Drawing a portrait in Photoshop. Rendering an image in Photoshop from scratch using the Pen Tool

One of the most important tips in drawing portraits is to draw what you see, not what you think you see.

It's very easy to start drawing details that you think you see, and this will end up changing the entire image without even realizing it. Having done this, you will see a finished drawing that hardly looks like the model, and you will be very surprised why you can’t make it look like it. If you constantly analyze the source during the process, then the drawing will come out much better.

This portrait was based on a photograph of Miss Mosh.

Note: The tutorial used brushes for hair, sketch, drawing and grunge texture for clothes. Unfortunately, the author did not provide a link to the source of the materials. As an alternative to completing the lesson, you can use the materials suggested below or select your own.

• Grunge backgrounds (before using, I recommend desaturating and increasing the contrast)

Step 1

Open the source image along with a new A4 document at 300 pixels per inch, and create layers called "skin", "clothes", "clothes 2", "hair", "transitions", "sketches", "lines" and "higher".

On the sketch layer, use the 'Dave C's Pencil 7 Blue' brush to create a sketch before working on the final lines on the 'lines' layer with the 'ink' brush. Don't worry if the final lines aren't perfect - most of them will be covered up later in the process.

Translator's note: in the screenshot the names of the layers from top to bottom: Above, Lines, Sketch, Transitions, Hair, Clothes 2, Clothes, Skin

Step 2

Using the same 'ink' brush, sketch out the main colors on the corresponding layers (that is, the skin color on the Skin layer and so on). Keeping the colors on different layers will allow us to easily select the areas we need, so make sure there are no adjacent colors. Don't fill in the hair with the base color just yet, as we'll deal with that separately.

Translator's note: in the screenshot the names of the layers from top to bottom: Above, Lines, Sketch, Transitions, Hair, Clothes 2, Clothes, Skin. Corresponding colors on the Skin and Clothes layers.

Step 3

Use the tool LinearGradient(Linear Gradient) to fill the background layer, otherwise painting on a white background will distort the perception of color.

Add a shading layer to each primary color layer, check the box next to UsePreviousLayertoCreateClippingMask(Use the previous layer to create a scrap mask). This will allow you to add shadows only to existing pixels, and you won't have to worry about going over the edges. Add shading to the face on a layer linked to the "Skin" layer.

Step 4

On the "Hair" layer, using a hair brush with 60% opacity, start creating a base for the hair. Start with dark colors, as they will be visible right up to the top layers of hair. Use a wide range of colors, including greys, purples and browns.

At this stage, don't bother working on individual strands - instead, concentrate on the overall shape and shape of the hair.

Step 5

Hide the top layer with the sketch and start working on the eyes on the “top” layer - they will help you assemble the drawing into one whole. Remember that eyes are 3D objects; you need to shade not only the iris, but also the white of the eye. The eyelid casts a shadow on the eyeball.

Draw the light reflecting in her pupil and add a small line above the lower eyelid to show the tear ducts of the eye, as well as draw eyelashes.

Translator's note: in the screenshot the names of the layers from top to bottom: Above, hair, lines, sketch (layer visibility disabled), Transitions, Layer 3 (cropped to the layer below), eye details, Layer 5 (cropped to the layer below)

Step 6

If you take a closer look at the photo, you will notice that in our drawing the eyes are a little wider than necessary. When you need to fix some aspects of a drawing and want to avoid redrawing from scratch and losing what you've already drawn, click Filter >Liquify(Filter > Liquify) and select a tool ForwardWarp(Warp) (W), and then use the cursor to move the pixels into place.

Step 7

When working on the lips, carefully consider their shape and shadows. Please note that as you move away from the center, the lips lose their clear contour and they become much softer. Use an airbrush brush to avoid hard edges at this stage.

Translator's note:

Step 8

Lock the transparency on the “skin” layer (click on the symbol with chessboard in the layers panel) and very light pink using a tool Gradient(Gradient) (G) Dot the main light source on the skin. It is better to use a gradient for this purpose rather than a brush, as it is much lighter.

Translator's note: in the screenshot the names of the layers from top to bottom: Above, hair, lines, sketch (layer visibility disabled), Transitions, Layer 3 (cropped to the layer below), eye details, Layer 5 (cropped to the layer below), Clothes 2, Layer 4 (cropped on the layer below)

Step 9

Again on the “above” layer, start working on the hands and nails using the ‘inking opacity’ brush. Use a variety of colors and pay due attention to the shadows in the photo. I made my nails longer, but that's a personal choice. Change the color on your nails and remember that in some places they reflect light.

Translator's note: in the screenshot the names of the layers from top to bottom: Above, hair, lines, sketch (layer visibility disabled), Transitions, Layer 3 (cropped to the layer below), eye details, Layer 5 (cropped to the layer below), Clothes 2, Layer 4 (cropped on the layer below)

Step 10

Work on the neck decoration on the appropriate clipping mask layer, looking carefully at the photo source, before moving on to the hair layer. On the “hair” layer, add some dark shadows with the same ‘inking opacity’ brush. It's okay if they look stiff and out of place, as we'll fix that shortly; they need extra depth, so add large sections of hair while still focusing mainly on the shape as a whole.

Translator's note: in the screenshot the names of the layers from top to bottom: Above, hair, lines, sketch (layer visibility disabled), Transitions, Layer 3 (cropped to the layer below), eye details, Layer 5 (cropped to the layer below), Clothes 2, Layer 4 (cropped on the layer below)

Step 11

On the layer on top add some light strokes, some of them are on top dark hair. The strands should be more detailed than before - draw the strands sticking out in different directions, and the ends of some strands should be disheveled. Vary the colors: the more colors you use, the more original it will look.

Translator's note: in the screenshot the names of the layers from top to bottom: Above, hair, lines, sketch (layer visibility disabled), Transitions, Layer 3 (cropped to the layer below), eye details, Layer 5 (cropped to the layer below), Clothes 2, Layer 4 (cropped on the layer below)

Step 12

Paste the paint texture above the "clothes" layer and change the Blending Mode to SoftLight(Soft light). Clamp cmd/Ctrl and click on the “clothing” layer thumbnail (this will select all the pixels on the layer), and then add a layer mask to the paint texture layer (click the square circle icon in the layers panel). On the clipping mask associated with the “clothing” layer, use the ‘inking opacity’ brush to add highlights and reflections to the clothing.

Translator's note: in the screenshot the names of the layers from top to bottom: sketch (layer visibility disabled), Transitions, Layer 3 (cropped to the layer below), eye details, Layer 5 (cropped to the layer below), Clothes 2, Layer 4 (cropped to the layer below), Clothes

Step 13

Lock the “clothing” layer and on this layer add a light blue dotted gradient highlight. Click cmd/Ctrl +V to paste the paint texture again, and then cmd/Ctrl +T to transform it, and drag the edges of the texture to stretch it across the entire canvas. Place this layer above the blue background layer and change the layer blending mode to SoftLight(Soft light).

Translator's note: in the screenshot the names of the layers from top to bottom: Layer 3 (cropped to the layer below), eye details, Layer 5 (cropped to the layer below), Clothes 2, Layer 6 (paint texture with layer mask), Layer 4 (cropped to the layer below) , Clothes, Layer 2 (cut to layer below), Leather, paint on background

Step 14

Drag the “transitions” layer to the very top and change the blending mode to Overlay(Overlap). Now add some gradients to enhance the color in certain places so that it stands out. To avoid the gradient spreading to adjacent areas, use the Lasso(Lasso) (L) to select the necessary places and add a gradient on the “transitions” layer.

Translator's note: in the screenshot, the names of the layers from top to bottom: Layers with text “#” and “187”, Transitions, Above, hair, lines, sketch (layer visibility turned off), Layer 3 (cropped to the layer below), eye details, Layer 5 (cropped to layer below)

Step 15

Use a desaturated red color to paint areas where natural blood flow would be visible, such as the nose, cheeks and fingertips, and add white and purple to the hair to make it more vibrant. Add small texture details such as skin pigmentation and small pores with the speckle brush. Although such details are almost invisible, the observer will notice them, and the skin will not look unnatural.

Step 16

On the “clothing” layer-clipping mask, use the ‘inking opacity’ brush to add a soft blue glow to the edges of the clothing, in the same places where there is a brown glow in the photo. To finish, paste a picture with photographs above the “paint” layer, blending mode SoftLight(Soft light). On the “above” layer, add a messy effect with the ‘Fire brush’. Make any final adjustments.

Translator's note: in the screenshot the names of the layers from top to bottom: Layer 3 (cropped to the layer below), eye details, Layer 5 (cropped to the layer below), Clothes 2, Layer 6 (paint texture with layer mask), Layer 4 (cropped to the layer below) , Clothing, Layer 2 (cut to layer below), Leather, photo sheet

Hello, dear readers of 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.

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.

Hello, dear readers of 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.

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.

We looked at automatic translation variations through selection areas. We have also clearly seen that automatic translation most often does not give the desired result. I will say more, when translating a logo into a vector, it most often does not work. In such situations, manual drawing comes to the rescue. The benefits of manual drawing on the face. It’s not difficult, you get a high-quality vector logo, but most importantly, manual drawing is a paid service that is offered by many design studios and printing houses. Of course, they don’t do this in Photoshop, but the principles are practically the same. In addition, after completing the work in you will receive working vector curves and importing them into Illustrator is a matter of one minute.

Let's start with simpler logos, first draw the old logo of the TELE2 office, then grab Bill Gates. So let's get started.

Drawing the TELE2 logo into a vector

Let's start by drawing simple vector primitives. Fortunately, the logo consists almost entirely of them. You can read more about vector primitives in my article.

• Select a tool Rectangle Tool;
• Make sure that in the settings Options options selected Shape Layers And Snap to Pixels;
• More about the option Snap to Pixels and the entire settings panel for the vector you can read in my article;
• About the option Shape layers described in detail in the article.

• Draw the first primitive
• Select the icon in the options bar Add to Shape area (+)
• This option will translate vector tool to add mode. In other words, the next time you try to draw a shape, you will add this shape to the existing ones, and not create a new one. The entire logo will be on one vector mask, and not split into 100 layers. Read more about this in my article
• Continue drawing shapes.

You have already noticed that most of the letters are repeated, and drawing each one from scratch is pointless. In addition, because of this, the same letters can look different.

• Select a tool Path Selection Tool and select a piece of the letter E;
• Click ALT And CTRL. Click on the shape and drag it down;
• Key ALT will copy the shape, and the key SHIFT will allow you to drag the figure down along a strict vertical line.

• Now the tool Path Selection Tool select the entire letter E;
• Copy it in place of the second letter E.

Let's get to the hardest part, the two. Perhaps you already know that the complex consists of the simple. For example, the base of a two is a simple rectangle. And the hat partly consists of a circle. Let's try to depict all this using primitives.

• Draw the frame of the two;
• Select the circle tool Ellipse Tool and draw a circle on top of the hat;
• In the Layers palette Layers lower the transparency so that you can see the logo through your layer;
• Select circle with tool Path Selection Tool, if necessary, change the size and shape of the circle Edit > Free Thanform Path.

• In the settings panel, switch from Add to Shape area (+) on Subtract from Shape area (-) We need to remove the excess;
• Draw a circle in the center of the circle. Scale it if necessary Edit > Free Thanform Path;
• Tool Rectangle cut off half the circle.

• Select a tool Direct Selection Tool;
• Click on the anchor point on the head of the two and adjust it manually. Correct the guides if necessary.

• Select a tool Pen Tool ;
• In the vector settings, turn it on again Add to Shape area (+);
• Now carefully draw the missing part. Make it as smooth as possible;
• Learn more about drawing tools and Pen Tool read the article

Rendering the Microsoft logo into vector

• First, let's draw an even rectangle the full height of the font;

• Click Edit > Transform Path > Skew and tilt the rectangle so that it fits exactly with the leg of the letter M;
• Using the methods described above, draw all the simple rectangles in the logo.

It's time letters ABOUT. Draw a circle.

Bend it through Edit > Transform Path > Skew

Switch to Subtract from Shape area (-) and cut a hole inside. Do the same manipulations with it.

If you cannot attach the circle exactly, correct the knots with a tool Direct Selection Tool

• Select a tool Pen Tool;
• Complete the missing details of the logo by hand;

• Now let's take on the letter S. This letter consists of two ovals;
• Draw the first oval;
• Correct its guides and knots with a tool Direct Selection Tool;
• Transform the oval if necessary Edit > Free Transform Path.

• Draw a second oval. Correct it with Direct Selection Tool And Free Transform Path

• Select the Pen Tool.
• In the settings panel, switch to Subtract from Shape area (-)
• Carefully draw the following shape. Out of habit, you may not be able to make flexible contours, but it will come out better every time.

Finally, The final stage logo drawing.

And this is what we got.

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. Again, take the pentula 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 with a soft brush of 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. Using a transparent brush of 15-20% transparency, paint the glow from the reactor, diffused light, and where it is needed, carefully erase it 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 turn out like this? aircraft future. I think it turned out very beautiful!

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