Digital Illustration: Easy Portraits Using Adobe Photoshop | Carmel Kundai Makaya | Skillshare

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Digital Illustration: Easy Portraits Using Adobe Photoshop

teacher avatar Carmel Kundai Makaya, Writer|Graphic Designer|Smiler

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (53m)
    • 1. Introduction

      0:51
    • 2. The Class Project

      0:41
    • 3. Photoshop Tools & Techniques

      12:19
    • 4. Before You Start

      3:41
    • 5. Setting Up Your Portrait

      3:31
    • 6. Base Colours & Shapes

      22:07
    • 7. Shadows

      7:04
    • 8. Changing the Background

      2:10
    • 9. Conclusion

      0:46
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About This Class

Getting started in the world of illustration can be overwhelming, especially when working with tools that are labelled as "for professionals" like Adobe Photoshop.

This course is for anyone who would like to get started making digital portraits for their friends, family, or even for commission. No need to have any prior experience. In this course, I talk through each tool that we'll be using, and I walk through my personal process for creating portraits.

Everything you need to get started illustrating in Photoshop is in this course.

Meet Your Teacher

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Carmel Kundai Makaya

Writer|Graphic Designer|Smiler

Teacher

Hi! My name is Carmel Kundai Makaya. I am a writer, graphic designer, Youtuber, smile-r, and a host of other things.

Ever since I was little, I've loved to create and grow. From writing short stories, to blog posts, to YouTube videos, and now Skillshare courses! Thank you so much for stopping by, I'd love to connect with you more via my courses and social media.

- With a smile, Carmel

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Transcripts

1. Introduction: Hello, my name is come up and die MCI and welcome to my course about how to make digital portraits using Adobe Photoshop. Don't worry if you are a complete newbie to Adobe Photoshop. One of the first things we're going to do in this course is go over all of the tools that you'll need for this project later in the course, we'll go over the techniques that you'll use to bring your portrait to life. Whether you're wanting to take up digital illustration as a hobby or maybe you're thinking of turning it into a freelance career. This course is for you. For my example, I am going to be creating a portrait of a friend of mine. However, you can use these techniques to create a self portrait or a portrait of a pet, or really a portrait of anything. So let's get into it. 2. The Class Project: For this class is project. You're going to create a digital portrait. You can create a portrait of yourself or a friend or a loved one of a pet or even of a landscape, if you would like. All you need to do is use the tools and techniques that you learned in this course to create a digital illustration of your own. Once you're done, go ahead and upload your portrait or illustration to the Projects tab. When you upload your portrait, you can also let me know in your description any of the troubles that you had or anything that you especially enjoy doing. You can also put your questions and comments and concerns in the discussions tab of the class. I look forward to seeing what you create and hearing more from you. 3. Photoshop Tools & Techniques: Alright, now let's go over all of the Photoshop tools and shortcuts that you're going to need to complete your portrait. As you can see here in Photoshop, I already have my reference image uploaded. And if you look over on the left-hand side, you'll see a bunch of tools. If you're opening Photoshop for the first time, then these tools should be on the left-hand side. But if for whatever reason you don't have the tools on your left-hand side. You're going to go up here to the window tab and you're going to scroll down two tools down here. General rule, if one of the windows or tools that I mentioned is not appearing for you, you're going to go up here to the Windows tab and you're going to find it in this list and then make sure that there is a checkmark to the left of whatever it is you're wanting to appear. For example, you have the layers panel, which I have opened over here on the right-hand side. But if for whatever reason that disappeared like it did just now I'm going to go up to window and I'm going to look for layers. I'm going to click on that and it's going to appear again now that you have the tools panel open, Let's go over each of the tools you need. As you look at those tools panel, you'll see that every tool has a little tiny triangle in the bottom right corner. And that just means that there are multiple types or variations of the tool that you see here. For example, the move tool. If I hold down on my left-click, you'll see that I can either choose between Move or art board. If I go down to the brush, I can choose between brush, pencil, color placement, or Mixture brush. And if you want to switch or cycle through each of these options, where you're going to do is click the first shortcut that we learned. So for a move that would be v, and then you're going to do Shift V. So shift these switches it to the artboard tool. If I want to go back to the Move tool, I do Shift V. Again, this is especially useful for the Shape tool for when you went to cycle through different shapes. For example, if I want to go from a rectangle to an ellipse, I'm going to do Shift U, and I'm already there if I want to go back the rectangle and we're going to do Shift you, uh, again until I reach the start of the cycle. Alternatively, you can pull down on the rectangle and click to whichever tool variation you would like. The first tool that you'll need is the Move tool. The move tool is the most basic and most common way for you to rearrange elements in your Photoshop document. The shortcut key is V. As you can see when I hover over the Move Tool photoshop lets me know a little bit about how the tool works. I can also see the Photoshop shortcut. So if I want to go to the move tool, say I am on this marquee tool and I want to go back to the move tool. I can either come over here and click it or I can use this shortcut. So I'm just going to click the letter V and my little cursor will change to the move tool. Okay, So the move tool is the first tool that you are going to need in your toolkit. The next tool that you're definitely going to need is the Pen tool. The Pen tool allows you to make precise outlines and shapes. He's in line segments and curves. The shortcut key is P. Well, so I can either look for the pen tool by hovering over all of these and waiting for it as a pen. And it says pointing tool right here. Or I can use the P key to get to the pen tool. So that's the Pentel shortcut. The next tool that you're going to need is the Eraser tool. The eraser tool allows you to remove any color, texture, or other pixels from any of your layers. The shortcut key is E, eraser tool is a little further up. It's right here. It looks like an eraser. Otherwise I can just click and it will go to the eraser. You're also going to need the paintbrush, which surprisingly looks like a paint brush. Brush, works like a paint brush or pen and allows you to digitally paint and draw on your layers. The shortcut key is B, so it says TO right here, the shortcut is B. The next one you're going to need as the bucket tool. The bucket or fill tool allows you to easily fill large areas of your layers with color. The shortcut key is G, So the bucket tool is right here. It looks like a paint bucket. How ever the shortcut is not p or b because those are already taken. The shortcut is a gene and then you have the shape tool. The Shape tool allows you to add various geometric shapes, such as rectangles and ellipses to your project. The shortcut key is you, that is down here right now you can see I have the tool set to rectangle and the shortcut for that is you. Now let's move on to other shortcuts that are going to come up quite a bit. The first one is the transform shortcut free transform allows you to change the perspective and sizing of your elements. It's also really helpful when you want to temporarily create a bounding box around different elements. And you want to be able to move them around your Canvas pretty easily. The shortcut on Windows, it's Control T on Mac Command T. The first way you can get to the transform function is by going up here to the very top of your Photoshop window. Clicking Edit, and then you have transform here around halfway down. As you can see right now, free transform and the pre-loaded transform options are both grayed out and that's because I have not clicked on a layer that can be transformed, but this will come in handy later on. Otherwise, you can also use Control T to transform. Nothing happened when I click Control T and that's because there is nothing that I can transform right now, but this will come handy later on. All right, the next thing you're going to need to know about is the layers panel. So I show this to you. Earlier. Layers is on the right-hand side. Any point if you drag this window, you can move it elsewhere. I like where it is right now, so I'm going to leave it right there. Right now you can see that my background image has a little lock beside it, and that means that it is not editable. It's not going to be moved around if I accidentally click it. And this is really helpful if you're working with a reference image that you don't want to move no matter what. Right now, I do want to be able to move it around just to show you a little bit more about the layers panel. So I'm going to just click on that little lock icon and you can see it's gone. If I wanted to walk it. Again, you can see all your different lock options. You can lock the transparency. You can lock the image pixels, you can lock the position. You can prevent it from auto nesting on art boards, which I'll show you later. Or you can lock everything. So right now I'm going to leave it unlocked and I'm going to click new layer down here in the bottom right corner. What you're going to want to remember about new layers and layers in general, is that they work like a piece of paper or physical objects work in the real-world. So right now you can see that layer 1 is above Layers euro. And if I were to go to the brush tool like I am right now and say I do a bunch of scribbles all around our reference image. Right now you can see the scribbles that because layer one is on top of the background layer. But if I were to switch the order of these layers, as you will see, the scribbles disappear. And that's because layer one is covering up my scribbles. On other thing to note about the layers panel is that you can hide certain layers. For example, if I put Layer 1 back on top of layer 0, you can see my scribbles again. If I want to temporarily hide those scribbles, maybe I want to try out a different color of scribbles. You know, I'm gonna make a new layer and to change the color of my paintbrush, I'm going to go back to the left-hand side of my window. Down here. I am going to click that white box. And I'm going to change the color. We'll just say to black. And I can scribble again, say I want to compare the black scribbles that white scrolls and decide which one works better with the portrait. Then I'm going to use this eye icon that is to the left of each of the layers. For example, if I click it right now, it will hide the black scribbles. If I click it again, it will bring them back and you can do that for any of your layers. All right, I'm going to go ahead and delete those. Okay, now let's talk about the last Will that you're probably going to need to complete your portrait. Learning options allow you to further customize your elements by adding various effects, such as borders and color overlays. For this example, you can see that I have a big flax squiggle on the top left of my portrait. And I'm going to show you how you can easily change the color of this if you don't want to have to redo your paint brush marks every single time. For example, say you digitally painted the hair for your portrait. And then later you decide that that hair color isn't exactly accurate or doesn't work well with your background or whatever it may be, then rather than redoing all of the hair, again, what you can do is use Blending Options and a color overlay to change the color. So the way you get to blending options is you can either right-click on your layer of choice and at the very top you'll see blending options. Or you can double-click on this thumbnail image and blending options will appear. There are a lot of different style changes that you can make and feel free to experiment with each of these to figure out if there are any here that you would like to implement into your portrait. For now, we're just going to focus on color overlay. You can see as soon as I click it, the color changes. Over here. You see this light blue and you can change this color to whatever you would like. Father started. I wanted to go for more of a red. I'm going to drag these two arrows to the top where the red spectrum is. And you can then click on every word like within this box to come up with the red that you would like. Or they can see if I go this way towards white becomes more like a pink. If I go further down, It's more of a, more of almost like a purple. Or I can go up to the top right to get more of a true red. Anyway, you can change the color to whatever you would like for them to be. And you just hit Okay, when you're done. And as you do this, you want to make sure that preview right here is checked. Otherwise, you won't be able to see all the different colors that you're testing. As you can see, it turns back to black. Whereas if I have preview on, it will change as I make changes in the Blending Options window. So say I decide that that dusty red is what I want, then I'll just click. Okay. And as you can see down here, we now have some extra layer edits. To the bottom of layer 1, we have affects. And if we were to have added more effects, we would see them all listed down here. Right now we just have color overlay. And just like I can hide a layer, I can hide an effect. So I can choose just to hide the color overlay to see how it looked before. Or I can choose to hide all effects if there are multiple listed under effects. Take go ahead and hide that. And again, it reverts back to the original color. That is a rundown of all the tools that you're going to need for this portrait. As we go into each aspect of the portrait. I'll break down these tools even further. But right now, feel free to just experiment with all the different tools that are here. And then from there you can use what you learned in your experimentation to enhance your portrait. 4. Before You Start: It's almost time to start creating your portrait. One more thing that I'd like to go over first is a couple of reminders. Firstly, your portraits do not need to be perfect. It is okay if your portrait doesn't look exactly like the person that you're modeling were the pet or landscape that you're modeling after it is okay to take artistic license. Second bubble, as you are going through and adding elements to your portrait, I want you to think of your portrait as a collection of shapes rather than concrete elements. For example, if we were to look at this portrait of my friend right now, I'm going to zoom in by clicking Alt or Option if you're on Mac and the spreading gesture on my trackpad. Alternatively, you can do Control plus and control minus. So I'm going to zoom in and if I am to look at her hair right here on the left side, it is easy for me to think. Okay, right now, I need to paint a bunch of hair, which sounds like it would make sense. But I have found in experience that when I focus so much on making the hair look like hair, but the t-shirt look like T-Shirt or that jaw line look like the jaw line. My painting actually doesn't look like those things. But when I focus on following the shapes that the reference image gives to me, then I'm able to make the hair look more like hair, not what I think carrot looks like. So for example, looking at this, rather than looking at this as a bunch of hair and my head, I'm more focusing on the fact that I have a bunch of curves and I'm going to follow those curves, curves as I paint. So I'm going to go to the eyedropper tool. When you click i, I'm going to pick a base color, which we'll go over in the next lesson. Say go for that brown. I'm going to go back to the brush. And I sort of thinking about hair. All I'm thinking about right now is getting the general shape down. Now that obviously is really messy. The batteries are k because we will continue to add on and refined as we go on in the portrait. And going back to the first thing I said to you, remember it does not need to look perfect at any point in this process. This is an artistic project, and so feel free to take your time and except what you're fortunate looks like at different points in time. And the third thing that I want to mention before we get started, as you continue to put more and more portraits, you'll find that this process is a little easier. And your portraits are a little more true to your reference images. But even if they aren't, that is perfectly okay. You're also going to want to remember it that layers are your friend. Don't be afraid to have a 100 layers in your layers panel, either because you're testing out a lot of different colors or textures, or because like me, you're going to want to keep every single aspect of your portraits separate. For example, I'm going to create a shirt layer and hair layer and the skin tone layer. That way, I can manipulate each of these layers and colors individually rather than putting them all on one layer, which would be like putting them all on the same piece of paper, and then not being able to manipulate each little element precisely. All right enough talking. Let's go ahead into the next lesson and make a portrait. 5. Setting Up Your Portrait: As you've already seen in previous lessons, I have the portrait of my friend loaded up here. And the first thing I'm going to do is put it onto an art board. So the way that I do that is hold down on the move tool up here in the top left. Alternatively, I can do Shift V to switch to the art board. And I'm going to zoom out a little bit. And I'm going to drag my cursor from the top left, all the way down to the bottom right. The little pink guidelines for letting me know that I have covered everything in the image. Like layers aren't boards are another way for you to test out your different ideas. For example, if I want to see two different shades of brown and compare it to, all right, have layer one on art board 1 with this shade of brown. And then I can zoom out and I can either duplicate the artboard over here by right-clicking on the word art board 1 and clicking Duplicate a peer of top. Or I can give it a new name. I'm going to say our board two. And now I have two art boards. All right? And here on the second artboard, layer one, we're gonna go into Blending Options. Drag this over so you can see it color overlay, and I'm going to pick a different shade of brown. So I'm going to click up on the color box, like we talked about before. And I'm going to use an inbuilt eyedropper tool by dragging over my little cursor over to our board one, the eyedropper should automatically appear, going to sample this brown and then I'm going to adjust it slightly. So say I wanted to test out a deeper brown and that's a lot darker. Okay, I'm going to click OK and OK to save my changes. And now I can compare the two browns right next to each other, see which one I prefer. This is going to be a useful separation and technique to have when you're on right now doesn't matter so much because I haven't done anything on the portrait. Gonna go ahead and delete our board to my clicking on it, and then clicking the delete button on my keyboard. If I were to click these icons on the sides, you'll see that a plane, our port of the same size will automatically appear. For now, we're just going to work on art board 1. When I switch back to the move tool, I'm going to delete layer one. Okay, so the first thing that I'm going to do is create layers for each element of my portrait. So the first one that I can see is skin tone. Now going to have my different layers. I'm going to go ahead and rename them so I don't get confused. So layer 0, I'm going to double-click on the word Layer 0. And I'm going to say who were our friends image and I'm going to lock that in place because I don't want it to move. Then here we are. One is going to be skin tone. And you have layer 2, which is going to be t-shirt. And then I'm going to have hair as we continue on in the portrait, I'm probably going to make more layers, but for now, this is a good place to start. 6. Base Colours & Shapes: So starting with the skin tone, going to zoom in here to her left arm and start there and then I'll do right arm and then we'll move up. So I'm going to switch to the pen tool, so that's P or over here you can click on it. And like was mentioned before, the Pen tool allows for a really precise way of you selecting different parts of your image. So I'm going to click up here at the very top where her arm meets her t-shirt. And then I'm going to click over here where her arm ends. And as you can see, when I drag away, the tool becomes more bowed. And I want it to be just vote enough to match the t-shirt. Now using the pen tool is going to take a lot of practice. But with a lot of experimentation and practice, you'll find that using the pen tool gets easier and easier. Otherwise, if the pen tool is just really making you very nervous, then you can just free hand with the brush tool. I personally do not have very steady fingers. And so even with a mouse or using my trackpad is really hard for me to keep my brush lines for straight. That's why I prefer to use the blend tool, but you are welcome to use the pen or the Brush tool. It really doesn't matter. Now that I have my first line set with the pen tool, I need to work on my second line. The way that I'm going to do that is first click Alt. Come up to this white circle and I'm going to move this little segment down to where I want to start my next line, which is right there. And then I'm going to go ahead, place my next dot and do exactly what I did before. As you can see, I completely misjudged what this angle was going to look like. So I'm going to Control Z to undo. And I'm going to try again. And it is okay to undo or delete different things to restart. As you'll see, I do that quite a bit. Again, I'm going to click all to wait for my cursor to turn into a triangle and then move this up. And then I'm going to move across. We're just gonna go straight across, straight across again. And I'm going to connect to make a complete square looking thing. And then I'm going to right-click anywhere on the pen lines inside of the artboard. If I click over here, as you can see, it only gives me options of colors to change the canvas, which is not what I want to do, is I'm going to right-click over here. And I'm going to say Make selection. For the radius. I'm going to keep at 0 and click, Okay. As you can see, now, there is an ant looking line surrounding her arm. And if I'm go to the brush tool right now, I'm going to change the color by going to the eyedropper. And I sample her skin tone. Go back to the brush. Right now if I paint, it will only paint outside of the selection. None of the paintbrush lines will go inside the selection. However, I want it to do the exact opposite. So I'm going to Control Z and I'm going to invert my selection. You can do this either by going up to the selection tool, which is up here under the move tool. So rectangular marquee tool. And you're going to right-click inside of your selection, click Select Inverse. Now it is selecting everything within that little box. Once I'm done, then I can go ahead and deselect this area. You do that by going back to the Marquee Tool, the shortcut for which is M. And you're going to right-click again and you're going to say de-select if you want to use keyboard shortcuts for this process, after you have made your selection using the pen tool, you are going to use Control Shift I to invert the selection. You're going to go to brush, which is B. And you're going to paint inside. And then you are going to control D to de-select. This outline doesn't have to be absolutely perfect because we're going to go and make changes later on down the line. And I'm going to move on to the right side of the image. And I'm just going to show you how you might freehand this if you would like to freehand and you don't want to use the pen tool, you're going to go to your brush tool, which I'm already there. I already have the skin tone I would like selected and right now my brushes a little big. I'm going to go up here to 53 and I'm going to reduce the size. Or I can just right-click. And the brush tool options will appear. We're going to say 20, 29 looks okay. I'm going to zoom in further. So there I have a greater margin for error. And you're going to paint everything that you see. But you would count as an arm. So as you can see, my lines here are not very precise, especially comparing them to my pen tool lines. But whichever one you would prefer, you can go ahead and use that. I'm going to leave it like that for now. Then we're going to go up here to her face and her neck. And we're going to do the same thing. You can either use the pen tool or brush at this point, I'm going to use the pen tool and I'm going to outline her t-shirt right now. Her hair is covering a lot of her neck. That is okay. We're basically just going to ignore that area and it doesn't need to be super clean because the hair layer, we'll cover that up. So I'm just going in anytime I'm a little confused, I can zoom in up here where her forehead is, another place where her hair covers up lots of space. It doesn't really matter what the shape looks like. As long as I end up back around here as easy, I made a mistake. So I'm going to Control Z to undo, and then I'm going to try again. All right, and now I'm going to make selection. And instead of using the brush tool, I'm going to use the fill tool. So that was the bucket that we talked about before. And that will just let me fill in the entire space at once. It is currently selecting everything out here, which is not what I want. So Control Shift I to invert that I'm going to go to the bucket which is here or GI. And I'm going to click, as you can see, it is super light, which is a little bit confusing, except when I look up here and my bucket tool options by opacity is set to 10 percent. I want it set to a 100 percent. I'm going to go ahead and undo all of that. Oh, I undid too far. So I'm going to Control Shift Z to redo. If you forget how to do that, don't worry, you can go up here to Edit and the first few options or undo and redo. You can also see that Photoshop, let's you know what the shortcuts are so that you can memorize those as you go along. Move the opacity up to a 100. So I can use this slider, or I can type in a 100. And then I'm going to click gin. And now it is a 100 percent opaque. I'm going to Control D to deselect. And now I'm going to focus on her t-shirt. The painting that I've done so far is a little bit distracting. I'm going to go ahead and hide this layer. Now I'm going to click on the T-shirt layer and we're going to work on the T-shirt layer. So I'm going to zoom in. I'm going to use my pen tool again. And this time I'm going to go through an outline, her entire T-Shirt. You can be as loose or precise with this process as you would like to be. The more precise you are, likely, the less work you'll have to do down the line. But if you're just looking to create a rough base, then go ahead and move quickly and you can make changes in your revisions. Rather than getting caught up in perfectionist tendencies at the beginning, I have my selection already to go and ready to fill. The only problem is I have this skin tone color loaded up and I want her t-shirt color. What I'm going to do, rather than changing this color to black, I am going to click X. And X will allow me to switch the foreground and background colors. So that allows me to have up to two colors loaded at all times. So I'm going to change this blue because I don't need it right now to a black just by dragging over and eye dropper will automatically come up. This is an example. Where are you have to decide whether you want to paint, what you see or what you think you see. I'm, I look at her shirt, it is block. However, want to use the eyedropper tool. I can see that it is just a really dark gray. So I can either choose to give her a black t-shirt or I can stay true to what's in the reference image and go with a dark gray. I'm going to go with the dark gray for now. I can always change this later using Blending Options. I'm going to click, Okay, I'm going to zoom out. Go to G and O, I build the wrong part of my selections or Control Z, Control Shift I to invert and fill, Control D to de-select. If I were to bring the skin tone back, we have a pretty good base, kinda looks like a clay structure. And the next thing that we're going to work on is the hair. So I'm gonna click on the hair layer. And again, using the pen tool, I'm going to outline her hair pretty roughly. And then I'm going to fill in with a base color. Her hair is a lot of different colors. You have the base like orangey, brown. And then you have where there are shadows and where there are highlights right now I'm not going to worry about any of that. I am just focusing on getting that base color down. I'm gonna go back to the pen tool and I'm going to zoom in again. I'm going to start from wherever I would like. Right now. I'm ignoring all the lists in her hair just because I'm going for a pretty minimalistic style portrait where the hair is basically going to be a solid color. So I'm focusing more on the shape of how it looks like little Ss rather than focusing on precision, you'll see that that is very much a theme. As I'm making this portrait. I'm focusing more on broad shapes and colors rather than making this an exact science. Okay, right here I have the option of going out and making her hair kind of pointy. I don't want to do that. So actually going to backup a little bit. And I'm going to focus here who I don't really like the way that this is looking right now, but I will focus on the later once I have a better understanding of what this portrait looks like as a whole, rather than what that tiny little section looks like by itself. All right. There is the hair outline, your right-click to make my selection. And then I have the option of either getting rid of my dark grays with a T-shirt or the skin tone, I'm going to get rid of the dark gray. And now I need to find a base color for her hair. You can either pick the lightest part or I could pick the darkest part. Going to look for something in the middle. I think that will work. And I'm like, okay, the amount a bit, make sure it's selecting the white part and fill. All right, Now I'm going to show all of my layers just so I can kinda see what it's looking like. I think this is looking pretty good already, a couple of things, but I noticed from the get-go as that portions of the hair are really choppy. For example, this little triangle in the bottom left, I definitely don't want that. So I'm going to simplify this image by deleting this section, as you saw in the reference image pair isn't perfectly wavy. There are little wisps here and there. But for the sake of this portrait, I'm not going to show those. So to get rid of this, I can either freehand with the eraser tool to erase this a little bit big. So I'm going to right-click just like I would with the brush tool to make the brush size a little order to make the size a little smaller, sorry. And I can go ahead and just erase. All right. As you see, that worked pretty well for broad sections. But once I get into these little bits, because the eraser is erasing with the shape of the outside part of a circle. It's still ends up a little choppy sometimes. So as you would imagine, you can do the same thing with the pen tool. But what I'm gonna do is go back to the pen tool and I'm going to make the curve exactly what I want it to be. So to me, that looks pretty good if her hair goes around like this. And then I'm going to select to right? It doesn't really matter what this part looks like. I'm going to make a selection, okay? And I can either use my eraser tool to only erase what is in this bounded box, or I can click the Delete button on my keypad. And it will also delete everything within that bounded box. There is still this little tiny pixel that is poking out. So I'm going to free hand that. I'm just going to erase very carefully. I think I got it. 200 points or C are right here. It's a little awkward looking and up here. So I'm going to go ahead and remove this section. I think it looks a bit odd. I'm going to use the Pentel. I think that looks okay. And then I just need to make a box, Make Selection, Okay? Control Shift I and delete. It'll be great. Again, I have a little gap there, like I have here, my knees, my brush tool for this. And Barry, carefully, I'm going to fill in that space. I was a little much gonna make my brush a little smaller eraser tool to clean it up. Again, brush tool. And this is one, knowing your keyboard shortcuts comes in handy because I can quickly switch between b and e, and b and e with my left hand while I continue to move my cursor around with my right hand. If I had to go to the Tools every single time, this would slow the process down. Okay, from this level, it looks okay. I'm gonna go ahead and move on. A lot of times I find that when I work on other sections or I go and take a snack break that when I come back, I have better ideas. Or really that tiny little pixel that I was worried about before doesn't actually stand out or look bad. And sometimes. Portrait looks even better because of it. And so it's important to take some time away from what little sections that you're working on. And one thing, though, I just remembered that I mentioned at the very beginning and should have been doing this entire time, is saving my project. I would hate for my computer to crash or for something to happen that causes me to lose all my work. So I'm going to go ahead and save the way that I know that I haven't saved in a minute. I haven't saved since at least one additional change was made. Is that over here where you see the name of my project and there is a little asterix and that just means that they are unsaved changes. You can turn autosave on in your settings. I personally don't have autosave on, so I need to save manually. So I'm going to do Control S or you can go file and you're going to click Save or Save As, and save as a PSD. So that's a Photoshop document, which means that I can always come back to this and make edits in a future. I say, Okay. And as you can see, no more asterix up the top. That is a good thing. So the next thing that I'm going to work on is her face and her arms. As you can see, there's some really awkward gaps here. Where you can see, in this case the t-shirt or even the reference image behind her face and her arms. Going to go ahead and zoom into her arm over here. And I'm going to make sure I go to the skin tone layer, switch my foreground and background colors by clicking the X. Go to the brush tool. I'm just going to freehand this. Like I mentioned before, layers are like objects in the physical world like pieces of paper. The skin tone layer is underneath the hair and the t-shirt, sorry to each worry about it bleeding on top of the hair so I can pay pretty freely. And I'm just going to fill in this gap. As you can see, we're going to try to fill in this gap. Nothing happens, which indicates to me that another layer must be on top of where I'm trying to paint. So that must be the t-shirt layer. The way that I can check that for sure is by going to the Move tool. So by clicking V and then clicking this little tiny black spot and seeing which layer appears, which layer is highlighted. And that's the t-shirt layer. I'm going to go ahead and erase that section of the t-shirt layer because I want what's below. So the skin tone layer, it just show up. So when you go to the eraser tool by clicking E, and then I'm going to erase. And now what I was painting before it can be seen. I'm going to zoom out. And to me that looks a lot better. We have the same issue over here with her face by aware her ear would be and over here by her chin, over here. I'm not quite sure if her chin goes up far. So what I'm going to do is lower the opacity of my painting layer. So what I can see the reference image more clearly below. And we go to hair, we're going to bring the opacity down 50 percent and that's fine. I'm still having trouble figuring out what I'm supposed to do there. Am I supposed to add more hair or as her chin need to go further down. Just going to hide all of these layers for a moment. Okay. It looks like right here is a shadow, but it would be her hair if you could see it remembering these back and bring your feet back to a 100. And I'm going to add more hair. Whoops, wrong color. So I'm going to Control Z. I'm going to switch my colors. Thankfully, Harris already loaded. So click X, I'm a try filling that. Again, nothing seems to be happening. I'm gonna make sure all my settings are correct. It looks like it's because I have something there already and so it's mixing the two colors. So we're going to use my eraser tool to make sure I'm working with a blank slate. And we go back to fill it again. Alright? And I have a lot of sharp corners, so I'm gonna go ahead and make them not a sharp. I'm going to zoom out and see what else needs fixing little bit of banks here looks a bit awkward, free handed, see if I can smooth it out a bit a lot. See where we're at with this portrait. I'm going to hide the reference layer for a moment just so I can see what it looks like. Okay, this left side of the hair isn't my favorite right now. But I'm not going to worry about that now. I'm going to keep moving forward and I'll deal with that at the very end. One thing I do want to do is add a background that isn't white to this portrait. And the way that I'm going to do that is by creating a new shape. So I'm going to click you to go to the rectangle tool up here. I'm going to change the fill. I'm going to change it to, I think a green. Always change this later. I probably will hide this. And I'm going to drag used that cursor as a guide to fill up the tire art board is currently covering everything which is not what we want. It's going to drag this rectangle layer down. I'm going to put it below the reference layer, unlock this, move it up one, and I'll lock it again. Okay, so I think the portrait is looking really great so far. I think we are about 80 percent of the way there, 90%, even the only thing that we really have left but needs to be added if some shadows and we need to give her a draw a line, and we'll do that with shadowing. 7. Shadows: So I'm going to go ahead and create a new layer just for shadows and details. And the first one I'm going to start with is her jaw line. To be sure about. I actually get her jawline correct. I'm going to bring the reference back. First thing that I want to do, I'm going to switch the color down here. And I'm going to sample the skin tone again. And then from this base, I'm going to create a slightly darker version of this color. I'm gonna go down just a little bit. That's all right. Okay. As you can see, I have to skin tones now loaded up and they are almost the same, slightly different. I'm going to go to my brush and I'm going to change to a soft brush. So I can do that either by clicking my presets or just by lowering the hardness down to 32 percent. Just to show you what it looks like, I'm going to draw here. As you can see, the brush is quite fuzzy on the edges. It's very big. Definitely don't want it that big. And it's still quite dark. So I'm going to do is lower the opacity. We're going to say too, 47 per cent over, Let's do 230 percent. And you can just experiment and figure out which hardness and which size at which you pass the work best for you and your shadows. I really like that. So that's what I'm going to use to create her jaw line. So I'm going to take the skin tone layer, bring the opacity down to 40 percent. Okay. So her jaw line is here and I go back to the shadows. Am I going to either free hand this or it can use a pen tool. You can use the pencil, outline her jaw line. Great. I think that would make a great jaw line. And instead of closing this loop like I have in the past, and you'll leave it like that because her jaw is just a line and I'm going to right-click. So instead of saying Make selection like I had in the past, I'm going to click Stroke Path and the tool settings that I want it to use is the brush tool. So I'm going to leave it on brush, but you can click through any one of these options if you have a specific tool that you have set, I'm going to click okay, and right now you can't see anything. But if I click, Enter that line, the blue line goes away and you can see under here, There's a little shadow or shock path where that blue line originally was. Now I'm going to bring the skin tone back to a 100 percent. Right now my shadows are below the skin tone. I wanted to put it at the very top. And as you can see, now she has a draw line, which is very exciting. The other places where I would like to add shadows here at the bottoms of her t-shirt that needs to be fixed. And also here around the neck line or per t-shirt, making sure that I'm still on the shadows layer. And because the shadows are so subtle, it's possible that a lot of people won't even notice them. Okay, Stroke Path, okay. Click Enter. At this point, if you weren't all that familiar with button tool, probably are now just from having so much practice and so much repetition throughout this portrait creation process. Okay, so now we have our base colors done, we have our shadows added, and now it's time for final touches. If you wanted, you could definitely add a whole lot more detail to this portrait. But for the style I'm going for, this is going to be, all right. I see a couple of things wrong with the portrait. Just from the get-go. For some reason, I accidentally deleted all the hair down here. So I need to add that in. There is something going on up here. Maybe if I had to reference image. Okay, we're looking so much better. But there is gaps in her hair up here. So I'm gonna go ahead and make those changes. Here is looking a little bulky, little puffy. I think I want the line to look more like that. So I'm gonna go ahead and make that change as well. At this point, as you're making final touch changes, you're going to want to be extra aware of which layer you're working on. It can be very easy to get confused and paint on the wrong layer. It's not the end of the world if you do that, but it can be a little frustrating when you're wanting to make changes. So I'm gonna make sure to change the hair layer. I'm going to use eyedropper. I'm going to switch to the original skin tone layer, but that is a really easy color for me to sample if I ever need it. Whereas this Shadows color is going to be a little harder to pinpoint. So I want to leave that loaded up. So I'm gonna switch the eye dropper tool, sample, the hair color, go to Brush. And I need to make sure that my brush is back on a 100 percent hardness. And we don't want the size to be a little bit bigger. And I want the opacity to be at a 100 percent and now we're good to go. Oh no. Okay. So when I zoomed in, I can see that my shadow lines go all the way up to the top of this bang. And I do not want to ruin that. So instead of adding more hair, I'm actually going to add more of a forehead, which looks like is what got deleted. So I'm going to sample her skin tone. Go back to the brush, make sure I'm on the skin tone layer and I'm going to brush areas very roughly. If you were to remove the hair layer, you would see how roughly I rushed, but given that she has hair, I don't need to worry about that so much. Then we have an issue down here. Now I want to fill in this whole section. Oh, I can see that here we have some of the green background poking through and switch back to the skin tone layer, switch back to the skin tone color and brush in this area. All right. I think that looks a lot better. I think her bearings are little bit I'm going to round these out a little bit. I can go up here to my history tab and we'll see that here. Here is where the banks are still quite pointy. And then down here is when they're around it. So I can kinda decide, do I prefer the image as a whole? When the veins are a little sharper or a little rounded. 8. Changing the Background: The next thing that I'm going to do is experiment with different background colors. And the way that I'm going to do that, and this is where art boards come in very handy is by duplicating this art board. I can duplicate it by right-clicking our board and clicking Duplicate or upward, shade that before. Or I can Alt drag or Option Drag where it says our word, given that I'm on the move tool which were just moved to. So I'm gonna do that when I click on it, you'll see that the cursor turns into two cursors. And that just shows that I'm about to duplicate whatever it is that I click. So I'm going to click Alt and then I'm going to go ahead and drag this art board over. As you can see, it makes a perfect duplicate. I'm gonna do that one more time, but on this side. And then I'm going to do one more thing. I'm going to go into this art board and I'm going to find the reference image. And I'm going to duplicate the reference image. So duplicate layer, unlock it, I'm going to show it and I'm going to do Control T. So that's that transform feature that we were talking about before. And I'm simply going to drag it over transform just lets me see a bounding box around it so I can see where it's going to go. And then click Enter too, okay, or you can click this check mark appear, okay, so I can see my reference image. I can also see my finals. And I'm going to go through and edit some of these background colors. And we have green, which I'm going to leave in the middle. From this, I'm going to double-click on the thumbnail. I'm going to pick a different color. Let's see. I just cycle through these high pink here. I'm going to change this to something else as well, maybe a blue. And now here I see my finals and my original image. One thing I am noticing is the way that I curved her hair up here makes it seem like her jaw line is a lot higher than it is, which I think is a little like visually confusing because then you don't really know what the shadow is doing. I'm going to go ahead and make that edit. And now on the screen you'll see the final version that I came up with. And that's all for this part of the lesson. 9. Conclusion: If you haven't already, now's time to start creating your own portrait. You can create a self portrait or a portrait of a loved one, a pet, or even a landscape, or all of these different types of illustrations. You're going to follow the same process. You're going to have your reference image, and then you're going to have your base colors and shadows. There aren't too many tools or techniques that you need to create a portrait or an illustration. But getting comfortable with these tools and techniques and becoming more time-efficient will take time when you upload your custom portrait or illustration to the Projects tab. You can also let me know what the hardest part where your least favorite part of the process was. I'd also be interested in hearing what you especially enjoyed about the process. And if you have any questions, feel free to leave them in the discussion step. I look forward to seeing you in my next course.