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covietforum
11-09-2017, 11:52 AM
Muc luc

(http://www.coviet.vn/diendan/showthread.php?t=62476&p=132057&viewfull=1#post132057)Tip 1: Vẽ đường chấm chấm - dotted lines (http://www.coviet.vn/diendan/showthread.php?t=62476&p=132057&viewfull=1#post132057)
Tip 2 : Art Brush Direction - Hướng đầu cọ (http://www.coviet.vn/diendan/showthread.php?t=62476&p=132057&viewfull=1#post132057)






VẼ ĐỒ VẬT


Vẽ ly bia lạnh (http://www.coviet.vn/diendan/showthread.php?t=62476&p=132347&viewfull=1#post132347)




CHÂN DUNG

Cách vẽ chân dung có mái tóc quăn (http://www.coviet.vn/diendan/showthread.php?t=62476&p=132193&viewfull=1#post132193)

covietforum
11-09-2017, 11:58 AM
Tip 1: Vẽ đường chấm chấm - dotted lines


Window>Stroke
Draw a line and select it. Enter the dash and gap value as shown.
Vẽ một đường thẳng rồi chọn nó. Gõ giá trị cho dash (gạch ngang) và gap (khoảng cách) như hình vẽ.

Experiment with different dash and gap values for different effects. To create a square dotted line, make sure the dash and weight is the same value.
Hãy thử các giá trị khác cho dash và gap. Để tạo đường chấm chấm vuông, cho giá trị của dash và weight bằng nhau.


http://www.vectordiary.com/isd_tips/001/stroke_tips1.gif

So how about circle dotted lines? Here’s the trick. Select the Round Cap and make sure dash is set to 0 pt. For gap enter a value twice the stroke weight.
Muốn vẽ đường có chấm tròn thì sao? Mẹo đây. Chọn Round cap và cho giá trị dash bằng 0pt. Chọn giá trị gap gấp đôi giá trị stroke weight.


http://www.vectordiary.com/isd_tips/001/stroke_tips2.gif
Bonus Tip: To expand the dotted lines, you realise Object>Expand doesn’t work. Choose Object>Flatten Transparency to expand it. You can now fill each dots with different colors.

Tặng thêm bí quyết: Để mở rộng đường chấm chấm, bạn sẽ thấy lệnh Object > Expand không có tác dụng. Hãy chọn Object > Flatten Transparency để mở rộng. Giờ thì bạn có thể tô màu từng chấm.




Art Brush Direction - Hướng đầu cọ

http://www.vectordiary.com/isd_post/2008/pen-art-brush.gif
Here is a quick tip to change art brush direction. Use your Pen Tool, click one of the anchor corners again and it will swap the direction. Simple as that!

Đây là bí quyết đổi hướng cọ nhanh: Dùng Pen tool, nhắp vào một trong những góc neo lần nữa, nó sẽ đổi hướng. Đơn giản thế thôi!

covietforum
18-09-2017, 04:49 PM
How to Create a Vector Portrait With Curly Hair
in Adobe Illustrator


Cách vẽ chân dung có mái tóc quăn

https://cms-assets.tutsplus.com/uploads/users/346/posts/14869/final_image/vectorcurly_final.jpg


1. How to Prepare the Document -
Chuẩn bị tài liệu

Step 1


Create a New document and then File > Place my stock image onto the canvas.
Vào File -> Place để đưa hình muốn vẽ vào.


I then set up my layers as shown in the Layers panel below.
Tạo layer như trong panel Layers bên dưới.

In the layer "BG" I have placed a white fill Rectangle (M) over the stock image set to 50% Opacity. This is to make the edges of my shapes more prominent against the stock image when I'm tracing shapes.

Trong layer đặt tên là "BG" , vẽ hình chữ nhật có nền trắng đè lên hình tham khảo, opacity của hcn này là 50%. Làm vậy sẽ khiến rìa hình tham khảo nổi bật hơn để dễ can nét.


<figure>https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_ccd6eed8fa4dccc68867d4f789d7bd69.jpg</figure>Step 2

I often use the default "Skintones" palette from Adobe Illustrator.
Tôi thường sử dụng bảng màu " Skintones" mặc định của Adobe Illustrator.

You can access this by clicking on the drill-down menu in the Swatches panel > Open Swatch Library > Skintones.
Bạn có thể lấy bảng màu này ra bằng cách nhắp vào menu trong panel Swatches > Open Swatch Library > Skintones.

For Caucasian skin, I select the top four palettes so I can mix them to create multi-tone shading. Skin isn't all one color—there are different shades depending on the area of the face/skin.

Với da dân da trắng, tôi chọn bốn bảng màu trên cùng để có thể trộn tạo nhiều tông màu. Da không toàn một màu - mà có nhiều sắc thái tùy từng vùng trên khuôn mặt / da.
By clicking on the folder to the left of the palette, you can automatically add them to your Swatches panel.
Chỉ cần click vô foler bên trái bảng màu là màu sẽ tự động được thêm vào panel Swatches của bạn.



<figure>https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_9725d233b77b0920aa54f8f4af6bcb59.jpg</figure>I've then selected a mid tone and used the Pen Tool (P) to trace my overall skin base shape.

Sau đó tôi chọn một mid tone rồi dùng Pen tool để đồ lại hình tổng thể.


<figure>https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_d6b2eb39510a7853443691a95a3dedb6.jpg</figure>2. How to Render the Skin

Cách làm màu da




Step 1For the initial skin shading shapes, I've used the same skin tone as the base and traced areas of highlight on the face with the Pen Tool (P). I've then created a Compound Path (Control-8) with the first set of shapes and used Pathfinder > Minus Front from a duplicate of the skin base shape.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_2096e44c496fc73510e2cd1ecd8fe984.jpg</figure>I use the same process several times. Once done, I set the shapes to Blending Mode Multiply, Opacity 10%, and then Group them (Control-G).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_02d372bd13b07a906617f470c587afdc.jpg</figure>Step 2Using a slightly darker skin tone, I trace areas of shadow with the Pen Tool (P). Again after one set is created, I'll add it to its own Compound Path (Control-8). Each Compound Path is then set to Blending Mode Multiply, Opacity 10% and then Grouped together (Control-G).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_237bffbe390d6abcdc9b471c3c75c53a.jpg</figure>Step 3As you may have noticed, the shapes go beyond the base shape. I've duplicated the base shape and Grouped the two groups of skin shading shapes (Control-G) and then created a Clipping Mask (Control-7). All future skin shading shapes will be added to this Clipping Mask to keep a clean edge.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_c2aca20e87d55697e8e1c8324e86ca66.jpg</figure>Step 4Using an even darker shade, I add darker shadows with the Pen Tool (P) using the same process. Typically the darker the area, the smaller the shapes created. These shapes are set to Blending Mode Multiply, Opacity 10%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_b347f6898915e7f29c15d6d7613cdb7c.jpg</figure>Step 5Now to add the highlights. I create a transparent radial gradient using the lightest skin tone. I then use it to fill shapes highlighting areas of the skin. These shapes aren't added to a Compound Path.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_b1f11f10a238604331aca73be2e14556.jpg</figure>Instead each set of shapes is Grouped together (Control-G). Each set is set to Blending Mode Screen, Opacity 15%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_b9b50710c4afb8ab5f2abd8cc01e2c82.jpg</figure>Step 6There are areas which are in deeper shadow than anywhere else. Typically it's areas where the skin folds (eyelids, lips, nose crease), but also near the hairline, along the nose to help it stand out, and around the nostrils. These shapes are much darker and are set to Blending Mode Multiply, Opacity 15%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_3b418c536f3609767d44ebbae0f75863.jpg</figure>Step 7From the more pink hue skin tones, I'm going to add a light pink transparent radial gradient to the skin, first to just below the cheekbone within an Ellipse (L).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_82cf6bc40112b0214fd2ee31b4cb4089.jpg</figure>The next is on the shoulder. These shapes are set to Blending Mode Multiply, Opacity 60%. I've added the cheek coloring above the other skin shading, whereas the shoulder is below the skin shading.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_5b07d5ab46ce0bfd026480a1673de017.jpg</figure>Step 8To modify the overall base of the skin shading, I'm going to add gradients below the rendered skin shading shapes. Duplicate the original base shape and first add transparent radial gradients with the highlight gradient. Using the Gradient Tool (G), move the sources of the gradients over the face and over the shoulder/arm. These are set to Blending Mode Screen, Opacity 30%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_ca5289620d737b872be33049d61131ae.jpg</figure>I've then added a transparent linear gradient under the skin shading set to Blending Mode Color Burn, Opacity 100%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_514a952cf7137d333f763f4d9e8965db.jpg</figure>Step 9Using the skin highlighting radial gradient, I've then added more intense highlights to the eyeball and skin. These are set to Blending Mode Screen, Opacity 60%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_196b1fb66320bffda914e6d906b91a37.jpg</figure>Step 10Skin isn't all one color—there are a variety of tones throughout. Typically you'll find a hint of grey towards the corner of the eyes. Use a transparent radial gradient set to Blending Mode Color to add a grey tint. Reduce the Opacity accordingly, although keep in mind that the more prominent the grey, the more aged a person will appear.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_398818c4705b2e18c27932958003739b.jpg</figure>The tip of the nose typically is more rosy. So use a red radial gradient set to Blending Mode Color Burn, Opacity 20% to add a hint to the nose.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_38643983dd3f9407fda9569ba126da92.jpg</figure>To make the cheekbones stand out more, add shading underneath them. I've added more color to the cheekbone with a purple transparent radial gradient. This is set to Blending Mode Color Burn, Opacity 10%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_1a974045f9445bf6f1c660ccf8719292.jpg</figure>Step 11To show the creases in the neck, I've added further highlights using the highlighting skin gradient. These are set to Blending Mode Screen, Opacity 30%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_5d03ce5d46e4b0dcb79eb180224c2294.jpg</figure>3. How to Render the LipsStep 1When I begin skin shading, I always treat the lips as if they have no color and shade them with the skin. This is because I don't want the lips to look as if they are floating independently on top of the skin.
I then use gradients to add color to the lips. I've used a pink transparent radial gradient on the three shapes I've created for the lips: one for the overall lips shape and one each for the top and bottom lips. They overlap in the center to help darken this area which is in shadow. These shapes are then set to Blending Mode Color Burn, Opacity 40%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_b98db4c7c84dea311045bc9d42797c51.jpg</figure>Step 2I use a brown transparent radial gradient to add shadow and creases to the lips. These shapes are set to Blending Mode Color Burn, Opacity 50%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_fb200a8efeb5d783979af994080c9d1f.jpg</figure>Due to the contrast created with these shapes, I've added further shading to the face with the same gradient. These shapes are set to Blending Mode Color Burn, Opacity 100%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_2b75e546558ae5c19c1fb537c651d11b.jpg</figure>Step 3With the Pencil Tool (N) and a light pink transparent radial gradient, add highlights to the lips. The Pencil Tool (N) will allow you to add many shapes much quicker than using the Pen Tool (P). These shapes are then set to Blending Mode Overlay, Opacity 30%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_c3843891c15c09cf95c8052aa11202ca.jpg</figure>Then using the highlighting skin gradient, add further more intense shapes. These are set to Blending Mode Color Dodge, Opacity 40%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_2880355e70823395f9d67187a7ce6b68.jpg</figure>Step 4I want the lips to appear more pink than red/orange, so I duplicate the shape covering the whole of the lips area and add a dark blue transparent radial gradient. Set it to Blending Mode Soft Light, Opacity 100%. This helps "neutralise" the red/orange tone.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_b78814daa26410e0bc198f04bb199147.jpg</figure>4. How to Render the EyesStep 1Using a similar theory, I'm going to "neutralize" the red/orange tones on the eyeballs slightly by using a light blue radial gradient. This will be set to Blending Mode Color and Opacity 30%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_ba2452b79e05dba1df31948a54b29650.jpg</figure>Then I'm going to add highlights to the eyeball using the highlighting skin gradient set to Blending Mode Screen, Opacity 40%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_bb01e7ec63329fcb93922656ad94dc14.jpg</figure>Step 2I'm going to add a pink tint to the water line with a rose transparent radial gradient set to Blending Mode Color, Opacity 100%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_6b3ba20a4c9f0bcdfa904b8f89f6d79c.jpg</figure>Then add a bolder and darker gradient in the corner of the eyes set to Blending Mode Multiply, Opacity 30%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_65a78d1aee6cf7fa5126a5cacf08f4fd.jpg</figure>Step 3With a golden brown fill color, use the Pencil Tool (N) to add shading around the waterline and corner of the eye. These shapes are set to Blending Mode Multiply, Opacity 10%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_c7ba0d408ffe112ff0e92533d3b9fb85.jpg</figure>Then with a light pink, add highlights with the Pencil Tool (N) set to Blending Mode Screen, Opacity 40%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_1eb6a31399fafddfc706d8b79aa292bd.jpg</figure>Step 4I'm going to use Clipping Masks (Control-7) for the iris. First duplicate the largest shape for the eyeball. Then draw an even circle with the Ellipse Tool (L).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_19084951d13cbff8ff0281516eb398af.jpg</figure>Create a Clipping Mask: first a duplicate of the iris and then a Clipping Mask containing this iris mask, with the eyeball duplicated shape. This will give you a Clipping Mask within a Clipping Mask. You will see the benefit of this soon.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_cd531349105bb63624ab213cd755b77e.jpg</figure>Step 5I'll be adding the detailing to the eyes via the Appearance panel. I've used a mid brown for the iris. The first fill is set to 60% Opacity, and the second from bottom fill is Offset Path by -1 pt and 100% Opacity. This gives the iris a soft edge.
Then the pupil is made from two dark brown fills. One is Offset Path by -12 pt with a Blending Mode of Multiply, Opacity 40%. The next is Offset Path by -13 pt and with a Blending Mode of Multiply, Opacity 80%. Again this is to create a soft edge.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_8ab8cbb6bb0ce69e148c1c5f89dde1f4.jpg</figure>Step 6Gradients are then added to the iris. These are Offset Path by -1 pt. An inverted dark brown radial gradient is applied to give a vignette effect around the iris.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_8825ec04c377f3367825b536debad936.jpg</figure>This is then duplicated and with the Gradient Tool (G) is enlarged and brought down towards the bottom of the iris. This gives a slight shadow at the top of the iris.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_5424331848b694e894e51274858a0976.jpg</figure>Then a green to orange radial gradient is applied to the bottom of the iris. This is to give a golden brown tone to the eyes.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_172b76f7ae0c417c459937e0e21920ac.jpg</figure>Step 7Duplicate Item and give an Offset Path -1 pt and a dark brown transparent radial gradient fill. Then go to Effect > Transform & Distort > Zig-Zag and use the settings below. If the two Clipping Masks were not applied, the zig-zag effect would overlap onto the eyelid and onto the eyeball. Once done, go into the Graphic Styles panel and Add New Graphic Style and apply it to the other eye so you've got the same effects on both.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_89ce88a5eb8ffe9d3d61de2d97150114.jpg</figure>Step 8Using the Pen Tool (P) and a dark brown fill, draw shapes around the eye and eyelid crease. This is to help build upon a base for the eyelashes and to define the eyelids. These shapes are set to Blending Mode Multiply, Opacity 30%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_79779a326a31a3201b12f2b975e840eb.jpg</figure>Further, more subtle shapes are added with a black fill, set to Blending Mode Multiply, Opacity 10%. These help to add shadow onto the eyeball.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_ffee7500f73126d5670d4bc2482a502d.jpg</figure>Step 9Using the skin highlighting gradient, add a light reflection along the waterline and over the pupil. These are set to Blending Mode Screen, Opacity 70% to 100%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_6789aaa83bb8462e04109723c747f243.jpg</figure>Step 10Eyelashes are added using the Width Profile 1 (http://enva.to/RthPBt) brush I've created in a previous tutorial. Both lashes use a dark brown stroke color, but the top are set to Blending Mode Multiply, Opacity 70%, and the bottom are set to Blending Mode Multiply, Opacity 40%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_9dbf27d840c7f03dc24f57dc622e82f1.jpg</figure>5. How to Render the HairStep 1
Before I begin adding the hair, I decide to sketch out ideas. I use the Blob Brush Tool (Shift-B) to sketch with. I Create New Layer above and below the core elements of the portrait to sketch hair on top and underneath the portrait. I've decided in this case I'm going to fill all the negative space with hair.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_7c80cdb83ff067c08985b624c609941f.jpg</figure>Step 2For curly hair, you need to treat each curl as its own entity. Each curl should cover any hair which is underneath it to create a mane of healthy, thick curls. One of the easiest ways of going about this is to create an Art Brush of a curl. Of course we're not drawing an actual curl, but imagine pulling a curl straight.
Using the Rounded Rectangle Tool, draw out a shape and use the Direct Selection Tool (A) to select the end points of the shape. Then use the Free Transform Tool (E) to reduce the size at the end of the shape to create a tapered effect. I want to give the portrait a mass of green hair.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_0bca0bcb557919dd7775d7ded8f97d19.jpg</figure>Step 3As you can't include a gradient or a Clipping Mask with an Art Brush, I'm going to create a gradient effect using a Blend. Duplicate the tapered shape twice. Use the Free Transform Tool (E) to reduce the size of the shape on top. For the larger one, set it to 0% Opacity. Then with both shapes selected create a Blend (Control-Alt-B) with Specified Distance Spacing of 4 pt. Set the Blend to Blending Mode Multiply.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_ca030b0d1f860a88e85422b3954f9546.jpg</figure>Step 4Using the Width Profile 3 (http://enva.to/RthPBt) brush, add strokes using the Line Segment Tool (\) at the tip of the tapered end with a 2 pt Stroke Weight. These strokes should be the same green as the original tapered shape and placed below the Blend.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_8885b4b02e9377006196da22212221c5.jpg</figure>Step 5With the Width Profile 1 brush, add 2 pt Strokes with the Line Segment Tool (\) on top of the shape with Blending Mode Screen, Opacity 30% to add highlights. Then using the same settings, add darker strokes with a Blending Mode of Multiply, Opacity 30%. Group all the elements once done (Control-G).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_0b198a75c74d053d7e3b801e8ede441b.jpg</figure>While the group is selected, in the Brush panel create a New Brush > Art Brush and click on OK.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_e7bb457c7ca5496c89f4192211bc9b9e.jpg</figure>Step 6Using the Pen Tool (P) for a smoother curve, add curls around the face underneath the face elements. Group them together once you've applied the initial curls (Control-G).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_273073d84650cedf3769dc8046cec2b1.jpg</figure>Add the curls in groups so you can place them underneath the previous ones. The curls in front should be above all the others, and the curls at the back should be at the bottom of the layer.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_59fc206a0865dcd1e6a10acd6873adf2.jpg</figure>Step 7While layering the curls, for any gaps present I use a dark green shape to block the gaps.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_3fa88ddc93f33ab79d5261188d7ddafb.jpg</figure>Then when I've finished the layering of curls, I add a dark green Rectangle (M) behind all the curls.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_1cfbd5a1a6f81559bc102a9dafade54c.jpg</figure>Step 8Using the Width Profile 1 brush and the Paintbrush Tool (B), I add strokes with a medium green along the sides of the curls and at the tip. As each curl is identical, I want to make them look more individual. So adding additional strokes helps me achieve this. These strokes are set to Opacity 80%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_d35f9c4a9426772c002b88d5d90d19fd.jpg</figure>I repeat this same method for the curls at the back and add them in stages.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_63db30c3d70c6a53f01309c2f0e8ceae.jpg</figure>Step 9With a lime green, I add 4 pt Stroke Weight, Width Profile 1 strokes to the curls. These are set to Blending Mode Color Dodge, Opacity 40%. These strokes add a highlight to the curls and give them further definition.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_74bf5d9ccd76f3ae13e498734f6a9871.jpg</figure>I then add 2 pt Stroke Weight strands to add more detail to the highlights. These are set to Blending Mode Screen, Opacity 40%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_78eb6791aab16bc36b3ee94bc644cb30.jpg</figure>Step 10Using the Pencil Tool (N), I add lime green transparent radial gradients over the top of the highlighted areas of the curls. This adds a smoother highlight to them. These are set to Blending Mode Color Dodge, Opacity 25%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_8acc052baac536a01a508351510969b2.jpg</figure>6. How to Create the EyebrowsThe finishing touches are to add eyebrows. I've used the Width Profile 1 brush to add 1 pt strokes to the brow bone. The initial strokes are set to Blending Mode Normal, Opacity 80%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_cb29b3243123120b87a8bb9850d06139.jpg</figure>Finishing off with some strokes set to Blending Mode Multiply, Opacity 50%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/51208/images/51208_d2b41ed19404fcb921fc272829437cae.jpg</figure>Awesome Work, You're Now Done!If you've followed my tutorials in the past, you'll know I finish off with a couple of moles to the face and skin. These are created using two-layered brown transparent radial gradients set to Blending Mode Multiply. I hope you've enjoyed this tutorial and learnt one of the methods possible for creating curly hair.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/346/posts/14869/image/vectorcurly_final.jpg</figure>
https://design.tutsplus.com/tutorials/how-to-create-a-vector-portrait-with-curly-hair-in-adobe-illustrator--vector-6077

covietforum
27-09-2017, 11:44 AM
Illustrating a Cool Glass of Beer
Vẽ ly bia lạnh



https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/click.jpg

Step 1

Create a New Document 800 pixels wide by 1100 pixels high at a resolution of 300 pixels/inch. Drag a vertical Guide to somewhere near the middle of the document. Get out the Pen Tool (P) and in the Paths mode draw a path, as in the image below. This is going to be one half of our glass.

Go to the Paths Palette. Command-click the "Work Path" thumbnail to turn the path into a selection. Go back to the Layers Palette, create a new layer, and name it "Half." Fill it with the color #ccd9dd. Then hit Command + D to deselect.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/001.jpg


Step 2

Duplicate the "Half" layer (Right click on it in the Layers Palette and choose Duplicate Layer). Flip the duplicate horizontally by going to Edit > Transform > Flip Horizontal. Move the right piece to the right place. Select the "Half" and "Half copy" layers, then Merge them (Command + E.) Name the merged layer "Outer Glass."
Apply a Gradient Overlay Layer Style (overlay: phủ ngoài). Use these settings: Blend Mode set to Overlay, Opacity at 40%, Gradient set at Black to White, Style of Linear, and Angle set to 153.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/02.jpg


Step 3

Duplicate the "Outer Glass" layer and name it "Inner Glass." Hit Command + T to enter Free Transform mode. Then set the Horizontal Scale to 95% and the Vertical Scale to 94%. Hit Enter twice to apply the transformations.

Double-click on the Gradient Overlay Layer Style in the layer Palette to change the settings. Set the Blend Mode to Color Burn and Opacity to 65%. Also, change the Angle to 125. Then position the layer, as in the image below.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/03.jpg


Step 4

Now Command-click on the "Inner Glass" layer Thumbnail to load the selection. Go to Select > Transform Selection. Rotate the selection 180 degrees, move it up and place it as shown below. Double-click inside the selection to apply the transformations.

Command + Alt + Shift-click the "Inner Glass" layer thumbnail to intersect the selection with the layer. Create a new layer, name it "Opening," and fill the selection with the color #99b2bb. Set Layer Opacity to 20%.



https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/04.jpg

Step 5

Create a new layer and name it "Reflection." Use the Rectangular Marque Tool to make a rectangular selection that is bigger than the glass. Get the Gradient Tool, choose the "Steel Bar" preset, which is in the Metals Set. Then fill the selection with a Linear Gradient from the left edge to the right one. Hit Command + D to deselect. Go to Image > Adjustments > Curves (Command + M.) Then tweak the curve to get something shiny.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/06.jpg


Step 6

Set the "Reflection" Layer Opacity to 50%. Go to Edit > Transform > Warp. Then Warp the gradient to fit in the shape of the glass. Make sure that it is slightly bigger than the glass, as in the image below. Hit Enter to Apply the Warp.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/07.jpg


Step 7

Command-click the "Outer Glass" layer thumbnail to load the selection. Go to Select > Inverse to inverse the selection and hit Delete. Hit Command + D to deselect. Set the Blending Mode to Screen and Opacity to 70%.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/08.jpg


Step 8

With the "Reflection" layer still selected, click the "Add Layer Mask" button, which is located at the bottom of the Layers Palette. This will add a Layer Mask to the layer. Get the Gradient Tool. First choose Foreground to Transparent and Check Reverse. Pick black as foreground color.

Drag and fill the mask with the gradient. Then pick white as the Foreground Color, uncheck Reverse in the Gradient Tool options and fill the bottom part of the mask with white, as in the image below.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/09.jpg


Step 9

Get the Pen Tool (P), choose Paths Mode, and draw a path as in the image below. Go to the Paths Palette and Command-click the Work Path thumbnail to turn it into a selection.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/10.jpg
Step 10

Go back to the Layers Palette and Command + Alt + Shift-click the "Inner Glass" layer Thumbnail to intersect the selection with the Inner Glass. Create a new layer and name it "Beer." Fill the selection with color #ffb411. Move the "Beer" layer below "Reflection." Deselect by hitting Command + D.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/11.jpg

Step 11

Apply a Gradient Overlay Layer Style to the "Beer" layer with these settings: Blend Mode of Color Dodge, Opacity of 30, Style of Radial, Gradient of black to white, Reverse set to checked, Angle of 90, Scale set to 115%. The gradient is centered to the layer. We want the bottom to be brighter, so we should move the gradient down. You can do it by clicking and dragging while the Gradient Overlay dialog box is open.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/12.jpg


Step 12

Now apply an Inner Shadow Layer Style to the "Beer" layer with these settings: Blend Mode of Multiply, Color of #ee6611, Opacity set to 60%, Angle of -90, Distance set to 15px, and Size set to 30px.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/13.jpg


Step 13

Duplicate the "Beer" layer. Photoshop will name it "Beer copy." Go back to the "Beer" layer and go to Edit > Transform > Flip Horizontal. Go to Image > Adjustments > Hue/Saturation (Command + U), and use these settings: Hue of +10, Saturation of 0, and Lightness of +25.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/14.JPG


Step 14

Create a new layer below the "Reflection" and name it "Refraction." Make a circular selection using the Elliptical Marque Tool. Pick #fff200 as the Foreground color and #f7941d as the Background color. Get the Gradient Tool, open up the Gradient Picker, and pick Foreground to Background. Also, choose a Radial Gradient. Fill the selection beginning from the center moving toward the outer edge.

Go to Edit > Free Transform (Command + T), and scale it down while holding down the Alt key, as in the image below. Hit Enter to apply. While the selection is still active, go to Filter > Blur > Gaussian Blur. Set the Radius to 3 and apply it. Now you can Deselect (Command + D).

Now go to Kitchen > Kettle > Have Some Coffee... :) This is a good point to take a break. Be sure to save your document first though.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/15.JPG
Step 15

Now we're going to make the bubbles. We'll draw just one bubble. Instead of making copies of it, we'll define it as a brush preset, and populate it using the Brush Tool. Let's create a New Document with a width of 300px, Height of 300 px, Resolution set to 300 pixels/inch, and a Background of white.

Make a circular selection using Elliptical Marque Tool. Create a new layer and name it "Bubble." Fill the selection with white. We'll apply two layer styles to give it a bubble-like look. First apply a Gradient Overlay and use these settings: Blend Mode of Normal, Opacity of 100%, Gradient of Black to White, Style of Radial, Reverse set to checked, and Scale set to 150%. Move the center of the gradient to left and up as you can see in the below image. Then apply an Inner Glow and use these settings: Blend Mode of Screen, Opacity of 100%, Color of white, Size set to 30px.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/16.JPG
Step 16

On the Layer Palette, Right-click on the Effects of the "Bubble" layer and choose Create Layers. This will turn the Layer Styles to Layers. Then select "Bubble" layer and two effect layers and go to Layer > Merge Layers (Command + E).


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/17.JPG
Step 17

Go to Image > Adjustments > Curves (Command + M). You can see the Curves settings in the image below. Go to Image > Adjustments > Invert (Command + I). Now we're going to define this as a Brush Preset. With the selection still active, go to Edit > Define Brush Preset. Name the preset "Bubble Brush."


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/18.jpg

Step 18

We're ready to brush our bubbles now. Pick the Brush Tool and go back to the beer glass document. Open the Brush Preset picker and pick the brush you've just defined. Open the Brushes Palette, see the image below for the changes to the settings.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/19.jpg
Step 19

Create a new layer below the "Reflection" and name it "Bubbles." Open the Brush Preset picker and set the Master Diameter to 8 px. Get white as your Foreground Color and beginning from the bottom, paint the columns of bubbles. The black areas of the brush will be filled with the foreground color, that's why we have inverted the bubble before defining it as a brush preset.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/20.JPG


Step 20

We're going to merge the layers, so it's a good time to make some final touches. You can experiment with applying Levels adjustments to the "Reflection" layer to have some variations for the reflection.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/21.JPG


Step 21

Select all the layers except the "Background" layer and go to Layer > Merge Layers (Command + E). Name the merged layer "Glass." Duplicate the "Glass" layer and name it "Reflection." Move the "Reflection" layer under the "Glass." Go to Edit > Transform > Flip Vertical in order to mirror the image vertically. Move the reflection down and place it as shown in the following image.

Go to Filter > Blur > Gaussian Blur. Set Radius to 12 and apply. Click the Add Layer Mask button located at the bottom of the Layer Palette. Pick the Gradient Tool and fill the mask with a gradient, as in the image below. The mask will make the reflection gradually vanish.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/22.JPG



Step 22

Create a new layer above the "Reflection" layer, and name it "Shadow." Make an elliptical selection using the Elliptical Marque Tool. We're going to fill the selection with a Radial Gradient. Get the Gradient Tool, and pick #fcdc3f as the Foreground color and #adc2c8 as Background color. Fill the selection from the center to the edge with a Foreground to Background gradient.

Go to Select > Deselect (Command + D). Go to Filter > Blur > Gaussian Blur, set Radius to 14, and apply. You can also bring the Lightness of the shadow a little bit down by going to Image > Adjustments > Hue/Saturation.


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/23.JPG


Final Image

I finally filled the "Background" layer with a radial gradient from white to pale blue. And that was the final step for that tutorial. You can view the final image below or the larger final image here (http://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/large.jpg). Cheers!


https://cdn.tutsplus.com/psd/uploads/legacy/184_Beer_Glass/final.jpg


https://design.tutsplus.com/tutorials/illustrating-a-cool-glass-of-beer--psd-285

covietforum
27-09-2017, 12:18 PM
Create a Сute Raccoon Character in Adobe Illustrator
https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/final_image/7_3n.jpg

Today we will create an adorable raccoon. We'll use basic shapes and warp effects, as usual—nothing new if you are already my follower. You will learn how to create part of the raccoon’s body by moving the handles of the anchor points and then combining them into a final creation.
It's worth remembering that we also have a great collection of vector characters (https://graphicriver.net/category/vectors/characters) on GraphicRiver, if you're looking to get started quickly!

1. Create the Shape of the RaccoonStep 1I hope you’ve already opened Adobe Illustrator and created a New document. Let’s start by creating the head of our raccoon. Hit the Ellipse Tool (L) and make an ellipse. Using the Convert Anchor Point Tool (Shift-C), make sharp corners on the ellipse; while keeping the ellipse selected, click on the left and right anchor points—these two points should be sharp now.

Keep the sharp anchor points selected and press the down arrow button on your keyboard a few times.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_1.jpg</figure>Wait—we’re not quite done yet. Select this shape and go to Effect > Warp > Bulge. Enter the following settings in the new dialogue window. Then expand the shape (Object > Expand Appearance).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_1a.jpg</figure>Step 2Let’s add some depth to the head. Create a copy of this shape, in front of the original one (Control-C, Control-F), shift it down a little bit, and then make this copy slightly bigger. Select the original shape again and make another copy in the front (Control-C, Control-F). Keeping these two upper copies selected, go to the Pathfinder panel and press the Minus Front button. You will get a moon-like shape. Change the fill color as you see in the image below.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_2.jpg</figure>Step 3For the eyes, create an ellipse and slightly tilt it to the left. Add a dark circle, followed by a small white circle as a highlight. Keep the whole eye selected and take the Reflect Tool (O). Holding down the Alt key, click on the right side of the eye. In the new dialogue window, enter Vertical and press Copy. You should have two eyes now.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_3.jpg</figure>Position them as you wish, on the previous head shape. The lower you position the eyes, the more the raccoon will have a baby-animal look.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_3a.jpg</figure>Step 4On to the nose. Now that you know how to create a sharp anchor point (remember how you created the head?), let’s create a dark ellipse and make the bottom point sharp. Add a tiny white ellipse as a highlight.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_4.jpg</figure>Step 5Now for the mouth. Draw two ellipses using the Ellipse Tool (L) with no fill and with the stroke color noted below. On the Stroke panel, check Round Cap. After that, grab the Scissors Tool (C) and click on the left and right anchor points of the first and then the second ellipse. Delete the upper parts of the two ellipses. Take the Line Segment Tool (\) and add a tiny line in the middle—we just created a cute mouth for our raccoon!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_5.jpg</figure>Step 6Combine the nose and mouth together. Add a small ellipse behind them (Control-X, Control-B).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_6.jpg</figure>Place everything from the previous steps on the head of our raccoon.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_6a.jpg</figure>Step 7Let’s add some details which are usual for raccoons. Draw an ellipse on the left side of the head, behind the left eye. Take the Direct Selection Tool (A) and move the handles of the anchor points to achieve the result which you see in the second image.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_7.jpg</figure>Step 8Make a new copy of the head in front (Control-C, Control-F), and select the dark shape from the previous step together. Press the Intersect button in Pathfinder.
Keep the resulting shape selected. Take the Reflect Tool (O) and press the Enter button. Check Vertical in the new dialogue window and press Copy. You've just made the reflection of this dark shape. Keep this shape still selected, and now select the head too. Go to the Align panel and press the Horizontal Align Right button. Be careful—it’s very important that you have checked Align To: Align to Selection (see image below).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_8.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_8a.jpg</figure>Step 9Let’s add some details. Select the two dark shapes behind the eyes and make a copy in the front. The copies are marked with yellow strokes in the image below, but you don't need to change the fill color. Move them down a little bit.
Create two copies again in front of the dark shapes. In total, you should have six dark shapes: two under the left eye, two under the right eye, one under the left eye, marked with a yellow stroke, and one under the right eye, also marked in the image with a yellow stroke.
Let’s first concentrate on the left eye. Select the two upper dark gray shapes and press Minus Front in Pathfinder. Change the fill color of the resulting shape (as noted below). Now concentrate on the right eye. Select the two upper shapes and press Minus Front in Pathfinder. Again, change the fill color of the resulting shape.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/1_9.jpg</figure>2. Create the EarsStep 1Using the Eye Dropper Tool (I), take the fill color from the head of the raccoon. We will create an ear from an ellipse—using warp will help us get what we need. Go to Effect > Warp > Arc. In the new window, adjust the options as shown in the image below; expand the resulting shape (Object > Expand Appearance). Create another copy in the front, making it darker and smaller.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/2_1.jpg</figure>Step 2Let’s add some depth to the ear. Create two copies of the ear in the front. Shift down the upper copy diagonally. Select the two upper copies and press Minus Front in Pathfinder. Change the fill color.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/2_2.jpg</figure>Step 3Using the Reflect Tool (O), create another ear.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/2_3.jpg</figure>Place them on the top of the head, but behind it.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/2_3a.jpg</figure>3. Create the BodyFor the body, create an ellipse (the same fill color as the head) and place it behind the whole head. Using the Direct Selection Tool (A), select the left and right anchor points and then move them down. Create a new copy in front of the body, and make it lighter and smaller.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/3_1.jpg</figure>4. Create the ArmsStep 1First, we need to create the hand. Shift down the left and right anchor points of a newly created ellipse.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/4_1.jpg</figure>Step 2Create a copy in the front, and make it darker and narrower. Shift the new copy down, just slightly. Create a copy of this darker shape in the front and using the Eye Dropper Tool (I), take the color from the first shape you created at the beginning of this step. Make this smallest shape narrower and shift it up a little.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/4_2.jpg</figure>Step 3Place the hand on the left side of the body. Slightly tilt the hand to the left. Using the Reflect Tool (O) make a reflection of the hand, so you will get the right hand. Create another ellipse behind the whole body—this will finish off the arms. Don't forget to shift down the left and right anchor points of this ellipse.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/4_3.jpg</figure>5. Create the LegsStep 1We won't create the whole leg, just the visible parts—the feet. Create an ellipse and move the left and right anchor points upwards.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/5_1.jpg</figure>Step 2As you did for the head and the ear, use the same method to add some depth to the foot. One smaller and lighter copy of the foot along with the three tiny copies will finish the foot.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/5_2.jpg</figure>Step 3Put the foot under the left hand. Slightly tilt the foot to the left. Then make a reflection of this, which creates the right foot. Don't forget to put the right foot under the right hand.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/5_3.jpg</figure>6. Create the TailStep 1We’re almost there! Let’s move along to the tail. Draw an ellipse and make its left and right anchor points sharp.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/6_1.jpg</figure>Step 2During this step, we will add stripes to the tail. Draw a rectangle using the Rectangle Tool (M). While keeping it selected, hold down the Alt key and move the rectangle to the right. You will see that you just created a copy of the rectangle. Then press Control-D a few times to repeat your last action.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/6_2.jpg</figure>Group all the stripes together (right-click > Group) and go to Effect > Warp > Arc. Enter the options you see in the image below.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/6_2a.jpg</figure>Expand the stripes (Object > Expand Appearance). Create a copy of the tail in the front (the light gray ellipse with sharp edges) and select the stripes together with it. Press Crop in Pathfinder.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/6_2b.jpg</figure>Step 3Warp it.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/6_3.jpg</figure>Expand the tail (Object > Expand Appearance) and place it behind the whole body.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/6_3a.jpg</figure>7. Create the BackgroundStep 1Let’s wrap up our illustration. Create a light pink square behind the raccoon, 600 px width and height, by using the Rectangle Tool (M).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/7_1.jpg</figure>Step 2Place the raccoon on the background.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/7_2n.jpg</figure>
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Step 3Here’s one last little tip for you: take this illustration to the next level by combining two tutorials—today's and a previous one on creating autumn leaves, berries and chestnut icons (http://design.tutsplus.com/tutorials/how-to-create-autumn-leaves-berries-and-chestnut-icons-in-adobe-illustrator--cms-22567). Look how adorable it is! It makes a perfect seasonal illustration!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/24968/image/7_3n.jpg</figure>ConclusionThat's it for now! I hope you've enjoyed this tutorial. You can use your raccoon with colorful autumn leaves to create a fall greeting card, a seamless pattern, or even other animals. Use your imagination, and never stop drawing!


https://design.tutsplus.com/tutorials/create-a-ute-raccoon-character-in-adobe-illustrator--cms-24968

covietforum
27-09-2017, 12:19 PM
Yum! How to Create a Delicious Bagel Sandwich Icon in Adobe Illustrator
https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/final_image/diana_bagel_sandwich_icon_tut_final.jpg

Follow this tutorial and learn how to create a bagel sandwich icon in Adobe Illustrator. At the beginning you will create the two bagel pieces, and then you will draw all the ingredients for the sandwich: pieces of lettuce, a slice of cheese and a slice of ham.
The most fun part is to compose the bagel sandwich, because you can get creative here. The final thing is to sprinkle some sesame seeds on top with the help of a scatter brush. If you love food-related tutorials as much as I do, let's start the fun!
If you're looking for a quick-start alternative, we have a surprisingly large collection of bagel icons and vectors (https://graphicriver.net/tags/bagel) over at GraphicRiver, which you could customise as you need to!
1. Start a New ProjectLaunch Illustrator and then go to File > New in order to open a blank document. Type a name for your file and set up the dimensions, selecting Pixels as Units and RGB as Color Mode.
Next, go to Edit > Preferences > General and set the Keyboard Increment to 1 px and while there, also go to Units to make sure they are set as in the following image. I usually work with these settings, and they will help you throughout the drawing process.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_1.jpg</figure>2. Create the BagelStep 1Grab the Ellipse Tool(L) and draw two circles with the dimensions indicated. While having them selected, press Horizontal Align Center and Vertical Align Center in the Align panel.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_2.jpg</figure>Step 2With the circles still selected, go to Object > Compound Path > Make (Control-8) and then fill the resulting shape with light brown. I will name it “bagel-top”, and you will need extra copies of this shape throughout the tutorial.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_3.jpg</figure>Step 3With “bagel-top” still selected, add a New Fill in the Appearance panel above the first. Use the radial gradient shown, and then go to Effect > Sketch > Bas Relief and apply the settings from the next image. Set the Blending Mode to Soft Light.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_4.jpg</figure>Step 4Add a New Fill in the Appearance panel and use the color brown; then set the Blending Mode to Soft Light.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_5.jpg</figure>Step 5Add a New Fill again and use the color indicated, and then go to Effect > Sketch > Note Paper and apply the settings from the next image. Set this Fill attribute to Blending Mode Overlay and 15% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_6.jpg</figure>Step 6To get rid of the pixelated edge that is generated by the Note Paper effect, we will create a mask. Select “bagel-top”, Copy and Paste in Front (Control-F) to make a copy, and then remove all existing appearances. Now, select both shapes and go to Object > Clipping Mask > Make (Control-7). Name the resulting group “Bagel Top”.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_7.jpg</figure>Step 7Let's create the bottom piece of the bagel. Make another copy of “bagel-top” on your Artboard and use the radial gradient shown to fill it. We don't need to add more details because most of it will be covered by the ingredients in the sandwich.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_8.jpg</figure>3. Create a Piece of LettuceStep 1Grab the Pencil Tool (N) and draw a similar shape, filling it with the radial gradient shown. Use the Gradient Tool (G) to adjust the direction if necessary.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_9.jpg</figure>Step 2With the lettuce-shape still selected, go to Object > Path > Offset Path and apply a 1.2 px Offset in order to get a slightly bigger shape. Fill this new shape with the linear gradient shown and make sure it's behind the first one.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_10.jpg</figure>Step 3Now, grab the Pen Tool (P) and draw some shapes like below on the lettuce. Fill them with different shades of green (1). To add some dimension, draw a few small shapes between the “waves” of the lettuce, but make sure you send them in back. Use a darker shade of green as the fill color (2).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_11.jpg</figure>4. Create a Slice of CheeseStep 1Use the Rectangle Tool (M) to draw a 73 x 150 px rectangle, and use yellow as the fill color. Next, draw some circles with the Ellipse Tool (L) and Group (Control-G) them.
Before you continue, make a copy of this group, because you will need it in the next step. Now, select the rectangle along with the group of circles, and press Minus Front in the Pathfinder panel to obtain the holes in the cheese.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_12.jpg</figure>Step 2Now, you will need the copy of the group of circles from the previous step (1). Select it and Copy and Paste in Front (Control-F) to get another group of circles (the green ones). Move them a little down and to the right (2).
Next, select both groups and press Exclude in the Pathfinder panel, and then Ungroup (Shift-Control-G)from the Object menu (3). Delete all the resulting shapes from the bottom-right side of the holes because we don't need them. If some of the shapes go over the edge, just take the Delete Anchor Point Tool (-) and delete the anchor points at the end that are unnecessary, and make small adjustments if needed (4). Fill these shapes with the color indicated (5).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_13.jpg</figure>5. Create a Slice of HamStep 1Use the Pencil Tool (N) to draw a shape like the one in the following image, and use the linear gradient shown to fill it. Move some of the anchor points towards the inside with the Direct Selection Tool (A) to create a more realistic look.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_14.jpg</figure>Step 2Use the Pencil Tool (N) again to draw a shape at the bottom. Next, select the ham shape and Copy andPaste in Front (Control-F); then select this copy along with the black shape and press Intersect in thePathfinder panel. Fill the resulting shape with the linear gradient shown.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_15.jpg</figure>Step 3As explained in the previous step, create two new shapes and fill them with the linear gradient shown in the next image.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_16.jpg</figure>Step 4Grab the Pen Tool (P) or the Pencil Tool (N) and draw a few random shapes on the ham in order to add more details. Fill them with the linear gradient shown below.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_17.jpg</figure>6. Compose the Bagel SandwichStep 1At this point all the elements are ready. Before you continue, Group (Control-G) all the shapes that compose the lettuce and name the group “Lettuce”; Group (Control-G) all the shapes that compose the slice of cheese and name the group “Cheese”, and you guessed it... do the same for the “Ham”. Since they are in vector form, you can also scale them if you want.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_18.jpg</figure>Step 2On top of the “bagel-bottom”, start to arrange the pieces of lettuce. Multiply the “Lettuce” group as many times as you want, and arrange them as you desire. You can be creative here. Also add the first slice of cheese.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_19.jpg</figure>Step 3Let's add some shadows as we go, because it will be more difficult to add all the shadows at the end. It's better to work in layers.
Use the Pen Tool (P) or the Pencil Tool (N) to draw two paths along the outer edge of the cheese, but don't go over the edge of the “bagel-bottom”. Give them a 2 pt Stroke using the color indicated, and then go to Effect > Blur > Gaussian Blur and apply a Radius of 2 px. Send these two paths behind the “Cheese” group.
While the paths are still selected, press New Graphic Style at the bottom of the Graphic Styles panel in order to save it for later use. Name it Brown Shadow Graphic Style.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_20.jpg</figure>Step 4Now, make a copy of the “Ham” group and arrange it over the bagel. With the Pen Tool (P) or the Pencil Tool (N), draw a path in the top corner and then simply select the Brown Shadow Graphic Style from theGraphic Styles panel to add the shadow. Move this path behind the “Ham” group but in front of the “Cheese” group.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_21.jpg</figure>Step 5Draw another path in the bottom corner, give it a 2 pt black Stroke, and then apply a 2 px Gaussian Blur. Move this path behind the “Ham” but in front of the “Lettuce”.
Save this style in the Graphic Styles panel and name it Black Shadow Graphic Style.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_22.jpg</figure>Step 6Arrange a second slice of ham over the bagel, draw two paths as in the following image, and select theBlack Shadow Graphic Style from the Graphic Styles panel to add the shadows. Move these two paths behind “Ham”.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_23.jpg</figure>Step 7Arrange the third slice of ham and draw the two paths like below. For the black path, select the Brown Shadow Graphic Style, and for the blue path select the Black Shadow Graphic Style. Don't forget to send them behind “Ham” but in front of the first slice (1).
Add another slice of cheese, draw the green path and select the Brown Shadow Graphic Style for it. Send this path behind "Cheese" (2).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_24.jpg</figure>Step 8Now, grab the “Bagel Top” group and arrange it over the ingredients. Do not place it directly over “bagel-bottom” but a little down and to the right.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_25.jpg</figure>7. Add Shadow Under the Bagel TopStep 1Select “bagel-top” and Copy and Paste in place (Shift-Control-V). Remove all existing appearances and just give it a white fill; then go to Effect > Stylize > Drop Shadow and apply the settings shown below. Move this copy behind the “Bagel Top” group.
As indicated by the arrows, there are areas where we don't have any lettuce, ham or cheese sticking out from the bagel, so there is no need for shadow there. To make the shadow not visible in those specific areas, we will create a mask in the next step.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_26.jpg</figure>Step 2First lock the “Bagel Top” group in the Layers panel, or hide it for the moment. Now, select all the ingredients in your bagel (in my case: 3 x “Lettuce”, 3 x “Ham” and 2 x “Cheese”) but without the shadow-paths and then press Unite in the Pathfinder panel (1). As a result you will get a compound path (2).
Next, select the white shape from the previous step along with this compound path (which must be in front) and go to Object > Clipping Mask > Make (Control-7) (3). You can see the end result in the following image (4).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_27.jpg</figure>Step 3Use the Ellipse Tool (L) to draw a 57 x 57 px circle and then place it in the center of the bagel. Select white as the fill color; then go to Effect > Stylize > Inner Glow and apply the settings shown below. In theAppearance panel, change the Blending Mode for the white Fill to Multiply to make it transparent. We only want the shadow to be visible.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_28.jpg</figure>8. Add the Sesame Seeds on the BagelStep 1Grab the Pen Tool (P) and draw a sesame-like shape followed by a smaller shape on top. Use the colors indicated to fill these shapes and create the white and black sesame seeds. At 100% View the seeds are very small, so take this fact into consideration.
Drag the white sesame into the Brushes panel and choose New Scatter Brush. Type a name for your brush and set the Rotation relative to Path. Leave the rest of the settings as they are and hit OK. Repeat the same thing with the black sesame.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_29.jpg</figure>Step 2Take the Pencil Tool (N) and draw a random path over the “Bagel-Top” and stroke it with the Sesame Scatter Brush saved earlier. The Stroke Weight is set at 1 pt but the stroke color is not important. Open theStroke Options window from the Appearance panel and change the settings in order to scatter the seeds as much as possible. Play with the settings until you like the end result.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_30.jpg</figure>Step 3With the path still selected, press Add New Stroke in the Appearance panel. Use the same Sesame Scatter Brush but open the Stroke Options window and choose different settings. This will add more sesame seeds on the bagel.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_31.jpg</figure>Step 4Let's add a few black sesame seeds. In the Appearance panel, press Add New Stroke and this time use theBlack Sesame Scatter Brush that you saved earlier. Open the Stroke Options window and play with the settings.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_32.jpg</figure>Step 5With the path still selected, choose Expand Appearance from the Object menu. As a result, the three strokes will turn into three groups of seeds. Double click on one of the seeds a few times to enter theIsolation Mode until you are able to select the individual seeds and delete the ones that go over the edge of the bagel.
When you are done, exit Isolation Mode by pressing the Back one level arrow in the top-left corner of your Artboard.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_33.jpg</figure>Step 6Next, select the entire group of sesame seeds and go to Effect > Stylize > Drop Shadow. Apply the settings from the image below and hit OK.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_34.jpg</figure>9. Add Shadow Under the Bagel SandwichStep 1Select the compound path that you made earlier in the tutorial using all the ingredients in the sandwich, and then Copy and Paste in place (Shift-Control-V). Send the new copy behind everything by going toObject > Arrange > Send to Back (Shift-Control-[) (1).
Now, select “bagel-bottom” and then Copy and Paste in Back (Control-B) (2). While these two copies are selected, press Unite in the Pathfinder panel to get a new compound path (3).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_35.jpg</figure>Step 2Select “bagel-top” and then Copy and Paste in place (Shift-Control-V). Send the new copy behind everything by going to Object > Arrange > Send to Back (Shift-Control-[) (1). Now, select the compound path from the previous step along with the copy of “bagel-top” and press Unite in the Pathfinder panel again (3).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_36.jpg</figure>Step 3The shape is now ready. Select black as the fill color and then go to Effect > Stylize > Drop Shadow. Apply this effect two times using the settings shown below. In the Appearance panel, set the Opacity for the black Fill to 0%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_37.jpg</figure>
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Step 4Draw a rectangle in a new layer behind the bagel and use the radial gradient shown to fill it in order to create the background (1). You can, of course, add another background if you prefer.
Use the Ellipse Tool (L) to draw a new 57 x 57 px circle, and place it in the center of the bagel. Send the circle behind everything by going to Object > Arrange > Send to Back (Shift-Control-[). Select black as the fill color and set it to Blending Mode Overlay (2). This will darken the area in the center of the bagel a little more (3).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/115/posts/24931/image/diana_bagel_sandwich_icon_tut_38.jpg</figure>Congratulations! You're DoneThe bagel sandwich icon is complete. I hope this was fun for you to create, and don't forget to share an image with us. I would love to see your re-creations. Also, let me know if you want more food-related tutorials in the future.
Are you hungry now?

https://design.tutsplus.com/tutorials/yum-how-to-create-a-delicious-bagel-sandwich-icon-in-adobe-illustrator--cms-24931

covietforum
27-09-2017, 12:20 PM
How to Create Easy Kawaii Animals in Adobe Illustrator
https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/final_image/final.png


Drawing Kawaii animals is always fun. But this is much more fun—you can let free your imagination and creativity. 
In this tutorial, you will see how fun and easy it is to make different Kawaii animals from one figure. By following all the steps, you will learn how to use the warp effect, move anchor points and use the Pathfinder panel. You will also learn how to use the Line Segment Tool and the Reflect Tool.
If you want to see more kawaii animals (https://graphicriver.net/search?utf8=%E2%9C%93&term=kawaii+animals&referrer=homepage), you can find hundreds of great illustrations over at Envato Market (https://market.envato.com/?_ga=1.211103059.710533574.1414142081).

1. Draw the RabbitStep 1Open your Adobe Illustrator and create a new document with 850 x 850 px Width and Height. First, we will start to draw the head of the rabbit. Using the Ellipse Tool (L), draw an oval. In the image below, you can see which fill and stroke colors you need. Select two side anchor points with the Direct Selection Tool (A), and move them down using the Down Arrow key on your keyboard.

If you see that the top of the head is very pointy, expand the top handles of the ellipse anchor point.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/1_1.jpg</figure>Step 2To make the signature kawaii googly eyes, create an ellipse using the Ellipse Tool (L). Add a tiny white circle to brighten up the eye. Select this eye and while holding the Shift and Alt keys, move it to the right. You will get another copy of it to complete the eyes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/1_2.jpg</figure>Step 3For the nose, create a dark brown ellipse (the same fill color as eyes) and make a sharp base using the Convert Anchor Point Tool (Shift-C).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/1_3.jpg</figure>Step 4Let’s add a cute mouth with the Arc Tool.

Delete the fill color and make sure you have the same stroke color as for the head. Check Round Cap on the Stroke panel. Let’s first draw one side of the mouth. Choose the Direct Selection Tool (A), and then select the right or left anchor point and move its handles to make a more pronounced curve of the arc. Attach this shape to the sharp point of the nose.
To create the other side of the mouth, select this arc, right-click your mouse > Transform > Reflect, choose Vertical, Angle 90 degrees, and press Copy. Move the created copy of the mouth to the left using the Left Arrow button on your keyboard.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/1_4.jpg</figure>Step 5Now let’s draw the body of our kawaii rabbit. Using the Ellipse Tool (L), draw an oval. Then go to Effect > Warp > Fish to form the shape of a body. Use the Warp options shown below. Then expand the warped shape: Object > Expand Appearance. (Don't you agree that the unwarped body shape makes the rabbit look like a seal? Take a copy of the rabbit, add fins, and voila! You will have a kawaii seal!)
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/1_5.jpg</figure>Step 6Let's return to the rabbit. To draw the forelegs, start with an oval again. Select the bottom anchor point with the Direct Selection Tool (A), and move it to the right using the Right Arrow key on the keyboard to create the shape, similar to the image below. 

Now we will cut a piece of the shape. Select the Scissors Tool (C) and click on the points shown with red circles in the image below. After that, switch back to the Selection Tool (V) and move this piece out from the shape and delete it.

Make another ellipse, expanded horizontally. Move its right and left anchor points down, using the Direct Selection Tool (A) to select and Down Arrow key for movement. Make a copy of this shape in front (Control-C, Control-F) and make it narrower (using the Selection Tool (V)).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/1_6.jpg</figure>Step 7To create another foreleg, select the one created from the previous step, right-click your mouse > Transform > Reflect, choose Vertical, Angle 90 degrees, and press Copy. Move the created copy of the foreleg to the right using the Right Arrow button on your keyboard.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/1_7.jpg</figure>Step 8Let's draw the hind legs. Draw another ellipse. Using the Direct Selection Tool (A), select the left and right anchor points and move them down. Take the copy of the paw from the previous step, where you created the forelegs. In the end, slightly rotate the big vertical ellipse to the left.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/1_8.jpg</figure>Step 9Attach the created hind leg to the rabbit’s body. Place it in front of the body but behind the forelegs. Let's create the right hind leg. Select the left hind leg, take the Reflect Tool (O), hold down the Alt key, and click in the middle of the body. In the new dialogue window, select Vertical, Angle 90 degrees, and press Copy. Move the created hind leg to the right side.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/1_9.jpg</figure>Step 10For the ears, we will first start by building two ellipses (white and coral). Move the top anchor point of the white ellipse down by using the Direct Selection Tool (A) and Down Arrow key. Make a third large white ellipse and deform it by using the Direct Selection Tool (A) and by adjusting the handles of the anchor points to get the image, similar to the one shown below. Rotate the first two ellipses to the right.
At the end, cut a small part of this shape where it’s marked: Select the Scissors Tool (C), click on the points that are marked red, and delete the unnecessary parts of the stroke. This is the ear for our rabbit.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/1_10.jpg</figure>Step 11Attach the ear to the head. Make sure that the ear stays behind the head. To place it behind, select it and press Control-X, Control-B. Make a reflected copy of the ear: select the ear, right-click the mouse > Transform > Reflect. A dialogue window will pop up, where you should enter Axis Vertical, Angle 90 degrees, and press Copy. Move this copy to the other side.
 Now our cute rabbit is ready!

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/1_11.jpg</figure>2. Draw the FoxStep 1In this step, we will simply take a copy of our rabbit's body and change its color to the one shown below. Let’s also change the color of the paws.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/2_1.jpg</figure>Step 2For the head of the fox, we will start with an ellipse. Using the Convert Anchor Point Tool (Shift-C), make sharp corners on the ellipse; while keeping the ellipse selected, click on the left and right anchor points—these two points should be sharp now. Keep the sharp anchor points selected and press the Down Arrowbutton on your keyboard a few times.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/2_2.jpg</figure>Step 3Make a new copy of the head in front (Control-C, Control-F). Add another white ellipse which overlaps the head, with no stroke, just a light fill color. Keeping both shapes selected (ellipse with no stroke and the copy of the head), press the Intersect button in Pathfinder. On the Stroke panel, press Align Stroke to Outside.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/2_3.jpg</figure>Step 4Place the head on the body. For the face, we’re going to take it from the rabbit. So copy the eyes, the nose and the mouth, which we created for the rabbit, and place them on the head of the fox.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/2_4.jpg</figure>Step 5To make a furry chest, draw an ellipse and place it behind the head. For this ellipse, use the same fill color as we did for the bunny. To do this, use the Eyedropper Tool (I). Keep the fox’s chest shape selected and press the Eyedropper Tool (I). Then hit the cursor on the bunny. 

Next, make the bottom anchor point on this ellipse pointy by clicking on it using the Convert Anchor Point Tool (Shift-C).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/2_5.jpg</figure>Step 6For the ear, we will start by making an ellipse. Take the Direct Selection Tool (A), shift the side anchor points down and move the handles of the anchor points of the ellipse to create the shape shown in the image below. Copy-paste this shape in the front and make it smaller and darker.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/2_6.jpg</figure>Step 7So that was the left ear. For the right one, hit the Reflect Tool (O) and make a reflection of the whole ear as you did for the bunny. Place the right ear on the right side of the head. 

We can now also align everything if you didn't do this before. So, select the two ears and group them together (right-click > Group), and then group the two eyes, the nose and the mouth, the two forelegs, and the two hind legs. Select all, and on the Align panel, press Horizontal Align Center.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/2_7.jpg</figure>Step 8And of course, the tail. We will also start with an ellipse. Make the right and left anchor points on this ellipse pointy. Copy this shape (Control-C, Control-F) to have two copies on top of each other.
Next, using the Pencil Tool (N), draw the shape, as in the image below. Remember to hold the Alt button before finishing this shape; it will help you to close the path. Also, remove any stroke colors from this hand-drawn shape. Keep it selected, and while holding the Shift button, select the top copy of the tail. Hit the Intersect button on the Pathfinder panel (Window > Pathfinder). On the Stroke panel, press Align to Outside. Our tail is ready. 

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/2_8.jpg</figure>Finally, place the tail behind the fox: press Control-X, Control-B. Our transformation of the bunny into the fox is finished!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/2_8a.jpg</figure>3. Draw the Frog
Step 1For this character, we will use the bunny’s body and the head again. Since it's a frog, let's select a green color and give it a flatter head.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/3_1.jpg</figure>Step 2Draw two circles for the eyes. To create an even circle, hold down the Shift key. Select the three shapes (the flattened ellipse and two circles) and using the Unite button on the Pathfinder panel (Window > Pathfinder), unite them. Finally, add the eyes and the mouth, by taking them from one of the previous animals. Here we go—our frog is already finished.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/3_2.jpg</figure>4. Place All the Animals TogetherPlace all three characters together and see what you've created! Aren’t they cute?
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/4_1.jpg</figure>5. Create the AccessoriesStep 1Let’s give the bunny a carrot. Take a part of the bunny’s body, for example, one finger from the paw. Change the color of this shape, turn it upside down, and move the bottom anchor point down. Behind the orange shape, add a thin green ellipse. Make two more copies of this ellipse and slightly rotate them in different directions to create leaves for our carrot. 
Finally, add a few small brown lines using the Line Segment Tool (\) with no fill color.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/5_1.jpg</figure>Step 2For the fox, let’s add some mushrooms. Take the carrot shape, change its color, and turn it upside down. Make a copy and place it on the top for the mushroom's “hat”. Change the mushroom’s hat color to brown (like the fox's paws). Make a smaller copy of the whole mushroom and slightly rotate the new mushroom.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/5_2.jpg</figure>Step 3Let’s create a water lily for the frog. Make a copy of the fox's tail and delete its white part. Change the color from orange to pink, make two more copies of this shape, and rotate them to the left side. Add two more symmetrical copies on the right by selecting the two rotated shapes, right-click > Transform > Reflect,Axis Vertical, Angle 90 degrees, and pressing Copy. Move the two new petals to the right side to have a symmetrical lily.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/5_3.jpg</figure>Step 4Place all the created images together: carrots near the rabbit, mushrooms close to the fox, and the water lily near the frog.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/5_4.png</figure>6. Make a Complete ImageStep 1Draw a square behind all images with 850 px width and height, and set the fill color presented in the image below.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/6_1.png</figure>Step 2Using the Line Segment Tool (\), draw three lines below the created characters with no fill. To make the lines straight, hold down the Shift button as you are drawing the line.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/6_2.png</figure>To hide the unnecessary parts, add rectangles under all three lines with the same fill color as the background and no stroke color. (The green stroke in the image is only to show you where the rectangles go.)
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/6_2a.png</figure>
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Step 3To finalize our image, add three darker circles behind each character. Pay attention while placing these circles—place them behind our characters, lines, and rectangles, but above the large square background.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/6_3.png</figure>ConclusionCongratulations, your kawaii illustration is done! You see—it’s not difficult to make a transformation from one object to another. You just need a little imagination and creativity. I hope you found some useful tricks and have enjoyed this tutorial!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/27057/image/final.png


https://design.tutsplus.com/categories/illustration?page=120</figure>

covietforum
27-09-2017, 12:22 PM
Learn How to Create Realistic Vector Fire
For this tutorial, I wanted to do something simpler then my previous tutorials. This is not just a beginners tutorial though. This tutorial shows the simplicity and power that Illustrator possesses. In turn, this tutorial's techniques can be applied to many other elements other than fire.
Final Image PreviewFirst, let's take a look at the image we'll be creating. Below is the completed illustration to see what you'll be working toward.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/11_Realistic_Fire/fire_final.jpg
Step 1Create a document that is 8.5 inches by 11 inches. Double-click on the Pencil Tool from the Tools Panel to bring up the Pencil Tool Preferences dialog. In the dialog change the Fidelity to .5.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/11_Realistic_Fire/fire_01.jpg
Step 2With the Pencil Tool, draw a flame shape that is roughly 8.5 inches tall by 5 inches wide. Then fill it with black. Make sure that the Paths are closed by pressing Alt before finishing drawing the shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/11_Realistic_Fire/fire_02.jpg
Step 3Draw another flame shape within the first one, making sure not to overlap the shapes (sometimes this causes the Blend not to work properly). Once you have finished drawing and closing the shape, fill it with an orange color.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/11_Realistic_Fire/fire_03.jpg
Step 4Draw another flame shape within the previous one, and fill it with a yellow color. Keep in mind you want the path closed and not overlapping the other paths.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/11_Realistic_Fire/fire_04.jpg
Step 5Draw another flame shape within the previous one and fill with a light orange.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/11_Realistic_Fire/fire_05.jpg
Step 6Draw another flame shape within the previous one and fill with a light yellow.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/11_Realistic_Fire/fire_06.jpg
Step 7Draw another flame shape within the previous one and fill with white.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/11_Realistic_Fire/fire_07.jpg
Step 8Now that all the flame shapes are drawn, select all the flames and create a Blend by going to Object > Blend > Make.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/11_Realistic_Fire/fire_08.jpg

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Step 9Create a rectangle the same size as your document. Fill it with your first flame shape's black color. Then send it behind the flame blend by going to Object > Arrange > Send to Back.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/11_Realistic_Fire/fire_09.jpg
Final ImageAll done! Wasn't that easy! Again with this tutorial, I wanted to stress the ease with which you can create compelling elements for illustrations. With these same techniques you can create realistic clouds, water, or whatever. These are great techniques to start experimenting with.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/11_Realistic_Fire/fire_final.jpg


https://design.tutsplus.com/tutorials/learn-how-to-create-realistic-vector-fire--vector-22

covietforum
27-09-2017, 12:23 PM
Creating a Coffee Cup with Inkscape
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/result.jpg

Inkscape is an open source alternative to Adobe Illustrator and other programs for creating vector graphics. In this first Inkscape tutorial for Vectortuts+, we'll create a beautiful coffee cup and show off some of Inkscape's features. We'll mostly be drawing shapes and using the Gradient Tool to accomplish the desired effect. If you're familiar with Illustrator or a similar program, you should be able to follow along relatively easily.
If you would like to download Inkscape, go to inkscape.org (http://www.inkscape.org/). If this is your first time using Inkscape, I recommend that you complete a few of the tutorials that come bundled with Inkscape first to get the hang of how the program works (available from the Help menu).
1. Create the SaucerStep 1Begin by opening up a New document in Inkscape. Let's start by making the saucer that the coffee cup rests on. The saucer will be comprised of five different ellipses, so get ready to draw. Select the Circle/Ellipse tool (F5) from the Toolbox. Then draw an ellipse about the proportions of the one in the picture below.
Now we need to change the fill and stroke (outline) colors, so select your ellipse and open up the Fill and Stroke dialog window by going to Object > Fill and Stroke (Control + Shift + F). On the Stroke paint tab click the "X" button to eliminate the outline on this shape.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/1.jpg
</figure>Step 2Now we want to fill the ellipse with a radial gradient. We'll be doing quite a few radial and linear gradients in this tutorial, so pay close attention if you've never done this in Inkscape before. On the Fill tab (still in the Fill and Stroke window), click the Radial Gradient button. Inkscape automatically fills your shape with a gradient - normally fading to transparent by default.
We want a gradient with two shades of gray, so click the Edit button underneath the gradient. Now you can edit the gradient's Color Stops and their Transparency. Set the first stop to a light shade of gray (ddddddff). Set the second stop to a darker shade of gray (b2b2b2ff). Make sure the Transparency for both colors is set to Opaque (no transparency).
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/2.jpg
</figure>Step 3The next thing you need to do is adjust the size and center of the gradient relative to your ellipse. Drag the gradient handles on the ellipse to match the picture below. Note: If the gradient handles are not visible, simply click the Create and Edit Gradients button from the Toolbox (Control + F1). Now you've completed one ellipse and you know how to create and edit gradients. The following steps won't be quite as detailed.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/3.jpg
</figure>Step 4The other ellipses in the saucer aren't quite as difficult to make. The next ellipse will form the white lip around the plate. The easiest way to make this is to duplicate the ellipse you just made by going to Edit > Duplicate(Control + D). Then fill it with a very light gray color (f2f2f2ff) from the Fill and Stroke window. Then lower it just a few pixels lower than your first ellipse, and place it behind the first ellipse by going to Object > Lower.
Note: Press F1 (or hit the Select and Transform Objects button from the Toolbox) to move objects around with the mouse or arrow keys in Inkscape. It's hard to see the light gray ellipse, so I put a dark background behind it to make it easier to see in the screenshot below.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/4.jpg
</figure>Step 5Now for the dark gray base of the saucer. Once again, duplicate one of your existing ellipses. Now fill it with another radial gradient with two very dark shades of gray (2b2b2bff and 666666ff). Then move the center of the gradient down to the bottom of the ellipse. The base of the plate doesn't need to be quite as wide as the rest of the plate. Press F1 and push the left and right sides of the ellipse in a little bit to "squish" it some.
Note that if you hold down Shift while dragging one of the edges, you can move both sides equally at once. Also, stretch the bottom of the ellipse down just a little bit to get the curve of the bottom of the saucer just right.
Move the whole ellipse down a few pixels and press the Page Down button a few times to place the ellipse below the other two. You should end up with something that looks like the image below. Note the proportions of the bottom ellipse (selected) compared to the other two. The saucer is starting to take shape!
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/5.jpg
</figure>Step 6Now we need to create the center of the plate. Draw a smaller ellipse as shown in the image below (or select the topmost ellipse and scale it down). Open up the Fill and Stroke dialog (Control + Shift + F). Then fill it with a flat gray color (979797). Drag the Alpha slider below the color wheel to 100.
Give it a stroke color of b7b7b7 (full opacity). On the Stroke style tab set the width to match the picture below. The actual size of the stroke will vary depending on how big you drew your ellipses. For me, it was 3px, but you may end up with something different.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/6.jpg
</figure>Step 7The plate is almost finished now. The last step is to add a blurry drop-shadow. Duplicate the bottom-most ellipse (the dark gray base). Then Blur it 10% (from the bottom of the Fill and Stroke window). Place it below all the other objects.
You now have a finished saucer! You may choose to group the five ellipses to make them easier to select later on. Just highlight them all and press Control + G. Now, on to the coffee cup itself!
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/7.jpg
</figure>2. Create the CupStep 1We'll begin by drawing two shapes with the Bezier Curves tool (Shift + F6). Make one for the face of the coffee cup and one to form the outer rim of the cup. These shapes need to match up in width and the amount of curve. I recommend that you turn on the grid to help you draw these lines (Shift + #). Also note, Click to create a point, click-drag to create a curve.
I actually drew these shapes in place on top of each other, but I separated them in this screenshot to show how I drew the shapes and their curves. Notice that both shapes and their curve lengths are 20 units wide. Also, notice how the bottom of the rim matches the top of the cup face; They are both 2 units deep. For guidance, the numbers in blue show the order in which I created the points/curves.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/8.jpg
</figure>Step 2With the grid still on, place the rim directly on top of the cup face. Eliminate the stroke from both shapes. Fill the rim shape (that looks like an ellipse) with a solid color gray (e6e6e6ff). Fill the cup face with a radial gradient that goes from ecececff at the center to bdbdbdff. Then place the center of the gradient near the top of the cup shape, as shown below.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/9.jpg
</figure>Step 3Duplicate the rim shape and scale it in a little bit to form the width of the rim. Give this shape a thin gray stroke (d6d6d6ff) and a radial gradient from ecececff to bdbdbdff. Then drag the gradient handles to match the picture below.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/10.jpg
</figure>Step 4The next step is to create the coffee inside the cup. We obviously want to create a shape that gives the appearance of the coffee being inside the rim. To do that we'll have to create an ellipse for the coffee and intersect it with the inner rim.
Here's how to do it. Create an ellipse like the brown one in the picture below. Then set it on top of the rim. Then, duplicate the ellipse that makes up the inner portion of the rim. Then select both the duplicated ellipse and the one you just drew. Now go to the menu and choose Path > Intersection (Control + *).
You should end up with a shape that looks like coffee in a cup. Now you can fill it with a radial gradient using any two (or more) shades of brown.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/11.jpg
</figure>Step 5Creating the handle for the coffee cup is a cinch. Use the Bezier tool to make a shape similar to the handle shown below. Give it a thin light gray stroke and fill it with a linear gradient from bottom left to top right using two shades of gray (bdbdbdff and ecececff). Now place it behind the cup.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/12.jpg
</figure>Step 6To give our cup some personality, we're going to add some blue stripes around it. The way to do it is a little trickier than meets the eye. You can't simply draw a line, because the end of the line would never match up with the edge of the cup, as shown below.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/13a.jpg
</figure>Step 7So here's the method I came up with that worked quite well. Create an ellipse with about the same proportions as the coffee cup rim. Then fill it with any color (no stroke). Now duplicate that ellipse, place it below the first one, and pull the bottom drag handle down a little bit. Then push the sides in some too. I colored my ellipses two different colors so you can see how this should look.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/13b.jpg
</figure>Step 8Select both ellipses and choose Path > Difference (Control + Minus Sign) from the menu. Presto! You now have a beautiful vanishing curve. Fill your new shape with whatever color you prefer. Duplicate it as many times as you want. Then place it on top of your coffee cup wherever you choose.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/13c.jpg
</figure>Step 9Let's create a reflection on the side of our cup. Draw a shape with the Bezier tool like the one in the screenshot below. Color it white and drag the Alpha slider to about 90 so that it's transparent. Place it on top of the cup face and colored lines.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/14.jpg
</figure>Step 10Now for some steam. Begin by drawing a small white ellipse. Make it semi-transparent and blur the edges of it significantly. Place it above your coffee. This will give the general impression of heat and steam.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/15a.jpg
</figure>

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Step 11Now let's create a wispy trail of steam. Create a shape with the Bezier tool like the one below. Color it a light brown or gold color, make it semi-transparent and blur it also. Play around with the Master Opacityand Blur settings until it looks just right.
Our coffee cup is finished! As with the saucer, you may find it handy to group all the shapes that comprise the cup.
<figure class="tutorial_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/17_Shiny_Coffee/15b.jpg
</figure>Grab Yourself a Coffee, You're Done!Let's place our finished cup on top of our saucer. Then add a small drop shadow underneath the cup. Simply draw a small black ellipse and blur it.
There you have it, a beautiful vector coffee cup and saucer created with Inkscape! I hope you enjoyed making this as much as I did. I also hope this tutorial proved informative in demonstrating the main features of Inkscape (http://www.inkscape.org/) - an Open Source alternative for vector art. Enjoy!


https://design.tutsplus.com/tutorials/creating-a-coffee-cup-with-inkscape--vector-30

covietforum
27-09-2017, 12:24 PM
Create a Stylized Semi-Realistic Wine Glass

In this tutorial, we'll look at how to create a semi-realistic object with gradients and layer blends. Also, we'll learn more about the Blend Tool and how to create glass-like material with gradients and layers.
Final Image PreviewTo begin with let's have a look at the image we'll be creating.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step26.jpg
Step 1Open up a new document and draw a shape with the Pen Tool (T), just like you see in the image below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step1.jpg
Step 2Select the shape and choose the Rotate Tool (R), click on the upper-left path point, and rotate the object counter-clockwise. How much you rotate it is up to you.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step2.jpg
Step 3Select the rotated shape and fill it with a linear gradient. I set up a gradient with light gray colors. Select the Gradient Tool (G) and drag the gradient in your object from the left-bottom to the upper-right corner of the object.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step3.jpg
Step 4With the object still selected, go to Effect > Stylize > Outer Glow and apply the settings you see in the images below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step4.jpg
Step 5Make a copy of the shape on top (Command + C + F) and select the Direct Selection Tool (A). Select the top middle point and pull it downwards.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step5a.jpg
Step 6Then apply a linear gradient with light gray/white colors to it. I chose a gray (K=20%) on the left and white on the right. I added two more colors by clicking on the gradient bar. This will add extra color sliders. Then set the Transparency Layer Mode to Color Burn with an Opacity of 40%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step5b.jpg
Step 7Let's create the wine next. Draw a shape with the Pen Tool (T), as you see in the image below. Fill the shape with a radial red/black gradient. Select the Gradient Tool (G) and drag the gradient from the bottom-right to the top-left. This will give us our first wine like shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step6.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step6a.jpg
Step 8Make a copy of the wine shape on top (Command + C + F). Then alter the path with the Direct Selection Tool (A) by selecting the top middle point and dragging it downwards.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step7.jpg
Step 9Select the outer point on the left and pull the handle downwards.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step8.jpg
Step 10Do the same on the other side by selecting the outer point on the right and pull the handle downwards.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step9.jpg
Step 11Fill the second shape with a radial black/red gradient. Drag the gradient from bottom-left to top-right.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step10.jpg
Step 12Make a copy of the shape on top again (Command + C + F) and set the Transparency Layer Option to 100% Overlay. Move it slightly upwards. That will create an illusion that the wine is in a glass.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step11.jpg
Step 13Now we'll add some reflection to the glass shape. Make a copy of the second glass shape we created in Step 5. Select the middle-top point with the Direct Selection Tool (A) and drag it almost to the bottom of the shape. Select the right-side handle and drag it a bit to the right.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step12.jpg
Step 14In the Appearance Palette, Delete the Outer Glow and the Stroke, but leave the gradient fill as it is. Place the just created shape on top of all the other shapes and set the Layer Mode in the Transparency Palette to Overlay with an Opacity of 40%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step13.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step13a.jpg
Step 15Let's create the glass stem. Draw a shape like you see in the image below and fill it with a golden linear gradient. Below you can see which colors I chose. Select the shape and set the Transparency Layer Mode to Multiply at 100%
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step14.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step14a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step14b.jpg
Step 16To give the glass stem a little bit more depth and interest, create a copy of it on top (Command + C + F). Then fill it with a gray linear gradient. Move it slightly to the left-top and set the Transparency Layer Mode to Color Burn at 100%. If you want, you can make it just a little bit bigger so the edges stick out of the original golden stem.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step15.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step15a.jpg
Step 17Create a small shape for the top part of the stem. Place it on top and fill it with a gray linear gradient. Set the Transparency Layer Mode to Color Burn at 100%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step16.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step16a.jpg
Step 18Create a small shape for the bottom part of the stem and also fill it with a golden/white linear gradient. Set the Layer Blending Mode to Darken at 100%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step17.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step17a.jpg
Step 19Let's add the stand of the glass. Create an ellipse shape and fill it with a light gray color.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step18.jpg
Step 20Create a copy of it on top (Command + C + F) and fill it with a gray/white/gray linear gradient. Move the shape slightly to the top-right to offset it a bit. This will create a sense of thickness.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step19.jpg
Step 21To give the glass stand a more realistic look, we'll create a circular blend. We'll need seven elliptical shapes that are identical to each other, but smaller in size. Fill them with the colors indicated in the images. Layer them on top of each other - almost centered.
Now go to Object > Blend > Blend Options, choose Specified Steps of 50, and click OK. Select all the elliptical shapes and press Command + Alt + B. This will blend them together. Move the blended shape on top of the other ellipses and set the Transparency to 49%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step20.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step20a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step20b.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step20c.jpg
Step 22Create a small shape to hide the stand part on the bottom, so the stem will be visible. Make sure the layer is on top of the "stand layers," but behind the "stem layers."
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step21.jpg
Step 23Let's create a highlight for the glass. Draw a similar shape with he Pen Tool (T) and fill it with white. Set the Blend Mode in the Transparency Palette to Soft Light at 100%. Place the highlight on top of all the layers.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step22.jpg
Step 24Now we'll create a soft shadow for the stand. Draw an ellipse with the Ellipse Tool (L), like we did for the stand. Then rotate it clockwise and place it below the "stand layers." Fill it with a gray/white radial gradient and set the Opacity to 34%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step23.jpg
Step 25With the ellipse selected, got to Effect > Blur > Gaussian Blur and set the Radius to 29px.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step24.jpg
Step 26With the shadow shape still selected, create an Opacity Mask (Transparency Palette > Make Opacity Mask), and fade the right side of the shadow shape. Just in case you forgot how the Opacity Mask works, you can hide and unhide the shape by putting a black/white linear gradient shape over it. Black hides the shape and white makes it visible.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step25.jpg

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Step 27There you have a nice wine glass with a golden stem and some good tasting red wine (It looks like a red Zinfandel to me).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/step26.jpg
ConclusionTo finish the illustration, I created a small wine glass ring with three red pearls. As always, you can create anything you can think of. Have fun with it!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/39_Wine_Glass/conclusion.jpg


https://design.tutsplus.com/tutorials/create-a-stylized-semi-realistic-wine-glass--vector-116

covietforum
27-09-2017, 12:25 PM
Easily Make Shiny Realistic Vector Hair
This tutorial will show the intermediate Adobe Illustrator artist how to easily make realistic-looking shiny vector hair. We'll be creating S shapes and using them to construct natural looking hair. You should have a basic understanding of Adobe Illustrator tools before you begin this tutorial.
Final Image PreviewLet's have a look at the image we'll be creating.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-14.jpg
Step 1Start by using the Pen Tool (P) and draw a nice curved shape. Make sure your lines are smooth and don't have jagged points.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-1.jpg
Step 2Give the line a tapered look by using the Artistic Ink Palette. Go to the top of the screen and select Window > Brush Libraries > Artistic > Artistic_Ink. Select the Tapered-Sharp brush. You'll need to adjust the weight of your line so that the hair is thin. As you can see, I've used a weight of 0.25 pt.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-2.jpg
Step 3Notice how the end of the hair is thin and realistic looking. What also adds to the realism is the fact that the line is nice and smooth. Repeated practice with the Pen Tool will enable you to feel more comfortable drawing natural-looking objects. It just takes a little practice!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-3.jpg
Step 4Draw several more S shapes to build up a large volume of hair. Vary their weight and curvature to add variety. You can also duplicate and alter some of the existing shapes.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-4.jpg
Step 5Note the randomness of each hairs length, thickness, and curvature.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-8.jpg
Step 6Achieve a solid mass of hair by drawing an S shape and making it black. We'll place this shape behind the hair we've just drawn to fill in any white gaps.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-5.jpg
Step 7Give the shape a shadow to add dimension to it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-6.jpg
Step 8Move the shape you just drew behind the individual hairs. See how the hair looks thick and complete?
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-7.jpg
Step 9Small details like highlights give the hair a completely different feel. Draw several curved shapes that we'll use as highlights on various parts of the hair.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-9.jpg
Step 10Make the curved highlights white and place them over the top of the hair in places where light looks like it should be reflecting.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-10.jpg
Step 11Add more highlights and adjust their transparency to give the impression of less reflection. It's looks more realistic if a bright reflection is adjacent to a not-so-bright reflection.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-11.jpg
Step 12Careful not to add too many highlights as this will overpower the subtlety of the effect. This is what your hair should look like.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-12.jpg

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Step 13The background is simply created using the Rounded Rectangle Tool. Once you draw the shape, add a nice gradient to compliment the hair. The contrast between the rich black hair and the vibrant red background helps the image come to life!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-13.jpg
Final ImageHere is what your completed illustration should look like!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/35_Realistic_Hair/Picture-14.jpg


https://design.tutsplus.com/tutorials/easily-make-shiny-realistic-vector-hair--vector-77

covietforum
27-09-2017, 12:29 PM
Create the First Page of a Fairy Tale Story Book, with a Hint of Kitsch
Once upon a time there was a tutorial. A tutorial which told of magical and enchanting ways to create Fairy Tale pages in Adobe Illustrator. Are you sitting comfortably? Then we'll begin...
Final Image PreviewBelow is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join VECTORTUTS PLUS (http://tutsplus.com/join/) for just 9/month.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/final.jpg
Step 1: Setting Up The DocumentSize is arbitrary for this tutorial; it's up to you to decide how large or small you want to work. For the sake of argument though, we'll work on a portrait page, roughly A5: 210mm high and 150mm wide.
With your artboard made, place a rectangle of the same dimensions on it and align it centrally.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/1.jpg
Step 2: GuidesCall this first layer "guides" - that's all we'll be placing on it. Make a copy of the rectangle you've drawn (Command + C) and with the original selected go to View > Guides > Make Guides.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/2.jpg
Paste the copied rectangle in place (Command + F) and offset it's path by -10mm (Effect > Path > Offset Path..). Now expand it (Object > Expand Appearance).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/2b.jpg
We're now going to split this smaller rectangle into a grid which we can use as a guide. Go to Object > Path > Split Into Grid.. and copy the settings as you see them below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/2c.jpg
Splitting pages into multiples of three is usually a sound way to build good aesthetics. Having split the rectangle, select it all (Command + A) and using the same method as before, make guides from it. Make your artboard invisible (View > Hide Artboard) and your final grid should look like the image below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/2d.jpg
Step 3: LayersWith the benefit of foresight, I can tell you in advance what you'll need for the document and how best to organize things. Make a few more layers and name them like you see below:

"guides"
"text"
"texture"
"illustrations"
"background"
Toggle the locks and visibilities as you want while you're working.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/3.jpg
Step 4: Background LayerLet's give ourselves a background color, you should still have your original rectangle on the clipboard. Past it once again in place (Command + F), this time on the background layer and give it a fill color of #F2F1ED. Very good.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/4.jpg
Step 5: FontsFor the elaborate first letter and the introductory sentence you'll need a decorative calligraphic typeface. Plain Germanica (http://www.dafont.com/germanica-family.font) from dafont.com (http://www.dafont.com/) is ideal. Download it and install it on your system. For the body text we'll use Georgia, or whatever serif system font you have available.
Lastly, while you're mucking around on dafont.com (http://www.dafont.com/), download and install Ma Sexy (http://www.dafont.com/ma-sexy.font) - we'll need it later.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/5.jpg
Step 6: Type AreaUse the Type tool and drag an area (using the guides to help you) on the text layer like you see below. Fill it with dummy text (http://www.lipsum.com/), color it with an off-black shade of #1E1B19 and size it to 11pt.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/6.jpg
Step 7: nce Upon a TimeAdd an initial few words Once upon a time.. but omit the O, we'll add this as a separate object later. Use the Plain Germanic Regular font for these words and make them slightly larger at 21pt.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/7.jpg
Step 8: OUse the Type tool and place a single, solitary O on the page. Make it 113pt, nice and imposing.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/8.jpg
In order for the other text to wrap around it, we need only perform one action. With the O selected, go to Object > Text Wrap > Make. As you can see, the bounding box has taken on a kind of padding defining an edge around which text will wrap. In order for the text wrap to take effect, our O needs to be on the same layer as - and above the wrapping text. It's exact parameters can be defined in Object > Text Wrap > Text Wrap Options. We'll give our O an Offset of 10pt. Position the two type objects as you see them below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/8b.jpg
Step 9: IllustrationsTo give our page a truly Story Book feel, we need to furnish it with some slightly kitsch illustrations. We're going to use simple shapes and a limited palette, emulating illustrations from the '60's and '70's. We'll begin our Post-Modern-Kitsch-Nostalgic atmosphere (?) with a tree. Simple objects, all drawn with the Pen tool to give controlled irregularity.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/9.jpg
Step 10: More TreesSubtle variations of the colors you're using are available in the Color Guide palette (Window > Color Guide) and help to keep your palette within the boundaries we want. Draw a couple more trees and position them as shown. They should all differ slightly in form and color. Lovely.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/10.jpg
Step 11: Owl
Q: Why did the Owl 'owl?
A: Because the Woodpecker would peck 'er...!
My Grandfather told me that classic about 25 years ago... Anyway, I digress..
Keeping the same style in mind, draw simple shapes to build up an owl, we'll have him sitting on our O.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/11.jpg
Step 12: Finishing Owl TouchesThe feathers and the eyes are made with a little bit of warping. The feathers for example, can be made by firstly scattering a few ellipses of differing proportions on the owl's front.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/12.jpg
With them all selected go to Effect > Warp > Arch and enter the values you see below:
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/12b.jpg
Lastly, a whimsical speech bubble containing owl-ish thoughts will finish our owl. Use the Ma Sexy (http://www.dafont.com/ma-sexy.font) font you downloaded earlier for that kitsch-feel we're going for.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/12c.jpg
Step 13: CastleA Fairy Tale illustration wouldn't be complete without a castle, would it? Copy the shapes and colors you see below and recreate them using the Pen and the Pathfinder tools.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/13.jpg
The tiles pattern on the roof can be made simply with the Pen tool and then masked with copies of the roof points. If you need further practice at Pen tool techniques, download and have a crack at the VECTORTUTS Pen Tool Exercise (http://vectortuts.com/tutorials/tools-tips/illustrators-pen-tool-the-comprehensive-guide/).
Step 14: Arrange the PiecesGroup the castle objects together and give the whole lot an Opacity of 30%. Position the illustrative elements as you see them here; don't worry if bits drift outside of the grid, use your eyes to judge if the page is visually in balance.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/14.jpg
Step 15: Added ExtrasInclude a fourth tree and a small bush at the bottom right of the page. Also place a page number (Georgia 7pt) with a small shadow centrally at the bottom.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/15.jpg

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Step 16: TextureThe final touch for our Fairy Tale Story Book page comes in the form of some free paper texture (http://www.bittbox.com/freebies/free-high-res-grungy-paper-textures/) courtesy of bittbox.com (http://bittbox.com/). Once it's downloaded, go to File > Place.. and place the file on your texture layer. With it in position, copy the background rectangle again and paste it in place (Command + F) over the paper texture. Select the two and press Command + 7 to mask the paper.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/16.jpg
Finally, alter it's transparency to be Overlay 100%. This will give the illustrations - the whole page for that matter - a nice, rough grain.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/16b.jpg
ConclusionThis tutorial should have demonstrated how a few simple techniques can recreate a bit of childhood nostalgia in a modern, technological world. And we all lived happily ever after...
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/104_Historical_Doc/final.jpg
Subscribe to the VECTORTUTS RSS Feed (http://feeds.feedburner.com/VECTORTUTS) to stay up to date with the latest vector tutorials and articles.


https://design.tutsplus.com/tutorials/create-the-first-page-of-a-fairy-tale-story-book-with-a-hint-of-kitsch--vector-1122

covietforum
27-09-2017, 12:31 PM
How to Create a Landscape Wallpaper for your Desktop
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/Vector_Landscape.jpg


Want to spruce up your desktop and at the same time impress your friends? Why not create a vector landscape wallpaper? In this simple tutorial, you will learn how to create an eye-appealing wallpaper quickly and effectively. Let's get to it!
Step 1To begin your wallpaper, create a new document in Illustrator (Command + N). I have a wide screen monitor and so I enjoy 1680 pixels by 1050 pixels. Since you're creating this in vector, your artwork will be able to be resized to any resolution. It is better to create wide screen artwork because you can always crop the sides off in 4:3 aspect ratio resolutions.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step1.jpg</figure>Step 2Use the Rectangle Tool (M) and create your land. Make it a nice green or refraction from the sky color of your choice.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step2.jpg</figure>Step 3To create the foreground rolling hills use the Warp Tool (Shift + R) and, having the rectangle selected, click and drag to raise the horizon line.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step3.jpg</figure>Step 4Use the Mesh Tool (U) to click on your landscape and create rows growing further apart as they reach the foreground. This will simulate distance.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step4.jpg</figure>Step 5I created six rows. Row 1 is the horizon line and row 6 is the foreground. Use the Direct Selection Tool (A), hold shift, and select each point along the row 1. Once you have selected all the points along row 1, open up your Color window (F6) and brighten up the color on these points. I chose C=9%, M=0%, Y=95%, and K=0%.
Now continue this step with each row going all the way down to row 6. For each row I darkened the K channel as follows: row 2 at 0%, row 3 at 25%, row 4 at 72%, row 5 at 88%, and row 6 at 100%. I did this in each channel to give us black. Make sure you do this to each point along the row in the gradient mesh.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step5.jpg</figure>Step 6To create the sky place a rectangle behind the horizon and apply a nice radial gradient to it. I like sunsets so I used orange. Use whatever type of lighting you desire. Violet and purple make for a great twilight.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step6.jpg</figure>Step 7Now lets create the sun. Grab the Ellipse Tool (L). Create a circle in the middle of the gradient that you created in the previous step. Select the circle and then click Filter > Stylize > Outer Glow. Apply a nice screen to it with a blur. You can add an additional outer glows to it as well if you want it to pop even more. Also, try applying a Hard light or Overlay Mode to your Outer Glow.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step7.jpg</figure>Step 8To draw the mountains in the background use the Paint Brush Tool (B) and loosely sketch an abstract mountain range. Make the fill a dark green and change the Transparency to Multiply and the Opacity to 50%. Also, make sure the mountains are behind the foreground hills and in front of the orange sky.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step8.jpg</figure>Step 9Now to create some clouds. Use the Paint Brush Tool again and sketch some a clouds. If you hold the Alt key when you reach the point you started drawing from, it will join the end point with the start point. Now, with the outlined cloud selected, press Shift + X. This will invert your stroke color to your fill color and vice versa. Make sure you have a white selected when drawing your cloud.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step9.jpg</figure>Step 10Select your single cloud, hold Alt, and then drag your cloud shape to duplicate. Do this four times. Bring two of the clouds in front of the other two and change the coloring of the front clouds to an off white that compliments the color of the sky (Clouds 3 and 4 are complimenting the sky).
Also, to mix things up and create a more organic feel, select the 2nd white cloud, right click on it, and Transform > Reflect it 90 degrees vertical. Also, you can shrink clouds 2 and 4 a bit by using the Scale Tool (S) and dragging them smaller.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step10.jpg</figure>Step 11Group this cluster of clouds you have just created by selected them all and pressing Command + G. Now hold Alt and drag this grouped cluster to the other points in the sky. Do this until you are happy with the amount of precipitation. Shrink a couple of the clusters and reflect them as well to simulate clouds in the distance.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step11.jpg</figure>Step 12Let's draw some trees. Use your Paint Brush Tool again to draw a quick tree trunk and some green pine separately. Throw a brown gradient on the trunk and a green gradient similar to the hills on the pine.
Drag the green over the trunk and group the two objects together (Command + G). You can spruce up your pine tree by drawing more details if you desire. Maybe an owl or a dead tree with no needles. Use your imagination.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step12.jpg</figure>Step 13Once you have your prototype tree grouped, select it, hold Alt, and spread the trees out sporadically over the landscape. Use the Transform > Reflect option on some of the trees so they don't all look cookie cutter.
Also, scale some of them down as they appear further towards the horizon. Rotate the trees slightly at the base of the trunk by selecting the tree, grabbing the Rotate Tool (R) and clicking on the base of the trunk. Rotate the trees that are closer to the edges of your artboard to simulate a panoramic lens.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step13.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step13b.jpg</figure>Step 14With the Gradient Tool (G) apply a gradient to each tree in the direction that the light is hitting it. The lighter gradient is on the side the sun is hitting.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step14.jpg</figure>Step 15Draw a river going off into the horizon with the Paint Brush Tool. Then apply the same gradient that you used in the sky. You can do this by using the Eyedropper Tool (I). With the river selected, press I and then click on the sky.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step15.jpg</figure>Step 16Draw some rocks along the river and apply a radial white to black gradient on each one separately. This will give them a nice gray. Make sure you consider the lighting on these objects as you did with the trees.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step16.jpg</figure>Step 17Now, lets get into the shading of our scene. To do this grab your Paint Brush Tool again, select black, and draw some loose and flowing shapes below the rocks. This will be the shadow of the rocks cast into the river.
They are squiggly because the river is fluid and distorts the shadow and reflection of the rocks. Send the shadow layer behind the rocks (press Command + Left or Right Bracket keys to move the shadow behind or in front of other objects). Then in the Transparency window (Command + Shift + F10), set it's Mode to Multiply and it's Opacity to 50%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step17.jpg</figure>Step 18Using the lighting principles in Step 14 and 17, Paint the shadows cast by the trees in the scene. I find that shading really brings life and depth to the landscape.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step18.jpg</figure>Step 19Now draw the shadow cast by the rolling clouds. I made the shadow from the cloud 25% Opacity instead of 50%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step19.jpg</figure>Step 20Next, paint some swirl flowing lines in your stream. color them with the same gradient you used on the river. And try to match each flowing shape to the gradient in the area of the stream that it is in. For example, the swirl furthest in the horizon contains more dark orange than yellow.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step20.jpg</figure>Step 21Last of all, paint some wildlife. I enjoy a good salmon every now and then so I painted one jumping in the river. You can combine some pretty simple shapes to create a pretty sweet salmon (see below). I also painted some splashing from where the fish jumped.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step21a.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step21b.jpg</figure>Step 22Now, open Photoshop and create a new document. My desktop resolution is 1680 pixels by 1050 pixels, so I created a new document that size at 300 pixels/inch. Once you have done that, open Illustrator again, drag your mouse over all the objects in your landscape, press Command + C to copy.
After you have copied your landscape, open your new document in Photoshop and press Command + V to paste your vector into Photoshop. Select Smart Object and press OK. Now your illustration will appear in your document. Holding Shift + Alt, drag one of the four corners of the Smart Object out until it fits perfectly in your artboard. You can also move the Smart Object around by holding your left mouse inside of the Smart Object and dragging. Once you have a good position, press Enter. Smart Objects are great because you can scale it up or down without loosing any quality.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/step22a.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/steps22b.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/steps22b1.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/steps22c.jpg</figure>
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Step 23Create a new layer by hitting the Paper Icon in the Layers Window or pressing the hot key Command + Shift + Alt + N. Fill that layer with 50% gray (Thats 50% B on the HSB scale). Next apply the infamous Lens Flare. I know that the Lens Flare is hated because of its over use, but this is a great time to use the Lens Flare correctly.
Select your new "gray" layer and click Filter > Render > Lens Flare. Set your Lens Flare in the center upper half of the layer by clicking on the spot where the sun would be. Set the Brightness to 75% and click OK. Now set that layer's blend mode to Overlay. You should have a really cool Lens Flare from your sun.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/steps23.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/steps23b.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/steps24.jpg</figure>Step 24Now all you have to do is save it as a jpg. Click File > Save As and select the Format JPEG. Bump the Quality to 12 and press OK. Now you've made a sweet vector landscape for your desktop.
If you want to make different resolutions other than 1680 pixels by 1050 pixels, all you need to do is open up the PSD of your landscape in Photoshop and click Image > Canvas Size and change your pixels to 800px by 600px, 1024px by 768px, 1280px by 1024px, etc. Just make sure you have the measurements set to pixels and not percent, inches, or centimeters.
Note, you will lose some of the edges if you change the canvas size to a 4:3 aspect ratio.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/steps24.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/steps24b.jpg</figure>There you have it! A quick and simple landscape desktop. You can really play around with this and do a lot of different types of landscapes. I hope you've enjoyed this tutorial.
The final image is below. You can view the 1680px by 1050px version here (https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/Vector_Landscape.jpg) and the 1280px by 1024px here (http://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/Vector_Landscape_1280x1024.jpg).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/Vector_Landscape_Thumb.jpg


https://design.tutsplus.com/tutorials/how-to-create-a-landscape-wallpaper-for-your-desktop--vector-2160 (https://cdn.tutsplus.com/vector/uploads/legacy/tuts/147_Landscape_Wallpaper/Vector_Landscape.jpg)</figure>

covietforum
27-09-2017, 12:37 PM
How to Create a Curious Owl in Illustrator CS4

One of my favorite TV shows of all time is Twin Peaks (http://en.wikipedia.org/wiki/Twin_peaks) and one of its most memorable lines is "The owls are not what they seem." Inspired by that ominous truth I decided to create a little illustration. I chose a rather non-spooky scene set at dusk, with a curious owl sitting on a branch and some scenery in the background.
Final Image PreviewBelow is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus (http://tutsplus.com/vector-premium/) for just 9$ a month.
Tutorial Details

Program: Adobe Illustrator CS4
Difficulty: Intermediate
Estimated Completion Time: 1.5 hours
Take a look at what we're aiming for, an inquisitive owl on a branch with dusk scenery in the background. I chose a soft, warm color palette to create a peaceful illustration.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/Owl.jpg
Step 1Open a new blank document. The size doesn't matter for now. In the end we'll crop the artboard to the illustration. Let's start by creating the eyes of the owl. Draw an orange circle with the Ellipse Tool (L) (1a). Fill it with the gradient you see in image 1b, with colors ranging from light orange to dark red. Draw a dark brown pupil also (1c).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/1.png
Step 2The eye needs a couple of highlights. Draw a light orange ellipse in the top-right corner of the eye (2a) and set it to Screen, with 50% Opacity from the Transparency palette (2b). Add a secondary highlight in the bottom-left corner (2c), move it below the pupil and reduce its Opacity to 30% (2d).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/2.png
Step 3Let's add an internal shadow. Copy the secondary highlight behind the first one and enlarge it (3a). Fill it with the same color as the pupil and set it to Multiply at 25% Opacity (3b). Go to Effect > Blur > Gaussian Blur and choose a Radius of 5 pixels (3c). We added a nice depth to the eye (3d).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/3.jpg
Step 4Select the main orange circle then go to Object > Path > Offset Path and and enter 5 pixels (4a). Make the new circle very dark (4b). The eye is finished so group all objects together and create the second eye. Place a guide right between them (4c).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/4.jpg
Step 5Let's draw the beak now. Activate Smart Guides with Command + U then draw the right half of the beak using the Pen Tool (P), while snapping to the guide (5a). Make sure the first and last points have horizontal handles (5b). Create the left half by copying and flipping horizontally the one you just drew.
Grab the Direct Selection Tool (A) and use it to select the top points. Hit Command + J to join them: from the pop up dialog choose the Smooth option (5c). Do the same for the bottom points. We now have a single shape for the beak and because we kept the handles of the endpoints horizontal the joints don't have any kinks (5d).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/5.jpg
Step 6The beak is definitely out of scale and proportion with the eyes so let's adjust it (6a). Go to Object > Create Gradient Mesh and choose 3 rows and 4 columns (6b). Take a look at the instructions in image 6c to color the mesh properly. The result (6d) shows the finished beak: notice the frontal highlight and the shadows at the seams.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/6.jpg
Step 7To create the nostril draw a small brown ellipse at the top-right corner (7a). Fill it with a gradient to give it some depth (7b) then mirror it to complete the pair (7c).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/7.jpg
Step 8Let's draw the head now. Create two overlapping circles around the eyes and join them into a single object: the spectacles (8a). Create the head with a brown ellipse (8b) and fill it with a gradient (8c) to imply light coming from the top (8d).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/8.jpg
Step 9Select the beak (not the nostrils) and go to Effect > Stylize > Drop Shadow and enter the settings shown in image 9a. Add a drop shadow to the eyes too (9b) and see the result (9c).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/9.jpg
Step 10Create the egg-shaped body (10a) and fill it with the same gradient as the head. Duplicate the head, move the copy behind it and below it (10b). Add a Gaussian Blur effect (10c) and set it to Multiply with 50% Opacity (10d). The values used for the effects may be different for you, depending on the size of your document and the raster effect settings. Just try to obtain similar results.
You can see that the head's shadow appears on the background too. We need to crop it to the body. Make a copy of the body and move it above the shadow. Select both this copy and the shadow and hit Command + 7 to create a clipping mask (10e). Now the shadow is cast only onto the body (10f).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/10.jpg
Step 11Let's finish the head by adding a wedge of lighter plumes. Using the guide as reference draw the right half of the wedge and make it bigger than the head. Don't worry about the weird shape, we'll crop it to the head with a clipping mask later (11a).
Mirror the other half and join into a single object like we did earlier with the beak (11b). Use a copy of the head to create a clipping mask (11c) so the wedge is perfectly cropped (11d). Make it less conspicuous by switching to Soft Light mode with 70% Opacity (11e).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/11.jpg
Step 12Let's add a patch of lighter plumes on the belly. Duplicate and stretch the body and set it to Screen mode (12a). Go to Effect > Distort > Zig Zag and use the settings in image 12b to add variation to the outline (12c). Now go to Effect > Warp > Fisheye and use the settings shown in image 12d. See how the outline is a bit more dynamic now (12e).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/12.jpg
Step 13Use a clipping mask to crop the belly to the body. You know the method by now because we've used it twice already (13a). With the belly selected create a new style in the Graphic Styles palette by clicking on the appropriate icon at the bottom. Apply the style to the spectacles and the wedge (13b). You might need to manually adjust the settings of the individual styles to make up for the objects having different shapes and sizes.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/13.jpg
Step 14Draw the left wing with the Pen Tool (P) on its separate layer above the body and below the head (14a). Fill it with a two-tone brown gradient so the wing becomes darker as it recedes from view (14b).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/14.jpg
Step 15Take a copy of the wing and move it below it. Rotate it counterclockwise around the top edge (15a) and set it to Multiply mode (15b). Now it's darker (15c). Add a Gaussian Blur effect (15d) so it looks like a real shadow. Use a clipping mask to crop it to the body (15e). Mirror the other wing (15f).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/15.jpg
Step 16Let's draw a feather now. Create a light brown circle (16a) and delete its bottom point (16b). Mirror this circle and move it down (16c). Press P to select the Pen Tool and join the open circle by drawing the straight sides (16d).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/16.png
Step 17This feather looks like a band aid! Let's fill it with a gradient (17a) to give it a better appearance (17b).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/17.png
Step 18Draw a straight path down the middle (18a) and apply a tapered brush (18b). Use a light beige (18c). The feather is complete.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/18.png
Step 19Now place many instances of the feather on the left wing (19a). Group them together and set them to Hard Light with 75% Opacity (19b). Mirror the feather to the other wing (19c). Populate the owl's belly with feathers, too, using less opacity, about 50% (19d).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/19.jpg
Step 20Time to draw the branch now. Using the Pencil Tool (N) draw a fairly irregular shape (20a). Fill it with a brown gradient set so the top is lighter (20b).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/20.jpg
Step 21Draw the bark texture with the Pencil Tool (21a) and crop it to the branch with a clipping mask (21b). Set the bark objects to Color Burn mode with 15% Opacity (21c) to blend the texture with the main color (21d).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/21.jpg
Step 22Arrange the owl behind the branch (22a). We can now draw and position the owl's toes and claws. On a new layer draw a teardrop-shaped claw (22b). Make two smaller copies (22c) and set them both to Screen mode. Blend them with the main claw with a 5px Gaussian Blur effect (22d).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/22.jpg
Step 23Draw the toe behind the claw (23a) and fill it with the gradient shown in image 23b. When you're done group the three claw shapes and the toe together. Position the toes on the branch, three per side. Rotate and translate the toes so they follow the bulging outline of the branch (23c).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/23.jpg
Step 24Now let's set up the final composition. Hit Alt + Command + P to select the Document Setup. From the pop-up window press the button labeled Edit Artboards (24a). Resize the artboard so it's square and it fully encloses the branch without showing its ends (24b). Click on any icon in the toolbar to return to the drawing mode.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/24.jpg
Step 25On a new layer draw a square that covers the entire artboard and fill it with a multicolored gradient (25a). For the color stops (25b) try to recreate the sky at dusk. The orange and purple shades represent the horizon. With the Pencil Tool (N) draw some sketchy mountains and fill them with desaturated gradients, to suggest depth (25c).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/25.jpg
Step 26The moon (26a) is a perfect circle, cropped to the artboard and filled with the radial gradient shown in image 26b. Go to Effect > Stylize > Outer Glow and use the settings from image 26c.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/26.jpg

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Step 27Draw the stars with a lot of small white circles set in Overlay mode. Try to vary their size and opacity (27a). Finally add a drop shadow to the toes (27b). The illustration is done (27c).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/236_Curious_Owl/27.jpg
ConclusionHopefully this illustration didn't turn out spooky. As always, it was fun to make. I hope you learned an interesting workflow which combines basic shapes, basic gradients and a few effects to achieve a simple but pleasant result.
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https://design.tutsplus.com/tutorials/how-to-create-a-curious-owl-in-illustrator-cs4--vector-3283



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covietforum
27-09-2017, 12:38 PM
Modeling the Human Face in Illustrator
With a simple and direct methods described in this tutorial, you can create a female portrait easily. This process will have you creating anatomically correct human faces in no time.
Final Image PreviewBelow is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus (http://tutsplus.com/vector-premium/) for just 9$ a month.
Tutorial Details

Program: Adobe Illustrator CS 3
Difficulty: Intermediate
Estimated Completion Time: 60 minutes
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/final.jpg
Step 1Let's open a new document in Illustrator (File > New).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/1.jpg
Step 2We start with the construction of the ideal female proportions of the head in full face. Create two guides, horizontal and vertical that cross in the center of our document.
Take the Ellipse Tool (L) and create a circle centered at the intersection of the guides, move the cursor to the mid point of intersection and extend the circle, while holding down Alt + Shift to constrain. Set it to no fill with a s black, 1 pixel stroke. The diameter of the circle will be equal to the width of the head. To simplify the calculations, I used a circle 250 pixels by 250 pixels.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/2.jpg
Step 3In the left and right points of intersection with a horizontal guide, create lines by using the Pen Tool (P), while holding Shift.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/3.jpg
Step 4Let's split this into five sections. Select both lines and go to Object > Blend, apply the setting you see below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/4.jpg
Step 5The diameter received five parts. Each part is equal to the width of one eye. We'll be placing the eyes under are 2 and 4.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/5.jpg
Step 6Create a new line by using the Pen Tool (P) at the bottom point of the intersection with the vertical guide (point A).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/6.jpg
Step 7Select the bottom line, go to Object > Transform > Move... at a distance equal to the width of the eye (50 pixels) and press Copy. Now press Command + D. Point A will be the tip of the nose.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/7.jpg
Now press Command + D. Point A will be the tip of the nose.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/8.jpg
Step 8Now divide segment A/B in half and get point D. Select line A and B, and create a Blend.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/9.jpg
Step 9Create a circle of radius D/C by using the Ellipse Toll (L). The center of a circle is at point D. Point C is the lower boundary of the chin, point D is the upper boundary of the mouth, and point B is the lower boundary of the mouth.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/10.jpg
Step 10Create a tangent of the circle to the right and left, using the guides. Place the guides and rotate, using the Rotate Tool (R).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/12.jpg
Step 11We connect the circles of lines E and F on the guide. Connecting lines E and F at the points of contact with the larger circle line G. Line G is the upper limit of the eye.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/13.jpg
Step 12Create a line for the cheeks. Create a circle with center at a point E, radius at point G and the circle with center at F radius at G.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/14.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/15.jpg
Step 13Cut the circle with scissors and remove the unnecessary parts.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/16.jpg
Step 14Create two vertical lines at points E and F by using the Pen Tool (P). These lines are the lateral limits of the head.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/17.jpg
Step 15Cut along those lines using the Scissors Tool (C) and remove unnecessary parts of the template.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/19.jpg
Step 16We connect the outer contour of the face. Select the nearby anchor points and go to Object > Path > Average and apply Both. Then apply Object > Path > Join.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/20.jpg
Thus, we close all the paths. The darker area indicates the deepening of a cheek bone.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/21.jpg
Step 17We lower the vertical line down to where the eye will be located. Rename the layer in the "template" and lock it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/22.jpg
Step 18Now create a new "eye" layer at the top. We will start to create eyes. Eyes are probably the most important part of the human face, "eyes are a mirror to the soul." Create an ellipse by using the Ellipse Tool (L). Select the right and left anchor point and convert the points to corners.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/23.jpg
Step 19Now raise the outer corner by turning the eye counterclockwise.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/24.jpg
Step 20Select the eye and add anchor points. Making the internal part of the eye slightly concave by using the Direct Selection Tool (A). Convert he extreme left anchor point to Smooth.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/25.jpg
Step 21Now we'll build the lashes. Take the Pen Tool (P) and create the shape of the lashes. Also, create a line to emphasize the thickness of the lower eyelid.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/26.jpg
Step 22Create two ellipses: the pupil and iris.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/27.jpg
Step 23Copy and paste in front the contour of the eye, select the iris, pupil and contour of the eye, before making the clipping mask.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/28.jpg
Step 24Now we'll make an art brush. First create an ellipse, then convert the right and left anchor point to a corner. Drag the shape to the Brushes palette. Drawing the fold of skin, parallel to the boundary of the upper eyelid using the Pen Tool (P). Now apply the new brush.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/29.jpg
Step 25Select all the objects the of the eye and group them (Command + G). Now go to Object > Transform > Reflect, choose Vertical and press Copy. Place the eyes in the right places of the template.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/30.jpg
Step 26Now we'll make a new "mouth" Create a form for the upper and lower lips by using the Pen Tool (P). Place the lips in the correct places of the template.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/31.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/32.jpg
Step 27Now let's make a new "nose" layer. We denote the minimum number of lines to the nose. The tip of the nose should be located at the intersection of the straight lines shown below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/33.jpg
Create an ellipse, drag it into the Brushes palette to make a new art brush. Select the nostrils and apply the new brush.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/34.jpg
Step 28Take the Pen Tool (P) and create a curve in the form of an eyebrow. Create a new art brush and apply it to the curve.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/35.jpg
Step 29Now we'll create a new "ear" layer. Take the Pen Tool (P) and create the shape of the ear and skin folds. Select all the objects of the ear and group them (Command + G).
Now go to Object > Transform > Reflect, select Vertical and press Copy. Place the ears in the correct areas of the "template." The height of the ear is the height of the upper eyelid to the tip of the nose.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/36.jpg
Step 30Now we'll make the "face" layer. Copy the path from the template and paste it in this layer.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/37.jpg
Step 31Let's create the hair next. First make two new layers: "hair front" and "hair back." Place the layer "hair front" above all the layers, and place the layer "hair back" below all the layers. Now take the Pen Tool (P) and create a shapes for the hairstyle.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/38.jpg
Step 32Now we'll create a new "neck" layer. Use the Pen Tool (P) and create a shape of the neck.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/39.jpg
Step 33Now we'll be getting into more subtle work on the portrait. Go to the "eye" layer. Fill the iris with a radial gradient that goes from white to green (C=57, M=26, Y=60, and K=10).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/40.jpg
Step 34Now we'll decide where to place the source of light. I placed the light source right in the center. Location of the light source determines where we will have flashing in her eyes, and in the future it will determine the location of the shadows on the face. Create glare in the eye by making an ellipse, fill it with white, and give it no stroke.
Now take the Pen Tool (P) and create a shadow on the upper eyelid. In the Transparency palette, change the blending mode to Darken, Opacity to 100%. Now fill the eyeball with a radial gradient that from white to light pink (C=7, M=12, Y=9, and K=0). Take the Pen Tool (P) and emphasize lashes.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/41.jpg
Step 35Now we'll make the corner of the eye. Create a shape and place it under a clipping mask as shown. Create a white ellipse that will act as a highlight in the corner of the eye.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/42.jpg
Step 36Now create the other eye corner for the left eye. Pick a place on the right.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/43.jpg
Step 37Go to the "mouth" layer. Fill the lips with a linear gradient from pink (C=27, M=100, Y=100, and K=26) to red (C=27, M=73, Y=76, and K=16).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/44.jpg
Step 38Create a series of white ellipses to use as highlights on the lips.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/45.jpg
Step 39Go to the "face" layer and fill it with a skin tone color (C=2, M=11, Y=21, and K=0). Now use the Pen Tool (P) to create a form of shadows on the face. Fill in the shadow color (C=5, M=18, Y=38, and K=0).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/46.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/47.jpg
Step 40Similarly, shade the neck.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/48.jpg
Step 41Use the Pen Tool (P) to create a shadow for the hair. In the Transparency palette change the blending mode to Darken.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/49.jpg

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Step 42Let's turn to the "hair" layer. Use the Pen Tool (P) and create the strands of hair.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/50.jpg
ConclusionSome designers have difficulty creating a portrait, as you can see there is nothing overly complicated in the process used here. I hope you get pleasure from this lesson. Dear friends, write a comment if you are interested in the continuation of this theme, as we could cover more portrait types and creating human figures in future tutorials. Good Luck!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/263_Human_Face/final.jpg
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https://design.tutsplus.com/tutorials/modeling-the-human-face-in-illustrator--vector-3368

covietforum
27-09-2017, 12:42 PM
Modeling the Human Body in Adobe Illustrator
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/00.jpg

In this tutorial we will use Adobe Illustrator to create the ideal proportions of a female figure. Factors such as race, sex and personality do not allow us to apply strict rules concerning proportions. By learning the skills in this tutorial you will be well on your way to drawing any shape and size of body. Let's get started!
Step 1Launch Adobe Illustrator and create a new document 600 by 600 pixels in size. The height of a head is considered to be the unit of measurement for the human body. Human height on average equals 8 heads. Take the Ellipse Tool (L) and create an ellipse in the shape of human head. The height of the ellipse is 90 pixels, the width is 68 pixels. The technique of creation of a human head is covered in detail in my tutorial Modeling the Human Face in Illustrator (http://vector.tutsplus.com/tutorials/illustration/modeling-the-human-face-in-illustrator/). Name the layer with the created ellipse 'Diagram'.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/1.jpg
Step 2Create a new layer called 'Guides' below the 'Diagram' layer. Now create a vertical guide line passing through the center of the ellipse. To create the guides go to View> Show Rulers and drag the vertical ruler to the right. Then create a horizontal guide passing through the upper point of the ellipse. Create another 7 head sized horizontal guides (90 pixels). Select the horizontal guide, and go to Object> Transform> Move. Apply the settings shown on the picture below and press Copy. Paste your copy 7 times using Command + D.
The guides are the basic lines and determine the height of the person and the location of key elements. Numbers on the picture denote the lines: 1 - chin, 2 – nipples, 3 - navel, 4 – crotch, 5 – fingertips, 6 - bottom of the knees, 7 - middle of the shin, 8 - floor.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/2.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/2a.jpg
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Step 3Define the length of the arms and shoulder line. The length of the arm is 3 integers and 3/4 or 15/4 of head height. Thus the length of the arm is 90 pixels * 15/ 4 = 337.5 pixels. Select guide 5 and go to Object> Transform> Move, apply the settings shown on the picture below and press Copy. So this is how we got the guide of the shoulders, mark it with the letter A. Lock the layer Guides and move on to the layer Diagram.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/7.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/8.jpg
Step 4Create the line of the shoulders at the A guide. The length of the line will correspond to the width of the shoulders and for women it approximately equals to 1.5 of the head height (90 * 1.5 = 135 pixels), the center of the line should lie on the vertical guide. Draw a line of hips on the guide 4, the length of this line equals to the width of the shoulders. The girl will lean on the right leg, so bend the lines to each other from the right side of the figure.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/9.jpg
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Step 5Create two triangles that overlap each other with the apexes on the guides A and 4. Triangles intersect at points B and C, show the location of the waist and its width. The main advantage of building the human figure using two triangles is that it helps to understand the proportions between four extreme points of the torso. When viewed from the front, as well as from the back, the apex of each triangle is at the same point - at the neck and at the crotch.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/12.jpg
Step 6Create two small circles on guide 2, which will show the location of the nipples, the distance between the nipples is equal to the head height (90 pixels).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/13.jpg
Step 7Create axial lines of the legs. Let's start with the hips. The hips are located at a certain angle to each other and reach to the horizontal 6. The knee of the right straight leg should be over the horizontal 6, the bent knee of the left leg should be placed below this horizontal. The knees are marked as ellipses. Now create the axial line of the shin. The shin of the left leg is shorter than one of the right leg, as the leg is bent and it is farther from the viewer.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/14.jpg
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Step 8Draw the contours of the legs with straight lines. The hip narrows towards the knee, then the shin broadens down the knee in the shape of gastrocnemius muscle and then narrows again towards the foot.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/17.jpg
Step 9Now schematically draw the arms. Green line indicates the axis of the shoulder, the red line is the axis of the forearm. We assumed that the elbow is slightly higher the guide 3 (above the navel) in fact this is the way it is, you can check this out on your own figure. Hand is slightly higher the middle line (guide 4).
The girl will keep her hands on the sides, turn the green line clockwise relating to the point D, using the Rotate Tool (R). The hand in this position will be taken back a little bit, so the distance of DF will shorten to DG. Move the upper point of the forearm to the point G and turn it relating to this point. Using the same technique build the axial lines of the left hand.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/18.jpg
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Step 10Draw the contours of the hands with straight lines. The arm narrows towards the elbow and from elbow towards the wrist.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/23.jpg
Step 11Draw the contour of the neck with straight lines, the blue arrows show the line bounding the trapezius muscle.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/24.jpg
Step 12Thus, the diagram is ready, lock the layer. Create a new layer called 'Body' over the 'Diagram' layer. In this layer we will create the body of a girl, guided by the points and lines of the diagram, as the visual aid I chose the red color as the color of the stroke, work using the Pen Tool (P).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/25.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/26.jpg
Step 13It will be convenient for our work if we create the body, arms, and legs as separate objects.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/27.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/28.jpg
Step 14Take the Ellipse Tool (L) and create breasts and position them in place.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/29.jpg
Step 15Now create hands. Using the Pen Tool (P) create the shape of a hand. Create Art Brush for the fingers. Using the Pen Tool (P) create the shape shown on the picture below; now drag this shape to the Brushes palette. Using the Pen Tool (P) draw the axis lines of the fingers and apply the created brush. Select the fingers and go to Object> Expand Appearance, then select the fingers and wrist, and press Add from pathfinder box. Using the same technique, create another hand.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/30.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/31.jpg
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https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/36.jpg
Step 16Now create the feet. Using the Pen Tool (P) create the shape of a foot and join this shape with a shin, using the Pathfinder box. Create another foot the same way.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/37.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/38.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/39.jpg
Step 17Fill all the shapes with the colour of your choice, I've used light brown (C3, M36, Y63 and K0) and outline with a black stroke in order to see the contours of the body, the stroke will be deleted later.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/40.jpg
Step 18Work out the details starting with the head. Take the template from the tutorial Modeling the Human Face in Illustrator (http://vector.tutsplus.com/tutorials/illustration/modeling-the-human-face-in-illustrator/) and place it in the right place. Create the face, using the tips of this tutorial.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/41.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/42.jpg
Step 19Let us take a quick break from the body and create a background. Create a layer and name it 'BG', position it below all the layers. Now take the Rectangle Tool (M) and create a rectangle in the size of the document. Fill the rectangle with a linear gradient containing three colors: white, sky-blue, and blue.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/43.jpg
Step 20Feel less tired? Let's get back to work. Suppose that the light source is to the left of the girl, therefore, the lights will be on the left and the shadows – on the right. Let us review the techniques of creating shadows. Create the shape of shadow with the pen (color shade (C10, M50, Y73 and K0). Copy the shape of shadow and paste it in back, deform as shown on the picture below, the fill color of this shape is the same as the color of the skin (see step 18). Select both shapes and apply the Blend (Object> Blend> Make ), set the Smooth Color in the dialog box.
Now copy the shape of the body and paste it in front, move up the copy in the layers palette so that it seems higher than Blend. Select the upper body shape and the blend and go to Object> Clipping Mask> Make. If you do not like the result, you can always edit original shapes included in the Blend using the Direct Selection Tool (A).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/44.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/45.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/46.jpg
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https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/48.jpg

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Step 21Thus, we have created all the shadows and lights on the body of the girl. There are a few stages of creating shadows and lights on the pictures below. Notice that I use the color (C0, M27, Y50 and K0) as the color of the light areas. You can use a linear or radial gradient on some easy sections. Red arrows on the picture below show the location of lights, and the blue ones show the location of shadows.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/49.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/50.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/51.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/52.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/53.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/54.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/55.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/56.jpg
ConclusionI hope that through simple and understandable methods offered in this tutorial, you will realize that it is quite possible to draw a nice human figure. Work hard and if you learn to draw people, you can draw almost anything. But remember, the secret to success is perseverance.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/301_human_body/00.jpg



https://design.tutsplus.com/tutorials/modeling-the-human-body-in-adobe-illustrator--vector-3561



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covietforum
27-09-2017, 12:44 PM
How to Illustrate Deliciously Realistic Grapes using Simple Techniques
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/0.jpg


In this tutorial we will learn how to illustrate a bunch of grapes using basic Adobe Illustrator tools. You will learn how to render multiple light sources and how to model a complex object using simple shapes and techniques. Let’s get started.
Step 1Create a new document. We will start our illustration by drawing a single grape. Take the Ellipse Tool (L) and create an ellipse with a blue fill color (C= 83, M= 72, Y= 39 and K= 26) - this will be the basic color of the grapes.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/1.jpg
Step 2Now create a grape cluster by duplicating the first ellipse. You can easily duplicate the shape by holding down the Alt key and dragging the ellipse with the mouse.Then create an arbitrary contour of grape cluster by using the Tool (P). The grape cluster will be formed gradually by filling in three levels with the ellipses: the lower, the middle and the upper. Start with the lower level, arbitrarily positioning berries along the contour of the cluster.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/2.jpg
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Step 3Determine the light source. In order to bring more volume to the grapes let’s assume that we have two light sources: direct light – the first one (1), and reflected light – the second one (2).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/5.jpg
Step 4Change the solid fill color of the berries to a radial gradient. Start with the berries located closest to the first light source. Fill the berries with a radial gradient from blue (C= 83, M= 72, Y= 39 and K= 26) to a light-blue color (C= 62, M= 44, Y= 27 and K= 2) then use the Gradient Tool (G) to properly arrange the colors according to the location of the light source.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/6.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/7.jpg
Step 5Repeat the previous step with the berries located closer to the second light source. The intensity of the second light source is less than that of the first one, so the second gradient will be darker. So fill the berries with radial gradient from blue (C= 83, M= 72, Y= 39 and K= 26) to blue (C= 68, M= 54, Y= 33 and K= 9).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/8.jpg
Step 6Using the previous technique, introduce the third reflected light source, fill the upper berries with a radial gradient in the upper right corner of our image. Now group up all the berries of the lower level and name the group "Level 1".
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/9.jpg
Step 7Create the middle and the upper layer of the berries using the same technique.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/10.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/11.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/12.jpg
Step 8So far, we have achieved a pretty good result, although our image requires some further editing. First, let’s fill the gaps in the cluster. With the help of the Direct Selection Tool (A) change the shape of the cluster’s contour so that it doesn't protrude out from the berries. Keep the contour selected and go to Object> Arrange> Send to Back and fill the shape with the color (C= 75, M= 74, Y= 58 and K= 76).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/13.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/14.jpg
Step 9Let’s get down to more personalized settings. Move the berries around to make the gaps more realistic and balanced, some berries may have to be deleted, or added.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/15.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/16.jpg
Step 10Adjust the gradient. Start working with the berries that don't overlap the other ones. As these berries are the closest to the light and don't have any shadows, they will be lighter than the others. Add a new slider in the gradient palette as shown in the figure below. Now remove the leftmost slider and drag the central slider to its place. Do not forget that our berries are grouped, so use the Direct Selection Tool (A) to select them.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/17.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/18.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/19.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/20.jpg
Step 11Darken the shadowed berries that overlap other berries. To do this, select the left slider in the gradient palette and change its color to a darker one, increasing the value of K in the color palette. Repeat this process for the rest of the berries. This work is painstaking, but very exciting.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/21.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/22.jpg
Step 12We will now create abrasions and scratches on the berries. Using the Pen Tool (P) create a 'jellybean' shape on the surface of the berry and fill it with white. Using the Mesh Tool (U) set a grid point in the center of the created shape. Change the color of this point to (C= 80, M= 77, Y= 50 and K= 55). Using the Selection Tool (V) select the shape again and change the Blending Mode to Multiply in the Transparency palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/23.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/24.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/25.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/26.jpg
Step 13Use the Pencil Tool (N) to create scratches. Adjust this tool before you start working. Double-click on the Pencil icon in the Toolbar, type the values shown in the figure below into the dialog box. Choose the color of the stroke (C= 80, M= 77, Y= 50 and K= 55). Let’s start drawing scratches. Diversify the scratches by changing the transparency and stroke width.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/27.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/28.jpg
Step 14To give the grapes a more realistic look, put abrasions and scratches on some of the berries.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/29.jpg
Step 15It's time to create some water drops on the grapes. Take the Ellipse Tool (L) and create an ellipse with a linear gradient from blue (C= 75, M= 62, Y= 58 and K= 8 ) to dark blue color (C= 80, M= 77, Y= 50 and K= 55). Now create another ellipse smaller than the first one with a radial gradient fill from white to blue color (C= 75, M= 62, Y= 28 and K= 8 ). Finally, create another ellipse, smaller than the second one. Set the same radial gradient fill, but change the center location. This is a very simple and effective way to create a water drop.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/30.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/31.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/32.jpg
Step 16There's no such thing as two identical water drops. With the technique we used before, create a few different variants of the drop. The more variants you have, the more realistic your image will be. Position the drops on the lower part of the cluster, they can be scaled, rotated and changed in transparency depending on the illumination intensity. Name the current layer "Grape".
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/33.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/34.jpg
Step 17Create a new layer on top of the "Grape" layer and name it "Leaf ". Using the Pen Tool (P) create the shape of a leaf. Fill the leaf with a radial gradient consisting of three shades of green - 1 (C= 72, M= 22, Y= 100 and K= 6), 2 (C= 68, M= 7, Y= 100 and K= 0), 3 (C= 50, M= 20, Y= 100 and K= 2).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/35.jpg
Step 18Divide the leaf into several parts. Create five lines as shown in the figure below with the Pen Tool (P). Select all the lines and the shapes of the leaf and press the Divide button in the Pathfinder box. Ungroup the leaf elements and adjust the gradient fill of each segment with the help of the Gradient Tool (G). This operation will add realism to our image.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/35a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/35b.jpg
Step 19Select all the segments of the leaf and go to Effect> Artistic> Sponge. Set the following values in the dialog box: Brush Size 5; Definition 8; Smoothness 1.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/36.jpg
Step 20Create the veins on the leaf. Using the Pen Tool (P), create the vein shape. Drag the shape into the Brushes palette, select the Art Brush you have just created in the dialogue box.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/37.jpg
Step 21You will now create the veins of the leaf with the Pen Tool (P). Once you have made the veins, select them and click on the Brush you made in the previous step, this will turn your lines into stylized brush strokes that should look just like veins on a leaf. Select the veins and go to Object> Expand Appearance. With the veins still selected, click Add from the Pathfinder box and then Press Expand. Fill the veins with a radial gradient consisting of four colors: 1 - Brown (C= 25, M= 68, Y= 100 and K= 13), 2 - Green (C= 41, M= 23, Y= 100 and K= 2 ) 3 - Green (C= 35, M= 20, Y= 94 and K= 1), 4 - Green (C= 37, M= 21, Y= 97 and K= 2).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/38.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/38a.jpg
Step 22Create a stalk shape and fill it with a linear gradient consisting of three colors: 1 (C= 54, M= 50, Y= 65 and K= 27, 2 (C= 50, M= 35, Y= 65 and K= 10), 3 (C= 49, M= 15, Y= 100 and K= 1). Using the Pen Tool (P) create a stem between the leaf and branch, and fill it with the same gradient as the leaf veins.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/39.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/40.jpg
Step 23To add volume to veins on the leaf, take the Pen Tool (P) and create reflections of light and shadow on the veins. Use the following colors for the linear gradient reflection: 1 - (C= 23, M= 15, Y= 87 and K= 0) 2 - (C= 27, M= 17, Y= 89 and K= 0). Colors of the linear gradient shadow: 1 - (C= 36, M= 30, Y= 95 and K= 4), 2 - (C= 42, M= 43, Y= 96 and K= 15), 3 - (C= 29, M= 20, Y= 90 and K= 0).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/41.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/42.jpg
Step 24Using the Pen Tool (P) make a grape tendril. Create a curved line without a fill, the color of the stroke doesn't matter at this stage.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/43.jpg
Step 25Create a New Art Brush. Create a shape similar to the one shown in the figure below and drag it into the Brushes palette. Apply the brush to the line created in step 24. Keeping the tendril selected, go to Object> Expand Appearance and then to Object> Path> Clean Up. Fill the shape with a linear gradient consisting of seven colors: 1 - (C= 50, M= 20, Y= 100 and K= 2), 2 - (C= 25, M= 68, Y= 99 and K= 13) 3 - (C= 41, M= 23, Y= 100 and K= 2), 4 - (C= 23, M= 15, Y= 87 and K= 0), 5 - (C= 35, M= 20, Y= 94 and K= 1), 6 - (C= 27, M= 17, Y= 89 and K= 0), 7 - (C= 38, M= 21, Y= 97 and K= 1).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/44.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/45.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/46.jpg

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Step 26Create dimension on the grape tendril using the technique and gradients described in step 23.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/47.jpg
ConclusionTo finish your illustration, add a soft gradient to the background. The key to making a realistic illustration is to pay close attention to the details, the human eye is great at picking up on things that don't look right. If your illustration isn't as 'real' as it could be, try looking at some reference images and adding (or even subtracting) some detail. Best wishes.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/310_Deliciously_Realistic_Grapes/0.jpg


https://design.tutsplus.com/tutorials/how-to-illustrate-deliciously-realistic-grapes-using-simple-techniques--vector-3588 (https://design.tutsplus.com/tutorials/grape1.jpg)

covietforum
27-09-2017, 12:44 PM
How to Illustrate Dynamic Hair Using Adobe Illustrator's Paintbrush Tool
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/Final.jpg


This tutorial will show you how to create a dynamic hairstyle from a reference image. You will use the Paintbrush Tool, basic skin shading and transparent gradients.
Step 1I'm going to use a stock image by the wonderful NikxStock (http://nikxstock.deviantart.com/), specifically Nervosa (http://nikxstock.deviantart.com/art/Nervosa-96971963). The reason why I've chosen this image for the tutorial is because of her wonderful neck definition and her hair is tied up.
Open the image in Photoshop. In order to see the shadow and the highlights on the skin, it's handy to increase the contrast of the reference. So go to Image > Adjustments > Curves and apply the settings shown below.
If you're using another image, you may need to adjust the contrast so you can see these areas.
Now save the image by going to File > Save for Web & Devices > change the width to say 800 and click Save. The reason for this placing, is to leave enough room for some crazy hair!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/1.jpg
Step 2Open Illustrator and start a New document by going to File > New > select the Basic CMYK and click on OK. Go to File > Place and locate your reference image. Using the Free Transform Tool (E), resize the image equally by holding Shift + Alt and grabbing a corner to move the reference image into a place you feel comfortable with on the canvas.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/2.jpg
Step 3I like to keep my layer folders organized, so double click on "Layer 1" rename it "Reference" and lock it. Click on the Create New Layer button and double click on "Layer 2" and rename it "BG".
In this layer folder, using the Rectangle Tool (M), draw a white rectangle to cover the entire canvas. Lower the Opacity of this to 30%. I do this as it mutes the colors of the reference image and makes it quicker to hide the "BG" to see the original in it's true colors by clicking the Toggle Visibility of the layer on and off. Lock the "BG" layer for now.
Create a New Layer and rename it "Lines". This is the layer we're going to work in to draw the basic lines of the reference. Below is what your layer palette should be looking like.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/3.jpg
Step 4Before I begin to draw the lines on this piece, I'm going to need to create 2 handy brushes which can be found in a previous tutorial , Create CS5 Width Profile Brushes in any Version of Adobe Illustrator CS (http://vector.tutsplus.com/tutorials/tools-tips/create-cs5-width-profile-brushes-in-any-version-of-adobe-illustrator-cs/). The ones specifically that I'm going to use are "Width Profile 1" and "Width Profile 4".
Step 5Now we have our 2 brushes, I'm going to start drawing the basic line art for the girl. I'm going to use the Pen Tool (P) and with the fill color as null and the line color as black, I'm going to start from just past the top of her hair line.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/4.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/5.jpg
Draw where the shoulder outline should be but don't worry, because if it doesn't look right, you can always draw some crazy hair over it later on. Once you've taken the line down her arm, click on the "Width Profile 4" brush, repeat on the other side and apply the same brush.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/6.jpg
Step 6Zoom into the ear. Again with the Pen Tool (P), draw the following areas for the ear and apply the "Width Profile 1" brush.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/7.jpg
Then draw a further line; making sure it starts on the line and draw outwards for the side detail of the ear. Apply "Width Profile 4" to it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/8.jpg
Change the initial line around the ear to Stroke Weight 0.75pt and the inside lines to 0.5pt.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/8a.jpg
Step 7Now draw the following for the nose and apply "Width Profile 1" to it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/9.jpg
Change the Stroke Weight to 0.5pt.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/10.jpg
Step 8Next, draw lines along the collar bone. These will be "Width Profile 1" and a Stroke Weight of 0.5pt.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/11.jpg
Step 9The next line may need a little trial and error, placement wise. Starting your line on the main line of face, you'll need to draw along the bottom of the jaw line and slight definitions in the neck with the following Stroke Weights.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/12.jpg
Step 10Zooming into the lips, I'm going to draw the outline and use "Width Profile 4".
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/13.jpg
Now using the Direct Selection Tool (A), I'm going to click then click drag on the point where the lips meet and reposition it. The reason why I'm doing this is to avoid having to draw a detailed look to the lips and open mouth and to also give the lips a more plump look. I'm also going to move the point below it to plump up the bottom lip.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/14.jpg
Then I'm going to draw a line for the parting of the lips with "Width Profile 4" on.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/15.jpg
Step 11I'm going to work on the eye now, so zoom into that area. First draw the initial lines and shape for the eye as follows.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/16.jpg
Note that the outline of the eye and lashes is "Width Profile 1". Next, draw the eyelid with "Width Profile 4" and on 0.5pt Stroke Width. I've colored one of the lines to show you it was done with 2 lines.
Add a line with the "Width Profile 1" brush with a 0.5pt Stroke Weight and then start adding the eyelashes to the top and bottom lid at 1pt with the "Width Profile 4" brush.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/17.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/18.jpg
Step 12I want to enlarge the eye, so with the Direct Selection Tool (A) select all of the lines for the eye. Then using the Free Transform Tool (E), hold Shift + Alt and grab a corner and pull out to increase the size in equal dimensions.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/19.jpg
Step 13Now lock the "Lines" layer folder and Create New Layer and rename it "Hair". What I find useful with doing hair is to hide the outline of the artboard. The reason I do this is so I'm mentally not limited by the boundaries as this can always be altered. So go to View > Hide Artboards (Shift + Control + H). Hide the "Reference" layer by clicking on the Toggle Visibility eye on the layer palette.
Step 14Time to draw a rough outline of where you'd like to place your hair. I tend to draw this with the Paintbrush Tool (B) and use a lot of Undoing (Control + Z) to make sure I get the look I want, I actually have one of my tablet pen buttons set to undo! What I find helpful is drawing a rough outline to where the hair line would be and the skull. This is so I know that whatever I draw, this is the main area where hair must be present.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/20.jpg
If you've got an area of the line art where you've guessed where the shoulders are going to be, draw in the direction of where you think the hair should be lying. So for example, if I was uncomfortable with the shoulder, I could roughly sketch the following:
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/21.jpg
Another helpful tip is to draw where the hair parting could be. With this you can judge the direction of where the hair would lie.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/22.jpg
Don't worry about how messy it is, this is just a sketch and will help you when we get to the next stage. For this illustration however, I've decided I'd like to go for the following style.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/23.jpg
Select All (Control + A) and Group them together (Control + G). Then lower the Opacity of the group to 30% and then lock the group only.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/24.jpg
Step 15To make sure we have clean lines for along the side of the face and to make it easier in later stages, I'm going to draw a shape for the shape of the face.
Open up the "Lines" layer and Select All (Control + A) and Copy (Control + C). Lock the "Lines" layer again. Create New Layer below the "Lines" layer and rename it "Face". Paste in Place (Control + Shift + V) the lines you've just copied. What I now want to do is combine the lines for the overall shape of the face. To do this I'm going to use the Pen Tool (P) and just click on one of the points which will then allow me to connect it with the point opposite it by clicking it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/25.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/26.jpg
Now lock this shape and Select All (Control + A) and delete. This will leave just the outline of the face within the "Face" layer folder.
Unlock this shape and change the fill color to White and the stroke color to null. Then lock the "Face" layer. We'll come back to this later on.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/27.jpg
Step 16Create New Layer under the "Face" layer folder and rename it to "Hair Behind".
I'm going to start drawing the hair and it's a lot easier than you think. By using the "Width Profile 4" brush in a variety of Stroke Weights, you can make smooth, clean strands of hair. I'm going to use the Paintbrush Tool (B) with the fill as null and stroke as black. First the initial strokes in the "Hair Behind" layer with the Stroke Weight of 40pt.
As you can see, the white face shape we created in the "Face" layer is ensuring we have a clean line along the face. I've just followed the lines of my sketch in the placement of the lines.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/28.jpg
Step 17Go into the "Hair" layer folder and using the Paintbrush Tool (B) with "Width Profile 1" brush and the Stroke Weight of 1pt, I'm going to draw the hair line. You'll need to draw in the direction of where the hair is flowing. Now Select All (Control + A) and Object > Expand Appearance and click on OK. Using the Pathfinder options select "Add".
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/29.jpg
Step 18Using the Pen Tool (P) with the fill as black and the stroke as null, use the hair line you've created as a guide. I'm going to fill in the gaps on and create a shape to cover this side of the face/skull. Select this shape you've made and the hairline shape and select Add on Pathfinder. You should be left with the following.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/30.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/31.jpg
Step 19Still in the "Hair" layer folder, using the Paintbrush Tool (B) with "Width Profile 4", fill null and the stroke black with the Stroke Weight of 40pt, add the larger pieces of hair. As you can see, I've added pieces of hair over the shoulders as I'm not 100% confident with their lines.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/32.jpg
Step 20Reduce the Stroke Weight to 20pt and start drawing finer strands of hair in the "Hair" and "Hair Behind" layer folders.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/33.jpg
Reduce the Stroke Weight again to 10pt and draw further strands.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/34.jpg
You can keep on going as far as you wish by reducing the Stroke Weight to give more detailed hair. However I'm going to stop at this. Remember to scroll to the bottom of your "Hair" layer and hide the sketch so it doesn't show. Lock the "Hair" and "Hair Behind" layer folders.
Step 21Create New Layer above the "BG" layer folder and call it "Background". Choose a color to fill a shape to cover the canvas. Use the Rectangle Tool (M) to draw the shape, making sure that you give enough space around the vector so it looks balanced at all edges. I'm going to choose a brown shade from the default Basic CMYK swatch which is C=40, M=45, Y=50 and K=5.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/35.jpg
Lock the "Background" and go into the "Face" layer folder and select the white shape used to block the hair in the background. Color this the same color as you have the "Background" shape. Then lock the layer folder.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/36.jpg
Step 22As you may have noticed, the edges of the black lines are crisp, so go into each one of the folders containing the black strands. Select All (Control + A) and set the Blending Mode to Multiply. Then lock those layers after use.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/37.jpg
Step 23Create New Layer above the "Face" layer folder and call it "Gradients". Create the following radial transparent gradient with a color complimenting the background color. I've chosen another color from the Basic CMYK swatch of C=25, M=25, Y=40, K=0. Remember to drag and drop this gradient into your swatch palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/38.jpg
Step 24I'm going to use this gradient to show the highlights in the skin. You will need to use the Pen Tool (P) to draw the initial shapes.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/39.jpg
Then the Gradient Tool (G), to modify the gradients source and shape to suit the highlight area.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/40.jpg
Repeat this for each of the areas which have highlights on the skin.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/41.jpg
Step 25I'm then going to Select All (Control + A) the gradients and change the Blending Mode to Screen and the Opacity to 50%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/42.jpg
Lock the "Gradients" layer folder and go into "Face". Select the shape within there and Copy (Control + C) and Paste in Front (Control + F). With the new shape still selected, fill it with your highlighting gradient. Using the Gradient Tool (G), modify the source and shape of the gradient so it's off set the shape and giving a slight shine to one side of the face. Lock all your layer folders.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/43.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/44.jpg
Step 26Create New Layer above the "Gradients" layer folder and rename it "Details". Creating the same sort of gradient we did for the highlighting gradient, I'm going to add 2 shapes to emphasis the eye and the lips. For the lips I'm using C=0, M=95, Y=20, K=0. For the eye I'm using C=100, M=0, Y=0, K=0.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/45.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/46.jpg
Step 27Using the Paintbrush Tool (B) with the fill as null, stroke as black, Stroke Weight as 0.5pt, Blending Mode as Multiply and "Width Profile 1" I'm going to start to draw the eyebrows in the "Details" layer folder.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/47.jpg
Step 28I want to add some moles to the skin so it doesn't look completely perfect. So using the Ellipse Tool (L) with the fill as black and stroke as null, I'm going to start to draw them around the skin and face. Not too many, enough to give it a little character. Lock the "Details" layer folder.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/48.jpg
Step 29Create New Layer below the "Hair" layer folder and rename it "Details 1". Using the Ellipse Tool (L); draw two circles as a reflective light source on the eyes. I'm filling it with a white to white transparent radial gradient. Using the Pen Tool (P), with the fill of black and stroke null, I'm going to add a bold eyeline on the top of the eyelid.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/49.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/50.jpg
Step 30Using the Ellipse Tool (L) with the fill as null, the stroke as black and the Stroke Weight as 5pt, draw a circle for the earring. Then go to Object > Expand and click on OK.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/51.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/52.jpg
Step 31I now want to cut away some of this shape so it looks like the hoop earring is going through the ear. To do this I'm going to draw a shape on top of the hoop using the Pen Tool (P). Selecting this shape and the hoop, and then using Minus-Front from the Pathfinder options.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/53.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/54.jpg

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Step 32Change the fill color to a bold color, in this case I'm going to use yellow (C=0, M=0, Y=100, K=0) and change the stroke color to black and the Stroke Weight to 0.75pt.
Then go to Object > Expand and click on OK. Drill down into the group this has created and select the yellow shape. Copy (Control + C) and Paste in Front (Control + F). Fill it with a White radial gradient and using the Gradient Tool (G), position it to look like a shine on the hoop. Lock this layer.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/55.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/56.jpg
ConclusionCreate a New Layer at the top of your layer palette and call it "Hair 1". For the finishing touch, I'm going to add a few strands of color onto the hair. I do this with the Paintbrush Tool (B), using the fill as null, stroke as the same pink I used in the lips gradient C=0, M=95, Y=20, K=0 and "Width Profile 1".
Here is your finished image! You can use the same base image and experiment with different hairstyles. Enjoy!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/342_dynamic_hair/Final.jpg


https://design.tutsplus.com/tutorials/how-to-illustrate-dynamic-hair-using-adobe-illustrators-paintbrush-tool--vector-3846

covietforum
27-09-2017, 12:46 PM
Make a Fairy-Tale Inspired Magical Hand Shaped Vine
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-31.jpg


A few times a each month we revisit some of our reader's favorite posts from throughout the history of Vectortuts+. This tutorial by Jonathan (http://www.jonathanpatterson.com/) was first published on July 14th, 2008. This tutorial shows how vector can be used to create deep and complex illustrations with a few well placed techniques. If you haven't done this tutorial yet, then get to it now!
In this tutorial, we'll show the intermediate to advanced Adobe Illustrator artist how to make a fairy-tale inspired magical vine that is shaped like a hand. You should have a basic understanding of Adobe Illustrator tools before you begin this tutorial.
Step 1Take a photo of your hand or have someone else pose for you. The more interesting the hand position, the more interesting your final artwork will be. Make sure you take the photo at a high enough resolution. This way it's easy to see where the details of the hand are.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-1.jpg
Step 2Once you have the photo placed inside Adobe Illustrator, you can put it on its own layer. Then turn the visibility of that layer off. Using the Ellipse Tool (L), draw a condensed ellipse. Select a nice rich brown color for the fill.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-2.jpg
Step 3Select the Gradient Mesh Tool (U), pick a second slightly lighter brown color, and make one or two points inside the ellipse. This will give the vine some depth (notice how the edges on the vine are darker.) Also, make a copy of the vine, and keep it off to the side of your artboard.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-3.jpg
Step 4Turn the layer that has the image of your hand on. Place the vine on an angle, and make sure it doesn't exceed the length of the hand and arm. In the next step, we'll use the Warp Tool (Shift+R), and it has a tendency to elongate any shape you manipulate with it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-4.jpg
Step 5Select the Warp Tool(Shift+R), and match the contour of the hand. You do not have to match every contour perfectly, considering the final artwork is intended to look somewhat natural. You will need to repeatedly warp each piece of the vine to get it in the right position.
Power Tip: Double-click on the Warp Tool to change its pressure or size. You can also change its size without double-clicking by holding down Shift+Alt, while you click-and-drag.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-5.jpg
Step 6Continue following the contour of the hand.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-6.jpg
Step 7It's easiest to trace the entire edge of the hand before adding vines within the body of the artwork. Again, the Warp Tool will significantly stretch the overall length of your vine. When making vines that contour around smaller shapes, like fingertips, it's important to use a much shorter vine to start off with.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-7.jpg
Step 8Follow the contour of the fingers.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-8.jpg
Step 9Take some creative liberties with how you trace each shape. You may decide to trace each finger instead of how I've illustrated below. The main point is that you trace the basic shapes first.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-9.jpg
Step 10Turn off the layer that has the image of your hand on it. This is what your artwork should look like once you have the basic shape defined. Throughout the process of building up vines, continually turn the layer with your hand photo on and off. This makes sure everything looks good.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-10.jpg
Step 11Continue adding more and more vines to fill in your image. Follow the flow of the artwork so that your vines don't look haphazardly placed. However, use your creative intuition when needed. You'll know when and where to break the rules if need be.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-11.jpg
Step 12Below you can see I took some creative license with how I made the vine. Obviously the finger isn't wobbly like the vine I drew, but it still looks good. Remember, when filling in small areas with vines, you must use a short vine to start off with.
You do not have to fill in every little area. You can place a minimal amount of vines in areas where your photograph has dark shadows, since when things are in shadow you can't see them anyhow. This is evident in Step 14 where the ring finger connects to the main part of the hand. See how there are a limited number of vines there.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-12.jpg
Step 13Once you're done filling in the hand, add some stray vines around the edges to give the artwork a slightly more natural look; as if the vines are growing off into a new direction.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-13.jpg
Step 14Add a deep blueish black gradient behind the artwork. Then place it on its own layer. By simply adding this background you can see how the mood and effectiveness of the artwork changes.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-14.jpg
Step 15This is what your artwork should look like so far.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-15.jpg
Step 16On a new layer make a leaf shape. You can find a maple leaf online and trace it or roughly draw in your own shape, as shown below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-16.jpg
Step 17Giving the leaf variations in color will add to its realism. Using the Pencil Tool (N), draw a shape that looks like mine below. Use the Pathfinder Palette and break-up the leaf into sections. Then delete the leftover shapes that aren't part of the leaf.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-17.jpg
Step 18Select each section of the leaf and give it a subtle color change. This simulates light hitting different parts of the leaf.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-18.jpg
Step 19Copy several of the brown vines we used for the hand. Then adjust their color by going to the top and selecting Edit > Edit Color > Adjust Color Balance. Adjust your variables to match your leaf's color as best as possible. We change the color of several different vines at once so that the color is the same on each one.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-19.jpg
Step 20Make a few copies of the newly colored leaves and vines. Then vary their sizes and place them throughout the structure of the hand.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-20.jpg
Step 21Make a new layer behind the brown vines. Copy a few leaves and green vines and adjust their color to be slightly darker by going to the top and selecting Edit > Edit Colors > Adjust Color Balance.
We're creating the impression of leaves that are in shadow, so make sure all three numbers are the same. Your numbers may not be exactly the same as mine. As long as all three match, you're good to go.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-21.jpg
Step 22Vary the leaves sizes and rotations. Then place them throughout the structure of the hand.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-22.jpg
Step 23This is what your artwork should look like.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-23.jpg
Step 24Make sparkles by using the Ellipse Tool and drawing a condensed ellipse. Copy the ellipse and cross it over the other shape to make a star shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-24.jpg
Step 25Duplicate the shape several more times. Adjust the opacity of some of the sparkles to achieve the effect of each sparkle twinkling.
Make an elegant "S" shape instead of arbitrarily clumping the sparkles together, giving the sense of movement.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-25.jpg
Step 26Put the sparkles in front of and behind the vines to achieve the effect of the sparkles swirling around the hand.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-26.jpg
Step 27Don't go overboard with the sparkles!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-27.jpg
Step 28Draw an arch shape using the Pen Tool.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-28.jpg
Step 29Adjust its opacity and enlarge it to give the impression of stylized wind or general atmosphere.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-29.jpg

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Step 30Make several more arches in varying sizes, shapes, and opacities.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-30.jpg
Step 31Alas, the completed fairy-tale inspired vine is complete!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/20_Fairy_Branches/Picture-31.jpg


https://design.tutsplus.com/tutorials/make-a-fairy-tale-inspired-magical-hand-shaped-vine--vector-34

covietforum
27-09-2017, 12:47 PM
Creating a Maneater Vector Girl through Collaboration
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/final.jpg


In this tutorial you'll see a collaboration between two vector artists. Ashley S. Benson (http://pixelledanddead.deviantart.com/) will be responsible for the initial composition layout and coloring while Sharon Milne (me) will be refining and adding further detailing to the collaboration. You'll learn techniques from both artists and learn some helpful collaboration tips.
IntroductionLet me introduce you to my collaboration partner Ashley S. Benson.
Ashley goes under the name Pixelledanddead and is a vector artist and designer. She begrudgingly resides in Phoenix, Arizona in the United States and has an impulsive affection for bright colors and vector art. In her spare time, she consumes vast amounts of skittles, and plots with her cat to take over the world, or at least Fiji. You can see her work via her deviantART (http://pixelledanddead.deviantart.com/) account.
Ashley and I have been friends for a long time. We originally met due to our passion for vector art and have always wanted to collaborate on a piece together. However the major issue has always been that our styles have differed.
While mine has been of a limited palette and predominately using stock as a base, Ashley uses her own sketches and wild color schemes. The challenge was to find a happy medium, learn to compliment each others skill set, and grow from our experience of collaborating together.
Initial Collaboration DiscussionBefore any collaboration, it's worth laying some ground rules. While in this collaboration we are both comfortable with modifying and removing aspects of each others work, some artists might not appreciate this.
Looking upon our strengths, Ashley's strength is being able to sketch a composition from scratch and put it together, where as mine is using stock which is present and adding to it.
Our initial thoughts are for Ashley to sketch and vector the bases of a powerful female character and then for myself to add further detailing and refine it. This will bring together our key strengths to help make the collaboration work.
So with this in mind, Ashley will begin her portion of the collaboration.
AshleyStep 1In this collaboration we'll be working from the beginning of the project, ie: the sketch; to the final, which will result in a finished vector piece. We chose to go with a female figure as the main body of the piece; and an added element of the alligator to break up the negative space of the composition.
It's good to set boundaries and limit what each member of your collab will be responsible for. In step 1, we've used a simple stick figure to plan out the pose. This one is just a little more detailed, with the addition of joints, hip positioning, and rib cage.
When sketching I personally work with 0.5 lead mechanical pencil; it's a little bit thinner than the 0.7 lead, but I find it really helps to define features well. It also cuts down on a lot of smudging, which happens with heavily leaded areas of the composition. If there is consistent smudging, keep a piece of paper under your hand while you sketch.
When coming up with a standing character, it's important to establish which leg the weight will be centered on. In this case, we're putting the majority of the weight on the right leg.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater1.jpg
Step 2Now we focus on the shape of the body. Curves and circular patterns are necessary for a shapely body. The idea of movement and a recognizable silhouette will strengthen the overall composition. Even though the subject is standing, she has a flow moving from the tips of her hair to the toes of her feet.
Don't focus on perfect lines; this should be a time to feel free to be a little messy with the sketch. A little mess actually encourages movement in the piece, and it will resonate through the entire composition as long as the repetitive lines are kept in the initial sketch.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater2.jpg
Step 3Now we'll includes a pattern of colors to make it easier to focus on each aspect of the features and accessories. The face is a good starting point. This will help to define the mood of the character.
Since the sketch is done in pencil, it makes it easier to adjust the hands, or body positions to suit the face and the surrounding parts of the composition. Starting firstly with the nose, moving on to the mouth, and back up to the eyes, it's best to spend time on the more difficult aspects of the face.
Hair is a strong asset in a sketch. When forming the hair, start from the crown of the head to the tips in a sweeping action. Add clothing, taking care to follow the contour of the body. When there is a tie or a knot against the skin, draw the fabric in a gathering motion.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater3.jpg
Step 4Let's work on the alligator's basic body construction. Combining stylization and reference materials; an original animal creation can be accomplished. DeviantArt is great a great website for finding reference material for sketches. This PNG was found in a search for alligators and AbsurdWordPreferred's (http://absurdwordpreferred.deviantart.com/gallery/#/d2xqipq) gallery was the perfect place to find a clean photograph.
It has great resolution, and it's pretty much a free resource to use. It's good to check the rules before using any stock though. In this rare instance the artist indicates (in their comment section below the reference material) that no credit is needed, and that it can be freely used.
Using the reference stock particularly for the head and legs, the stick figure is made similar to what was accomplished in step 1. This will become very important in the rough sketch of his body parts. The figure is broken down into segmented joints, head, rib cage, and hips. Having a general motion of how the tail and head relate to the other figure in the composition will also make it easier to present a reasonable flow to the other elements.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater4.jpg
Step 5Now we'll work on fleshing the alligator out, while giving him muscle definition in his arms and chest, and giving a rough idea of how the scales of his back and tail will look can be done with a slight reference to the stock being used. This is still a stylized creation, so parts can be exaggerated.
Be aware that his mouth isn't straight forward like suggested in the initial stick figure sketch described in Step 4. He has ridge detail in the upper and lower jaw lines . In the PNG, he has a pouch under his neck, he's not realistic in this sketch so it would look a little off to put the collar on him at the same position as his pouch of skin.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater5.jpg
Step 6We'll work on completing the sketch in this step. Both of the characters have been accessorized with jewelry; and any unclear lines and contours have been more clearly defined. The sketch still retains most of the previous line work from step 2 onward, but the main lines will not be lost because they've been drawn and enhanced a few times during the entirety of the process. Movement is better conveyed as a result.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater6.jpg
Step 7Now we'll open the scanned artwork in Illustrator. Adjust the size of the intended sketch to a more comfortable size by opening Document Setup: File > Document Setup (Alt + Command + P). Scale the piece accordingly, simple scaling is the result of dragging from one of the corners holding the Shift and Alt keys to resize. This prevents having to adjust it horizontally or vertically during expansion.
Make the individual folders and label them accordingly. Clearly mark each folder for easy access to major parts of the composition: ie, front hair containing bangs or hair to overlap the body, the character's body, etc. It makes since to pre-label and have them in more manageable portions.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater7.jpg
Step 8During basic coloring, pick hues for the body base and outer stroke line, which were created using our Pen tool (P). Curves are accomplished by holding down the Alt key as points are created to form the path.
The Color Picker is located in the Toolbar. Should this be accidentally deleted from the visible tools, retrieve it at the top of the program; Windows > Tools. By highlighting all of the main body parts, adjustments in color can be made consistently. The basic color for this African American female is R=191, G=137, and B=73.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater8.jpg
Step 9We'll keep with the same ritual of working on the face first; adjust the coloring as needed or preferred. In this stylized approach, there is a stroke or outline around the main body parts, the head and body, but the features are done without the use of a stroke line.
This enables the features to be delicate and precise. If a stroke line was used in these general areas this could complicate and lengthen the time it takes to adjust the width to suit the size, should it be resized. As this is a huge headache with hundreds of paths created, it is not recommended to use a large number of paths that include stroke lines.
In this step, the lip color is being adjusted. It works well to change the opacity of the bottom lip slightly; it gives more definition to the entirety of the mouth. Multiple layering and lowering of opacities will create more shading and a fuller body part. Opacities set between 50-75 are generally preferred.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater9.jpg
Step 10In step 10 the shirt designed with the Pen Tool (P) needs to have pieces within the path excluded. If for some reason the tab cannot be located, go to Windows > Pathfinder (Shift > Command > F9).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater10.jpg
Step 11After completing the exclusion process on the shirt, it is beneficial to keep your folder cleared of unneeded clutter. By grouping smaller pieces together such as the checkered pattern in the skirt, there will be less time searching or changing the color of the checkered pattern if so desired.
Highlight all pieces and proceed to Objects > Group (Command + G). In the layers box, there is now a more manageable set of checker boxes and a neater folder over all. Leave the white skirt out of this grouping for any further editing desired.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater11.jpg
Step 12As mentioned previously, colors have been established but are easily readjusted. Accessories, embellishments, and light shading have been created with the Pen Tool (P) and opacity settings have been adjusted for the shading. An opacity setting of 43 is recommended. Elements in the "Girl Body" folder, have been completed, and work can progress in the new folders.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater12.jpg
Step 13In this step elements have been added to the "Girl Front Hair" folder, and the "Girl Back Hair" folder, created with the use of the Pen Tool (P). The bangs and bow are both in the "Girl Front Hair Folder" and the longer hair behind her neck is placed accordingly as well.
This particular style has been simplified in a solid color without a stroke line to give the collab partner more options. The hair can now be highlighted by the next person however they so choose. Also, to make it more manageable for the next person, group the orange streaks together (Command + G) to make re-coloring similar.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater13.jpg
Step 14Let's move on to the supporting character after finishing the folders noted in step 13. The alligator is a simplified vectoring style, similar to the initial base for the girl. For the main body a stroke line is used and complimented with facial detail and body paths without a stroke line. This is done for the same reasons as described in step 9, sizing issues and coloring complications could arise.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater14.jpg
Step 15Working on the body of Bob, try to keep his tail in the same folder as the head. This allows the possibility of overlapping over the human figure's leg with Bob's tail to enrich the relationship of the two individual characters.
The overall alligator is plainly colored with simple shading and simple scaling on the back and tail. With a little more emphasis on his collar, mouth and eye the alligator is completed for the first phase of the collaboration. The comp is ready for the next collaborator's techniques.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/Maneater15.jpg
SharonStep 1First thing I do is to open up Ashley's portion of the collaboration in Illustrator, then Save as… to ensure it is the version which matches my version of CS. The reason being is that if I use transparent gradients and Ash is using a version predating CS4, the elements will end up being rasterized. This is something I do not want.
My initial instinct is to make the palette slightly limited. I'm loving the colors of black, red and yellow used in the design and want to take away some of the blue aspects.
Using the Direct Selection Tool (V) I can select the shape I wish to alter and then duplicate the fill, stroke, blending mode and opacity with the Eyedropper Tool (I).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/1a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/1b.jpg
Step 2I'm going to create a New Layer below the "hair" layer and call it "Skin Shading." This is so none of my shading will overlap onto the hair.
I'm going to add some depth to the skin by adding some subtle skin shading. To do this I'm going to use transparent radial gradients using the same color as the skin. Then setting the Blending Mode to Screen and the Opacity to 70%.
From past experience in doing portraits, I know highlights on the brow bone and cheek bones will help compliment a face. So applying these types of gradients on the face will shape it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/2.jpg
Step 3I want to add the same amount of depth to the clothing, so I'm going to create a New Layer above the "Skin Shading" layer folder and call it "Clothes Shading."
I'm going to use a white to white transparent radial gradient to add highlights to the black glove and top. Ashley has already drawn where the clothing folds are, so this makes it easier for me to place the highlights on the top. I then set the Opacity to 40%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/3.jpg
Step 4When it comes to adding depth with gradients in other areas, it's not as easy. For instance with the skirt, I go into the layer folder and use the Direct Selection Tool (V) to select the overall skirt shape. Then Copy (Command + C) and Paste in Front (Command + F) the shape. This will then need to be dragged and dropped into the correct place otherwise it will cover other elements of the design (for instance the belt loops).
I apply a black to black transparent radial gradient with the center at 0% Opacity. Set the Blending Mode to Multiply and using the Gradient Tool (G), position the gradient so it appears the shadow is coming from the outside of the shape.
Using the same technique, I select the belt loops and pocket detailing and repeat to give them further depth.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/4.jpg
Step 5With the leg warmers when selecting the shape I note that it's one whole shape. Applying a straight gradient onto this to add depth will apply it to the whole shape rather than treating the legs as separate shapes.
To get around this, once I've duplicated the shape I will need to use the Pathfinder options to minus front and then apply the black transparent radial gradient.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/5a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/5b.jpg
Step 6To add further detailing to the face, I'm going to add some cosmetics on her. First create a New Layer above the "Skin Shading" folder and rename it "Make Up."
I'm going to give her smokey eye make up by adding black transparent radial gradients around the eyes and on the eyelid and setting the Blending Mode to Multiply. Then add red transparent radial gradients just below the cheekbone highlights and set it to Multiply at 40%.
Now I'm going to trace over the lips to add red to them to match the color scheme, but making sure the lower lip is lighter than the top. The best way to do this is to fill the shapes with red, setting them to Multiply and just decreasing the Opacity of the lower lip to 80%.
Now I add my own element of a beauty spot above the lips, which is an element I like to add to my own work.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/6.jpg
Step 7As I wish to add to the composition, I've decided I want to change the hair while keeping elements of the original hair design.
Create a New Layer behind the hair and girl and renaming it "Hair back." I want the hair to mimic the tail of the gator to show some sort of connection between the characters. So I'm going to draw a large black shape that curves like the tail at the bottom with the Pen Tool (P). Create a New Layer above the main "hair" layer folder to add a further shape to overlap the hair curl over her leg.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/7.jpg
Step 8Using the Width Profile 4 brush from this tutorial (http://vector.tutsplus.com/tutorials/tools-tips/create-cs5-width-profile-brushes-in-any-version-of-adobe-illustrator-cs/), I'm going to add stray hairs to match the style of the choppy fringe/bangs. Using the Paintbrush Tool (B) with a variety of stroke weights and on Multiply, add strokes in both of the layer folders for hair.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/8.jpg
Step 9The Gator shapes are in two layer folders. Create a New Layer for a layer folder above each of them.
Going into the "Gator" layer folders, using the Direct Selection Tool (V) I'm going to select a shape that has the same fill color as the rest of the gater. Go to Select > Same > Fill Color, and then Copy (Command + C), Paste in Front (Command + F) and Group them (Command + G). Drag the two groups into the corresponding layer folders above.
Going into the Swatch palette, add the Alligator pattern by going to Open Swatch Library > Patterns > Nature then selecting the Nature_Animal Skins collection.
Apply this to the shapes and set the Blending Mode to Hard Light at 7% Opacity.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/9.jpg
Step 10I'm going to add further depth to the Gator by adding some brown transparent radial gradients underneath and along the bottom of his chin, then setting the Blending Mode to Multiply.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/10.jpg
Step 11I'm going to amend the background of the design so it compliments the illustration's palette. First using the Artboard Tool (Shift + O) I'm going to change the composition to Portrait. Then remove the shapes in the "Background" layer folder.
Using the Rectangle Tool (M) I'm going to add a white to red to black gradient in the background. Then a yellow rectangle set to overlay. Finally add a yellow to black vignette radial transparent gradient set to Multiply and Opacity at 65%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/11.jpg

<iframe frameborder="0" src="https://tpc.googlesyndication.com/safeframe/1-0-10/html/container.html" id="google_ads_iframe_/11757429/hub_design_illustration_inarticle_0" title="3rd party ad content" name="" scrolling="no" marginwidth="0" marginheight="0" width="300" height="250" data-is-safeframe="true" style="box-sizing: border-box; max-width: 100%; border-width: 0px; border-style: initial; vertical-align: bottom;"></iframe>


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Step 12As a final touch, I'm going to change the color of the girl's and gator's eyes. I want them to be the same color to add a further connection between the characters.
As I've removed the blue from the original design, I'm going to change the color of the eyes to blue as a nod to the original.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/12.jpg
ConclusionWe've been able to work together to produce an illustration that reflects both of our skills. With contact over Skype we were able to double-check that the other was happy with any changes or elements we introduced.
If you'd like to find out more about collaborating and the benefits of collaboration, check out the following article: Benefiting From Collaborations in Vector Art (http://vector.tutsplus.com/articles/interviews/benefiting-from-collaborations-in-vector-art/).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000_2010/364-collab/final.jpg

https://design.tutsplus.com/tutorials/creating-a-maneater-vector-girl-through-collaboration--vector-4031

covietforum
27-09-2017, 12:51 PM
Create A Lotus Flower With Adobe Illustrator CS5
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/final.jpg

In this tutorial, I'll show you how to make a Lotus Flower in Adobe Illustrator. We'll use some basic tools (Ellipse, Direct Selection, Pencil, and more) to draw lotus petals and leaves. Next we'll color these shapes with the Gradient Mesh Tool. Finally, arrange them to become a complete work. Let's get started.
Step 1Open a new document with the dimensions 1200px by 900px. Now let's draw the lotus petal shapes. Grab the Ellipse Tool (L) (Fill of None, Stroke Color as Black, and 1 pt Stroke Size) and draw an ellipse shape.
Pick the Direct Selection Tool (A), click on the C point, hold down the Shift key and click on the D point to select both these points (C and D). Now click on the "Remove selected anchor points" icon in the Properties Bar to remove these points. Continue to use the Direct Selection Tool, now click on the A point and click on the "Convert selected anchor points to corner" icon in Properties Bar. At this time, our shape should be similar to the fourth image below.
Now grab the Convert Anchor Point Tool (Shift + C) and click on point B, then drag it to the right until our shape looks like the fifth image shown. Continue to use the Convert Anchor Point Tool to drag two handles of point B, follow the direction shown. Name this shape "lotus_petal_stroke_1."
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_1.jpg
Step 2We'll create the second shape from the first one now. Pick the Selection Tool, hold down the Alt key, click on the "lotus_petal_stroke_1" shape, and drag it to a new position. We will be working with this new shape. Copy this
shape (Edit > Copy or Command + C) and paste the copied-shape in front of the original shape (Edit > Paste in Front or Command + F).
Now grab the Direct Selection Tool, click on the B' point (the B' point coincides with the B point). This time, we can see two handles (1') and (2')
(as shown the second image below). Hold down the Alt key, hover over the right handle (2') (a plus sign should show up), then click and drag it to the left (shown in the third image). Continue to draw the right shape, use the same steps above, but click and drag the left handle (1") to the right shown, as shown in the fifth image. Name this shape "lotus_petal_stroke_2."
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_2.jpg
Step 3Continue to draw a different lotus petal shape now. Pick the Ellipse Tool (with a Fill of None, Stroke Color as Black, and 1 pt Stroke Size) and draw an ellipse shape. Next, use the Direct Selection Tool and click on point C, while holding down the Shift key, then click on the point D to select both points (C and D). Then click on the "Remove selected anchor points" icon in the Properties Bar to remove both points (C and D). Our shape should look like the third image below.
Use the Direct Selection Tool to click on point A, we will see two handles (1 and 2). Hold down the Alt key, hover over handle 1 (a plus sign should show up), then click and drag it down as shown in the fifth image. Release the Alt key, click on point B, we will see two handles (3 and 4). Hold down the Alt key again, hover over handle 3, then click and drag it up, as shown in the fifth image. Continue to use this way to drag two handles (2 and 4), follow the directions shown in the sixth image.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_3.jpg
Step 4This shape is just half of a lotus petal. Now, we'll draw the remaining half of the lotus petal, use the same method as we did in Step 2. Grab the Selection Tool and click on the newly created shape. Copy this shape (Edit > Copy or Command + C) and paste the copied-shape in front of original shape (Edit > Paste in Front or Command + F).
Now grab the Direct Selection Tool and click on the A' point (the A' point coincides with the A point). This time, we can see two handles (1') and (2')
(as shown the second image below). Hold down the Alt key, hover over handle 1' (a plus sign should show up), then click and drag it down near the handle 2'. Release the Alt key, click on the B' point (the B' point coincides with the B point). Hold down the Alt key again, hover over the handle 3' (a plus sign should show up), then click and drag it down, as shown in the third image. Name this shape "lotus_petal_stroke_3."
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_4.jpg
Step 5Let's move on to coloring the "lotus_petal_stroke_1" shape. Use the Selection Tool to select the "lotus_petal_stroke_1" object and fill it with a light pink color (#F7B3D1). Next, grab the Mesh Tool and click on point 1. This time, we have a mesh over the "lotus_petal_stroke_1" object.
Now, we will be adding color to the mesh points. The 1 point has a fill of #FFFFFF. The 2 point and the 3 point has a fill of #ED3694. The 4 point and the 5 point has a fill of #F498C0.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_5.jpg
Step 6Now we'll color the "lotus_petal_stroke_2" shape. First, we'll hide two shapes ("right_shape" and "left_shape") to color the remaining shapes easier. To do this, use the Selection Tool to select two shapes, then go to Object > Hide > Selection (Command + 3). Now select the remaining shapes and fill them with a light pink (#F7B3D1). Continue coloring with the mesh style. Grab the Mesh Tool, click on point 1 to create a mesh.
Point 1 has a fill of #EE4498 and point 2 has a fill of #EC008C. Continue to use the Mesh Tool, click on point 3 to add one mesh point more. Point 3 has a fill of #FACFE2 and the point 4 has a fill of #FFFFFF. At this time, our shape will look like the sixth image below.
Now we go to Object > Show All (Command + Alt + 3) to show two shapes ("right_shape" and "left_shape") again. Then fill them with light pink (#F7B3D1). We also create meshes over "right_shape" and "left_shape," then add color to the mesh points. The finished shape will look like the final image below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_6.jpg
Step 7Now we'll color the "lotus_petal_stroke_3" shape. Use the Selection Tool to select the thinner shape, then go to Object > Hide > Selection (Command +3) to hide this shape. Click on the remaining shape add fill it with light pink (#F7B3D1).
We'll continue coloring this shape with a mesh style. Pick the Mesh Tool and click on the point 1. This point has a fill of #EE4097. Point 2 has a fill of #EC008C. Our shape will look like the fourth image below at this time. Next, use the Mesh Tool to click on the point 3. This point has a fill of #F496BF and point 4 has a fill of #FFFFFF.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_7.jpg
Step 8Now go to Object > Show All (Command + Alt + 3) to show thinner shape. Use the Selection Tool to select this shape and fill it with light pink (#F7B3D1). Also use the Mesh Tool to color this shape with a mesh style. The last result will look similar to the third image below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_8.jpg
Step 9Now we'll add the veins of the lotus petals. Use the Pen tool (with a fill of None, Stroke color of #EC008C, and a 0,5 pt Stroke size) to draw a curved line from A to B, as in Step 1. Continue to do the same step, should have veins covering the lotus petal when complete. Next select all the veins (don't select lotus petal) and set the Opacity to 10% - 15%. The last result will look like the one shown in the final image below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_9.jpg
Step 10We also draw veins for the "lotus_petal_stroke_2," similar to the way of drawing shown above. To work easier, we need to hide the two thinner shapes (Use the Selection Tool select both of shapes and go to Object > Hide > Selection or Command + 3). After all the veins of main shape are finished, show the two thinner shapes again. Continue drawing veins for these shapes. The last result will looking like the final image below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_10.jpg
Step 11Continue drawing veins for the "lotus_petal_stroke_3" shape, similar to the method shown above.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_11.jpg
Step 12Follow these steps as shown above, you'll need to draw lots of lotus petals with different shapes.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_12.jpg
Step 13Arrange the lotus petals to become a lotus flower. For ease of arrangement, we'll divided these lotus petals into five group.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_13.jpg
Step 14First, use the Selection Tool (V) to move the petals of "Group_I"" so that they overlap. Rotate the petals a bit to get the results shown in the picture below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_14.jpg
Step 15Continue using the Selection Tool (V) to move the petals of "Group_III" into position as shown.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_15.jpg
Step 16Continue moving the petals of "Group_II" into position shown. We also need to rotate these petals a bit to balance the position of them.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_16.jpg
Step 17Move the petals of "Group_IV" into position as shown. Now select both petals using the Selection Tool and click on the first petal, while holding down Shift key and click on the second petal. Now right-click and select Arrange > Send To Back in context menu to send the two petals behind all the others.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_17.jpg
Step 18Finally, move the two petals of "Group_V" into position as shown in the first picture below. Select the marked petals (marked by a green circle), right-click and select Arrange > Bring To Front in the context menu (Shift + Command + ]). Continue moving the remaining petals of "Group_V" into position as shown.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_18.jpg
Step 20Now we'll create the stem. Use the Pen Tool (P) (with a Fill of None, Stroke Color set to Yellow Orange, and Stroke Weight of 1 px) to draw an object as shown. Name this object A. Next, grab the Selection Tool (V) to select object that A, go to menu Edit > Copy (Command + C), then go to menu Edit > Paste in Front (Command + F). Name this newly created object A' (give it a Stroke Color of Brown Dark). At this time, A and A' will be the same shape and position. Select the A' object, then grab the Direct Selection Tool (A) and the adjust the A' object to become a thiner object as shown.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_19.jpg
Step 20Now let's color the stem. Fill the A' object with #B27544 (with a Stroke Color of None). Next, select the A object, double-click on the Gradient Tool and set the values as shown.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_20.jpg
Step 21Select both object A and A' and go to menu Object > Blend > Blend Option. Set the values shown in the dialog box as shown. Then go to Menu Object > Blend > Make.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_21.jpg
Step 22Now we'll draw and color the lotus leaf. Use the Pen Tool or Pencil Tool to draw a shape like the one below. Fill it with green (#35A54E). Next, grab the Mesh Tool and click on points: 1, 2, 3, 4, 5 to create a mesh over the newly created shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_22.jpg
Step 23Now we'll add color for the mesh points. Look at the first image below, mesh points 1 have a fill of #5B6858, mesh points 2 have a fill of #5F5A5A and mesh points 3 have a fill of #53474F. We will use this method to add color for the mesh points.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_23.jpg
Step 24Next, we'll draw veins for the lotus leaf. Grab the Pencil Tool (N) and set its properties as shown. Then we'll draw the curves from hem to center of leaf.
After the veins are finished, use the Selection Tool (V) to select all of the veins and set the Opacity to 15%. At this time, our lotus leaf will look like the third image. Finally use the Ellipse Tool (L) to draw a small ellipse and fill it with #667F6A. The last result should look like the final image below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_24.jpg
Step 25Join the stems with the flowers and leaves.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_26.jpg
Step 26Use the Pen Tool (P) or Pencil Tool to create a shape as shown in the picture below. Fill it with #C9D3D8. Name of it "Lotus_background."
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_27.jpg
Step 27Move the leaf into position as shown.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_28.jpg
Step 28Continue moving two more leaves into position.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_29.jpg
Step 29Move a big lotus onto the three leaves.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_30.jpg

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Step 30Continue moving the lotus flowers and leaves into the positions shown.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_31.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_32.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/408-lotus-flower/step_33.jpg
Final Image

https://design.tutsplus.com/tutorials/create-a-lotus-flower-with-adobe-illustrator-cs5--vector-4457

covietforum
27-09-2017, 12:52 PM
Creating an Environmentally Friendly Green Type Treatment
https://cdn.tutsplus.com/vector/uploads/2013/08/green_type_tratment.jpg


With oil prices the way they are today, everybody is thinking Green. I have done many projects recently that require a Green style applied to the design. In the following Illustrator tutorial, I'll teach you how to create a Green type treatment. It works great for logos and other design elements.
Or if you're looking for a shortcut, why not check out some of the Green logo templates (http://graphicriver.net/search?utf8=%E2%9C%93&term=green&as=1&type=c&category=logo-templates) on Envato Market?
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/48/posts/17224/image/Green-logo-templates.jpg (http://graphicriver.net/search?utf8=%E2%9C%93&term=green&as=1&type=c&category=logo-templates)<figcaption style="box-sizing: border-box; font-size: 12px; color: rgb(163, 163, 163);">Green logo templates on Envato Market (http://graphicriver.net/search?utf8=%E2%9C%93&term=green&as=1&type=c&category=logo-templates)</figcaption></figure>1. Create Your TextStep 1Create a New document that is 8.5 x 11 inches. Choose a typeface for the type treatment (I used "Helvetica Bold") and type out what you want. Next, Outline the text by going to Type > Create Outlines.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_01.jpg</figure>Step 2With the text selected, create a Linear Gradient from the Gradient panel. Change the color of the first swatch on the Gradient Slider (left swatch) to a light green (I used these CMYK values: C=40, M=0, Y=100, K=0). Change the second swatch on the Gradient Slider to a darker green (C=60 M=16 Y=100 K=0). Use the Gradient Tool (G) to adjust the gradient by clicking at the top of the type and dragging to the bottom of the type so the dark part is at the bottom.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_02.jpg</figure>2. Create a LeafStep 1Now we're going to create some leaves. Start by drawing a leaf shape with the Pen Tool (P). Again, with the Pen Tool (P), draw a line that starts at the tip of leaf and ends in the middle of the bottom part of the leaf. After selecting the line and the leaf shape, press the Divide button in the Pathfinder panel, located on the bottom left side of the panel. Ungroup (Command + Shift + G) the objects so you have two separate shapes.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_03.jpg</figure>Step 2Select both shapes and create the same colored Linear Gradient as the text. Next, select one shape and use the Gradient Tool (G) to click and drag at a 45 degree angle across the leaf half shape. Do this again for the other half of the leaf.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_04.jpg</figure>Step 3With the Pen Tool (P) draw a highlight shape on the top leaf half. Change the highlight shape to a Radial Gradient. Change the left swatch to white and the right swatch to your green color (C=40 M=0 Y=100 K=0).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_05.jpg</figure>Step 4With the Pen Tool (P), create a stem shape and send it behind the leaf shapes. Create a Linear Gradient, make the gradient the same colors as the leaf shapes, and adjust the gradient so the darker green is at the top of the stem.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_06.jpg</figure>3. Create a WaterdropNext come the water droplets. Create an oblong ellipse with the Ellipse Tool (L). Then create a Linear Gradient using the same colors as the leaf and text. Adjust the gradient so the dark side is on the bottom left.
Create another ellipse on top of the previous ellipse and create a Radial Gradient with the same swatches as the highlight gradient. Adjust this gradient so the light part of the gradient is coming from the bottom left.
Create two more smaller ellipses with Linear Gradients matching the highlight gradient. Once you are done, group all the ellipses, scale and place them on the leaf shapes. You can easily copy the droplet by holding down Alt and dragging a copy.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_07.jpg</figure>4. Create a Cute LadybugStep 1The next couple of steps deal with creating the ladybug. Create an ellipse and fill it with a Linear Gradient. Make the first swatch in the gradient a red (C=0 M=100 Y=100 K=0) and the second an even darker red (C=0 M=100 Y=100 K=35). Adjust the gradient so the red color is at the bottom of the ellipse.
Copy (Command + C) the ellipse and Paste it in Front (Command + F). Draw another bigger ellipse that overlaps the center of the original ellipse. After selecting one of the original ellipses and the overlapping circle, press the Intersect Shape Areas button in the Pathfinder panel. Make the intersected shape a Linear Gradient with the first swatch white and the second swatch red. Adjust the gradient so the white is at the top of the shape.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_08.jpg</figure>Step 2Draw five more ellipses over the ladybug body shape and group them together. Copy (Command + C) the original body ellipse shape and Paste it in Front (Command + F). With the copied body shape and the five ellipse selected, intersect the shapes.
Change the dots to a Linear Gradient with the first swatch a really dark red and the second swatch a black red. Adjust the gradient so the lightest red is at the bottom of the combined shapes. Next, Copy(Command + C) the top highlighted shape of the body and Paste it in Front (Command + F).
Copy (Command + C) the dots and Paste it in Front (Command + F). Select the copied highlight and one of the dots copy and Intersect them. Create a Linear Gradient with the first swatch at 60% black and the second at 90% black. Adjust the gradient so the lighter black is at the top of the shape.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_09.jpg</figure>Step 3Create another ellipse for the ladybug's head. Create a gradient the same as the top dots gradient and send the head behind the body shape. Draw an antenna shape with the Pen Tool (P) and place it behind the head. Copy (Command + C) the antenna and Paste it in Front (Command + F). Reflect the antenna by pressing the Flip Horizontal option from the pop-up menu of the Transform panel.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_10.jpg</figure>5. Position Your ElementsStep 1Draw an ellipse roughly the size of the completed ladybug. Create a Radial Gradient so the inside swatch is black and the outside is white. Set the ellipse to Multiply from the Transparency panel and send it behind the ladybug to the bottom left, creating a drop shadow. After grouping the ladybug and drop shadow, place it on the leaf. Then scale and rotate the lady bug as needed.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_11.jpg</figure>Step 2After selecting the leaf and all the elements on it, place them over your text. I placed mine over the first letter of the word.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_12.jpg</figure>Step 3Copy (Command + C) the leaf and elements, except the lady bug, and Paste (Command + V). Flip the leaf horizontally and scale down the leaf. When scaling you don't have to constrain the proportions, this helps the leaf look different from the other. Repeat this step a couple of times around the text.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_13.jpg</figure>6. Add Detailing to Refine the DesignStep 1For the other leaves we are going to create an Art Brush. You can draw these elements with the Pen Tool (P), but you'll find it more consistent and easier to use a brush.
Draw an oblong ellipse. Then with the Direct Selection Tool (A), select the right anchor point in the ellipse. When you select an anchor point the Control panel will default to the Anchor Point Options. Convert the anchor point to a corner (the first button to the right on the Control panel). Do this again for the left anchor point. Next, squish the ellipse down from the top to half its original size.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_14.jpg</figure>Step 1Drag the oval into the Brushes panel and choose New Art Brush. In the Art Brush options change Colorization to Tints. This lets you change the color of the brush without creating a new brush. You don't need to change the colors of the brush strokes for this tutorial, but it is good practice.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_15.jpg</figure>Step 2With your new brush, make a swirl shape for a leaf blade. You might need to change the stroke of the brush if it looks to small or too big. When you get a stroke you like, go to Object > Expand. You will also want to clean up the unfilled stroke. An easy way to do this is to go Object > Path > Clean Up. Also, make sure all the check boxes are checked and press OK.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_16.jpg</figure>Step 3Select the expanded brush shape and create a Linear Gradient with the same swatches as the original text gradient.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_17.jpg</figure>Step 4Repeat the steps for creating the leaf blade around your text. Try to vary the shape and size of the blades.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_18.jpg</figure>Step 5Next we're going to add some more water droplets around the text. Simply Copy (Command + C) the droplets on the leaf you already made and Paste (Command + V) them around the text. Also, be sure to vary their size and shape.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_19.jpg</figure>Step 6Now it is time to work on the dirt at the bottom of the text. Double-click on the Pencil Tool (N) in the Toolspanel to bring up the Pencil Tool Options. Change the Fidelity to 5 to get really smooth lines.
Use you Pencil Tool (N) to draw a small circular shape. Press Alt before you let go to close the shape. Next, create a Radial Gradient with the interior swatch a brown color (C=35 M=60 Y=80 K=25) and the exterior swatch a dark brown color (C=50 M=70 Y=80 K=70) . Place the spot on the first letter of your word. Scale the dot down smaller than one of the droplets.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_20.jpg</figure>Step 7Repeat this till you have a pile of dirt spots on you first letter.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_21.jpg</figure>Step 8Copy (Command + C) and Paste the dirt pile until you have covered the very bottom of all the letters.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_22.jpg</figure>Step 9Draw a Radial Gradient ellipse like you did for the ladybug drop shadow. Squish the ellipse to about half the size. Send the ellipse behind all the artwork and set it to Multiply.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_23.jpg</figure>Step 10Repeat this drop shadow under all the letters.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_24.jpg</figure>
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Step 11For the background create a rectangle with the Rectangle Tool (M) that is the size of you document. Give it a Radial Gradient, make the interior swatch white and the second swatch a light green (C=13 M=0 Y=38 K=0).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/21_Green_Type/green_25.jpg</figure>Congratulations, You're Now Done!Now you have a nice green type treatment!
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/2013/08/green_type_tratment.jpg


https://design.tutsplus.com/tutorials/creating-an-environmentally-friendly-green-type-treatment--vector-37</figure>

covietforum
27-09-2017, 12:52 PM
How to Create a Starfish in Adobe Illustrator
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/final.jpg


In this tutorial we will study several time-consuming yet important techniques. They are presented clearly and simply. You'll learn how to use blends, gradient meshes, patterns, and controlled lighting to create a textured starfish.
Step 1To begin, create the shape of the starfish, and to do this, we will be using the Star Tool. I advise you to use the same sizes as mine, therefore you do not need to pick sizes for the effects applied in this tutorial.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/01.jpg
Step 2Using the Direct Selection Tool (A), move the arms of the starfish a little bit in order to give it an irregular shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/02.jpg
Convert the corner anchor points of the starfish arm tips into smooth ones.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/03.jpg
Moving the handles of the anchor points of the starfish arm tips brings the starfish shape into the view shown in the figure below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/04.jpg
Step 3Select all the anchor points at the arms formation place on the starfish and go to Effect > Stylize > Round Corners... and set 10px for the radius of the rounding in the dialog box.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/05.jpg
Keep the object selected, go to Object > Expand Appearance. Now move the handles of the anchor points of the arms foundation to bring the starfish into the perfect shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/06.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/07.jpg
Step 4Fill the shape of the starfish with a radial gradient that goes from yellow to orange.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/08.jpg
Let's create a light-and-shade on the starfish. By setting the location of the center of the gradient, we set the location of the source of light.
Step 5The shape of the starfish is rather awkward, so we will use the Gradient Mesh to accomplish this task. Use the Rectangle Tool (M) to create a rectangle, keep the shape selected, then go to Object > Create Gradient Mesh ... and set the number of rows and columns in the dialog box.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/09.jpg
Keep the object selected, for convenience change the Opacity in the Transparency palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/10.jpg
Step 6Move the rectangle as it is shown below and use the Rotate Tool (R) to rotate it relatively to point A.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/11.jpg
Take the Direct Selection Tool (A) and move the grid nodes of one side of the rectangle as shown.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/12.jpg
Move the central node of this side of the rectangle towards the center of the starfish.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/13.jpg
Convert the smooth node into a corner one using the Convert Anchor Point Tool.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/14.jpg
Sometimes it happens that the node does not immediately respond to this tool, please be patient and try again. Do not click on the point itself, but click a little bit lower. Operating the handles of the corner of the rectangle, align the sides of the gradient mesh.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/15.jpg
Step 7Now proceed to the transformation of another side of the rectangle. Select all the nodes that are located on this side of the rectangle, it can be done with the help of the Lasso Tool (Q) or the Direct Selection Tool (A), and move them aside so that the central node lays on the tip of the starfish arm.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/16.jpg
Now move the rectangle corners to the sides of the starfish arm.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/17.jpg
Operating handles of the grid nodes, move the shape of the mesh object towards the shape of the starfish. It is desirable that the borders of the grid path do not go beyond the star shape. It will be fine if there remains a small gap between the shapes as shown below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/18.jpg
So, working with the Direct Selection Tool (A) only, finish the transformations.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/19.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/20.jpg
Step 8Using this technique, create another mesh object.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/21.jpg
Unite the nodes of adjacent objects together. Create mesh objects for all the starfish arms.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/22.jpg
Select all the mesh objects and set 100% Opacity for them in the Transparency palette.
Step 9Add a line to the gradient mesh using the Mesh Tool (U) and color the starfish arms, coordinating the location of the chiaroscuro with the light source:

Lights - bright yellow
Penumbra - orange, red-brown shades
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/23.jpg
Remember that you can delete unnecessary or incorrect grid lines using the Mesh Tool (U) while holding down the Alt key.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/24.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/25.jpg
Step 10We get sharp boundaries at the places where the arms contact, which real starfish does not have. Make them smooth. Take the Lasso Tool (Q) and select the central nodes of the mesh objects, as it is shown in the figure below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/26.jpg
Set 0% Opacity for the selected nodes in the Transparency palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/27.jpg
Step 11Attention, this step is appropriate for those who have not installed Adobe Illustrator CS5! The ability to change the Opacity of the nodes appeared only in Adobe Illustrator CS5. Those who have earlier versions of the software will have to apply Opacity Masks. I will tell you how it's done. Copy all the mesh objects and paste them in front. Change their fill to white.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/28.jpg
It is necessary to lock lower colored mesh objects in the Layers palette! As well as in Adobe Illustrator CS5 select the central nodes of the gradient mesh.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/29.jpg
Now fill them with black.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/30.jpg
Unlock the lower colored objects in the Layers palette, select them and the upper black and white mesh objects, it is convenient to do it in the Layers palette. Now apply the opacity mask by selecting the appropriate item in the Transparency palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/31.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/32.jpg
Step 12In some places we have very light shadows. Change the Opacity of these nodes by 66% in the Transparency palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/33.jpg
Those who used the opacity mask have to replace the fills of these points from black to gray.
Step 13Assuming that you did not really fit the shape of mesh objects exactly to the shape of the starfish, so I offer to screen our faults. Select the lower shape of the starfish, filled with a radial gradient, copy it and paste it in front (Command + C; Command + F). Move it into the Layers palette so that it is higher than all the other objects. Select this shape and all the mesh objects, and go to Object > Clipping Mask > Make.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/34.jpg
Step 14Start creating the starfish texture. Create a simple geometric shape, for example, a rectangle and pick the texture. After several minutes of experimenting, I decided on the Mezzotint texture. You can get it from the menu of the Swatches palette: Open Swatch library > Patterns > Basic > Basic Graphics > Basic Graphics_Textures.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/35.jpg
Step 15The elements of the textures are black, we are not happy with it, let's edit the texture color. Pull the texture out of the Swatches palette into the document margins.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/36.jpg
The texture is a group of vector objects, below it is situated a rectangle with no fill and stroke.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/37.jpg
Select the whole structure, locking the bottom rectangle in the layers palette and fill all the vector objects using an orange color.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/38.jpg
Unlock the lower rectangle, select all the elements of the texture including the rectangle. Now go to Edit > Define Pattern, name the texture in the dialog box and click OK button.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/39.jpg
Now the fruits of our experiments can be removed.
Step 16Now let's apply the texture to the starfish. Copy the bottom shape of the starfish, which is filled with radial gradient, and paste it in front (Command + C; Command + F). Move the object in the Layers palette so that it was located above all the objects of the starfish. Now apply the created pattern to this shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/40.jpg
Step 17Create a larger texture on the starfish. Take the Ellipse Tool (L) and create two circles. A bigger one has a 5 px diameter and brown fill, and a smaller one has a 1.5 px diameter and light yellow fill.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/41.jpg
Step 18Select both circles and drag them to the Brushes palette, save the new brush as the Scatter Brush.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/42.jpg
Set the brush parameters in the dialog box.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/43.jpg
Where do you get these values from? As a result of experimenting, of course. The figure below shows my Brushes palette. It took quite some time experimenting until I got the look I wanted.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/44.jpg
Step 19Now take the Paintbrush Tool (B) and dab randomly on the surface of the star, do not worry if your strokes go beyond the path of the starfish, as we will hide it later.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/45.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/46.jpg
Step 20Create another brush. Take the Ellipse Tool (L) and create two circles. A bigger one has a 6 px diameter and light brown fill, and the smaller one has a 2 px diameter and light yellow fill.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/47.jpg
Select both the circles and go to Object > Blend > Make.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/48.jpg
Do not set a lot of steps for the blend. A lot of steps will significantly affect the size of your file. We are working with quite a small object, and using a large number of steps simply makes no sense.
Step 21Transfer the object to the Brushes palette, save the new brush as a Scatter Brush. Set the brush options in the dialog box.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/49.jpg
As in step 19 use the Paintbrush Tool (B) for dabbing on the starfish. In some places I was creating circles with a stroke and with no fill, and then applying the created brush to them. I have shown these areas in the figure below. I deleted the excessive circles using the Scissors Tool (C) and Delete button.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/50.jpg
To add variety, you can change the thickness of some paths in the Stroke palette; it will change the size of all the objects of this path.
Step 22The created bumps raise above the surface of the starfish, so they will be producing shadow. Select and group up all the objects created in the previous step, and go to Effect > Stylize > Drop Shadow..., set the values specified in the figure below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/51.jpg
The shadow offset parameters are chosen so that the shadow is located respectively with the location of the light source. Set a dark brown color for the shadow, if you choose black, the starfish will seem dirty.
Step 23Hide everything that goes beyond the outline of the starfish. Copy the lowest shape and paste it in front, move the copy so that it is located above all the objects (Object > Arrange > Bring to Front). Select the top shape and two bottom groups that we created in steps 19 and 21, and go to Object > Clipping Mask > Make.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/52.jpg
Step 24Don’t you think that the starfish became kind of plane?
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/53.jpg
The point is that the light at the bumps is evenly distributed at this point, but it is certainly not in real life because they do not lie in the plane, but on the complex surface of the starfish. In our case, we can easily achieve the desired result.
Do you remember that in the middle of the tutorial we were creating mesh objects? Select, copy, paste and put them above all the elements of the starfish. Now, while keeping them selected, set the Opacity at 60% and the Blending Mode to Multiply in the Transparency palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/54.jpg
That's it, our star gained its volume again.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/55.jpg
Step 25Now create the bumps along the contour of the starfish. We need a path to create this effect. Copy the bottom shape of the starfish (that is filled with a radial gradient), paste it in front, and place it higher than all the objects. Turn off the fill and set a 1px stroke of any color.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/56.jpg
It is not necessarily to create a new brush, you can simply duplicate the existing one and change the parameters.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/57.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/58.jpg
Step 26Apply this brush to the created path.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/59.jpg
Using the described technique, create another path and another brush.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/60.jpg
Apply it to this path.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/61.jpg
Step 27As is the case with the surface of the starfish, light on the bumps on the edges of the starfish will be distributed unevenly. To achieve the desired result, cut the path with the Scissors Tool (C) into light and shady pieces.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/62.jpg
Select the shady piece of the path and go to Edit > Edit Color > Recolor Artwork... and reduce the brightness by moving the slider to the left.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/63.jpg

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Step 28It only remains to create a shadow under the starfish. Duplicate twice the original shape of the starfish. Fill both of them with a dark brown color. Set 0% Opacity for the lower shape in the Transparency palette and slightly increase its size. Move the lower shape towards the source of light. Now select both shapes and go to Object > Blend > Make.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/64.jpg
In fact, it is more convenient to apply the selection of colors, shapes of objects and their locations relatively to each other once the blend is already applied. You can select one of the blend objects in the layers palette and start working on it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/65.jpg
ConclusionFinally, create a composition with the starfish. It is not easy to assemble an object of this shape. Below is my variant. You can create your own composition.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/412-starfish-sea/final.jpg


https://design.tutsplus.com/tutorials/how-to-create-a-starfish-in-adobe-illustrator--vector-4473



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covietforum
27-09-2017, 12:55 PM
Create an Adorable Puppy with Negative Space and the Paintbrush Tool
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/final.jpg

Today I'm going to show you how to create a quick illustration of a puppy using negative space and the ever so versatile Paintbrush Tool (B). I recently became the proud parent of a Blenheim colored Cavalier King Charles Spaniel puppy (named Shelley!) and couldn't help creating a quick vector of her. One of the key characteristics of her is her lovely red and white coat and these two colors gave me an idea.
Similar to the Adobe Illustrator orange, it would be nice to do an illustration using her color tones that integrate into an orange background. Due to this, it would require little additional detailing as your mind would make up the rest of the illustration. So let's get cracking then...
Step 1Select your favorite photo of your pet and open it in Photoshop. Below is the starting photo I have of Shelley:
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/1a.jpg
To make it easier to work from, I'm going to increase the contrast. So go to Image > Adjustments > Curves and select "Strong Contrast" from the preset drop down menu. What this will do is exaggerate the shines and shadow in the fur. This is good for those who want some assistance from their stock image to work on fur direction and highlights. Once done, Save for Web & Devices with a width of about 800 pixels.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/1b.jpg
Step 2In Adobe Illustrator, start a New document and File > Place the reference on the artboard. Create a New Layer and using the Rectangle Tool (M) draw an orange/red rectangle across the canvas. If your pet is of a different color, this rectangle should be the most prominent shade. Create a New Layer and rename the layer folder "Bases."
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/2.jpg
Step 3Since I'm using orange as the prominent color, I'm going to use a white fill and the Pen Tool (P) to create the base objects of the fur. Draw these shapes within the boundaries of the fur, but not right up to the edges. Where the fur is shortest, the edge of the shapes can be closer to the boundaries of fur, as you won't be drawing as many strands of fur. With the areas where the fur is longer, the edges of the shapes will need to be further away from the boundaries of the fur.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/3.jpg
Step 4I'm going to be using the Paintbrush Tool (B) and my Width Profile brushes (http://vector.tutsplus.com/tutorials/tools-tips/create-cs5-width-profile-brushes-in-any-version-of-adobe-illustrator-cs/) to render the fur. In this instance, I'll be using the "Width Profile 1" brush.
Draw strands of fur with a 2pt Stroke Weight and 50% Opacity around the edges of the bases where the white fur overlaps onto the orange.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/4a.jpg
Overlap the strands of fur until the edges of the base objects are distorted and you wouldn't be able to make them out. As with all strands of fur, Group (Command + G) them so to keep the same appearance settings together.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/4b.jpg
Step 5The key areas with the orange fur overlapping onto the white are the ears, the back leg and on the tail.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/5a.jpg
Using the same Paintbrush Tool (B) settings (yet with an orange stroke color), add the strands of fur over the above circled areas.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/5b.jpg
Step 6Change the Stroke Weight to 1pt and use the orange stroke color to begin adding highlights of fur on the coat. These strokes will also help to add shape to the face and ears. Set these strokes to Blending Mode Screen and 30% Opacity.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/6.jpg
Step 7Create a New Layer and rename it "Face." I'm going to draw shapes for the eyes and the surrounding of the eye, as well as the nose. Two shapes for each area.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/7a.jpg
Fill the outer shape with a dark brown set to Blending Mode Multiply and the smaller shape with a fill color of a black to dark brown to dark brown transparent radial gradient with the source at 0% Opacity. Set the Blending Mode for this shape also at Multiply. Use the Gradient Tool (G) to change the location of the source to where the light is being reflected.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/7b.jpg
Step 8With a white transparent radial gradient, add further highlights to the eyes and nose. Set these shapes to 20% Opacity.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/8a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/8b.jpg
Step 9Add sparkles of light to the eyes and nose to add texture by using a white stroke color and a Stroke Weight of 1pt with the Width Profile 1 brush. Set these lines to 20% Opacity.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/9a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/9b.jpg
Step 10Create a New Layer and rename it "Fur 2." Back to the Paintbrush Tool (B) and drawing fur, I'm going to add some depth with the orange stroke color, 1pt Stroke Weight and Blending Mode Multiply at 20% Opacity.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/10a.jpg
Add strokes along the boundaries of the body to help the viewer see the whole of the dogs form, as well as adding strokes to help define the two back legs. Add strokes around the ears and eyes to help define them.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/10b.jpg
Step 11In "Fur" add dark brown strokes around the mouth and eye areas. Cavalier King Charles's as well as other dogs have tear stains in the corner of their eyes. Set these strokes to Blending Mode Multiply and Opacity to 30%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/11a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/11b.jpg
Step 12Back in the "Fur 2" layer folder, add additional white strokes with a Stroke Weight of 1pt and 50% Opacity. These strands should help give more definition to the under belly (which is actually white fur) and random, less dense patches of white fur.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/12a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/12b.jpg
Step 13To add further golden tones to the fur highlights, add orange 1pt strokes with a Blending Mode of Color Dodge and Opacity 30%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/13a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/13b.jpg
Step 14To add final definition to the sections of the dog, add 3pt orange strokes around the areas of the body. Set these to Blending Mode Multiply and Opacity 25%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/14.jpg

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Step 15Finally, Create a New Layer above the "BG" layer and rename it "Shadow." Add a dark brown, transparent, radial gradients under the paws to create a subtle shadow. Set these to Blending Mode Multiply.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/15.jpg
ConclusionUsing a limited palette and some key colors, you too can create a negative space pet illustration with the help of the Paintbrush Tool (B) to add texture for the fur.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/410-puppy-brush/final.jpg


https://design.tutsplus.com/tutorials/create-an-adorable-puppy-with-negative-space-and-the-paintbrush-tool--vector-4463

covietforum
27-09-2017, 12:58 PM
Creating a Dramatic Portrait with Chunky Line Art
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/final.jpg

This post is part of a series called Vector Portraits (https://design.tutsplus.com/series/vector-portraits--vector-4831).
Modeling the Human Face in Illustrator (https://design.tutsplus.com/tutorials/modeling-the-human-face-in-illustrator--vector-3368)
Tracing a Vector Face From a Reference Photo (https://design.tutsplus.com/tutorials/tracing-a-vector-face-from-a-reference-photo--vector-3217)

This post is part of a series called Mastering Vector Portraits (https://design.tutsplus.com/series/mastering-vector-portraits--cms-748).
Creating a Stylish Line Art Portrait with Illustrator CS5 (https://design.tutsplus.com/tutorials/creating-a-stylish-line-art-portrait-with-illustrator-cs5--vector-4913)
Creating with Vector Blends In-Depth (https://design.tutsplus.com/tutorials/creating-with-vector-blends-in-depth--vector-4560)

<figure class="final-product final-product--image" style="box-sizing: border-box; margin: 0px 0px 30px; padding: 0px; max-width: 100%; text-align: center;">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/final.jpg</figure>In today's tutorial I'm getting back to my old vector line art roots and showing you how to achieve a chunky line art style. This can be created in any version of Illustrator CS and is a great comic look for your illustrations.
IntroductionThere are many different ways to achieve line art in vector illustrations. Using a stroke path and no fill is the first which comes to mind with a variety of tools such as the Pen Tool, Paintbrush Tool and Pencil Tool. You can modify these lines using art brushes and more recently in CS5, using the Width Tool which helps you change the Stroke Weight on an otherwise uniform line. There is another way you can create similar styles without the need of CS5 and give your work a more stylized appearance.
In today's tutorial I'm getting back to my old vector line art roots and showing you how to achieve a chunky line art style. This can be created in any version of Illustrator CS and is a great comic look for your illustrations.
It's with gratitude, I'm going to be using another great stock image (http://tasastock.deviantart.com/art/Pura-2-129588990) by Tasastock (http://tasastock.deviantart.com/), who's stock inspires me greatly!
For some elements of this tutorial, you'll need to create the "Width Profile 1" and "Width Profile 4" brushes from this tutorial (http://vector.tutsplus.com/tutorials/tools-tips/create-cs5-width-profile-brushes-in-any-version-of-adobe-illustrator-cs/). They can be created in any version of Illustrator CS.
Step 1After resizing my stock image in Photoshop, I've created a New portrait orientated document in Illustrator and then File > Place the image onto my artboard. With all my vectors that I use stock as a reference I set up my layer palette as follows:

The stock image is placed in its own layer folder and is locked and renamed "Reference." This is so I can quickly hide the image when required.
Create a New Layer and rename it "BG" and I place a white filled rectangle using the Rectangle Tool (M) set to Opacity 30%. I tend to trace shapes and contours from the stock image in "Outline" mode, so the black lines stand out more against the white background. You could argue you could just reduce the Opacity of the reference image, however sometimes if you're not using "Outline" mode and want your lines to show up more from the reference, it's easier to change the color of the rectangle in the "BG" layer than anything else. So that's the theory of my "BG" layer folder.
Then I Create New Layer for the actual "Line Art." This layer will be done in "Outline" mode when using the reference image.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/1.jpg
Step 2Using the Rectangle Tool (M) I've drawn two large shapes with a black fill. The idea is that this would be the boundaries of my frame. Within the smaller rectangle is where my line art will be. I've placed the frame so it clips the top and right hand side of her hair so her portrait fills the majority of the composition. More on these rectangles in the next step.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/2.jpg
Step 3The basic method of creating this line art is using the largest rectangle and "cutting away" shapes using the Pathfinder > Minus Front and Pathfinder > Unite options. However the starting point is to cut away the largest shapes of the composition first.
The smallest rectangle from the two drawn in Step 2 is locked as this is used only as a guide. The shapes will be cut away from the largest rectangle. The first shapes I draw will be the space on either side of her head and the area for the shoulder. I can draw these shapes up to the small rectangle so I know not to go beyond it. Below shows how my Layer Palette looks before I use Pathfinder.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/3a.jpg
Now with using Pathfinder > Minus Front, it has removed the three shapes from the largest rectangle. Note that I've added volume to the models hair to give it a more dramatic effect.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/3b.jpg
Then I draw the area of the face to use Pathfinder > Minus Front. Note I have now hidden the smaller rectangle guide as it's no longer required.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/3c.jpg
Step 4What I'm left with is a very basic guide to where elements are placed. I'm now going to begin adding shapes of the darkest and most prominent areas of the face (eyes, nose, lips and eyelids). If you notice the bottom of the nose there is a large area. With this method of line art you need to make a call as to whether the shadow cast will be illustrated or not. I've decided to include it, therefore we have the nose shadow attached to the line art.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/4a.jpg
Select All (Command + A) your shapes and use Pathfinder > Unite to combine them into one Compound Path.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/4b.jpg
Now draw the area for the eyeball and use Pathfinder > Minus Front so you have the line art for around the eyes.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/4c.jpg
Step 5I'm going to create the outline of the eye using the Ellipse Tool (L). Hold Alt + Shift and pull outwards to create an even circle and then set the Stroke Weight to 4pt. Go to Object > Expand to convert the stroke to a filled object. Copy (Command + C) and Paste (Command + V) the circle and place it over the other eye so you have the same sized circle for both eyes.
I'm going to draw around the circle and use Pathfinder > Minus Front to remove portions of the circle I don't wish to be seen. Then use Pathfinder > Unite to add it to the larger line art shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/5.jpg
Step 6Now to add further shapes to the line art. I've used the Ellipse Tool (L) to create even circles for the pupils and then shapes for the nostril and other areas. Some of these will not be attached to the main line art shape, so when you use Pathfinder > Unite it will produce a group with all the shapes contained within. To make all the shapes one path, you can Select All (Command + A) of your shapes and then create a Compound Path (Command + 8).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/6.jpg
Step 7Apart from the blue/green background and eyes, the portrait is going to be relying on the chunky line art to look dramatic. When relying on such a simple style, it's a good idea to add finer details to areas which garnish more attention. Typically this is the eyes and lips.
I'm going to create an art brush to add detailing to the iris. Use the Line Segment Tool (\) to draw a horizontal line and then in the Brushes palette add strokes from the line with the Width Profile 4 brush. Select All of the elements (Command + A), then Object > Expand them, and use Pathfinder > Unite to make them one shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/7.jpg
Step 8Click on New Brush and create a new Art Brush as shown below:
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/8a.jpg
Apply the brush to a circle created by the Ellipse Tool (L) and then put them within Clipping Masks (Command + 7). To find out more about Clipping Masks, check out this tutorial on the basics of clipping paths and opacity masks (http://vector.tutsplus.com/tutorials/tools-tips/the-basics-of-clipping-paths-and-opacity-masks/).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/8b.jpg
Step 9Continuing with the "Width Profile 4" brush, I'm going to add eyelashes using the Paintbrush Tool (B). The top lashes are to 1pt while the bottom are 0.5pt in Stroke Weight. Group these once done (Command + G).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/9.jpg
Step 10Using the "Width Profile 1" brush, I'm going to add strokes for the eyebrows. Group these once done<command +="" g).<="" p="" style="box-sizing: border-box; margin-top: 0.3em;"></command>
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/10a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/10b.jpg
Step 11Back to using the "Width Profile 4" brush, I'm going to add fly away pieces of hair. First adding thicker pieces using an 8pt Stroke Weight...
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/11a.jpg
...then reducing the Stroke Weight to 3pt to add finer pieces.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/11b.jpg
Once done, Select All of the strands (Command + A) and Object > Expand them and Pathfinder > Unite them to the larger piece of line art.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/11c.jpg
Step 12I'm going to add more refined details around the mouth and nose by using the "Width Profile 1" brush.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/12.jpg
Step 13There may come a time when you're drawing your chunky line art when in order to add additional elements to the work, you might otherwise think of going back and modifying the area, removing/adding lines. However, this can be quickly rectified by adding white fill/black stroke shapes, as you can see from the examples below of adding a light reflection and tears to the portrait.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/13a.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/13b.jpg
Step 14As I've added tears to the portrait, I want to add some subtle puffed up eyes. To do this I'm going to add some additional lines using the "Width Profile 1" brush around the eyes and on the eyelids.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/14.jpg
Step 15For my last piece of line art, I'm going to add two moles to the skin using the Ellipse Tool (L). I've been adding moles/beauty spots to my work for a long time now, as I feel there is beauty in our "flaws."
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/15.jpg

<iframe frameborder="0" src="https://tpc.googlesyndication.com/safeframe/1-0-10/html/container.html" id="google_ads_iframe_/11757429/hub_design_illustration_inarticle_0" title="3rd party ad content" name="" scrolling="no" marginwidth="0" marginheight="0" width="300" height="250" data-is-safeframe="true" style="box-sizing: border-box; max-width: 100%; border-width: 0px; border-style: initial; vertical-align: bottom;"></iframe>


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Step 16You could leave the line art as it is, however I'm going to add one more element to it and that's including a background color which will match her eye color. Create a New Layer below the "Line Art" layer folder and roughly draw the required shapes. You can change the color of these with ease and chose a color you feel suits it the most. I decided to stick with this green/blue shade as it's the color I recently dyed my hair!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/16.jpg
ConclusionI hope today's tutorial has introduced you into another way of creating line art. With understanding how the basic Pathfinder options work and clever use of Art Brushes, you too can get creative with this dramatic, chunky line art style!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/425-chunky-line/final.jpg


https://design.tutsplus.com/tutorials/creating-a-dramatic-portrait-with-chunky-line-art--vector-4601

covietforum
27-09-2017, 12:59 PM
Creating a Stylish Line Art Portrait with Illustrator CS5
This post is part of a series called Mastering Vector Portraits (https://design.tutsplus.com/series/mastering-vector-portraits--cms-748).
Changing Hair and Makeup to Create a Retro Style in Vector Portraits (https://design.tutsplus.com/tutorials/changing-hair-and-makeup-to-create-a-retro-style-in-vector-portraits--vector-5398)
Creating a Dramatic Portrait with Chunky Line Art (https://design.tutsplus.com/tutorials/creating-a-dramatic-portrait-with-chunky-line-art--vector-4601)

<figure class="final-product final-product--image" style="box-sizing: border-box; margin: 0px 0px 30px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/uploads/users/346/posts/13830/final_image/lineart_final.jpg<figcaption style="box-sizing: border-box; font-size: 12px; color: rgb(163, 163, 163);">What You'll Be Creating</figcaption></figure>
This tutorial was originally published in September 2011 as a Tuts+ Premium tutorial. It is now available free to view. Although this tutorial does not use the latest version of Adobe Illustrator, its techniques and process are still relevant.In today's tutorial, I'm going to show you how to create an elegant, feminine portrait using primarily line art used in a variety of creative ways.
Want to create gorgeous vector portraits of your own? Browse our incredible selection of Adobe Illustrator Brushes (https://graphicriver.net/search?utf8=%E2%9C%93&term=illustrator+brushes&as=1&type=p&referrer=search&view=grid) from GraphicRiver (https://graphicriver.net/) to create your own masterpieces. Or enlist the help of a design professional from Envato Studio (https://studio.envato.com/explore/design-graphics) for custom digital portraits.

IntroductionI'll be basing the tutorial on a photograph I took of a friend and then using other stock elements to add further delicate details to an otherwise plain portrait.
In the tutorial, I'll be using a stock image of a stag head (https://photodune.net/item/mounted-stag-head/289423) as a reference for the antlers and I'll be using a stock image of a bunch of roses (https://photodune.net/item/bouquet-of-roses-from-above/199988).
1. How to Manipulate Your ReferenceStep 1I'm going to manipulate the reference image in Photoshop before I begin the vectoring process. So first open the image in Photoshop and increase the canvas size by 150% by going to Image > Canvas size (Alt-Command-C).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_31abf1b99236c44c6b6fdb108c19b4ab.jpg
</figure>Step 2I'm going to do a very basic sketch of the antlers. I'm going to need the antlers to be as balanced as possible on either side of the head so the first thing I do is draw a line from the center of the face and beyond the forehead. Using this as a guide, I then draw where the bottom of the antlers will be. From this, I then draw in the antlers.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_dbee94016563cf9e080bc5f2b19c5c1b.jpg
</figure>Step 3As I'm planning a nature inspired portrait, I'm going to give the ears a slight point. So using the Lasso Tool (L) with a 7pt feather, I draw around the top of the ear and use the Move Tool (V) to increase the height of the ear.
If you notice on the screenshot, you can see when drawing around the ear I've included and excluded some contours of the ear. This is because if I stretched them, they may look too distorted and therefore out of place in the final illustration.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_e3c0e8f039eba8273a59dd4f04cd1ffd.jpg
</figure>Step 4Use the Lasso Tool (L) to now select the whole of the ear and then Copy (Command-C) and Paste it (Command-V) into a New file in Illustrator. Go to Object > Envelope Distort > Make with Mesh (Alt-Command-M) and set it to 4 Rows and 4 Columns.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_0e83018ac6aa17cdb470b4cbeb5af5fe.jpg
</figure>Move the points around the tip of the ear to produce an elf like ear and then Copy and Paste the ear back into Photoshop. To help line it up in the correct place, reduce the Opacity so you can see the original reference image underneath. I then use the Eraser Tool (E) to remove the excess white.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_e63896e848dd8517751dbb10d32b763c.jpg
</figure>2. How to Create Your Line ArtStep 1With the reference now modified, Save for Web and Devices. Create a New file in Illustrator with theDefault CMYK palette.
Go to File > Place to place your reference image on the canvas. I have rotated the image and rescaled it using the Free Transform Tool (E). Double-click on the layer folder in the Layers palette and rename the folder to "Reference" and then lock the layer.
Create a New Layer and rename it to "BG." Within this layer draw a white fill Rectangle (M) and set the Opacity to 40%. Then Lock the layer. Create a New Layer and rename it to "Line Art."
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_c88fd436401ed89f0989b19b09f2b1f0.jpg
</figure>Step 2There are many ways you can approach creating line art, however I enjoy creating a more organic look where the lines are less uniform. The majority of it is created with the Pen Tool (P) and using the Pathfinder panel.
To begin, draw the overall shape of the skin area. Then draw a shape within the skin (in red below). Using Pathfinder > Minus Front, remove this shape from the larger shape and you're left with the base of the line art. As you can see the line isn't of the same width and isn't uniform.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_9974c1ba3aaa70a5a939bd8faf5d8a6d.jpg
</figure>Step 3I'm going to draw the lines in a similar way to divide the face/neck/arm. When connecting shapes, use Smart Guides (Command-U) to guide you where the lines of the shapes are so they don't overlap and create a bumpy look to the line art.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_30f0d570033d699d4de9de96b7229f38.jpg
</figure>Once you've finished connecting the lines, use Pathfinder > Unite to make them one shape. If you notice below the lines around the lower lobe are a bit too thick in comparison to the rest of the line art.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_ae12c13234b4bc46eacf7c877d16255b.jpg
</figure>You can modify the thickness by using the Direct Selection Tool (V) by selecting the points and altering the curves and placement.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_d5e6c5d4713ed173cd720bce00e2cbba.jpg
</figure>Step 4I'm going to draw further lines, but these are more delicate. Due to the scale of the lines in comparison to the rest of the portrait, I'm doing to use my Width Profile (http://vector.tutsplus.com/tutorials/tools-tips/create-cs5-width-profile-brushes-in-any-version-of-adobe-illustrator-cs/) brushes. I'll be using the "Width Profile 1" Brush to draw the bottom lip, nose and ears.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_779cb346aadeab1c034cfd4b57e8f926.jpg
</figure>Then use the "Width Profile 4" Brush to draw the connecting lines.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_764f527c2975c5581ce8d60038f850c2.jpg
</figure>Step 5As these lines are strokes, I'm going to Select All (Command-A), and then Object > Expand them to convert them to shapes. Select All (Command-A) of the shapes and the original face base and make them aCompound Path (Command-8).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_0df1f9c7839e91882a5a722aff25c4aa.jpg
</figure>3. How to Create the AntlersStep 1I'm going to begin drawing the antlers and I'll be using a reference image for this.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_8dc491449c2190e1e6b8a95515bb9dbd.jpg
</figure>Although antlers aren't symmetrical, I'm going to try to make them look as symmetrical as I can. For the base of them, I'm going to draw thick lines with the below Stroke settings.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_eb5e9d5fbbcdc9ba7d4127ddd0ed315e.jpg
</figure>Step 2Now we'll use the Width Tool (Shift-W) to modify the shape of the lines. First the end point of the antlers will be reduced to about 2pt and then to make only the end of the antlers have a sharp taper, reduce the Width to about 17pt part of the way down.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_2c2126c87c856656f6a148f45877ae49.jpg
</figure>Repeat this for both of the antlers' main stems.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_34b8d258f7fe187d87d6aa09ecc393b3.jpg
</figure>The smaller stems on the antlers won't need to have such a gradual taper, so I've just decreased the width on the tips of them.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_95e3f5f08f3bb834d9cfadc3d944cf3a.jpg
</figure>Step 3Select your lines for the antlers and then Object > Expand them to shapes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_b2f6fc1f5bc110e37a7aee90fbeb7ade.jpg
</figure>Step 4Use the same process with the face base, draw shapes within the antlers to create the uneven, more organic look. It is a fiddly process; however, it is worth the outcome. Once you've done this, arrange the shapes so the smaller shape is on top of the larger.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_87965adabb26348f5eb79e8e917d8ae9.jpg
</figure>Then using Pathfinder > Minus Front, remove the smaller shape from the larger. Then use Pathfinder > Unite to make them two shapes - one for each antler.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_44b4df3b174deb867a7ee98e98876d0c.jpg
</figure>Step 5I'm going to remove the overlapping lines by using Pathfinder > Minus Front.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_7fcdc9b4a72d443503572816ed8d0c9b.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_74cf0add9e2e83a0be9b4534f071a004.jpg
</figure>Step 6Some of the bases at the bottom of the antler stems are too close to the main stems. So I'm going to draw new shapes in and then use Pathfinder > Unite.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_3c79c018bfcbe40f8220c6f52eeb34de.jpg
</figure>Step 7I'm going to draw shapes on the antlers to remove any excess lines. I'm also going to remove some of the lines at the bottom of the stems so they don't look completely independent from the main stems.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_c9882928c74a7b4d32a0b51eb24c8ccb.jpg
</figure>Use Pathfinder > Minus Front to remove them.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_87a3a43ea98095da2db488af94e47a11.jpg
</figure>4. How to Create the HairStep 1Create a New Layer and rename it "Hair." I'm going to sketch the hair design using the Paintbrush Tool (B). I want the antlers to be almost resting on the hair, so I've sketched a beehive. Then created bangs around the face to frame it.
Finally, I want to add a pony tail/braid to give a subtle reference to the tail of a deer. It will also emphasize the femininity of the portrait, as a doe (female deer) doesn't actually have antlers!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_5830cc652fbe1f2d7678ac3d56bf069e.jpg
</figure>Step 2I'm going to need a reference for doing the line art of the braid, so I'm going to use the Braid Brush I created in this tutorial (http://vector.tutsplus.com/tutorials/illustration/how-to-create-a-hair-braid-pattern-brush-in-illustrator/). I've use this art brush along a stroke with a Width Profile (accessible via the Strokes palette) applied to it. This influences the shape of a uniform stroke as shown below.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_6caa60f99340c2c835f46919fa59eae2.jpg
</figure>Then using the Width Tool (Shift-W), I'm going to modify the stroke so the line isn't tapered as much at the ends.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_a0f6526b4b67a8a5e9f0152ae3b74ed6.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_8b63d564aadfac2ee9b23dd1579d794c.jpg
</figure>Step 3I'm going to reorganize the layer folders (see screenshot below) and then draw the base layers for the hair.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_2f26cacb0cd95167e79c7a45c67d7429.jpg
</figure>Step 4I want to add some smooth hair sections coming from the side of her bangs. To do this I'm going to use the Width Profile 1 Brush and the Pen Tool (P). This will ensure that I have smooth even lines. I've set it to a Stroke Weight of about 6pt.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_0b963ccd3534f588ac428b2f83fc9f2a.jpg
</figure>Select the three lines and then Object > Expand them. Use Pathfinder > Unite to combined the shapes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_547118bc48c5c306fb4ba635cf08f9ec.jpg
</figure>Step 5The basic process of doing the hair is the same as putting together the face and antlers. Create a large Shape and Pathfinder > Minus Front shapes from it to create the line art.
With the hair the approach is different in the way that you draw strokes (in this case with the Width Profile 6 Brush) onto the base and Object > Expand them, then use Pathfinder. However, this last part is later in the tutorial.
The hair I do in sections, for instance here I am focusing on the bangs of the portrait. I tend to use the Pen Tool (P) so I have the most control over the lines. They're set to a Stroke Weight of 2pt. This is so I can add finer strokes later on for even further detailing. Don't worry if the strokes overlap, as this will only add to the effect.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_ec33bc5705f8f767d466dae5921315c0.jpg
</figure>If you want to view how the hair has been rendered, simply color your strokes white and then the base shape black to test it.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_df593b79cf96cf18313aadfc655f08ed.jpg
</figure>Step 6Now working on the rest of the hair, I first set the braid brush to Blending Mode Multiply and Opacity 20%. This is so I can use it as a detailed guide.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_2a2f79f8c8e7947445414ddb96931bb1.jpg
</figure>Then I draw the initial strokes, using the same settings as the bangs. I've sectioned off the hair in the red area to give me guidance to where the strokes should be placed. Also note the position of the strokes overlapping the bottom of the antler.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_cdaa0ad3da776ae82b11b77384da4138.jpg
</figure>I won't need to draw strokes behind the antlers. You can see the hair all together below.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_bb91497ca30eb1eee01e8fdf5ef0ef1b.jpg
</figure>Step 7Duplicate the base layers for the hair before you continue. Now I Select All the hair in each of the layer folders (Command-A) and then use Object > Expand, then Pathfinder > Unite, and then create a Compound Path (Command-8). This makes it easier to then use Pathfinder > Minus Front from the appropriate hair bases.
I've lowered the Opacity of the face line art and from this you can see this line art is intruding into the area of the hair.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_ecf3233632cf9d13c72b29dd00d84f94.jpg
</figure>As I'm wishing to keep this mainly in black and white, I'm going to draw a white shape to cover the area of the ear (blue shape) and then remove a section from the top of the face line art (the pink shape).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_d971986e05794555956312d9cc2ee83d.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_02664d7a3b01752caaf4b374ece4ea3c.jpg
</figure>Step 8With the duplicated hair base layers, make the Fill color white and then the Stroke color black. This will help outline the overall look of the hair and contain it within one area.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_3a356c618ed646c2dcab7f2a65b8dfbc.jpg
</figure>5. How to Add Details to the Hair and AntlersStep 1With the Live Paint Bucket (K), I'm going to select the antlers and then Fill in them with white.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_d5ddb8d83faf767491f3ea85321fba55.jpg
</figure>Step 2As the bottom of the antlers are to be covered by the hair, I'm going to put them into a Clipping Mask. So first draw around the antlers and then Group both the antlers together (Command-G). Then select the Shape (which is on top) and the group, then create a Clipping Mask (Command-7).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_6272eba727721b161c6bbf1b5c2d99a5.jpg
</figure>Step 3Now using the Width Profile 1 Brush, I'm doing to draw lines along the side and bottom of the antlers. This will help emphasize the divide between the line art of the hair and the line art of the antlers.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_fec56a82305ff93f4e435e8a0e12fbbe.jpg
</figure>Then using the same brush, add additional strokes around the hair. As much as we wish hair was perfect, there will be bits peaking through the braid and around the hair edges. Once done, I Group these strokes (Command-G).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_0eb7ce1ad658d6dc936537ff2c95489e.jpg
</figure>Step 4Going back to the reference image for the antlers, you can get a good idea of the texture we need to recreate for them. As you can see, the texture fades towards the tips of the stems and this can be replicated in our line art design.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_8dc491449c2190e1e6b8a95515bb9dbd.jpg
</figure>Think of the stems being made of wood and this would be a similar sort of texture you need to create. Start with an Ellipse (L) or two and then draw lines with a 0.25pt Stroke Weight with the Width Profile 1 Brush around the Ellipses.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_4f0e6ec213174e3a0cf79f127774b7a3.jpg
</figure>Of course, not all of the stems will have this pattern, but it's a good tip on how to start to create the texture. Remember to stop the line around the top of the stems and carry on doing this for each of them until complete.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_93d7e3d544776703bccb219110076ddc.jpg
</figure>6. How to Create the Eyes and EyebrowsStep 1Create a New Layer and rename it "Eyes." As previously, draw one large shape and then use Pathfinder > Minus Front to remove the shapes from it.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_59b867a6567a686c4454badd6e7607f6.jpg
</figure>Step 2For the pupil and iris, I'm going to draw an Ellipse (L) with a 1pt Stroke and Null Fill, then duplicate it and change the stroke to null and fill to black. Use the Free Transform Tool (E) to reduce the scale to create the pupil.
Then select the largest circle and Object > Expand the stroke to a shape. Then draw a shape over the pupil and use Pathfinder > Intersect to trim the edges. Use Pathfinder > Unite to add the edge of the pupil to the rest of the eye line art.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_d74d9e96f61ea8ca52792fb9e987bcb5.jpg
</figure>Step 3I'm going to draw additional lines for the eyelids with the Width Profile 6 Brush and then a 0.25pt Strokewith the Width Profile 1 Brush for the line of the nostril.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_4202e86d94af503ef1142ccb2e2aad34.jpg
</figure>Step 4The eyelashes are going to be done with the Width Profile 1 Brush and the Paintbrush Tool (B). The top lashes are done with a Stroke Weight of 1pt and the lower with 0.5pt. Start by drawing lashes at the middle and edges and then filling in between. Remember that eyelashes are curved and therefore some will overhang over the lash line.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_59929b5890639a7a9636918fa4675670.jpg
</figure>Step 5Using the same Width Profile 1 Brush with the Paintbrush Tool (B), draw 0.5pt short strokes for the eyebrows. I've also added an additional line to the eye to divide the eyeball from the corner of the eye.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_b39938d0c9a1da000d8ff86761e2e255.jpg
</figure>Step 6I'm going to add a finer detail into the iris. A quick way of doing this is to Duplicate the circle used for the pupil and to apply a dashed line to it. I've done this twice, and both with a 0.5pt Dashed Line with a 0.25pt Stroke Weight.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_de4e93b680242a596fc1e786cecbe459.jpg
</figure>Once done, add them to a Clipping Mask (Command-7) for the pupil so it trims the edges.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_820e4fd445a0bccf29cdc2a28452ca87.jpg
</figure>Step 7I've created a simple light reflection to the eyes by adding two Ellipses (L) with a 0.25pt black Stroke and a white Fill. When you've done one, Duplicate the shapes and move them across to the other eye. This ensures that it maintains the distance between the circles.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_0dba294ff0792aaefd37ec35ebf29992.jpg
</figure>7. How to Create the LipsStep 1Create a New Layer and rename it "Lips." Using the Paintbrush Tool (B) with the Width Profile 1 Brush, add additional strokes around the lips and for the creases. The line for the top lip will be set at a Stroke Weightof 0.75pt and the finer lines at 0.25pt.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_cb8f5c20e5b2f96ea91f1038ef4706b0.jpg
</figure>Step 2I want to enlarge the lips, by selecting all the shapes for the lips, you'll notice that the line for the center of the lips and the bottom are connected to the main face line art. A quick way to resolve this is to use theLasso Tool (Q) to select the lines and then click Pathfinder > Unite.
This will remove the Compound Path element of the shape. Then select the lines you wish from the lips and Cut (Command-X) them from the face shape. Paste in Front (Command-F) into the layer folder for the "Lips."
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_8cfd2799f1472fe7bd1386ec5bbbcf2b.jpg
</figure>Then use the Free Transform Tool (E) to resize the lips.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_4fe9f1d4fac0e024f468647c65d2d2f0.jpg
</figure>8. How to Create the RosesStep 1I'm going to add some roses to the portrait to emphasize the femininity and elegance. When choosing a stock image, I wanted to get several different roses, so it didn't look like I was duplicating the same element over and over again. I feel this would lower the quality of the final piece.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_29f1edc7b5da9793e3abca7bb5a29e32.jpg
</figure>I created the roses on a separate document and set it up as I did the line art portrait.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_ed545ac676161f2d56446d77374106a4.jpg
</figure>Step 2Back to the same process of drawing a large shape around the object and then using Pathfinder > Minus Front to remove shapes from it to leave you with the organic looking lines for the rose.
However, remember to Duplicate the first shape (the largest), as this can be used as the background behind the line art. It makes it easier to recolor and create Clipping Masks.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_4651fc6e897410b39167ffa127185595.jpg
</figure>Step 3I then used the Width Profile 1 Brush and the Paintbrush Tool (B) to draw finer lines of detailing on the rose. These lines are typically where the petals were creased and folded over.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_234b4c2a842c51275685f74cc969f122.jpg
</figure>I did the line art for five roses in total using exactly the same method.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_32cece28164db7558f47cbf85bb53984.jpg
</figure>Step 4Create a New Layer and rename it "Roses." I've decided to place the roses along the bottom of the portrait to balance out the detailing. If we work on the "rule of thirds" there is detailing on top where the antlers are, then the face, then the rose detailing. The eyes comfortably travel down the antlers to the face and along the braid to the roses.
After much thought, I decided to cover the ear by adding a rose. Although this wasn't my initial idea and I wanted to have elf like ears shown, it does help to bring some reality to the portrait.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_14d3c31bca577b792711132b3fe2e235.jpg
</figure>9. How to Add Final DetailsStep 1I'm going to add some additional detailing by adding some lines with the Width Profile 1 Brush for the dint above the lip and for the neck, these will be set to about 0.5pt.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_84267c4021f2d022d5b04f42f1a304b7.jpg
</figure>Now add finer lines around the hair.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_736237c11a3f63e895e3c04e2e2ac91c.jpg
</figure>Step 2I'm wanting to add some dashes of color to our otherwise black and white illustration. I'm going to mix the hard lines of the portrait with some watercolor looking strokes, and to achieve this I'm going to create a Bristle Brush.
In the Brush palette, click New Brush and on the pop up window, select "New Bristle Brush." Below are the settings and the effect it will produce.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_39081eb96b6269cdf19aca9bda5ae103.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_846db82fee2e70fb3d99a7aff4d4af01.jpg
</figure>Step 3Create a New Layer and rename it "Back Color" and place it below the "Braid" layer folder. Using the Paintbrush Tool (B), I'm going to build up color around the eyes. So first with green, then a green/yellow shade, and then with yellow. Finally, with the brush set to Blending Mode Multiply, I'm going to add darker strokes on the eye lid with a dark green to give it a little more depth.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_0a77a9d2883428a421cb3485d4dc60cd.jpg
</figure>To clean the edges, I'm doing to draw on top of the bristle brush strokes some white Fill Shapes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_2184208ba58a07a2c6b2db2e87ab8645.jpg
</figure>Step 4Then with the Paintbrush Tool (B) I'm going to add some light gray/brown strokes to the hair to give depth. These will be within a New Layer above the "Hair Bases," but below the "Eyes." I'm going to rename this to "Hair BB" - BB as in Bristle Brush.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_20ed2c4993b8096a20bf243dc92886c5.jpg
</figure>Step 5I'm going to add a splash of color to the background, so first in the "Back Color" layer folder, I'm going to add a white Fill Shape behind the eye bristle brush strokes, which is in the shape of the face line art. Then reduce the Opacity to 75%. This is so any textures I apply in the background will show slightly through the skin.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_a14f73682fd62dc427ab9872ab490b8f.jpg
</figure>Step 6Create a New Layer and rename it "Watercolor BG." This will be above the "BG" layer folder.
Within the Brush palette use the drill down menu to access Open Brush Library > Artistic > Artist_Watercolor. I've used these brushes with a large Stroke Weight (about 20-30pt) to create this watercolor look in the background.
The first strokes are pink set to Opacity 30%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_da5fed1aea704d2ba18d1b0bc2e33d5d.jpg
</figure>Now add some blue strokes set to Opacity 20%, with Blending Mode Multiply.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_17147cf8e5defd8b7bed607c6616ea92.jpg
</figure>Step 7Create a New Layer above all the other visible layer folders and rename it "Top Overlay." I'm going to apply some patterns on top to create a subtle texture. You can access the patterns by using the drill down menu in the Swatch palette and going to Open Swatch Library > Patterns > Basic_Graphics > Basic Graphic_Textures.
Using the Rectangle Tool (M), draw a shape over the canvas. The first pattern I'm going to apply will be "Circles" and this will have a Blending Mode of Screen, with Opacity 50%. The second will be "Burlap" set to Blending Mode Multiply and Opacity 3%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_70c5979de9b52735a72638539b91e269.jpg
</figure>Step 8Finally, using the Blob Brush Tool (Shift-B), I'm going to draw a white line as a parting in the hair, and some black dots for moles on the skin.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_4df787f751e16e5c8420ea5e60023ecc.jpg
</figure>ConclusionI hope you have enjoyed today's Premium tutorial and you can apply these effects and techniques in your illustration projects.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/15928/images/15928_7cf999676372e5d1f553ca7a3e48ddef.jpg


https://design.tutsplus.com/tutorials/creating-a-stylish-line-art-portrait-with-illustrator-cs5--vector-4913</figure>

covietforum
27-09-2017, 01:00 PM
Changing Hair and Makeup to Create a Retro Style in Vector Portraits

This post is part of a series called Mastering Vector Portraits (https://design.tutsplus.com/series/mastering-vector-portraits--cms-748).
Create a Psychedelic, Funky Line Art Portrait (https://design.tutsplus.com/tutorials/create-a-psychedelic-funky-line-art-portrait--vector-5438)
Creating a Stylish Line Art Portrait with Illustrator CS5 (https://design.tutsplus.com/tutorials/creating-a-stylish-line-art-portrait-with-illustrator-cs5--vector-4913)

<figure class="final-product final-product--image" style="box-sizing: border-box; margin: 0px 0px 30px; padding: 0px; max-width: 100%; text-align: center;">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/final.jpg</figure>By making simple changes to hair and make up, you can alter a vector portrait to create a retro or vintage style. In today's tutorial I show you how to recreate a 20s and 60s style on a vector portrait.
IntroductionIf you've been a reader of Vectortuts+ for a while, you may notice that every so often I do a tutorial based on a portrait. Truth be told, it's the area I have the most fun and have most experience with. Also, those getting into vector often go to portraits first, as it's such a popular thing to illustrate.
In today's tutorial, I'm going to be revisiting a previous portrait I created for a tutorial (http://vector.tutsplus.com/tutorials/illustration/create-a-backlit-elegant-female-portrait-in-illustrator-vector-premium-tutorial/), with stock provided by Claire Jones (http://tasastock.deviantart.com/), and showing you how changing the hair, make up and overlaying a color can change the time period of the portrait. Specifically, I'm going to show you retro styles from the 1920s and 1960s. They have very similar processes in creating them, with a couple of tweaks.
Without further ado, let's start with the 1920s...
1920s LookStep 1Before starting adding these elements to a portrait, it's always best to do some research. By doing a simple Google Image search and entering in "1920s Makeup" or "1920s hairstyles" you'll be presented with several ideas to inspire you. You can also try looking at icons of those eras to get some inspiration there. Try to stick with the most common themes as chances are people will recognize them quicker and you'll have less explaining to do! For the 1920s, I've been influenced by the movie "Chicago" for the bold red lips and soft, wavy, cropped hair.
First to do is prepare the original vector file by organizing the layers so they are easy to hide and access should you need to.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/1a.jpg
I'm not going to be using the original hair in this style, so for now I'm just going to hide them and there we have our bald girl as a template.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/1b.jpg
Step 2I'm going to start easy by duplicating the eyelashes and eyebrows from the original vector and placing them in a new layer folder. I'm wanting to change the hair coloring from a lovely red to more of a brunette. I'll just need to alter the eyelashes to a shade of dark brown/black but not change any other of the attributes of the strokes.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/2a.jpg
I've done the same with the eyebrows. Now with the Pen Tool (P), I've added a subtle eyeliner effect around the eyes and set it to Blending Mode Multiply with Opacity 50%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/2b.jpg
Step 3The majority of styles, regards to the decade, you'll find there is some base to the eyeshadow. I always use the lightest shade from the skin shading (often used for highlights on cheeks and nose) within a transparent radial gradient.
Create shapes over the eye area, brow bone and one for the eyelid. Now apply the gradient to Blending Mode Screen. Depending on how bold you want this base will be your Opacity value. In this case, I don't want it to be bold so I've opted for Opacity 60%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/3.jpg
Step 4When creating the eyeshadow, I mainly use transparent radial gradients. If you're using an older version of Adobe Illustrator, you can get around this by using blends by checking out this tutorial (http://vector.tutsplus.com/tutorials/tools-tips/quick-tip-how-to-create-transparent-gradients-using-blends/).
The color scheme I've opted for is a muted earth tone, which you can find in the AI default palettes by going into the drop down menu in the Swatch panel then going to Open Swatch Library > Earthtone > Earthtone 7. With the 1920s, there weren't so many pigments around for the make up, so a lot of the colors were muted and this should be reflected in the style.
To start, I've added four gradients around the eyes. One on the top and bottom and one on either side of the top gradient. The top and bottom gradients are set to Opacity 100% with the side gradients at 50%. I've then Grouped them together (Command + G) and set the Group Blending Mode to Multiply.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/4a.jpg
I've then added another gradient above the crease of the eyelid and set this to Blending Mode Multiply.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/4b.jpg
Step 5For the lips, I've duplicated the initial lips shape, which I use as a base. Yet if you've not done this method, you can easily draw one with the Pen Tool (P). As the lips are going to be a bold shade, I'm going to apply red underneath the lips shading (within the original vector shapes). This is going to be a dark red (C=15, M=100, Y=90, K=25) and set to Blending Mode to Multiply at Opacity 50%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/5a.jpg
I've then duplicated the lips shape again and brought it into the "1920s Makeup" layer folder and applied the below attributes in the Appearance panel.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/5b.jpg
Step 6As well as altering the make up, a change in hairstyle will also set the mood for the decade you want to give the impression of. However before we start, I'm going to show you a helpful hint before constructing the hair.
Create a New Layer and put a sketch of the rest of the head, as well as center and side partings. This can be used as a guide and help you recognize where the head is, where the hair must cover, and angles of the hair partings. If you're unsure how to do this, use your original reference image to try and estimate where the scalp is.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/6.jpg
Step 7Now that I have my template, I'm going to do a sketch of the hair style I wish to do. First, I like to draw where the parting in the hair is and the line where the hair is going to be along the forehead.
Second, I estimate where the hair covers the rest of the scalp and the level of volume it has. Finally, a sketch of patterns in the hair, such as waves or any other notable elements in the hair. If you're unsure of the hair style, use multiple references to get it right.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/7.jpg
Step 8Use the sketch you've created and the Pen Tool (P) to then draw the bases for the hair. Some shapes around the ear and neck will be behind the original vector and the main shape will be on top. The shapes in the back I've changed the color very slightly by increasing the Key value by 5-10.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/8.jpg
Step 9I'm going to add gradients to the hair to help prevent it from looking too flat. The first ones will be inverted transparent radial gradients with the same brown used for the base shapes. Set these shapes to Blending Mode Multiply and use the Gradient Tool (G) to position the gradient so it's fading around the edges.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/9a.jpg
Using the same gradient, add shapes to where the wave peaks are and set these to Blending Mode Screen and Opacity 60%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/9b.jpg
Step 10I'm going to begin drawing in the strands of hair. I use a graphics tablet and the Paintbrush Tool (B), but you can do it with a mouse if you've got the patience. I also use my "Width Profile 1" brush which you can learn how to create via this tutorial (http://vector.tutsplus.com/tutorials/tools-tips/create-cs5-width-profile-brushes-in-any-version-of-adobe-illustrator-cs/).
Usually, I add a lot more depth to hair, however I'm going to go over the basics of giving the impression of detailed hair. It follows the same sort of principals of adding light strokes, for adding dark strokes. The strokes are always the same color as the base layer (only blonde and more detailed hair will be different) and use Blending Modes to alter the light/dark appearance of the strokes.
The first are going to be light strokes set to Blending Mode Screen, with Opacity 35%, and have a Stroke Weight of 3pt. Start drawing strokes on the peaks of the waves and then integrate them in with longer strokes covering the entire scalp.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/10a.jpg
Now add darker strokes with Blending Mode Multiply, Opacity 20%, and focus on the troughs of the waves to integrate those in.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/10b.jpg
Step 11I'm going to add highlights to the hair using Blending Mode Color Dodge, Opacity 20%, with a lower Stroke Weight of 2pt. To avoid overly red/golden tones in these strokes, use a brown/gray stroke color (C=50, M=60, Y=60, K=25).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/11a.jpg
Now add depth to the troughs with Blending Mode Color Burn and Opacity 40%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/11b.jpg
Step 12As hair is never perfectly smooth, add fly away strands of hair around the edges of the hair using the original hair base color as the stroke, and with a Stroke Weight of 1pt.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/12.jpg
Step 13Finally, I've added a muted background using the same colors from the "Earthtones" palette. I added a shape over the entire portrait set to Blending Mode Color with Opacity 50%. This helps mute the overall colors of the portrait to help emphasize the vintage look.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/13.jpg
1960s LookStep 1For the 1960s look, I'm going to duplicate the file I've done for the 1920s and remove the hair, earthtone eyeshadow (keeping the base) and the background/overlay. Increase the Opacity of the eyeshadow base to 80%. So below is what I have:
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/14.jpg
Step 2With the 60s look, especially in the UK, a nude lipstick was popular. It's not about the absence of lipstick, but an actual nude matt color on top of the lips. So I'm going to remove the original red shape from underneath the lips and then modify the lips on top.
I've removed the center parting in the lips as I want to neutralize all the coloring. I've used the below Appearance panel settings to color the lips, but still give definition, which is important when removing the color.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/15.jpg
Step 3The 1960s style make up is very graphic and bold. The eyeliner for this style is thicker and much more prominent. So create a cat eyeliner shape with a black fill. Include a thick line along the eyelid crease as part of the style. If you're using a female model with a smaller eyelid, add this additional line higher up from the crease to emphasize this line.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/16.jpg
Step 4With more pigments available, the eyeshadow shades were a lot more colorful. I'm going to add a violet to pink/purple transparent radial gradient to the eyelid. These shapes are then set to Blending Mode Hard Light with Opacity 75%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/17a.jpg
White eyeliner pencil was often used on the waterline and around eyeliner to help emphasize the bold graphic look and to make the eyes look bigger. So using the highlighting skin tone shade, I've drawn shapes along the waterline (Opacity 80%), and then along the bottom eyeliner (Opacity 40%), and both are set to Blending Mode Screen.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/17b.jpg
Step 5Although people may often think of the iconic Twiggy (http://en.wikipedia.org/wiki/Twiggy) look of segmented eyelashes, I much prefer the fuller thick eyelashes of the 60s. So I've added many black strokes along the top line to thicken them up. The more false they look, the better!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/18a.jpg
With the bottom lashes, I'm just going to increase the Opacity of the original lashes to Opacity 80%. All lashes should be set to Blending Mode Multiply.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/18b.jpg
Step 6Moving onto the hair, I'm using the guide for the scalp again and drawing my initial sketch of the hair. The original vector portrait I did had a bit of a beehive effect, which you would associate with the 60s, but I'm going to do another big look which is a shoulder bob cut with the end curled. Again it's a very graphic look.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/19.jpg
Step 7Now to create the bases. I've added on specifically for the bangs/fringe as it will help you define this section of the hair easier. I've opted for an ash blonde.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/20.jpg
Step 8We're going for the same process of doing the hair again, adding Multiply gradients on the duplicated bases to first add depth:
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/21a.jpg
I then added Multiply gradients to emphasize the roots of the hair and the shadow cast by the curves.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/21b.jpg
Finally, add Screen gradients across the hair that help bring out the shine, but also act as a guide to where to place your highlighting strokes.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/21c.jpg
Step 9Sticking to the process, now we'll add highlight strokes, set to Blending Mode Screen, then darker strokes with Blending Mode Multiply. Remember to keep the same base color as your stroke with thicker lines of Stroke Weight 4pt.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/22a.jpg
Now add strokes with a smaller Stroke Weight, set to Blending Mode Color Dodge for the highlights, and then Blending Mode Color Burn for the shaded areas. Focus some of the darker strokes around the roots, tips of the hair and around the bangs/fringe to help define the area.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/22b.jpg
Step 10Now we'll add strokes around the hair bases, because as we know hair is never that smooth!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/23.jpg

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Step 11Finally, I've added a purple/pink overlay on top and underneath to give a dreamy 60s feel to it. I've set the Overlay to Blending Mode Lighten with Opacity 30%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/24.jpg
ConclusionYou could go even further with adding accessories to help emphasize an era. For example why not add earrings and a necklace in a style common to the decade.
Get inspiration from checking out fashions from the era by looking into Google Images and advertising for those times. If all else fails, a good overlaying color to help mute your portrait will give the impression you're going for a vintage or retro look.
What are your favorite decades and styles? Is there a style you'd like to see created on Vectortuts+?
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2012/493-portrait/final.jpg


https://design.tutsplus.com/tutorials/changing-hair-and-makeup-to-create-a-retro-style-in-vector-portraits--vector-5398

covietforum
27-09-2017, 01:01 PM
Tracing a Vector Face From a Reference Photo

This post is part of a series called Vector Portraits (https://design.tutsplus.com/series/vector-portraits--vector-4831).
Creating a Dramatic Portrait with Chunky Line Art (https://design.tutsplus.com/tutorials/creating-a-dramatic-portrait-with-chunky-line-art--vector-4601)
Create a Sci-Fi, Vector Portrait Made of Symbols (https://design.tutsplus.com/tutorials/create-a-sci-fi-vector-portrait-made-of-symbols--vector-4344)

A few times a each month we revisit some of our reader’s favorite posts from throughout the history of Vectortuts+. This tutorial by Jesse Hora was first published on October 20th 2009.
There are numerous ways that you could approach using a reference photo in illustration, an obvious option being to 'trace' the photo. Since there are so many microscopic details in a photograph you have to make numerous decisions on how you want the image to look in the end. Do you want it to look photorealistic? Or more stylized? Comic book-esque? Cartoon-like?
All of these decisions will result in the look and style of your final image, and your work as a whole. As a commercial designer/illustrator, the style and look of your work will make or break you. This tutorial will cover these decisions as we create an illustration from a reference photo.
Premium OptionIf you're looking for a quick way to trace a photo and create a vector, try the Vector Tracing Photoshop Action (https://graphicriver.net/item/vector-tracing-photoshop-action/16512431) on Envato Market. It lets you quickly and easily trace a photo into vector form and apply a range of effects.
IntroductionSome people may think it's so easy to trace a photo, and that this tutorial is useless. I think it is extremely important to know how to do even the simplest things well. I have seen too many people try to trace a photo for an illustration and the end product is less than desirable to say the least.
The basic idea of this tutorial is to showcase how using the the process of tracing the basic shapes and contours of a photograph, as opposed to using predominately vector lines with strokes, as many beginning illustrators do, will result in a desirable, realistic yet stylized image.
Starting with a great photo is obviously a huge benefit to this style of illustration. Luckily, Kyle LaMere of ISR (http://www.ishootrockstars.com/) was able to supply me with a really nice photo from his 'Visitors (http://www.flickr.com/photos/22706354@N02/sets/72157619474235466/)' Series. Thank you Kyle.
Final Image PreviewBelow is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus (http://tutsplus.com/vector-premium/) for just 9$ a month.
Tutorial Details

Program: Adobe Illustrator
Difficulty: Beginner
Estimated Completion Time: 2 hours
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/final.jpg
Step 1AOpen the source photo. In this case I'm using an image of myself and it's available to Plus members. You can of course substitute your own image.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/1A.jpg
Step 1BLock the photo and make a new layer on top.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/1B.jpg
Step 2AStart by tracing the outline of the glasses.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/2A.jpg
Step 2BIf you notice there are so many different shapes, shades, and highlights that make up the glasses, specifically within the interior shapes of the lens and frame, so you have to make a decision on how detailed/complex you want to make the image. Since this tutorials purpose is not an extreme photo-realism look, I will keep it relatively simple.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/2B.jpg
Step 2CBe sure to stay consistent on which shapes/shades you are following. Trace both the interior and exterior shape of the frames.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/2C.jpg
Step 2DSelect both the interior and exterior shapes, choose the Subtract From Shape Area option in the Pathfinder palette, while holding Option to expand to one shape. Now you have one shape that makes up the base glasses.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/2D.jpg
Step 2ETrace the bright (white) highlights on the glasses. Change them from a red stroke to white fill.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/2E.jpg
Step 2FIn addition to the highlights also trace the secondary highlights on the glasses and change them to a lighter red (#F47471).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/2F.jpg
Step 2GEven though they are clear we'll need to describe the lens and the nose pieces. You may have to finesse the shapes a bit, drawing them so they look right as opposed to sticking straight to the photo because the shapes are not well defined. Change them to a light gray (#EFE6E8).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/2G.jpg
Step 2HThat's it for the glasses, switch the stoke to a fill (#EF4136).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/2H.jpg
Step 3ANow trace the white shape of the eye. In order to get the shapes to align perfectly, select the top point of the eye shape, copy and paste a duplicate point on top. Add new anchor points using the Add Anchor Points Tool (+) where the pupil comes down from under the eyelash. Delete the extra end points and continue to draw the pupil using the top duplicated points. This is a very simple, yet useful tip that will help keep the shapes aligned and organized.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/3A.jpg
Step 3BSimply use the process described above to get the black shape of the pupil as well as the white highlight shape. Color them as they are in the photo, black, white and light blue/gray (#72A8B2).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/3B.jpg
Step 4AThe eye lashes and shades that describe the upper and lower eyelids are so thin and subtle, they need to be exaggerated a bit. Trace them, and change them to a dark brown (#603913).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/4A.jpg
Step 4BDo the same to the other eye.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/4B.jpg
Step 5Tracing the eyebrows will be tedious, but if you take the time to really get into the detail, they can look phenomenal. Change them to the dark brown of the other facial features. Here is a peak at how its coming along.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/5.jpg
Step 6The nose can be a huge pain in the butt to get it to look natural. Do the simple line-work, tracing just the edges of the nose and cheeks. Change it to the same dark brown as the other facial features.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/6.jpg
Step 7The key to drawing the mouth is to not outline the entire mouth with the dark line-work like a clown. Draw the shape of the pink-ish part of the lips, and change it to a light pink (#FDE4E3). Then do the thin linework around the mouth, using only small shade shapes where needed.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/7.jpg
Step 8Once the mouth is established, finishing the smile with teeth is fairly easy. You don't need to draw every tooth, you just put in a few shadows that hint at the teeth. Fill these teeth shadow shapes with a light cream (#E2D7D3) color. Draw a large white shape behind all of the shadows.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/8.jpg
Step 9AVector hair could be a tutorial all on its own, it could have numerous layers of highlights and shadows, but I prefer to leave it simply flat with the contour of the shape describing the form instead of highlights. Now go around the outside of the hair form, tracing some of the big hair spikes. You can get fairly free form and deviate from the photo, as long as the shapes you are drawing reference hair. Be sure to include inside shapes which you will exclude using the pathfinder palette (step 2D).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/9A.jpg
Step 9BOnce you have one shape, with lots of little pieces nocked out using the pathfinder palette, change the hair shape to a fill of a dark brown color used previously.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/9B.jpg
Step 10APut in the dimple and chin shapes and some linework in the ear.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/10A.jpg
Step 10BWe're almost there, time to bring it all together. Trace the basic shape of the face and fill it with a skin tone, which is a slightly orange (#F5DFD5) tinged color. Also apply a 1pt stroke with the same dark brown color used throughout, and place this shape under the hair shape layer.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/10B.jpg
Step 11AIf you want a floating head you can stop there, but if you want a place for the head to rest simply trace the neck shape and apply the same colors and stroke as the face.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/11A.jpg
Step 11BAdd a simple shade shape to the neck and choose a shade of brown that is close to the skin color (#C49A6B), so that it doesn't stick out like a sore thumb. Send this shape to the back (Shift + Command + Minus key).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/11B.jpg
Step 12Add a few shapes and lines to describe the shoulders and shirts.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/12.jpg
Step 13After looking at the image, I notice that the coke bottle glasses effect is going on with the eyes. Select all the shapes that form the eyes, and enlarge them just a bit.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/13.jpg

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Step 14Just for composition, add a light blue (#C2E6EA) background to the illustration.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/14.jpg
Final ImageThats it! Very basic, but learn to do it well and it can be a very useful illustration style. The final image is below. You can view the larger version here.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/218_Trace_Face/final.jpg
Subscribe to the Vectortuts+ RSS Feed (http://feeds.feedburner.com/VECTORTUTS) to stay up to date with the latest vector tutorials and articles.


https://design.tutsplus.com/tutorials/tracing-a-vector-face-from-a-reference-photo--vector-3217

covietforum
27-09-2017, 01:02 PM
Create a Sci-Fi, Vector Portrait Made of Symbols

This post is part of a series called Vector Portraits (https://design.tutsplus.com/series/vector-portraits--vector-4831).
Tracing a Vector Face From a Reference Photo (https://design.tutsplus.com/tutorials/tracing-a-vector-face-from-a-reference-photo--vector-3217)
Featuring 25 Inspiring Vector Portraits (https://design.tutsplus.com/articles/featuring-25-inspiring-vector-portraits--vector-4385)

<figure class="final-product final-product--image" style="box-sizing: border-box; margin: 0px 0px 30px; padding: 0px; max-width: 100%; text-align: center;">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/final.jpg</figure>In this tutorial, you will learn how to create vector images made from any symbols, having previously processed a bitmap image in Photoshop and using a wonderful script. The technique is very simple and accessible to everyone, it only depends on your imagination!
Preparing Image for Further ProcessingStep 1For this tutorial, a picture of any quality and resolution will do. It is good if the picture has good contrast, is well exposed, has artistic value. The value of the final product depends on this. For this artwork I used a photo of Isabel Shay (http://isabel-shay.deviantart.com/art/portrait-35213389), who kindly gave permission to use it. The picture I used is a scanned image from film, it has a low resolution, scratch-defects, but from my point of view, is an excellent portrait. After you save it to your computer, open the picture in Photoshop.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/01.jpg
Step 2Take the Crop Tool (C) and crop the photo so that the undesirable elements (white stripes on the right and left) are left off screen.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/02.jpg
Step 3Make the background of the picture absolutely black. Take the Polygonal Lasso Tool and create a selection in the shape of the background. You do not need to be too accurate, but negligence is not welcome either.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/03.jpg
Step 4Click on the Delete button and choose Black in the open dialog box. Press Command + D to cancel the selection.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/04.jpg
Step 5Now go to Image > Adjustments > Invert (Command + I) for color inversion of the image.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/05.jpg
Step 6Now reduce the image's size, looking ahead, I will say that the final size of vector portrait depends on the size of the photo. Proceed to Image > Image Size..., and set the new image size in the dialog box. I set an image width equal to 100 px.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/06.jpg
Save the portrait, File > Save for Web & Devices. The image preparation is completed at this step.
Script Installation and Creating a Vector PortraitStep 7We will be using the Object Multiple Raster script in our work. This script creates graphics based on the pixel data of bitmap raster objects. You can download this and the whole collection of interesting scripts on the website Scriptographer (http://scriptographer.org/). Depending on your operating system and Adobe Illustrator version, select and download the archive of scripts (http://scriptographer.org/download/) to your hard drive. Here (http://scriptographer.org/tutorials/getting-started/installation-instructions/) you can find complete instructions for installing a package of scripts to your computer.
Step 8Open Adobe Illustrator and paste the bitmap portrait into a new document, File > Place...
Step 9Now create a series of symbols that will form a vector portrait. It could be any symbols or vector objects, such as a circle or square. Objects can also represent complex vector objects. I have chosen hieroglyphs from the font Matrix Code NFI (http://www.dafont.com/matrix-code-nfi.font) for symbols. Create a few symbols using this font, the font height is 20 pt.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/07.jpg
Keep the text selected, go to Object > Expand or Type > Create Outlines. Ungroup the achieved objects, Command + Shift + G (Warning, this operation is a must!)
Step 10Select the bitmap portrait and all the symbols with the Selection Tool (V). Now open the Scriptographer Main Palette (Window > Scriptographer > Show Main Palette).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/08.jpg
Choose the script you need (Example > Rasters > Object Multiple Raster.js).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/09.jpg
Following the Script, there opens a dialog box with the effect settings.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/10.jpg
Let's analyze in details the options of this script. Grid Size is the cell size in pixels in which a single symbol is located. If the symbol size is bigger than the cell size, symbols will overlap each other in the lightest areas of a portrait. The size of the final portrait depends on the size of the cell. The larger the cell is, the bigger the final result and the lower the density the symbols are.
Object Scale (%) specifies the dependence of the characters forming a portrait on the initial value of symbols in a percentage base. If you adjusted symbol sizes with cell sizes, set the Object Scale equal to 100%. The contrast of the final result depends on the Gradiation parameter. The figure below shows the results with different values of this parameter set. 0.5 Gradiation value is perfect for it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/11.jpg
The Rotation option is responsible for turning symbols, however, my experiments to change it did not work. The symbols remained horizontal, so leave this option unchanged.
Step 11So, following my recommendations, run the script and we get the result shown in the figure below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/12.jpg
Remove the bitmap portrait, do not delete the symbols, we will need them in the following steps. Replace the color of symbols that form the portrait, I chose green in RGB color mode.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/13.jpg
Step 12Take the Rectangle Tool (M) and create a black rectangle, which will be the background of the portrait.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/14.jpg
Step 13Now proceed to the creation of decorative elements of the portrait. Make some symbols glow. All the symbols of a portrait are located in the same group, so use the Direct Selection Tool (A) to select individual symbols. Select the symbol and change its fill to a white color.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/15.jpg
Step 14Create a glow around the symbol. Take the Ellipse Tool (L) and create a circle, while holding down the Alt + Shift. Fill the circle with a radial gradient that goes from solid green to a green with 0% Opacity.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/16.jpg
Place a circle below the under layer with a group of symbols, moving it down in the Layers palette.
Step 15Now create a sagging effect for glowing symbols. Select the symbols one by one that are located above the glowing symbol, and change their Opacity at a pitch of 10%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/17.jpg
Apply the described technique at some key locations in the portrait.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/18.jpg
Step 16You may be wondering, how to transform vector objects into a set of symbols? They just need to be rasterized. Take the Rectangle Tool (M) and create a rectangle 10 by 150-pixels in size with a black fill.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/19.jpg
Keep the rectangle selected, go to Object > Rasterize...
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/20.jpg
Now transform the raster object into a set of symbols, using the same script and characters, as for the portrait.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/21.jpg
Step 17Place the strips of symbols in a corner of the portrait, you can delete extra symbols using the Eraser Tool or the Direct Selection Tool (A) and the Delete button.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/22.jpg
Step 18Take the Rectangle Tool (M) and create a rectangle filled with a black to white vertical gradient. The size of the rectangle should be the same to hide all of the symbols created in the previous step.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/23.jpg
Change the Opacity of the rectangle for better convenience.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/24.jpg
Create a set of vertical guides, and place them so that they are located among the columns of symbols.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/25.jpg
Step 19Select the guides and a rectangle, now press the Divide button from the Pathfinder palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/26.jpg
As a result, we got a bunch of rectangles, ungroup them and set 100% opacity.
Step 20Using the Gradient palette, reconfigure the gradient fill of each rectangle, and proceed to the view shown in the figure below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/27.jpg

<iframe frameborder="0" src="https://tpc.googlesyndication.com/safeframe/1-0-10/html/container.html" id="google_ads_iframe_/11757429/hub_design_illustration_inarticle_0" title="3rd party ad content" name="" scrolling="no" marginwidth="0" marginheight="0" width="336" height="280" data-is-safeframe="true" style="box-sizing: border-box; max-width: 100%; border-width: 0px; border-style: initial; vertical-align: bottom;"></iframe>


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Step 21Select all the rectangles and symbols below them, it is convenient to do it in the Layers palette, and click on Make Opacity Mask from menu of the Transparency palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/28.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/29.jpg
Well done, the portrait is ready.
ConclusionHaving mastered this technique, you can create interesting effects using raster and vector objects. Maybe somebody wants to make a desktop background using his or her photograph, and someone wants to print a portrait and hang it on the wall. Do you have any ideas?
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/392-green-trix/final.jpg


https://design.tutsplus.com/tutorials/create-a-sci-fi-vector-portrait-made-of-symbols--vector-4344

covietforum
27-09-2017, 01:02 PM
Featuring 25 Inspiring Vector Portraits

This post is part of a series called Vector Portraits (https://design.tutsplus.com/series/vector-portraits--vector-4831).
Create a Sci-Fi, Vector Portrait Made of Symbols (https://design.tutsplus.com/tutorials/create-a-sci-fi-vector-portrait-made-of-symbols--vector-4344)
Using Stock References in the Creation of Vector Art (https://design.tutsplus.com/articles/using-stock-references-in-the-creation-of-vector-art--vector-4042)

Within the majority of vector communities on the internet, portrait art is a popular theme. Be it rendering from photo stock or reference free work, it's a corner stone in vector art. Browse through twenty five wonderful, unique portraits, be in technique or the final appearance, which may inspire you to try new avenues of vector art portrait creation. All of the art work has came from members on deviantArt (http://www.deviantart.com/), where there is a strong vector community.
Adam's Apple Megan (http://deviantjc.deviantart.com/art/Adam-s-Apple-Megan-106139168) by Deviantjc (http://deviantjc.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/1.png (http://deviantjc.deviantart.com/art/Adam-s-Apple-Megan-106139168)
There are certain celebrities that are often rendered in vector. The more attractive and iconic, the higher the likelihood is that there will be fan art of them. Megan Fox is certainly one of the popular ones, as this and the next vector shows. Both pieces use a restricted palette of up to 5-6 colors, but it's the style of how these colors are applied that make them different.
Adam's Apple Megan (http://deviantjc.deviantart.com/art/Adam-s-Apple-Megan-106139168) has a unique style in shading, which is why I wanted to feature this piece for you to see. If you pay attention more towards the shading on the skin, it's composed of a jagged line instead of a more common smooth curve. Not only this, but the texturing and look of the lace fabric is carried beyond the boundaries of clothing and into the background. It helps the eyes flow downwards from the top of the piece into the portrait itself.
The Fox (http://phig.deviantart.com/art/the-fox-179585918) by Phig (http://phig.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/2.jpg (http://phig.deviantart.com/art/the-fox-179585918)
In Phig (http://phig.deviantart.com/)'s portrait of Megan Fox the defining characteristic is the style that the color is applied in a restricted palette. In the previous work the restricted palette is of similar hues, whereas here we have a block of colors, which are of the same hue. We are introduced to a bolder, contrasting color. It's applied in a fashion to break up the piece and it's shading.
It's all in the finer details with this piece. If you look closer, you can see the subtle use of gradients. Although they aren't as much in your face as the bold flashes of blue, they help compliment the palette and ease you into the similar hues of color.
Ilona (http://marikaart.deviantart.com/art/Ilona-122699682) by Marikaart (http://marikaart.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/3.jpg (http://marikaart.deviantart.com/art/Ilona-122699682)
I'm a big fan of the vector work by Marikaart (http://marikaart.deviantart.com/). It's the style in which he renders the human body and portraits that are such a pleasure to view. With this, it's a typical example of his calming style. Mixing subtle line art, the odd blur and freckles in his work. He makes a feature of the human flaws, something I very much like to do myself.
He's used a solid white objects to make up the top clothing of our model and used delicate cut outs of the shape to give it detail. What this has done is given it a further feminine touch (as if thhe flowing red hair doesn't already tell you this), but with its solid color it prevents you from being distracted from the radiance of the portrait itself. It's the perfect support for this amazing piece of vector art.
Sugalip (http://d4m.deviantart.com/art/S-U-G-A-L-I-P-38415438) by D4m (http://d4m.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/4.jpg (http://d4m.deviantart.com/art/S-U-G-A-L-I-P-38415438)
Recently I've been noticing a resurgence of an old style in graphics and that's the use of lines with dots on it in illustration. D4m (http://d4m.deviantart.com/) was applying it to his work in 2006. Using abstract colors and lines, he's constructed this striking portrait.
With portraits, you have several focal points for the viewer to cast their eyes on. They would be the hair, the eyes and the lips. In this piece, the eyes are the most striking element of the piece, next to the abstract shading and line work.
Abandoned Minds (http://owaikeo.deviantart.com/art/Abandoned-Minds-55262766) by Owaikeo (http://owaikeo.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/5.jpg (http://owaikeo.deviantart.com/art/Abandoned-Minds-55262766)
Another celebrity portrait, but with a huge difference. The work of Owaikeo (http://owaikeo.deviantart.com/) is simply mind blowing. I have the pleasure of owning one of his prints on my wall, and it gives me endless inspiration. He uses everyday objects and models to create surreal situations and scenes, and this piece is no exception to the rule. This is actually one of his older pieces and he has since developed greatly.
What makes this portrait unique is the way he has taken a head and shoulder shot and turned it into a surreal scene. If this doesn't wow you enough, his style of line art and using a desaturated palette is also inspiring. Adding his own vector textures from little scratches and hatching - all created in Photoshop, rather than the industry standard vector program of Illustrator.
Queen of Diamonds (http://fck1.deviantart.com/art/Queen-of-Diamonds-150589327) by Fck1 (http://fck1.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/6.jpg (http://fck1.deviantart.com/art/Queen-of-Diamonds-150589327)
West meets the East with this mash up of styles and pop art inspirations in Queen of Diamonds (http://fck1.deviantart.com/art/Queen-of-Diamonds-150589327). The use of bold, bright colors and varied thicknesses of line art collaborate in an amazing pop art styled portrait. The framing is provided by Japanese lettering and tattoo inspired roses and thorns.
Otono (http://pando1.deviantart.com/art/Otono-87983270) by Pando1 (http://pando1.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/7.jpg (http://pando1.deviantart.com/art/Otono-87983270)
As a person who appreciates the rendering of hair, it's good to see a unique take on hair design. Hair design in itself is an art and the rendering of hair is often a painful one, however throwing all of this to the side and against the grain of realism is Otono (http://pando1.deviantart.com/art/Otono-87983270). This piece uses brushes and symbols to make a more organic looking hair creation, which is supported by the minimalist approach to skin shading and feature illustration.
Malice and Friends (http://alexxxx1.deviantart.com/art/Portrait-in-dark-tones-169306073) by Alexxxx1 (http://alexxxx1.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/8.jpg (http://alexxxx1.deviantart.com/art/Portrait-in-dark-tones-169306073)
Some gradient mesh inspiration now with the work of Alexxxx1 (http://alexxxx1.deviantart.com/), who is an accomplished gradient mesh vector artist. I admire work that has strong contrasting shadows. Being able to apply them into vector and meshes, no less, is greatly inspiring.
The portrait has a minimal focal point and is shared with the tip of a rose head, perfectly complimenting the femininity of this beautiful portrait.
Scarlett (http://verucasalt82.deviantart.com/art/Scarlett-31083474) by VerucaSalt82 (http://verucasalt82.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/9.jpg (http://verucasalt82.deviantart.com/art/Scarlett-31083474)
It pains me a little that VerucaSalt82 (http://verucasalt82.deviantart.com/) has been inactive for a while as her line work is inspiring and often mimicked by others. She creates truly iconic looking line art in all of her portraits and pieces. This is just one example of her fabulous style.
She uses scratchy line art and muted colors to create an almost sketched look to her work. The palette screams of a summer sunset and perfectly complements her brown line art.
Beauty Among Nature (http://dhioni.deviantart.com/art/Beauty-Among-Nature-105743083) by Dhioni (http://dhioni.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/10.jpg (http://dhioni.deviantart.com/art/Beauty-Among-Nature-105743083)
I love this style in vector illustration. Portraits with solid colors (as in 100% opacity), and minimal shapes, create bold colored pieces. The sheer organization and control required to produce this style of hair rendering, which is also seen in the way the peacock feathers have been created is amazing. The curves are smooth and flatter this style well.
It's almost mechanical in execution. The lines don't cross, the shading shapes don't interfere with each other. It makes me think organized, clean and crisp. Surely this is an inspiring quality for any vector lover.
New Fex (http://toolkit04.deviantart.com/art/New-Fex-65111165) by Toolkit04 (http://toolkit04.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/11.jpg (http://toolkit04.deviantart.com/art/New-Fex-65111165)
Going from organized shapes to chaos with work from Toolkit04 (http://toolkit04.deviantart.com/). I collaborated with him last year and gained some insight into the method behind the madness of his work. Collections of brush work and clipping masks create a textured portrait based in black and white. It uses the texturing from the brush work to define the shading instead of using shades of gray.
It has bold lines and shapes around the portrait that provide the piece with a stylish frame. It uses negative space around the cheek to help make the eye the focal point in this piece.
Miko (http://limkis.deviantart.com/art/Miko-130083257) by Limkis (http://limkis.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/12.jpg (http://limkis.deviantart.com/art/Miko-130083257)
I like to think of Limkis (http://limkis.deviantart.com/) as one of your "bread and butter" inspiring vector artists. She's essential for anyone's vector inspiration list because of her unique vector rendering and bold application of colors and gradients.
In this portrait she's used feathered objects and gradients to create an inspiring piece. Using all the colors in the spectrum to add light and life to mix a graphical cartoon style and realism. Definitely a treat for the vector viewing eyes.
Oriental Portrait V (http://cerbercus.deviantart.com/art/Oriental-Portrait-V-108281742) by Cerbercus (http://cerbercus.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/25.jpg (http://cerbercus.deviantart.com/art/Oriental-Portrait-V-108281742)
What I like about this portrait is not the portrait itself. It's the frame of the portrait which makes the piece so striking. Of course the frame isn't independent from it as it could be considered as part of the design of the hair. The "hair" helps guide the viewers eyes inwards to the portrait.
The contrast of using grayscale shading and then bold gradients on the frame works very well. Making these elements less independent has been assisted by the pea green eyes.
Communion (http://cd-marcus.deviantart.com/art/alessandra-12483990) by CD Marcus (http://cd-marcus.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/13.jpg (http://cd-marcus.deviantart.com/art/alessandra-12483990)
Here's a vector portrait for the gradient and Corel Draw fans amongst us. CD Marcus (http://cd-marcus.deviantart.com/) has a smooth and sexy style of rendering his portraits with sleek gradients. Here is a grayscale celebrity portrait tjat shows off not only the beauty of the model, but also the sexiness of the gradients. They are applied throughout the skin shading and into the hair.
Starry Night (http://turp.deviantart.com/art/Starry-Night-70436614) by Turp (http://turp.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/14.jpg (http://turp.deviantart.com/art/Starry-Night-70436614)
The next couple of vector portraits are done by Turp (http://turp.deviantart.com/) who is a mistress of the finer details. The first is a portrait which uses the technique of pointism to give the impression of shading, something which I'm sure would take an insane amount of time. Although the hair is dramatically created in strokes, it's the shading in points which is the prime attraction to this piece.
Secrets Cut (http://turp.deviantart.com/art/Secrets-cut-28179451) by Turp (http://turp.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/15.jpg (http://turp.deviantart.com/art/Secrets-cut-28179451)
With this piece, the balance of cut out shapes and delicately placed lines create a soft and feminine portrait. The soft hues add to this effect. Using the detailed parameters of areas such as the hair, it doesn't require intense shading, giving the impression of such depth for this element without leaving too much for the viewer to make up in their minds eye. What makes this also as amazing is that her work is created in Photoshop.
Electro Self Portrait (http://joke-art.deviantart.com/art/Electro-Self-Portrait-94660547) by Joke Art (http://joke-art.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/16.png (http://joke-art.deviantart.com/art/Electro-Self-Portrait-94660547)
Extremely unique portrait warning! Joke Art (http://joke-art.deviantart.com/) has used a variety of shapes to produce line art or line art to produce the shapes to create this very unique looking portrait. It's mirrored appearance adds to the beauty of the piece and helps bring calm to the chaos.
What I appreciate about this piece is, although there is a lot of detailing, the approach to the shading in terms of the regions of color is simplified (and I use this term very loosely considering). Complexity and simplicity are married together in this incredibly inspiring portrait. I truly haven't seen another one like it.
Amphritite (http://rockfield.deviantart.com/art/Amphritite-144612184) by Rockfield (http://rockfield.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/17.jpg (http://rockfield.deviantart.com/art/Amphritite-144612184)
As a stock user and a vector art fan, you become accustom to recognizing certain stock images over and over again. The more beautiful the model, the likelihood of seeing its repeated use is high. So it's refreshing to see a unique take on an often used stock image in Amphritite (http://rockfield.deviantart.com/art/Amphritite-144612184).
The pastel shades, aquatic design and smooth curves help guide the eyes from the top of the portrait downwards to the delicate details of the scene.
The Perfect Ending (http://j3concepts.deviantart.com/art/The-Perfect-Ending-2008-102492391) by J3Concepts (http://j3concepts.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/18.png (http://j3concepts.deviantart.com/art/The-Perfect-Ending-2008-102492391)
The next two pieces are by the vector powerhouse of J3Concepts (http://j3concepts.deviantart.com/). The first is a portrait of his wife done in a minimalistic fashion. Using a monochrome format and bold line art to create a stunning portrait.
There are additional elements to the piece, which without them might not make the portrait as special. The freckling effect towards the corners of the eyes and the addition of the piercings give those small yet significant details to the portrait. The use of blurs on the areas of the hair and mainly white canvas of the piece create a dreamy effect.
Doing Good Thanks Mix (http://j3concepts.deviantart.com/art/Doing-Good-Thanks-Mix-159534628)by J3Concepts (http://j3concepts.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/19.png (http://j3concepts.deviantart.com/art/Doing-Good-Thanks-Mix-159534628)
From one personal portrait to a self portrait with a difference. Instead of giving a portrait a background and landscape, this element has been brought within the boundaries of the portrait. I love the contrast of the realistic form of a person with J3Concepts (http://j3concepts.deviantart.com/)'s iconically whimsical characters within a unique spin on his self portrait. Applying effectively his branding onto an "everyday" vector theme is pure genius.
Self (http://crisvector.deviantart.com/art/self-61651132) by CrisVector (http://crisvector.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/20.jpg (http://crisvector.deviantart.com/art/self-61651132)
Using your own image is a good way to experiment with new styles and techniques. You won't be offending anyone (other than yourself), and you can work on it at your own pace. That's not to say it won't produce amazing outcomes, as it has done for the next two pieces from CrisVector (http://crisvector.deviantart.com/).
In both pieces we're looking at the use of line art to add to the form of the male face and to add shading. When we think of line art, we're assuming that it's used to outline areas of mass color or to define areas of a subject. For example, line art can outline the face,a outline the eyes, or the clothing.
Introducing the line art to set the boundaries of where shadow lies and highlights lie, as shown in "Self (http://crisvector.deviantart.com/art/self-61651132)," creates a different and almost mechanical looking self portrait. The cold appearance of this style is also reflected in the use of a grayscale palette with large portions of black, with delicate lines and flicks of hair.
New ID (http://crisvector.deviantart.com/art/New-ID-174237193) by CrisVector (http://crisvector.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/21.jpg (http://crisvector.deviantart.com/art/New-ID-174237193)
Now to the more present day with a new self portrait of CrisVector (http://crisvector.deviantart.com/). The same techniques of using line art on highlighting and shading sections of the face have been employed once more, however with the addition of hatching for the shading, which can be seen in the chin area.
The lines also appear a lot more organic on this piece as they've been created with the use of a pen tablet. It adds a traditional feel to a digital rendering. As a piece of line art it doesn't require the support of colors or shades as it's effective line work is a stand alone masterpiece.
Adele (http://phig.deviantart.com/art/Adele-147989137) by Phig (http://phig.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/22.jpg (http://phig.deviantart.com/art/Adele-147989137)
Adele (http://phig.deviantart.com/art/Adele-147989137) was the beginning of a new style and technique that Phig (http://phig.deviantart.com/) was experimenting with. One I know not just myself would love to see more of. It relies on brush strokes and shapes of similar dimensions to create an inked and highly graphic take on a modern female vocalist. Adding dashes of color and the impression of deep shade to create an atmospheric piece.
Stevie (http://chewedkandi.deviantart.com/art/Stevie-197759188) by ChewedKandi (http://chewedkandi.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/23.jpg (http://chewedkandi.deviantart.com/art/Stevie-197759188)
Now on to two of my own pieces I want to share with you. The first I recently did for a tutorial here on Vectortuts+ (http://vector.tutsplus.com/tutorials/illustration/create-a-backlit-elegant-female-portrait-in-illustrator-vector-premium-tutorial/).
The techniques I use for many of my portraits are mixing low opacity shapes with a variety of blending modes to produce smooth skin shading. With portraits, I firmly believe that as long as you put your time and effort into the skin shading, it will go unnoticed. This is good as the focal points should be the hair, eyes and lips. The only time skin gets picked up on is if you're obsessed in skin shading or it's rendered poorly.

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Dita Von Tripp (http://chewedkandi.deviantart.com/art/Dita-Von-Tripp-114494346) by ChewedKandi (http://chewedkandi.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/2011/article-20-Vector-Portraits-Inspire-You/24.jpg (http://chewedkandi.deviantart.com/art/Dita-Von-Tripp-114494346)
Finally I want to show you a piece I did a while back that is made mainly out of using vector blends. This is not only for the hair, which is a lot more apparent, but also the skin shading. It created a more unique in appearance style of shading and hair rendering compared to my previous portraits, and also helped me learn a lot more about vector blends. That brings me to the close of this feature article,
ConclusionA lot of these portraits are unique due to both techniques employed and the styles that the artist has previously used in their work. Some have taken the portrait beyond the context of the human face, others have brought the unique flares within the context.
Through experimentation of your own work and using new tools and techniques you can create your own unique portraits. Have you created a portrait taht you think is unique looking? Please share with us your portrait work by commenting with links below.



https://design.tutsplus.com/articles/featuring-25-inspiring-vector-portraits--vector-4385

covietforum
27-09-2017, 01:03 PM
Using Stock References in the Creation of Vector Art

This post is part of a series called Vector Portraits (https://design.tutsplus.com/series/vector-portraits--vector-4831).
Featuring 25 Inspiring Vector Portraits (https://design.tutsplus.com/articles/featuring-25-inspiring-vector-portraits--vector-4385)
How to Illustrate Dynamic Hair Using Adobe Illustrator's Paintbrush Tool (https://design.tutsplus.com/tutorials/how-to-illustrate-dynamic-hair-using-adobe-illustrators-paintbrush-tool--vector-3846)

Historically, artists have used live models and landscapes as a base for their work. In the digital age, stock photos are easily accessible and widely used in all forms of art and vector art is no exception. In this article, we'll look at how useful stock is to the vector artist.
IntroductionStock photos can be used for a variety of reasons ranging from being the source of inspiration for a piece through to help with portraying an element of an illustration more accurately.
As a stock user, I mainly use stock to help with drawing anatomy and portraits. I manipulate stock images and then use the result as a reference for my vector art. Of course this is not the reason for all to use stock.
The Stock Usage "Rules"Wherever you get your stock from, there are several things to take into consideration. The most important thing you must do is to check the rules of any stock image:

Are you able to use the stock for commercial purposes?
Do you need to notify the stock artist/company that you've used their stock?
Are there any manipulation limitations?
Are you limited to where you can display your work? Offline? Online?
Do you need to credit the stock artist wherever you post your work?
From personal experience, I've previously used stock that has included children and seen some common sense restrictions of no sexual themes and some limiting the use of animal stock to no gore.
The majority of stock websites and communities will have these conditions listed on the stock page or will have a link directly to the stock terms and conditions. It's vital for any professional or hobbyist to follow these and to respect the wishes of the stock artist.
If in doubt, try to contact the stock artist or site for further clarification.
Picking Your StockWhen choosing your stock, you may want to consider several qualities of it:

Resolution: You may be using it with an infinitely scalable format, but with a high resolution stock image you'll get all the little details that could give your work the edge.
Lighting: Is the subject/object well lit? Is it cast in shadow that it distorts the texture or even hides elements, specifically any crucial elements of the reference?
Originality: If you're using the stock image for an artistic purpose, then have you seen that specific stock image referenced before? Would you feel comfortable with others possibly comparing your work to another artists work?
What do you think people should consider when looking stock hunting?
Artists and Stock UsageI asked some skilled vector artists about their experiences with stock and any advice they would give others on using stock.
Non Cadenza (http://j3concepts.deviantart.com/art/Non-Cadenza-143793777) by Jared Nickerson aka J3Concepts (http://j3concepts.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/article-using-stock-in-vector-work/j3concepts.jpg (http://j3concepts.deviantart.com/art/Non-Cadenza-143793777)
Jared (http://j3concepts.deviantart.com/) used a fantastic stock image by TwiggXstock (http://twiggxstock.deviantart.com/art/Bewildered-134198881) as inspiration for Non Cadenza.
He tells us:

I want to say that I can only speak for my personal illustration style and how I personally use stock. I can't give advice to anyone doing photo manipulation, etc.
QWhat benefits do you see in using stock for your work?In my case, I'm not the best at anatomy, so using stock for the human form is essential to creating realistic human illustrations.
QWhen using stock, what is your basic process?I usually draw out rough shapes of each individual object, then I start to fill in details like hair, lines in the skin, facial features, eye details, then shading and detailing, finally colouring. The stock photo is only used in the initial shaping process and then again for shading.
QDo you hunt out stock as inspiration?I wouldn't say as inspiration. I usually get the initial idea and then I hunt out stock to suit my needs. Occasionally, I will find a photo that I really want to work with, as in the case of "Life is Nothing without Love. (http://j3concepts.deviantart.com/art/Nothing-Without-Love-177347535)"
QDo you seek stock for a specific element in your work?I usually only use stock for the human form.
QDo you alter the stock before using it?I never alter stock before using it. Because I am redrawing the image, there is no need for pre-alteration.
QWhat advice do you give others who wish to use stock references in their work?Remember that stock should serve as reference only, rarely as a key element.
QAre there things they should avoid?I think you should avoid stock that does all the work for you. You should always use your imagination and create something in your own style.
QAre there things they should look out for?Be on the lookout for high-res images, but if a photo that you really want to use isn't high res, don't let that discourage you. If you are only using the image for inspiration, and you have a good eye, you can fill in the gaps on your own.
Grave Full of Secrets (http://turp.deviantart.com/art/Grave-Full-of-Secrets-28179629) by Kat aka Turp (http://turp.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/article-using-stock-in-vector-work/turp.jpg (http://turp.deviantart.com/art/Grave-Full-of-Secrets-28179629)
Kat (http://turp.deviantart.com/) used a fantastic stock image by Odessa11stock (http://odessa11stock.deviantart.com/), unfortunately the original image is no longer available.
She tells us:
QWhat benefits do you see in using stock for your work?I've never been a portrait artist, my style is a lot more cartoonish, so it's given me the ability to combine the realistic proportions of a photo with my style and come up with something completely new.
QWhen using stock, what is your basic process? Do you hunt out stock as inspiration? Do you seek stock for a specific element in your work? Do you alter the stock before using it?My vectoring style started out based entirely off of stock photography I was inspired by and I'd spend hours looking. The older I get, the more I just use it as a reference for poses and hands so the hunt is a lot more specific. And other than cutting the pictures out of their backgrounds and placing them, I leave the stock as is, colour schemes and everything usually come to me once the picture is done.
QWhat advice do you give others who wish to use stock references in their work? Are there things they should avoid? Are there things they should look out for?It takes skill to make realistic pictures, but it takes talent to create something that wasn't there. Never let the stock photo limit your creativity, you should always be trying to do something different. And watch out for grainy photos! I dunno about you but they drive my eyes crazy when I zoom in.
er.. heimlich please? (http://duckieasdfasdf.deviantart.com/art/er-heimlich-please-165793743) by RD aka duCkieasdfasdf (http://duckieasdfasdf.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/article-using-stock-in-vector-work/duckieasdfasdf.jpg (http://duckieasdfasdf.deviantart.com/art/er-heimlich-please-165793743)
RD (http://duckieasdfasdf.deviantart.com/) used a fantastic stock image by NikxStock (http://nikxstock.deviantart.com/art/1-18-09-Two-111088952).
He tells us:
QWhat benefits do you see in using stock for your work?The main benefit I see in using stocks is that they provide so many different approaches and ideas to what you could use them for. It always gives me a way to experiment around expressions and poses. Not to mention, my drawing skills have improved 0% since the third grade, so I don't have to worry about the correct shape/anatomy/proportions when using stock.
QWhen using stock, what is your basic process? Do you hunt out stock as inspiration? Do you seek stock for a specific element in your work? Do you alter the stock before using it?The first step for me is always laying out the lines since I am in fact, a line art whore. Then, I block in the bases and shades; this is where I tend to stop using the stock as a reference and start using my imagination. Finally, I fix up the colors and curves. That's basically my process in a nutshell. Whenever I see an awesome stock with some solid lines and curves, I either jump right on it or save it for later. There is still a huge line of stocks on my computer waiting to get ravaged by my pen tool. I usually resize the stocks before I start working so it's not too large or too small.
QWhat advice do you give others who wish to use stock references in their work? Are there things they should avoid? Are there things they should look out for?Some clichéd advice I could give is to be creative and to have fun. Each time you are fabricating your next magnificent vector/vexel using a stock, try to depend on the stock less and less. "A carbon copy" of a stock (which I am guilty of doing) can really limit your creativity and imagination! Although, I wouldn't like to tell anyone not do something, after all, it is your own art.
CRAZY FOR VECTOR IV (http://atixvector.deviantart.com/art/CRAZY-FOR-VECTOR-IV-139064613) by Orlando Aquije A. aka AtixVector (http://atixvector.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/article-using-stock-in-vector-work/atixvector.jpg (http://atixvector.deviantart.com/art/CRAZY-FOR-VECTOR-IV-139064613)
Orlando (http://atixvector.deviantart.com/) used a fantastic stock image by VeeStock (http://veestock.deviantart.com/art/stock-1-133427763).
He tells us:
QWhat benefits do you see in using stock for your work?Mainly, that it can save you a lot of time, because it's a part of the creative process that someone else already did for you. Either for reference or inspiration, it will always be very useful for materializing an idea and a great aid for going from scratch to the final job.
QWhen using stock, what is your basic process? Do you hunt out stock as inspiration? Do you seek stock for a specific element in your work? Do you alter the stock before using it?It depends on the work and what you have in mind. If it's a personal project and you don't know where to begin, picking stock may be a good idea to get started, also it's great for inspiration. If you already got the idea, finding the right stock for reference is a blessing. Sometimes I have to alter the image to get what I want, sometimes it seems that everything in the piece was made just for my needs. I don't have a basic process for that. Each project demands a different way of using stock.
QWhat advice do you give others who wish to use stock references in their work? Are there things they should avoid? Are there things they should look out for?It's important to understand that stock is just a resource, and that the final outcome of your work should communicate something with your own style and your own way of doing things. You can make a carbon copy of the image that you used as a reference, but that does not have much value or significance. We must try to make a difference between our work and the work of many others who will use the same image. People who share stock in communities like DeviantArt, expect from you to do something interesting with their work, and that's their main reward.
A Bored Stiff (http://copperthistle.deviantart.com/art/A-Bored-Stiff-170267552) by Joey aka CopperThistle (http://copperthistle.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/article-using-stock-in-vector-work/copperthistle.jpg (http://copperthistle.deviantart.com/art/A-Bored-Stiff-170267552)
Joey (http://copperthistle.deviantart.com/) used a fantastic stock image by Bananered (http://bananered.deviantart.com/art/g-ref-and-stock-170080655).
He tells us:
QWhat benefits do you see in using stock for your work?I personally love the community aspect of it. 99% of the stock images I use for reference in my illustrations are found on deviantART. I just feel like it's this exchange between artists that keeps us all going. I honestly believe the only people that can truly understand our lives as artists are other artists… This may spill over into other aspects of creativity, but I can't sit down and explain my processes and mindset to say, an accountant. It just doesn't work that way. I'm just really appreciative that people are willing to share themselves with the art community in this way.
QWhen using stock, what is your basic process? Do you hunt out stock as inspiration? Do you seek stock for a specific element in your work? Do you alter the stock before using it?It really depends on the piece. Most of the time, I will have a rough visual in mind or sketched out, and I will try to find an image that would work best with it. Other times, I'm just looking for something interesting to draw reference from and I will do the random digging around. It gets a little shady sometimes at the workplace, where I might stumble across a naked chick in bondage and saran wrap, but whatever. That's why I'm in a remote corner of the office!
QWhat advice do you give others who wish to use stock references in their work? Are there things they should avoid? Are there things they should look out for?Not really, specifically anyway… It all depends on what you're trying to achieve. I personally like as high a resolution as possible when finding images; It helps me to work out all the little details which helps breathe a little more life into the piece. I would also encourage people not to work from reference verbatim.
Again, this is a personal preference, but I feel in order to truly take ownership over your work, you have to put at least a little of your personal style and flare into it. I've seen a millions gradient mesh jobs that look exactly like the reference photo used. On one side, it's amazing that it could be replicated in such a way, but on the other side, I always ask "Well, what was the point?", you know? I love to be able to just glance at a piece, and say "oh yeah, that's such-and-such's work." I love personality in art."

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Hot (http://crisvector.deviantart.com/art/Hot-26270730) by Cristiano Siqueria aka CrisVector (http://crisvector.deviantart.com/)https://cdn.tutsplus.com/vector/uploads/legacy/articles/article-using-stock-in-vector-work/crisvector.jpg (http://crisvector.deviantart.com/art/Hot-26270730)
Cris (http://crisvector.deviantart.com/) used a fantastic stock image by LockStock (http://lockstock.deviantart.com/art/Roses-01-19273196).
He tells us:
QWhat benefits do you see in using stock for your work?Well, I can't simply remember all details of a face or the human body without references. Also, the human body and face have lots of details that help to make the drawing more expressive and true. There's so many combinations of expressions, muscles, skin toning and each of these combinations tells a history. What I try is to get one of these genuine expressions and give it another feeling, with my work. Using a stock photo helps me to save a bit more of time to get the perfect expression and anatomy too.
QWhen using stock, what is your basic process? Do you hunt out stock as inspiration? Do you seek stock for a specific element in your work? Do you alter the stock before using it?First, I need to say there's a difference between using a stock and reference pictures. When I want to use a stock photo, I'm interested by the photo itself, there's something in the original photo that caught my eye and makes me think about a good work. Sometimes I use reference photos and, for this process, I use lots of photos to do draw a single object.
So, back to the question, I got a stock photo as inspiration, yes. And, as I said, I like to work with the stock photo on its original look, using most of the original picture's appearance. I try to get the information and improve it adding elements or even a technique that helps to keep telling the history that the original photo has started. Sometimes, in the final work, we can see a very different image, but for me it's just an improvement from what I've seen.
QWhat advice do you give others who wish to use stock references in their work? Are there things they should avoid? Are there things they should look out for?The first advice is ask for authorization first :) It's not polite to use stock references without asking first to the photo owner or model if they authorize the use. With the authorization, it's good to not just copy the image with a different technique, the good thing is to add some artistic view to the original picture, make it more interesting, improve the original history that picture tells. Unless, of course, the new work is just an exercise of technique. I like to consider the stock photo as a static model. I have all the basic information about shading, light, anatomy, intentions and I can build my work under this basis.
ConclusionStock can be a great resource to assist and inspire you. Experimenting with a variety of techniques and styles can help you transform a stock image into a piece of art.
I'm going to leave you with some great words from Kat (http://turp.deviantart.com/), which are a great way to look at stock usage:

It takes skill to make realistic pictures, but it takes talent to create something that wasn't there.


https://design.tutsplus.com/articles/using-stock-references-in-the-creation-of-vector-art--vector-4042

covietforum
27-09-2017, 01:04 PM
Create a Monochrome Portrait in Illustrator

This post is part of a series called Vector Portraits (https://design.tutsplus.com/series/vector-portraits--vector-4831).
How to Illustrate Dynamic Hair Using Adobe Illustrator's Paintbrush Tool (https://design.tutsplus.com/tutorials/how-to-illustrate-dynamic-hair-using-adobe-illustrators-paintbrush-tool--vector-3846)
Create a Backlit, Elegant Female Portrait in Illustrator (https://design.tutsplus.com/tutorials/create-a-backlit-elegant-female-portrait-in-illustrator--vector-4324)

This post is part of a series called Mastering Vector Portraits (https://design.tutsplus.com/series/mastering-vector-portraits--cms-748).
Create a Vector, Zombie Witch Illustration (https://design.tutsplus.com/tutorials/create-a-vector-zombie-witch-illustration--vector-3944)

<figure class="final-product final-product--image" style="box-sizing: border-box; margin: 0px 0px 30px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/346/posts/6387/final_image/monoportrait_final.jpg<figcaption style="box-sizing: border-box; font-size: 12px; color: rgb(163, 163, 163);">What You'll Be Creating</figcaption></figure>
This tutorial was originally published in August 2010 as a Tuts+ Premium tutorial. It is now available free to view. Although this tutorial does not use the latest version of Adobe Illustrator and Photoshop, its techniques and process are still relevant.In this tutorial you will learn how to created a vector portrait using a limited color pallet. You will learn how to modify a stock image in Adobe Photoshop and how to use various blends and techniques within Adobe Illustrator to create a soft monochrome portrait.
Want to create amazing portraits of your own? Browse our incredible selection of Adobe Illustrator Brushes (https://graphicriver.net/search?utf8=%E2%9C%93&term=illustrator+brushes&referrer=homepage) from GraphicRiver (https://graphicriver.net/) to create stylish illustrations. Or enlist the help of a design professional from Envato Studio (https://studio.envato.com/explore/design-graphics) for all your custom portrait needs.
IntroductionI'm going to be using a stock image from my favorite stock provider Natalie Paquette (http://fetishfaerie-stock.deviantart.com/), specifically the following image.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_d646894c2a82815f8024c4819474fa8b.jpg
</figure>1. How to Modify Your ReferenceStep 1First I open the reference image into Photoshop so I can modify the reference. I'm going to increase the contrast of the reference. I do this by playing with Curves which can be found in Image > Adjustments > Curves. I've used the Strong Contrast setting from the drop down menu. I do this to simplify the shadow and wash out the skin. This makes it easier to recognize where the shadows are when vectoring it.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_6cb5766bc536aae400f2f3103ef77763.jpg</figure>Step 2Then go to Image > Adjustments > Black & White. I'm going to use one of the preset settings from the drop down menu. I'm choosing Maximum White as this will wash out the skin further and leave the defining shadows.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_1c938dfd1bed4a852f3c47f0ec608d8d.jpg</figure>Step 3Now to introduce the coloring. I do this by using Color Balance which can be found in Image > Adjustment > Color Balance and using the following settings.

Highlights: Cyan/Red. 0, Magenta/Green. 0, Yellow/Blue. -25
Midtones: Cyan/Red. +50, Magenta/Green. -100, Yellow/Blue. 0
Shadows: Cyan/Red. -35, Magenta/Green. -35, Yellow/Blue. +30
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_8127f38e322f1d26767c6872577028d0.jpg</figure>Step 4Using the Crop Tool (C), I'm going to crop the area of the reference I want to work from. I'm aiming for the shoulder area and face.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_106279907d6a57fd939d237d2f15452b.jpg</figure>Step 5To simplify the coloring further, I'm going to run it through Curves again on Strong Contrast. On other images, you may want to do this further. Increase the contrast until you can clearly see where the areas of shadow are.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_106279907d6a57fd939d237d2f15452b.jpg</figure>Then Save the reference image at about 600 width.
2. How to Create the SkinStep 1Open up Illustrator and start a New Basic CMYK Document. Go to File > Place. Using the Free Transformation Tool (E), hold Shift-Alt to resize and place the image on your canvas.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_ede9cfc7abaa8ff53cfb17710634a895.jpg</figure>Step 2Double-click on "Layer 1" and rename it to "Reference". Lock the layer. Create a New Layer and rename it "BG". In the layer using the Rectangle Tool (M), draw a rectangle to cover the whole canvas with a white Fillcolorand No Stroke. Reduce the Opacity to 30% and Lock the layer. Create another New Layer and rename it to "Base".
Using the Pen Tool (P), with the Fill color as white and Null Stroke, draw around the skin area.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_f108e071aee702f7df9999d0d516db07.jpg</figure>Step 3Lock the layer and Control-Click on the eye to turn it into Preview mode. Create New Layer and rename it to "Shading". Your Layerpalette should look like the following image.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_7a2b3392ad630e7cddf2a70f65014dc7.jpg</figure>Step 4I'm going to be using a limited palette of colors for this vector portrait. Throughout the tutorial, I'll be referring to these colors by the names.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_455bd954f083c35d550ed98ffc9abc82.jpg</figure>The key is to keep the lines as smooth as possible by using the Pen Tool (P) with as little points as possible. When you draw your shapes for the shading areas, don't worry about keeping the lines adjacent to the skin base. In fact I'd encourage you to make sure you go beyond the edges. The reason for this is that I'm going to use a Clipping Mask later on in the tutorial to make sure the lines are kept crisp.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_72b294c1fa96e45272e659458f8dda16.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_5495bac65e35d7a1446c648e3365e54e.jpg</figure>Step 5For each step of shading, draw the shapes just beyond the shadow area for flat areas of skin. However for areas with a crisp line, for example the edge of the nose and nostril, keep the lines as close as possible.
With the second example below, the top of the nostril needs the shape line to be as close as possible. Whereas the shadow cast by nostril requires the line to be just beyond the shadow cast.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_e1992831c0ee8a00a0b36ff5f5fac69b.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_c0e432732821dc4644b884040c5faef2.jpg</figure>Step 6When drawing additional areas of shading, you don't need to keep the lines exactly parallel to the previous lines drawn. In fact with the example, because I felt I haven't included all the shadow in the initial shape I drew, I went beyond the original shape to include it. Later on in the tutorial, I'll be adjusting the Transparency of these shapes, so it doesn't matter if you go beyond the original shapes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_b71b32b481a46c6088e09f56ceaa2ac5.jpg</figure>Step 7I'm going to draw the initial skin shading shapes using light pink as the Fill color and Stroke as null. About four shapes to be layered over the darker areas and use less of course where the shadow is not as intense. I work in Preview mode for this layer so I can see the previous shapes I've drawn.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_8d7411f5830614911d14555993db64cc.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_96cf6298c238ebd26f5b4e603b690dcf.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_c7ef3f8f7f328d7c67dccca858c4771a.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_9af43def83873313c9edc813e81b6749.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_17b2efcc5f0cedcc2572e4a6e03d5193.jpg</figure>Step 8Select All (Control-A) and change the Opacity of the shapes to 7%. Then Group (Control-G) them together. Go into the Base layer and select the skin shape in the folder.
Copy (Control-C) and Paste in Front (Control-F).
Drag the shape above the shading group in the shading layer folder.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_d138b1399ba2fefe4523b9dad2b80e2c.jpg</figure>Step 9Select the shading group and the shape above and go to Object > Clipping Mask > Make (Control-7).
Move this Clipping Mask into the Base layer folder.
When you view the vector elements alone, you should have the following.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_261ba9b469147ee31c4363cdfbfc5e73.jpg</figure>Step 10As I've copied the skin base, I can hide the Clipping Mask and still work in Preview mode to use the skin base as a guide.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_67df7429aa0edeed520fb2c5da6ca2cf.jpg</figure>Step 11Now using the Pink as Fill and the Stroke as Null, I'm going to draw my next shapes. This will be the darker areas of the shadow. I'm going to draw a further three shapes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_ec56d3ca57a622731a3a247fd11cf559.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_9834897602f9d77502a73fb4dd1844fb.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_76458c53ce8ccc8c5716f70a864f6f26.jpg</figure>Step 12Select All (Control-A) the Pink shapes and then lower the Opacity to 5%. While still selected Group (Control-G) them and drag and drop them into the Clipping Mask you created in the Base layer folder. With just the vectored layers shown, you should have the following image.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_1f429c81e7c32749d506609119ff72f0.jpg</figure>Step 13As before, hide the Clipping Mask and use the Purple Fill color and No Stroke for the darker areas of the portrait. I'm going to draw the following two sets of shapes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_1885f4bcd63ce3caca70b123c949b322.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_0343e43fcc9e9ff7e747480e1f113a54.jpg</figure>Step 14Select All the Purple shapes (Control-A) and then lower the Opacity to 6%. While still selected Group (Control-G) them and drag and drop them into the Clipping Mask you created in the Base layer folder. With just the vectored layers shown, you should have something similar to the following image.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_116e3ca954854b7cf54fba48c53e2512.jpg</figure>Step 15Copy the white filled skin base and Paste in Front (Control-C then Control-F). I'm going to fill this with a Light Pink to Light Pink Transparent Radial Gradient.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_8e37bd0eb89a1164da8815826cd473dd.jpg</figure>3. How to Shade the LipsStep 1I'm going to create the next group of shapes for the lips in the Shading layer folder. With the reference hidden and the vectored layers shown, Zoom into the lips. Draw around the lip area and then Fill it with a Purple to Purple Transparent Radial Gradient.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_cd1241527ac934fe905f6ac10bdb3b04.jpg</figure>Set the Opacity to 40% and on Blending Mode to Color Burn. Create another shape with the same Gradient and Layer Opacity/Blending Mode.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_b74bb668d60a99538020e7704aada617.jpg</figure>Step 2To add more detail on the lips, I'm going to add the following shapes Filled with Navy and Null Stroke. The Opacity is set to 10%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_9b3b292f3e0ae70dad587c5573f84c17.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_71651851af87d10c56959898c133f562.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_0fe7f4699b2ce8de6eb6291cc8685276.jpg</figure>Step 3At the bottom of all the lip details, create the following shape with a Pink to Pink Transparent Radial Gradient on Blending Mode Color Burn and Opacity 50%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_fca5072098e38fe0118af980f4a884af.jpg</figure>Step 4Now Group all the lip detail shapes (Control-G) and then drag them into the Base layer folder, above the clipping mask group.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_a1b3165b672d47e83bee3423f9c5d197.jpg</figure>4. How to Shade the Nose, Face, and EarsStep 1Working in the Shading layer folder, Zoom into the nose area. I'm going to add further shadow to the nostril, I'll do this by adding a shape and using a Purple to Purple Transparent Radial Gradient. I've set the Blending Mode to Multiply and Opacity to 50%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_ea58df4ed5ee1581a387401723711be9.jpg</figure>Step 2I'm going to add some blusher to the cheek bone to make the lighter area of the portrait less flat. Using the Ellipse Tool (L), I've drawn a circle then used the Free Transform Tool (E) to Rotate it and then flatten it. Apply a Light Pink to Light Pink Transparent Radial Gradient and shift the source of the gradient to the top of the cheek bone. Lower the Opacity to 25%. This adds a very subtle blush effect on the cheek.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_abf9fd9a7c573296ff4e67ce553fcad5.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_3a95a05fdf88c5e81e186f154a4b1f48.jpg</figure>Step 3Now zooming into the ear area, I'm going to add the following Purple shapes with a Blending Mode ofColor Burn and Opacity 10%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_a08fcf1c182d4c84b86c23ffec1df6cf.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_42f31f943413d11309ec47cf49986386.jpg</figure>Set the final shape to Normal, 10% and Filled with Pink.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_bfc4ecd9e2b7e0608f758aa143be6955.jpg</figure>Step 4Group the shading shapes you've made for the nostril, cheek and ear (Control-G) and then move them to the Base layer folder.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_da3c76a2af9547ff5e50097b87325791.jpg</figure>5. How to Create the EyesStep 1Zoom into the eyes area. I'll be working in the Shading layer folder. Whatever I do on one eye, I'll be repeating on the other. I start with drawing the following two white shapes at 60% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_165c8aa459e4d3c99500dad1dafbd386.jpg</figure>Step 2Draw the pupils using Pink. I'm drawing two shapes, one slightly smaller than the other at 30% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_761c07939c4c032bee57675e122f8cc4.jpg</figure>Step 3Then add Purple shapes with the Opacity of 10%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_86ff92137043734e47502215794efe18.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_12546ef6cfde92fd17f61582fc7cb5b9.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_1478c45e79b05d2e949beaecc233f120.jpg</figure>Step 4Create two shapes with a Purple to Purple Transparent Gradient Radial Fill. This is to give an effect of blurred eyeshadow. Set it to Color Burn and 60% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_4c590075ce529898d2f79972aff28b20.jpg</figure>Set the next ones to Multiply, Opacity 60%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_24aeb0f385d8b072ca3c479fb0ba481c.jpg</figure>Step 5I'm going to add further detail into the pupil. Add the following shape with Navy fill, on Color Burn 25%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_f3ec1835c3307076ac1415892362778f.jpg</figure>With the same color and blending mode, this is at 15% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_df2e2cb069bf2a47134c3bf6cd1c6e38.jpg</figure>Step 6With the Fill color as Navy, Blending Mode Multiply and Opacity 30%, I'm going to make the following shapes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_66392bcc99fc72a33ed699625df6ddf5.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_4148901d9e0977c5a22da9241f736ef4.jpg</figure>Step 7Group all the eye detailing shapes and drag them on top of the other groups in the Base layer folder(Control-G).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_bc7cab5610c165d3d516c28b84de51cb.jpg</figure>Step 8For the next stages you will need to create some brushes from the Width Profile tutorial. Specifically you will need to create the Width Profile 1 and Width Profile 5 Brushes. These will be used for the eyelashes, eyebrows and hair.
With the Stroke color as Navy, Null on Fill, I'm going to use the Paintbrush Tool (B) to draw on the eyelashes. The brush will be set to 30% Opacity and using the Width Profile 5 Brush. The motion you want to go in is a curl shape, to make sure you're hanging some of the curve over the eye line as eyelashes don't go straight upwards.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_8ff4326eb13699036c264b13eeafc0f5.jpg</figure>Continue along the line until you feel the eyelashes are thick enough. Group the top eyelashes (Control-G)and drag and drop them into the Base layer folder.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_009aa7d9474b149a5cb0f5791e334bcc.jpg</figure>Step 9The lower lashes are not as thick, so instead of decreasing the stroke width, I'm going to Reduce theOpacity to 15%. You wont need to add as many eye lashes here. Group (Control + G) the bottom eyelashes and drag and drop them into the Base layer folder.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_67ee59dc3d57128f762b8fcf9af89800.jpg</figure>Step 10Using the Width Profile 1 Brush, Stroke color on Pink and Blending Mode Color Dodge, Opacity 50%, I'm going to add further detail into the eye by layering many strokes. Here is a close up to show you. Repeat this on both eyes. Then Group (Control-G) the strokes and drag and drop them into the Base layer folder.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_4da676d4223518c54f718f6bd1edebb4.jpg</figure>6. How to Draw the EyebrowsStep 1Using the same settings as above and the Blend Mode set to Multiply, begin drawing on the eyebrows.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_2bc39a636595376f1f0634e2afe55198.jpg</figure>Step 2Change the Stroke color to Purple and lower the Opacity to 30% and add further strokes to the eye brows. Group (Control-G) up all the eyebrow strokes and drag and drop them into the Base layer folder. While selected, reduce the Opacity of the group to 70%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_1f4f72baf589cac8a38f6e74defd0a73.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_5f5b378faedba660504e0fa71b44eb0a.jpg</figure>7. How to Create the HairStep 1It's now time to start working on the hair. Create a New Layer between the Base and Shading layer folders and name it Hair.
Using the Paintbrush Tool (B), Stroke color White, Width Profile 5 Brush and with the Stroke Weight of 5pt, begin to draw strands of hair overlapping onto the skin, as shown below.
Tip: Start the strokes about a third above the edge of the layers used for the face. This is so you get a smooth line over the face.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_24c6714b5e9c2bcd06d23930bc98f46e.jpg</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_899d99432dd10e2842a8cd926fa87063.jpg</figure>Step 2Reduce the Stroke Weight to 2pt, the Opacity to 7% and the Stroke color to Pink. Now add some strokes above the face to show strands of hair above the hair line. Use these strokes as if you are outlining the hair.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_d3510ede0b3e9a3556d8b6ee18c629c5.jpg</figure>Step 3Change the Stroke Color to Purple and add further strokes to add more depth to the hair.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_97393a1987e1c5a0eb691928d9b72c1b.jpg</figure>8. How to Add the Final DetailsStep 1Lock the Hair layer. In the Base layer folder, I'm going to use the Ellipse Tool (L) and a Purple to Purple transparent radial gradient to add some moles on her shoulder and cheek at 70% Opacity. I like to think that these give more character to the portrait.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_be0fd56ff0f3f86fa66eacacf5eeb635.jpg</figure>Step 2Now using a White to White Transparent Radial Gradient, I'm going to draw circles over the eyes in the Shading layer for the shine in the eyes. I'm using the Ellipse Tool (L) and holding down on Shift-Alt for even circles. These will be at 100% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_2ff209db04d33ab88a7b119769e391a1.jpg</figure>Step 3Draw a rectangle over the canvas with the Rectangle Tool (M) and Fill it with a Pink to Pink Transparent Radial Gradient. Set it to Color Dodge and 15% Opacity. This will add some color variation to the skin and hair.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_fc9c7436b6ee6e5df33d19e24bcdffd5.jpg</figure>Step 4Draw another rectangle and fill it with a White to White Transparent Radial Gradient with the 0% Opacity in the center. Position the gradient to fade over the line of the skin edge and soften areas of the portrait.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_929fbd41dae03fcb62846d0aa7b6826b.jpg</figure>Step 5Now to add a subtle texture on top of the portrait, go into your Swatch palette and into the drill down menu. Go to Open Swatch Library > Patterns > Basic Graphics > Basic Graphics_Textures > Circles. Using the Rectangle Tool (M) draw over the entire canvas with this pattern on fill. Reduce the Opacity to 5% and the Blending Mode to Multiply.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5112/images/5112_132815dbb58c8b6e865e25b2aff09967.jpg</figure>ConclusionFinally, create a New Layer above the Base layer and rename it to Lines. Along the profile, nostril crease and shoulder, these curves aren't as apparent. So to make these look clearer, use the Pen Tool (P) with theStroke Weight of 2pt, color of Purple on Multiply, 10% to draw in the lines you feel need to be stronger.
Here's the final portrait.





https://design.tutsplus.com/tutorials/create-a-monochrome-portrait-in-illustrator--vector-3881

covietforum
27-09-2017, 01:05 PM
Create a Backlit, Elegant Female Portrait in Illustrator

This post is part of a series called Vector Portraits (https://design.tutsplus.com/series/vector-portraits--vector-4831).
Create a Monochrome Portrait in Illustrator (https://design.tutsplus.com/tutorials/create-a-monochrome-portrait-in-illustrator--vector-3881)
Creating with Vector Blends In-Depth (https://design.tutsplus.com/tutorials/creating-with-vector-blends-in-depth--vector-4560)

This post is part of a series called Mastering Vector Portraits (https://design.tutsplus.com/series/mastering-vector-portraits--cms-748).
How to Create a Hair Braid Pattern Brush in Illustrator (https://design.tutsplus.com/tutorials/how-to-create-a-hair-braid-pattern-brush-in-illustrator--vector-4398)
Create an Art Nouveau Poster in Illustrator (https://design.tutsplus.com/tutorials/create-an-art-nouveau-poster-in-illustrator--vector-4256)

<figure class="final-product final-product--image" style="box-sizing: border-box; margin: 0px 0px 30px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/uploads/users/346/posts/11884/final_image/backlitportrait_final.jpg<figcaption style="box-sizing: border-box; font-size: 12px; color: rgb(163, 163, 163);">What You'll Be Creating</figcaption></figure>
This tutorial was originally published in February 2011 as a Tuts+ Premium tutorial. It is now available free to view. Although this tutorial does not use the latest version of Adobe Illustrator, its techniques and process are still relevant. Today we're going to be using a stock image provided by the wonderful Tasastock (http://tasastock.deviantart.com/) as the perfect pose for this strikingly beautiful portrait.

There are two reasons why I have selected this stock image. The first is that the hair is tied away from the face, making it easier for me to create my own hairstyle. The second is that I'll be able to show you how to create even, soft shading from a reference image where the skin colors have been distorted.
Want to create stunning vector portraits of your own? Check out our amazing selection of Adobe Illustrator Brushes (https://graphicriver.net/search?utf8=%E2%9C%93&term=adobe+illustrator+brushes&referrer=homepage) from GraphicRiver (https://graphicriver.net/) and Envato Elements (https://elements.envato.com/all-items/illustrator+brushes) to help you create beautiful back lit portraits.

1. How to Prepare Your Stock Image & FileStep 1First, open the image in Photoshop so we can modify it. Drag and drop the "Background" layer onto the Create a New Layer icon to duplicate it.
I don't want to amend the contrast too much on the image as it will exaggerate the distorted and modified skin tones to the point where I am unable to see the "natural" shadows and highlights. So I'm going to lighten the tones a bit by going to Image > Adjustments > Curves and selecting "Lighter" from the drop-down menu.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_602b5654a846191f7951835bff77b3f9.jpg</figure>Step 2I tend to create a color palette for the skin by using the Eyedropper Tool (I) in Illustrator directly from the reference image. Often when getting a stock image, there might be tones in the skin from the lighting used in the photo. The way to "correct" this is to use the Color Balance (Command-B) options in Photoshop.
The color changes will be very subtle. If you want to aim for a realistic palette, avoid bold changes in color. Although the color changes are subtle, if you consider you're going to be using only a handful of colors for a large area, it then becomes an important step.
I've amended the color levels as follows from left to right:

Shadows: -5, -5, +5
Midtones: -10, +5, +5
Highlights: -5, 0, -5
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_38b227eff79c90e65638a13243952e0b.jpg</figure>Step 3Once you've made these minor modifications, go to File > Save for Web & Devices and save it with a Height of about 800 px.
Open Adobe Illustrator and create a New Document in portrait. Go to File > Place and select your reference image to place on the canvas. Move the reference image slightly to the left to where you'd imagine the shoulder/arm on the right to be completed.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_d25ea7fcee215439d973f184e8c5a324.jpg</figure>Step 4Double-click on the layer folder containing the reference image and rename it "Reference". Then Lock it. Create a New Layer and rename it "BG". Using the Rectangle Tool (M), draw a white fill rectangle over the canvas and change the Opacity to 30%. Lock it. Create a New Layer and rename it "Skin Base".
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_e882f403768dff9b8013110d5487b198.jpg</figure>2. How to Shade SkinStep 1Using the Pen Tool (P) draw the base for the skin with a fill color of C=15, M=30, Y=35, K=0. As with any color you're using, drag and drop the color into the Swatches panel for later use.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_c57f426fb54ac52bcc9c4b3dba3395ed.jpg</figure>Step 2Create a New Layer and rename it "Skin Shading". Using a fill color of C=25, M=45, Y=50, K=0, begin adding shapes for the skin shading that focus on the mid tones of the skin. Set the Opacity for the shapes to 10%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_9c3e2e0764ed3870f5dcbcf5a14cdb6a.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_a84a0dabaeb7dff4bff7c46a0acade7c.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_1318a14ce731ecbac14ac839cee68f22.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_6e638e375d8b7c160944095edc563ad0.jpg</figure>Step 3Select All of the shapes (Command-A) and then Group them (Command-G). Go into the "Skin Base" layer folder and Copy (Command-C) and Paste in Front (Command-F) the skin base shape. Drag and drop this in front of the group you've just created. Select both the group and the duplicated skin base and create a Clipping Mask (Command-7).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_1d2d91a373cea6dc005e1d3569a2f8fc.jpg</figure>Step 4Using the fill color of C=35, M=60, Y=70, K=20 add further shading to the portrait. These are the darker areas of the skin. Set these shapes to Opacity of 5%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_2ec1c7b60675d1a5de6e776e0ebc91e5.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_ba21fabedf577e46d26312390ca67479.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_16c2435b3457269cf99dab3fa24cc2c6.jpg</figure>Once done, Group these shapes (Command-G), and then Drag and drop the group into the Clipping Mask.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_7f6e08b5c1d0e7d23b57c0f181bf0afe.jpg</figure>Step 5Create a transparent Radial Gradient with a lighter skin tone color (C=5, M=10, Y=15, K=0) and use this to add the highlights onto the skin. Set these shapes to Opacity 10%. Using gradients for highlights is a great way to help give the impression of soft skin.
When creating portraits of women—I can say this from a female perspective here—we don't like our fine lines, bumps and pores on show. So creating a soft matte look to the skin is important. As with all portraits, skin is only picked up on by the viewer if the skin looks bad! If you have flawless skin, rendered or in real life, people will rarely pick up on it. So when I create portraits, I probably spend more than half of my time rendering the skin.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_4e5e5f8b09ff79769d4ab8bc46ede67e.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_160f23d45bdec508175846a08759b144.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_23e8a8bdaee7b545dafa24a8a1fe8371.jpg</figure>Group the shapes (Command-G), and then Drag and Drop the group into the Clipping Mask.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_5d878c3ccbf5edac58c5915d02d2522a.jpg</figure>Step 6I'm going to add some further shines to the skin using shapes filled with the highlight color (non-gradient) set to Opacity 10%. Group these shapes (Command-G) and then move them to the Clipping Mask group.
Try to avoid too many highlights or extreme highlights on the skin. If a woman is wearing cosmetics, she's doing it to make her skin look as perfect as possible. This means avoiding any look of "oily" skin. Aim for the odd highlight to emphasis the tip of the nose, under the eyes and collar bones.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_5286ea0f3ad9fb7ed137e79c51ac774e.jpg</figure>Step 7Just as I've added the highlights, I'm going to add further deep shadows. These are typically in the most dark areas such as around the nose, the arm pit and around the ear. I'm going to use a darker skin tone color (C=45, M=75, Y=75, K=55) set to Opacity 5%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_28e9ad10ccc1bee63f25bd01299dd860.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_f9ed9f7a197b6747e4ae8cc917247cda.jpg</figure>Then Group these shapes (Command-G) and move them to the Clipping Mask.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_2c29eacee58c8315d596e41304eb4ebb.jpg</figure>Step 8A quick way of modifying the tones in the skin is to use transparent radial gradients. If you're just wanting the edges to have a deeper shade, then using inverse gradients is a good quick fix. In this portrait, half of the reference is in shadow. Although I don't want it to be as deep as the reference, I still want to add depth by using two inverse radial gradients applied to the whole of the skin base.
Go into the "Skin Base" layer folder and duplicate the skin base shape twice. Apply a Gradient with one of the tones used for skin shading (C=35, M=60, Y=70, K=20). Using the Gradient Tool (G) place and rescale the gradient. The first is set to a Blending Mode of Multiply and Opacity 40%. This is to darken the skin and add more desaturated tones to it.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_08b912dad4549a4054b9bcb6193af335.jpg</figure>The second is set to Blending Mode of Color Burn and Opacity 10%. This adds more red/orange tones to the skin.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_445c040478270566294aed81aaba7245.jpg</figure>Step 9There are other areas of the portrait which will require a deeper shadow. These are under her ear, under the chin and where her arm and breast meet. I've used the same radial gradient, but not inverted; set to Blending Mode Multiply and Opacity 25%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_5c12cd238b11805022468ecf14530750.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_016a817d1a7be1b9428f3f499958a719.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_4498d5f169e7ffa17b7d1b068a96d3c2.jpg</figure>Step 10Further areas are added to the portrait with the same gradient, this time with Blending Mode Multiply and Opacity 50%. Once done, Group the shapes (Command-G) and add them to the Clipping Mask group.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_76532676ac72a846ea2d4327f34bd257.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_d66c43aed6a9d25f7a32377b69b37dc2.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_9db3443e9a1b2247a0a642de80dc3f3f.jpg</figure>Step 11The skin isn't all one color, and this is especially so towards the inner eye and on the cheek bone, although the cheek bone is usually enhanced with makeup. This is either to help give the impression of higher cheek bones or to try to reshape the face via implied shadows.
Sometimes when adding blush (aka cheek-bone shades) to a model, a transparent radial gradient will do the job, but in this case, as the cheeks are more angled in appearance, a blend will do the trick.
The below Blend is created with two shapes that have a fill color of C=10, M=100, Y=50, K=0. The larger shape is 0% Opacity and the smallest is 100%. The small shape needs to be on top of the larger shape. The Blend group will then have the Blending Mode Color Burn and Opacity 20%. The Blend will require settings shown in the reference image:
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_e02ca708685df5cfe68f7642fd9230ab.jpg</figure>Now I have used the same method with the fill color of a medium grey (C=0, M=0, Y=0, K=40) and with the Blend group set to Blending Mode Color and Opacity 20%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_45cfb44e7234f00b8605a33860d83412.jpg</figure>Once done, drag and drop the two blends into the Clipping Mask group.
Step 12I like to add a subtle rose tone to the shoulders. These help to emphasize the soft appearance of the skin. I've used two transparent radial gradients with the same shade used for the cheeks (C=10, M=100, Y=50, K=0).
I've used the Ellipse Tool (L) to create the shapes required. Set the Blending Mode to Color and Opacity at 25%. Once done, add these shapes to the Clipping Mask group.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_df520f3fbc3be7ce0212e19d932aa99b.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_cbc839b2fe605addd3e217f85f9fc865.jpg</figure>3. How to Create the LipsStep 1Create a New Layer and rename it "Lips". Using the same transparent radial gradient, create a shape for the lips and set it to Blending Mode Color Burn and Opacity 50%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_f2af9867601d2c8abc478c6b8f9526c0.jpg</figure>Step 2Then, using the same gradient, add further shapes to begin building up the lips and emphasizing the creases. Set these shapes to Blending Mode Multiply and Opacity 25%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_e7a6885380a2d47867f6c13fdfe7b887.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_5564a682e51087b0fb0970f3851919f5.jpg</figure>Step 3Using the darkest skin tone (C=45, M=75, Y=75, K=55), add shapes to darken the lips, parting of the lips and creases. Set these shapes to Blending Mode Color Burn and Opacity 15%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_ac5d7835f4a9e63b726c7104e3e4b57d.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_343533bbe9704c1323c15ebe4333ebee.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_67f5dd80962c8970098bf4b74d59c592.jpg</figure>If you see a close-up of the parting of the lips, stagger the shapes to give the impression that the shadow is gradual to show the curves in the lips.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_c6e54610aaf06b1f7f6817c9a8b40fad.jpg</figure>Step 4You should still have the transparent radial gradient used to highlight the skin (C=5, M=10, Y=15, K=0). The shapes are to add highlights to the lips, focusing along the top of the lips and between the creases. Set these shapes to Blending Mode Color Dodge and Opacity 15%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_3391067891b632763c06f4ddd6ce6f29.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_522aa40e9215e939101a1eb5262f9ddc.jpg</figure>Step 5Using the Ellipse Tool (L) and the highlighting transparent radial gradient, add circles around the lips to add sparkles to the lips, and it will also add texture. Set these shapes to Blending Mode Overlay and Opacity 25%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_c5dd6e856b2cb7c8416622a61fdcdefa.jpg</figure>Step 6Begin adding shapes in the parting of the lips to define the shadow in the mouth and between the teeth. Use the C=45, M=75, Y=75, K=55 color for this and set it to Blending Mode Color Burn and Opacity 20%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_c0211a49c084c8584bb08f079ebf3a10.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_d7471546b1c184e70d170e1940d4fde1.jpg</figure>Step 7Back to using the highlighting transparent radial gradient to create the teeth in three layered shapes per tooth. Set these to Blending Mode Lighten and Opacity 15%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_28b2abc07ed7fd693acabfdea2685a91.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_238707dfe5434a349f792e0144da837b.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_6810968510fed85cec5072778b9e2df6.jpg</figure>4. How to Detail the EyesStep 1Often when I add areas of the portrait, such as the lips in this case, the intensity of the color doesn't match that of the skin shading. So I often add additional shading to help balance this out.
Create a New Layer above the "Lips" layer folder and rename it "Skin Shading 2". With the transparent radial gradient used for shadows in the skin shading (C=35, M=60, Y=70, K=20), add shading shapes set to Blending Mode Multiply and Opacity 15%. Make sure that some of these shapes overlap onto the lips.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_4d1a1d8d5a61121b07542f69d2afe0d7.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_9d8656dc59d49adec6b2e273cd5e7a8f.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_071bd4a8f9d8a88408b5d397f3141429.jpg</figure>Step 2Continue to add further shading using the same gradient, but with the Blending Mode of Darken and Opacity set to 50%. These shapes are more focused around the eyes and eyelid creases.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_2dedd1fff17a68c48cb41c4cdb91db51.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_8d658622939e7874d6978f913203ee6f.jpg</figure>Step 3Now use the highlighting skin transparent radial gradient (C=5, M=10, Y=15, K=0) to add further shine to the skin. This is more to highlight the brow bone and eyelids. Set these shapes to Blending Mode Overlay and Opacity 15%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_703d29e20b43065e57bbaaf009e601d5.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_55193673cb26bc52e33f9c71e8b62c38.jpg</figure>Step 4Create a New Layer and rename it "Eyes". Using the pale highlighting color (C=5, M=10, Y=15, K=0), begin adding shapes for the eyes. There are four shapes used for each eye: one for the eyeball, another for the eyeball and inner eye, and then two shapes either side of the iris.
Set these shapes to Opacity 35%. Always try to avoid using white/bold pale colors for eyeballs, as the human eye is not bright white. Although this illustration is not life-like, it is highly detailed, so I want to keep to natural colors where possible. The exception is of course in more cartoon illustrations where bright white is acceptable.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_94ca24da8ed482d06558e7e78dbbaa0f.jpg</figure>Step 5I often refer back to the reference image in placing the iris in my illustrations. Here I'm using the Ellipse Tool (L) to create the initial circles for the iris. Note that the one on the left is slightly smaller.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_dfe2ecb685c321a86e1ca129fb95ea96.jpg</figure>Copy (Command-C) and Paste in Front (Command-F) the circles. Then using the Free Transform Tool (E), shrink the circle slightly. This helps give a less crisp edge to the iris. Both circles have a dark green fill color (C=90, M=30, Y=95, K=30) with Opacity of 50%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_7c233b8a098d97a838dc4b7acf8f5ce0.jpg</figure>Step 6Group the two circles (Command-G) and then with the Pen Tool (P) create a shape where the iris is within the opening of the eye. Create a Clipping Mask for each of the irises (Command-7) and place the circle groups within.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_2feafc57b41c6221c79758c44c14f709.jpg</figure>Step 7Note: The screenshots I will show you from now on will focus on one eye. However, what I do with one eye, repeat as appropriate on the other. I'd advise doing them both at the same time to make sure the objects are consistent.
Using the double circle effect again, use the Ellipse Tool (L) with a dark brown fill color (C=40, M=75, Y=75, K=55) to create the pupils of the eye. Set these to Blending Mode Multiply and Opacity 50%. Then add the circles to their respective Clipping Mask groups.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_0a74341ef2f12ec9b09498ae3df711ba.jpg</figure>Step 8Build on the shading for the iris and lash line by adding shapes with the mid skin shading tone (C=30, M=60, Y=70, K=20) with the Blending Mode Multiply and Opacity 50%.
Unlike in men, with women it's wise to put a lot of emphasis on the top lash line and the corner lashes of the eye. This helps exaggerate the thickness of the lashes. This is also a common cosmetic trick.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_22b5bcf30d9eadd46276ec22ac5c4b3c.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_a87f54a1c7535875fc8d767cb6029920.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_ebe69823e18aa54943adca4da57568c0.jpg</figure>Step 9Add further shapes with the same fill color to increase the shading for the eyeball, around the lash line, on the top and bottom of the eyes, and the eyelid crease. Set the Blending Mode to Multiply and Opacity 20%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_1958986e59435108f51cafb7f117ff54.jpghttps://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_7a8d58ac90af3a434d9c297e95e73577.jpg
</figure>Step 10Using the Ellipse Tool (L), draw a circle slightly smaller than the size of the iris. Fill it with a transparent radial gradient with the mid skin shading tone used previously (C=30, M=60, Y=70, K=20).
Go to Effects > Distort & Transform > Zig Zag and use the settings below. Set the Blending Mode to Color Dodge and Opacity at 35%. Then drag and drop this shape into the Clipping Mask group for the relevant Clipping Mask group below the pupil circles.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_811d4858ac9f2272b0123f91975ed31e.jpg</figure>Step 11Keep the same Transparent Radial Gradient as the fill color; create another Circle over the iris. Use the Gradient Tool (G) to reshape and size the gradient source to add a shine towards the bottom of the iris. Set the Blending Mode to Color Dodge and Opacity at 60%. Add this to the Clipping Mask group below the pupil circles.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_77c544b1d3bdab222a12b38af76c0a92.jpg</figure>Step 12Duplicate the circles just created and invert the gradient. Modify the source to create an arc of color around the top of the iris. Set the Blending Mode to Color Burn and Opacity to 60%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_ea97ac4073aabf84632c1b0d4aa63384.jpg</figure>Step 13Create shapes at the corner of the eye and along the lower lid with a fill color of the Transparent Radial Gradient used for the pink tint of the lips/shoulders. Set the Blending Mode to Color Burn and Opacity to 45%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_d1d93bfcd6e59bcbb8759be215226ed6.jpg</figure>Step 14Create a New Layer above the "Eyes" layer folder and rename it "Eyelashes". Using the Width Profile 1 (http://vector.tutsplus.com/tutorials/tools-tips/create-cs5-width-profile-brushes-in-any-version-of-adobe-illustrator-cs/)brush on its default settings, with the Paintbrush Tool (B) draw "S" and "J" shapes to create eyelashes along the lash line. These will have the stroke color of a dark brown (C=40, M=75, Y=75, K=55) and a Blending Mode set to Multiply and Opacity at 45%. Once done, Group them (Command-G).
Slightly exaggerate the length and density of the lashes, as would be done with the use of mascara and eyeliner in cosmetics.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_9feee5f1c24e301cb2f4228ed0863bd4.jpg</figure>Step 15Do the same as the previous step for the lower lashes, but with a Blending Mode of Multiply and Opacityat 25%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_0b107037986b2b457b572e25999e06aa.jpg</figure>Step 16Back into the "Eyes" layer folder, I'm going to add shines and reflections to the eye. I've used the skin highlighting transparent radial gradient and shifted the source with the Gradient Tool (G) towards the bottom of the shapes.
I've used the Ellipse Tool (L) to create circles over the pupil and in the corner of the eyes. These shapes are set at Blending Mode Color Dodge and Opacity of 75%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_1f81f43d06709d3760223544dc746a01.jpg</figure>5. How to Create the HairStep 1Create a New Layer above the "Eyelashes" layer folder and rename it "Hair Sketch". Using the reference image as a guide, sketch the hair line and the area in which there would definitely need to be hair cover. This will be where the hair style is structured over. I sketch using the Paintbrush Tool (B) and the Width Profile 1 brush previously used. Group the strokes (Command-G) for easier use.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_e805e147286c6a32d03c622ef0f33b1c.jpg</figure>Step 2Reduce the Opacity of the initial sketch group to about 30% so you can still see it but it won't distract you from your hairstyle sketch. Although I want to make a feature of the hair, I don't wish it to be too distracting. I've chosen to have the hair tied back, but with it showing length.
I've done the sketch in sections to make it easier to construct an "up do." First draw the fringe/bangs at the front (green), and then the side pieces of hair to be gathered at the back (pink).
You then need to decide how you'd like the hair on top between the sides to be like, whether to show a parting in the hair or not. I've opted to give the hair volume in a soft bump at the front (orange/red).
Finally, although I want the rest of the hair to flow at the back, I want to give the impression of the length of the hair. Considering the length of hair required to keep the hair tied at the back, it would have to be just below shoulder length. This is represented by the lock draping over the shoulder/collar bone area (blue).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_b71f4dff726c1366f5d061bf97c0bf89.jpg</figure>Step 3Lock the "Hair Sketch" layer folder for now. Create a New Layer above the "Hair Sketch" folder and rename it "Hair Bases Front". Then Create a New Layer above the "BG" folder and rename it "Hair Bases Back".
If you consider that the blue/back of the hair will need to be behind the skin shading, and the rest on top of the skin shading/features, adding these two hair base layer folders will help organize and ensure the hair looks perfect.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_b8903e8ce96a0b71c4d78ce9d6e01d30.jpg</figure>Step 4I'm going to use the Pen Tool (P) to create shapes for the bases of the hair within the respective hair base folders. However I'm going to color them slightly differently to distinguish the style of the hair.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_b7ea989fb068e1e1a76ae27ed3b04382.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_86649d5c7760620106d8157f321cbb1d.jpg</figure>The back of the hair and top portion of the hair will be C=20, M=90, Y=100, K=15 and the fringe/bangs and the side sections will be a lighter shade of C=15, M=85, Y=95, K=10. When I finished drawing these shapes I noticed my fringe/bangs were hiding the side section of the hair, so this was removed.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_ffcac344cfcdff405f91c49085ab88db.jpg</figure>Step 5Duplicate the hair bases and then collate them as shown in the screenshot below. Create an inverse transparent radial using the darker auburn color and apply it to the duplicated bases. Using the Gradient Tool (G) position, resize and shift the source position so the gradients give the impression of shadow.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_b9f4d472f40a4039a942031a857ef8da.jpg</figure>However, with the back, invert the gradient again as the shadow would be coming from the neck rather than inwards. I then used a linear gradient from the roots down.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_680127c42aaeb0f3f307223deb143988.jpg</figure>Set all of these shapes to Blending Mode Multiply.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_343e9629f69a9259ffeb74d180185a97.jpg</figure>Step 6Create a New Layer and rename it "Hair 1". I'm going to use this to draw some strands of hair in the direction I want the hair to flow. Although I could jump in and begin adding many strands all together, I'd advise creating some strands first, otherwise you many find your strands too chaotic.
I've used the Pen Tool (P) to draw these with the "Width Profile 1" brush, and used the dark auburn shadow on Multiply at 25%. I drew each section of the strands and Grouped them (Command-G), and then organized them in the Hair Base folders as shown.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_4b266be6929092534741a36fad72b0b2.jpg</figure>Step 7I can now use the Paintbrush Tool (B) with the same settings as above to draw more strands, using the initial lines to guide me. Don't worry if you don't cover the area completely or overlap your strands. This helps you create more organic areas of darker and lighter areas of hair and add texture.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_d7173c3b57a70388b5436b0b891bf8df.jpg</figure>Again draw the strands in sections and Group them (Command-G).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_e0d6d29dbe1db671e0840dad62f03803.jpg</figure>Step 8Create new strands with the same brush to illustrate strands which are being caught by the light in front. Use the same settings as before, but change the Blending Mode to Color Dodge and Opacity to 50%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_e430d40e222167788424c96f1aa637d7.jpg</figure>Step 9Increase the Stroke Weight to 3 pt and begin drawing strands in the darker areas of the hair for each of the sections. Focus many strokes at the roots of the hair, as this is where it should be darker due to the length and tips of the hair being bleached by the sun.
I've used a different color to show you where I put the strokes for the top section, but I used the same dark auburn shade to do this. Setting the Blending Mode to Multiply and Opacity to 30%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_ef8f736b8aede15e588d04f3c40afeb9.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_ec32e77aaa7dc20c108a9ab40a1d76a4.jpg</figure>Step 10I'm going to change the Stroke Color now to a light brown (C=25, M=40, Y=65, K=0) and use the same brush and weight to add highlights to the hair. These will be focused more to the right of the hair as this is the direction of the light.
Set these to Blending Mode Color Dodge and Opacity 20%. I've Grouped (Command-G) these strands and kept them in the "Hair 1" layer folder.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_5b93a5a5f334caddbfce8f62b256a534.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_e452b03e0b87d35679fb15c977656e31.jpg</figure>Step 11As much as women would love their hair to be pencil straight and have no fly-away strands, in reality this isn't always possible. To add a hint of realism to the portrait, draw strands of hair around the outside of the bases and the curl of hair coming over the shoulder.
I've used a Stroke Weight of 1 pt and the dark auburn shade. However, I've changed the Opacity for the strands to 80% and even changed some of the strands Blending Mode to Multiply on the shoulder curl to make it look less flat. I've Grouped (Command-G) these strands and kept them in the "Hair 1" layer folder.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_a3147a0e4dff9ce6b334d433ec732534.jpg</figure><figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_11157de9817e83cd74111df988b49275.jpg</figure>Step 12I've added a slim base to the shoulder curl to give it more depth. Add a jagged tip to the start and end of the curl to make it more natural and blend better into the connecting hair. I've filled this with the dark auburn shade.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_e4c9e8120e8f4257dbba5d1014f483b2.jpg</figure>Step 13Create a New Layer above the "Eyelashes" layer folder and rename it "Eyebrows". Eyebrows are usually a little lighter in shade than the hair (if it's a natural hair color and not out of a bottle that is!), so I've used the lighter auburn shade to add strokes for the eyebrows with an Opacity of 60%. I then Group these strands (Command-G).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_74f54831f2f8b817a837322204374451.jpg</figure>To add texture to the eyebrows, I've added further strands with a Blending Mode of Multiply and Opacity of 50% on top.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_cf0e5f1f13b2bdafbdae5e9fb06f6f20.jpg</figure>6. How to Create the BackgroundStep 1Go into the "BG" layer folder and change the Opacity of the rectangle in there to 100% and fill it with a dark green (C=90, M=30, Y=95, K=30).
Using the Mesh Tool (U), add a point in the center of the shape with a pea green shade (C=50, M=0, Y=100, K=0). Then add a further four points as shown below.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_604d7f055def330012c14eb32c9565dd.jpg</figure>Step 2As I'm wanting to create a backlight effect, the fly-away strands of hair and much finer strands would pick up on the light. Create a New Layer below the "Hair 1" layer folder and rename it "Hair Highlights".
Using the Paintbrush Tool (B), add strokes around the hair and set these to Blending Mode Screen and Opacity 60%. Remember to add some strokes to the eyelashes on the left, as they would be caught slightly by the backlight. Group them once done (Command-G).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_9777932e4d374c468c8851394ab4d82a.jpg</figure>Step 3Create a New Layer above the "BG" layer folder and rename it "Backlight". With the Pen Tool (P) to ensure a smooth shape, draw around the shoulders, hair and cheek. Due to any hairs and texture on the skin, this would catch the light slightly. So I'm going to add a faint outline to the portrait to represent this.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_179a934ca3f4b2758cf5f8c82b7bdd02.jpg</figure>Duplicate the line three times and set the stroke color to a yellow with a green tint (C=5, M=0, Y=90, K=0) and Blending Mode Screen and Opacity 10%. Stagger the Stroke Weight of the lines from 2 pt to 4 pt, 8 ptand 16 pt to give the impression of a glow.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_05d456ef094a69cdd711036f02e752ab.jpg</figure>Step 4Create a New Layer below the "Backlight" layer folder and rename it "Bokeh". Although this effect isn't strictly accurate in appearance of bokeh, it does give an impression of it. I find the quickest and least distracting method is to create a transparent radial gradient with the color fade near the edge of the shape with a thick stroke.
In this instance, I've used the previously used yellow with a green tint for the gradient and stroke color. I've set the Stroke Weight to 4 pt and used the Ellipse Tool (L) to create an even circle.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_703cf5492c83f53813e4e6d7591a6720.jpg</figure>Draw different sized circles around the portrait, and set the Blending Mode to Screen and Opacity to 10%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_703cf5492c83f53813e4e6d7591a6720.jpg</figure>7. How to Create the Finishing TouchesStep 1To refine the skin shading, I'm going to add some highlighting and shading strokes. Go into the "Skin Shading 2" layer folder, and add strokes as shown below to enhance the light in front of the portrait. I've used the highlighting skin color for this (C=5, M=0, Y=15, K=0) and set the Blending Mode to Screen and Opacity to 30%. Although you can do this with the Paintbrush Tool (B), I would suggest the Pen Tool (P), again to ensure a smooth curve.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_65009255c91ce3731eccbc938f41b9ce.jpg</figure>Step 2Now add shading lines with the dark skin shading color (C=35, M=60, Y=70, K=20) set to Blending Mode Multiply and Opacity 40%.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_16d1dbe476a850e1eb6e6894e0690d26.jpg</figure>Step 3Finally, I always add to my portraits some freckles/moles! These are very easy to create by using a transparent radial gradient of the dark skin shading color. Use the Ellipse Tool (L) to create the first circle, and then duplicate and offset it slightly. Change the Blending Mode to Multiply and Opacity to 70%.
Position and Rotate the two circles on the body to give the skin a bit more of a realistic charm!
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5569/images/5569_6515aac051df6001fcd57f819a7a87e6.jpg</figure>Awesome Work, You're Now Done!I'm going to be honest and say I'm of the opinion that women are great at producing female portraits as they know these makeup tricks and tips and can help illustrate a detailed portrait well!
However, if you're not too good on makeup or would like to improve on flattering a female portrait, I highly recommend checking out cosmetic tutorial sites for tips on techniques to flatter the face. By converting makeup techniques into gradients and lines, you can create several flattering effects to enhance the skin and features.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/uploads/users/346/posts/11884/image/backlitportrait_final.jpg</figure>

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https://design.tutsplus.com/tutorials/create-a-backlit-elegant-female-portrait-in-illustrator--vector-4324

covietforum
27-09-2017, 01:07 PM
How to Create a Hair Braid Pattern Brush in Illustrator
This post is part of a series called Vector Portraits (https://design.tutsplus.com/series/vector-portraits--vector-4831).
Create a Backlit, Elegant Female Portrait in Illustrator (https://design.tutsplus.com/tutorials/create-a-backlit-elegant-female-portrait-in-illustrator--vector-4324)
Create a Male Portrait from a Photo Reference (https://design.tutsplus.com/tutorials/create-a-male-portrait-from-a-photo-reference--vector-4142)

This post is part of a series called Mastering Vector Portraits (https://design.tutsplus.com/series/mastering-vector-portraits--cms-748).
Creating a Dramatic Portrait with Chunky Line Art (https://design.tutsplus.com/tutorials/creating-a-dramatic-portrait-with-chunky-line-art--vector-4601)
Creating a Portrait Using Only Four Colors! (https://design.tutsplus.com/tutorials/creating-a-portrait-using-only-four-colors--vector-4431)

Have you considered the possibilities of the Blend options in Adobe Illustrator? Today I'm going to show you ways to get creative with Blends by illustrating a whole portrait using primarily Blends!
You can find the source files in the directory labeled 'source' that came in the files that you downloaded. You may wish to look through them briefly before we begin.
IntroductionIn today's premium tutorial I'm going to show you in depth how to create a glamorous portrait using mainly vector blends. I'll go into the theory and technical aspect of Vector Blends as well as showing examples of how to use them effectively and in creative ways.
Using vector blends, you can create a gradient, almost airbrush art appearance which further pushes the boundaries of the medium and strays away from the layered object/cell shading style often associated with detailed portraiture art. Furthermore, let's not forget that while the portrait takes on the appearance of airbrushed art (raster based), it is 100% vector with no rasterizing live effects!
I'm going to be using stock provided by the amazing Tasastock (http://tasastock.deviantart.com/art/Seven-Deadly-Sins-Lust-4-144305683).
Color PreparationAs vector blends can be complex in themselves, to make the illustration as smooth as possible I would strongly advise working in grayscale. Last month I tackled a portrait using only four colors, this month the tutorial will be with three shades of gray! Throughout the tutorial I'll refer to the following shades:

Light gray (C=0, M=0, Y=0, K=30)
Mid gray (C=0, M=0, Y=0, K=60)
Dark gray (C=0, M=0, Y=0, K=80)
As a prerequisite of this tutorial, you'll need to be able to know when to apply shades and Blending Modes to Objects. For highlighting areas, the use of the Light gray tone and Blending Mode Screen will be used. For darkened areas, depending on the severity of the shadow, Mid or Dark gray's will be used with a Blending Mode of Multiply.
Step 1Open the stock image in Photoshop and go to Image > Adjustments > Curves. From the drop down menu select "Lighten" and click on OK. Go back into Curves and apply the preset "Strong Contrast" from the drop down menu. This is to increase the highlights on the skin to make it easier when it comes to shading the portrait.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_a526aea98603bdd8576a872e7615bd2f.jpg
</figure>Step 2Using the Patch Tool (J), select and drag areas of the skin to smooth it out; for instance around the eyes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_c2f63b7452e684bc01be014f0e09af16.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_acb90538ae6c0f36d4b99fabd869baa6.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_4c993a0e8776983445d4886d5afb036f.jpg
</figure>Step 3Go back into Curves and lighten the image further by dragging the center of the curve upwards as shown below.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_8a7dcc0c7b9bb8f028029a232e89b10d.jpg
</figure>Step 4Go to Image > Adjustments > Black & White and select the Default preset from the drop down menu. Once done, Save for Web & Devices with a width of 800 pixels.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_f1a35b921c98fcc33910df68818879e3.jpg
</figure>Step 5Create a New Document with a portrait orientation. Go to File > Place and place your reference image on the artboard. Use the Free Transform Tool (E) to rescale the image to fit within the art boards boundaries.
Double-click on the layer folder and rename it to "Original" and click on OK. Lock the layer folder. Create a New Layer and rename it to "BG." Within this layer folder draw a white fill rectangle with a 30% Opacity using the Rectangle Tool (M) across the artboard. Lock the layer folder. Create a New Layer and rename it "Bases."
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_75885897633a521a4f2359c6172827c3.jpg
</figure>Step 6Using the light gray, create the "base shape" for the skin using the Pen Tool (P). Use the Pathfinder > Minus Front tool to remove the gaps around the arms.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_50ff23df78960082ba702d9908411eed.jpg
</figure>Step 7Create a New Layer and rename it "Shading."
The first type of vector blend we're going to look at is using lines within a blend. For shading, if your area isn't of similar shape from one point to another within the blend, using lines is an effective way to create a smooth transaction in color without distortion. It's probably most easiest way to achieve a blend with amazing results.
In this example, I'm going to use a curved line to create the darkening on one side of the face. If we look at the image below, you'll notice the line on the left touches the edge of the face towards the top and bottom of the face but not in the middle. The reason for this is that you do not want the blend to overlap into the arm areas, so you have to place the line as exact as possible. As precise as this is, if there is a way to create the same effect and not require to be exact, you can do this and use Clipping Masks. Vectortuts+ readers who have previously read my tutorials will know I'm big on using Clipping Masks for skin shading!
Let's get technical for a moment: breaking down a blend using two or more lines, the transaction from one line to another, Illustrator will morph the start of one line's anchor point to another. So to create a smooth blend from lines, the starting points for both lines (or more) must be placed in the same direction.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_4a40c46bec66b8a9a9067fa7ec3945c0.jpg
</figure>Once you've drawn your two lines, then you will need to Blend them together. You can do this by going to Object > Blend > Make or by presses Alt + Command + B. Then go to Object > Blend > Blend Options to modify the style and consistency of the blend.
I'm going to be using a "Specific Distance" with my line blends of 0.5pt to give an almost gradient effect. Then by reducing the Opacity of the line on the right to 0%, I can create a transparent gradient effect.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_abc68f930ee6970d50f03d899d06ef46.jpg
</figure>Then I'm going to change the lines to Light gray and select the whole Blend and change the Blending Mode to Multiply.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_1a92dd2f435d5adc70d7c2818ce36802.jpg
</figure>Step 8Our first example with lines and Blends are with both lines being independent from each other. This gives a four "sided" gradient effect. However there will be some cases where you need more of a three "sided" gradient effect. To product this sort of effect you'll need to place either the starting or end points in the same area of the art board (almost touching) which can be seen below.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_f98fcf4979d0ff097f4a4ba218e1e476.jpg
</figure>In addition if you require a "bulge" or "bump" within the transaction, this can be created by modifying the behavior of one of the lines, as shown in our next example.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_7702e7c1886cf7a6194a649fb0c4597f.jpg
</figure>Step 9Our next example shows how I began placing the line Blends for the arm. Note how it's a three "sided" effect to show how it can be used in a different aspect.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_a013650db03019089ea807fd274fea2f.jpg
</figure>Step 10In this example, instead of the gradient effect going from 100% Opacity to 0% Opacity, the gradient is going the other way around, creating an inverted gradient effect. These can often be tricky to master. You will need to ensure that the 0% Opacity line is longer than the 100% Opacity line. This is to ensure a smooth edge.
In addition, note the right side of the Blend. If I was to limit the lines within the boundary of the "Base" object, the blend would not carry on beyond the boundary and would look as if it's been cut off. This brings in further benefits to using Clipping Masks for this element of the skin shading as you can place the lines beyond the boundaries of the "Base" object to give a smooth gradient effect to the edge.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_3b500258f5426c7d176851cafd0d5bf6.jpg
</figure>Step 11I'm going to use a line Blend to create an inverted gradient effect within an "enclosed" area. This also shows how you can create a "fold" effect in the Blend. If you look at the bottom right corner of the Blend you can see the angle at which the line meets. Due to the line not being curved at this point, it creates a "fold" effect. This can be useful for other areas in the skin, for example wrinkles or other creases in the skin.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_c2ef8434dc9a5d06c49e638e6092a4c5.jpg
</figure>Step 12We're going to look at a more complex type of line Blend and that's when there are more than two lines present. With a two line Blend in the below example, the overlapping of the Blend to the shoulder doesn't look tidy. This is because the Blend travels in a straight line and doesn't know to curve around the shoulder.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_e6a8fc11535c7d35e929ed951ac637b8.jpg
</figure>To combat this issue, add further lines (traveling in the same direction) within the Blend so it goes from one point to another to another and then to our bottom line. However if you're creating a transparent gradient effect, you'll need to reduce the Opacities accordingly. For example: if you have placed just one line within the center of the other two and want a smooth, even transition; you'd set the Opacity of that center line to 50%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_a5b07cb7387f2b76d1a2f9351e03f63c.jpg
</figure>Step 13Sticking with more than two lines within a Blend, here I'm using three lines to create a three "sided" blend; however, the center line is at 100% Opacity and the lines on either side are 0%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_a6583b6bd7dc483c9ae3005d709dab16.jpg
</figure>This makes for a perfect blend for the cheek bone shading!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_5b972d1cb4025c62131c910d4c9ecaf5.jpg
</figure>Step 14So now I've placed all my Blend lines for the dark shading of the portrait.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_b4a9c69bb93be490071eb9822694835f.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_45e14ed15f6a68d6be75ee2fc82c1805.jpg
</figure>These will then be Grouped (Command + G) and then used within a Clipping Mask to hide the messy edges (Command + 7).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_b7e681f9bbfe90304669f72e63dd6292.jpg
</figure>Step 15Now we're going to move onto using Blends from one shape to another. Again, I'm going to be using them to create transparent gradient effects.
Shape based Blends work best when you wish to add a radial gradient effect to your illustration. The key element to remember for a smooth transition is that the internal and external shapes will need to be of similar shapes. If you don't do this, it may result in "folds" or distortions in the flow of the blend. Below I've used a shape Blend to create the highlight on the side of the nose.
Consider the size and shape of the highlight on the nose. Where the most brightest reflection of light is, this is the shape and size of your 100% Opacity shape. The 0% Opacity shape is where the light is faded until.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_23a69b7430de425844112add7c315e04.jpg
</figure>As you can see, along the bottom of the nose I have created a slight crease to give the impression of a nostril. Even when a Blend has been created, you can modify the shapes within. I'd recommend using the Direct Selection Tool (V) to carefully modify each point and their handles to ensure you get the best result. I've filled these highlight shapes with our Light gray and changed the Blending Mode to Screen.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_a3c18c7f7f55b0ee45db541da4d7e95c.jpg
</figure>Step 16I've used these radial gradient effect shape Blends throughout the skin to give the impression of highlights, as shown below:
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_60d67b49f80e2a76690d549813a82ec6.jpg
</figure>Step 17There will be areas on the skin, for example the top of the brow and top lip, where the light is reflected most at the bottom of the Blend shape. As you've done before, draw the shape at 100% Opacity where the light is more intense and then align the edge of your larger 0% Opacity shape with it.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_4e1791fdc25e7c0797d84de86dbaabf0.jpg
</figure>Step 18Below we have all the highlighting shape Blends in place.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_89e4abbfd1e7bc4303fc2c57bc8bc8a0.jpg
</figure>These are then Grouped (Command + G) and then placed in the Clipping Mask group.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_6118064132c509788d085593d8cf7a6c.jpg
</figure>Step 19So now we know the two main basic Blend effects you can create, I'm going to now add the highlights to the ear using shape Blends...
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_27a404b35daec6a81be9221f307b3fb7.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_88d6f1b359c2660159bed4f320b46af4.jpg
</figure>Step 20And then I'm going to create the shadowed areas using line Blends. These are then Grouped (Command + G) and also added to the Clipping Mask.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_7c8300268f7f167aeba4a0826f93d3fa.jpg
</figure>Step 21When I put together my skin shading, I would usually integrate my skin shading with the lips. However in this case, due to the complexity of the Blends, I'll be tackling the lips as a separate entity.
Create a New Layer and rename it "Lips." I've added a base shape for the lips and then duplicated it.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_ecf1f2d6ff86b7b5ec3c70e246f4ffe9.jpg
</figure>On top of the duplicated base shape I have added an additional shape to create an inverted gradient effect with the shapes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_887d17967eff37f2d30fdc6067ff378d.jpg
</figure>Step 22Now I'm going to use shape Blends to create the highlights for each of the lips.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_dd0d7b4b6daba70f7b72a71d3aa1c832.jpg
</figure>Step 23Now to use a darker blend within the crease of the lips. If you notice here I've used tight angles to create a "fold."
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_b2ffc8559bcae18f5e5fbac9b82a6f1e.jpg
</figure>Step 24I've aligned the bottom of the starting shape with the end shape to create the highlight on the top lip in this instance.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_d44b43882eed8d08ed478722bcb03e56.jpg
</figure>Step 25Now I'm going to add darker shape Blends to the nose and underneath the bottom lip to create shadows and a crease on the nostril.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_cd28cc2214fd05a77bd59f10f481f6d0.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_8d03321d0d013a3601b51d2d3ba1d87a.jpg
</figure>Step 26Create New Layers for the hair and move the "Shading" layer folder within the "Bases" layer folder. Then using the Pen Tool (P) with a Dark gray fill, draw shapes for the hair and top as shown below:
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_38c04d0736b548956a037e4887dee401.jpg
</figure>Step 27With the gaps in between the sections of hair on the scalp, I'm going to add a shape Blend to create a gradient effect over onto the edge of the forehead.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_d4131e440fed7ee0000558481598e2f3.jpg
</figure>Step 28I've decided to redo the hair at the back of the portrait into a more geometric style and to show you another use of line based and shape Blends. What if you create a Blend using shapes, however the shapes have no fill and here is a stroke applied to it?
Using the Ellipse Tool (L) I'm going to create a circle. Duplicate it and use the Free Transform Tool (E) to reduce the size of the circle by a small amount. Then remove the fill and add the Mid gray to the stroke. Duplicate the outlined circle you've created and then reduce the size and move it to the side as shown below. Then create a Blend with a "Specific Distance" of around 3-4pt. You'll end up with the below result.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_ba20f3034f53c5c7c19fc1bfd6d99a30.jpg
</figure>Step 29Let's take this a step further and duplicate the outlined circle again however delete one of the points to create an arc.
Apply to the lines the Width Profile 1 from the Stroke palette. If you're not using CS5 you can create the same effect by creating the "Width Profile 1" brush from this tutorial (http://vector.tutsplus.com/tutorials/tools-tips/create-cs5-width-profile-brushes-in-any-version-of-adobe-illustrator-cs/) as it will give the exact same effect. Then Blend the two arcs together.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_a75d5f2d5044fb0979c8a5706b9dd781.jpg
</figure>Step 30I've Grouped together the elements for this circle (Command + G) and duplicated and resized them to create the buns at the back of our portrait's head as shown.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_4c426f55773a3a1bf4f6cc88cf84fc14.jpg
</figure>Step 31So let's take this a step even further. You're now familiar with using brushes with line Blends; however, have you considered creating a brush from a line Blend?
Our first step is to create a pinched ellipse by using the Ellipse Tool (L). Then with the Convert Anchor Point Tool (Shift + C), just click once on the end points to create the required shape.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_c1bce2fd6c4c85cd0653f0ae2cb21cfa.jpg
</figure>Step 32With the Pen Tool (P), draw a line towards the top of the shape then lock it. If you've got Smart Guides enabled you'll be able to get this part precise: draw a line towards the bottom of the shape, intercepting the points from the top line. As the top line has been locked already, you'll be able to create two independent lines without them joining.
Unlock the lines and then create a Blend with them with a "Specific Steps" of 4. Apply the Width Profile 1 to the strokes and then Object > Expand the Blend twice so you get shapes for the lines. Once done, Group them together (Command + G).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_c8c32372a2c9358447b25e26b5cdce17.jpg
</figure>Now click New Brush in the Brush palette to create a New Art Brush with the below settings.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_fbfe7e8c60ee23d60d60cdd24300cb79.jpg
</figure>Step 33Use your new brush to create a sort of "pinstripe" effect to the hair – which will also play on the "glamorous" 1930-40s style pin up we're working towards.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_77c9a71cb9ae9ba596f694f7bedbe3a8.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_0de11c4c4c5ee5534edd6d0ab32fa20d.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_f16ce1d8c178fe2c1a9054d01a3fb481.jpg
</figure>Step 34Duplicate the base layer of the hair and use it to create a Clipping Mask of the pinstripe hair.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_05346ce3f3f2c331d4503165080aef1e.jpg
</figure>Step 35As much as I'd like to add finer details with Blends to remain consistent, they do consume a lot of memory. So I'm going to use the Width Profile 1 brush to add fly away strands of hair around the hair line using the Paintbrush Tool (B).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_5f767e28ca00a376e42d0c3c1031cf13.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_19812ae0e755a3b8e92402ee60c5e9be.jpg
</figure>Step 36Create a New Layer and rename it "Eyes." I'm going to create a "Specific Distance" line Blend applying the Width Profile 1 brush with several lines to create the eyebrows. The additional lines help create the arch in the eyebrows and turn the direction of the strokes, which can be seen after the arch.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_5023e8964b09d504c72f55374326ecea.jpg
</figure>Step 37Then using shapes, I'm going to create a shape Blend with 0% Opacity for the eyeball.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_c62cab86bf210344bb4cad335d867a02.jpg
</figure>Step 38Breaking the trend, I'm going to use solid shapes for the eye-line, iris and eyelid crease, though set to Multiply. This is so you can see the slight gradient behind the eyeball coming through on the iris.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_6fdf4035b7bcb824fc0d141751a51614.jpg
</figure>Step 39Using the Width Profile 1 Brush, I'm going to add lower Opacity lines throughout the whole portrait to define some of the regions clearer. Although Blends can work well, they do give a blurred/airbrush effect, which unfortunately means it's hard to get edges exact.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_07ead907eb49b1afc32708e24b0f704f.jpg
</figure>Step 40Use the Ellipse Tool (L) to create the dark circles for the pupils.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_1ed76054cc36b6e0314c658d9781b823.jpg
</figure>You could of course create eyelashes using multiple line Blends, but I feel it wouldn't fit this style I'm aiming for, so I'm going to use solid shapes instead.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_5a363aa5ec934e72e2e25dc8178046e9.jpg
</figure>Step 41So we've used line Blends to create a stylish pinstripe brush, how about using shape Blends to create a brush? I created a brush like this awhile back to give a blurred/airbrush effect to some elements of my work while maintaining the scalability of vector.
Create an ellipse with the Ellipse Tool (L) and duplicate it. Resize it using the Free Transform Tool (E) and create a shape Blend. Once done you will need to Object > Expand the shape twice. Ensure the circles are black (as apposed to the three tones of gray we've been using).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_b93cde709d0cb2a903c28adf78e705cc.jpg
</figure>In the Brush palette, create a New Brush and select the New Art Brush option with the settings below. It's good practice to great multi-use brushes in black, as you and use the Colorization mode as Tint. This is so you can use this brush in future projects.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_59ef688633b4162b3299bd4d0d3f1771.jpg
</figure>Step 42I've used our airbrush like Blend brush to add more refined highlights to the below areas of skin. Then I have Grouped them (Command + G) and placed them in the skin shading Clipping Mask.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_6a18f283da8a26b4c60e939e10370d30.jpg
</figure>Step 43Now I've used the same brush on Blending Mode Multiply to add detailing around the eyes and the center of the lips.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_ca9fe9906661b8531c0e9fddb8c19a0d.jpg
</figure>Step 44You can use the brush to create darkening on the roots of the hair with a smaller stroke weight (depending on the size you've made your original brush).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_6b2a8264dff63745d4f1fcba2480b540.jpg
</figure>Step 45Then you can use the same brush to create highlights on the hair. Once this is done you can Group the darkened roots and highlights, then add them to the hair Clipping Mask.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_05fab23ae3f82d8e9b7236af355206b1.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_ff903b6b79fb3300a3d04bd564b2b956.jpg
</figure>Step 46Within the "BG" layer folder, I'm going to draw an even circle with the Ellipse Tool (L). For the stroke, you can apply the line Blend brush to it to create the below effect. I needed to rotate the tool so the tips of the pinstripe effect were at the bottom of the circle.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_1bba7c637f6bb9e40cf37a263b8213ff.jpg
</figure>Step 47With the white rectangle in the background, refill it with the Dark gray to match the top and reshape it to a square using the Free Transform Tool (E).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_0a3c58848be7eedf7d52441185d53d05.jpg
</figure>Step 48Create a New Layer and rename it "Detailing." I'm going to add a shine to the eyes and a mole using the airbrush effect Blend brush.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_c57d78338bccf6486bce6f0333dc4262.jpg
</figure>Step 49As I'm unhappy with how the hair is at present, I'm going to draw strands over our Clipping Mask group for the hair, to give it more volume. This is with our line Blend brush.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_3b1d84e8e6c1ee9829b2ef7b0a05b52a.jpg
</figure>Step 50Create a three sided line Blend with the Dark gray on Multiply for subtle shading on the top.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_4731977f022102292065504fb252bdf8.jpg
</figure>Step 51Then with our pinstripe brush, use the Pen Tool (P) to draw a line across the top of the corset top. I needed to use the Direct Selection Tool (E) to modify the points on this line to ensure the pinstripe trim covered the top of the corset and created the curve I required.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_b06e8882f44c3089938d82b5c73d2bdb.jpg
</figure>Step 52Going back to the lips, I'm going to draw some jagged lines and apply the airbrush effect Blend brush to create little creases and folds in the lips.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_ff16385a5b83e4c25976e6bc65a724d5.jpg
</figure>Step 53Now I'm going to use the Paintbrush Tool (B) and our airbrush effect Blend brush around the major areas of the portrait, overlapping onto the frame and background at a low Opacity and Blending Mode of Multiply. This will give the portrait a slight dreamy/blurred effect... and remember it's still all vector!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_c532a1e8dbd8471a54e8313131213ad9.jpg
</figure>
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Step 54Finally, Object > Expand the circle used to create the circle frame in the background and then apply the airbrush effect Blend brush to the outside of the pinstripe frame. This will give a drop shadow effect to the frame.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_e629573a14529c06f731a698aa01281e.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_2fac59631a6eb2d0380f79135f3384e9.jpg
</figure>ConclusionWith the majority of the elements within this portrait created from Blends, you've created an airbrushed effect portrait, which is still 100% vector! Who said you need to use raster tools such as blur to create this effect. So let's run down the types of vector Blends we've used:

Line Blend to create a four sided blend
Line Blend to create a three sided blend
Line Blend with more than two lines to reshape the direction of the blend
Shape Blend to create a centralized radial gradient effect
Shape Blend to create a crisp edge radial gradient effect
How to create folds/creases using blends
Shape Blend with more than two shapes
Changing the direction/rotation of a line blend using multiple lines (remember the eyebrows!)
Brush with line blends to create a pinstripe effect
Brush with shape blends to create an airbrush effect
People may think that the Blend tool is limited to creating minimal effects; however, given a little technical thinking and creative uses, today we've shown you an in depth way to create a portrait using primarily blends of different combinations! Hope you've enjoyed this Premium tutorial.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5622/images/5622_c01f73e8cc08777b3165697d1f1f2445.jpg


https://design.tutsplus.com/tutorials/creating-with-vector-blends-in-depth--vector-4560</figure>

covietforum
27-09-2017, 01:07 PM
How to Create a Hair Braid Pattern Brush in Illustrator
This post is part of a series called Mastering Vector Portraits (https://design.tutsplus.com/series/mastering-vector-portraits--cms-748).
Creating a Portrait Using Only Four Colors! (https://design.tutsplus.com/tutorials/creating-a-portrait-using-only-four-colors--vector-4431)
Create a Backlit, Elegant Female Portrait in Illustrator (https://design.tutsplus.com/tutorials/create-a-backlit-elegant-female-portrait-in-illustrator--vector-4324)

<figure class="final-product final-product--image" style="box-sizing: border-box; margin: 0px 0px 30px; padding: 0px; max-width: 100%; text-align: center;">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/final.jpg</figure>In today's tutorial, I'm going to show you how to create a deceivingly complex yet easy to make patterned hair brush using Adobe Illustrator. You'll learn how I illustrate braids/plaits and then how to apply this element yourself in your hair designs.
IntroductionI often get asked how to create detailed elements in hair design with ease. More often than not the response to this is with the use of brushes, from creating strands of hair all the way to more complex elements such as hair plaits.
In today's tutorial, I'm going to show you how to create a deceivingly complex, yet easy to make, patterned hair brush using Adobe Illustrator. You'll learn how I illustrate plaits and then how to apply this element yourself in your hair designs.
The Structure of a PlaitHair plaits, often referred to as braids, are created from an odd sections of hair overlapping each other to produce an intricate gathering of hair. Due to them having a repeating pattern, they are easy to reproduce in vector in the form of a patterned brush.
There are many different ways to create a plait. However, the most common way, and probably the way most girls are shown as a child, is with three sections of hair overlapping each other. This is the form I'll show you today.
Step 1I'm going to start with drawing the whole of the plait as a skeleton/rough design so you can see the structure of the plait. If you're creating one large plait in your illustration, it might be worth using this base to create your plait and work directly from it, rather than using a brush.
First, draw a vertical line on your canvas using the Line Segment Tool (\) and then go to Effects > Distort & Transform > Zig-Zag.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/1.jpg
Step 2Go to Object > Expand to remove the effect and make it a standalone line. Use the Line Segment Tool (\) to add a line along the top slant, and then Copy (Command + C) and Paste (Command + V) the line for each one of the other slants which are at the same angle.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/2a.jpg
Select All (Command + A) of the diagonal lines and then duplicate them. Go to Object > Transform > Reflect > Vertical. Move them into place. In this example I've had to duplicate an additional line for the bottom. Reduce the Opacity of the lines to 50%, as these diagonal lines are just a guide.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/2b.jpg
Step 3Draw two lines between the first and second points where the diagonal lines cross over. This will be how thick the plait will be. Again these are guide lines, so just reduce the Opacity of them to 50%. The Zig-Zag line is the only "permanent" line in the design.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/3.jpg
Step 4Using the Pen Tool (P) draw your first curve starting from one of the central points on the Zig-Zag. If you look at the screenshot below, the end curve's handle is parallel to the diagonal lines on the guides, and the curve itself graces the vertical line at the right of it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/4.jpg
Step 5Duplicate the curve for each one of the sections on one side.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/5a.jpg
Then select all of the curves on one side and then duplicate them. Reflect them Vertically for the other side and line them up.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/5b.jpg
Step 6Now you have completed the structure of your basic plait. To test that you've constructed it correctly you can look at the three sections and see that they are interlacing with each other correctly, as shown below. This is helpful if you want three independent colors to be involved in your complex hair design.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/6.jpg
Step 7So I'm going to use the middle section of the plait to create a patterned brush and then show you how it looks on a portrait.
Start by drawing a Rectangle (M) around the "middle" section. I've done this in Outline mode to ensure I've selected the section accurately.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/7.jpg
Step 8I'm going to color the sections in bright colors to show you each one of the individual objects.
First I'm going to draw the boundary/outline of the plait. Although there will be detailing added to this, the outline will be needed to give the plait definition. As previously done, duplicate each section and reflect them to ensure the lines are symmetrical. I've set these lines to a Stroke Weight of 6pt. These should be of a mid to dark gray tone.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/8.jpg
Step 9Begin adding detailing strands to the plait. Once you complete one section, duplicate them by Copy (Command + C) and Pasting in Front (Command + F). Move them by using your arrow keys, rather than manually with the mouse. Doing it this way will ensure that they have not been moved vertically.
After one side has been done, duplicate them and Reflect them for the other side. I have set these strands to Stroke Weight 4pt and applied the Profile "Width Profile 1" brush. These strokes should be of a mid to light gray tone.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/9.jpg
Step 10Add the background to the plait shape. Make sure this shape is behind all the other strokes. This shape should be of a mid tone gray.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/10.jpg
Step 11I'm going to add some shadow definition to the portion of the plait that is being overlapped. I'm going to draw this with the Pen Tool (P). Use a dark gray tone for these shapes because they are to be shadowed areas.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/11a.jpg
Then duplicate and Reflect as before to apply this to the other sections of the plait.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/11b.jpg
Step 12Now add shapes for the bottom of the sections, duplicate and Reflect as before.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/12a.jpg
Once done, use Pathfinder to Unite these elements with the previous shapes created. You may need to clean up the shapes by removing any stray points.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/12b.jpg
Step 13As there has been some shadow cast around the edges of the section, I want to add some highlights to this also. Use the Pen Tool (P) to create some curved lines on each of the sections and then applying a "Width Profile 1" to the strokes with a larger Stroke Weight of about 6pt - draw lines towards the center. Set these strokes to Blending Mode Screen.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/13a.jpg
Group the strokes and then duplicate and Reflect them for the other sections.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/13b.jpg
Step 14Select All of the objects and strokes created (Command + A) and then go to Object > Expand until all strokes become objects. Then Group (Command + G) the objects so they are easier to refer back to. It's also worth noting with some of the elements I have used Pathfinder Unite or created a Compound Path (Command + 8) of them to make one solid shape. I've also condensed the width of the plait design because I feel it looks a bit more realistic in this sort of width.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/14.jpg
Step 15Duplicate the rectangle used to define the boundary for each one of the groups and using the Pathfinder options select Crop. With some of the groups you may have to use Intersect on Pathfinder, as shown below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/15a.jpg
Do this until all of the groups have been Cropped. You can test you've got your pattern plait correct by duplicating the group and lining them up end to end.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/15b.jpg
Step 16Group all of the objects of the plait section (Command + G) and then go to Object > Transform > Rotate > -90 degrees. While selected, in the Brush palette select New Brush > New Pattern Brush and you should get the below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/16a.jpg
By creating your brush in grayscale and selecting the Tints option from the Colorization Method drop down menu, you can alter the color of your new brush. Trying playing with colors and Stroke Weights to see what fun objects you can create.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/16b.jpg
Creating an Open Ended PlaitOf course, you might want to create plaits that are open ended. The quickest way to achieve this is as follows:
Step 1Draw a straight line using the Line Segment Tool (\) and apply your patterned plait brush (\).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/a1.jpg
Step 2Realistically due to split ends or layering of hair, the plait should be less dense towards the bottom of the plait. So to achieve this first Expand the plait you have.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/a2a.jpg
And then go to Effects > Distort & Transform > Free Distort and increase the width at the top of the plait and decrease it at the bottom.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/a2b.jpg
Step 3Using the Pen Tool (P), add some strands to the bottom of the plait with different shades of gray and apply the "Width Profile 4" Profile to it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/a3.jpg
Step 4Add a hair band to the end of the brush using the Rounded Rectangle Tool. This will help tidy up the stray ends.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/a4.jpg

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Step 5Depending on how you're going to apply the single plait, you could add additional strands towards the top and even make an Art Brush out of it instead of a Patterned Brush. The possibilities are endless.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/a5.jpg
ConclusionI've implemented the plait brush into a previous tutorial I did for Vectortuts+ (http://vector.tutsplus.com/tutorials/illustration/create-a-backlit-elegant-female-portrait-in-illustrator-vector-premium-tutorial/) to show you what it is like with a detailed hair design. I've drawn the strand I want with the Pen Tool (P) and applied the plait brush.
Now by duplicating the brush and changing the Blending Mode to Multiply, and then duplicating again and using either Blending Mode Overlay, Color Dodge or Screen, I've been able to get a mixed variety of tones from using the same stroke color. Different hair illustrations have different levels of detail, so by playing with Blending Modes the plait brush can be universal in application to your portraits.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/398-hair-braid/final.jpg


https://design.tutsplus.com/tutorials/how-to-create-a-hair-braid-pattern-brush-in-illustrator--vector-4398

covietforum
27-09-2017, 01:08 PM
Creating a Portrait Using Only Four Colors!

This post is part of a series called Vector Portraits (https://design.tutsplus.com/series/vector-portraits--vector-4831).
Create a Sparkly Female Portrait in Illustrator (https://design.tutsplus.com/tutorials/create-a-sparkly-female-portrait-in-illustrator--vector-4408)

This post is part of a series called Mastering Vector Portraits (https://design.tutsplus.com/series/mastering-vector-portraits--cms-748).
Creating with Vector Blends In-Depth (https://design.tutsplus.com/tutorials/creating-with-vector-blends-in-depth--vector-4560)
How to Create a Hair Braid Pattern Brush in Illustrator (https://design.tutsplus.com/tutorials/how-to-create-a-hair-braid-pattern-brush-in-illustrator--vector-4398)

In today's tutorial I'm going to show you how to create a vector portrait using only four colors. It will use a variety of Blending Modes and Opacities to give the impression that a variety of shades have been used.
You can find the source files in the directory labeled 'source' that came in the files that you downloaded. You may wish to look through them briefly before we begin.
IntroductionI'll be using a stock image provided by TasaStock (http://tasastock.deviantart.com/art/Nyphai-2-197865060) to create a grayscale portrait with dashes of color and a gradient appearance in the hair.
Throughout this tutorial I'm going to be using just four colors.

Light gray: C=0, M=0, Y=0, K=20
gray: C=60.59, M=51.57, Y=49.38, K=19.48
Pink: C=0, M=95, Y=20, K=0
Green: C=80, M=10, Y=45, K=0
Should you follow the tutorial yourself to create your own version of this, this tone of "gray" may not be exactly the result you get. The reason for the irregular tone of gray will be more apparent during this tutorial.
Step 1Open the stock image in Photoshop and use the Crop Tool (C) to crop the image to the relevant composition you'd like. I've chosen to focus on the arms and face, as I feel the arms will help frame the portrait and guide the viewer's eyes around the piece.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_eb72d30b31069c06a16f056620f956cc.jpg
</figure>Step 2Drag and drop the "Background" layer onto the Create a New Layer icon in the layer palette to duplicate it.
I'm going to modify the contrast of the stock reference by using preset options in "Curves." Go to Image > Adjustments > Curves and select "Lighter" from the drop down menu, then click OK. Repeat this process with the "Linear Contrast" preset.
To change the image to grayscale go to Image > Adjustments > Black & White and select the preset "Green Filter" from the drop down menu. When using such presets, they emphasize the contrasting colors in the image, so a Green Filter will bring out the red tones. As a result, the shadow contours of the skin and the lips will be enhanced and easier to use as a guide when rendering the skin.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_25c7416fc6a28eb7728e0ea7e1caaf46.jpg
</figure>Step 3Now that the reference image is in grayscale, I'm going to Save for Web & Devices at a width of 600 pixels.
In Illustrator, create a new portrait orientated document and then go to File > Place to put the reference image on the canvas. Using the Free Transform Tool (E), resize the image to the artboard. Double-click on the "Layer 1" layer folder and rename it "Reference," and click on OK. Lock the layer folder.
Create a New Layer and rename it "BG." Using the Rectangle Tool (M), draw a white filled rectangle over the canvas, and reduce the Opacity to 30%. Lock the layer folder. Create a New Layer and rename it "Bases."
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_12f5038eef831db10a9b96cff0829db9.jpg
</figure>Step 4Until I say otherwise, the shapes drawn will use the light gray fill color. First of all create the skin base shapes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_87b743ef96a700a74f3c5c29eeadf575.jpg
</figure>Step 5Create a New Layer and rename it "Shading." I'm going to begin adding the skin shading using a variety of Blending Modes and Opacities.
The first set of shapes are for the mid to dark shadows and tones in the skin, including detailing in the lips. I've duplicated the base skin shapes from the "Bases" layer folder and used Pathfinder > Minus Front to remove the highlighted areas of the skin to leave the darker areas of the skin.
Set these shapes to Blending Mode Multiply and Opacity 10%. Using Multiply Blending Mode will add a darker gray/black tone on top of the layers underneath - regardless of the tones underneath. Multiply is a good blending mode for adding shadow with a variety of colors, as it also retains the color of the original shape.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_49fcae989effa85527e1cddba11af58a.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_593f5489aa7238301f1c39cff35a0b55.jpg
</figure>Step 6Continue adding shapes for the mid to dark shadow areas, using the Blending Mode Multiply and Opacity at 10%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_6a2791d1da5b207d339eac325c225066.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_5d13de0c5c6c10b86cd889c4132e3c77.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_61ed3340c50ab018f218108c83904d05.jpg
</figure>Once done, Group the shapes from step 5 and 6 together (Command + G).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_b82308c0a83282fa4ff5c0dcdf78919f.jpg
</figure>Step 7Duplicate the skin base shape and place it on top of the group of shapes of skin shading in the "Shading" layer folder. Select them both and create a Clipping Mask (Command + 7).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_b8d48479b338d0980302315d5e3bea2f.jpg
</figure>Step 8I'm going to add further shaded areas with the Blending Mode Color Burn and Opacity of 25%. The Blending Modes Color Burn and Color Dodge behave in a way to increase contrast of any shapes underneath. Color Burn will increase the darkest shapes underneath, while Color Dodge will increase the lighter shapes underneath. Placing shapes using Color Burn on top of Multiplied shapes will increase the shadow in the darker areas (where more shapes are overlapping) and not as much in the areas with not as many overlapping shapes.
Once the shapes have been drawn, Group them (Command + G) and drag and drop them into the Clipping Mask group.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_6002b6a5506d9e6c0c9ada776a31d358.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_7ab0243656ab8248e731c028cc0a00d0.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_e03f16c25da2826916a4ee013c905d5c.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_216d607b7ff3d8aa20dabd7c82e913e3.jpg
</figure>Step 9Begin adding shapes to add highlights to the skin. These shapes will be set to Blending Mode Screen and 10% Opacity. As Multiply adds gray/black tones to a piece, the Screen Blending Mode adds a whiter/lighter gray tone to the shapes underneath. With these in mind remember the difference with these Blending Modes:

Color Burn/Dodge: Increasing the contrast to lighten or darken areas. This will increase the saturation of the color(s) underneath.
Mulitply/Screen: Adds black/white tones to darken/lighten areas. This will decrease the saturation of the color(s) underneath.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_1c40d833e18a16ee8e1ae552ce6dae44.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_b58c671faf0e263bc41fa98b7a60266d.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_f2286b01ceffbcbe6b89e50c7a15abf1.jpg
</figure>Once done, Group the shapes (Command + G) and then drag and drop the group into the Clipping Mask.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_358fc9d7af2a1cbd08477f3fddb4c917.jpg
</figure>Step 10I'm going to add further detail and depth to the skin by adding smaller, darker shapes. These shapes will have the Blending Mode Color Burn and Opacity of 60%. Once complete, Group the shapes (Command + G) and then drag and drop the group into the Clipping Mask.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_68a0e2b2467adf52adc4edb6f975102c.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_c8beaf3edda5fdf0ac30b34e81289b5f.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_a746c97dfec3c48791a64ee030f8a5e8.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_c890977221c879c8e6cfa5d0055a28d1.jpg
</figure>Step 11As I've created more focused shapes on shadow, I want to add further highlighted areas, but with an increased Opacity as before. These will be set to Blending Mode Screen and 30% Opacity. Once completed the shapes will need to be Grouped (Command + G) and then drag and dropped into the Clipping Mask.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_71068558da827d9acc59b23a0cc96f11.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_1942529a06e749472d0c05430141b6f2.jpg
</figure>Step 12Create a transparent linear gradient and add shapes to the portrait set to a Blending Mode of Multiply and 100% Opacity. This will help smooth the darker shadowed areas.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_f7d3b660d331509f2ccee6377064de27.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_97cdca7d5428d69ead0727aac9af79d7.jpg
</figure>Once done, Group the shapes (Command + G) and put them into the Clipping Mask.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_23f01af4c95c2db8da29d949834b594b.jpg
</figure>Step 13Make sure all vector objects are visible and zoom into the piece by say 400-600%. Screenshot the work and Paste (Command + V) it into Photoshop. Using the Eyedropper Tool (I), select the darkest gray tone of the piece. I've chosen the darkest gray towards the top of the arm.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_2c1d8bf7ae4f7e350e2151019c313d0a.jpg
</figure>Go into the piece, and double-click on the color in the Color Palette to get the HEX code and then Copy (Command + C) this code. Go back into Illustrator, double-click on any of the colors in the palette and Paste (Command + V) the HEX code into the relevant box. Click on OK and then drag and drop this color into your Swatch Palette. This will be the irregular numbered gray tone as described in the introduction.
Create a New Layer above the "BG" layer folder. Double-click on the layer and rename it "BG1." Use the Rectangle Tool (M) to draw a rectangle over the artboard with the new gray shade.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_9bc3a1a9a69c5f169addc3c1d2e4c4a4.jpg
</figure>When you preview it, you may see the edges of the other shapes; however, when you do Save for Web & Devices, you won't see this as shown below:
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_ab35735c1eec8791abe46eaee3b5140d.jpg
</figure>Step 14Using the gray color I'm going to add solid to transparent Blends (http://vector.tutsplus.com/tutorials/tools-tips/quick-tip-how-to-create-transparent-gradients-using-blends/) around the regions where the skin shading isn't as dark. This gives the appearance that the arms and face are coming out of the darkness.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_611823c5e7ae6fc8e6cbf6ddbd25e51b.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_f5643233fa323aee2df4f947038428d7.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_99ebc88bea0b59aa207c82ac0b59c799.jpg
</figure>Step 15Some of the areas I feel could do with further gray shapes to increase the shape depth. As the arms and face are coming out of the shadows and by definition this area is the darkest, I'm going to avoid using any darkening Blending Modes such as Multiply and Color Burn. The shapes will be set to Blending Mode Normal and 60% Opacity. These shapes won't be including in the Clipping Mask (this goes for the previously created blends as well) because they need to be overlapped onto the skin and shadow.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_1c20cf76c7e3387f28cb35db26b6566f.jpg
</figure>Step 16Create a New Layer above the "Shading" layer folder and rename it "Eyes." Whatever I do to one eye, repeat for the other. With the gray color, add shapes around the eye and for the iris, as shown below (set to Opacity 60%). Add a second shape with a lower Opacity of 30% to also give the impression of a shadow cast over the iris.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_2edd3821e6c8854ef7166b7965d213b9.jpg
</figure>Step 17Create a transparent radial gradient with the light gray shade. Add this to a hoop shape for the iris set to Blending Mode Screen and 40% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_c1189c4a538d45acbbb7a8955bf0e5f4.jpg
</figure>Step 18Using the same light gray gradient, add highlights to the eyeball, eyelid, brow bone and lower portion of the iris. Set these shapes to Blending Mode Screen and 50% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_41ca00977b63022eb8407e0a4682530f.jpg
</figure>Step 19In order to draw the lashes, eyebrows and hair, you'll need to create the "Width Profile 1" brush from this tutorial (http://vector.tutsplus.com/tutorials/tools-tips/create-cs5-width-profile-brushes-in-any-version-of-adobe-illustrator-cs/).
Using the Paintbrush Tool (B), draw strokes for the upper eyelashes with the Stroke Weight of 0.5pt. Set these to Blending Mode Normal and 70% Opacity. Group them once complete (Command + G). Then draw strokes for the lower lashes with the same Stroke Weight and Blending Mode; however, change the Opacity to 50%. Again, Group them once complete (Command + G).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_5a5b1e3de9b96adda2ec124c865d1a63.jpg
</figure>Step 20Using a similar process, draw strokes for the eyebrows with a Stroke Weight of 1pt and Opacity of 20%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_54e043b6769b9d15d413b01f753f1bd3.jpg
</figure>Step 21Using the light gray transparent radial gradient and the Ellipse Tool (L), draw circles for the reflections of light in the eyes. Set the Blending Mode to Color Dodge and Opacity at 100%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_969524ebfff90503af13216989764a64.jpg
</figure>Step 22Create a New Layer above the "Eyes" layer folder and rename it "Hair." Use the Pen Tool (P) to ensure smooth curved lines, draw a guide to where you wish the hair to be styled.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_b6ecfe5de1c535ba4f675cbeeb3d6c3b.jpg
</figure>Step 23Using the hair guide, create base layer shapes for the sections of the hair. I've used a duplicate of the skin base shape to remove from the shapes around the face.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_63bdd68fcf2ee5cefcb3c472af54e647.jpg
</figure>Fill the shapes with the light gray transparent radial gradient. Using the Gradient Tool (G), position the sources for the gradients in places where the hair will be more highlighted – away from the roots. Set these shapes to 30% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_58f5418b8c9292791879948ec57be081.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_f47fc47941f655a68ab3b9bacf693276.jpg
</figure>Step 24With the Paintbrush Tool (B), I'm going to draw strands of hair over the gradient bases. I'm using the Width Profile 1 brush, Stroke Weight 2pt, the light gray stroke color, and 30% Opacity. Group these strands (Command + G) for now.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_6893cc34b5cd1f037def053d8f83fafc.jpg
</figure>Step 25Using the same settings as Step 24, and with the Blending Mode set to Screen and 50% Opacity, add highlights to the hair.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_f58c736a56054245f815d93f42a8b38c.jpg
</figure>Once done, Group the strands (Command + G).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_09f2c7b18a88b5f4f26a80202a98201a.jpg
</figure>Step 26Duplicate the groups created in steps 24 and 25. Then go to Object > Expand twice until there is no stroke color and there is only a fill color. Then Unite the shapes using the Pathfinder tools. To ensure they are all one shape, create a Compound Path (Command + 8).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_f1899dd294d6e66b3cee5661db8c7df3.jpg
</figure>Create a pink to green linear gradient and fill the Compound Path.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_e8e8890a168331c35ab4413220ae0450.jpg
</figure>Then set the Blending Mode to Hard Light and 50% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_9edeb9f0e797f0e89dc8bd8f276213b9.jpg
</figure>Step 27I'm going to build up on the colors in the gradient to make it more vibrant. First, I'm going to add green to the tips of the hair but using the Paintbrush Tool (B). Using the Width Profile 1 brush, add a Stroke Weight of 1pt and the Blending Mode Soft Light with 50% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_cc17aa3933a88c73086e40bba57691da.jpg
</figure>Step 28Then use the pink color towards the top of the hair and add strands with the Blending Mode set to Screen at 50% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_c90b4d99f2b34cd794b2edd78216b8c7.jpg
</figure>Step 29I'm going to bring out the color in the roots. It's more enhancing the color, rather than darkening it. In order to do this, I'll draw strokes that are on Blending Mode Overlay and 20% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_7fd057517623cb237fe40783fcbe6666.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_51fcfb51fdfe76e1fd5d6272d9243019.jpg
</figure>Step 30Now add green strokes to the tips set to Blending Mode Hard Light and 20% Opacity.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_c035d06e4b8b48a0c7b78c9f86339002.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_8c9e54f6a5c0621b08b1dfffb4791790.jpg
</figure>Step 31Duplicate the hair base shapes, the ones which have the light gray gradient applied to them, and drag and drop the group on top of the strokes. Change the fill color to the pink to green linear gradient. Use the Gradient Tool (G) to modify the direction of the gradient to ensure the pink is at the top of the shapes and the green is towards the bottom. Add two additional shapes to the wisp of hair on top and to the side.
Set the Blending Mode to Hue and 80% Opacity. You'll notice that this will add some blue tones where the gradient changes in the hair, which gives an illusion you've used more than four colors!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_e31b348d897be61b6c99b4041a606b7a.jpg
</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_f928e06877330c4962ebc9cbed663133.jpg
</figure>Step 32Create a New Layer above the "Hair" layer folder and rename it "Front." Use the Rectangle Tool (M) to draw a gray rectangle over the artboard that is set to Blending Mode Color Burn and 20% Opacity. This will increase the contrast of the whole piece.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_ef77bb3706a592b0be205ea46371cb9f.jpg
</figure>Now duplicate the rectangle and fill it with the green and change the Opacity to 10%. This will increase the contrast further, but also give a very subtle green hint.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_dcaa8a50dbfd26c774a10b93e5edd09f.jpg
</figure>Step 33Create a pink transparent radial gradient, use this as a fill for a shape over the lips to give a pink tint to the lips. Change the Blending Mode to Darken and Opacity to 40%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_f813a7b6fa05c77ba322185a04e692a8.jpg
</figure>Step 34Create a green transparent radial gradient, use this to fill shapes over the eyes to give a green tint. Change the Blending Mode to Darken and Opacity to 40%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_2e6a682f972b7714d5791aa63c3616f5.jpg
</figure>Step 35Create a New Layer below the "Shading" layer folder and rename it "Tattoo." As the layer folder name suggests, I'm going to create a tattoo on the girl. The reason for placing it below the skin shading layer folder is so its form is shaded the same as the arm is shaded.
Use the Star Tool (from the shape tool options) to draw a star with a 1pt Stroke Weight with gray as the stroke color. Then use the Line Segment Tool (\) to divide the star up, crossing through the center. Set these lines to 2pt.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_309ffb85e39adf33ea6b68b05ed9a320.jpg
</figure>Step 36Select all of the line art for the star and use the Live Paint Bucket (K) to fill the sections with pink and green.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_2c76bc7a0e9d4a0b66c02d21e3f91f3a.jpg
</figure>Step 37Select the Live Paint group and then expand the group. Group the gray line art together and then group the pink/green shapes (Command + G). Duplicate the group with the pink/green shapes and apply a gray transparent linear gradient. Use the Gradient Tool (G) to change the direction of the gradient.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_3f292120b0bc2269f5f717f5909d2803.jpg
</figure>Change the Blending Mode to Multiply and the Opacity to 40%. Group together all three elements (Command + G).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_e021481882f2eaba69c2f605d40b9f68.jpg
</figure>Step 38Duplicate the star several times and place them around the arm. Use the Free Transform Tool (E) to resize and rotate the stars. Once completed, Group the stars (Command + G).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_f20cc1d3f997e7d168f9c144e6e1a4e4.jpg
</figure>Step 39Go into the "Bases" layer folder and duplicate the skin base. Draw a rectangle over the area with the stars. Use the Pathfinder tools to Intersect an area for the stars to be part of a Clipping Mask (Command + 7).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_8b0798ec0c152150b677b6d5d81f9c15.jpg
</figure>Step 40Select the Clipping Mask and go to Object > Envelope Distort > Make with Warp and select the Fish shape from the drop down menu. Modify the settings as shown below to give the impression of the tattoo bending around the arm and being distorted by the muscle in the arm.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_a7e5caf710a992e118d089c12472c668.jpg
</figure>Reduce the Opacity of the Envelope Distort object to 50%. Then duplicate the object and change the Blending Mode to Lighten.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_a90198f9f1b1b0f63c6c7ea1055e6f0c.jpg
</figure>
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Step 41Finally, go into the "Front" layer folder and use the Star Tool with the pink transparent radial gradient below the eye. Use the Free Transform Tool (E) to rotate and "squash" the shape to make it appear it is lying on the contour of the cheek.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_cb067a5eb3ed0db5baa45dbd4b82c99b.jpg
</figure>ConclusionBy becoming familiar with the blending modes and how to use them, you can use a limited palette to create a stunning piece of vector art.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center;">https://cms-assets.tutsplus.com/legacy-premium-tutorials/posts/5603/images/5603_76826c674a309f229362cc6b80fa5a75.jpg


https://design.tutsplus.com/tutorials/creating-a-portrait-using-only-four-colors--vector-4431</figure>

covietforum
27-09-2017, 01:42 PM
How to Create a Cute Bunny Vector Character
This post is part of a series called Easy Character Design (https://design.tutsplus.com/series/easy-character-design--vector-19826).
Create a Twitter Style Bird Mascot (https://design.tutsplus.com/tutorials/create-a-twitter-style-bird-mascot--vector-52)
Create a Super Happy Octopus Character (https://design.tutsplus.com/tutorials/create-a-super-happy-octopus-character--vector-15)

<figure class="final-product final-product--image" style="box-sizing: border-box; margin: 0px 0px 30px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/30/posts/17378/final_image/bunnyfinal.jpg<figcaption style="box-sizing: border-box; font-size: 12px; color: rgb(163, 163, 163);">What You'll Be Creating</figcaption></figure>In this Adobe Illustrator tutorial, I will show you how to create a cute bunny character. This tutorial uses simple shapes and gradients that are easy to apply to other character illustrations. The great thing about his tutorial is you don't have to be an amazing artist to create it! Check Chris Spooner (http://hub.tutsplus.com/authors/Chris%20Spooner)'s post 70 Cute and Cheeky Vector Animal Characters (http://hub.tutsplus.com/articles/70-cute-and-cheeky-vector-animal-characters--vector-236) for more character inspiration.
1. Create the Bunny BodyStep 1Create a New document, then make a 190 x 290px tall rectangle with the Rectangle Tool (M).
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_02.jpg
</figure>Step 2With your Direct Selection Tool (A), select the top left corner of the rectangle. With the point selected, the Control panel defaults to the Anchor Point options. Press the second to the left button, converting the anchor point to a smooth point.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_03.jpg
</figure>Step 3Repeat the previous step with the top right anchor point.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_04.jpg
</figure>Step 4Fill the rectangle with a Linear Gradient from the Gradient panel and change the first swatch to a pink color and the second swatch to a darker pink color.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_05.jpg
</figure>Step 5Use the Gradient Tool (G) to adjust the gradient by clicking and dragging from the middle of the shape to the bottom.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_06.jpg
</figure>Step 6Copy (Command + C) the shape and Paste in Front (Command + F). With the new shape selected, use the Selection Tool (V) and scale the shape to half of its original size. After scaling, place the the copied shape towards the bottom of the original.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_07.jpg
</figure>Step 7Change the first swatch in the gradient fill to a light pink and the other swatch to a slightly darker pink.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_08.jpg
</figure>2. Create the LegsStep 1With the Star Tool, click on the artboard to bring up the Star dialog. In the dialog change Radius 1 to 50px, Radius 2 to 25px and the Points to 3.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_09.jpg
</figure>Step 2With the triangle selected go Effect > Stylize > Round Corners. In the dialog change the Radius to 15px.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_10.jpg
</figure>Step 3With the Selection Tool (V), squish the triangle horizontally to half of its original size. Next rotate the triangle 180 degrees.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_11.jpg
</figure>Step 4Fill the triangle with a Linear Gradient, make the first swatch a dark pink from the previous shape and the second swatch make a darker pink. Adjust the gradient so the darkest part of the gradient is at the bottom of the triangle.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_12.jpg
</figure>Step 5Place the triangle at the bottom of the bigger body shape creating a leg. Once placed, drag out a copy of the leg to other side. Simply hold down Alt + Shift while dragging the shape.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_13.jpg
</figure>3. Create the Bunny EarsStep 1Create a 200 x 50px tall rectangle and round the corners at 25px.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_14.jpg
</figure>Step 2Go to Effect > Warp > Arch. With the Warp Options dialog open, change the Bend to 20 and the Horizontal Distortion to -49. Next, make sure to expand the effects by going to Object > Expand Appearance. If you don't do this you will get some unexpected results as the steps continue.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_15.jpg
</figure>Step 3Rotate the shape 45 degrees to the right so the shape is vertical. Next, place the shape over the top of the body shape. Once placed, Copy (Command + C) and Paste in Front (Command + F) the ear shape. Reflect the shape vertically by going to Object > Transform > Reflect and choosing the Vertical option in the dialog. Once reflected, move the copied ear to the other side of the body.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_16.jpg
</figure>Step 4Change the fill of the the ears to the first swatch pink color in the body shape.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_17.jpg
</figure>Step 5Select the first ear and go to Object > Path > Offset to open the Offset dialog. Change the Offset to -15px. Next, move the offset slightly down and to the left.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_18.jpg
</figure>Step 6Change the fill of the offset to the light Linear Gradient that was used in the belly shape of the body.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_19.jpg
</figure>Step 7Repeat the same step for the right ear shape.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_20.jpg
</figure>4. Create the ArmsStep 1Copy (Command + C) and Paste (Command + V) the main right ear shape. Rotate the copied shape 190degrees and scale it down to half of its original size. Fill the shape with the original body gradient and place it behind the lower left side of the body.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_21.jpg
</figure>Step 2Copy (Command + C) and Paste in Front (Command + F) the arm shape, reflect it vertically, then place it on the other side of the body.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_22.jpg
</figure>5. Create the EyesStep 1Now that the body is done, we can start adding a face to the bunny. Start by creating an ellipse with the Ellipse Tool (L) that is 37 x 37px. Fill the ellipse with a Radial Gradient with the first swatch a dark pink and the second swatch the same pink as in the ears.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_23.jpg
</figure>Step 2Create another ellipse with the previous one, but smaller, and fill it with a dark pink color. Next draw two smaller white filled ellipses within the dark pink one. Now you have an eye!
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_24.jpg
</figure>Step 3Place the eye shapes over the top left part of the body shape. Once placed, Copy (Command + C) and Paste (Command + V) the eye shapes and place them on the other side of the body.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_25.jpg
</figure>6. Create the NoseCreate a triangle like before and scale it down to half of its original size. Also like the other triangle, round the corners and fill it with the same gradient. Next, place the triangle over the middle part of the body below the eyes.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_26.jpg
</figure>7. Create the MouthStep 1With the Line Segment Tool (\) draw a dark pink (same as the dark pink eye color) 3pt line right below the nose, spanning the distance of the eyes.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_27.jpg
</figure>Step 2Draw a ellipse so the bottom fourth of it is the width of the line you just drew. Next, draw a rectangle that encompasses the top half of the ellipse up to the line you drew. Select the rectangle and ellipse and press the Subtract Shape Areas button from the Pathfinder panel. While still in the Pathfinder panel, press the Expand button.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_28.jpg
</figure>Step 3Fill the subtracted shape with the same Linear Gradient as the body gradient, but adjust it so the darker part of the gradient is at the top. Place the shape behind the line you created before.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_29.jpg
</figure>Step 4Create a rectangle that is 38 x 40px tall. Like with the main body shape, select the bottom left anchor point with the Direct Selection Tool (A) and change the anchor to a Smooth Point. Do the same for the bottom right anchor point.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_30.jpg
</figure>Step 5Place the tooth shape behind and below the mouth line on the left side of the nose shape. Fill the tooth with a Linear Gradient with the first swatch white and the second swatch a light gray. Adjust the gradient so the white is at the top of the tooth.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_31.jpg
</figure>Step 6Copy (Command + C) the tooth and Paste in Front (Command + F). Create an ellipse the covers the bottom two-thirds of the tooth. Select the tooth copy and the ellipse and Subtract the shapes. Once subtracted, change the color of the shape to a light gray.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_32.jpg
</figure>Step 7Drag out a copy of the tooth shapes to the left side.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_33.jpg
</figure>8. Create the HairStep 1Now it is time to add some hair. With the Pen Tool (P) draw a hair puff shape towards the top of the body. Fill the shape with the same Linear Gradient as the nose shape.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_34.jpg
</figure>Step 2With the hair shape selected, Copy (Command + C) and Paste in Back (Command + B). With the copy selected, move it down slightly. Fill the copy with the same gradient as the main body shape and adjust it so the darker part of the gradient is at the top of the shape.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_35.jpg
</figure>9. Add a Carrot and the Finishing TouchesStep 1The bunny character is done, but lets have some more fun to it. Let's make it look like the bunny just devoured a carrot! Use you Pencil Tool (N) and draw twenty - twenty-five small ellipse like shapes over the teeth and mouth area of the bunny (make these shapes a bit rough). Fill the shapes with a Linear Gradient, set the first swatch to an orange color and the second to a darker orange color.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_36.jpg
</figure>Step 2Draw an ellipse that is 45 x 30px tall. Draw another ellipse over that one that is 65 x 30px tall. Place the second ellipse so the bottom is in the center of the first one. Select both ellipses, Intersect the Shape Areas from the Pathfinder panel, and press Expand. Next, fill the shape with the orange linear gradient you used for the small elements around the mouth, then adjust the gradient so the lighter part of the gradient is at the top of the shape.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_37.jpg
</figure>Step 3With the Pencil Tool (N), create some little ellipse like shapes around and below the previous shape. Fill these with the same orange gradient.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_38.jpg
</figure>Step 4Copy (Command + C) the original top ellipse shape and Paste in Front (Command + F). Scale the shape down to half of its original size, then place it towards the top of the original shape. Change the first swatch in the copied shape to a green color and the second swatch to a darker green color.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_39.jpg
</figure>Step 5With the Pen Tool (P), draw a couple stems coming out of the carrot top. Fill these shapes with the same green gradient you just used.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_40.jpg
</figure>Step 6Create an ellipse that is 75 x 75px. Fill it with a Radial Gradient with the first swatch a light brown color, the second swatch a white color, and set the ellipse to Multiply from the Transparency panel. Next, squish the ellipse vertically to half its original size. Place the ellipse behind all the carrot top artwork as a drop shadow.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_41.jpg
</figure>Step 7Create two more ellipses, as in the previous step, then place them behind the feet. Create another bigger ellipse, but make the brown color of the gradient lighter and place in between the feet shadows.
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_42.jpg
</figure>
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Step 8Create a rectangle the size of you document and fill it with a Radial Gradient. Make the first swatch white and the second swatch a light yellow color. All done!
<figure style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; font-family: Roboto, Arial, sans-serif; background-color: rgb(254, 254, 254);">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/78_Funny_Bunny/ctbun_43.jpg
</figure>That's All Folks!Below is the final image we just worked on.



https://design.tutsplus.com/tutorials/how-to-create-a-cute-bunny-vector-character--vector-608

covietforum
27-09-2017, 01:43 PM
Create a Photo-Realistic Candle with Gradient Mesh
Gradient Mesh can be intimidating for novice and experienced Illustrator users alike, but sophisticated results can be achieved with a simple mesh and careful coloring. This tutorial will set you on the road to mesh mastery. Let's get started!
Step 1To make a photo-realistic vector illustration, you pretty much have to start with a photo as a reference. I'll be using a Creative Commons licensed photo from Flickr user echiner1 (http://www.flickr.com/photos/decadence/565924507/). Place your source photo in your document, by going to File > Place.
Step 2Draw a rectangle next to the photo and fill it with rich black. A good rich black in CMYK is C=60, M=40, Y=40, K=100. If you're working in RGB mode, use true black: R=0, G=0, B=0.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/02_rich-black.jpg
Step 3Lock this layer and create a new one above it. Draw a rectangle the same size as the candle. Take the Eyedropper tool (I) and sample a color from the photo. This will fill your rectangle with this color.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/03_sample-color.jpg
Step 4With the rectangle selected, go to Object > Create Gradient Mesh. Enter the values shown below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/04_create-mesh.jpg
Step 5Using the Direct Selection tool (A), marquee-select the top row of points on the mesh. Switch to the Eyedropper tool, and sample the color from the corresponding part of the photo. Do this for each horizontal row of points.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/05.1_eyedropper.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/05.2_eyedropper-all.jpg
Step 6Select one point on the right edge of the mesh and sample its corresponding color from the photo. Do the same for every point on each side. Your mesh should look something like the image below. You can adjust the colors on each point manually, using the Color panel.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/06.1_highlight.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/06.2_side-highlights.jpg
Step 7Using the Direct Selection tool (A), select the second column of points on the mesh. It may help to view the illustration in Outline mode so you can see the points. Use the left arrow key on your keyboard to move this column of points toward the left a few clicks. This will make the highlight on the left more severe.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/07_move-mesh-line.jpg
Step 8Take the Mesh tool (U) and click on one of the vertical mesh lines. This will create a new horizontal line. Now select the points on the new line and give them the same fill color as the top points. You can do this with the Eyedropper tool. Here's a handy method: First, choose the Direct Selection tool (A). Then switch to the Eyedropper (I).
Now hold down the Command/Control key to temporarily access the Direct Selection tool. Select the points, then release the Command/Control key to go back to the Eyedropper to sample your color. Once you get in a rhythm, your Mesh work will be speedier.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/08_add-mesh-line.jpg
Step 9Select the middle two points on this new line and move them down. This will create a slight curve, which will help make the mesh look like a cylinder.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/09_curve.jpg
Step 10For the top of the candle, draw an ellipse, and fill it with the same color as the top points on the candle mesh. Create a Gradient Mesh as before.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/10_top-mesh.jpg
Step 11Drag the middle point up a bit and fill it with a lighter color. You can't normally "fill" a point, but that's how we talk about it with Gradient Mesh. Fill the point above it with a darker color. Drag the lower points to form a less uniform, more organic shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/11_top-mesh2.jpg
Add some shapes for highlights (matching the photo). The Blob Brush works well for organic shapes such as these. Fill with a much lighter yellowish-red.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/11.2_top-hilites.jpg
Step 12Draw a couple of drips on the side of the candle. You can use the Pen tool or the Blob Brush, or whatever you prefer. Fill the drips with a radial gradient, taking care to match the colors so the drips appear to blend into the main candle shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/12_draw-drips.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/12.1_drips.jpg
Step 13Your candle should now look like the image below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/13_so-far.jpg
Step 14For the wick, draw a simple path with the Pen tool. Make it thick, with rounded end caps. Then go to Object > Path > Outline stroke to expand it. Fill with a linear gradient that goes from the candle color to a burnt brown.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/14_wick.jpg
Step 15Now we'll make the flame. First, the glow around the flame can be made with a simple Blend. Draw three ellipses, as in the image below. The outer one's fill should match your rich black background, and the other two should be bright yellow and orange, as shown.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/15_glow-parts.jpg
Step 16Double-click the Blend tool to bring up its options. Make sure Smooth Color is chosen, then select the three ovals and go to Object > Blend > Make.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/16_glow-blend.jpg
Step 17For the flame, we'll use Gradient Mesh. Draw the outline of the flame shape, using the photo as a guide. Since the color of the flame is concentrated toward the bottom, it makes sense to create the mesh with the Mesh tool, rather than the menu item.
Take the Mesh tool (U) and click about four times on the flame outline, near the bottom, to create horizontal mesh lines. Do the same with two clicks near the top. Then click a horizontal line twice, close to either side of the original path.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/17_flame-mesh.jpg

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Step 18As you did with the candle, sample color from the photo. Move individual mesh points to create a more organic look, and to create a shadow for the wick.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/18_flames.jpg
Place the flame on top of the glow, and bring the wick to the front.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/18.1_flame-done.jpg
ConclusionYou don't need a crazy amount of mesh points to make a realistic illustration. Paying careful attention to the placement of the points, their color, and their relationship to one another is the key to a successful Gradient Mesh.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/441-mesh-candle/final.jpg

https://design.tutsplus.com/tutorials/create-a-photo-realistic-candle-with-gradient-mesh--vector-4759

covietforum
27-09-2017, 01:43 PM
Create a Loving Cup of Tea in Illustrator CS5This post is part of a series called Caffeine Fuelled Vector (https://design.tutsplus.com/series/caffeine-fuelled-vector--vector-14408).Design a Coffee Shop Menu Layout from Scratch - Part 2 (https://design.tutsplus.com/tutorials/design-a-coffee-shop-menu-layout-from-scratch-part-2--vector-3836)
Make a Sleek and Refreshing Vector Energy Drink (https://design.tutsplus.com/tutorials/make-a-sleek-and-refreshing-vector-energy-drink--vector-2643)

<figure class="final-product final-product--image" style="box-sizing: border-box; margin: 0px 0px 30px; padding: 0px; max-width: 100%; text-align: center;">https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/final.png</figure>In today's tutorial, I'll show you how to create a quick, loving cup of tea using Adobe Illustrator CS5 using 3D effects and the Bristle Brush Tool.
IntroductionI don't often get a chance to show my patriotic side in vector, but here today I'll show you how to create a British institution... a cup of tea and saucer!
The 3D effects in Adobe Illustrator can produce some amazing and quick effects. I've been playing with them quite a bit recently and found out how to make a quick cup of tea. I'm sure with some practice it will take you shorter than making a "cuppa" yourself!
Step 1Using the Pen Tool (P) to draw two lines using an off gray stroke color. I've darkened it for the example below so you can see it better. These lines will be used to create the cup and saucer. Once drawn, apply the "15pt Round" brush to it from the default CMYK brush palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/1.jpg
Step 2Draw the shape below behind your lines with a light golden brown fill color (C=25, M=40, Y=45, K=0). This will be your tea! Depending on how you like it, darken or lighten the shade. Once done, Group (Command + G) all three objects.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/2.jpg
Step 3While the group is selected go to Effects > 3D > Revolve and use the settings below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/3.jpg
Step 4To give the surface of the tea a "just stirred" look, use the Warp Tool (Shift + R) to tweak the top of the tea. This will give the tea a more fluid look.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/4.jpg
Step 5Use the Pen Tool (P) to create a curved, ear like shape for the handle with the same "15pt Brush," but with the Stroke Weight of 0.75pt. This stroke should also be off gray.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/5.jpg
Step 6Go to the Effects > 3D > Extrude & Bevel effect and use the below settings to create your handle.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/6.jpg
Step 7Copy (Command + C) and Paste (Command + V) the handle and go to Object > Expand. Use the Free Transform Tool (E) to rescale and rotate the hand to be a reflection on the side of the cup. Then change the Blending Mode to Multiply and Opacity to 30%.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/7.jpg
Step 8The cup will cast a shadow on the saucer, so I'm going to create a shadow using a black to black transparent radial gradient. First I'm going to select the group with our cup and saucer in and then Object > Expand it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/8a.jpg
This is so it's easier to draw a shape for the gradient fill in due to Smart Guides. Set the shadow to Blending Mode Multiply.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/8b.jpg
Step 9As our cup of tea has just been stirred, I'm going to add some bubbles to the surface. I've used a quick bubble technique inspired by a tutorial by Linah Ahmed here on Vectortuts+ (http://vector.tutsplus.com/tutorials/illustration/quick-tip-how-to-make-a-nature-illustration-with-the-opacity-mask/). So using the Ellipse Tool (L), create a squashed circle with a white to light golden brown filled linear gradient and set it to Blending Mode Multiply.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/9a.jpg
Now duplicate the shape and apply a white to light golden brown to transparent light golden brown radial gradient on top, then set the Opacity to 80%. Also, slightly offset it a few nudges with your arrow keys.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/9b.jpg
Step 10Group your ellipses (Command + G) and then set the Opacity to 75%. Duplicate the bubble group several times. Modify the scale of them using the Free Transform Tool (E) to give a less carbon copy look and place them around the rim of the tea.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/10.jpg
Step 11Using the Ellipse Tool (L), line up two squashed circles and use Pathfinder > Intersect to create a shape to cover the surface of the tea. I used the Direct Selection Tool (V) to slightly modify the handles on the shape to get an exact fit.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/11a.jpg
Move the shape below the bubbles. Then fill with a light golden brown to white radial gradient, and set the Blending Mode to Luminosity.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/11b.jpg
Step 12Use the Rectangle Tool (M) to create your background with a light green (C=50, M=0, Y=100, K=0) to white gradient. I'm using this green to give a better indication of the drink being tea (think tea leaves) rather than confusing it with coffee, which is usually represented by brown tones.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/12.jpg
Step 13Draw a circle with the Ellipse Tool (L) underneath the saucer with a black to black transparent radial gradient fill set to Multiply to create a shadow.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/13.jpg

<iframe frameborder="0" src="https://tpc.googlesyndication.com/safeframe/1-0-10/html/container.html" id="google_ads_iframe_/11757429/hub_design_illustration_inarticle_0" title="3rd party ad content" name="" scrolling="no" marginwidth="0" marginheight="0" width="300" height="250" data-is-safeframe="true" style="box-sizing: border-box; max-width: 100%; border-width: 0px; border-style: initial; vertical-align: bottom;"></iframe>


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Step 14I'm going to create a quick steam effect using the Bristle Brush, which can be found in AI CS5. However, if you've not got this version, you can create a smoke effect (http://vector.tutsplus.com/tutorials/text-effects/how-to-create-smoky-brushes-and-type-in-illustrator-cs4/). I've modified the Round Fan Bristle Brush as shown below:
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/14a.jpg
Then using the Paintbrush Tool (B), create some steam with a heart at the top with a white stroke color.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/14b.jpg
ConclusionUs British often say life's problems can be solved with a cup of tea. It's true! Now you can create a quick cup of tea with little problems thanks to the ever wonderful 3D effects in Adobe Illustrator CS5. For the record, I like mine with two sweeteners and milky!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/420-tea-cup/final.png

https://design.tutsplus.com/tutorials/create-a-loving-cup-of-tea-in-illustrator-cs5--vector-4574

covietforum
27-09-2017, 02:17 PM
Create a Cocktail Glass in Adobe Illustrator
6 October 2011 by muschmule (http://www.tutorialstag.com/author/muschmule)Tags: icons (http://www.tutorialstag.com/tag/icons),illustration (http://www.tutorialstag.com/tag/illustration),vectors (http://www.tutorialstag.com/tag/vectors)
In this very detailed tutorial we will learn how to create a cocktail glass with a colorful drink and fancy decoration. Creating a glass object can be a challenge since there are just few colors you’re allow to use, mostly white, light blue and light gray. With right combination of those colors you can create a nice looking glass. Reflections will help you improve your illustration. They are very important because they are simulating transparency of the glass. Let’s start with our cocktail, it will be a great fun!


http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/cocktail-glass.jpg?b96fc9


Step1Let’s try to create the shape of the glass. Grab the Pen Tool (P) from the Tool Panel and draw just one side of the glass. As you already know a cocktail glasses are different shapes. Feel free to create the shape of the glass you like the most.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/001.jpg?b96fc9
Step2Now we need to create a mirror image. Under the Object select Transform > Reflect to create the other side of the glass.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/002.jpg?b96fc9
Step3In the Reflect box select Vertical for Axis and hit the Copy button. This will create a mirror picture.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/003.jpg?b96fc9
Step4Move the path we just created to the right until the lower endpoints meet. Hold the Shift key on the keyboard for the straight dragging.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/004.jpg?b96fc9
Step5With the Direct Selection Tool (A) select lower endpoints of the both paths and under the right click select Join.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/005.jpg?b96fc9
Step6Select the Ellipse Tool (L) from the Tool Panel and create an ellipse. That will be the upper part (edge) of the glass.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/006.jpg?b96fc9
Step7Let’s create the stand for our glass. Grab the Rounded Rectangle Tool from the Tool Panel and create a rounded rectangle as it shown on the picture below.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/007.jpg?b96fc9
Step8We have to bend the rectangle a little bit. Under the Object select Envelope Distort > Make with Warp.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/009.jpg?b96fc9
Step9Set the Horizontal Bend to -25%.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/010.jpg?b96fc9
Step10Place the shape we have just created on the lower part of the body (don’t forget to expand the shape; Object>Expand).
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/010b.jpg?b96fc9
Step11With the Rounded Rectangle Tool create another rectangle.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/011.jpg?b96fc9
Step12With the Ellipse Tool (L) from the Tool panel create a circle.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/012.jpg?b96fc9
Step13Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the rounded rectangle and place it underneath the ellipse.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/013.jpg?b96fc9
Step14Now we need a base for the stand. Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the ellipse we created for the upper edge of the glass, scale it down and move it downwards.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/014.jpg?b96fc9
Step15Create a copy of the ellipse from the previous step. Ctrl / Cmd + C, Ctrl / Cmd + F will create that copy. Nudge it for a few pixels downwards. This will create a thickness of the base for the stand.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/015.jpg?b96fc9
Step16Let’s zoom in with a Zoom Tool (Z) to see better what we are doing. Grab again the Rounded Rectangle Tool and create the Rounded Rectangle as it shown on the picture below.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/016.jpg?b96fc9
Step17Select the rectangle and the yellow part of the stand and under the Pathfinder Panel hit the Unite button. Do the same thing for the other side of the stand. When you’re happy with the result send that part of the stand to Back (Shift + Ctrl / Cmd + [).
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/017.jpg?b96fc9
Step18Grab the Direct Selection Tool (A) from the Tool Panel and select the top anchor point on the pink ellipse. Using the up arrow key on the keyboard nudge that anchor point upwards for the few pixels.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/018.jpg?b96fc9
Step19Select the base of the stand and move it downwards to position it as it shown on the picture below.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/019.jpg?b96fc9
Step20This is the shape of our glass.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/020.jpg?b96fc9
Step21The colors we will be using are white, light blue and light gray. But, before we start with coloring let’s create our drink.
Select the large ellipse from the upper edge and duplicate it (Ctrl / Cmd + C, Ctrl / Cmd + F). Holding the Shift key on the keyboard, move the copy downwards for 1/4 of the glass. Scale it down until endpoints of the ellipse meets the glass.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/021.jpg?b96fc9
Step22Grab the Line Segment Tool (/) from the Tool Panel and draw a vertical line. Do not forget to hold the Shift key for the straight dragging.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/022.jpg?b96fc9
Step23Select the line and the ellipse and under the Pathfinder Panel hit Divide button.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/023.jpg?b96fc9
Step24You will notice that we have the line across the upper part of the glass. To remove that line we need to Ungroup (Shift + Ctrl / Cmd + G) the object we’ve just created. Now grab the Add Anchor Point Tool (+) and add an anchor point to the middle of the line we need to get rid of.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/024.jpg?b96fc9
Step25With Direct Selection Tool (A) select that anchor point and hit Delete key on the keyboard. Repeat this for the other part of the ellipse we divided. We still have the edge of the glass, but this way we can add a straws and other cocktail decorations. You should end up with something like this.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/025.jpg?b96fc9
Step26Now we can adjust colors. Let’s start from lower parts of the glass.
For the thickness of the glass stand we will use combination of white-blue-gray colors.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/026.jpg?b96fc9
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/027.jpg?b96fc9
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/028.jpg?b96fc9
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/029.jpg?b96fc9
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/030.jpg?b96fc9
Step27Select the body of the glass and under the Object select Path > Offset path. Set the Offset to -2. This way we will create the cocktail and the illusion of the glass thickness.<.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/031.jpg?b96fc9
Step28Now we need to complete the shape of the drink in the glass. Take the Add Anchor Point Tool (+) and add anchor points on the new path in level of the surface.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/032.jpg?b96fc9
Step29With Direct Selection Tool (A) remove the endpoints of the path we’ve just created. Scale down the ellipse (the surface of the liquid) until endpoints of the path meets.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/033.jpg?b96fc9
Step30Time to make our cocktail glass more interesting
Select the ellipse that represent the surface of the drink and apply nice radial gradient.
Don’t forget to remove the black stroke (the stroke was used only for shape adjustments).
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/034.jpg?b96fc9
Step31Use nice radial gradient for the rest of the drink.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/035.jpg?b96fc9
Step32Select the paths that forming the glass shape and under the Object select Expand. This way we will turn them into the editable object. Set the Fill color of the glass shape to #BDD2D4.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/036.jpg?b96fc9
Step33Glass has ability to create very interesting reflections. They will give our cocktail glass a required depth and an illusion of 3D look. We will try to use this characteristic to create more convincing look of the cocktail glass.

Select the Pen Tool (P) from the Tool Panel and create a shape as it shown in the picture below.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/037.jpg?b96fc9
Step34Apply radial gradient to the shape from the previous step.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/038.jpg?b96fc9
Step35Since we need this reflection for the both sides of the glass we will create a mirror image. Under Object select Transform > Reflect. Set the Axis to Vertical and hit the Copy button.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/039.jpg?b96fc9
Step36Place the mirror image on the right side of the glass.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/040.jpg?b96fc9
Step37Select the Pen Tool (P) from a Tool Panel and create the shape as you see on the picture below.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/041.jpg?b96fc9
Step38Under the Object select Transform > Reflect. Select the Axis to Vertical and hit the Copy button.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/042.jpg?b96fc9
Step39Select the upper part of the stand and duplicate it twice (Ctrl / Cmd + C, Ctrl / Cmd + F). Select each copy and one of the reflection shape we’ve just made and under the Pathfinder panel hit the Intersect button.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/043.jpg?b96fc9
Step40Repeat the previous step for the other reflection as well. You should end up with something like this.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/044.jpg?b96fc9
Step41Select all of the elements of the glass body and duplicate it (Ctrl / Cmd + C, Ctrl / Cmd + F). Under the Pathfinder Panel hit the Unite button. This will unite all of the parts of the glass body. Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the new shape and move both copies around a bit.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/045.jpg?b96fc9
Step42Select both copies and under the Pathfinder Panel hit the Minus Front button.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/046.jpg?b96fc9
Step43The new shape we created in previous steps is not quite what we are looking for. We need to adjust it a bit. Select the shape in the left upper corner of the glass, duplicate it (Ctrl / Cmd + C, Ctrl / Cmd + F), and make sure to place the copy on the top of everything (Shift + Ctrl / Cmd + ]).
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/047.jpg?b96fc9
Step44Select both shapes and under the Pathfinder Panel hit the Minus Front button.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/048.jpg?b96fc9
Step45Ungroup the new shape (Shift + Ctrl / Cmd + G) and Set the Fill color to white (#FFFFFF) and lower the opacity to 25%.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/049.jpg?b96fc9
Step46We should add one more reflection on the upper part of the glass,just to make it more interesting. Grab the Pen Tool (P) and create a shape very similar to the reflection we made earlier.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/050.jpg?b96fc9
Step47Apply nice linear gradient to it.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/051.jpg?b96fc9
Step48Under the Object select Transform > Reflect. Set the Axis to Vertical and hit the Copy button.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/052.jpg?b96fc9
Step49Place the copy we just made on the left side of the glass. Don’t forget to hold the Shift key for the straight dragging.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/053.jpg?b96fc9
Step50Since cocktails are very colorful with so many decorations we should try to crate them as well. We will start with umbrella.
Select the Ellipse Tool (L) from the Tool Panel and create an ellipse as it shown in the picture below.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/054.jpg?b96fc9

Step51Apply linear gradient as it shown on the picture below.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/055.jpg?b96fc9
Step52Grab the Pen Tool ( P ) and create a long shape (triangle).
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/056.jpg?b96fc9
Step53Sale down the new shape, create few copies (Ctrl / Cmd + C, Ctrl / Cmd + F) and place them on the green ellipse as it shown on the picture below.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/057.jpg?b96fc9
Step54With the Pen Tool ( P ) create one more shape to complete our umbrella.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/058.jpg?b96fc9
Step55Group all the elements of the umbrella and place it in the cocktail glass. Make sure to bring to front some of the elements of the glass. This way it will look like the umbrella is really inside the glass.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/059.jpg?b96fc9
Step56Now we can create a straw. Select Rounded Rectangle Tool and create the shape of the straw. Apply white-black gradient.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/060.jpg?b96fc9
Step57Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the straw and rotate it a bit. Place both of them them inside the glass.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/061.jpg?b96fc9
Step58In this part of tutorial we will create some fruit decoration. Grab the Pen Tool (P) and create a triangle, as you can see on the picture below.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/062.jpg?b96fc9
Step59Lets make the corners round. Under the Effect select Stylize > Round Corners. Set the value for Radius to 10 px.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/063.jpg?b96fc9
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/064.jpg?b96fc9
Step60Under the Object select Expand Appearance in order to convert triangle to editable shape.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/065.jpg?b96fc9
Step61Grab the Rotate Tool ( R ) from the Tool panel. Holding the Alt key on the keyboard click underneath the lower part of triangle and set the value for the Angle to 36°.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/066.jpg?b96fc9
Step62To repeat this action press Ctrl / Cmd + D eight more times in order to complete the whole circle.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/067.jpg?b96fc9
Step63Select all red triangles and Group them (Ctrl / Cmd + G). Grab the Ellipse Tool (L) from the Tool Panel and create the circles as it shown on the picture below.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/068.jpg?b96fc9
Step64Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the circle and scale the copy slightly up. You should end up with something like this.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/069.jpg?b96fc9
Step65Make sure to choose nice yellow and orange colors.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/070.jpg?b96fc9
Step66Don’ forget to create a slice if the lime as well.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/071.jpg?b96fc9
Step67Let’s cut the slice of the lime to half. Select all the elements and Group them (Ctrl / Cmd + G). Grab the Rectangle Tool (M) from the Tool Panel and create the rectangle as it shown on the picture below.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/072.jpg?b96fc9
Step68Make sure to remove Fill and Stroke color. Select all the elements (lime slice and the rectangle) and under the Object select Make Clipping Mask.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/073.jpg?b96fc9
Step69You should end up with something like this.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/074.jpg?b96fc9
Step70Place the fruit slices on the glass edge, create few more decorations and make a small adjustments if needed.
And voila! We are done.
http://www.tutorialstag.com/wp-content/uploads/2011/10/06/create-a-cocktail-glass-in-adobe-illustrator/cocktail-glass.jpg?b96fc9
ConclusionIn this quite detailed tutorial we have used a little bit of everything; Pen Tool, Transform Tool, Rotate Tool. We have also had an opportunity to play with colors and gradients. But, our work has paid off. We have created quite neat cocktail glass. Like we’ve said at the very beginning of this tutorial, there are many different ways and shapes you can create. I invite you to show me some of your results.
Thank you for following along.


http://www.tutorialstag.com/create-a-cocktail-glass-in-adobe-illustrator.html

covietforum
27-09-2017, 02:20 PM
Create a Semi-Realistic Light Bulb in Adobe Illustrator
Previewhttps://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/light_bulb_preview.jpg
Tutorial Resources

Image: light_bulb (https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/light_bulb.jpg) (Jasmina Stanojevic)
Step 1: Create a New Illustrator DocumentFirst, let’s set up our artboard. Create a new Illustrator document that’s 500x500px in size.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step01_document.jpg
Step 2: Import a Reference PhotoI used a light bulb I had at home as a reference photo; I’ve provided it to you for this tutorial. Download this light bulb image (https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/light_bulb.jpg) and open it in Illustrator. Lock the layer of the photo to avoid accidentally moving it.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step02_image.jpg
Step 3: Draw the Light Bulb’s OutlineCreate a new layer above the reference photo; the new layer is where we’ll draw our illustration.
To start, we’ll draw the outline of the light bulb. Grab the Pen Tool (P) and trace the left side of the light bulb.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step03a_outline.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step03b_outline.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step03c_outline.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step03d_outline.jpg
Switch to the Selection Tool (V) then click on the path we have just created to select it. Go to Object > Transform > Reflect. Select the Vertical option and then hit the Copy button. This will create a mirror image.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step04_mirror_image.jpg
Hold down Shift, click on the reflected path, and then drag it to the right; we have to hold down Shift so that movement is constrained horizontally.
Grab the Direct Selection Tool (A) and select just the upper anchor points of both the left and right paths. Right-click on one of them and then choose Join from the contextual menu that appears to combine both anchors.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step05_join.jpg
To join the lower anchor points, just grab the Pen Tool (P) and click on each anchor point to close the outline’s vector path.
Step 4: Draw the Screw Cap’s ShapeNext, we’ll create the lower part of the light bulb (the metallic part) which is commonly called the screw cap.
Select the Pen Tool (P) and start to draw the top part of the screw cap where it meets with the bulb.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step06a_drawing.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step06b_drawing.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step06c_drawing.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step06d_drawing.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step06e_drawing.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step06f_drawing.jpg
The middle part of the screw cap is a little bit tricky to draw. But it doesn’t need to be perfect, just try to follow the shape of the cap and do your best. Make sure to draw smooth lines and curves, and don’t worry if you can’t draw it nicely the first time around; you can always adjust and tweak individual anchor points using the Direct Selection Tool.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step07_drawing.jpg
Keep drawing until you have all the main parts of the metal cap.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step08_drawing.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step08a_drawing.jpg
Step 5: Draw the Threads on the Screw CapNow we need to make the screw cap’s threads. Select the Rounded Rectangle Tool and then create the rectangle shown below.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step09_rectangle.jpg
We need to distort it a little bit. Select the rectangle then go to Object > Envelope Distort > Make with Warp.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step010_distort.jpg
In the Warp Options dialog window, choose Arc for the Style option, choose the Horizontal option, and set the value for Bend to -9. This will bend the rectangle exactly in half.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step011_warp_options.jpg
With the Direct Selection Tool (A), select four anchor points at the middle of the rectangle by holding Shift and clicking on each of the anchor points. When the anchor points are selected, use the Left Arrow key to nudge the anchors a few pixels to the left. It will distort the rectangle a bit more, which will contribute to the realistic look.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step012_bend.jpg
Switch to the Selection Tool (V) and click on the rectangle to select it, then expand it by choosing Object > Expand. Afterwards, move it on the metal cap of the light bulb.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step013_placement.jpg
Duplicate it several times and place the duplicates as shown below.
More or less, this is the basic shape of the metal cap:
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step014_copy.jpg
Step 6: Applying Gradients to the Screw CapWith nice metal color gradients, we can make the lower part of light bulb more persuading. It will also help us create some depth in this illustration.
To apply gradients, go to Window > Gradient (Ctrl/Cmd + F9) to open the Gradient Panel.
For the threads, apply the gradient shown below.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step015_thread.jpg
For the electrical contact, we’ll use a simple radial gradient.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step016_contact.jpg
Continue using metallic gradients until you reach the desired look.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step017_gradient.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step018_gradient.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step019_gradient.jpg
Step 7: Creating Metallic HighlightsLet’s highlight some edges. It will improve the metallic look of the screw cap. Select the upper part of the cap and duplicate it two times by copying (Ctrl/Cmd + C) and then pasting in front (Ctrl/Cmd + F) twice. You should know have three copies; the original plus two duplicates. Nudge one of the duplicates 2px upwards and scale it up a little bit. Then select both copies and, under the Pathfinder Panel, press the Minus Front button.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step020_minus_front.jpg
Apply the linear gradient shown below.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step021_highlight.jpg
Do the same thing for the lower part of the cap.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step022_highlight.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step023_black.jpg
Step 8: Create the Inner Components of the Light BulbIn this step, we’ll use our reference photo to create the elements inside the glass part of the light bulb.
To start, just grab the Pen Tool (P) and start drawing. A tip: Just follow the shape of the object you’re drawing; it doesn’t need to be perfect because we can adjust individual anchor points in case we don’t like how it looks. As a reference while you’re drawing, follow along in the progression below.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step025_shape.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step026_shape.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step027_shape.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step028_shape.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step029_shape.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step030_shape.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step031_shape.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step032_shape.jpg
To create the coiled tungsten filament — the curly wire that goes across in the middle — select the path we drew at the top and then go to Effect > Distort & Transform > Zig Zag. Set the Size to 1.5pt, Ridges per Segment to 20, Points to Smooth.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step033_zigzag.jpg
Without the light bulb reference photo, our illustration should look like this:
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step034_look.jpg
We’re moving along quite nicely, wouldn’t you say?
Step 9: Apply Colors to the Glass Part of the Light bulbOur light bulb looks flat and it certainly needs some color. Let’s apply a nice blue gradient and see what we get.
First, we’ll create a white outline for the glass of the light bulb. Select the glass and then choose Object > Path > Offset Path. Set the Offset to -3.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step035_offset.jpg
Select the inner shape of the glass and then duplicate it.
Set the Stroke color of the larger shape to a light gray (#C2C4C6) and the Stroke color of the smaller shape to white (#FFFFF). Select them both and go to Object > Blend > Make.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step036_blend.jpg
Now, select the other copy of the smaller shape and set the Fill color to a light blue (#ADE0ED).
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step037_blue.jpg
Grab the Ellipse Tool (L) and create a circle at the middle of the glass. Give the circle a nice blue-to-white radial gradient.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step038_gradient.jpg
Step 10: Applying Reflections and ShadowsWe are almost done! All we need to do is to create some nice reflections and shadows (it is a light bulb, after all!) Reflections can be various shapes and forms, but the best way to make them is to follow the shape of the object.
Select the blue shape of the light bulb and create two copies. Move one of the copies, then rotate it a bit. Select both copies and, under the Pathfinder Panel, hit the Minus Front button.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step039_minus_front.jpg
Select the resultant shape and scale it down a bit. Apply the radial gradient shown below.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step040_radial_gradient.jpg
Let’s do the same thing, but on the other side of the light bulb. Create two copies of the blue shape again, move one of the copies a little bit, rotate it, scale it up or down (feel free to be creative and follow your instincts). This way, you can mimic the non-uniformity of reflections in the real world. When you’re satisfied, hit the Minus Front button in the Pathfinder Panel to create the reflection.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step041_minus_front.jpg
Select the reflection object and give it a radial gradient.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step042_radial_gradient.jpg
Using the same technique, create a few more interesting reflections.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step043_look.jpg
We should do the same with the inner components of the light bulb. Each time you want to create a reflection, use the same technique: duplicate the object twice, move one of the copies, rotate, scale it up or down and when you’re happy with the shape of the reflection, hit the Minus Front, Unite, or Intersect button in the Pathfinder Panel depending on what you’re trying to achieve.
The more details we focus on, the more compelling and realistic our illustration will be. Just make sure not to exaggerate; we don’t want to create a busy, overcrowded and unfocused illustration.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step044_reflection.jpg
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step045_reflection.jpg
When you’re done creating reflections and details, adjust the position and size of all the elements in order to complete the light bulb illustration.
Also, don’t forget to create the shadow.
https://www.webpagefx.com/blog/images/cdn.designinstruct.com/files/232-realistic_lightbulb_illustrator/step046_shadow.jpg
Tutorial SummaryIn this tutorial, we used the Pen Tool quite a lot. The Pen Tool is really a powerful Adobe Illustrator feature, but it requires practice to master. Also, I showed you a popular technique that many illustrators do, which is to use a reference photo for helping us draw our illustrations. It’s much easier when you have a reference image that you can use for tracing. I hope you liked this tutorial and thank you for following along!


https://design.tutsplus.com/tutorials/creating-a-toaster-popping-illustration--vector-3341

covietforum
27-09-2017, 02:22 PM
Creating a Toaster-Popping Illustration
With this tutorial, learn how to apply some effects not often used in Illustrator, like the Chrome effect, which is used to create metallic look with a realistic aspect. Also, notable in this tutorial is the use of Texturizer to create toast texture. We will also use 3D effect and the Mesh tool, which bring depth to the this illustration.
Final Image PreviewBelow is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus (http://tutsplus.com/vector-premium/) for just 9$ a month.
Tutorial Details

Program: Adobe Illustrator CS3+
Difficulty: Intermediate
Estimated Completion Time: 2-3 hours
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/final.jpg
Step 1Start creating the contour of a toaster shape with a gray fill.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/1.jpg
Step 2In a new layer create shapes with the same gray fill using the toaster contour to simulate the light areas.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/2.jpg
Step 3Apply the Mesh Tool on these new shapes and, using different gray and white shades on the mesh intersections, create the lights over the contour.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/3.jpg
Step 4Group both layers and create a new copy.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/4.jpg
Step 5Select the copy, click in Effect and apply Sketch > Chrome. This option
will create a very interesting chrome effect. To get a subtler effect move the smoothness slider all the way to the right.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/5.jpg
Step 6To create the holes for the toast draw two shapes like the ones below and group them.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/6.jpg
Step 7Duplicate the shapes and drag them a little to the bottom, as in the example below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/7.jpg
Step 8Select these two shapes and apply the Pathfinder Divide tool. Delete the remaining bits and pieces.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/8.jpg
Step 9Fill the bottom shapes with black and the upper ones with gray. Delete the outlines.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/9.jpg
Step 10Apply the Mesh Tool on the gray shapes, using shades of dark gray on the mesh intersections. Build a sense of depth here.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/10.jpg
Step 11Now we'll create the timer button using the 3D Revolve effect. Draw half of the button, delete the outlines and fill with white or light gray. Apply the 3D Revolve effect. In the options panel select preview, and rotate the cube until you obtain the desired position.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/11.jpg
Step 12To create the toaster eject button, use half of an ellipse. You can do that using the Minus Front effect of the Pathfinder to cut away the bottom half of an ellipse with, for example, a square.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/12.jpg
Step 13Fill the half ellipse with dark gray and use the 3D Extrude effect. In the options panel select the desired depth and rotate the cube to position the shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/13.jpg
Step 14With the figure selected, apply Object > Expand Appearance to convert the effect into an object. Ungroup the elements and apply Mesh on the upper part of the button, as in the example. Apply white on the central mesh intersection to create the lighting effect.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/14.jpg
Step 15Add other details, like the timer numbers and the slide hole for the eject button.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/15.jpg
Step 16To make the toast begin by creating the texture. Draw a square and fill it with any color. Apply Effect > SVG Filters > AI Wood Grain.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/16.jpg
Step 17Apply in the square the Inner Glow effect using the Multiply Mode with a dark brown fill. Raise the blur value to darken the border of the square, creating a burned effect.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/17.jpg
Step 18Apply the texturizer option using the sandstone texture.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/18.jpg
Step 19Create an amorphous shape over the texture and fill with white or light gray applying the Blur effect with the Gaussian Blur option and 100% radius.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/19.jpg
Step 20Go to the Transparency panel and choose the Soft Light blending to apply on the central shape, which creates an interesting lighting over the texture.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/20.jpg
Step 21Drag the texture to the Symbols panel.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/21.jpg
Step 22Draw the shape of a piece of toast, fill it with the #D69C51 color and delete the outline. Use the 3D Extrude effect. In the options panel select a small depth to create the thickness of the toast (in the example we used 20 pts).
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/22.jpg
Step 23In the same panel go to Map Art and in the surface field search for the toast face. Activate Symbols in the panel and apply the previously created texture.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/23.jpg
Step 24Rotate the cube to position the toast over the toaster hole.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/24.jpg
Step 25Make some copies of the toast and position them in different ways.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/25.jpg
Step 26Reduce the transparency of the first piece of toast and draw the contour over it, creating an intersection between the toast and the border of the toast hole. Put the transparency back to normal, select both the contour and the toast and use Command + 7 to create a mask.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/26.jpg
Step 27Create the toast reflection one the toaster body. Make a copy of the toast and mirror it under the first toast.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/27.jpg

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Step 28To conclude make a shape filled with a black and white gradient and put it over the mirrored toast. Select both objects and in the Transparency Panel Pop-Up activate the Make Opacity Mask option. Adjust the gradient direction to hide part of the reflection and lower the opacity a little.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/28.jpg
ConclusionAfter applying a little bit of shadow under the toaster, we're left with the final image below!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/257_Vector_Toaster/final.jpg
Subscribe to the Vectortuts+ RSS Feed (http://feeds.feedburner.com/VECTORTUTS) to stay up to date with the latest vector tutorials and articles.


https://design.tutsplus.com/tutorials/creating-a-toaster-popping-illustration--vector-3341

covietforum
27-09-2017, 02:23 PM
Create a Burning, Vector Match Using Gradient Meshes

https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/final.jpg

In this tutorial you will learn how to create realistic vector fire, using the Gradient Mesh Tool and Screen Blending mode. Believe me, there's nothing overly complicated. Let's strike a match!
Republished TutorialEvery few weeks, we revisit some of our reader's favorite posts from throughout the history of the site. This tutorial was first published in April of 2011.

Step 1We will be working in RGB color model, if you do not have it installed, go to File > Document Color Mode > RGB Color. Let's begin our tutorial by creating a background. Take the Rectangle Tool (M) and create a rectangle filled with a black color.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/01.jpg
Step 2Proceed to the creation of a match. Take the Rectangle Tool (M) and create a rectangle in the shape of a matchstick. Now fill it with a linear gradient of various shades of brown to convey the light distribution at the edges of the match.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/02.jpg
Copy this rectangle and paste it in front (Command + C; Command + F). Now slightly reduce the height of the rectangle and fill it with a new linear gradient. The shades of brown on this rectangle are darker than the ones on the bottom rectangle.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/03.jpg
Select both rectangles and go to Object > Blend > Make.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/04.jpg
Step 3Create another rectangle of the same width as all the previous ones, as shown in the figure below. Set the gradient fill and Opacity to 0% in the Transparency palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/05.jpg
Create a new rectangle the height of which equals a few pixels with the fill of the same gradient as a transparent rectangle.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/06.jpg
Select the last two rectangles and go to Object > Blend > Make.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/07.jpg
Step 4Proceed to the creation of a match head. Take the Ellipse Tool (L) and create a circle centered on the same axial line with the match.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/08.jpg
For convenience turn on the Smart Guides mode (Command + U). Take the Direct Selection Tool (A) and pull out a circle to the left, while holding down Shift. Now take the Pen Tool (P) and put new anchor points at the intersections of the head with the matchstick.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/09.jpg
Using the Direct Selection Tool (A), transform the shape of the head to the view shown in the figure below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/10.jpg
Step 5Fill the match head with a radial gradient that goes from dark brown to its light shades.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/11.jpg
Copy and paste back the shape of the head (Command + C; Command + B). Fill the copy with a solid dark-brown color and shift it slightly to the left.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/12.jpg
Step 6Take the Pen Tool (P) and create a place where the wood is burnt. These areas are filled with a linear gradient composed of dark shades of brown color.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/13.jpg
Both of these objects must be located in the under layers below the match head.
Step 7Create pores on the match head. Take the Ellipse Tool (L) and create an ellipse. For the fill color, use solid color of the fill of a radial gradient of the match head. To take the color, use the Eyedropper Tool (I) and hold down the Shift to select.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/14.jpg
Often object selection interferes with choosing the right color, you can turn it on, go to View > Hide Edges (Command + H). Use the same combination of keys to activate the selection. Copy and paste the ellipse in front (Command + C; Command + F), reduce the size and fill it with a solid dark brown.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/15.jpg
Using this technique to create more pores on the match head.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/16.jpg
Step 8Now we'll proceed to create the match flame. At this stage, you should learn one important property: black objects when overlapping over other objects become transparent if you set the Screen Blending mode for them in the Transparency palette in RGB color mode.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/17.jpg
You can see below the same objects in the CMYK color mode.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/17a.jpg
If you are still working in the CMYK color mode, then in order to achieve this effect, you should use absolute black.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/17b.jpg
Step 9Create the shape of the flame. Take the Ellipse Tool (L) and create a circle. Using the Direct Selection Tool (A), pull the top anchor point up. The shape of the flame should be located in the under layer below the elements of the match.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/18.jpg
Step 10Select the shape of the flame, and go to Object > Create Gradient Mesh... and set the number of rows and columns in the dialog box.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/19.jpg
Remember that you can edit the grid lines that are obtained automatically. Use the Gradient Mesh Tool (U) to create new lines, and use the same tool to remove them but this time hold down the Alt. Use the Direct Selection Tool (A) for grid line distortion and movement of the nodes.
Step 11Thus, bring the lines and nodes of the gradient mesh to the view shown in the figure below. Flame is a movable object, so your grid can have a completely different shape.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/20.jpg
Step 12Select the gradient mesh with the Selection Tool (V) or by clicking on the appropriate under layer in the Layers palette and fill it with black. Set the Screen Blending Mode in the Transparency palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/21.jpg
Step 13Proceed to the coloring of the flame. Select the grid nodes and apply yellow and red colors to them. Nodes that lie beyond the borders of the gradient mesh should remain in black, otherwise we get the sharp edges of the flame, which is unacceptable.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/22.jpg
Step 14Create another object above the match. Using the technique described above, create a simple gradient mesh based on this object and color it.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/23.jpg
And this is how two gradient meshes look together.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/24.jpg
Step 15Now create two more feathers of the flame.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/25.jpg
And all the elements of fire together.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/26.jpg
When coloring the gradient mesh you can use the colors of the already colored grids. In this, you can rely on your artistic taste to create a very interesting work.
Step 16There is no smoke without fire, and vice versa. Start creating smoke. Take the Rectangle Tool (M) and create a rectangle filled with black. And set the Screen Blending Mode in the Transparency palette.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/27.jpg
Step 17Keep the rectangle selected, go to Object > Create Gradient Mesh... and set the number of rows and columns in the dialog box.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/28.jpg
Transfer the rectangle to the background in order to choose the right color, and replace the color of the two bottom central points of the gradient mesh with blue.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/29.jpg
Step 18Now you need to bend the rectangle shape into the shape of a smoke stream. I used the following tools to transform such objects: the Direct Selection Tool (A), Lasso Tool (Q), and Rotate Tool (R).
Let's take a look at the transformation technique. First, lock all the objects except the rectangle in the Layers palette. Place the rectangle at the right place in your work, take the Lasso Tool (Q) and select all the nodes of the grid, except those that are on the left side.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/30.jpg
Take the Rotate Tool (R) and set the center rotation at point A and use the same tool to bend the object.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/31.jpg
Now make another bend. Using the Lasso Tool (Q) select mesh nodes, as shown in the figure below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/32.jpg
Take the Rotate Tool (R) and set the center of rotation at point B and bend the object using the same tool.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/33.jpg
In addition, you can move individual nodes and (or) several nodes using the Direct Selection Tool (A). Grid line operation is the same as with operating any other vector objects. I think you've got the working principle down. Bring the object to the view shown in the figure below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/34.jpg
The smoke stream is located below the match in the Layers palette.
Step 19Using the technique described above, create a few more streams of smoke.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/35.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/36.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/37.jpg
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/38.jpg
You've probably noticed that for the creation of these streams both sides of the original rectangle are colored in shades of blue, while central nodes of the grid stay black. Check how all the elements that make up the smoke look.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/39.jpg

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Step 20We only have to create a composition. Creating a composition in the technical sense is always the final stage. Of course, before creating the work, you should have an idea about the final result, you can even make a few sketches. But it is convenient to complete your work with this stage. Why do you think it is so?
The thing is that it is easier to work with gradients if an object is placed vertically or horizontally. Imagine how much time you would spend on setting the gradients of the wooden piece of the match, if it was located at an angle to the normal line?
And the thing is not only in gradients, it is convenient to work with any object if it is located horizontally or vertically. Thus, unlock all objects in the Layers palette (in step 18, we locked some objects) and group up all the elements of our work and rotate them as shown below.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/40.jpg
Also resize the background in this step so that the composition looked harmonious. When creating a composition pay attention not only to the harmony of objects, but to the harmony of empty space as well.
Now hide all the objects protruding beyond the background. Copy the black rectangle (background) and paste it in front (Command + C; Command + F). Move the under layer with the rectangle in the layers palette so that it is above all objects.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/41.jpg
Select all objects Command + A. Now go to Object > Clipping Mask > Make or choose the appropriate option from the context menu.
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/42.jpg
ConclusionHaving mastered the technique described in this tutorial, you can create realistic vector flames, lighters or torches. Who knows, you might want to make a fire? And give it some heat!
https://cdn.tutsplus.com/vector/uploads/legacy/tuts/000-2011/394-match-flame/final.jpg


https://design.tutsplus.com/tutorials/create-a-burning-vector-match-using-gradient-meshes--vector-4349

covietforum
27-09-2017, 02:26 PM
Adobe Illustrator Tutorial: How to Illustrate a Vector Tomato Using Gradient Mesh Tool

http://vectorboom.com/TUTORIALS/Tomato/0.jpg

Tutorial Details:

Program: Adobe Illustrator CS3 – CS5
Difficulty: Intermediate
Estimated Completion Time: 2 hours
Step 1Take the Ellipse Tool (L) and create the following path.
http://vectorboom.com/TUTORIALS/Tomato/1.jpg
Take the Direct Selection Tool (A) and change the path. You should have a picture the same as below.
http://vectorboom.com/TUTORIALS/Tomato/2.jpg
Step 2Take the Pen Tool (P), add the anchor point, and transform the path to the following form.
http://vectorboom.com/TUTORIALS/Tomato/3.jpg
Fill this path with dark red.
http://vectorboom.com/TUTORIALS/Tomato/4.jpg
Step 3Let's now make the Mesh. Grab the Mesh Tool (U) and add the mesh anchor point in the center of the tomato form. See the diagram below for reference.
http://vectorboom.com/TUTORIALS/Tomato/5.jpg
Then move this anchor point downwards.
http://vectorboom.com/TUTORIALS/Tomato/6.jpg
Add the next mesh anchor points.
http://vectorboom.com/TUTORIALS/Tomato/7.jpg
Step 4Then convert the anchor points using the Direct Selection Tool (A) to the following form in order to represent a globular shape of the tomato.
http://vectorboom.com/TUTORIALS/Tomato/8.jpg
Repeat these actions for both: the top part and the lower part of the tomato.
http://vectorboom.com/TUTORIALS/Tomato/9.jpg
Add more mesh anchor points.
http://vectorboom.com/TUTORIALS/Tomato/10.jpg
Step 5Select one of the anchor points and change the color of it.
http://vectorboom.com/TUTORIALS/Tomato/11.jpg
Change the color of the close anchor point.
http://vectorboom.com/TUTORIALS/Tomato/12.jpg
Add the distribution of light to the surface of the tomato.
http://vectorboom.com/TUTORIALS/Tomato/13.jpg
http://vectorboom.com/TUTORIALS/Tomato/14.jpg
Step 6Continue to change the colors of the anchor points. See the diagram for reference.
http://vectorboom.com/TUTORIALS/Tomato/15.jpg
Step 7Illustrate now two concentric elliptical paths in the lower part of the tomato. The big ellipse is filled with white and is located under the small ellipse.
http://vectorboom.com/TUTORIALS/Tomato/16.jpg
Change the Opacity of the white ellipse to zero.
http://vectorboom.com/TUTORIALS/Tomato/17.jpg
Then go to Object > Blend > Blend Options and set the Spacing to "Specified steps" and the quantity of steps to 100.
http://vectorboom.com/TUTORIALS/Tomato/18.jpg
Select both concentric ellipses and go to Object > Blend > Make (Command + Alt + B). Send this blend to back. It will represent shadow.
http://vectorboom.com/TUTORIALS/Tomato/19.jpg
Step 8Complicate the mesh in order to show the photo-realism of the tomato's surface.
http://vectorboom.com/TUTORIALS/Tomato/20.jpg
Step 9Let's now create a stem of the tomato. Draw the first leaf. And fill it with any color.
http://vectorboom.com/TUTORIALS/Tomato/21.jpg
Draw other leaves.
http://vectorboom.com/TUTORIALS/Tomato/22.jpg
Step 10Illustrate the central branch.
http://vectorboom.com/TUTORIALS/Tomato/23.jpg
Make a lateral surface of the leaf.
http://vectorboom.com/TUTORIALS/Tomato/24.jpg
Repeat these actions for the other leaves.
http://vectorboom.com/TUTORIALS/Tomato/25.jpg
Step 11Fill a lateral surface of the leaf with a Linear gradient. You need to achieve the following result.
http://vectorboom.com/TUTORIALS/Tomato/26.jpg
Do the same with the other leaves.
http://vectorboom.com/TUTORIALS/Tomato/27.jpg
Step 12Fill the cut section of the branch with the Linear gradients.
http://vectorboom.com/TUTORIALS/Tomato/28.jpg
http://vectorboom.com/TUTORIALS/Tomato/29.jpg
Step 13Draw a triangular path.
http://vectorboom.com/TUTORIALS/Tomato/30.jpg
Drag and drop it into the Brushes palette. Select the Art Brush option in the dialog box.
http://vectorboom.com/TUTORIALS/Tomato/31.jpg
Set the items for the brush as you can see them on the diagram below.
http://vectorboom.com/TUTORIALS/Tomato/32.jpg
Take the Pen Tool (P) and draw the next path. Then apply the Art brush to it. Change the color of the path and change the Stroke Weight, if necessary.
http://vectorboom.com/TUTORIALS/Tomato/33.jpg
Create another similar path.
http://vectorboom.com/TUTORIALS/Tomato/34.jpg
Step 14Then draw the following path.
http://vectorboom.com/TUTORIALS/Tomato/35.jpg
Step 15Select the first red path drawn one step earlier, and go to Object > Expand Appearance, then go to Object > Ungroup. And fill the path with the Linear gradient.
http://vectorboom.com/TUTORIALS/Tomato/36.jpg
Fill the other red paths with the Linear gradients.
http://vectorboom.com/TUTORIALS/Tomato/37.jpg
Step 16Select the wine red stem, take the Mesh Tool (U) and convert it to mesh. See the diagram below.
http://vectorboom.com/TUTORIALS/Tomato/38.jpg
Paint it with green hues.
http://vectorboom.com/TUTORIALS/Tomato/39.jpg
Add dark green colors to the stem.
http://vectorboom.com/TUTORIALS/Tomato/40.jpg
Step 17Place the tail over the tomato. Change the dimensions of the tail, if it is necessary.
http://vectorboom.com/TUTORIALS/Tomato/41.jpg
Make an Art brush which is shown in the diagram below.
http://vectorboom.com/TUTORIALS/Tomato/42.jpg
Then draw the next path in the top part of the tail using this Art brush and fill it with the Linear gradient.
http://vectorboom.com/TUTORIALS/Tomato/43.jpg
Illustrate the shown below elliptical path filled with the Linear gradient too.
http://vectorboom.com/TUTORIALS/Tomato/44.jpg
Step 18Let's illustrate shadow from the leaves. Draw the path filled with the following Linear gradient.
http://vectorboom.com/TUTORIALS/Tomato/45.jpg
Repeat this step for the other leaves of the tomato.
http://vectorboom.com/TUTORIALS/Tomato/46.jpg
Step 19Draw the next small path looking like a tangerine segment. Fill it with tangerine. Its size in across-track direction must be several pixels only.
http://vectorboom.com/TUTORIALS/Tomato/47.jpg
Then drag and drop it into the Brushes palette. Select the Scatter Brush option in the dialog box. Set the items for the brush as you can see them on the diagram below.
http://vectorboom.com/TUTORIALS/Tomato/48.jpg
Step 20Illustrate two paths shown below on the surface of the tomato.
http://vectorboom.com/TUTORIALS/Tomato/49.jpg
Apply just created Scatter brush to them.
http://vectorboom.com/TUTORIALS/Tomato/50.jpg
Step 21Produce the next scatter brush filled with dark olive green.
http://vectorboom.com/TUTORIALS/Tomato/51.jpg
Sketch the paths over the tomato tail.
http://vectorboom.com/TUTORIALS/Tomato/52.jpg
And apply the new scatter brush to them.
http://vectorboom.com/TUTORIALS/Tomato/53.jpg
Step 22Let's illustrate drops on the tomato. First, outline the next path under the tail on the red surface of the tomato.
http://vectorboom.com/TUTORIALS/Tomato/54.jpg
Repeat this.
http://vectorboom.com/TUTORIALS/Tomato/55.jpg
And now create the path filled with the Radial gradient.
http://vectorboom.com/TUTORIALS/Tomato/56.jpg
Sketch the following contour filled with the Radial gradient where the second color-stop (pointed by an arrow on the diagram) has the zero opacity.
http://vectorboom.com/TUTORIALS/Tomato/57.jpg
Repeat this action for another path.
http://vectorboom.com/TUTORIALS/Tomato/58.jpg
And repeat again.
http://vectorboom.com/TUTORIALS/Tomato/59.jpg
Step 23Illustrate as many drops as you want.
http://vectorboom.com/TUTORIALS/Tomato/60.jpg
ConclusionBon appetit!
You can download the source vector file for this tutorial (http://vectorboom.com/shop/26/desc/vector-tomato)
http://vectorboom.ucoz.com/_ld/0/89516257.png (http://vectorboom.com/shop/26/desc/vector-tomato)
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Final Image


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http://vectorboom.com/TUTORIALS/Tomato/0.jpg
If you're looking for fantasy photoshop tutorial (http://inspiredology.com/15-fantastic-fantasy-movie-fan-artworks/) or artworks, check this link to get more inspiration.For more design ideas, you may check out RipeConcepts portfolio. (http://ripeconcepts.com/portfolio/)Follow us if you want to be the first to know about the latest Adobe Illustrator tutorials and articles. Vectorboom (http://vectorboom.com/) team works for you!
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http://vectorboom.com/load/tutorials/illustration/how_to_illustrate_a_tomato_using_adobe_illustrator/5-1-0-72

covietforum
27-09-2017, 02:35 PM
How to Create Clothing Zipper in Adobe Illustrator – Part 1by Iaroslav Lazunov (https://astutegraphics.com/blog/author/iaroslav/) | Dec 16, 2013

https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/zipper.jpg







In this tutorial we will learn how to make accurate vector constructions using Arc start-end direction Tool (SubScribe plug-in (https://astutegraphics.com/software/subscribe/)), Dynamic Corners Tool (VectorScribe plug-in (https://astutegraphics.com/software/vectorscribe/)), Dynamic Shapes Tool (VectorScribe plug-in (https://astutegraphics.com/software/vectorscribe/)), Line tangent to two paths Tool (SubScribe plug-in (https://astutegraphics.com/software/subscribe/)), PathScribe Tool (VectorScribe plug-in (https://astutegraphics.com/software/vectorscribe/)), Snap to Collisions Tool and Rotate At Collision Tool (ColliderScribe plug-in (https://astutegraphics.com/software/colliderscribe/)). Such an arsenal of wonderful tools provides us with complete control and comfort while creating Clothing Zipper. Have fun learning our new Adobe illustrator tutorial!

Step 1Now proceed to the creation of the slider body. Create a path, which consists of two straight-line segments as it is shown below.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/01.png







Create a vertical guide that defines the position of the center of the slider body.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/02.png








Step 2Select the path, then take the Reflect Tool (O) and click on the guide while holding the Opt / Alt key. Select the Vertical Axis in the dialog box, then click on the Copy button.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/03.png







https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/04.png








Step 3Take Arc start-end direction Tool (SubScribe plug-in (https://astutegraphics.com/software/subscribe/)) and create an arc between the upper points of the paths.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/05.png







Connect the lower points of the paths using the Pen Tool (P).
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/06.png







Select all the created objects, take the Shape Builder Tool and click inside the slider body shape.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/07.png







This action leads to the connection of the paths at the points A and B.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/08.png








Step 4Round off the corners of the resulting shape with the help of the Dynamic Corners Tool (VectorScribe plug-in (https://astutegraphics.com/software/vectorscribe/)). To control the rounding radii open the tool panel (Window > VectorScribe > Dynamic Corners panel).
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/09.png








Step 5Using the Dynamic Shapes Tool (VectorScribe plug-in (https://astutegraphics.com/software/vectorscribe/)), create a Dynamic Donut. To open the tool panel go to Window > VectorScribe > Dynamic Shapes panel. Center of the object should be located on the vertical axis of the slider body.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/10.png







Now create another Dynamic Donut with new parameters.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/11.png







As you can see, compound paths can be easily created using the Dynamic Shapes Tool. In addition, you can control the parameters of any dynamic shape after its creation.

Step 6Duplicate both of the compound paths, then temporarily turn off their visibility in the Layers panel.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/12.png







Take the Line tangent to two paths Tool (SubScribe plug-in (https://astutegraphics.com/software/subscribe/)) and create two tangent lines to the compound paths.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/13.png







Select the compound paths and tangents that take the Shape Builder Tool, then we click between these objects.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/14.png







Now click on Unite in the Pathfinder panel.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/15.png







Turn on the visibility of the Dynamic Donuts.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/16.png








Step 7Create Dynamic Rectangle using the Dynamic Shapes Tool and set the radius of rounding of its corners in the Dynamic Shapes panel.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/17.png







Thus, we have created all the shapes of the Pull Tab.

Step 8Now proceed to the creation of the zipper teeth. Draw a sloping straight line segment, as it is shown in the following picture.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/18.png







Go to Object > Path > Add Anchor Points, which will lead to the creation of a new point in the middle of the segment.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/19.png







Further manipulations will be done using the PathScribe Tool (VectorScribe plug-in (https://astutegraphics.com/software/vectorscribe/)). Open the panel of this tool (Window > VectorScribe > PathScribe panel).

Step 9Convert all the points into smooth ones by pressing the Smooth point in the PathScribe panel.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/20.png







Rotate the handles of the extreme points, holding down Shift, so they took a vertical position and were located in the direction towards each other.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/21.png







Now rotate the handles of the center point counterclockwise.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/22.png








Step 10In order zipper teeth were connected without gaps and overlapping the left and right side of the s-shaped path must have the same curvature. We can easily solve this problem with the help of the PathScribe panel. Set the same length of handles at points A and C.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/23.png







https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/24.png







Handles at the point B should also have the same length.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/25.png








Step 11Select the entire path, take the Reflect Tool (O), holding Opt / Alt, click at point A. Select the Horizontal Axis, and then click Copy in the dialog box.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/26.png







Select the point A with the help of the Direct Selection Tool (A), then go to Object > Path > Join (Cmd / Ctrl + J).
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/27.png







Continue the path with help of the Pen Tool (P) in order to obtain the shape shown in the picture below.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/28.png








Step 12Select the shape of the tooth, then go to Object > Path > Offset Path … and set the offset value.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/29.png







Shift the points A and B of the upper shape to the right until it connects with the edge of the lower shape.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/30.png








Step 13Copy the upper shape and paste it in front (Cmd / Ctrl + C; Cmd / Ctrl + F). Recolor the new object.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/31.png







Duplicate the last shape again, then move the new object a few pixels down.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/32.png







Select both shapes of light gray color, then click on the Minus Front in the Pathfinder panel.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/33.png







Thus we got a highlight on the tooth.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/34.png







Group up all the elements of the tooth.

Step 14Create a mirror copy of the tooth with the help of the Reflect Tool (O). This tool allows us to accurately collide objects as if they had a physical shape. Collision markers tell us about such collision.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/35.png







Now connect the teeth with the help of the Snap to Collisions Tool (ColliderScribe plug-in (https://astutegraphics.com/software/colliderscribe/)).
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/36.png







We also see that due to manipulations in step 10, the teeth connect with no gaps or overlappings.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/37.png








Step 15Group up the teeth. Now move the new group straight down with Snap to Collisions Tool, hold down Shift + Opt / Alt that will lead to its duplication. You must move the group until it connects with Pre – Drag Position of the group.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/38.png







Here I would like to note that this option should be included into the Snap to Collisions Preferences dialog box that opens by pressing the Return / Enter key. Repeat the actions of this step a few times. Now we have a zipped up part of a zipper.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/39.png








Step 16Proceed to the creation an unzipped part of the zipper. Create a curved path with the help of the Pen Tool (P).
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/40.png







Let's create a Scatter brush, which will create zippers from a single tooth. The parameters of this brush are shown in the picture below.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/41.png







Apply the brush to the curvilinear segment.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/42.png







Unfortunately, the distribution of objects along a curve using the Scatter brush is not ideal. Some of the teeth of the zipper are not located at the right position, and you will not be able to fix this defect by playing with the parameters of the brush.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/43.png








Step 17Now let's distribute the teeth using the Rotate At Collision Tool (ColliderScribe plug-in (https://astutegraphics.com/software/colliderscribe/index.html)), which allows you to slide with the selected objects on the surface of another object, without losing a touch. Hold the Opt / Alt key while moving to duplicate.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/44.png







Now we have an ideal distribution.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/45.png








Step 18Group up all the teeth on the arc, create a mirror copy of the group by using the Reflect Tool (O) the same way as we have already done it multiple times in this tutorial.
https://astutegraphics.com/images/blog/tutorials/zipper_part1_11_dec_2013/46.png







The main vector objects are created. We will color them in the next part of this tutorial, that means we will give a final look to our artwork.
Click here for part 2…


(https://astutegraphics.com/blog/create-clothing-zipper-adobe-illustrator-part-2/)

How to Create Clothing Zipper in Adobe Illustrator – Part 2by Iaroslav Lazunov (https://astutegraphics.com/blog/author/iaroslav/) | Dec 18, 2013

[/URL]
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/final.png







Click here for part 1… (https://astutegraphics.com/blog/create-clothing-zipper-adobe-illustrator-part-2/)
In the second part of the tutorial we will color the vector objects of the Clothes Zipper using traditional techniques, and create a fabric texture with the help of Phantasm (https://astutegraphics.com/software/phantasm/). The Width Selector Tool (part of the great WidthScribe (https://astutegraphics.com/software/widthscribe/) plug-in) will help us create highlights. Find out more at the jump!


Step 1Let's start with creating the background. With coloring, I always move from the lower and larger objects to higher and smaller objects. This rule allows us to select a color scheme and set the direction of the light in the composition. So, create a rectangle with the help of the Rectangle Tool (M), then fill it with an elliptical gradient from white to gray.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/01.png







Copy and paste the rectangle in front (Cmd / Ctrl + C; Cmd / Ctrl + F). Fill the new object with a light gray color.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/02.png









Step 2Duplicate the object one more time. Fill the upper rectangle with a darker shade of gray.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/03.png







Create a texture with the help of the Phantasm. Keeping the last rectangle selected, go to Effect > Phantasm > Halftone…. In the open dialog box, set the parameters shown in the picture below.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/04.png







As you can see, we quickly created a fabric texture. (The effect can be subtle on some monitors)
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/05.png







In addition, the resulting effect is dynamic and you can always change its settings, getting a different texture. To do this, click on the name of the Effect in the Appearance panel.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/06.png









Step 3Create a new rectangle with a radial gradient fill from white to gray, then apply the Multiply blending mode to it. Thus, we have created lightening on the fabric
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/07.png









Step 4Using the Pen Tool (P) create a path, shape, and location of which is shown in the following picture.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/08.png







Select the path and three upper rectangles created in the previous steps, then go to Object > Clipping Mask > Make or use the Cmd / Ctrl + 7 shortcut.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/09.png









Step 5Drag the zipped-up part of the zipper into the Clipping Group, which was created in the previous step. This action must be done through the Layers panel. Part of the zipper that goes beyond the background has become invisible.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/10.png







Select the visible teeth of the zipped-down zipper with the Direct Selection Tool (A), then fill them with a vertical linear gradient, which consists of two shades of gray color.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/11.png









Step 6Create a rectangle and place it below the zipper teeth. Fill the rectangle with a horizontal linear gradient from white to dark gray color and then back to white color. Apply the Multiply blending mode to this object.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/12.png







After applying this blending mode, the white portions disappear leaving a shadow on the surface of the fabric.


Step 7The teeth of the unzipped zipper should also be filled with linear gradients to produce surface light-source shading.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/13.png







To create a shadow from the teeth of the unzipped zipper, I applied gradient mesh, the shape of which is shown below (teeth visibility is off for better clarity)
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/14.png







The points of gradient mesh (mesh points) are colored in white and dark gray.


Step 8Apply the Multiply blending mode to the gradient mesh.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/15.png







Drag the gradient mesh into a Clipping Group into the Layers panel to hide its unnecessary parts.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/16.png







The same shadow should be created on the other side of the zipper. It simply has to be duplicated using the Reflect Tool (O) of even quicker using MirrorMe (https://astutegraphics.com/software/mirrorme/) if installed!
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/17.png









Step 9Proceed to the coloring of the slider body. Shapes in this object are filled with gradients according to the direction of the light (downward). The picture below shows the stages of this work.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/18.png







https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/19.png







https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/20.png







https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/21.png







https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/22.png









Step 10Create a hem along the edge of one of the rings. Select the ring, then go to Object > Path > Offset Path… and set the offset value in the dialog box.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/23.png







Fill the resulting object with another linear gradient. Thus we got a highlight on the edge of the ring
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/24.png









Step 11Using this technique, create a hem on another objects.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/25.png







https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/26.png







https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/27.png









Step 12Proceed to the creation of highlights. Create an ellipse, then move its lower point with the help of the Direct Selection Tool (A). Fill the ellipse with a radial gradient.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/28.png







Create another ellipse that we cut off along the outline of the underlying shape using the Shape Builder Tool. Fill the resulting object with a radial gradient from white to black, then apply a Screen blending mode.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/29.png









Step 13Some highlights will have a curving out shape. Create a path as shown in the following picture.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/30.png







Apply the first width profile in the Stroke panel.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/31.png









Step 14We now have a variable width path. We will continue to work with this along with the help of the Width Selector Tool (Width Scribe plug-in (https://astutegraphics.com/software/widthscribe/)). Take the tool and press Return / Enter to open the Width Selector Preferences dialog box. Then ensure the option "Shift Stroke From Side to Side" is selected.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/33.png







Now select the central width marker with Width Selector Tool and using the Right Square Bracket key ( ] ) move the stroke inside the curved segment.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/34.png









Step 15Select the path, then go to Object > Path > Outline Stroke. Now fill the resulting object with a linear gradient that consists of several shades of gray color.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/35.png







Using this technique, create glare in other areas of slider body.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/36.png









Step 16And finally create the shadow of the slider body. Create two objects, the shape of which is shown in the picture below. The lower object is filled with a light gray color and has 0% opacity. The upper object is filled with a dark gray color and has 100% opacity. Select both objects, then go to Object > Blend > Make (the visibility of the overlying objects is turned off for clarity purposes).
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/37.png







https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/38.png







Now you can use the clothing zipper as a design element.
https://astutegraphics.com/images/blog/tutorials/zipper_part2_17_dec_2013/AG_logo.png









Download the artworkClick here (https://astutegraphics.com/downloads/tutorials/zipper_part2_17_dec_2013/clothing-zipper-aics5.zip) for Illustrator CS5 and above…


[url]https://astutegraphics.com/blog/create-clothing-zipper-adobe-illustrator-part-2/

covietforum
27-09-2017, 02:41 PM
Illustrator Tutorial: Draw a Sunglass Using Gradient Mesh
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/gradient-mesh-sunglass.jpg

This tutorial will show you how to draw a nice sunglass using gradient mesh in Adobe Illustrator. I have made it simple to follow so that you don’t need to be an expert to draw a sunglass like this. It can be done with a few tools and techniques. It is a very good tutorial on learning the complicated gradient mesh tool. Enough said, let’s find out how this is done.

Drawing the Vector Sunglasshttp://www.vectordiary.com/isd_tutorials/055-vector-sunglass/line_help.jpg
1. So we can start working with the sunglass now. Open Illustrator and make a new document. To make a new document, go to the file menu and select New or simply press Ctrl+N. From the new dialogue document box, give any name you like in the name input box. Choose 800 x 600 preset from the size drop down menu. Set the units in points and click on the Landscape orientation. You can select CMYK or RGB color mode for working.
Click ok to create a new document with the settings you given
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/glass_reference.jpg
2. To draw the sunglass proportionally, we can use a reference image as shown above. This image helps us to draw lines and fill it with colors for later working with meshes. Don’t worry about the picture size. Use it as your reference image. If you need a high quality image of the same reference, click here (http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/glass_high.jpg) to download it.
3. Once you have saved the above image, you can place it in Illustrator for drawing. So, to place this image, go to file menu and select Place and choose the image to place in your document. After placing the image for reference, you can easily resize it as you like. To resize the image, select the selection tool or press V. Then click on the image and use the corner points to resize it.
Tip: Also use Shift, Alt for while resizing for correct proportion and placing.
4. Start tracing over it with the pen tool. Select the pen tool from the toolbox or press P to select it. Click on the stroke color in the tool box. Or press X to cycle through fill color and stroke color. Once you clicked or selected the stroke color, click on the ‘none’ color button as shown in the above image. The next step is to set the fill color. So select a dark red color for it.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/color.jpg
5. You can now start drawing with the Pen tool. Click and drag the with the Pen tool for bezire corners to help you the draw the curves.
Tip: If you have trouble with drawing fills without seeing the correct lines in the reference image, click on the ‘none’ color button in the tool box while drawing or selected the fill. You can later fill the line with color.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/start_draw.jpg
6. Use the pen tool to draw the second lens of the sunglass.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/fill_second.jpg7. Start filling the frame with color.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_1.jpg
8. When you have completed
the above step, we can move on to another part of the sunglass. Follow what you had done in the previous steps and make a filled black layer as shown.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_2.jpg
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/fill_finished.jpg
10. While you are working with the Pen tool or anything in Illustrator, it is very helpful to see your work it outline mode for adjustments. To view your work with only lines as shown below, press Ctrl+Y. To return to the fill mode, you can again press Ctrl + Y.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_3.jpg
11.http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/mesh_tool.jpgThe Mesh tool helps you to work on your fills with gradient. To start with mesh tool, select the mesh tool from the tool box. Or you can use U for the Mesh tool.
Tip: Keep in mind the following shortcuts. it is very useful while working with the mesh tool.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/mesh_tool.jpgMesh tool: U
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/eye_tool.jpgEye dropper tool: I
Warning: Never select a color when you select any fill. If you do so, the entire fill will be changed. Select color to be applied after selecting mesh points or after deselecting any fills.
After you selected the Mesh tool, select a light red color wich matches in the above picture gradient. Then move the Mesh tool pointer on the end of fill of the left part sunglass and click once. It is clearly indicated in the below picture with a red circle. Do the same for the right part of the sunglass indicated with red circle.
If you have trouble or made a mistake, just use the direct selection tool to select the meshes part by part. When you selected a part of the mesh, you can press delete key in the keyboard to delete it.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_4.jpg
12. After you have completed it, deselect all layers by pressing Ctrl+Shft+A. We will countinue on creating the mesh for the black frame. Select a grey color and use the Mesh too and just make one or two click on the parts of the sunglass to get the effect as shown below. Don’t make many clicks. You can undo any mistakes you made by pressing Ctl+Z.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_5.jpg
It is not easy to manage the mesh points but it is easy to click on a specific place with clear view of color spreading.
Tip: If you having trouble with the reference image, just lock it. To lock the image, press Ctrl+2. You can unlock all by pressing Ctrl+Alt+2.
13. The next step is to add some gradient effect on the black frame of the sunglass. To add the gradient effect, select grey color from the color picker as fill color. With the mesh tool, you can add the effect. So, choosing the wrong place for your mesh points on the frame may not give you the correct effect. This how our frame looks like before adding the gradient effect is as follows.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/grade_1.jpg
14. The red circle indicates the position where you can use the Mesh Tool to apply the gradient effect. So with the Mesh tool with grey color selected from the color picker, click on the black frame of the sunglass indicated with red circle. You may get one of the effect as shown below by clicking with the Mesh tool.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/grade2.jpg
15. Now we want to add some shadow details to the frame. So use the Pen tool to draw a shape as shown in the below picture. After drawing the shape, fill it with black color. Place it as shown below.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/grade4.jpg
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/grade5.jpg
16. You can use the same technique to the bottom left part of the frame. You only need one click with the Mesh tool to make the effect as shown below. In the next step, you can add some reflections on the lenses of the sunglass.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_8.jpg
17. To do as shown below, with the Mesh tool selected, but no layers or fills selected (If selected, deselect all). In the above picture,
Step 1: Picture shows the current status of the lens fill.
Step 2: Use Mesh tool. Select white color from the color picker and apply it as shown in the picture.
Step 3: Use Mesh tool. Select white color from the color picker and apply it as shown in the picture.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/grade_6.jpg
18. This is a sample gradient mesh used in this tutorial for making the sunglass. See a sample work made with this technique within few minutes.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/sample_ball.jpg
19. Now to modify the effect, select white color and click once in the top of the lens layer fill. To make the realistic effect which shows many lights reflection, add one more click on the layer.
Tip: You can also set the color of the mesh parts color by selecting points of meshes with the Mesh tool.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/grade_7.jpg
20. See how it works on the glass and its frame.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_9.jpg
21. The next step is to add some transparent effect of the sunglass. Actually you don’t need to make any transparent layer. But to create the transparency effect, we can add a dark color to the sunglass as shown above. Which plays the role of the back parts of the entire sunglass. Adding some reflective touches will be more attractive. So, use the Mesh tool to add some gradient effect.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_10.jpg
22. The below picture will show you how to add highlights to make it more realistic. It is quite simple. These highlights are newly created with the Pen tool. So, use the Pen tool to draw these addition layers on top of your sunglass. After drawing the new reflection layers as shown in the picture, fill it with white color and go to Window menu and select Transparency palette to enable it. Use the sliding bar to reduce the transparency.
See the sample below that shows the making of a window’s highlight on the ball. Here, the window is a new layer made with Pen tool and placed on the ball with low transparency.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/sample_ball2.jpg
23. The same technique is used in our work as shown below.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_11.jpg
24. Our sunglass is almost done. Add some more highlights and details to complete it.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_12.jpg
Drawing the Background25. Select Rectangle tool. Use M as shortcut. Draw a rectangle. Click and drag with the Rectangle tool.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_13.jpg
26. We will use the Mesh tool to create a nice gradient mesh. Select white color and click on the rectangle filled layer as shown below.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_14.jpg
27. Add a few more gradient points as shown.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_15.jpg
28. Add more effects to make the sunglass more attractive. You can add shadows with the same technique. This is what I have done.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/draw_16.jpg
29. We made it! Here is the final illustration of our vector sunglasses done in Illustrator.
http://www.vectordiary.com/isd_tutorials/055-vector-sunglass/final_effect.jpg

To download the source file for this tutorial, you will need to login as a member.
Sign up today (http://www.vectordiary.com/membership) to access all exclusive members content!


http://www.vectordiary.com/illustrator/draw-a-sunglass-using-gradient-mesh-tutorial/

covietforum
27-09-2017, 02:42 PM
Illustrator Tutorial: Create a Coffee Cup
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/coffee.jpg

In this tutorial, I’ll show you how to create a cup of coffee using Adobe Illustrator CS6. We’ll use different shape tools, the gradient tool and some basic effects to achieve the final result. Hopefully, you will learn few handy tips along the way. Let’s get started!

Open a New Document1. Launch Illustrator and then press (Ctrl + N) to create a New document. Select Pixels from the Units drop-down menu, enter 750 in the width box and 670 in the height box then click on the Advanced button. Select RGB, Screen (72ppi) and make sure that the Align New Objects to Pixel Grid box is unchecked before you click OK.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/1.jpg
Create the White Cappuccino Cup2. Pick the Ellipse Tool (L) and create a 362 by 362px ellipse. Make sure that this ellipse is still selected and go to the Object > Path > Offset Path… Enter a -25px Offset and click OK. Before you continue, select two newly created ellipses and make a copy (Ctrl +C, Ctrl +F) of them, then press (Ctrl +3) to hide the copies. Now select the two original ellipses, then open the Pathfinder palette (Window > Pathfinder) and click on the Minus Front button. Keep the resulting object selected, remove its stroke and then fill it with the linear gradient as shown in the last image.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/2.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/3.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/4.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/5.jpg
3. Select the shape created in the step 2 and go to the Object > Path > Offset Path. Enter a -8px Offset and click OK, then replace the existing color of the newly created shape with R=228, G=222, B=218. Still having the resulting shape selected and go to the Effect > Blur > Gaussian Blur. Enter a 5px Radius and then click OK.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/6.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/7.jpg
4. With the Pen Tool (P) create two curved paths like you see in the first image below. Once your paths are drawn, select the upper path and replace the existing stroke color with R=188, G=190, B=192, then change the stroke weight to 4px. Next apply the Width Profile 2 and 4px Gaussian Blur effect for this resulting path. Continue with the remaining path, replace the existing stroke color of it with R=255, G=255, B=255, then change the stroke weight to 5px. Finally apply the Width Profile 2 and 3px Gaussian Blur effect for this resulting path.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/8.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/9.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/10.jpg
5. Select the two curved paths created in the step 4 and the shape with blur effect applied in this step 3, then group (Ctrl +G) them. Now select the shape created in the step 2, duplicate (Ctrl +C, Ctrl +F) it once and then bring the copy to front (Ctrl +Shift +Right Square Bracket). Keep this copy selected, hold down the Shift and click on the new group created in this step, then go to the Object > Clipping Mask > Make (Ctrl +7). In the end your illustration should look like the second image shown.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/11.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/12.jpg
6. Before you continue, press (Ctrl +Alt +3) to show the two red ellipses hidden in the step 2. Select the bigger ellipse and remove its stroke, then fill it with R=255, G=255, B=255. Next select the remaining red ellipse and remove its stroke, then fill it with the radial gradient as shown in the second image. Make sure that the resulting ellipse is still selected and make a copy (Ctrl +C, Ctrl +F) of it. Keep the copy selected and go to the Effect > Distort > Diffuse Glow. Follow the data like you see in the last image and then click OK.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/13.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/14.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/15.jpg
7. Select the ellipse shape with Diffuse Glow effect applied in the step 6 and make a copy (Ctrl +C, Ctrl +F) of it. Make sure this copy is still selected, open the Appearance palette (Window > Appearance) and remove the Diffuse Glow section. Keep the resulting ellipse selected, remove the fill color and add a 10px stroke (R=112, G=66, B=44) for it. Make a copy (Ctrl +C, Ctrl+F) of the newly created ellipse and then hide this copy. Next reselect the original ellipse and apply a 3px Gaussian Blur effect for it, then move the resulting ellipse 2px up.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/16.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/17.jpg
8. Before you continue, press (Ctrl +Alt +3) to show the ellipse hidden in the step 7. Replace the existing stroke color of this ellipse with yellow and change the stroke weight to 2px. Make sure that the yellow ellipse is still selected and go to the Object > Transform > Scale. Check the Uniform, enter a 91% in the Scale box, then click OK. Focus on the third image, pick the Add Anchor Point Tool (+) and click on two points highlighted with blue of the yellow ellipse. Now pick the Direct Selection Tool (A) along with the Shift, select the two anchor points you just added in this step and the two anchor points highlighted with red, then click on the “Cut path at selected anchor points” button from the Properties bar. This make the yellow ellipse becomes four curved paths. Select the two paths as shown in the fourth image and remove them.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/18.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/19.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/20.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/21.jpg
9. Likewise, repeat the same process as the previous steps to draw more curved paths.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/22.jpg
10. Select the blue path, replace the existing stroke color with R=249, G=245, B=242 and change the stroke weight of it to 4px, then reduce its Opacity to 70%. Next apply the Width Profile 1 and a 5px Gaussian Blur effect for the resulting path. Continue with the green path, replace the existing stroke color with R=198, G=138, B=98 and change the stroke weight of it to 5px. Finally apply the Width Profile 1 and a 1px Gaussian Blur effect for the resulting path.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/23.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/24.jpg
11. Likewise, follow the sequence of images and repeat the same process as the previous steps for the remaining curved paths.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/25.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/26.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/27.jpg
12. At this point your illustration should look like in the next image:
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/28.jpg
13. Pick the Pen Tool (P) and create an object with heart shape as shown below. Once your object is drawn, remove its stroke and fill this object with R=255, G=250, B=238. Next apply a 10px Feather effect for the resulting shape and reduce the Opaticy to 70%.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/29.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/30.jpg
14. Select the heart shape created in the step 13 and make a copy (Ctrl +C, Ctrl +F) of it. Make sure this copy is still selected, open the Appearance palette (Window > Appearance) and remove the Feather section, then increase the Opacity to 100%. Keep the resulting shape selected, remove the fill color and add a blue stroke for it. Next reduce the size of the blue object like you see in the second image. Make a copy (Ctrl +C, Ctrl +F) of the blue object and then reduce the size of the copy like you see in the third image. Now select the two blue objects, change the stroke weight of them to 8px and replace the existing stroke color with R=217, G=171, B=125. Then apply the Width Profile 2 and a 4px Feather effect for the resulting objects. Finally select the smaller object created in this step and change the stroke weight of it to 6px.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/31.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/32.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/33.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/34.jpg
15. You should end up with something like this.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/35.jpg
16. Pick the Ellipse Tool (L) and create a 14 by 14px ellipse. Keep this ellipse selected and go to the Object > Transform > Scale. Check the Uniform and enter a 82% in the Scale box, then click Copy. Fill the bigger ellipse with R=241, G=205, B=178 and remove its stroke. Next apply a 1px Gaussian Blur effect for the resulting ellipse then set it to Blending Mode Soft Light. Fill the remaining black ellipse with the radial gradient as shown in the fourth image and remove its stroke, then apply a 2px Feather effect for the resulting ellipse. Finally select and group (Ctrl +G) two ellipses created in this step and then reduce the Opacity of this group to 80%.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/36.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/37.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/38.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/39.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/40.jpg
17. Make some copies of the group created in the step 16. Next change the size of these copies and then place them to the positions like you see in the image below.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/41.jpg
18. Next come the cup handle. Pick the Rounded Rectangle Tool, simply click on your artboard and enter the data as shown below, then click OK. Fill the newly created rectangle with the linear gradient like you see in the second image and then remove its stroke. Next send the resulting rectangle to back (Ctrl +Shift +Left Square Bracket).
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/42.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/43.jpg
19. We are going to start making highlights and shadows on the handle to give it more of a 3D look. First, pick the Pen Tool (P) and create two paths as shown below. Once your paths are drawn, select the blue path, replace the existing stroke color with R=255, G=255, B=255 and change the stroke weight to 4px. Next apply the Width Profile 1 and a 1px Gaussian Blur effect for the resulting path then set it to Blending Mode Soft Light. Continue with the remaining path, replace the existing stroke color of this path with R=255, G=255, B=255 and change the stroke weight to 4px. Next apply the Width Profile 1 and a 2px Feather effect for the resulting path then set it to Blending Mode Soft Light.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/44.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/45.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/46.jpg
20. With the Selection Tool (V), select the white ellipse created in the step 6 and make a copy (Ctrl +C, Ctrl +F) of it, then press (Ctrl +X) to cut the copy. Make sure that the Selection Tool (V) is still active, click on the shape created in the step 18 and press (Ctrl +F) to paste the ellipse was cut in this step. Still having the newly created ellipse selected, go to the Effect > Stylize > Drop Shadow. Follow the data as shown in the first image and click OK. Now select the shape created in the step 18 and make a copy of it, then bring the copy to front of the ellipse with Shadow effect applied in this step. Keep this copy selected, hold down the Shift and click on the ellipse with Shadow effect appllied in this step, then go to the Object > Clipping Mask > Make (Ctrl +7). At this point the cup is ready and looks like the last image below.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/47.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/48.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/49.jpg
Create the White Plate21. Pick the Ellipse Tool (L) and create a 476 by 476px ellipse. Fill this ellipse with the linear gradient as shown in the second image and then remove its stroke. Make sure that the ellipse is still selected and go to the Object > Path > Offset Path. Enter a -11px Offset and click OK, then replace the existing color of the copy with new linear gradient as shown in the third image. Make a copy (Ctrl +C, Ctrl +F) of the newly created ellipse, then remove the fill color of the copy and add a 2px stroke (apply the linear gradient within stroke).
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/50.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/51.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/52.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/53.jpg
22. Select three objects created in the step 21 and send them to back (Ctrl +Shift +Left Square Bracket), then place these objects to the positions as shown below.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/54.jpg
Add the Shadows23. To give a more realistic look I’m going to add some shadows on some key places. First, select the shape created in the step 18 and go to the Effect > Stylize > Drop Shadow. Follow the data as shown below and then click OK.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/55.jpg
24. Select the biggest ellipse created in the step 21, make a copy (Ctrl +C, Ctrl +F) of it, then bring the copy to front (Ctrl +Shift +Right Square Bracket) and move it 27px down. Keep the newly created ellipse selected and go to the Object > Transform > Scale. Check the Uniform, enter a 92% in the Scale box and click OK, then replace the existing color of the resulting ellipse with R=35, G=31, B=32. Finally apply a 15px Gaussian Blur effect for this black ellipse and then send it to back (Ctrl +Shift +Left Square Bracket).
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/56.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/57.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/58.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/59.jpg
25. Select the white ellipse created in the step 6, make a copy (Ctrl +C, Ctrl +F) of it, then bring the copy to front and move it 30px down. Keep the newly created ellipse selected and go to the Object > Transform > Scale. Check the Uniform, enter a 92% in the Scale box and click OK, then replace the existing color of the resulting ellipse with R=35, G=31, B=32. Finally apply a 20px Gaussian Blur effect for this black ellipse and then hide it behind all objects of the cup. In the end your illustration should look like the last image shown.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/60.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/61.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/62.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/63.jpg
Create the Coffee Spoon26. It’s time to draw the spoon. Pick the Ellipse Tool (L) and create a 81 by 118px ellipse. With the help of the Direct Selection Tool (A), select two anchor points highlighted with blue and move them 2px up. Make sure that the Direct Selection Tool (A) is still active, adjust the handles of the anchor points like you see in the third image.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/64.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/65.jpg
27. After you are done adjusting the shape of the red object apply a nice linear gradient as it is shown below, then remove the stroke of the resulting shape. Keep this shape selected and go to the Object > Path > Offset Path. Enter a -3px Offset and click OK, then replace the existing color of the newly created shape with the radial gradient as shown in the second image.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/66.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/67.jpg
28. Pick the Pencil Tool (N) and create two objects like you see in the first image below. Once your objects are drawn, select the blue object and fill it with R=111, G=111, B=107, then remove its stroke. Next select the remaining object, fill it with R=214, G=213, B=212 and remove its stroke. Reselect the two shapes created in this step and apply a 8px Gaussian Blur effect for them. Now select the smaller shape created in the step 27 and make a copy (Ctrl +C, Ctrl +F) of it, then bring the copy to front (Ctrl +Shift +Right Square Bracket). Having the newly created shape selected, hold down the Shift and click on the two shapes with blur effect applied in this step, then go to the Object > Clipping Mask > Make (Ctrl +7). Finally select and group (Ctrl + G) all objects created from beginning step 26 to this time.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/68.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/69.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/70.jpg
29. Pick the Rectangle Tool (M) and create a 50 by 293px rectangle, then place it to the position as shown in the first image. With the Add Anchor Point Tool (+), click on the two points highlighted with blue. Select the right anchor point you just added and move it 17px to the left. Next select the remaining anchor point and move it 17px to the right. Now with the help of the Convert Anchor Point Tool (Shift +C), click on the left anchor point just moved, hold mouse and drag it up. Do the same with the right anchor point just moved but drag it down. You should end up with something like the fourth image below. Next with the Add Anchor Point Tool (+), click on the center of the bottom border of the red object to add a new point, then move this newly added anchor point 30px down. With the help of the Convert Anchor Point Tool (Shift +C), click on the anchor point just moved, hold mouse and drag it to the left. In the end your red object should look like the last image shown.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/71.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/72.jpg
30. After you are done adjusting the shape of the red object apply a linear gradient as it is shown below, then remove the stroke of the resulting shape. Keep this shape selected and go to the Object > Path > Offset Path. Enter a -3px Offset and click OK, then replace the existing color of the newly created shape with new gradient as shown in the second image.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/73.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/74.jpg
31. Pick the Pen Tool (P) and create a red object like you see in the first image. Once your object is drawn, select the smaller shape created in the step 30 and make a copy (Ctrl +C, Ctrl +F) of it. Keep this copy selected, hold down the Shift and click on the red object created in this step. Then open the Pathfinder palette (Window > Pathfinder) and click on the Intersect button. Fill the resulting object with R=255, G=255, B=255 and remove its stroke, then apply a 4px Gaussian Blur effect for the resulting shape. Now select the smaller shape created in the step 30 again and make a copy of it, then bring the copy to front (Ctrl +Shift +Right Square Bracket). Still having this copy selected, hold down the Shift and click on the shape with blur effect applied in this step, then go to the Object > Clipping Mask > Make (Ctrl +7).
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/75.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/76.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/77.jpg
32. Select all objects created from beginning step 29 to this time and send them to back (Ctrl +Shift +Left Square Bracket). Now select and group (Ctrl +G) all objects of the spoon, then rotate this group an angle of about 17 degrees. Finally place it to the position as shown in the last image and then hide this group behind the cup.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/78.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/79.jpg
33. To give a more realistic look I’m going to add the shadow for the spoon. With the help of the Pen Tool (P) create a red object as shown below. Once your object is drawn, fill it with R=35, G=31, B=32 and then remove its stroke. Next apply a 5px Gaussian Blur effect for the resulting shape and reduce the Opacity to 55%, then hide it behind the spoon.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/80.jpg
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/81.jpg
34. The illustration is ready and looks like this.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/82.jpg
Create the Background35. Let’s make the final step. Pick the Rectangle Tool (M) and create a 750 by 670 px rectangle of light pink color. The last thing to do is place the coffee cup into this background.
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/83.jpg
And We’re Done!
http://www.vectordiary.com/isd_tutorials/105-coffee-cup/84.jpg

[private_basic]


http://www.vectordiary.com/illustrator/create-a-coffee-cup-tutorial/

covietforum
27-09-2017, 02:46 PM
Create a Cute Deer Illustration in Adobe Illustrator
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/final_image/deer.jpg


In this tutorial we're going to take a cute character from starting sketch to finished product using Adobe Illustrator. We'll be focusing on how to achieve an efficient workflow and how to use the Eraser Tool in a creative way, as well as creating unique brushes and giving our finished design a handmade, distressed effect.

Before we get started, you're going to need to download the sketch (http://ge.tt/3VysO0F2/v/0?c) that we're going to be tracing for this tutorial, unless you want to work on your own. You can also download the color swatch (http://ge.tt/7hwOx3F2/v/0?c) I've used for the illustration.

1. Tracing the SketchStep 1After opening a new file in Illustrator, let's set up our sketch for tracing. Go to File > Place, or simply drag and drop the file onto the Artboard, in order to import the sketch into Illustrator.
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2022-00-51.PNG
Since the file is pretty large, feel free to resize it to fit into your Artboard. Don't worry about distorting the image as you're resizing, as we are only going to be using it for tracing purposes.
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2022-02-42.PNG

Next we're going to set the Opacity of the sketch down to 50% from the top toolbar, so that we'll be able to clearly see the shapes we're going to be tracing on top.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2022-15-21.PNG</figure>Now let's lock the layer containing the sketch from the Layers panel, which you can find in the top menu under Window > Layers, so that we won't have to worry about accidentally moving the sketch.
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2022-19-40.PNG

Now that we have the sketch imported and prepared for tracing, we can move on to the tracing step.

Step 2Create a new layer above the sketch, and if you want to be thorough don't forget to name your layers.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2022-23-45.PNG
</figure>At first we're not going to be focusing on the colors too much—we're going to be tracing the deer using the Pen Tool and a bright orange 2 pt Stroke. Start with the head, and focus on tracing the shapes while thinking about how they are layered. For example, the ear that is facing us will be connected to the bulk of the head, while the ear in the back will be a separate shape since it's in a different plane from the rest of the head.
Don't worry about overlaps in this step. Adjust the stroke until you are pleased with the shapes, and only trace the large shapes—don't go into the details just yet.

https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2022-48-24.PNG
Proceed with the rest of the deer, tracing the large shapes and taking into account the layering on the legs.

https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2022-56-47.PNG
Step 3Now that we're done with the body, it's time to add antlers to our little deer. So that we won't have to worry about keeping the thickness constant, we're going to use larger strokes that we're going to expand. Select a stroke width of 8 pt and Rounded Cap as well as Rounded Corners, and trace the antlers from the sketch.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-04-53.PNG</figure>Now we're going to adjust the thickness towards the ends of the antlers so that they taper off a bit. Select the Width Tool from the left hand toolbar. Double-click on the anchor point at the end of the antler and you'll see a window with the width option. Use a Total Width of 4.5 pt.
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-14-10.PNG
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-15-18.PNG

Do the same for the other end anchor points along the antlers. The end result should look like this:

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-17-05.PNG</figure>Repeat the process for the antler on the other side of the head. Then select both antlers and go to Object > Expand Appearance and turn them from strokes into shapes.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-20-34.PNG</figure>After expanding the strokes, you'll notice that each one has become a separate shape, so use the Pathfinder panel (Window > Pathfinder) to Unite the shapes into a single one.
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen-Shot-Ioana-04-22-15-23-26-01.png2. Adding ColorsStep 1Now it's time to add color to our deer. Start selecting the outlined shapes that we've traced, and invert the fill and stroke.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen-Shot-Ioana-04-22-15-23-27-37.png
</figure>Step 2Load the swatch that has been provided (if you don't want to use your own color scheme) by clicking on the Swatch Libraries Menu in the Swatches panel and clicking on Other Library, and then browsing to the downloaded swatch file.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-36-15.PNG</figure>Step 3Start adding fills to the outlined shapes from our color palette after inverting the stroke and fill for each shape.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen-Shot-Ioana-04-22-15-23-28-11.PNG</figure>Keep the layering of the objects in mind and arrange the shapes in order. Send shapes backward by right-clicking and selecting options from the Arrange context menu.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-38-32.PNG</figure>The end result should be something like this:

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen-Shot-Ioana-04-22-15-23-43-23.png</figure>3. Adding DetailsStep 1We're going to create an Art Brush with a handmade, distressed feel to it. First create a tapered shape like the one below using the Pen Tool, approximately 320 pt in length.

https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-49-52.PNG

Then go to Effects > Distort & Transform > Roughen to make this shape a bit more jittery with these settings:


Size: 0.3%
Detail: 10/inch
Points: Smooth
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-51-02.PNG</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-53-32.PNG</figure>Go to Object > Expand Appearance to expand this effect on the shape. With the shape selected, click New Brush in the Brushes panel, and select the Art Brush option.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-56-34.PNG</figure>https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-22-15%2023-58-03.PNG

Set the Width to 25% and the Colorization Method to Tints.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2000-01-13.PNG</figure>Now that we have our detail brush ready, it's time to add some details to our deer.
Step 2Now with the Paintbrush Tool selected and stroke colors from our swatch, add the eyes, mouth, and details on the fur. Adjust the stroke width if you feel that it might be too heavy or too thin in places. You may also turn off the sketch layer to get a better picture of the finished product.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2000-10-15.PNG</figure>Add as much as you like, but for me the result ended up looking like this:

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2000-18-47.PNG</figure>4. Adding ShadowsStep 1Now we want to add some shadows to our deer to give it a more layered, 3D look. So select the body shape and Copy/Paste to Front by hitting Control-C and then Control-F on your keyboard. With this front shape selected, use the Eyedropper Tool (I) to sample the darker brown color from the legs in the back, and then set the opacity of this shape down to 40%.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2000-28-54.PNG</figure>Step 2Now select the Eraser Tool (E), press Enter to bring up the options panel, and make it a 3 pt brush.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2000-31-12.PNG</figure>Then start ”cutting” out the shaded part from this large shape. The argument for this technique is that it is a quick way of creating a perfect match for the outer contours of the main shape while maintaining the flexibility of drawing the interior edges yourself. Keep the shape you want to cut out from selected, so that you only erase from that shape.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Untitled.gif
</figure>Step 3After cutting out the shape, use the Direct Select Tool (A) to delete the extra parts and adjust the anchor points to your liking.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2000-43-38.PNG</figure>Step 4Repeat this process for the head and fur on the neck.
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2000-45-32.PNG
Step 5For the antlers, repeat the Copy/Paste to Front procedure, selecting a darker beige for this new shape and moving it to the left of the original. Then ungroup them so that we can use the Pathfinder to intersect them.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2000-47-36.PNG</figure><figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2000-51-11.PNG</figure>Select the original antler shapes again and Copy/Paste to Front again. Then select each light antler and the dark overlay and, using the Pathfinder, select the Intersect operation. The fact that we copied the underlying shape means that we keep the original background for the shadow part.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2000-55-32.PNG</figure>Now use the Eraser Tool (E) again to erase the parts from the center stroke of the antler and create a nice rounded shape. Adjust the anchor points with the Direct Selection Tool (A) if needed.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2000-50-12.PNG</figure>Now repeat the process for the other antler, and don't forget to Copy/Paste to Front the original shape before using the Intersect operation.

After adding a few more strokes for details with the custom brush we made, the finished deer looks like this:
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2001-04-27.PNG
Step 6The finishing touch for our deer will be another Roughen Effect, with the initial large shapes that we traced selected, and using the following settings:


Size: 0.15%
Detail: 40/in
Points: Smooth
Without deselecting after hitting OK, go to Object > Expand Appearance to apply the effect to the shapes. This creates a nice distressed effect similar to how edges bleed when screen printing.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2001-08-57.PNG

</figure>5. Adding the BackgroundStep 1Let's turn our sketch back on so that we can see the background we have to vectorize, and create a new layer in between the Deer layer and Sketch layer in which we'll place our forest background.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2019-27-58.PNG</figure>Start off by adding some orange ellipses as base shapes for our trees in the background. Use the Ellipse Tool located in the left-hand toolbar and the lighter orange color from the provided swatch file.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2019-31-28.PNG</figure>Now let's add a contrasting background to bring out both the deer and the forest. Select the Draw Behindoption beneath the Fill/Stroke swatches.
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2019-33-23.PNG

Step 2Now add a large ellipse with the dark navy color from the swatch in the center of the composition. Notice how the ellipse will appear behind everything we've drawn so far.
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2019-42-11.PNG

Select the light green color for the stroke and select the Draw Normal option beneath. Add another flattened ellipse as a base for the entire illustration.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2019-46-32.PNG</figure>Step 3It's time to add the tree trunks. Select a light beige color for the stroke and with an 8 pt Rounded Cap & Corner stroke, add the main parts of the tree trunks to the illustration.

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2019-49-59.PNG</figure>Add some thinner strokes with 6 pt thickness to add some visual variety to the tree branches.

https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2019-52-30.PNG
Now select the Width Tool (Shift-W), double-click on the anchor points at the base of the tree trunks, and give them all a 13 pt total width.

https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2019-55-10.PNG
Then select all the tree trunks and branches and go to Object > Expand Appearance. That will expand the trunks but not the branches, so go to Object > Expand afterwards and that should transform the branches to shapes as well.

https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2019-57-55.PNG

<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2019-59-22.PNG</figure>Step 4Now select all the orange ellipses and go to Effects > Distort & Transform > Roughen and use the following settings:

Size: 1%
Detail: 31/in
Points: Corner
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2020-03-47.PNG</figure>Then go to Object > Expand Appearance to apply the effect to the shapes.

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Step 5Now it's time to add some details to these trees, like leaves and some details on the trunks. Create a leaf with the Pen Tool then Copy & Paste it along the treeline that we've created, resizing it to smaller and larger sizes and using the darker orange and dark green color from the palette provided.

https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2020-06-50.PNG
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2020-11-36.PNG

This will create a nice, irregular leaf pattern reminiscent of actual foliage. Now select the Art Brush that we created earlier for detailing the deer, and start adding dark beige strokes to the tree trunks.
https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2020-15-33.PNG

Use the dark green color for some more brush strokes to emulate blades of grass on the ground, and you're done!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2020-17-17.PNG</figure>Congrats! Our Cute Deer Illustration Is Finished!We've successfully created a cute deer illustration ready to be used in any way you see fit, such as for print, web, t-shirts or other apparel. We've learned about using the Eraser Tool in a creative way, creating distressed brushes using the Width Tool to quickly create expressive strokes, and working efficiently with all these tools at our disposal. All these techniques can easily be applied to many styles of illustration or design, so feel free to adapt them to your own workflow!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/854/posts/23749/image/Screen%20Shot%20Ioana%2004-23-15%2020-18-39.PNG


https://design.tutsplus.com/tutorials/create-a-cute-deer-illustration-in-adobe-illustrator--cms-23749</figure>

covietforum
27-09-2017, 02:47 PM
Adobe Illustrator Tutorial: How to Draw Characters

In this tutorial, you can follow the step by step process of creating a female character. We’ll guide you through everything from rough sketch to finished vector illustration. You can find out, which are the important things when creating a memorable and an easy to recognize character.
Difficulty: Intermediate
Tools: Adobe Illustrator CS6, Wacom graphic tablet, and creativity
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-1.jpg
Step 1:I’m starting with a fast sketch of construction lines, trying to define the position and the proportions of the character. You can try more than one until you’re satisfied with the result. On this stage, you should only add the axes, which show the movement of the body and the general forms. I’m going to use rounded shapes with sharp and thin ends. Using similar forms is what makes the character memorable and customized.
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-2.jpg
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-3.jpg
Step 2:It’s time to put in some details. The hair blown by the wind adds a dynamic feel to the composition. The purpose of the sketch is to make the process of digitalizing easier, so do not put in too many details.
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-4.jpg
Step 3:Create a new document in Illustrator CS6. I’ll use a canvas with an A4 size, CMYK Color Mode, and 72 dpi Raster Effects.
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-5.jpg
Step 4:Import the picture in Illustrator CS6. Make a new layer and move the sketch on it. Reduce the opacity of the sketch layer to 20-30%. Lock the layer so you won’t be able to select or move it by mistake.
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-6.jpg
Step 5:Now you are ready to start vectorizing. You can draw the main shapes with the pen tool or with a brush if you feel more comfortable.
I’ll use a calligraphic brush with size 3 and pressure 3. The screenshots below will help you create a new customized brush.
In case you don’t see the brush panel, you can find it in Window-> Brushes.
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-7.jpg
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-8.jpg


It’s easier to draw fluid lines without edges, using a brush. The disadvantage is that you sometimes get too many anchor points, which you can easily remove with the smooth tool.
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-9.jpg
I’m trying to draw continuous lines because later I will unite them to create closed shapes. If you are working with the pen tool, you should make sure all the paths are closed. It’s important to curve the lines where necessary, so you end up with beautiful, smooth lines when you fill the shape.
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-10.jpg
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-11.jpgStep 6:Once I made the general shapes and forms, I start filling them in with colors. I’m using a darker nuance for the distanced objects and a lighter nuance for closer ones, such as the example below.
You can try a variety of color combinations if you aren’t satisfied with the first choice. I’m going to use pastel nuances, to create a uniform range of colors.http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-12.jpg
Step 7:Adding lights and shadows gives the character some volume, so it’s an important stage of the process. I’m going to use a warm yellow nuance for the light and a variety of purple colors for the shadows.
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-14.jpg

A fast method to add lights and shadows is by copying the shape in front, changing it’s color tone and simply deleting the portion you don’t need with the eraser tool.
Step 8:To make it playful and more attractive, I’m going to draw some more details, like a belt, a cute dotted-heart pattern on the top, and a seam on her pants. To make it even more dynamic, I drew some random locks of hair.
So this is how the character looks.
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-15.jpg

To highlight the movement of the hair and to give a stronger sensation of windy weather, I decided to put some leaves around the character. Do you observe how the green circle used as background makes the colors even brighter? The shadow below her feet positions the character in space.
http://www.pixel77.com/wp-content/uploads/2015/05/Adobe-Illustrator-Tutorial-How-to-Draw-Characters-1.jpg
What do you think about the tutorial? Tell us in the comment section below how it helped you draw your characters.


https://pixel77.com/adobe-illustrator-tutorial-characters/

covietforum
27-09-2017, 02:48 PM
Adobe Illustrator Tutorial: How to Draw a Character, From Concept to Final Design
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-1.jpg


When drawing an illustration, the concept is the most important thing to begin with. In this tutorial, we will learn how to create a funny, cartoon character, using basic shapes and how to transform it in a vector. I definitely think that everyone can improve his/her drawing skills. You should just keep practicing, work a lot and stay motivated. You’ll get there!
Let’s begin!
Step 1We’re starting with the idea of a concept for our character/illustration. It’s crucial to define it very well before we start vectorizing. The sunny and hot weather makes me think about summer side, long days and a lot of free time. So I decided to draw this cute, little girl, ready for snorkeling.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-2.jpg
That’s just the first, rough sketch. Try to draw it really fast, think only about the composition and content, and less about details. Keep the cleans clean and the roughs rough.
Let’s try other shapes, mainly for the head. Observe how much the character changes, once we make the head a little bit longer or rounder.
In the example below we can see sketches in different stages. It’s nice to have a choice, so you can try to redraw the character as many times as you want. Don’t be afraid to waste some paper sheets!
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-3.jpg
For the body, I’m using geometric shapes, as a triangle, a rectangle or a circle. This method of construction makes the character more memorable and perceivable because the human eye becomes familiarized with those shapes. Check out the example below.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-4.jpg
We have four characters to choose from. But it’s not necessary to use only one, you can combine details from all of them. I like most the first one, but I’m going to use the hairstyle from the second one. I think that it looks good and suggests better the shape of the head.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-5.jpg
Step 2Create a new file in Illustrator by CTRL+N or File->New.
We will use a square canvas, it’s the most appropriate proportion for a circle illustration. You can use the presets from below.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-6.jpg
Now just drag and drop the sketch in Illustrator. You can resize it if it’s too small or too big.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-7.jpg
Since we are using only the first character, we should put it in the middle of the canvas. Reduce the opacity to 30%.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-8.jpg
Lock the layer so you won’t be able to move or select the sketch by mistake.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-9.jpg
Create a new layer by clicking on the white blank page from the layer menu.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-10.jpg
Move the sketch layer on the top, by clicking on it and dragging it down.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-11.jpg
Step 3Now we can start drawing our character. I’m using a graphic tablet, so it’s easier for me to draw the outlines with a brush. But if you are using a mouse or you are more comfortable to use the Pen tool (P), feel free to use it.
If you choose to draw with a brush, here are some presets, that will make the line (and the shape later) nice and fluid.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-12.jpg
If you don’t see this panel, you can go to Window->Brushes or just hit the F5button.
To create a new brush click on the little white sheet (New Brush). Choose the Calligraphic brush and click OK.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-13.jpg
I’m going to use 2 pt size brush with variation set to 2 pt. But you can play around with the settings and find which one fits you.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-14.jpg
Hit OK. Now we are ready to start drawing the contour. We’re using black stroke without fill.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-15.jpg
Try to draw continuous lines, because it will be easier to combine them and make shapes. That’s how we close a path to make a form from the contour:
Choose the Select Direction tool (A) and select the first and the last anchor point. Click right and choose Average. Hit OK.
Right button again and choose Join.
Now we have a closed shape.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-16.jpg
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-17.jpg
By using this method, we are drawing all the main shapes of the character.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-18.jpg
Step 4 We can start filling the shapes. I’m choosing random colours. If you like the final result and want to use them, you can find the colour codes in the attached file.
To fill in the colors, use the same tool you’ve used for the contour and hit Shift + X to switch the stroke color into the fill. To rearrange the order of the shapes, make good use of CTRL+ [and CTRL+].
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-19.jpg
Create the clothing stripes:
I’m going to show this step, separate from the other elements, so as to follow the process easier.
Select the blue shape and switch the color to white. Now select it by clicking on it, then copy (CTRL+ C) and paste it in front (CTRL+F). There are no visible changes because the shape in the front is the same color as the one in the back. We change it to blue or any color you want.
Now get the Eraser tool (Shift+E) and just draw the stripes by erasing the blue layer from the top. That’s how it looks like:
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-20.jpg
Step 5We will add some volume to the body.We already have the stripes selected so just repeat the process: copy and paste in front only the stripes (Ctrl+C and Ctrl+F), change the color to a little bit darker blue and “draw” the shadow by erasing the area which should be lighter. Now we have something like this:
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-21.jpg
I used the same method to add shadows and highlights on the other elements of the illustration. I’m spending more time on drawing the floats on the arms because I want to give them plastic texture. That’s how our illustration looks like on that stage.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-22.jpg
How we create the glasses?! It’s very easy. We have this stroke with the shape of glasses. Copy it (Ctrl+C and Ctrl+V) we will need the form later for making the glass part of them. We will just make one of the strokes thicker by selecting it and making it’s weight 10 points, basic brush definition and variable weight profile set to uniform.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-23.jpg
Convert the stroke to shape Object-> Expand or Ctrl+F1. Click OK.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-24.jpg

Now we have two objects stroke and black filled shape .Fill the stroke with any blue color and reduce the opacity to 40%. Select both objects and align them horizontal and vertical. Use the presets from below.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-25.jpg
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-26.jpg

Bring the blue layer in front, if it’s not on top (select it, right click-> bring to front or Shift+Ctrl+]).
To create the reflections, copy and paste the blue layer, make it white and use the Eraser tool to draw them.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-27.jpg
Step 6Adding the details is the final step of drawing the character. I’m going to use the same calligraphic brush, which we used for the contour. I’m adding some highlights to the hair, skin and the swimming fins. I’ve put some lace details to her bath costume and an anchor, and because I’m obsessed with patterns, I’ve drawn some little fishies on the floats.Do not forget to expand all the strokes you draw. Be careful not to overdo the details. They are necessary, but if you put too much of them, it’s going to be hard to focus your look on something.
This is how our character looks finished.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-28.jpg
Let’s make an illustration. To do this, we are going to add a background.
I just randomly drew some shapes, and I’m going to arrange them in layers, trying to give that feeling of water depth. Reduce the opacity of the “water layers”, so you can “dunk” the character in it.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-29.jpg
Don’t worry about the contour of the shapes, they don’t need to look carefully drawn. We will cut them off later.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-30.png
Add some dots to a darker colour to give this sand texture.
We are going to draw some algaes, shells, cute fishes and stuff separately so we can add them to the illustration. We just moving them around and trying to make a nice composition.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-31.png
We will use simple shapes and strokes, so we can change the colour really fast, if we don’t like it.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-32.png
That’s how my canvas looks like. We are pretty close to the final result. If you are wondering what the beige circle is for, I’m going to tell you right now.
Just draw the circle copy and paste it (Ctrl+C and Ctrl+ V).
You can put it out of the board for now.
Select the circle from below, put it on the top (right click+Bring to front or Ctrl+Shift+]).
Select all the elements in the artboard, right click and choose Clipping Mask. The result should be something like this:
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-33.jpg

It looks almost finished, but I think about adding a last touch. Remember the circle we copied earlier?
Select it and go to the Gradient panel, and if it’s not open go to Window->Gradient or hit Ctrl+F9.
We have by default a black and white, linear gradient. We are going to change the black colour to a blue one. (I’m going to use this one: c0e5e8)
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-34.jpg
We can control the quantity, the angle and the position of the blue colour by selecting the object and choosing the Gradient tool (G).
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-35.jpg
Once we are glad about the result, we are ready to finish our illustration.
Select the circle with the gradient and those with clipping mask and just align them, how we did with the glasses.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-36.png
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-37.jpg
Group them by hitting Ctrl+G.
Tadaaaa! We’ve just finished our summer, vector illustration. I’m pretty happy with the final result and I hope you too.
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-38.jpg
P.S. If you like the colour palette you can find all the used colours here:
http://www.pixel77.com/wp-content/uploads/2015/07/How-to-Create-a-Summer-Illustration-39.jpg
You can just get them with the Eyedropper Tool (I).
Thank you for reading, and I hope you’ve enjoyed reading it as much I enjoyed writing it. Know anyone else who wants to learn Illustrator? Then share them this tutorial!


https://pixel77.com/illustrator-tutorial-create-character-illustration/

covietforum
12-10-2017, 04:11 PM
How to Create a Character Kit in Adobe Illustrator
https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/final_image/7_3.png


This new tutorial is quite unique—unlike the other tutorials we’ve done in the past, this one is more like a game. First we will create many different elements of character design from scratch, and then we will use these elements to create different characters. I promise you that you will have lots of fun combining different parts together and experiencing the excitement of creating various characters.
Envato Market (https://graphicriver.net/?_ga=1.40510820.710533574.1414142081) is a great place where you can find many character (https://graphicriver.net/category/vectors/characters) kits and mascot (http://graphicriver.net/search?utf8=%E2%9C%93&term=mascot+kit&view=grid&sort=&date=&category=vectors&price_min=&price_max=&sales=&rating_min=) kits and where you can always find your inspiration. I'll let you in on a secret: that's the place which inspired me to write this tutorial for you!

Let’s get to it!
1. Draw the HeadStep 1After opening Adobe Illustrator and creating a new document with 600 x 600 px Width and Height, we will start by drawing the head, which will be the same for every character.
Using the Ellipse Tool (L), draw an oval. In the image below, you can see which fill color you need. To give the head an irregular shape, go to Effect > Warp > Inflate. Enter the options you see below.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/1_1.jpg
</figure>Step 2Create two more circles, which overlap each other as in the image below. Go to the Pathfinder panel and press the Minus Front button. Now, create a circle using the same fill color as the head. Place the crescent moon shape on the circle that you just created. We have our ear.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/1_2.jpg
</figure>Step 3Since this was the left ear, we’ll put it on the left side of the head. While keeping it selected, take the Reflect Tool (O). Hold down the Alt key and then click the forehead, in the center of the face.
In the new dialogue window, select Vertical, Angle 90 degrees and press Copy. Voila! We have two ears now.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/1_3.jpg
</figure>Step 4A tiny ellipse on the face, close to the left ear, will show the blush on the left cheek. It needs to be slightly tilted to the right. Using the Reflect Tool (O) again (Vertical, Angle 90 degrees, Copy), create the right cheek.
Using the Rectangle Tool (M), draw a small rectangle under the head. While keeping it selected, go to Effect > Warp > Arc Lower and enter the following options:
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/1_4.jpg
</figure>Step 5Create three more heads like the previous one by copying-pasting. Play with colors and create different skin types, or just enter the color codes you see below.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/1_5.jpg
</figure>2. Create Different EyesStep 1On to the eyes—the windows to our souls. To create an even circle, use the Ellipse Tool (L) while holding down the Shift key. Then add a smaller, darker circle inside (Control-C, Control-F). Add two more tiny white circles to add sparkles to the eyes.
While holding the Shift and Alt keys, move this eye to the right. You will get another copy of it to complete the eyes. For your convenience, group the eyes together (right-click > Group).
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/2_1.jpg
</figure>Step 2Let’s add the eyebrows. Create two circles, which overlap each other, as in the image below. Be sure that the bigger one is over the smaller. Go to the Pathfinder panel and press the Minus Front button.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/2_2.jpg
</figure>Step 3Place the left eyebrow over the left eye. While keeping the left eyebrow selected, take the Reflect Tool (O)and while holding down the Alt key, click between the two eyes.
In the new dialogue window, select Vertical, Angle 90 degrees and press Copy. Now we should have the two eyebrows.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/2_3.jpg
</figure>Step 4We will now duplicate the set of eyes and eyebrows to create different variations of this set. Change the colors of the eyes and the eyebrows, or even tilt the eyebrows a bit to create different varieties.

The set of eyes in image 3 is created by using the eyebrows, to show how your eyes close when you laugh out loud.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/2_4.jpg
</figure>3. Create Different MouthsStep 1Let’s tackle the mouth. When you create this on your own, you just need a white colored mouth, minus the black strokes—I just have the black strokes in the first few images below so that you can see better.
Let’s first create a little white ellipse, and then, using the Convert Anchor Point Tool (Shift-C), make the left and right anchor points sharp by clicking on them. Select the top and bottom anchor points (with the Direct Selection Tool (A)) and move them down by pressing the Down Arrow on your keyboard.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/3_1.jpg
</figure>Step 2By moving the handles of the anchor points of the mouth, you can create many different variations of the mouth. You can also just draw a tiny ellipse like the last one in the image below, to show a singing or surprised mouth.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/3_2.jpg
</figure>4. Create Different HairstylesStep 1Take one of the heads you created before, because it will be easier to draw the hair directly on the head.
We will use the Warp Tool (Shift-R) to style our hair. But first, we want to create one brown ellipse behind the head and one small ellipse in the forehead—these two elements will be used to stretch out—or style—the hair.
Double-click on the Warp Tool (Shift-R). Enter the options you see in the image below. Note that the arrows in the image show how to move your mouse.
It is very important to select the object before you use the Warp Tool (Shift-R)—otherwise you will spread other objects surrounding it.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/4_1.jpg
</figure>Step 2Another hairstyle for another skin type.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/4_2.jpg
</figure>Step 3Another idea for a hairstyle. All the hairdos here are just ideas to spark your creativity—be as creative and wild as you want!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/4_3.jpg
</figure>Step 4Certain hairstyles can be made best with small circles.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/4_4.jpg
</figure>5. Create the OutfitsStep 1We will now design different outfits.
Take the Rounded Rectangle Tool and create two rounded rectangles, one over the other. You can choose any color, so be creative here. Just keep in mind that the first one needs to be a slightly darker color.
Select one rectangle and go to Effect > Warp > Arc. Enter the options you see below. Both rectangles have the same options. Expand the rectangles: Object > Expand Appearance.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/5_1.jpg
</figure>Step 2Draw a rectangle with any fill color and place it as shown below, covering the lower part of the rounded rectangles. We will use this as a cutter. Keeping it selected, create a copy in front (Control-C, Control-F).
Select the first rounded rectangle and the cutter, and press the Minus Front button on the Pathfinder panel. Select the copy of the cutter and the second rounded rectangle and press Minus Front in Pathfinder. This is the upper part of the torso, the shoulders and the chest.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/5_2.jpg
</figure>Step 3Take the Polygon Tool and click on your art board. In the new dialogue window, enter 3 Sides and press OK. You will get a triangle. Place it as shown in the image below as part of the collar. Using the Reflect Tool (O), make a vertical copy of this triangle to complete the other part of the collar. Add a couple of circles to the shirt as buttons.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/5_3.jpg
</figure>Step 4Duplicate the shirt that you made in the previous step and change the fill colors. You will get another shirt.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/5_4.jpg
</figure>Step 5Here’s another way to create a new outfit—adding a vest.
Duplicate the previous shirt and create a copy of the chest part (not the collar, not the sleeves) in front (Control-C, Control-F). Apply a contrasting fill color. Then draw a triangle (no fill color, any stroke color) using the Polygon Tool and place it on the top—it will create a V-neck style. Add two ellipses using the Ellipse Tool (L)—these will create the additional cuts to our vest. Select the two ellipses, the triangle, and the contrasting chest part of the shirt, and then press Minus Front in Pathfinder.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/5_5.jpg
</figure>Step 6Create a copy of the outfit you made in the previous step and change the fill colors. You just got another outfit!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/5_6.jpg
</figure>Step 7Duplicate some of the previous outfits, delete the collar, and add a few stripes. Use the Intersect button on the Pathfinder panel to cut out stripes. This outfit looks like a long-sleeved, striped t-shirt.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/5_7.jpg
</figure>6. Combine the CharactersStep 1Time to see what we created so far! Combine all the elements you made and create different characters. Here are a few characters that I came up with:
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/6_1.jpg
</figure>Step 2Now that we see the different personalities of each character, we can add some accessories accordingly.
For the gentle, singing boy, we will add a bow tie. Use the Polygon Tool to create a triangle. After making it narrower, rotate it to the right. Using the Reflect Tool (O), create a reflected vertical copy of it. Place a tiny ellipse between the two to finish the bow tie. Let’s have him try it on!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/6_2.jpg
</figure>Step 3Since he is singing, we can add a few musical notes—I'm pretty sure you know which tools to use!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/6_3.jpg
</figure>Step 4For this perky buddy, we will add a soccer ball. I won’t be specific in the colors that I used—it’s up to you, so just be creative.
After you create a circle, place a pentagon (use the Polygon Tool) in the middle of it. Then delete the fill color and apply the same stroke color. Using the Line Segment Tool (\), draw a line from each point of the polygon towards the boundaries of the circle. Add five more pentagons (no stroke color, dark fill color) as shown in the image below.

Select the circle you created in the beginning of this step, and make a copy in front (Control-C, Control-F). Then choose one of the pentagons which overlaps the circle. Press Intersect in Pathfinder. Make a copy of the circle again. Select the second overlapping pentagon and press Intersect in Pathfinder. Create a copy of the circle in front once more, select the third pentagon and… yes… continue to do the same until you have covered all five pentagons.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/6_4.jpg
</figure>Step 5This funny little guy spends all day playing video games, and the result is obvious—he needs glasses.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/6_5.jpg
</figure>Use the Ellipse Tool (L) to create a circle. It needs to have a black stroke color and a black fill color with Soft Light Transparency. Be careful with the Transparency: after you create a circle with black stroke and fill color, go to the Appearance panel, select the word Fill and then apply Soft Light on the Transparencypanel. Hold the Shift and the Alt keys together, and move this glass to the right. You just duplicated it.
Use the Pencil Tool (N) with a thick black stroke and no fill to create the frame of the glasses.

Draw a rectangle (no stroke, black fill color) to create the temples of the glasses (see image 2). Use the Reflect Tool (O) to create another temple. Let the boy try them on!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/6_5a.jpg
</figure>Step 6This cute African boy might be enjoying his music. Let’s give him a set of headphones.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/6_6.jpg
</figure>Draw a circle using the Ellipse Tool (L) with no fill and the stroke color of your choice. Grab the Scissors Tool (C) and simply click on the left and right anchor points of this circle. Delete the unneeded parts, and you will get a half circle.
While keeping it selected, make a copy in front, and on the Stroke panel, make this new stroke thicker. Also check Round Cap on the Stroke panel. Take the Scissors Tool (C) again and delete the unneeded parts marked in the image below. You just got the headband of the headphones.
Image 2. Delete the stroke color and set the fill color. Draw an ellipse. Add a rounded rectangle using the Rounded Rectangle Tool. Place those two shapes on the headband. Using the Reflect Tool (O), make a reflection of the left cushion to get the right one. Let’s give the headphones to the boy.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/6_6a.jpg
</figure>7. Create the BackgroundStep 1Now for your convenience, you can create a New layer. Go to the Layers panel (Window > Layers) and hit the button Create New Layer. Then lock the layer where you have drawn the characters and—very important—drag (with your mouse) this newly created layer under the layer where the characters are.

Draw a square with the blue fill color, at size 600 px in the Width and Height. Then draw five darker vertical rectangles. Leave the right side of the background free—you will place the completed characters there.

Name every dark blue vertical rectangle using the Type Tool (T). Your text will probably be black, so you can change it to the color of your choice.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/7_1.png
</figure>Step 2Before dragging every piece to its place, group each piece of the character. Put everything in its place.
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/7_2.png
</figure>
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Step 3Here comes the most interesting moment of this tutorial—combining all the different elements into different characters. Enjoy!
<figure class="post_image" style="box-sizing: border-box; margin: 30px 0px; padding: 0px; max-width: 100%; text-align: center; color: rgb(58, 58, 58); font-family: Roboto, Arial, sans-serif; font-size: 18px; background-color: rgb(254, 254, 254);">https://cms-assets.tutsplus.com/uploads/users/127/posts/25785/image/7_3.png
</figure>ConclusionYippee! We’ve done it again! Huge congratulations to you, because it was a huge project. I'm sure you can easily create a bunch of different characters now. I’ll just leave you to it and let you enjoy the process… until next time.
https://design.tutsplus.com/tutorials/how-to-create-a-character-kit-in-adobe-illustrator--cms-25785