the
software, where great changes have been made to the way Illustrator handles the way shapes snap to the underlying Pixel Grid.

2. How to Set Up a Custom Grid

Since we’re going to be creating the icons
using a pixel-perfect workflow, we’ll want to set up a nice little grid so that we can have full control
over our shapes, that is if we’re running the older version of the software.

Step 1

Go to the Edit > Preferences > Guides & Grid submenu, and adjust
the following settings:

• Gridline
  every: 1 px
• Subdivisions: 1

Quick
tip: you can learn more about grids by reading this
in-depth piece on how Illustrator’s Grid System works.

Step 2

Once we’ve set up our custom grid, all we
need to do in order to make sure our shapes look crisp is enable the Snap to Grid option found under the View menu, which will transform into Snap to Pixel each time you enter Pixel Preview mode.

Now, if you’re new to
the whole “pixel-perfect workflow”, I strongly recommend you go through my how
to create pixel-perfect artwork tutorial, which will help you widen your
technical skills in no time.

3. How to Set Up the Layers

With the New Document created, it would be
a good idea to structure our project using a couple of layers, since this way
we can maintain a steady workflow by focusing on one icon at a time.

That being said, bring up the Layers panel, and create a total of four
layers, which we will rename as follows:

• layer 1: reference grids
• layer 2: empire state building
• layer 3: chrysler building
• layer 4: world
  trade center building

4. How to Create the Reference Grids

The
Reference Grids (or Base Grids)
are a set of precisely delimited reference surfaces, which allow us to build
our icons by focusing on size and consistency.

Usually, the size of the grids determines
the size of the actual icons, and they should always be the first decision you
make when you start a new project, since you’ll always want to start from the
smallest possible size and build on that.

Now, in our case, we’re going to be
creating the icon pack using just one size, more exactly 128 x 128 px, which is a fairly large one.

Step 1

Start by locking all
but the reference grid layer, and then grab the Rectangle Tool (M) and create a 128 x 128 px orange (#F15A24) square, which will help define the
overall size of our icons.

Step 2

Add a smaller 120 x 120 px one (#FFFFFF) which will
act as our active drawing area, thus giving us an all-around 4 px padding.

Step 3

Group the two squares composing the
reference grid using the Control-G keyboard
shortcut, and then create three copies at a distance of 40 px from one another, making sure to align them to the center of
the Artboard.

Once you’re done,
lock the current layer and move on to the next one where we’ll start working on
our first icon.

5. How to Create the Stamp Frame

Let’s kick off the project by creating the stamp-like frame which will be
the repeating element for each of our icons. That being said, make sure you’re
on the right layer (that would be the first one) and then zoom in on the first
reference grid.

Step 1

Create the frame’s outer section using a 100 x 116 px rectangle, which we will
color using #45576B and then center align to the underlying active drawing
area.

Step 2

Adjust the shape that we’ve just created by
positioning a couple of 8 x 8 px circles
(highlighted with red) exactly 8 px
from one another both horizontally and vertically, which we will then
cut out from the larger rectangle using Pathfinder’s
Minus Front Shape Mode.

Step 3

Continue adjusting the resulting shape by
flipping its Fill with its Stroke (Shift-X), and then setting its Weight
to 4 px from within the Stroke panel.

Step 4

Create the frame’s colored fill section using a 76 x 92 px rectangle (#EFA28B), which
we will center align to the larger outline.

Step 5

Finish off the frame by adding an outline to
the colored fill section using the Stroke
method. Create a copy of it (Control-C)
which we will paste in front (Control-F)
and then adjust by changing its color to #45576B and then flipping its Fill with its Stroke (Shift-X). Set
the path’s Weight to 4 px, and then select and group all
three shapes together using the Control-G
keyboard shortcut.

Step 6

Once we’ve finished working on the frame, we can
create two copies of it (Control-C >
Control-F) and position them onto the remaining reference grids, making
sure to paste each one of them onto their respective layer (that would be the
third and the fourth). Then before you lock the layers back, change the color
of the second frame’s fill section to #8CC1ED and the third one’s to #8CEAC8.

6. How to Create the Empire State Building

With the frames in place, we can now begin working on the actual buildings,
so make sure you’re back on the right layer (that would be the second one) and
zoom in on the first reference grid so that you can have a better view of the
shapes.

Step 1

Start working on the Empire State Building’s
base by creating a 22 x 18 px rectangle
with a 4 px thick Stroke (#45576B) which we will bottom
align to the fill section’s outline, positioning it at a distance of 5 px from its left edge.

Step 2

Create another slightly taller 14 
20 px rectangle with the same 4
px thick Stroke (#45576B), which
we will position on top of the one from the previous step.

Step 3

Create the right section of the building’s base by placing a copy (Control-C > Control-F) of the two
shapes that we have onto the opposite side of the frame, keeping the same 5 px gap between them and the larger
outline.

Step 4

Start working on the building’s center section,
by creating a 38 x 10 px rectangle
with a 4 px thick Stroke (#45576B) which we will center
align to the frame, positioning it on top of the base shapes.

Step 5

Adjust the shape that we’ve just created by
opening up its path, by adding a new anchor point to the center of its bottom
edge using the Add Anchor Point Tool (+)
and then removing it by pressing Delete.

Step 6

Continue working your way up by creating a 30 x 12 px rectangle with a 4 px thick Stroke (#45576B), which we will center align to the previous shape,
positioning it on top.

Step 7

Start working on the building’s upper section by creating a 22 x 6 px rectangle
with a 4 px thick Stroke (#45576B), which, as you’ve
probably already guessed, we’ll position on top of the previous shape.

Step 8

Add another 6
x 12 px rectangle with a 4 px thick
Stroke (#45576B) on top of the shape
that we’ve just created, making sure to center align the two afterwards.

Step 9

Finish off the building’s structure, by adding
the antenna using a 14 px tall 4 px thick Stroke (#45576B), which we will of course position on top of all
the other shapes.

Step 10

Next, we’re going to take a
small detour and add in the little highlights before starting work on the
windows themselves. So, using the Rectangle
Tool (M), create a bunch of 2 px tall
white (#FFFFFF) rectangles, which will cover the upper visible section of most
of the building’s composing sections.

Step 11

Adjust the shapes that we’ve just created so that they turn up looking
like actual highlights, by selecting them all and then lowering their Opacity to just 60%.

Step 12

With the highlights in place, it’s time to start working on the windows,
which we will create by drawing them using a couple of 2 px thick vertical Stroke
lines (#45576B) positioned 4 px from
one another (if you’re using the Align
panel’s Distribute options). Take
your time, and add the lines to each section of the building, selecting and
grouping (Control-G) both them and
the larger composing shapes together as you go along.

Step 13

Add the hard shadows by creating a couple of
rectangles (#45576B) which we will position so that they overlap the path of each building’s outline.

Step 14

Adjust the shadows (all except the top center
one) by individually selecting their top inner anchor points and then pushing
them to the bottom by a distance of 1 px
for the top ones and 2 px for
the rest. You can use the Move Tool (right click > Transform > Move > Vertical > +  / -2 px depending on which side you start with).

Step 15

Finish off the icon by drawing in the sky using a couple of 2 px thick Stroke lines (#45576B). Take your time, and once you’re done, group
all the lines together using the Control-G
keyboard shortcut, doing the same for all of the icon’s composing sections
afterwards.

7. How to Create
the Chrysler Building

Assuming you’ve already
finished working on the first icon, move on up to the next layer (that would be
the third one), locking the previous one, and then zoom in on the second
reference grid so that we can get started.

Step 1

Start working on the building’s bottom section by creating a 48 x 16 px rectangle with a 4 px thick Stroke (#45576B) which we will center align to the bottom of the
colored fill section’s outline.

Step 2

Create a smaller 32 x 10 px
rectangle with a 4 px thick Stroke (#45576B) which we will position
on top of the previous shape, making sure to center align the two.

Step 3

Finish off this section by adding a 16
x 20 px rectangle with a 4 px thick
Stroke (#45576B), which we will
adjust by setting the Radius of its
top corners to 8 px from within the Transform panel’s Rectangle Properties.

Step 4

Select all three shapes, and turn them into a single larger path by
uniting them using Pathfinder’s Unite Shape Mode.

Step 5

Start working on the building’s left side section by creating a 6 x 18 px rectangle with a 4 px thick Stroke (#45576B), which we will position onto the first step of the
larger shape.

Step 6

Add a little ledge to the shape that we’ve
just created, using a 4 px wide 4 px thick Stroke line (#45576B) which we will position onto its top-left
corner. Once you’re done, select and group the two together using the Control-G keyboard shortcut.

Step 7

Create the building’s right-lower section using
a copy (Control-C > Control-F) of
the one that we’ve just finished working on, which we will vertically reflect (right click > Transform > Reflect
> Vertical) and then position onto the opposite side of the building.

Step 8

Create the building’s center section using a 32 x 28
px rectangle with a 4 px thick Stroke (#45576B) which we will position
on top of its base.

Step 9

Adjust the shape that we’ve just created by setting the Radius
of its top corners to 16 px from
within the Transform panel’s Rectangle Properties.

Step 10

Continue adjusting the resulting shape by adding a new anchor point to
the center of its bottom edge using the Add
Anchor Point Tool (+), and then removing (Delete) in order to open up its path.

Step 11

Continue working your way up by creating a 24 x 14 px rectangle with a 4
px thick Stroke (#45576B) which
we will adjust by setting the Radius
of its top corners to 12 px and then
opening up its bottom path. Once you’re done, position the resulting shape on
top of the previously created one.

Step 12

Add another 16 x 12 px rectangle
with a 4 px thick Stroke (#45576B), which we will adjust
by setting the Radius of its top
corners to 8 px, opening up its
bottom path as we did with the previous shape. Then, once you’re done, position
the resulting shape on top of the building’s center section.

Step 13

Start working on the building’s upper section by creating a smaller 8 x 6 px rectangle with a 4 px thick Stroke (#45576B), which we will adjust by setting the Radius of its top corners to 4 px, positioning the resulting shape
on top of the previous shape, making sure to open up its bottom path.

Step 14

Create the final piece of the building’s upper section using a 6 x 16 px ellipse with a 4 px thick Stroke (#45576B) which we will adjust by cutting it in half by
selecting and then removing its bottom anchor point. Center align the resulting
shape at a distance of 4 px from the
active drawing area’s top edge, making sure to extend its bottom section onto
the previous shape, using the Pen Tool
(P).

Step 15

Add the antenna using an 8 px tall
4 px thick Stroke line (#45576B), which we will center align to the previously
created shape.

Step 16

As we did with the previous building, start adding the little highlights
using white (#FFFFFF) as your main fill color, lowering their Opacity to 60% once you’re done. Create the straight highlights using regular
rectangles, while using cutouts for the arched ones, making sure to send them
to the back of the building afterwards (right
click > Arrange > Send Backward).

Step 17

Start adding details to the upper section of the building by creating a
2 x 2 px circle, which we will color
using #45576B and then position in the center of its second shape.

Step 18

Create three 2 x 4 px ellipses (#45576B) which we will position 1 px from
one another, moving the center one to the top by 1 px. Group (Control-G)
the shapes and then position them in the center of the top section’s third shape.

Step 19

Create a second set of 2 x 4 px ellipses
(#45576B), which we will distance at 2
px from one another, grouping (Control-G)
and then positioning them towards the center of the top section’s fourth shape.

Step 20

Using nine 2 x 2 px squares
(#45576B), add the little windows to the arched section of the building,
grouping them together afterwards using the Control-G keyboard shortcut.

Step 21

Create a 6 x 41 px rectangle
with a 2 px thick Stroke line (#45576B), which we will
adjust by setting the Radius of its
top corners to 3 px, center aligning
the resulting shape to the bottom of the colored fill section’s outline.

Step 22

As we did with the first building, take your time and draw in the
windows using a couple of 2 px thick
Stroke lines (#45576B) positioned 2 px from one another, selecting and
then grouping (Control-G) them
together once you’re done.

Step 23

Add the shadows using a couple of rectangles which we will position so
that they follow the path of the building’s composing sections.

Step 24

Adjust the shadows, by individually selecting
their top inner anchor points, and then pushing them to the bottom by a
distance of 2 px using the Move Tool (right click > Transform > Move > Vertical > 2 px.

Step 25

Finish off the icon by drawing in the sky using a couple of 2 px thick Stroke lines (#45576B). Take your time, and once you’re done, group
all the lines together using the Control-G
keyboard shortcut, doing the same for all of the icon’s composing sections
afterwards.

8. How to Create
the World Trade Center Building

We are now down to
our third and last icon, so assuming you’ve already moved on up to the next
layer (that would be the fourth one), zoom in onto its reference grid, and let’s
finish this.

Step 1

Create the building’s main shape using a 36 x 56 px rectangle with a 4 px thick Stroke (#45576B) which we will center align to the bottom edge of
the colored fill section’s outline.

Step 2

Start working on the building’s upper section by creating the antenna using a 36 px tall
4 px thick Stroke (#45576B), which we will position on top of the larger shape.

Step 3

Create the bottom section of the roof platform
using a 28 px wide 4 px thick Stroke (#45576B), which we will center align to the building’s main
shape, positioning it at a distance of 6
px from it.

Step 4

Add the platform’s support legs using a 16 x 6 px rectangle with a 4 px thick Stroke (#45576B), which we will center align to the larger rectangle’s
top edge.

Step 5

Create the upper section of the platform using
another 28 px wide 4 px thick Stroke (#45576B), which we will center align to the bottom section,
positioning it at a distance of 6 px from
it.

Step 6

Connect the platform’s two sections using two
sets of 6 px tall 4 px thick Stroke lines (#45576B), which we will position 4 px from one another using the Align panel’s Distribute options, placing one on each side of the antenna.

Step 7

Quickly grab the Pen Tool (P), and then draw in the diagonal support rods using a 2 px thick Stroke line (#45576B), starting from the top section of the
platform and going up onto the center section of the antenna.

Step 8

Finish off the upper section of the building by
adding an 8 px wide 4 px thick Stroke line (#45576B) which we will center align to the antenna.
Then, once you’re done, select and group all of the current section’s shapes
together using the Control-G keyboard
shortcut.

Step 9

Add the main highlights using seven 32 x 2 px rectangles (color: white; Opacity: 60%) which we will vertically stack 6 px from one another, grouping (Control-G) and then center aligning
them to the building’s main body.

Step 10

Start working on the front section of the
building by creating the windows using twelve 20 px wide 2 px thick Stroke lines (#45576B) vertically
stacked 4 px from one another.
Once you have the lines, group (Control-G)
and then center align them to the tower’s main body, at a distance of 4 px from its top edge.

Step 11

Add the front section highlights using six 20 x 2 px rectangles (color: white; Opacity: 60%) vertically stacked 6 px from
one another, which we will group (Control-G)
and then center align to the windows, positioning them underneath the first Stroke line. Then, once you’re done,
select and group both the windows and highlights together using the Control-G keyboard shortcut.

Step 12

Create the front section’s main outline using a 20 x 56 px rectangle with a 4 px thick Stroke (#45576B), which we will center align to the building’s main
body.

Step 13

Adjust the rectangle by individually selecting
its top anchor points and pushing them to the inside by a distance of 8 px using the Move tool (right click >
Transform > Move > Horizontal > + / – 8 px depending on which side
you start with).

Step 14

Create a copy (Control-C > Control-F) of the resulting shape, and then use it
to mask the front section’s windows and highlights (right click > Make Clipping Mask), making sure to send them to
the back afterwards (right click >
Arrange > Send Backward).

Step 15

Add the background windows using a couple of 2 px thick Stroke lines (#45576B), vertically stacked 4 px from one another. Start from the outer edge of the larger
outline and go all the way to the front section’s one. Then, once you’re done, select and group all of the building’s shapes together using the Control-G keyboard shortcut.

Step 16

Finish off the icon by drawing in the sky using
a couple of 2 px thick Stroke lines (#45576B). Once you’re
done, group (Control-G) all the lines
together, doing the same for all of the icon’s composing sections.

Hats Down!

Great work! Our little icon pack is completely finished!

I hope you’ve managed to follow each and every step,
and as always learned something new and useful during the process.

Post pobrano z: Politics Through the Eyes of 12 Artists

Editor’s Note: Envato Tuts+ does not endorse any particular political belief in the publishing of this article. This article intends to offer insight into art and politics in modern times. 

Before History Was Tweetable

Long before the first photograph or dissolving SnapChat story, and certainly before the first presidential tweet, there was always the 2D illustration.

And when you think about it, it’s a shame really. Because the role that art plays in history far surpasses our modern, late night awake-a-thons, sourcing endless Wikipedia pages in support of our arguments or papers.

We have, in a sense, trivialized what was once the definitive snapshot of our culture.

And even with the currency we keep in our pocket, we still often forget how important artists are to encapsulating moments and people in time.

How else would we have related to the clenched jaw expression of the first US president if it weren’t for the iconic oil paintings of artist Gilbert Stuart?

Or that the U.S. Capitol once lay in ruins, following British attacks that nearly cost the country everything during the War of 1812.

You see, artists like George Munger and Gilbert Stuart embarked on creative solo missions so that these pivotal scenes would never be forgotten.

Today, technology has, no doubt, played an important role in shaping how we get information and the legitimacy of our sources.

But art is still and will always be an important reflection of the issues and people that matter most. And no matter how subtle or cheeky or controversial a piece may be, artists continue to band together in fighting the world’s battles one brush stroke at a time.

So today I’ll shed light on 12 amazing artists whose work speaks incredible volumes.

What’s set to become the next iconic image in history? Who knows…

Let’s learn the political, economic, and social issues of the world through the eyes of artists.

Who Is the Winner… Really?

The 2016 US election was, for some, like ripping off an old band aid. And as quickly as it passed, we inevitably winced at the outcome. Some rejoiced in a monumental change for American history, while others continued to pick at the scab, unconvinced that the world was now in a new time of healing.

And in the daze of January 20th, 2017, the feelings of the American public were hugely divided. This can’t be felt any more clearly than in the art that surrounded both the election and the results. 

Hillary Clinton for Politico Magazine

Like any election, we were bombarded with beautiful pre-iconic pieces of both candidates. This Politico Magazine Cover by Tracey Ching, for instance, was one of two incredible vector illustrations she created for the Democratic and Republican National Conventions (she did an equally gorgeous Donald Trump Cover you should definitely check out).

And while one artist communicates bold, unapologetic strokes of optimistic patriotism, other artists refuse to hold their tongue.

Antonina Aleksandrova begs the question, quite literally:

„Who is the Winner?”

Perched in a romantic parking spot, we see presidential hopefuls Donald Trump and Hillary Clinton in a gentle embrace as destruction ravages the American landscape. A mysterious shadow lingers on with an even shadier agenda.

How would you interpret this piece? And what would you take away from the third shadowy figure?

If I could sum up the 2016 election with one quote, it would probably be, „Can we just get a do over?” This is a common sentiment among many Americans, and it seemed like we were in a lose-lose situation no matter the outcome. 

Dark Times of America

But once Trump was finally elected, the narrative shifted yet again. A somber attitude wafted into the air as people stood by with unclear feelings towards the impending future.

This feeling is met perfectly in Dark Times of America, a monochromatic vector illustration by Andrea Ucini.

Here’s a quick look into his process:

This piece was from an article about how this might be one of the darkest periods in America, according to the policies being considered by Donald Trump.

I led
the eye to focus on emotions only so the work had to be
in black and white. Then I thought about what creates an absence of light and wanted to make people understand that this absence was caused by Donald Trump.

But before you think that’s all there is to this illustration, he pauses before continuing:

On
one side of the illustration, I created
a beam of light―as if to say that the
light still exists outside.
This is my way to stay positive!

And this subtle detail, this gentle reminder of our everlasting hope to always remain positive amidst adversity becomes what I think is the most valuable symbol in this piece.

The Disappointer in Chief

But Republicans weren’t the only party to feel the heat of criticism. Even before the election, 44th President Barack Obama faced immense criticism and frustration from all parties alike.

Artist Gosia Herba explains this in her piece, The Disappointer in Chief.

It was published with the story running in the Sunday paper (The
Washington Post) about President Barack Obama, and how he just hasn’t
lived up to the expectations of many people.

It was a very short deadline―like 2 days. One day for sketches and another one for the finished work. I managed to create this on such a short notice.

In this cramped and claustrophobic image, headlines swarm Obama’s head, shouting clips of campaign promises and more. The viewer can’t help but feel a sense of helplessness as it becomes apparent that power isn’t always at the hand of one individual.

Artists on Immigration Policies

There is this weird thing
that happens with developed nations. It’s the appearance of being
welcoming to outsiders without actually meaning it. Their open arms and welcoming smiles are often contradicted by complicated immigration policies. 

Radical Islam

We see this even in the current narrative. It’s a controversial topic for many, and we’re forced to come face to face with humanizing people who don’t look like us or practice the same religion.

Artist Gerhard Human created an incredibly poignant piece that lends itself to this very conversation. Radical Islam, a hand printed four-color silkscreen, shows us a side of Islam we never see.

Gerhard added:

I don’t really like explaining my artworks
too much. I want them to speak for themselves. Often the viewer’s
outtake is unique and I don’t like robbing them of their conclusions.

This philosophy is common among artists because art is subjective. When coupled with the title, though, the meaning of this illustration can certainly be perceived as obvious. But what are some of the underlying issues that can be seen here?

And how can we, as a society, learn from such openness in art?

Offlife Comics – Yellow Series

Speaking of warm, open embraces, illustrator Eva Bee offers a hand to those in need in her illustration for Offlife Comics. She said:

I produced this piece for Offlife Comics, for a book they
published last year called, „Yellow.” The idea behind the book was to ask
52 artists to illustrate a different week of news from 2015. This was the only brief given, and I was given free license to do whatever I
wanted with the top events that happened in my week.

Here is what she wrote to accompany her illustration in the book:

The migrant crisis made a resurgence in the news this week. My
piece reflects on the fragility of the migrants’ situation as they
arrive in countries across Europe by boat.

The power is in European
hands to either help or squash their hopes, as we’ve seen over the last
few days with the violence faced by migrants trying to enter Macedonia.

Even powerful words can fall upon deaf ears. But the sincerity and heart behind an illustration like this create a much-needed dialogue about immigration.

Artists on International Issues

If you sail out into international waters, you will be greeted with some of the same political, economic, and social issues found in your very own backyard. And artists from around the globe actively take on the task to voice their opinions through their work.

Greetings From Russia

Artist Bart van Leeuwen has a bone to pick with Russia. And his unique caricature style offers an interesting perspective in Greetings from Russia.

He says:

Greetings from Russia depicts Vladimir Putin’s fuck-you attitude
towards Europe and the rest of the world. Regardless of whether this is
justified or not, I can only judge Russia’s situation from a
European/Dutch point of view.

In reality, Bart sounds like any of us when faced with a passionate topic. He goes on to say:

I made this picture on the occasion of the MH17 disaster, and the
continuous denial of Vladimir Putin that Russia had nothing to do with
it during the several investigations that followed this plane
crash.

Great comedy often comes from incredible anguish, and art is certainly no different. Putin’s blasé attitude as he stands alongside missiles is emphasized with a classic „selfie pose”, signaling that the days of „Is this really happening?” are far from over.

Bullfighting

Another important issue faced by people around the world often involves an attitude of the people vs. the government or major corporations.

This Bullfighting illustration by Ricardo Nunez Suarez features a cool double meaning. Ricardo explains the symbolism behind this piece below:

For this piece I wanted to create a beautiful image that hides an insightful message.
The woman in the scene has a glance of superiority. She represents
the upper class of society. Behind her are fruits and food that
represent abundance. She waits for the bull to come. The bull is huge
and mighty, however submissive and tamed. The bull represents the
working class. Fruits and abundance also surround him and are brought to
serve the woman. She touches its head with one hand and sings a song of gratitude
for the food he brought. However, with the other hand she is holding a
dagger, and she
will kill the bull after being served.

An analogy for the politics in his country of Colombia, the bull represents the people and the woman his governors.

Bullfighting is an event where not many people assist while the
spectators are usually of the upper class in society. The last time
this event happened, thousands of
people protested against the killing of an innocent animal for the amusement of just a few.

In the end, the government favored the views of the majority, dispersing thousands of police officers to contain the
protestors, and neglecting the rest of the city where police might be needed. Once again, power and money had the last word.

And as strong and resilient as the bull may appear to be, he will always be at the mercy of his governor, a tragic reminder from the eyes of Ricardo.

Mosquito

Of course, the huge connection between big money and politics becomes a topic for artists too. As powerful corporations lend their hand in major policy reform, everything from sports to climate change becomes severely affected.

In Mosquito, by Aleksandar Todorovic, a giant mosquito reeks havoc on the world.

„Mosquito” is part of a series of small
drawings I started in 2015. All these works feature a politician as the central character. I use this character as an archetype for specific narratives, to transform him, and morph him in order to tell a compelling and
vivid story.

This particular piece sees the politician as a
blood-sucking creature, probing the Earth for its „blood,” and exploiting
its resources as much as possible. I use a lot of dark humor and pop culture references. I try to tell
stories in such a way so that they can transcend the present moment whilst incorporating
surrealism and common symbols to make up my own
symbolic language. 

When things go wrong, we often want someone to blame—a physical embodiment of our anger and frustration. Aleksandar does this effectively by symbolizing the political world as one bloodsucking central figure.

Big Politics, Money, and Football

Even sports can become a victim of political change.

Artist Jakub Cichecki quickly breaks down the symbolism in his piece about football and politics. 

This illustration is about the relationship between football and politics. I created this artwork for the football magazine called Kopalnia. It was illustrating an article
that was about how modern football is ruled by money coming
from sources that are „immoral.” While the journalist analyzes the situation, they also point to its origins, and
why there’s no one trying to change the current situation.

Politics has the power to affect every fabric of our daily existence. From the food we eat to the sports we watch, there’s no end in sight to its reach. Though cleverly illustrated, this piece tragically shows how even our most innocent daily activities are steamrolled by big money and politics.

Me & EU

Needless to say, the world went into a frenzy over Brexit. And the confusion surrounding the UK’s withdrawal from the EU provided a great subject for UK artists.

Chester Holme, who created the piece, Me & EU, spoke passionately on this topic:

My relationship with politics is a bit of a funny one, I try to shut my
eyes to as much of it as possible as a
sort of emotional self-preservation. Everything seems so bleak and so
hopeless at the moment that just reading the news can be quite the
overwhelming experience and really affects my creative impulses.

The driving intention behind this illustration
isn’t so much resistance or protest, but rather my absolute exasperation
with the hyperbole, hypocrisy, untruths, and us-vs-them mentality that
seems to have dominated all political debate in the last few years.

He goes on to say:

I tried to articulate this exasperation, and in working through
my thoughts, the phrase that kept sticking
out in my head was a bit of an idiom: 'cutting off your nose to spite your
face.’

And Chester makes a great point here. In today’s age of political rivalry, it’s not uncommon to feel overwhelmed by chaos. Terms like „alternative facts” are being coined every day, while mass hysteria for opposing political views usually ends in the melodramatic „unfriending” of family, friends, and neighbors.

Brexit, Free From Chains

But not everyone is so shocked by Brexit. Artist Ilias Sounas created his Brexit Free from Chains illustration in support of this event.

This is a political illustration I created for the Brexit event, which I highly applaud and support. The illustration is based on a famous Prometheus legend, the titan who was captured by Zeus and the eagle who ate his liver.

In my version, the eagle represents the high German state (politicians), which destroys European nations due to its aggressive financial behavior. Through Brexit, Great Britain (depicted as Athena), snaps her slavery chains to claim her freedom against her suppressor, the EU/German bureaucracy.

Ilias’s illustration offers an interesting perspective on a narrative we don’t often hear. It is through art that we are able to shed new light on old topics, allowing us to learn from one another.

Conclusion

Art teaches us that we can either navigate the sea of politics carefully or convey our ideas with passion. Which route you decide to take is ultimately up to you, but if you document it through art, it may last for generations to come.

Create a window to the present with your own political illustrations.

Do you have a piece expressing your political views? Feel free to share it with us in the comments! Or tackle a fun poster project in Adobe Illustrator, like the iconic Obama-inspired poster seen in: Create an Inspirational Vector Political Poster.

I’d also like to extend a warm thank you to all the artists who allowed me to feature their work. Check out the following links below to see their amazing portfolios:

• Tracey Ching
• Antonina Aleksandrova
• Andrea Ucini
• Gosia Herba
• Gerhard Human
• Eva Bee
• Bart van Leeuwen
• Ricardo Nunez Suarez
• Aleksandar Todorovic
• Jakub Cichecki
• Chester Holme
• Ilias Sounas