In this lesson we will show how in literally 20-30 minutes you can make wonderful gift in the form of a hand-drawn portrait. However, it is not at all necessary to have any artistic abilities. Need a photo Photoshop and a little patience.

Photography Hand-drawn improvisation

Step 1.

Open the sample photo in Photoshop. Tool frame (key C ) crop the photo. Set the required image size (keys Alt+ Ctrl + i) , check the box Maintain proportions. We recommend setting the resolution to 300 pixels; this will allow you to scale the image with minimal loss. For convenience, copy the photo and paste it into a new layer (click sequentially Ctrl + A, Ctrl + C, Ctrl + V ). This will allow you to move the photo between layers.

Step 2.

Next we need a tool feather (key P ). This tool allows you to create vector images in different colors. Moreover, color and transparency can be changed at any time. If you click on the small triangle on the icon with your cursor feather , then they will open additional tools, with their help you can edit an already drawn image (add and delete vertices, change the angle). Under the instrument feather there is a tool arrow (key A ). By using arrows you can move the vertices of a vector drawing. Create a new layer (keys Shift + Ctrl + N ). Before you start creating a vector path, we recommend using the palette Layers remove transparency for the new layer so that the fill does not obscure the photo.

Outline the eye.

Step 3.

Double click on the drawn layer in the palette Layers . A color palette will appear. If you move the cursor from the palette to the drawing, you will see pipette , you can choose a color for her eyeball On the photo. Click Yes . You can also assign a fill color for a vector outline in the tool palette Feather by clicking on the icon Color .

On the palette Layers Make the current layer 100% opaque.
The result will be an eye filled with white.

Next, so that the filling does not interfere, on the palette Layers turn off the visibility of the vector layer
contour of the eye (to do this, click on the eye to the left of the layer icon).

Step 4.

Create a new layer (keys Shift + Ctrl + N ). Make it transparent (see Step 2.).
To draw the iris of the eye we will use the tool Ellipse. You can select a tool from the panel Tools by clicking on the small triangle on the button Rectangle or by pressing the keys several times Shift + U until selected in the panel Ellipse. Since we made the layer transparent, the drawn ellipse will not be filled. To edit a shape, right-click and select Free path transformation ( Ctrl + T). When the ellipse is ready, select a fill for it (see Step 3.).
Draw the pupil in the same way.

Further using Pera (key P ) draw all parts of the face. Don't forget to turn off the visibility of layers for convenience. Also using the mouse on the palette Layers you can move the sequence of layers. The result should be something like this.

If you add a contour to the entire face and place a layer under the rest of the contours, you will get the following picture:

Step 5.

At this step we need to blur the hard lines of individual elements.
If you look closely at the iris of the previous drawing, you will see that, unlike your blank, it looks three-dimensional. This is achieved by darkening the edge of the ellipse. There are many ways to achieve this effect. We will offer one of them.

Advice: To avoid getting confused in the layers, we recommend organizing them. For each logical element, create a group (folder) and transfer all layers related to it there. The group creation icon is located at the bottom of the palette Layers. You can also combine layers into a group by selecting them (while holding down theCtrl) and pressingCtrl + G . To rename a group, just double-click on the name. To view the contents of a group, you need to click on the triangle to the left of the folder icon.

Double-click on the iris layer to the right of its name. A palette will appear Layer Styles . We will need an item internal glow.

Settings can be selected at your discretion. We offer the following:
Mode – normal;
Opacity – 60%;
Glow color – black;
The method is soft;
Size – 35 pixels (depending on the size of your drawing).
Please note that these settings can be changed at any time. In point color overlay you can change your eye color.

In order for these settings to be automatically applied to the second eye, you need to copy the layer properties. To do this, click the right mouse button to the right of the layer name. Select the item from the pop-up menu copy layer style . Next, select the layer with vector image iris of the second eye and also right-click to the right of the layer name. Select a pop-up menu item paste layer style .

In a similar way, you can blur the transitions of other hard lines that you would like to soften. But this method there are disadvantages. The transitions are too unnatural and are more suitable for correct forms. Therefore, further we recommend working with raster tools.

Step 6.
To create smooth transitions of arbitrary size, we need to create a layer mask. Select the layer with the element (in our case it is the shadow of the nose) and at the bottom of the palette Layers click the button add a layer mask .

Advice: Turn off all layers except the one you are editing (clickAlt and a peephole on the palette Layers). You will also need a photograph. Don't forget that the photo layer can be moved anywhere. If you right-click on the peephole, a menu for selecting a display mode will appear. You can show all layers except the selected one, only the selected one, and also assign a color to the layer to make it easier to find it later.

A new icon has appeared in the layer. By clicking the left mouse button, you can select the desired one (shape, mask or path), if you click with the right one, its properties will appear. Highlight mask (white rectangle). In the place where you draw black on the figure in mask mode, the figure will be transparent. To restore opacity, paint with white. For smooth transitions, choose brush on the toolbar (key IN ). At the top of the palette, select the desired brush, adjust the desired diameter and hardness. Don't forget to assign black for transparency or white for return in the palette.

Edit the shape until you achieve the desired result. Thanks to the use of a mask, we can always return to the original outline and blur the boundaries again. Also on the palette Layers You can select transparency for the entire layer.

Step 7
Now there's just a little bit left to do. It is necessary to “powder” dark areas to enhance volume.
Go to the layer with the outline of the entire face. Duplicate the layer. To do this on the palette Layers, to the right of the name of the desired layer, right-click, select Duplicate Layer . Double click on the new layer rectangle, the Color palette . Choose a color for the shadow areas (about the same as we used for the outline of the nose). Create a mask for the dark layer (see Step 6). We got two identical layers, but the top one is dark with a mask, and the bottom one is light without a mask.
On the palette Layers For the dark layer, select a mask (click the white rectangle). On the panel Tools select black color using the tool Fill (key G) paint over the layer. As a result, it will be transparent. Turn off the visibility of the light layer (click on the peephole) so that we can see the photo.

Now, if with white color, with the selected mask, draw brush on the dark layer, we will apply the desired tone.
Select a brush, it is advisable to use a large diameter (see. Step 6). The result should be something like this.

This procedure could be done with a regular brush, but then the fill will go beyond the border of the face, and thanks to the mask, we can clearly darken only the necessary areas.
If necessary, you can add more shades either by duplicating the layer, as we just did, or with a regular brush. When you're done, add a light layer to the face outline.

Step 8

It is worth noting that you can improve the drawing ad infinitum. It all depends on desire and time. You can draw eyebrows and eyelashes with a hair brush. Add an additional filter, experiment with eye coloring, etc. We will limit ourselves to filling the background.

Today in Design Mania there is a guest and very practical post from web designer Sergey Mishalov, who maintains a design blog about his work, shares his experience, tips and more.

The lesson is actually not difficult and is aimed at beginners. Pentul (Pen Tool)- improvised means every designer, so sooner or later you will still have to master the tool. You can use this guide immediately after. From small to large.

The whole process will take you about 2 hours of precious time, but the practice has never harmed anyone. The purpose of the lesson is to demonstrate arbitrary work with the Pen Tool and further processing of the created forms. I stopped only at the “sketch” version, keep in mind that you can always take the illustration to the technical limit, do not waste time, the quality is worth it, the main thing is not to overdo it.

So, the first stage involves the creation of primitive forms, we use exclusively the Pen Tool. I hope that the technique is already familiar to you. There is no need to rush here and edit the points as little as possible so that the shape ends up being less “charcoal”.

The tool of the same group “Convert Point Tool” helps to edit the shape, hold down “Alt” and drag the points as you wish.

1. We create general shape. Our example looks like a hand or a shoe if you look closely. After closing the circle of the shape, right-click and select “ Make selection«

2. Take the pentula again and draw the roof of a car or a ship, consider it as you wish. Fill in light color and attach the form we just made to our base so that nothing sticks out.

4.5.6. Using the same principle, we make the shape of the right part of the reactor, the lower part of the wing, while creating volume and a shape separating the roof from the sidewall.

The second stage is working with light and shadow. I paint light and shadows soft brush white and black respectively.

7. We draw the light of the wing tip using the upper-left light source.

8.9.10. Using the same principle, I whitewashed several more parts.

11. I slightly shaded the color of the reactors and wiped the separating form with a soft brush.

12.13.14. Let's move on to the shadows. We darken everything with the same brush, only the back part and a few more places are black, see the picture.

The next step is color and details.

15. Let's draw transparent brush 15-20% transparency, glow from the reactor, diffused light, and where it is needed, carefully wipe with an opaque eraser.

16. Draw a blue highlight. I used the tool

17. We draw the same highlight, only narrower, brighter and clearer.

18.-24. Using the same principle and procedure, we make the right reactor.

Final touches. I didn’t bother with the background, I just blurred it in motion (Blur > Motion Blur) and adjusted everything to a blue tone. You, as I already wrote above, can take the illustration to a more serious level.

Afterword. So in a few hours we designed a prototype of the car of the future. Main value lesson in training to use pentula, this irreplaceable thing will save you more than once. I hope you liked the lesson, don’t hesitate to ask anything unclear, I’ll answer all your questions, advise you, and help you.

On behalf of all readers of Design Mania, I also hasten to thank Sergei Mishalov, the author of a personal design blog and, as we see, good designer at the same time. Who would have thought that a shape more like a shoe would make such an aircraft of the future. I think it turned out very beautiful!

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DRAWING OF A CAR IN VECTOR STYLE.

PREPARATION.

Selecting a photo.

Often, the choice of photograph is not given much importance, but in vain - the quality of future work directly depends on the original photograph. So a few hours on the Internet looking for a suitable picture is perhaps the most important part of the entire project. I can recommend the Image Search function in Google and AltaVista search engines.

Size matters! The larger the photo, the better; don't start with a tiny photo and expect the same result as working with a desktop-sized image, i.e. 1024*768 or larger.

Photos taken in a studio work best. In studio photographs, the light is set in such a way as to highlight the shape of the car, and there are no unwanted reflections from the buildings around it. Thus, a good studio photo will make your drawing more accurate and make working on it much easier. If you still don’t have the opportunity to get a high-quality studio picture, a photograph taken outside on a quiet, clear day will help achieve similar results.

For work, I chose this photo measuring 1280*850 pixels. It clearly shows all the details I need, as well as shadows and highlights, headlights and interior.

Preliminary modification.

It's very rare that your original photo matches perfectly. desired result. Don't despair - editing a photo is not difficult. Don't like the wheels, spoiler, body kit or height of your dream car? So change everything that doesn't fit.
Have you always dreamed of seeing what a Nissan R33 GTR tuning looks like with a 240SX front end? Yes, me too, so what’s the problem - do as you want. The great thing about this "finishing" is that you don't have to worry too much about getting the car parts exactly right, since you'll be painting on top of them anyway. And you certainly don’t have to worry about the color of the car, here you are completely free in your choice.

This is what my "modified" RX7 looks like. I just added a tire.

TUNING.

Okay, you've done your homework, found a photo, and what next?

It's time for Photoshop.

Before starting tuning, close all unnecessary menus like History/Actions/Tool Presets and Colour/Swatches/Styles, since you won’t need them and will only get in the way.

The only thing you really need to work is the Layers and Paths window.

We make a stroke.

So, the first step is tracing the outlines.

First, you need to create a new layer. To do this, click on the fifth icon at the bottom of the layers menu.

Then make sure you have the same settings as in the picture below. The standard color for stroke outlines is black, but you can use any color you want.

Using the Pen tool, outline the main outline of the car. Anchor points are added by clicking the mouse. After adding a point, you can manipulate the curve with the mouse.

To accurately trace contours, it is often useful to zoom in on the drawing. To quickly zoom in/out, you can use Ctrl in combination with + (to zoom in) or with - (to remove).

I usually draw outlines at a close zoom, so moving around the "canvas" can represent known difficulty. To make navigation easier, you can use the space bar to move freely in the desired direction. Releasing the spacebar will reactivate the previously selected tool.

So, after finishing the stroke, you need to decide on its thickness. Select the Brush tool and set the brush to the desired thickness. I chose a 4 px brush, but where such a stroke looks too massive, I used a 3 px brush, but the parameters of the brush are entirely up to you.

After selecting the brush, select the empty layer created at the very beginning and open the Paths tab (it's next to Layers). The outline you outlined is here. Select Work Path and click on the Stroke Path button at the bottom.

The next step after the basic outline is working out the details. For an optimal look, use a brush of varying thicknesses. Select details that are more or less important to you and adjust the stroke thickness according to the importance of the detail. For example, I outlined the outlines of the windows and headlights with a 3 px brush, and for the rest of the details I used a 2 or 1 px brush.

Painting.

Create a new layer below the outline layer.

Use the Polygonal Lasso Tool (L) to trace the outside outline of the car. The point of this manipulation is to select and fill the entire contour with color, which will serve as a base for further work with color. As with the Pen Tool, use zoom and space+drag to move around the drawing.

After selecting the outline, exclude from the selected area areas that do not need to be painted. For example, I removed the area between the spoiler and back body and roof.

It's time to choose a color for the car. It's not easy to explain the best way to do this, but I usually take the Eyedropper Tool (I) and sample the color that occupies large area cars than others. It’s easier to work with this fill later.

Paint the selection on a new layer with the selected color using a large brush or fill. The results obtained with the brush and fill are slightly different, personally I prefer the brush.

There you go. From now on you will have to work on the chiaroscuro of the body. There are several here important points. First, always create a new layer for a new color. Always use the Pen to draw areas outside of the pre-drawn outline. Never use Lasso to create such "open" colored areas.

Painting completed successfully. At this stage I finally decided on the final color of my car. So far I've been making it blue since that's the original color of the car in the photo, but after finishing painting I realized I wanted to change the color.

At this stage, changing the color is quite simple. I hope you remember to save your work regularly, but now is the time to save everything into a new file. Whenever I plan to change something radically, I always make a backup copy of the entire file so that I can return to it if something happens. Towards the end of drawing this RX7
I had 7 files with different versions of the drawing.

In one of the copies, glue the layers into one.

Now, if you want to change the overall color of the car, simply change the Hue/Saturation layer (Ctrl+U). If you want to make the car two-color, simply select the desired area with a pen and change its color. I made my car black and orange.

Having figured out the body color, I had to spend a little more time on the outline color. I left some of the lines black, but had to change the color of some to match the orange body, as well as make the outline darker or lighter in some places.

To create the illusion of three-dimensional joints of the body parts, I added light lines next to the dark ones, something like this. I applied this technique to several parts of the body.

Now the body painting is finished, but there is still plenty of work to do. So let's get to the headlights.

LIGHTS.

I always think about how the overall headlights will look in advance when working on the body color.

Here I came to the conclusion that it would be best to paint each part of the headlight separately. For example, here is the original photo of the headlight.

What can we see on it? So, there are two similar light bulbs and an indicator lamp in the center. Around them is a fiberglass body. This entire structure is surrounded by a thick black frame, and the entire headlight is entirely glass with white rivets.

After I have decided what exactly I have to draw, I start working with the headlights using the same algorithm as with the body of the car.

First, a basic fill of the outline, then a new layer for the highlights on the fiberglass, a new layer for the light bulbs, a layer for the edging and rivets.

Base color, highlights and headlight surround.

With lamps.

As you can see, I only drew one light bulb and then duplicated it. This not only helped save time, but also made the whole job more consistent.

All that remains is to add white rivets and create the effect that everything is under glass. To do this, I create a new layer on top of the headlight layers and apply a light white gradient to it from top to bottom. This is intended to create the effect of glass on top of the headlight.

White rivets and gradient.

The finished headlight has a less pronounced blue tint than the original. This happened because after painting the body orange, I decided that blue headlights were out of place.

The second headlight was painted exactly the same way.

And this is a car already with headlights.

SALON.

The process of drawing the interior is similar to drawing headlights. Look at the photo, decide what you want to add or change, and then act.

Here is a photo of the interior of my RX7.

So what do we see there? A couple of seats, a speaker, a steering wheel, a rear view mirror, etc. Here are the drawn individual parts of the interior after tuning.

Since we can't see much through the side window, I didn't even try to draw the parts of the interior that are visible through it.

Now the car has a salon.

WHEELS.

The very first step when drawing wheels is to draw the shadow of the car.

Using a basic rendering technique, draw a shadow outline on a new layer. This layer should be the bottom one.

How dark your shadow is doesn't matter. However, if you intend to detail the wheel, it will be better to make the shadow lighter so that the details can be seen. I'll be aiming for realism, so I'll paint a light gray shadow.

Let's start drawing the wheels.

To begin with, I chose a suitable photo.

I cut out the piece I needed, stuck it in place, and added a shadow to get the best possible idea of ​​what I wanted to end up with.

Just like for the headlights, I created a wheel-shaped layer with a single color fill. For the disk I added a gray ellipse.

Then with a pen I drew another ellipse for the disk, to give it some realism I applied Bevel to it. To do this, double-click on the layer icon in the Layers menu and select Bevel&Emboss. For such thin objects, a value of just 1 pixel is enough to achieve the desired effect.

Layers within a wheel.

For the other wheel, I simply copied the elements of the right one and distorted them accordingly. Since the other wheel is almost invisible, the distortion did not affect the quality of the final result.

Here is the wheel ply structure for my Fabulous RX8 tuning. The principle of drawing this wheel is exactly the same. The diagram shows how I work with layers, as well as how I give the layers “telling” names.

Here's my RX7 with wheels.

If you have reached this stage, then you can rightfully say that you are finished and have done a great job. However, we can add a few more finishing touches to our tuning.

The last parts of the lesson will be devoted to these finishing touches.

CARBON.

In this part of the tutorial I will try to explain how I draw carbon. For simplicity's sake, I'll only be working on the hood of the car, but you can apply this method to anything, including wheels and the interior.

Create a texture.

As with most carbon drawing tutorials, let's first create a Pattern, the simpler it is, the better.

Each retouching lesson is not a step-by-step instruction. This is a demonstration of the capabilities of Photoshop tools and the principles of eliminating certain shortcomings.

This lesson is primarily aimed at users who are already familiar with various tools and controls in Photoshop. For those who are just starting to master this program, most of the steps will be incomprehensible.

This is the source image that will be used:

The very first step that needs to be done is to retouch the skin. In order to remove all skin imperfections, you need to create a new empty layer and use a soft healing brush with a diameter of 2 to 7 pixels with a little transparency to draw the details, cloning them from healthy areas. Preferably when working different instruments and create additional layers in different areas. There may be 5, 6 or more such layers containing cured skin flaws. This approach allows you to return to the previous stage at any time and work out the details more carefully.

First of all, you need to understand why new layers are created. When working on one layer, it's easy to make a mistake and not be able to go back. The history panel does not store so many values ​​​​of recent actions, and, rolling back, some of the work will have to be redone. Working on a new layer and making a mistake, you can easily hide an erroneously edited element with a mask. Thus, you can fully control all your actions and hide your mistakes at any time. It's best to use different layers for the healing brush and the stamp brush because these tools work differently. It is better not to combine their effects on one layer.

Studio light always reveals unevenness on the skin, even if it is perfect. The better the optics and the larger the matrix, the more detailed the pictures are. Accordingly, more defects are visible in such photographs.

This is what five layers look like with skin retouching without the base layer being visible:

This is what the result looks like:

At the next stage you need to work with plastic. To do this you need to Merge all layers into a new layer. This is done with the key combination Alt+Shft+Ctrl+E. We will work with this new layer using plastic. The arrows in the photo show the places that need to be corrected.

In this example there is not a lot of plastic at all. It may not be used. This is a matter of personal preference.

Result of plastic work:

Next you need to draw lights and shadows. In order to do this, you need to create two adjustment curve layers. In the first case, the curve needs to be slightly lowered, and in the second, raised up. The first curve will darken the areas, and the second will lighten the areas.

To paint areas, you need to fill the masks of these two adjustment layers with black. Then certain areas are drawn with a soft white brush. To view the mask design, you need to hold down the Alt key and click on this very mask. As a result of such manipulations, the color tone will become more saturated. To correct this phenomenon, you need to create a new Hue/Saturation adjustment layer. The saturation should be reduced to about 15-17%. This adjustment layer will apply its effect to the entire image. We don't need this. We need to reduce the saturation only in those places where we worked with curves. Therefore, you need to move the cursor to the border between the Curves and Hue/Saturation layers and, while holding down the Alt key, click the left mouse button.

When drawing light shades, the saturation does not change significantly, so it only needs to be lowered for curves that darken our photo.

Here is the result of working with lights and shadows:

The next step is to remove natural dark spots on the skin. They are indicated in red. Create a layer of curves and raise the curve up. Fill the mask with black and use a white brush with 8% transparency to paint the desired areas.

Here's what happened:

Now let's work with the hair. On a new empty layer, use a stamp to complete the missing hair.

This is what happened after drawing the hair:

There is an ugly crease on the neck.

The algorithm is similar to the one we used for skin lightening. Only in this case it is necessary to darken. Don't forget about increasing saturation when darkening.

This is what the eye looks like without treatment.

We work with eyebrows the same way as with skin. On a new layer, use a stamp to draw the shape and volume, removing excess hairs.

You can always draw additional hairs. Drawing must be done on a new layer. In the brush settings (F5) you need to adjust the dynamics of the shape. Transparency should be reduced to 85-92%. The color must be taken from the area where the drawing is being done.

This is what a drawn eyebrow looks like:

Picture with rendering:

We do the same with the second eye as with the first.

Drawing hairs:

Result:

Now you need to retouch the eyelid and draw the eyelashes.

This is what the left eye looks like:

You can’t work with a stamp so easily here.

We complete the drawing of eyelashes, as well as eyebrows:

Result:

Finally, glue all the layers together (Alt+Shift+Ctrl+E). Next you need to work on the red and green channels. Red must be on top. Select the channels one by one (Ctrl+LMB). Right-click on the image and select “Copy to new layer.”

We assign a “color balance” adjustment layer to each channel.

Each layer has its own settings. For green:

Based on materials from the site:

Hello, dear readers PhotoCASA magazine!
Today I am with you, Anna Zadvornova, with a new lesson in which I will tell you how to draw a portrait. So, let's begin!
First, open the original image.
Let's go to Curves.

Next Selective color correction, set the values:
RED: Cyan +4, Magenta –9, Yellow +7, Black –2.
YELLOW: cyan –13, magenta –3, yellow +3, black +3.
CYAN: cyan +15, magenta –6, yellow –60, black +7.
BLUE: Cyan +100, Magenta –55, Yellow –84, Black +11.
NEUTRAL: Cyan –2, Magenta –2, Yellow –1, Black 0.
BLACK: Cyan –1, Magenta 0, Yellow –1, Black 0.
Combine all layers into one ctrl+alt+shift+E, go to the Color efex pro 4 filter and apply the Detail extractor effect.
Set the values: detail extractor 32%, contrast 0%, saturation 0%, effext radius (Large).

Duplicate this layer and carefully draw on it.
To do this, take the Finger tool and select a special brush with strokes (you need to download). We draw along the lines of the face, hair, clothes, and so on, changing the diameter and intensity of the brush.

Combine the layers into one, take the Mix Brush tool, set all values ​​to 20% and go over the skin.

Create a new layer, blending mode Overlay. Using a white 5% brush we draw highlights and light on the face, hair and clothes, and with a black brush we draw shadows.

We combine the layers into one, go to the portraiture filter, set the preset to medium, go through the black mask with a white brush only over the skin.

We combine all the layers into one ctrl+alt+shift+E, go to the Color efex pro 4 filter, and apply several effects:
1. Detail extractor. Set the values: detail extractor 10%, contrast 0%, saturation 0%, effext radius (Large);
2. Darken/Lighten center: shape 2, center luminosity 25%, border luminosity –40%, center size 63%, opacity 69%;
3. Ink: color set 1, strength 12%, opacity 31%;
4. Photo stylize (varitone): stile 1, strengtn 28%, opacity 8%.
Go to Levels, set the values ​​as in the screenshot.

Create a Selective color correction layer, set the values:
RED: Cyan –3, Magenta –4, Yellow +8, Black 0.
YELLOW: cyan –12, magenta –5, yellow +10, black 0.
Hue/Saturation, set the values:
RED: +1, +8, 0.
YELLOW: +1, +13, 0.
BLUE: +3, +12, 0.
Next, set the Curves, as in the screenshot.

Combine the layers into one, go to Filter > Sharpening > Mask Mask. We set the values: effect 152%, radius 3.2 px, isohelium 0.
For those who want a brighter and more saturated photo picture, you can twist the curve in Lab mode, which is what I did.
Finally, let’s combine all the layers into one, ctrl+alt+shift+E, go to Filter > Filter Gallery > Texture > Texturizer. Select Limestone, set the scale to 200%, relief 3, brush the face with a 40% opacity brush through a white mask, set the layer opacity to 70%.