Low Poly Portrait Illustration in Adobe Illustrator and Photoshop | Lucas Ridley | Skillshare

Low Poly Portrait Illustration in Adobe Illustrator and Photoshop

Lucas Ridley, Instructor and Animator

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8 Lessons (41m)
    • 1. Course Overview

    • 2. Getting Started

    • 3. Planning Guides

    • 4. Outlining Guides

    • 5. Tracing Vectors

    • 6. Aligning Vectors

    • 7. Filling Vectors

    • 8. Finishing Touches


About This Class

Create a modern and unique portrait with the low poly aesthetic. It is a popular look made famous by simplified 3D geometry that we will recreate in a 2D portrait illustration. Even beginners in Photoshop and Illustrator will be able to follow along and you'll have a satisfying result in no time.

I will cover crucial shortcuts to reduce the tedious and time consuming workflow to acheive this look. There's no fluff in this step-by-step explanation so you can quickly get started in making your own awesome portraits, let's go!

Here are some resources for the class:


1. Course Overview: Hi. My name is Lucas Ridley. I'm a freelance commercial director and award-winning animator. This is my course on low poly portrait illustrations. A low poly look has become an incredibly popular with its roots in 3D animation and in games, and now it's made its way into illustration. This course, is for beginners to advance, because I'm going to share with you some incredibly crucial time saving techniques that will reduce your frustration and increase your speed in workflow. In the course project, you will create your own low poly portrait and gain new skills, will take an existing photo yourself, apply the step-by-step process, and then you can upload it to social media profiles to impress your friends. I look forward to you following along and thanks for joining me. 2. Getting Started: Thanks for joining me and welcome to the getting started video. Let's jump right in. So what you'll need to complete this low poly portrait is some software. You'll need Adobe Photoshop and Illustrator. If you don't already own these you can actually download free trials for 30 days from the Adobe website. Just go there and find the Free Trial button and scroll down to all the different programs, and you have to login with an Adobe account or create one if you don't have one but then you have these programs for free for 30 days which is plenty time to get this project done. The next thing you'll need is optional, so Wacom Tablet. I found mine for pretty cheap on eBay, and it's an older version, it's Intous 4 because you're going to be doing so much clicking you can hurt your finger without a pen tablet. Instead of clicking you're just touching the tablet every time instead of having to push down with your finger. But also the main thing you want to look for if you do get one is that you have these shortcut buttons on the left which we're going to use later on in the lesson. Finally you need a photo. I'm picking one of myself here, and since this isn't a photography course, so I won't go into detail about how I took this picture, but if you want to learn more, you can go to my website and learn how I created this setup and took this photograph at bit.ly/lucasPortraitSetup. But for the course project we're going to try to do a profile photo so you can have something cool to upload to Facebook, or Instagram, or LinkedIn, or something where your profile photo is going to stand out. To do that, go and find a portrait photo of yourself. The main things to look for basically just to have enough contrast in the photograph so that things will show up once we start to apply this effect. It doesn't hurt to have a little color contrast as well. You can see in this photo there's some orange light on the sides of my face, and there is a blue background and I'm wearing a blue shirt so we have complimentary colors of the blue and orange. Don't worry too much about the background of your photos because we can change that out later. But thanks for watching and join me in the next video where we get started outlining in Photoshop. 3. Planning Guides: In this video lesson, we're going to cover drawing our guides in Photoshop. What did I mean by that is, we will draw a base guide work for the triangles we'll draw later in Illustrator. Let's take a look at a couple of these examples before we get going so we understand what we're trying to achieve. Here is a couple that I've done. You can see the original image, and this one it's a lower resolution if you will, like I drew larger shapes in this portrait than for example, this one. If you come in here closer you can see, I drew very detailed eyes so we get the highlights to the eyes and everything, and in this one, it's not so much. This portrait took about an afternoon, whereas since this one was so much more a higher resolution and the triangles I drew, this took about a week. At this stage, this is when you make that decision. How much time you want to spend? What resolution you want the triangles? That's all made in the guides that you are about to draw. Effectively, we will go in here to Photoshop, create a new layer, and it doesn't hurt to have this one locked just so you're not moving it around accidentally or drawing on top of it or something. Make sure you have a new layer. I like to pick a bright color that's going to be easily viewable later. If you have a tablet, it's a lot easier to make these drawings. But you want to make sure that your pen, your brush size is small enough that you can get finer detail. But what I'm going to go for in this one is, the middle ground between these two examples we just looked at. This is too low resolution, and this one is too much. I think I went a little too far with it. For example, I think it could have generalized much more in this area, and here, I think this could have been one whole triangle where, as in the example, that's 10. That adds a ton of work. You're increasing your workload by 10 times depending on the decision you make on how you draw these triangles. I'm going to try to go in between these two resolutions for this example. That's a decision you have to make in your own project depending on your photograph and how the resolution. High resolution doesn't mean it's better, in fact, like I said, I think I went too high. You start to lose this low poly effect when you have a high density of polygons. You can't really make out individual of triangles around his eyes at this scale, you'd have to zoom all the way in. That's what I mean by high resolution can actually be not good depending on what you're trying to go for. When we're doing this, we want to start to look for areas that we know we're going to delineate. Meaning, if we just wanted to come in here, I'm going to make a copy of this layer, and just show you really again why we're doing this. Why don't we just come in here to filter. I think it's off the screen a little bit, but you got to filter, pixelate, and crystallize. This is effectively what we're trying to do. You can change the cell size. These aren't triangles, but they're different polygons and you can set the resolution here, but it has no respect to the underlying shape, where it's choosing to place these shapes. You could come in here and do this. This is a big blob and it doesn't really look that good. This is why we're doing what we're doing is, we don't want this effect. We want to be able to control exactly where we're placing the triangles and how the final portrait looks based on that. Just before we get started, let's take an overall look, take a stock of what we've got here. You can already start to see where triangles will be able to go. Where light changes right here, that could be a triangle. You can go ahead and start blocking in places you know for sure you're going to want to have, here's where the value changes in the face, same thing down here, there's a darker spot here or there's a highlight in the nose. I'm going to make sure we capture that from the very beginning and we don't get caught up and drawing triangles, and then we forget to capture these guideposts that we're going to create before we get started. We can go ahead and get that going. Look out for areas in your portrait where you just find yourself generally drawing stuff. Don't do that. You want to follow the planes of the face. What I mean is, this cheek faces a certain way. It doesn't face the same direction as this plane of the face. They join on a ridge there and that's the thing you want to look for and how you want to create your guides. You want to reflect the planes and the geometry of the face just as much as you're trying to capture different values of brightness or darkness, but it's also about the planes of the face. When we're going through here, keep that in mind and try to respect to those areas where it'll really give your portrait shape once you start drawing in these guides and you can see it take a shape based on the structure of the face that you're working with. Now, I'm going to get to work and hopefully you will too, and then we can join up in the next video lesson where I'm going to show you the finished one that I've done. Show you some of the time-lapse, talk about the decisions I made, and I will export the final guide out of Photoshop and bring it into Illustrator. Thanks for joining. 4. Outlining Guides: Welcome back. In this video lesson, we're going to finish up the guides in Photoshop. Here we have a time-lapse of me quickly blocking it out, the important thing to remember here is that this doesn't have to be perfect, these are just guides for us to use in Illustrator, so if it's a little messy that's okay just work quickly and try to create unique triangles and change up the size. It's nice to have a contrast between small and big, and so vary that up. Also where the center point is or the top point go to left or right, try to not make straight lines in the connections and it's just a game, we connect the dots at this point. Pick the areas that you want more detail and have smaller triangles and the areas that don't matter as much and don't want to draw the eye to create larger triangles. Let's take a look at the finished product. You can see where we've created smaller triangles, places where we want more detail, and in places like the shirts are bigger triangles. You can see the beauty of this is it is pretty messy, the fun thing is you can be really messy in the process but the final result is going to look really clean just from working with vectors in Illustrator. This step is definitely just get it in there get it done. But the important thing now is to get this out of Photoshop and get into Illustrator. One thing to know is in Illustrator you have a memory limit of two gigabytes if I'm remembering correctly. So what I ran into when I was doing this portrait was memory errors, and I think I lost a day or two worth of work because I wasn't saving regularly enough, and the memory would get filled up, and then it crashed Illustrator. It was because I was working at such a high resolution, and the beauty of Illustrator of course is I didn't need to be doing that, since it's vector you can work really small. If I pull the rulers here you can see this is centimeters, but it's a pretty big, change this to something, it's a pretty big photo and pixels it's 3,000 by 3,000 roughly, and we can drop this way down for Illustrator. What we can do is, of course, save a copy of this. Let's go in here and go ahead and save anyways, and then we'll hit Control Shift, well, depending on what you're on Command Shift S, to pull up save as, and let's just save this as SmallerCopy, we'll do the camel form thing where you do the capital letters. So now we have a copy so we can know we can make this a lot smaller. Let's go up here to Image, Image Size, and make sure that width and height they're locked together so when you do one it changes the other, and bring it way down. Again, this is so that we don't freak out our memory and fill it up in Illustrator once we get there, so let's save a small version of this, and this is at 100 percent now, we can see it's a lot smaller. We can just save this as a JPEG now, we can just go down to JPEG, and you might want to have a little tidier folder than mine but let's just save this as a JPEG so that we can pull this in Illustrator in the next video lesson. Thanks for joining me and I look forward to seeing you in the next video lesson where we're going to trace vectors over these red lines. 5. Tracing Vectors: Welcome to the lesson on Tracing Vectors in Illustrator. What we're going to do is come out of Photoshop and get into Illustrator. So I'm going to switch over to Illustrator, open the JPEG that we just saved. Remember we named it smaller copy because it's a smaller version of the original image. The other thing you want to do is get your art board to be the right size. So we'll select the image, which is in the layer over here. We select that, go to "Object" "Art boards" "Fit to Selected Art". Then we see that little black line that was that line of the art board go to the whole size of this image. You're also going to want to make sure that you create a new layer in Illustrator. So let's go over here to the right, Create New Layer, and now we're ready to go. The other thing you want to double check is, we did reduce the size, but depending on how small you drew your shapes and how small you resize your image, you may need to go back and create the image a little bigger in Photoshop and save it out a little larger than you did from the original file just in case. Some of these guides are hard to make out. Just be aware of that before you get started on Illustrator, make a new layer and double-check that you don't need to save it out a little larger than what you did and you didn't compress it down and then resize it too small. Double-check as well that you lock this layer. We don't want to accidentally grab it and move it around because once we begin with the lines, we don't want to be accidentally grabbing the base layer and moving it around. So make sure that you lock it right here. Before we get started, let's create a couple of short cuts that are going to speed up the workflow. If you're working with a tablet, open up your system preferences or go to the control panel if you're on a PC. To create functions that are specific to a program, you want to go to the functions button over here. I've already made some, so we'll just scroll over to Illustrator. If you don't already have this up, you can hit Plus and it'll pull down the current applications that are open, you select it, and it'll give you these options specific to the application. What I've already made is, I've done the pen. P is the shortcut for Pen. I've done the convert anchor point, which is Shift C. We can name these whatever we wanted to convert. We can name it whatever we want to. That'll show up in this little dialog box next to the buttons on our tablet. Also, Undo and then the Pen button. But having these so close together and not having to move our arm back and forth between different buttons on the keyboard is going to save a lot of time and energy. If you don't have a tablet, you can come up here and change the shortcuts for the program itself. Go keyboard shortcuts. We'll go up here for this section. We just need to get the Pen tool and the Anchor Point to be something close together. Right now Shift C and P. Those aren't really close together. They're on the exact opposite ends of the keyboard. So it's not very convenient for what we're about to do. So select "Pen" and go over here, click the "X" to get rid of it, and then let's just hit one. Then we'll go to Anchor Point, x that out and then two. Now, they're right next to each other, and it's going to be super quick. You can notice now the set has changed to custom. If you want to go back to the original one, you would just go up here and click on "Illustrator Defaults", and we can give this a name, TracingVectorsLowPoly, and say "OKAY". Now we have that saved in the shortcuts, and now we can get going. Now that we have the Pen tool selected, let's make sure that we don't have a fill. We have our fill in the foreground here, and we want to hit "None". We want to switch over to the Stroke and made sure that we have a color for the stroke. I think white will do fine because we can see there's no areas with white, so the white is going to show up pretty well on top of this. Now let's get started tracing these vectors on the guides that we've drawn. What's going to speed up your workflow by 25 percent is only clicking three times 1, 2, 3. We can go ahead and hit "Enter" or "Escape", whatever works. But what that does is, we don't have to close this shaper because we're not going to be working with outlines, so we don't need that final outline. So that saves a ton of time. The other thing to remember is, these don't have to be exactly on top of the lines. We're going to group the points together afterward. Try to pick the next triangle that you do. Start with opening of the previous one. On the next one will do the same thing. We'll start at the opening. The reason for that is, when we go into select these triangles to fill them later, it's way easier to have an opening and one of these three sides to select, because once we align all of these points together for all of these triangles, they're going to share this line. So they're going to be on top of each other and it's going to be hard to select one or the other. So it's important that we always start at the opening of the next one. It's not going to obviously work for everyone. Some are going to share some lines and that's okay. There's another workaround I'll have for that. Just try to make sure you do that. For example, on all the outside edges, make sure the outside edges are on the outside. Don't do this when you come on the inside. I know we have just wasted an area where this doesn't share a line with anything. Actually, I didn't hit Escape before I started that one, so I'm going to do that and then quickly get back in here. So always don't do this. Do this, start on the edge so that we open it up and that the next triangle we can go here. If you noticed, just a moment ago and I made this one with my tablet, it's really easy to mess up and click and drag and you create these handles. When you create these handles, you can see how it isn't a totally straight line, and that's why we did the shortcut on the convert, the Pen tool. So when we click this one time, it'll straighten it back out. Let's just do a gross example here. Whoops, I clicked and drag, click and drag and I click and drag over here. Sorry, I click and drag. If you accidentally do this while you're creating these triangles, just go in here with the convert tool and just select them. It will convert them and take the beziers curves out. Those are the biggest tips I would have. You are going to miss a couple. It can get a little hectic in here once you start to get all of these points going to keep track of which one is which and what ones you've done and what ones you haven't done, and the triangles and that's okay. You can fix that and add new ones in, in the next video lesson as you find them, as you're like, "I missed a couple of triangles here and there." Let's get started on this. I'm going to turn on the time-lapse so we can work together. You might need to also change the stroke before you get started depending on how you resize it, and that's the step here, where on one point right now, and that's fine for the size that I saved mine. One thing I forgot to mention is, we can turn off the smart guides because they can get annoying. So we're going on the View Smart Guides, and we can turn those off. Now we don't have the annoying little green thing following us around everywhere. But let's get started and we'll meet up in the next video lesson, where we will align all these points together and create some more time-saving shortcuts that will speed up your workflow. Thanks for watching. 6. Aligning Vectors: Welcome to the aligning vectors video lesson. You're past the most difficult part. So let's jump in and have some fun and get this done. To start, we're going to create a time-saving shortcut that's going to really speed up our workflow. So let's go to Actions from the Window drop-down, and then let's go to Window Align. We're going to create a new action. So go to Create the New Action button. We'll name this Align Vector Points, you can call it whatever you want and we're going to put this on F1. I'll have to explain this very quickly. On my function keyboard, I'm on a Mac. Those are already assigned to the brightness display. It's kind of off the screen here, but if I hit it without hitting the function key, the F1 goes to the brightness display. To turn that off, I have to go to my System Preferences, go to the Keyboard and click this little checkbox, use all F1 as standard function keys. So I don't have to hit the function and then F1 to get this shortcut to work. The other thing you can do is assign this to your Wacom Tablet function, under the Functions as we did in the previous videos, and we'll scroll over to Illustrator and we can say F1. I've already showed you how to do this, but you go in here and say F1, we'll clear this out, and we can call that F1. So we just have to hit that if we want to do it on our Wacom Tablet. Otherwise we going to just use the keyboard shortcut. Let's hit "Record" and get started. We're going to take our Direct Selection Tool, by hitting "A" or selecting it from the toolbar on the top-left. We're going to zoom in on any of these points just to create this action. We're going to select them, and we're going to go over here to the Align panel, and we're going to align them horizontally and vertically. So now they're all grouped together on the same location. We're going to go over here and hit "Stop", and now we've made this point. So whenever we go in here with the Direct Selection Tool, select all these points and hit "F1", they're going to combine together and now we don't have to go up here and hit two buttons. Instead we hit one on the keyboard, F1 to be exact, but we hit one key on the keyboard, you get what I'm saying. As you're doing this, you'll notice that where they center might not be where you drew them. So if you need to, go in here and select all of them and shift them to exactly where you need them to be and get them back in place so that they roughly reflect the guidelines that you drew in the first video lesson. I'll let you get started. In the next video lesson, we're going to start filling out these triangles. Thanks for joining. 7. Filling Vectors: Welcome to the final video lesson on filling the vectors. Before we get started, let's discuss what we're about to do. We're basically going to come through here and select triangle by triangle, and fill the color with the most average shape, possibly what's on the center of it, depending on how we want to express this block of color depending on the underlying colors that we find in this triangle. To do that we need to do a couple things first. You see in this image, especially out here in the blue there's a lot of noise. I don't know if that's going to show up on the video, but it's a noisy image. When we're in here picking color with the color picker, there's a lot of different ranges of colors and sometimes it's hard to know which one to pick. To make it a little easier on us, let's create a blurred image of this original. Let's go back to Photoshop. This is the original image we were working with with our guide layers. Let's turn those off, and then scroll over here and Command J to make a new layer, and we're going to go up to Filter, and Blur. You can experiment with different blurs, but we're going to use surface blur for now. What it does is just averages out and smooth's stuff. When we are coming in here to pick colors, we're not getting a per pixel difference between accidentally clicking the wrong type of color that's in the triangle and that kind of thing. Remember we also created a smaller version of this. This is the original large version. You can see it's 3600 pixels up here in the top right. Let's go over to the smaller copy that we made earlier, and let's see what we saved it as. It was 1200 by 1078. Let's resize this image, image size 12, and it should automatically fill the bottom one if this is checked, and we'll hit Okay, and then we'll Command-Shift S to save as we get the spinning wheel there. We'll call this surface blur, save a jpeg, and say Okay. The other thing we can do instead of having to try to open it in Illustrator, is we can Command A to select everything in this layer, Command C to copy it, and then we'll switch over to Illustrator and then paste it in. Let's make a new layer and then paste it into that layer. We'll go edit, paste in place, and then we'll move this layer below the outlines, and now we're ready to go. Let's block it to make sure we're not messing with anything. If we go back in here and look at what we just did, is it averaged out some pixels, so it's not as noisy as what we were working with originally. Looks like it's maybe not totally aligned. Let's move it up just a little bit. Let's lock it again. Now what we're going to do is create a couple of shortcuts that's going to really speed this up. This is the most time-saving area. I know I've probably said that before already, but we're going to have the most shortcuts for this operation. Let's create a new action. Go to Window, Actions. We'll click Create New Action. We'll call it NoStroke. I'm going to give it the F6 function key. You can give it whichever one you want to do. I'll hit record. Now we're recording the action. You don't already have a triangle selected, select any triangle, and make sure you come over here on the right to the swatch control of the stroke. Don't do it from the toolbar, it won't register as an action. Do it over here on the right, and let's click the NoStroke. We see that that appeared in the action, so we can stop now. So that from here on out if we click a triangle with F6, then it will get rid of the stroke. Let's undo those to make sure we get the triangles back, because we just wanted that action. Now let's make shortcuts for that action in some other tools. We're going to need the selection tool, the eyedropper, and the action that we just created, and also the shortcut for sending something to the back. Let's get started with that. We'll go, if you want to do it through the tablet as we did earlier, go to your functions, select Illustrator, and earlier I changed this to F1. We need it to be the eye dropper. I'll clear this out, hit I, and then I'll hit I here, so we'll know what it is, and then I've already set the F6 action that we just did, and this is the ToBack command, which is the Shift Command left open bracket. That'll send what we have selected to the back. Once we get in here and start selecting triangles that are sharing lines, we can send it to the back so that we can select the new one. That'll be more clear in a moment. If you don't have a tablet, remember that we came up here to the edit keyboard shortcuts, and you can go through here and make your keyboard shortcuts be 1, 2, 3, 4, or whatever you'd like them to be. Let's get started filling the vectors. Let's get this selection tool by hitting the, we'll select a triangle, we'll get the eyedropper, and then we'll select a color and the center of the triangle, and that's it. You can see if we tried to select this line, the shares, it's really difficult. What we can do is use the send ToBack command that we created a shortcut for. Also if the stroke is not getting eliminated when you use the eye picker, then just use the action shortcut that we created earlier. In this case it's getting rid of the stroke, I'm honestly not entirely sure why. I've been testing this and can't figure out why it would eliminate the stroke, and sometimes it doesn't. That's just in case you're having trouble getting rid of the stroke. We have that shortcut ready to go. Again if we want to send it to the back, use the send back command, and now we can select the next line that it shares. You'll just go through the entire portrait and select these colors. Sometimes it'll take a little playing when there's a lot going on in one triangle. But this is one of the most fun parts I think of the whole process. In the next video lesson we're going to go through some finishing touches and Photoshop to finish out this portrait. Thanks for watching. 8. Finishing Touches: Welcome to the final lesson in this course where we'll do some finishing touches in Photoshop. Now that we have the finished portrait, let's select all of the vectors by clicking and dragging a box around the vectors and then we'll select them and hit control C to copy them. Now let's head over to Photoshop and hit control paste. We'll get this little dialog box. I'm going to paste it in as a smart object. That way we keep the vectors vectorized and we can scale it up without pixelating the image. Now it comes in small because we had a small artboard in Illustrator and we can scale this up. To help aid in this matching, what we can do is go back to Illustrator if we're having trouble, and let's just hit enter and we'll redo this and give ourselves a little help here. We'll go back to the pen tool and we'll just create a guide for these corners that when we go into Photoshop, we'll know how big to scale and where the corners begin and end. Now let's redo that. Select everything, control copy, control paste. We want a smart object. Now we can scale it up and we know where the image should be placed based on these guides that we just made in Illustrator. Let's zoom in here. Make sure we're doing it correctly. Now we can create a layer mask for this layer going down here and clicking layer mask, and we'll grab the brush tool. We'll switch to black and we can first get rid of these guides that we just used. But another thing to think about that could be useful is dropping the opacity just a little bit in your portrait to bring back some of the texture like in the shirt and other places that have details that aren't really captured very well in this vector format, like the hair. These individual hairs don't get represented very well. The texture of the shirt can be expressed a little bit. That's a choice, an artistic choice you can make about how much you want to lower the opacity if you want to at all and how much you want to do that by. Alternatively, if you want a little more control over it, let's use our vector mask and say, for instance, we want a little more of the hair to come through. I'll change my brush to 10 percent by hitting one on the keyboard and make sure the hardness is all the way down, and I'll just lightly brush over some of the hair area to get some more detail back, especially maybe in this transition area where we can't really tell how the hair's supposed to look. That's just a quick little tip to finish out some texture stuff if you choose to do that. The next thing we'll do is create a new layer to work on the background. Let's say command J to make a new background layer. Then we'll go back up to the vector object of our portrait and we'll command click the thumbnail to create a selection of just that area. Then let's invert it, command shift I, or you can go to select an inverse. Now what we're going to do is get rid of these flyaway hairs that soften the silhouette of this portrait and a couple of these little areas around the shoulders and the shirt. Now that we have the inverse selection, we can easily spot correct and clone out some of these flyaway hairs. You can use different tools if you'd like. What I'm going to do is use the stamp tool. Just gives you a little more direct control. Just make sure you have a soft brush, that the hardness is all the way down, so that it's not hard edges. It helps that the background here is all one color. If your background isn't the same color, then you can just replace the entire background at this point because we have this selection and we can just do whatever we want to with the background. But I'm going to try to use the one that I've been given here and let's get rid of some of these flyaway hairs so we can see. I'm going to increase the opacity a little just to speed this up. Then we can get into messing with the background a little bit. I'm going to do this really quick and then get back with you. Now that we're done cleaning up the silhouette of the portrait, we can de-select the selection we had and we can see the difference it's made. You can see it really draws the attention more to the face when we have that softness removed around the hair flyways and just less distracting. So that really helps your portrait. This could be where you finish. All of these steps are up to you and what you want to do. You can go in here and do some more image corrections stuff, adding in contrast, tweaking things a little bit. It's really up to you what you want to do at this point. But I'm going to keep going just a little bit and show you a couple of more things. What we just did was clean up the silhouette. If we wanted use the background and do a similar effect to the background really quickly, let's do that. Let's make a new copy of this. What we're going to do is turn everything off, but that. I'm going to very quickly get rid of these edges and it'll be clear in a minute. The reason I'm doing this is we're about to do a filter that I showed at the beginning that was not the best way to go about creating this effect. But for our background, it's going to be enough and it's going to be really time-saving if we want to apply that effect to the background as well. The reason why we're getting rid of this edges, it can pick up some of the edge and that can be bad because we're going to have these big chunks of orange, or skin color, or shirt. We don't want that when we do this effect. Let me show you what I'm talking about. Let's go up to Filter, Pixelate, Crystallize. If you remember from the first video where this was the example of a bad way about going about doing the whole portrait like this. But now that we're just focusing on the background, we can crank this up and create a complimentary effect to the background. Depending on what you want to do, the larger the cell size, the more it spreads out. That's why we just got rid of the border around it because we don't want it to bleed out behind the portrait. I'm going to do something like this. Then when we turn this back on, now we have a complimentary background to what we just did. Of course, you could go in here and create an adjustment layer like hue and saturation. We could colorize it and put it in a different color and do all kinds of stuff with it. It's all up to you on what you want to do and how you want to finish it out. But those are the couple of things that you can try. I will say, be careful if you change the color. You can see my hair just turned green because, remember, we have this at 90 percent. So we're actually seeing through to some of that green. So just be aware of that if you're doing these types of effects and as you build them up. But have fun with this. I can't wait to see what everyone makes in the class project, and thanks for watching and have fun with it. Thanks. Bye.