How To Create A Low Poly Portrait With The Pen Tool In Illustrator | Dawid Tuminski | Skillshare

How To Create A Low Poly Portrait With The Pen Tool In Illustrator

Dawid Tuminski, www.dawidtuminski.com

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18 Lessons (1h 8m)
    • 1. How To Create A Low Poly Portrait With The Pen Tool In Illustrator

      1:54
    • 2. 1Before We Start Creating The Low Poly Effect

      4:48
    • 3. 2How to Start Creating The Polygons for the Eyes

      4:46
    • 4. 3How To Create The First Polygons

      5:27
    • 5. 4How To Add Colors to the Polygons

      2:55
    • 6. 5How To Create The Other Eye with the Polygons

      2:57
    • 7. 6How To Start Creatig Polygons For The Lips

      4:13
    • 8. 7How To Add Colors to the Lips

      3:50
    • 9. 8How To Start Creatin the Low Poly Face

      5:28
    • 10. 9Let's Add Some First Polygons

      3:05
    • 11. 10Let's FInish Creating the Polygons for the Face

      5:40
    • 12. 11Let's Finish Creating the Face

      3:43
    • 13. 12Let's Start Adding the Polygons for the Hair

      4:49
    • 14. 13Let's Add the Colors To The Hair

      1:58
    • 15. 14Let's Start Creting the Shoulders

      5:52
    • 16. 15Let's Give the Shoulders Some Colors

      3:36
    • 17. 16Summary

      2:08
    • 18. Class Project

      0:54

About This Class

Low poly style art has been really popular recently. You can see it in posters, murals, paintings…

It’s definitely one of the most eye-catchy effects in the design world recently.

And one of the best things you can create using this style is a low poly portrait.

Just imagine creating a gorgeous low poly portrait from a photo of your loved one: it can be the best anniversary or Christmas gift ever!

Inside this course you will learn 

  • how to use the pen tool to create the eyes, lips, nose and hair - all that using simple techniques and easy to follow steps
  • how to rapidly add colors to your artwork using one, simple trick
  • how to make the process of creating low poly art fast and easy

It's a concise guide to creating spectacular low poly effect portraits and the techniques shown inside this class are so universal that you can use them in your other projects.

The low poly portraits may seem like they are extremely difficult to create, but trust me, once you get to know the best practices and techniques, the process becomes super easy. 

Since we will dive right into the creation process you must have some basic knowledge about the pen tool, pathfinder and some basic Illustrator functions to take the most out of this class.

But if you have a basic understanding of how the pen tool works, how the layers and the pathfinder work, thanks to this class you will be on a fast track to creating stunning low poly portraits!

Enroll now! 

Transcripts

1. How To Create A Low Poly Portrait With The Pen Tool In Illustrator: Hi there. My name is David Tomaszewski, and I wanted to thank you for choosing this course. I know that there's a lot, of course, is out there. That is why I am so grateful that you chose this one. Lo poly style art has been really popular recently. You consider in posters, murals, paintings. It's definitely one of the most. I catch effects in the design world recently, and one of the best things you can create use in this style is a low polling portrait. Just imagine creating a gorgeous lopo portrait from a photo of your loved one. It could be the best anniversary or Christmas gift ever. Inside the scores, you'll learn how to use the pento to create the eyes, lips, nose and hair, all that using simple techniques and easy to follow steps. How rapidly add colors to your artwork. Using one simple trick and how to make the process of creating low poli art fast and easy. It's a consigns guide to create its spectacular, low pally effect portrait, and the techniques shown inside this class are so universal that you can use them in your other projects. The low point portraitists may seem like they are extremely difficult to create. But trust me wants to get to know the best practices and techniques. The process becomes super easy. So since we'll dive right into the creation process, you must have some basic knowledge about the pencil Pathfinder and some basic illustrator functions to take the most out of this class. But if you do have a basic understanding of how the painful works, how the layers work and how the path final works, thanks of this class will be on a fast track to create Einstein Low Polling portrait. So thanks again for choosing this course in role now and let's get started. 2. 1Before We Start Creating The Low Poly Effect: before we dive into creating the low poli portrait effect. There's just a few concepts that I like you to understand. And if you've seen my low pally Helen Pumpkin, the class, well, you might be familiar with those concepts already. But let me just quickly break them down for you. So first of all, our main tool is going to be the Penta Law, of course, and what we are going to be doing with it is we are going to be roughly tracing on The main importance of the model is faced. That's that's going to be the first thing that way we are going to be doing. And after we are done with a very, very rough trace, we're going to be adding the polygons to our toe, our trace, and we are going to be doing it by simply joining The anchor points together, of course, with the panel. However, when you take a look at what is going to happen when we just hover over our pencil over an ankle point, you can see that this little mind assemble is being displayed next to the Pantelis symbol, and as soon as I do it, you can see that I'm simply removing an anchor point, and that's that's definitely not what I want to do. I want to be able to starting new path from this very anchor point so we can we consume will solve this problem well in two main ways. First of all, when we hover over an ankle point, weaken, simply press and hold of the shift key in order to temporarily disable this order function of functionality that is switching our panel into a remove anchor point tool. So I'm just president holding down the shift key in order to start another path. So just by present the shift on my keyboard, I am simply temporarily switching my toe into a regular pen tal, and if you don't need this functionality at all, you can simply turn it off permanently. So what we have to do is you have to go to the Edit Menu Preferences, General, and on a Mac, you'd go with the Illustrator Preferences General, and you can see this option right here that says, Disable Auto added the lead. And if I just turn it on and then hover over in anger point, you can see that I am no longer being able. Thio Thio, remove an anchor point and I don't have to hold on the shift key. I can simply start creating Start creating my polygons just like so. The second concept that I would like to share with you here. Is that the way we are going to be picking up collars from our image and applying them? Teoh our polygons? What I would advise you to do in order to make this process as speedy it's possible and it and it's a long one. So in order to make it S p s possible simply after we've done after we've created our polygons, simply turn on the selection tool right here and then turn on the eyedropper tool. Of course you could use on that Well, first wiki on your keyboard and then the I key on your keyboard if you want to use the shortcuts. And now, every time I want to select a polygon, I'm just going to press and hold on the control key on a Mac. It hold down the command key. I can simply select a polygon. And then a soon as I let go on the control key on my keyboard. I'm I'm switching back to the eyedropper tool. So now I can just simply I can now just simply will pick up the color and it's being applied to to my polygons. So that's the concept number to know. What's also important to understand is that we are going to be working with a lot off. Layers were going to be creating layers for the eyes, for the lips, for the face, for the hair, for the shoulders. Just so our workflow easier. Well, not only better organized, but to the layers panel is going to ultimately help us in creating the final effect. And before we start, just make sure that you have the Pathfinder tool available. I mean, if you have a doctor into your your panels on the right, that's great. And if you don't just go to the window menu and choose Pathfinder, you can, of course, use the shift control plus F nine shortcut right here. Let me just quickly create layers new layers for ourselves, constantly going toe old. Click on this, create new layer button off course on a Mac, you to go with the option click, and I'm simply going to name this layer ice just like so. Then I'm going to create the layer for the lips, then a layer for the face layer for their hair, just like so and layer for the shoulders. Right now, I am not really concerned about the order in which these layers air stacking. I just wanna have them ready and waiting for me. Okay. So I think we are ready to start. I'm just going to remove these things. Polygons right here. And we're going to start with the tracing. Tracing this left? Well, technically, technically, the right eye. Well, this I we're going to We're going to trace this eye right here, but I think that we are going to start doing it in the next video. 3. 2How to Start Creating The Polygons for the Eyes: Okay, As promised, Let's start tracing the eye off our model. So first, I'm gonna make sure that I am on the right layer. I'm going toe Look, the image layer. So I want to be on the eyes layer right here. And I think that I am going to lock the other layers just like so. So I'm gonna grab the pen tal. I'm going to get rid of them off the Phil. And I think that for the stroke, I'm gonna use something invisible. Maybe this scion collar, just like so Let me just zoom in real close. Now. What I want to do right now is they want to roughly trace this eyebrow first, just like so. And remember that dim or polygon. See that? Well, the more anchor points you drop, the more polygons you're going to be able to create ultimately. So I'm not just going to Well, at least for now, trace this eyebrow. I am going to trace the whole eyes. I'm just going to go down here down here, and what I'm doing here is I'm finding that the basic all the most important lines well, in this eye, so to speak. So I'm going to I'm going to lock this this path like, so I'm going to finish it. And now I can actually start creating pass that are going to be marking the class. They're certain of the polygons, some simply going to click on this anchor point right here. And I'm going to create a path that is going to look like something like So, of course I need to find this anchor point right here. And we can, of course, zoom in real close if you want to, Just like so So this top this top part, let's call it like that is going to incorporate our polygons for the eyebrow. Now, the next part I would like to mark here would be the space between the eyebrow and the eyelash. So I'm simply going to click on this anchor point right here, and I'm going to create a path that is going to look something like that. There we go. Now, the next part would be this Well, this eyelid right here, So I'm simply going to find an anchor point. It's going to be this guy right here, and I'm simply going to click and click and click some more. Maybe here and then year and I'm going to finish it. I'm going to find the ankle point and finish it something like that. Now, the next part would be this eyelash. Does this dark area right here. So again, I'm simply going to find an ankle point. Maybe this guy right here that I'm simply going to click up and up and up and to the right to somewhere here and maybe find an ankle born down here, just like so I'm going to mark this bottom part of the ice. I'm going to grab an anchor point from here and just click through, click through and finish the shape Summer here, just like so. And of course, what I need to do right now is going to mark this Iris and the pupil, of course, the white of the eye. So that's what I'm gonna direct now. I'm simply going to start clicking and maybe click Summer down here, just like so, just like that, and maybe finish it to somewhere here. Then I'm going to create a separate path for the pupil. So I'm simply going to click to make it look something like that and notice that here we don't have any anchor point. If we just click on this path right here, we might encounter some problems when late would want. When, a day later, a stage of this process, we will divide the polygons. So what I would advise you to do is to simply go to them to the panto group right here and simply grab the ad anchor point still. And if I just click somewhere here and then somewhere here, I'm going to add anchor points to my path, and I can go back to the pen. Tal, start with this with this ankle point, click on it and then find that ankle bone that I just created and then this guy and simply and simply find that ankle problem, which is human, real close finding anchor porn that I've just created. Okay, so we got we got the main parts created. We got to this part for the eyebrow. For the space between the island and the and the eyebrow. We got the island and the eyelash, the pupil Iris and the white part of the eye. So now that we have all these guys created we got these parts created, we can now move on to creating the polygons themselves. However, I think that it would be easier for us to create the polygon. Since now we have these parts created without the image underline right here. And I will explain that concept in a greater detail in the next video. 4. 3How To Create The First Polygons: In the previous video, we used the the underlying image to create this main polygon a polygon shape. But now, since we already have it, we actually don't need the underlying image so we can simply turn it off just like so. And before we actually start creating the polygons, what I would advise you to do is to grab it, grab this outer an outer part of our of our main I shape. It's called like that. I'm going to simply copy it into my clipboard. I'm going toe unlock the face layer things guy right here. And I was simply going to pace it in front. I'm going to paste this this outer outer path in front. We are going to Well, we are doing it because and later stage of the process, we are going to be tracing the face. And this both this path is going to help us in the finding the right at the right spots for our polygons, for the face layer. So for now, just let's copy and based it on the face layer. It's not mandatory, but it will simply make our process faster and easier. So I got this layer while I got this path based that on the face layer and I can simply lock it again, just like I can't even turn it off off course. I mean, we won't be needing these layers so we can turn the visibility off all of them for now. The lips layer as well. So back on the ice layer, you can see that. Of course, we don't have the underlying image. And right now we are seeing on Lee the paths and we can now just grab the panel. And it's simply going to be easier for us to find the ankle points when there is no underlying image. I mean, nothing is like obstruct, obstruct in our review and we have bigger contrast. So what I'm gonna do right now is I'm going to be first. I'm going to zoom in a bit just so you can see everything better. I'm going to find an anchor point, click on it and connected with another ankle point that I'm not going to connect it with. Maybe this ankle point right here and then with this ankle point. And maybe I'm also going to connect this anchor point with this anchor point just like so And as you can see where simply creating, creating polygons with with some some really easy clicking. But if this view is still not too well, easy on your eyes if you if you're if you're still having problems on finding the anchor points, we could always go to the view menu and choose outline. And right now we can just see on Lee the past. We don't see the stroke. We don't see anything else rather than just just the path. So we can now simply find the anchor points maybe just a bit easier. So what I'm gonna do is I'm going to simply click on an anchor point and then find another anchor point. I think it's gonna be this one. And then on this one, just like so and maybe then going to click on this one and on this one, then on another anchor point and on this guy and this one and maybe this one just like so. Of course, remember that the more the more polygon so you create, the more precise your your ultimate effect is going to be. And it's always a matter off finding the right balance between making it likely really well low poli a fact and creating enough polygons. So So you know your your artwork. Your image is so well is distinctive enough is visible enough. So let me just drop some more anchor points. I mean, some more polygons. Listen, connect some anchor points just like so. And let me just maybe connect these guys right here just like that. Maybe. Let's find an anchor point right here and maybe connect these guys just like that and maybe connect these guys then these guns, just like So now let's start with the pupil and the iris. I'm going to connect these guys and then these guys, As you can see, it's the process, is not really difficult, although it's it's pretty long. I mean, it is laborious, but unfortunately, there is no that there is no another way around it. There are no shortcuts, and I'm I think that I am with the methods that I'm showing you are the ones that are going to help you in the making the whole process. So as fast as it can only be so let me just fast forward just a bit. So you can actually will see on the whole effect. Okay, so we are done with creating the polygons. And if you are not sure, if you're got to all the polygons you need, you can simply switch back the image. Of course we consume. We have to go back to the preview mode. Let's switch back the image. And now I can just see if our if our polygons are covering the I just the way we want them to. So if everything looks fine now, we have to simply just grab all these polygons and then just go to the Pathfinder menu, Click on Divide. And as you can see, the result of this transformation is a group. So we have to ungroomed these polygons sensibly, going to go to the object menu on group. Or we could use the shift control G shortcut just like so. And now we can simply talk to our polygons individually. So in a later video will in the next video, Actually, we're going to grab all these polygons and then we're going to apply colors to them. So that's something that you're interested in. Just keep watching 5. 4How To Add Colors to the Polygons: in this video, we're going to add collars to the eye of our model, and the process is really simple. All we need to do is to simply grab a polygon than initialize him the the eyedropper tool, preferably by pressing the I key on the keyboard. And remember that we just a second ago we had to the selection tool enabled. So right now, if I just select a collar just like so maybe some darker one, and then I can simply press the control of my keyboard gonna come on a Mac. Of course, you press the command, and I am temporarily as switching to the selection tool. So now I can just grab on Well, polygon and I can just select make some darker color, just like so Exxon clicking. And I am just big enough, the color clicking and picking up the color just like so. And from time to time, it might well turn out that we didn't create well, the polygons to precisely might have been off with some pass we might have. You might have not will collect on the right anchor points, but toe when a situation like that happens, well, it's not something that we can't actually handle. But if that situation happens, well, we will simply have to play with the anchor points. Or maybe just go will create to this effect. But more likely would in photo shop, simply by creating enough another polygon with the panel so we won't be just well, maybe like tracing something else. And then just maybe we'll divide in another another path we would just create in another polygon. But if that situation happens, we will be talking about it in greater detail. For now. Let's just create this. This I affect Let's just no pick up some some colors and this lighter color right here. Let's just pick up some colors and then we will We will see what what the effect looks looks like. So that would just speed them. Speed up the process for you. I mean, I don't want you to I don't want to spend a whole afternoon looking at Makil licking just on these anchor points. Well, on this past, I want you to just understand the technique and I want you to see the final effects. Well, let me just speed up the process and I will get back to you in just a second. Okay, so we created the I let me now just zoom back out. And this is what the final effect will only I'll looks like. So we got Let me just make it more so we got to the eyebrow. We got the space between the eyebrow and and the I we got the eyelashes and the iris and the pupil and everything looks looks really, really low, Polly. So the next step, he will be to simply just them reflect this part to the right and then do some adjustments May be with the colors in the maybe with the position in off some off some polygons. But I think that this is something that we are going to do in the next video. 6. 5How To Create The Other Eye with the Polygons: in a perfect scenario, the the other part off the model's face would be well identical to go to the first part. But if I now just let me just grab these guys if I not just initialize them the reflective and just reflect the I to the to the other side. And of course I need to make sure that everything is unlocked. So if I just grab all these guys and simply reflect them to the right and copy them just like so you can see that not everything is well is covering my object thoroughly. So if I if I just play around with these with these polygons, we can just move them around. You can see that we are a bit better. I mean, they match a bit better, but still not everything is matching perfectly. And of course, if if, well, if the right and the left side were well identical, this will. This reflection would do well would do the trick. But in this scenario and in most scenarios, we're going to have to adjust some things on. I think that the easier will the easiest way to to fix things like, well, problems like this one, Will is the following. So first thing that I would like you to take a note off and be sure about is when you go to the file menu and go to the document set up, you can see that we got this option Show images in outlining mode. And if this option is on and if we go to the view menu and outline just like so we can see the image being displayed along with our paths. So if I now just zoom in real close, we can see that we got our paths. Just zoom out because, well, the rendering is so so with this program. But what we can see right now is that we can simply grab some anchor points and simply adjust them up, just like so we can grab these guys as well and maybe adjust them up just a bit. Maybe move these guys a bit to the left. We don't have to. We don't have to create the polygons from scratch. We can simply it's just what we already have. We can play around with these guys, So our face well, the face of the model looks a bit more natural and we'll bit closer to the original. So whenever you when you are done with with adjusting your polygons and if I just go back to to the preview mode, you can see that them that our pelicans are covering the I much, much better. So if I just zoom back out, we can see that we got the ice created. And of course, we always have to be sure we are on the right layer, and I believe we are. Yes, we are. We have when we have the ice on the ice layer, some simply going to group them. Maybe, and yet we are done with the eyes. So the next part, well, the next step to take here would be to create their lips. And as you can see, the lips aren't too symmetrical either. So we're going going to have to create them as one as one of the big, big cluster off polygons. But I think that this is something that we're going to do in the next video 7. 6How To Start Creatig Polygons For The Lips: So in this video we're going to create, they'll lips off our model a polygon lives of our model. I think that we can lock that the ice layer and showed for the lips layer and unlock it. I'm gonna make sure that I'm on the lips layers. I'm just going to be sure that I am creating my polygons on the right layer. So again, I'm simply going to get rid of the get rid of the filth, make the stroke something visible for you. Maybe this again. This light light, blue collar and zoom in really close, Just like so and again. I'm just going to grab the pen tal and start creating the first rough draft that is going to look something like that. I don't need to drop too many anchor points here because this shape is, well, pretty simple. I'm simply going to finish finish it just like so and now again, Before we start adding another polygons, another pass. I'm going to grab this. This outline I'm going to copied. I'm going to go to the face layer, unlock it and paste this guy in front just like so. So right now we have two identical paths. So I'm simply going to lock this face layer and determines visibility off, and I'm back on the lips layer. And basically, what I have to do right now is that I have to just sit just that will take the steps and that we took when we were creating the polygons for the eyes. So I'm simply gonna grab the pencil. And right now, I think I'm going to add another, like a part of polygons here in the middle of the lips. So there will the top lip, the upper lip and the bottom lip them bottom lip are Well, they are standing out, but they are not looking like just one big piece off pink polygons. So I'm gonna go to to this anchor point, and I'm simply going to just click and click some more and finish this path right here. I'm gonna grab stool, start with this anchor point and create another path that is going to look something. Maybe I'm gonna go down here something like this. This would be fine. And right now, what we can do is we can simply start adding polygons, and I think that it would best if we just turn to the visibility of the image layer off. And we could even go to the people to the outline mode. Why not? And now we can simply a seat. All these anchor points, all these bath just a bit better. So I'm gonna make sure that I can see on the ankle points better some simply going to find and grow point and connected with another point on another ankle point. So ankle point to an anchor point. Now here, anchor point to an anchor point anchor point to Where are you? To another anchor point. Just like so. So now this this middle part part. So ankle points to an anchor point, another ankle porn to another angle point. Now you might get carried away from time to time like well, like I do get carried from tactic time because, well, the process is really easy is just a matter of clicking. But remember that precision is really going to be important here because if you're just to take some time and find the anchor points, it is going to save you a lot more time. Live well later. As you are dividing your ankle. Well, you're polygons and then trying to create, they will, picking up the colors. It will just save you a lot of time. Just trust me on this one. So I'm simply going to find the anchor point. Maybe I will pre ate like a big, big line. Maybe down here to summer here, just like so. And now let's go back to the preview moat and let's turn back on our image. So I think we got them these lips pretty much well. I think that the politicians were covering it pretty nicely. So of course, the next step will be to simply grab them all, go to the Pathfinder and divide these guys and one group them, of course, because they are a group. So now we got separate separate, well, polygons, Just like so. And of course, the next part will be to simply add the colors. But I think that that's something we are going to do in the next video 8. 7How To Add Colors to the Lips: in this video, we're going to add colors to the lips. So the process is just, well, the same as the process off adding colors to to the ice or any other part of the face for that matter sensibly. Gonna grab a well, a well, a polygon wood, the selection tool. Move Tiu to that to the eyedropper tool and simply start picking up collars just like so. So I'm just clicking on a polygon and then just picking up a color, and by the way, from time to time, it might be difficult for you to target a polygon. And well, the best solution to that problem would be to look all the only like, in this case, you can see that it's pretty difficult for me to target this now this polygon. So what I would do that would simply select a polygon like this one and simply lock it so we could either use the control polis to shortcut or command to shortcut on a Mac or go to the object menu and just go with lock selection. So right now, if I just lock it and look this guy to the bottom, I can no easier. Just target this middle, this metal and will polygon right here some simply going to pick up this darker color. Maybe. And let's see if I can target this guy right here. I believe I dio just like so, and I'm simply picking up bacon of the colors. Movies will be too dark and again. I am having problems with targeting this polygon right here. Sounds something going to select Both these guys locked them by using the control to shortcut. And now I can simply start will continue adding, adding the colors to my polygons. Just like so maybe this time I'm gonna target this guy right here and try to You can see that again. I'm having problems with targeting this polygon and target this one, this one, This one that's gonna be maybe to light. And this one before we finished the effect, there's just one piece of advice I would like to give you here. As you can see, the color of our stroke is the science color. And the guys right here, right here have the color that corresponds with the color of the layer. So if you go to layers pound, we can see that the lips, um, layer has this green color, and that means that the guys here are green. And this means that, well, this collar, this particular group is not too visible against this particular articular, well, blue color. So we could either change the color of the stroke if you want to. But we could simply just go to the lips layer and just double click on it. And I can change the color of the layer to maybe yellow as it's going to be much, much more visible. Against this blue background, we could maybe even change the color from our Let's see, let's see, dark green that's going to be visible. As you can see, it's now a bit more visible, and now we can be sure which which will polygon We're actually targeting so we can just continue, continue creating our well adding colors to ah, Republicans. We've already created the polygons. So this guy, this guy, this guy and I can't target this guy sounds something going to look its neighbors. And there we go. And if I just zoom back out just like so you can see that we got let me just turn on the image off turned the image off and all the other layers. We got the lips and we got the eyes. And if you want, we could maybe turn will change the color off this guy to something that's maybe to something darker. So the lining this lips is a bit more coherent, just like so. And there we go. We got their lives created. So the next stop here would be to create a the face. But this is something that we are going to do in the next video. 9. 8How To Start Creatin the Low Poly Face: in this video, we are going to start creating and the polygons for the face, and we're going to start with creating a rough outline off the face. However, I think that it would be better for us if we made the process of it easier and faster. And if we just created the left part off their battles, fights and then just reflected it to the right Now these parts won't match perfectly because this is not that kind of a photo. We can see that the hair is kind of like block and part of the face. So even if we just create a part of the face and then reflected, they won't be matching exactly. But either what? Anyway, the process will be faster because we'll be able to adjust some things on the other side of the model's face instead of just creating a new set off polygons or new set of paths. So the first thing I'm gonna do is I'm going to make sure that the face layer is active. And as you can see, we already have these guys right here these paths right here and now Let me just explain to you maybe let me just turn the visibility of these guys off. And now let me just quickly explain to you why we did all this. Right now we're going to be tracing this face just like so we're going to find a trace, create a trace around the face of the model, and then when we are going to be treating are a polygons, we'll be able to match the firm, and the anchor points from this outer trace with the polygons off these guys right here. So we'll be Will will be able t o. But we will make sure that the polygons are actually not that kind of like, Well, maybe interfering with the polygons off the ice as we are going to be well seen where the these polygons shoot and and where they should start. And we are going to be able to since we're putting it on a separate layer than play around with the layers in order to hide. Now the Republicans that might not be covering and we'll certain parts of the model's face properly. So these guys, these guys right here and of course, we will reflect it in a second. These guys right here will help us will help us a lot. So before I start tracing the face of delay the face of the model I'm going to bring bring up one guide, some by pressing the control are on my keyboard. I'm bringing up the guides, and I'm simply going to bring up 11 guide that is going to be somewhere here. I think that this should be fine. So what I'm gonna do right now is I'm going to simply start tracing this part of the model's face. So I'm gonna go wrap the mental And maybe this time I'm going to change the color of this stroke, maybe two yellow, and I'm gonna get rid of the rulers and let me just zoom in just a bit close. So I'm going to start on the guide right here and just start start tracing the face off the model, just like so. I don't need it to be too precise at this stage, Al. Besides, say Polly low poli effect, So it doesn't have to be too many polygons, so I'm gonna find a guide down here. There we go. And now what we can do is we can simply go up to up to this point. But I wouldn't recommend just clicking on this on this path right here, because if we just collect her, maybe click through like maybe here and then I just find the guide and click. We're going to be adding more anchor points and this way will help us and will. This way off working will help us in creating polygons at a later stage of the process. So right now that we have this guided Cool. Well, we have the guide and we have this rough, rough trace created. What we can do right now is we can maybe reflect this guy to the right, so I'm simply going to cram, grab the reflect all find the guide all to click on it and just click copy, just like so and again. We can simply play around with it. Maybe, just maybe, just just just like we did with the I remember. Maybe adjust some anchor points just like so maybe it's just this guy as well and to somewhere here. Maybe some are here. This would be fine. Now, in order to be sure that the polygons that we are going to be creating right now are actually covering perfectly the skin off our model. It would be good if our polygons were overlapping the polygons off the eyes. But when I say overlapping, I just mean that they are going to be crossing the passage of the off the polygon set off the ice. But they are not going to be blocking them, because this thing, this whole layer is going to be hidden beneath the layers. So where the eyes are capped. So I'm just going to grab this a path right here. I'm going to initialize the scale tool by pressing the asking on my keyboard that I'm simply going to make it smaller uniformly to 90%. 90% should be fine. I'm gonna grab this path right here, and I'm gonna press the SQL my keyboard than enter on a Mac. It press s and then return. And of course I want this scale to be uniform. And I wanted to be Well, I want to scale this pat down to 90%. I'm gonna hit OK, and I'm doing the same to do the same with the lips. I'm gonna press as on my keyboard enter. 90% is fine and there we go. Now the next video, we're going to start adding polygons and you will understand why we did all these things. Why we why we took all these steps in order to make this to make this will whole effect may look, look at as intended. So we're going to start at Impala guns in the next video. 10. 9Let's Add Some First Polygons: Okay, So in this video, we're going to start adding polygons to the model s face. So I'm going to grab the mental. I'm gonna turn maybe the stroke to this, this yellow color, and maybe I would turn the visibility of the image off. And I think that I might even go to the outline mode. I think it's going going to be easier for us to to to work in the outline mode. So what I'm gonna do right now is I'm going to find an anchor point and just click on an anchor point, find an anchor point if I can just find it, and then click on an anchor point down here, Then again find an anchor point just like so and then maybe find an anchor porn somewhere here on my on my path. This is this guy right here. And then click one more time and maybe find an angry point somewhere here. Now it's going to be maybe a bit more difficult, But just click on it and there's an ankle point and I'm going to connect these guys. I can see there's an anchor point and connect this guy right here of course, another benefit that benefit off just president. Holding down the control key is that weaken Temporarily click on this outer path, and now we can see all these anchor points. So it's It's simply going to be easier for us to create polygons when we when we are using this technique sensibly going to click somewhere here on this anchor point. Maybe on this anchor point right here and then maybe I'm going to click on this anchor point and then again somewhere here, just like so Now let's move to the left part. Uh, right here, I'm gonna find an anchor point and click maybe down here, just like so again, I'm gonna find an anchor point and click somewhere here and then maybe here, just like that. Now, these polygons can be a bit bigger as they are simply more covering the face off the model , and and the face simply has some bigger, bigger portions. Let's call it like that some bigger patches off off a similar similar color. So if I just bring back and the ice later, just for a second and then I'm going to go back to the preview mode, you can see that our polygons are right now overlapping the eyes. The eyes will polygons for the ice layer. But it's not that we are doing something wrong. In fact, when we move our face layer beneath the ice layer, let me just move it beneath. Let me just move it being need the eyes. You can see that right now that these guys are actually being hidden beneath beneath the sea ice layer, just like so. But I'm just going to go back one step, just like so. And not what we could do is we could either finish creating these polygons right here, or we could start to creating the notes. And I think that I will start creating the nose just because I think that well, it's a bit more complicated to create it. Creating these polygons will be pretty easy and we are going to finish them in just a second, because for now, I would like to focus a bit more on than those. And this is something that we're going to do in the next video 11. 10Let's FInish Creating the Polygons for the Face: creating those will require a bit a bit more worker. At least it will require a bit more caution. I mean, when we create the outline for the knows, we are going to have to create some more paths around here. So I'm going to start with this anchor point and start creating kind of like a rough outline of the nose. So I'm simply going to click somewhere here just like that, until I connected with this with this guide and let me just see where I have an anchor point. Well, there's an anchor point right here, but I think that this is just a bit too low. So I'm going to go with their at anchor points so that I'm simply going to add an ankle point down here and again. I'm gonna go with the mental and create a path just like so that I'm going to maybe click on click on this anchor point and maybe connect these guys just like so. Of course, what we could do right now is you could simply start creating these polygons right here because, as you can see, we got some shading down here on these cheekbones and got some reflections beneath the ice . So I think that we could create some more polygons, therefore, for these areas in order to kinda like separator them kinda like, made them stand out Some simply going to grab this anchor point and find this anchor point maybe and then just play around and just find Then just find a proper anchor points in order to to have the polygons that will will receive colors that will represent both the lighting effects year and the shading effects down here. So let me just to speed up the process for your just quickly create the polygons, and then we will we will divide them and so start adding colors. Okay, now we got the polygons for this side of the face created. Let me just turn them image off. And as you can see, there is quite a lot of them. And I gotta tell you that there's a big chance that we will. I I missed the spot that I maybe didn't click something, something properly, but that that is just going to be an occasion for us to simply and learn how to fix the imperfection that will almost definitely occur when you are creating this kind of effect. But for now, what we are going to do is we're going to reflect this world, all these polygons to the to the other side of the face, some simply gonna make sure that all these guys are selected so on The easiest way to do it would be to just simply grab like, this path right here that has this, well, yellow yellow stroke. And I'm just going to choose select all the paths with similar appearance. I'm going to choose the stroke collar. And as you can see, we've selected all the past that we created all the polygons that were created with this. So this yellow stroke. So I got absolutely going toe enter. I'm going to press. Oh, my keyboard old click. Maybe on this stop anchor point that I'm simply going to reflect it horizontally, just like so as we can see some parts, some pass right here are not well matching. And imagine exactly with this part of the well with the second with second I. So what we could do in order to fix it is to simply grab some of these anchor points and try to match them with another. With the anchor points on this part on this site is on the side of the eye, some simply going to grab them and maybe move this guy up to somewhere here just like so maybe then move these guys up until they match with the ankle point somewhere. Here, let me just find it just like that. Then maybe let's move this guy, maybe to summer here, this guy to here, this guy to somewhere here. All these guys were gonna match this anchor point right here. Now let's match this guy, Maybe with this anchor point to right here, just like so. Let me just zoom in a bit closer and maybe I'm going to go to the preview mode. So let's just select these guys and let's try to find it. Finally, tryto match it right here. Just like so. And I'm going to grab this guy and try to find the anchor point right here. Now let me just go back to the to the unto the preview mode and maybe I'm going to find find these guys right here. So, as you can see, it's pretty pretty tedious job. But honestly, this is this is believe it or not, this is well, taking the time to really make these guys may make these guys look properly, is going to save us a lot of time later, later in the process, because we are going to be able to just select the polygon and then just add colors to it instead of just trying to find which which anchor points should go. Where which which polygon should go where it's it's simply it simply will. It takes more time at this stage. I will save us more time at a later stage of the process. So we have almond, almost all these guys. Maybe I'm going to move it up to summer. Here, let me just check this guy. Do we have an anchor point here? I believe we dio so that means Zoom back out. So the very last step here would be to simply grab all these polygons. Virtually all these particles, they all have to be selected. I'm going to go to the to the Pathfinder option, divide all these guys and ungroomed them. So next step, of course, would be to start adding colors. But I think that this is something we are going to do in the next video 12. 11Let's Finish Creating the Face: Okay, Before we start adding colors, we have to fix some issues right here. But fixing these issues is going to be extremely easy. All we have to do is we have to just grab the direct selection tool so we cannot grab a cluster off pass and weaken, simply just just just their position. Because we after, of course, make sure that all these polygons are matching are matching that will, our bottles are models face some simply just grabbing these guys and simply moving, grabbing like that and simply moving just like so. So the rest looks pretty pretty. All right. Okay, so not at what we have to do is we have to simply start adding colors. So I'm gonna go ramp selection tool, and then press them. This will eyedropper icon right here, and we can simply start adding colors. I'm gonna grab that polygon and start adding colors. Go rob a polygon and start adding colors just like so. So this one and this one. So let me just speed up the process for you because I think that you already know what we have to do here. And let me just get back to you as soon as we encounter some problems that we have to that we have to resolve. As you can see here, if I just zoom in some anchor points are not exactly spot on. So if I just Gramp one of them, of course, we're gonna make sure that it's unlocked. If I just grabbed one of them with the direct selection Elikann simply move a bit closer so we can try to match match the way they look. And of course, you can see that we are going to have to do the same here in the bottom. So let me just pick up this color right here and again If I just gonna grab the direct selection toe, grab this anchor point and I'm going to move it guy with this guy, just like so it's now matching matching a bit a bit better, But let me just do it again. I just want to be really precise, just like so. So there we go. This is this is one way we can fix now. When will the problem when? Where some Some ankle points are not exactly spot on. So let me just go back, Thio added colors to that to this. What? Well, to to this probably gonna mash also sometimes is going to be difficult to select these tiny little bits that you might see here. Now, most probably these are just similar single anchor points that are result of later off the dividing option will operation. So we can do right now is we can simply select all these surrounding a surrounding polygons just like so And look all of them. So now we can simply just select them and just lead them. Or maybe we can even add colors to those two to that single single polygon. So right now we got all the polygons here created, and now we can simply remove these remaining pass right here, some simply going toe the choose one, select one, and then just again select similar objects. And then we can simply just delete these guys. And now, if I bring the face layer beneath the ice layer just like so and of course, bring turn the visibility of the ice layer and the lips layer as well, and turned the image back tent on the image off. You can see that this is the affected with all that we have right now. So the next step will be to simply start creating their hair and the year and then their shoulders. But this is something we are going to start doing in the next video. 13. 12Let's Start Adding the Polygons for the Hair: Now, this is what we've created so far. We've created the eyes, three eyebrows, the lips, the nose and, of course, the face. So our next step would be to create the hair. So I'm gonna bring back the image of the woman, and I'm gonna make sure that I'm on the right player. This Harrell a right here. And that is visible, of course. And what I will do right now is I'm gonna grab the pen tal just maybe zoom in a bit. And what I want to do right now is they want to create a very rough sketch off the off this woman's hair. So I'm simply going to create some some, well, some paths of anchor points. And of course, I don't have to worry about going well outside the arc board right here, co said. That's that's not not going to be visible, some going to just click. And once I get to the face what I want to do, they want to simply click inside ever so slightly inside the face so I can create now, then the polygons that I'm going to hide with the face so I wouldn't worry too much about it. So I'm just going to click inside the face to kind of like a crew. Get a second rough sketch of the face, just like so. And I'm gonna go down here, and right now I'm going to Crete. Click somewhere here and then somewhere here. Of course, I'm not going to be concerned with this with this will neck and shoulders part because we're going to fix and take care of it. And just a bit later. And let me just click and up here and up here and up here, just like so. So now if I just don't back the image off, you can see that we got and we get a rough, rough outline off off this woman's hair. However, before I start at Impala guns, I think I'm going to bring back the image layer back, and I think I will. For now, I'm simply going to create some polygons for this part of for this hearing and for them and for the year. So I'm just going to quickly create a rough scat. There is going to look symbol, a rough outline that is going to look something like that. Maybe a maybe here and then maybe I'm going toe. Just zoom in real close. Maybe I'm going to add an ankle point somewhere here. And then maybe somewhere here, and then I'm gonna go back to the mental just like so and try to find that anchor point and then connect this anchor point with this that we just created on its this guy right here. So I'm going to create some polygons. May be down here and find this ankle point this guy right here and maybe connect this anchor point and I think a missing and, well, maybe even to anchor points right here. So I'm simply going to add anchor points just like that and then go back to the pen Tal anchor point to an anchor point and then an anchor point to an anchor point. If I could only find it. Maybe this time just going to turn them in in turn the image layer off and actually all the other layers as well. So now I'm going to find that maybe let's go to the preview mode. I'm gonna find that. Find that maybe it's this guy right here. So now what? We can start doing is we can start adding polygons to their hair and let me just speeded the process up for you because I think that by now you already know what is going to happen here. I'm simply going to find anchor points and simply started clicking. And since that the hair are are mainly like big patches off similar color, we can make them. We can make thes Republicans just a bit bigger. However, when we then bring the image back on, we may want to maybe Well, I add some polygons to greet some reflections on the hair there Will Onley depend on how how precise you want your you want to low polling affect effect to be so let me just click quickly click through all these guys. Let me just connect the anchor points and I will get back to you. Okay, we got the polygons created, so let's take a look at what they look like in the preview mode and put against our a background image. So these are our polygons and they are now being put against them and these will this woman's hair. So of course, the next thing to do but to simply just grab all of them. So let me just started the whole layer. And I would simply just to go to the Pathfinder tool, divide all these guys and one group them just like so. So we've got now separate separate polygons. So, of course, the next thing to do would be to simply just start adding colors. But I think that this is something that we are going to do in the next video. 14. 13Let's Add the Colors To The Hair: in this video, we're going to start at in colors to the woman's hair. We are going to create hair hair. Do so again, I'm going to make sure that I have that selection tool selected and that I am on the right layer the hair layer. And now I will select the eyedropper tool and I'm simply going to start picking up the colors just like so. The process is essentially the same Esko as with any other part of creating the low poli effect. Of course, if you can't target and the the polygon that you want, you can simply lock the neighboring polygon and then justice the target and the one that you want. So I'm simply just clicking and notice that I am that we are that we have polygons that are overlapping on the girl's face. But as I said before, we are going to It's just that the positioning off the layers inside the layers panel so we won't have to worry about some overlapping polygons. So let me just click through all these all these particles. Let me just add colors to them and I will get back to you as soon as I stopped a stop creating. We'll add in colors to the polygons are a soon as I encounter some problem that you might also encounter when creating this kind of an effect, and we will talk about solving that problem. So there we go. We got their hair created. And if we now just bring back all the other layers and then just to turn the image layer off just like so and then I'm just going to put that the hair layer, I'm gonna unlock these guys. I'm gonna put the hair layer beneath the face layer just like so. So now my face can actually on be shown and over the hair of the model and the Harrell air . So the last thing to do here would be to simply just create the shoulders, any part of the of the models blouse. But this is something we are going to do in the next video 15. 14Let's Start Creting the Shoulders: in this video, we're going to create the shoulders, the neck and the part of the blouse right here. So, of course, what we have to do is you have to make sure that we are on the right layer and that that it is unlocked again. I'm gonna grab the mental, get rid of the Phil and make the stroke. Maybe this time this blue just for the sake of variety. And of course what I have to do Write down what they have to create a rough trace off the next shoulders and the blouse. So I'm going to start somewhere here, and I can even go but slightly inward. I mean, I'm not too worried about just like polygons overlap in the face because, as we already know, not that their face or what the polygons that create the face are going to be put over and that that the world neck and the shoulders as well. So I'm simply creating some some polygons or some some pass. Write that down here and let me just maybe finish it here, and I'm going to go back up just like so and maybe go a bit more precise here. Why not? And then I'm just going to go up, up again now up here and summer up here. And I'm going to finish finish this part of the neck by following the Joe line of the model , just like so. And I'm going toe finished the effect just like so. So the next step would be to do here, of course, would be to create, well, not the polygons. But actually, I think I would create this kind of a shade in effect. Here's I would create a like a separate plaster off polygons, just like we did now with the eyes. So what I would do right now is I would simply start creating as some of some paths down here. And I don't think I have a polio. I don't have a right to have an ankle part here, so I can simply start clicking just like so. And let's see if I have a My If I have a grip on summer here, I don't think I do. So again, I'm just gonna grab the ad ankle point. Still, I'm gonna add an ankle point. Now you might be thinking, Why am I adding ankle point. If I don't have, why won't I just click on a path right here and just forget about it? Well, I am doing it because when we are, If we I mean, if we just left it like that, if we just If we just clicked on a path and not add an anchor point, you would just create a path. Those ankle points wouldn't be joined, so to speak. So later, when we are dividing these, then these polygons, all these shapes we wouldn't have separate polygons. We would have in the past. That would be that will remain open. And we would have to spend so much more time or making making the whole effect look right. So I would advise you if you if you don't have And if you don't have an anchor point and you wanna an integrated polygon in that specific space, just Eddie, an anchor point with the at anchor points to And then when you are divided all your ankle points and you know that the whole process will be will be so much quicker will be so much easier. So now that I have old these pants created right here I can now start adding polygons. And as you can see, I got this big The this big will kind of, like empty, empty portion right here. So what we could do is you could simply start to create in these past maybe from this anchor point. And instead of clicking on this path down here, we could simply click summer here. Let's say that in the middle. And now we can find an anchor point. I think it's this guy right here and simply create this like an outline like a big path right here. And we could do the same thing. And here to the right, some are gonna click summer here and fighting ankle point. And I think that again. Maybe it would be easier for us to just turn the visibility of the image layer and then just go with the outline mode. And now we can try to find an ankle points somewhere here and again. There's one. So now I can start building older well, the rest of the polygons, just like so. So just as we did with any other with any other part of this course, so we can just start adding polygons, Just like so. So let me just quickly click through all these guys and I'm gonna go. I'm going to go back to you. Okay? We got the rough polygons created, but I think that we could maybe be a bit more attention to some little details. I mean, I want to I want to make sure that this part of the blouse right here that we can see right now that this part of the blood spill has actually a bit of a different color. I don't want it to be like a mixture off the skin tone and the red Well, the red color. So what I want to do right now is I want to simply just maybe start clicking summer here and create a create a polygon and well down here. But of course I don't have an ankle point down here, so I'm just gonna grab this at Anchor point, still find the path, and now I can simply grab it mean, start creating this path right here. And I think that I'm going to create another polygon there is going to stretch from here to down here. But again, I don't have an ankle point down here, some simply going to add one, just like so. And then I'm going to grab the pencil click from this anchor point to this anchor point. So right now, I'm gonna have some polygons that are going to be, like representing this part off the girl's blouse. So now that we have all these guys created, let me just go back to the preview mode and I'm gonna turn Turn off the visibility of the image layer. Now that we have all these guys created, all you have to do again is to just select them, go to to the Pathfinder and divide all these guys and ungroomed them. So the next step, of course, would be to just start picking up the colors. But this is something that we are going to do in the next video. 16. 15Let's Give the Shoulders Some Colors: Okay, So in this video, we're going to start digging up the colors to create that Well, the remaining part of the model, so to speak. So what I'm gonna do is I'm going to simply grap a polygon and that I'm just simply going to grab him the eyedropper till, and I'm going to start adding colors just like we did before. So I'm going to grab the polygon, and I'm going to log this guy, maybe and create will grab the color. And as you can see, right now, we have some polygons right here that we can simply turn into a blouse, some simply going to grab these guys. And I'm gonna make sure that I actually wouldn't created the whole effect that this part of the blouse is going to be well visible, that it's not going to be just a mixture of some skin tones and some red stones. So that would just look this guy at some colors here. So, as you can see, the whole process of creating the low politifact is not difficult. It just requires a lot of clicking, and it does require some precision. And, of course, a lot of patients and all the effects that I showed you in discourse. Although tricks and techniques are result off my search for some some options some techniques that will actually make your life easier that would make the whole process well , as speedy as possible. Because I really think that this process will can be tedious and at first, especially at first, it can be really difficult to learn. But it can be difficult to well, you know, to have patience, to click off, to click all these polygons to create all these polygons. So all the effects, especially creating the polygon Susan Well, inside the preview mode, I think is ah is a good idea off off. Well, working them off, creating this kind of in effect. So let me just quickly just grab all these guys and let me just add the colors and I will get back to you as soon as I haven't done with with all these guys. Okay, so we are done with the neck and the shoulders and I gotta say that it looks pretty pretty nice. So now if I just to turn the visibility of the image layer off and turned the visibility all the other layers on. Now we can see that we have some problems here. I mean, we don't have, like, polygons. Well, here, next to to the Jolan and here we'll beside the hair. But first, what I'm going to I'm going to put the shoulders behind the hair layer just like so. And now we can simply fix these little problems by grabbing the pen tal and then just creating a free hand polygon, just like so. So we are doing it more love more of a like a photo shop style. Let me just bring back the image layer. So I know what kind of color I want to pick up here. And I believe that there was some problem out there is a problem down here, so I'm simply going to create a polygon that is going to look something like that and let me just speak up the right color, just like so. And I think, yeah, I think that we have a problem here as well. And let me just quickly create a polygon just like so. So I'm just clicking with the mantle to create a polygon. Maybe I'm just going to move this guy just a bit to the left. Pick up the color and let me just zoom back out. Just like so. I'm gonna turn on the image layer off, just like that. And there we go. We got the whole effect created. So there you go. We got the final effect created. 17. 16Summary: congratulations. You did it. You created the whole low poli portrait effect. So let's just briefly sum up what we've learned in the scores. Well, first we understood. Just if you count says that we need to remember when creating the low Polian facts and those concepts will simply make make our workflow the speedy and much easier. And so we first created the eyes. Remember, we created them first the outlines, then the rough like will pass to create the clusters off, off, off polygons. Then we reflected the I and to the right, and we had just that something's and then we just created on their lips. So we created again a rough outline off the lips, then created on the polygons, Of course, using the pen tal, Then we created the face. Then, of course, it was the hair. And remember, we just create some bigger, bigger parts because this this head is simply has more more patches off similar color. So we could just create some bigger, bigger poly gums. And then we, of course, we created the shoulders. So I guess the very last thing that we could do here is to simply create a background, just just as it is in the original. So we could just create a simple, simple, simple rectangle and then maybe make it to Stuckey. Very, very great. Very light gray color. And let me just put it him on the only proper layer. Maybe I'm just going to create, like, a separate layer, separate background player for this. I'm just going to name it BG for background. And there we go. We got we got the whole the whole portrait recreated using the low polio fact. So I definitely hope you like this course. I definitely would encourage you to submit your class project. And I would definitely be and be grateful if you if you write it this class and I hope to see you in some some next designs in some next courses. And if you have any questions regarding this course, just feel free to ask them, as always, have a nice design. My name is David Tyminski. 18. Class Project: now, I bet you already know what I would like it to do for the class project. I'd like it to take a photo well of yourself, your or maybe your family portrait or your pats portrait, and then just create a low politifact to using that photo. But if you don't want to use any of your own photos, you can use one of the photos I supplied with this class. So here you have mostly poor prints of women. But I also support. I'm giving you a portrait of a cute dog right here. And if you want to just use one of these one of these portrait, so just grab it just then trace it. Using all the techniques that you saw in this class and the creator polygons. Give them colors and make your poor Critz shine. So after you are done, just create a J pic screenshot out of it. Anise upper and up uploaded in the class project section. And off this off. This class