This guide istockphoto.com vector image submission guide and tricks. We’re sorry, but we did not find this file suitable as stock. With the rapid growth of the iStock collection, we give valuable consideration to each file but unfortunately cannot accept all submissions. if you did hear above words you need to check this page.

Detaylar savruk ve alakasız olmamalı mümkün olduğunca mükemmel cizgilerle dağınık değil yani.
The fur is smooth and each hair ends in a tidy point. The eyes are perfectly round now and it’s easier to see the dog’s cute little mustache, since all the sloppiness of the first Example has been cleaned up. You might want to pass on petting the first dog, it looks like it may have fleas. Puppy number 2 is ready for adoption.

Klonladığın objeler herbiri eşit ve orantılı olmalı.
The first pattern looked like the artist had several beers under their belt, while Example 2 was clearly created by a master craftsman. This file has smooth curves, uniform spaces between appropriate elements and sharp, clearly defined leaves. The shapes of the outer and inner curves are reciprocal. Paths aren’t crossing over themselves. Good job… now you can have that drink.

Kenar noktaları çizerken kendi fırçalarınızı , özgün kenarlar çizin vectorunuz sıkıcı olmasın .
Unfortunately, many designers have seen these default stroke effects used, over and over again. Even though real-life objects don’t have outlines around them, if they did, we bet they’d be variable and not a consistent 1 point black stroke. Variable lines can be created by outlining your strokes and then playing around with the edges; you can create your own brushes to do the work for you. Working with variable lines can be daunting at first but it’ll elevate your illustrations from amateur to pro.

Autotrace yaparken vector image detayları kaybolmasınAutotrace yapıyorsanız çok dikkatli olun.
Now that we’ve talked about some common mistakes from manual drawing, it’s time to discuss problems with the automated variety. Inexperienced illustrators often depend on autotrace features (like Streamline and LiveTrace), they’re so quick and easy and require almost no thought… Or so it seems. The sad fact is autotraces can really mangle an image. You need to prepare your source file very carefully or risk having your submission kicked back for lack of planning. In many ways it’s actually faster to draw the file by hand!

vectorel çalışmanızda şekiller birbiriyle kavga ediyormuş gibi değil uyumlu ahenkli olmalı
Example 1 simply isn’t making any sense. The shapes are all fighting with each other for the viewer’s attention, rather than integrating the way you’d expect a good composition to. There’s no clear flow to the placement of each shape so your eye just bounces around with nowhere to go.

Example 2 is much better. There’s a clear flow: all the shapes in the file help lead your eye towards the sphere. The composition is further reinforced by the placement of arrows on the right hand side of the page.

kompozisyonunuzda objelerin yerini iyi ayarlayın. gerçek dünya ve insan gözü için aykırı bir kompozisyon kabul edilemez.
vectors can easily suffer from poor decisions when it comes to composition and cropping. Example 1 have been aligned to the vertical or horizontal edges of each other. This creates awkwardly tight eye movements for the viewers, and makes things appear cut off.

Negative space is wonderful when used effectively. On the other hand, abandoning large areas of real estate within an illustration, or chopping off shapes without forethought, just shows poor planning, like in Example 2.

Clumping everything into the centre in Example 3 not only creates a rushed and unplanned composition, it is just bad feng shui. The foreground elements are an example of good overlapping. The shapes aren’t tightly spaced and they don’t touch each other at weird points. There is a small but healthy gap between the chair and the TV, which lets the viewer know that these two elements are engaged with each other but aren’t the same part of the story.

In the mid-ground we’ve demonstrated a way to not overlap objects while still maintaining eye flow and perspective with the placement of the chair, camera and end table. This compositional trick isn’t for everyone, but we wanted to give the viewers time to breathe, and not go overkill on one particular way to show depth.

The poster on the wall is in the background, but we used the lamp as an aid for eye movement. The lamp points from the mid-ground chair and overlaps the poster just enough to let our viewers know it is there, but since it isn’t a major part of the story, it quickly brings the eye back to the foreground (like a cycle).

Vectorel resmizinizin içinde objeler ve insan figürü vucut uzunlukları orantılı olmalıdır.
Example 1, on the left, shows a myriad of proportional mistakes. The head is too small, the arms are all different lengths, the hands and feet vary in size from honkin’ huge to miniscule, and the legs are too short. This is one weird looking dude,
The man in Example 2, while highly stylized, follows an actual human’s proportions much more closely. The limbs are all the correct lengths and the hands are the right size

Kompozisyona uygun insa figürleri kullanın gene orantılı ve uyumlu olsun
Example 1 has a lot going for it: lovely colors, a nice composition and a useable concept. Too bad the proportions of the woman are so off! Her legs are different lengths/widths and there’s a lack of articulation in her wrists, elbows, knees and ankles Her curves are more angular than round and she looks stiff and awkward. Her hands are such clumsy mittens we’re amazed she can hold onto her martini (the contents of which are angled against gravitational pull, incidentally). No amount of nice shading and highlights can salvage this poor woman.

Example 2 has the exact same background, the same amount of detail and the same shading… But what a difference a correctly proportioned body can make! Limbs were angled into many different positions before striking the right balance between curve and angle. Once the body looked right the details were added. Bottom’s up.

Programlarda tek kilik le yapılcak kolay efektlerden herkesin bir görüşte anlıyabileceği türden efeklerden kaçının.
Single-click effects don’t necessarily make great stock images when submitted on their own. People don’t like spending money on vectors that any monkey with access to a computer could create. Don’t be afraid to learn how to use your pen tool, leave the filters to the newbies. example fuzzy lines, puckered shapes, waves, swoops, bulges effect.

kompozisyona geçmeden önce çok detaylı olmasa da bi ön çizim yapın karaklem veya pc de.
It’s much easier to work around mistakes on paper than to muddle through a fully composed vector illustration. Sketching out your ideas lets you quickly experiment with different compositions long before you break out the pen tool in Illustrator.Example 1 really suffers from lack of planning. There are unnecessary gradients all over the place, the details of the file are sloppy, and the line weights are inconsistent throughout (in fact some shapes don’t even have outlines,The elements that created clutter have been removed in Example 2, resulting in a much cleaner and more dynamic composition. The gradients have been minimized and there’s much more attention to detail: all the shapes meet up exactly at the edges. The curves are smoother.

Kompozisyonunuzu alakasız stille yapmayınız örnek 1 de ortam ve partiye gelenler çok farklı bir stilde bir ortamdalar.
Each of the characters in Example 1 are great. The problem is they have nothing to do with each other, stylistically. We have the simplified cartoony ladies in the back, a comic-style outlined girl in striped socks, a realistic business man, and then a more detailed cartoony woman in the foreground. The overall effect is weird, disjointed, and distracting. While it’s tempting to reuse elements from existing vector files in a new composition you still need to ensure everything matches in the end.

In Example 2, all of the characters are drawn in the same style: simplified, geometric, and angular. The colors are all flat with no gradients or detailed shading, and the color palette plays on a warm/cool complimentary color scheme (red and green). Nothing jumps out as being out of place or at the wrong party.

Vectorel çizimlerinizde gradient efektini kullanmaktan kaçınmalısınız.
Gradients can add instant depth and volume to a shape with the click of a button and make surfaces gleam. However, it takes a good understanding of how light works to turn a gradient into the powerful tool it can be in the right hands.

Example 1 is a simple file, which would work very well as line art or with some simple shading. But wait: let’s try to make it look nice and rounded with some neat-o gradients! Ouch. Wrong. The gradients here are way too harsh. Creating a gradient that transitions from a solid color all the way to white or black usually ends up looking pretty nasty. That cigarette filter looks horrible with that amount of contrast between the opposite ends of the gradient… After all, filters are made of colored paper, not chrome! The gradients are better on the white part of the cigarette because the contrast isn’t as dramatic, but still they really aren’t suited to the style of this illustration with its thick heavy outline. Besides, the surgeon general says smoking’s bad for you.

We’ve kept the outlines the same in Examples 2 and 3, all we’ve changed is the interior coloring technique. The example on the far right is simple flat color, which is clean, bold and simple. The middle example uses a little shading to show a bit of depth, but it’s nice and subtle and doesn’t interfere with the style of the illustration. I’m still not saying you should light up but this cigarette would clearly be much easier on the eyes/lungs.

Özellikle çok yuklenen çiçek örneğinde görüldüğü gibi kullanılmaması gereken gradient efekt çok parlamış, zaten fark ortada highlight efekt kendi çizgililerinizle yapmak en iyisi bence.

When planning your image you should start from the ground up and decide what the final look you want is: Light and delicate? Bold and strong? Shiny or matte? Comical, cute, whimsical, dramatic, serious? Once you’ve nailed the look and feel you’d like to aim for, every element you add should support the look. That’s not to say you can’t change your mind once you’ve started with a particular style. As long as you know what you’d like to convey to the viewer, chances are the end result will have a clear message and consistent look and feel.

Flowers have always been a popular subject to upload. Example 1 is pretty decent… But it could be a heck of a lot better, and with the amount of flower submissions this’d need some polish to get approved. The spirals are ragged and rushed, which doesn’t fit in with the soft gradients on the petals. The highlights are very sharp (perhaps this is a plastic flower?), and for some reason only 2 of the leaves have veins… Not very pretty veins at that, especially where they’ve cut right over the stem of the flower (on the lower right). The finished image is confused, cluttered, and not likely to attract any bees.

Example 2, on the other hand, is the kind of blossom you’d want to give that special someone. The distracting strokes from the first flower have been replaced with strong shapes that are subtly tinted to give a hint of depth and volume. The harsh gradients have been toned down and the highlights softened.

Stok ve amatör çizim arasındaki farkda yukardaki 2 resimde bariz şekilde belli. bu doğrultuda istockphoto.com a vectorel resimlerinizi kabul ettirebilirsiniz.

author : Jennifer Borton (bortonia)

source: http://www.istockphoto.com/article_view.php?ID=367&Page=1

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