You won`t see our new samples there, so you`ll have to import them. Click the color chart library icon again and scroll down to “Custom” and then “Retro Comic Book Template”. A new window will open with color samples and regular colors with comic book patterns. Now they are ready to be used on any desired shape. In the Color panel, click Black for the stroke and click the Lightenstein pattern for the fill. Select the shape of the star and click the canvas to display it. As you can see, the possibilities with retro comic design are very diverse. From classic styles to more modern versions, you can do just about anything. Whether you create the patterns yourself or get graphics online, you can create some pretty amazing things with Retro Comic Book Art and Divi.

One final remark: now that you`ve mastered retro comic art, you can consider combining your design with a retro font. There are many web fonts to choose from! Depending on the desired effect, color, or optical illusion, the small colored dots are close to each other, far from each other, or overlap. [4] Magenta dots, for example, are moved away from each other to create pink, or a nested pattern of cyan and yellow dots could be used to create a medium green. The technique was widely used in color comics, especially in the mid-20th century, to create secondary shades and colors in a cost-effective way. [5] [6] [7] The trend in comics seems to be on the rise. Of course, not all brands will benefit from this style of creativity. For fun, the colorful brands, Ben Day Dots and Lichtenstein-inspired graphics are perfect for a breath of fresh air. The best use of a comic point pattern is as a background, whether on a different color or without. Also, try using large voice bubbles as separators or comic book-style exclamations with your content. You can create your own with the tutorials above or get already designed images from Freepik.

The Ben Day process is a photo printing and engraving technique for producing different gray or (with four-color printing) colors using fine color samples on paper. It was developed in 1879[1] by illustrator and printer Benjamin Henry Day Jr. (son of 19th century publisher Benjamin Henry Day). [2] The process is usually described as Ben Day points, but other shapes can also be used, such as parallel lines or textures. [3] As I mentioned earlier, halftone dots are of different sizes to restore contrast in an image. The Photoshop filter we used above is perfect for this effect. However, if you want to create points the same size as Ben Day or Lichtenstein points, you must use Adobe Illustrator and the built-in pattern maker. As I mentioned earlier, Ben Day points are on a square grid and Lichtenstein points are on an offset diagonal grid. Both can be done with the pattern maker in Illustrator.

Now that you`ve created your own retro comic designs, you can apply them to any shape you want at any time. First, you need to save the sample fields so that you can add them to any future project. The smaller the shape, the larger the dots and vice versa. If you`re using a small shape and you feel the dots are too large, right-click the pattern in the shape and choose Transform, and then choose Scale. To make the dots super tiny, select the following settings. If you see the pattern as shown in the screenshot below, click Done. This automatically saves the pattern in the Swatches panel. This template follows the same steps as the one above and only changes when it`s time to adjust the settings in the template creator. Open the Ben Day template settings and click Save Copy.

Call the new pattern “Lichtenstein Dots”. When you click OK, it is saved as a copy in the Swatches panel. Close the Ben Day points template. In the Pattern box, open the Lichtenstein dot pattern. You will see a pop-up window with the name of the pattern when you hover your mouse over it. In Settings, simply change the layout type to “Brick per line” and click Done. British artist Damien Hirst has contemporary points of Ben Day through his hyper-focused and enlarged dot paintings of the 1990s. Similarly, the Japanese painter Yayoi Kusama uses dots that seem to refer to this ancient printing technique, while adopting a more psychological tone, as her use of repetitive dots refers to compulsive behavior.

In contrast, 20th-century artist Sigmar Polke used the method to convey a more subversive and potentially perverse view of his craft. Polke undermined the Ben Day Dot technique and contrasted the method of secret photography. Finally, Christopher Wool used the medium of screen printing to manipulate existing images and paintings into more mechanical forms and mimic the aesthetics of Ben Day Point. Ben Day dots were used intentionally, usually to evoke their use in color comics. They were a trademark of the American artist Roy Lichtenstein, who enlarged and exaggerated them in many of his paintings and sculptures to recall the printing technique used in the comic illustrations he usually copied. The animated feature Spider-Man: Into the Spider-verse (2018) uses a variety of visual styles, including artwork with ben day dots visible. Written by Amy Clay – Creative Content Developer at Deep Space Sparkle Apply the halftone point filter to the top layer. Adjust the settings in the pop-up window of the halftone point filter for 8 different effects. Texture friction and pencils: Create your own densely dotted texture friction plate with warm glue and cardboard. After drying, cover with paper and use the side of a pencil to pick up the dotted texture. The Ben Day dot printing process, named after illustrator and printer Benjamin Henry Day, Jr., is a technique that dates back to 1879.

Depending on the effect, color and optical illusion, the small colored dots are close to each other, far from each other or overlap. Magenta dots, for example, are far apart to create pink. Pulp comics from the 1950s and 1960s used Ben Day dots in all four four-color colors to cost-effectively create shades and secondary colors such as green, purple, orange, and flesh tones. Ben Day points differ from halftone points in that ben day points are always the same size and distributed in a certain area. To apply the dots to a drawing, the artist purchased transparent overlay sheets from a stationery supplier. The sheets were available in a variety of dot sizes and distributions, which gave the artist a set of tones to use in the work. The layering material was cut into the shapes of the desired tonal scales – i.e. shadow or background or surface treatment – and rubbed on the specific areas of the drawing with a burner.