Stylized Portrait Illustration Technique in under an Hour! | Terrence Carlos | Skillshare

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Stylized Portrait Illustration Technique in under an Hour!

teacher avatar Terrence Carlos, Nocturnal digital nomad, currently in flight.

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

5 Lessons (59m)
    • 1. Adobe Sessions: Introduction

    • 2. Adobe Sessions: Tracing Excercise

    • 3. Adobe Sessions: Linework

    • 4. Adobe Sessions: Pen Tool Prowess

    • 5. Adobe Sessions: Live Paint and Adding Detail

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About This Class

In this course, I'll be sharing how to primarily use the pen tool in Adobe Illustrator to explore one of many approaches to creating vector portraits from reference photos. This portrait approach is good for capturing a wide variety of subjects, and can be stylized as much as you like to reach a desired effect. 

Hint: Portraits need not be limited to human subjects, feel free to portrait your pup or any member of the animal kingdom for that matter. 


Meet Your Teacher

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Terrence Carlos

Nocturnal digital nomad, currently in flight.


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1. Adobe Sessions: Introduction: welcome my class on skill share. My name is Terrence and I'm a junior designer, freelance for myself with Snow, all studios and they were going to be taking a look at portraiture and illustrator. I'm gonna be using approach that focuses on using the pencil as our primary tool in creating these portrait's first key thing is to come up with a good reference image. So in this case, in this example, in this scenario today I'm just gonna be doing some pretty standard sports figures because it's easy to get high resolution images on, and it's easy to come up with some, um, some good line work. That's what really going forwards. Chris Clean, Readable Ledge, Herbal line work. That's really the first key element to this project. So if you have a basic level of illustrator or a few more interested in the types of things you can do, for instance, with live pain, um, this would be a good class for you to start taking. Um so for a few tickly gone, um, take my class in school share and share it with your friends, and we're just gonna dive right in so you can go ahead and open up, Adobe Illustrator and take your time now and go through your files are your archives and go ahead and pull out some reference images. Um, the cool thing about this project is that there's a lot of room for, I guess, creative interpretation for what you can do with the portrait it's and I'm gonna show you a couple ways that you could stylized them, Um, and really give them, um, a sort of signature style of your own that you could eventually develop and hone. Um, as you wish. So we owe you. 2. Adobe Sessions: Tracing Excercise: wait here. Like we said, we have your starting reference point for your reference image. Short selection of just handing him for this case of the Sharpie. Gonna go ahead and rip out a page of my 9/2 by 12 cans and tracing paper Pretty much any tracing people will be long and go ahead and lay it right over my references. So I'm gonna go ahead and it might be a good idea is you want a good lighting situation anytime you're tracing. Ideally, ideally, you have a light table. If you have a light table two really good resource. It's really pretty fun, actually. Build light table of built like tables before from scratch. Scratch. Um, but I don't have a light table. Um, you can still work around it and all we're gonna try to do here, um, is just capture figures in line work, and any line work you do is gonna be sort of original, meaning the everybody sees lives differently. And what you see is being an important The goal was really simplify thes complex images and reduce them down. Teoh two essential landmark. They eventually going to be transforming into illustrator someone's gonna go ahead and Gary piece tape so that my tracing paper doesn't move around while I'm doing that. Now, this is probably not idea lighting situation, but I'm working with what I have. And I think that's what good teachers there stay with with what they have to get to the point that they get to you. So here we are, tracing papers down over the reference image hero image, if you Well, and we're just gonna go ahead freehand. A lot of these lines. My original trace off the reference paper. Very rough. I'm not concerned about being entirely accurate. Thought you can see I'm blocking out the figures in over all shape just to get a sense of where my more detailed line workers are gonna go. And just to get a sense of the overall composition and what I'm working with here. So again, this is probably about a 10 minute, um, sketch or trace over that did directly off the reference image. And again, it shouldn't take you that much time. Try to block out the places where you see light versus darkness in the figure happening, and I will be enough for you to go ahead and move forward. So won't you car with me 3. Adobe Sessions: Linework: Shea Shea. Well, hello, guys. Welcome back to the first part in a Siris for my Scottish skill share course, Um, learning to stylized portrait. It's an illustrator. So here we are in my project folder. We're just gonna go ahead and open up our whatever working version of illustrator that you might have so we can go ahead and dive in, um, in this project. So I already saved my images to just in 8.5 11 pdf and in Illustrator Something's gonna go ahead and bring up that file already haven't preloaded. And eso here is just basic 8.5 by 11. I'm gonna open up my layers panel layers palette and there's my images. So already started working on this a little bit, but for the sake of instruction, we're just gonna start from the beginning of getting, so you'll notice. Um, I had the three j picks, um, sort of thrown together on the page. I'm gonna make sure they all fit. You may have multiples, and you may be working from one, and you want a page our size your page accordingly, but it's totally up to you. Um, whatever seems to fit the bill for your project will work perfectly fine. So the first thing you did, um, after dropping the images on the page waas to just, um, pretty simply you notice the capacity has turned out. So to do that, you just, of course, right up here instead of being at the full level. Full resolution 100. We want to come down about 40%. Maybe bring it down, Teoh. Um, in this case at its 65 which is good enough, I think he just want to be able to make your line work that you're gonna be tracing over your subjects a little more visible. So that's gonna help us. And we're gonna, at least for now, gonna lock that layer. So now I can't, um, damage it, do anything over it. Um, so we put it in a nondestructive state. So the next step is what really the heart of this whole project is about arm is getting comfortable using the pen tool and just seeing what's possible. So here we are, selecting pain tool. Um, gonna go ahead. And just since this one's at the top are going to get started on this top figure portrait part of the portrait, What will become the portrait? So, um, you'll notice. Um obviously faces are gonna have a lot more detail. There's a lot more intricate intricacies and things that could happen up in this area. So I want to start in a simpler, easier place, which is, in this case, the bottom of his shirt or jersey. Um, so just down here at the bottom, the bottom and the focus on this first session is just gonna be on the basic basic approach to tracing, simplifying, and he and layers panel trying to keep your layers organized. So why don't you go ahead, pick the pen tool. I'm working with a stroke off 0.5. I'm not really concerned with the brushes. Will talk about the importance of breast selection later on in this session and possibly the next session to so government passed it to turn down. And I'm just gonna go ahead and start tracing. This is the fun part on what's gonna take up most of your time for this project. Um, you'll see I've already started. So from yes, So simplifying your limes, really getting the figure to come out. You can see. That's what I'm doing here. So I'm just going over with the Pento, selecting what I think are the most dominant and important clear lines that you will need in this image to communicate the idea. Ah, which is, in this case, the portrait or the figure. Um, so I'm gonna go back. I'm here. I see. I miss some of the number and show you, um my just basic approach to doing that. Um, it's a little bit tedious, but once you start to see the big picture, um, it's pretty fun. So I'm just going over the number here, tracing it. I'm not at all trying to be perfect, but I'm trying to stay true to the image because that ultimately, in the end, is what's gonna get you the most compelling Or, um, I guess close to, uh, close to believable, um, portrait figure, because ultimately what you want people to say is I recognize that right away I know who that is or I know that picture that it was drawn from. And yeah, that essentially is your goal. So because his clothes are wavy in this, it's a little bit tricky, so I'm I Even for the sake of simplifying, I might do this and later decide if it make if it makes the picture, makes the image read better. I'm just gonna leave it out and delete it. So what? The pencil, You can come in, um, and really trace over your lines in every long you make, you're making a decision. T either include something or to exclude something. So just keep that in the back, your mind as you're going through, Um and I'm gonna put that on its own layer on a call that layer, remember, because the number in the back of the jersey and the layer already started on is you'll see if I zoom out. And if I take my image off all on one layer, is this later too? So we're gonna call that Ah, Jersey, because that's his jersey that he's that he's wearing in this image. Um and yeah, you can see a little bit of progress here. So, um, I'm going to continue start a new layer. When I started new part, our new section of the portrait, Um, right on the bottom of his chin hair. I'm gonna start this layer and call it face. And in a few moments, I'm just gonna go ahead and fast forward the video and I'll show you what part that him at . Just remember your anchor points. If they over extend, you can always bring them back in on a Mac by holding alter option key, and so doesn't overextend. And you can start where you want. Um, that's an important thing. So you can see him just going up the back of the head here, making decisions and making clear selections on what I think is going to make the best most readable, visibly less eligible. Um, line work. So thats the goal here in this first adobe session, creating stylized portrait, it's in Illustrator. 4. Adobe Sessions: Pen Tool Prowess: Welcome back, guys. This is, um, Terrence's Adobe Sessions creating stylized portrait an illustrator, and we're going to try to pick up where we left off, Um, which was creating line work. So in the previous video, I had you guys experimenting with the pen tool, and I had you spring up your reference images. Um, so let's just go back to that point for a second here, Um, in this video, we're gonna be talking about why it's important to close gaps in your line work. Um, talking about what? Different pen brushes conduce you, um, and looking at some of those brush his brushes, how they might affect, um, the life paint process, which is how we're going to be coloring I portrait. So let's go back to our reference images and you'll see, I went ahead here, um, and finished outside of my line work. So, um, I did this pretty quickly, but overall, I'm pretty happy with it. I'm simplifying she I'm going around the whole figure, um, you know, simplifying shapes and trying to break down the elements as much as possible. Um, just using the pencil, tracing over the figure to, um exploit or bring out some of those, um, critical visual shapes just to communicate the figure. Now, something important there, we're gonna have to talk about here. Um, super quickly is the importance off making sure you close off your lines so that when we live paint later, um, the paint tool or the paint bucket reads those shapes, and it fills them on Lee as much as, um, as much as we want them to be filled. So, like I said, um, I've sort of finalized the line work here. Go ahead, take your time and take a much time as you need to do your line work. That is the most time consuming part of this project. But once you do that, um, it's a lot of little detail stuff, and then fund coloring comes in and then finally easing the comp composition, which is what we're gonna do later. So, like I just mentioned, I'll show you a couple examples of closing off. Like if we were to paint this in this space here. This is the back of his jersey. Um, it just wouldn't work because the space is not closed up. So what we have to do Let's go back to our pen tool. Um, make sure on the trace layer that we traced on originally, and just continue it. Close it off. Boom. There we go. So we want is a closed off shape so that when we live paint later, um, it reads it as a close shape. Now, there may be some areas that you do not intentionally want closed off. Now this here on his arm as a part of the jersey is just a wrinkle in the shirt and for the line to read there, it doesn't need to be closed up because it's not going to be different color. Um, but in this situation or scenario like here, will you start to draw on some of the details? Um, you do want this closed off because you're reading to objects, you have his hat and then you have his glove. So we want those to be different colors. So in order to do that, what we're gonna do where there's gaps is close off those gaps by connecting essentially, which is connecting the dots. So all we're doing is connecting the dots here so that when we colored the dots in they will be corresponding colors to our color way that we will be selecting in a moment here. We're going to cover selecting a color way and how to sample colors from your reference images. So, yeah, there was a gap there. We just finished it off so that we could go on later in life paint. Um, it will read it, and we can get the color. We want the hairs an area, um, again, really quickly. That didn't connect in my original line work. Maybe I was just going to ask, wasn't paying attention, Um, Or the pen to will escape me for a second. Which definitely happens when you using the pencil. So we're just gonna go ahead and close up these lines. This is left outer. I lied. Peace sort of. There. You can see. So, um yeah, sin. I see pretty much developed a pretty good overall line work. I don't see any areas that I need to reconnect, but again, the more you zoom in, the more detail you have. So that's going to be for the first in the series of the portrait. Um, another trick I'm gonna show you guys is what I did for the second trace. Now, on the second trees, I purposely did it a lot looser, And, um, I challenged myself to do the minimal amount off actual pen lines so you'll see this one comes up more as a contour drawing essentially will be the same. As if I put if I was tracing this, put the pen on the page and, um, didn't lift it up. And that's, um, one way you create a contour drawing. So it's going through all this and, like, not, um, bringing my lineup. So what's cool about this? One thing you could do an illustrator. Um, again, I'm gonna lose my reference page there. Um, so I have this selection that came off of my reference images image, and I'm gonna go ahead and select the line work that I created. It's on its own layer. You'll see. This is my, um this is what traced to. So there it is. Let me just go ahead and fix that real quick to make sure this light, you'll notice a lot in this process. You're dealing with a lot of line work, so it's super important, and I can't emphasize that enough to organize your layers. So you know where everything is exactly, where to find it and how to get back to it. Um, when you need it. So all I just did there was take a line that was on the wrong layer and reconnected to make sure it's part of my It's part of my trace to there we go. Cool. So one thing I was going to show you is how to cut away in sort of lifetime of real time. How to just cut away lines if you are going for more of a contour style drawing and there's overlaps that you want to basically cut away. And so the way that you do that I just made that full selection of the line work all the lines I wanna have selected, and you make sure he's like them all as a group together. And then you on a Mac you'd hit. I believe it's shift in M Yeah, cool. Oops. Don't do command M because apparently I think that's hide. Um, so I think it's shift em, and then what it does is bring up these dots at your anchor points on your line work and you see the plus on that's next to the arrow there. That means selecting spaces that you want to either add or delete. So we're not gonna be adding we're gonna be subtracting, so to subtract the lines that we don't want, we're just gonna hold Ault option on the Mac and say, I don't want that line anymore and it goes away. There's a lot of overlaps that of really small. So we have to zoom in a lot to do this. But you get the general idea and you can see how that could speed up, um, your workflow. So anything that's going to speed up our workflow Rogan and try to do Or at least I'm going to try to do because most of the time I'm on a deadline for a project or for a client. And, um, I'm still trying contribute my best work in the least among time as possible so I can manage other projects and gather that things down this well. So here we are in our Contra drawing of the face of our figure. In this case, it's David Ortiz, baseball player, um, doing the portrait so you could see this little part of his hair and his chin comes off there, we're just gonna go ahead with our control, em live layers selected and just delete it. And it goes away just like that. You can do the same thing up here at the eyebrow because there's a lot of overlap in the line work and just to lead the whole thing. So it's underneath the hat and it doesn't come over it. Now I noticed something here, a gap that I mentioned earlier. So we're gonna go ahead, come out of that view and just fix, find are a good point and use a pencil again to just fix that gap. So when we bring up by live paint later on, it will read the shapes as we want them to be read now, here ago, right back into the cut and we'll call it the add and subtract mode control eminent. I want to get rid of this particular line here, so I make my whole selection again. Zoom way in and go ahead and get rid of that line. Here's another one on his hat that comes into play there. Oops, Looks like I didn't do the right selection so we can go ahead and re select my lines Redux , control em or shift em correction. And then do option subtract to get what I want. Now again, I'm simplifying my line work trying to break this down into the most basic of shapes. So my portrait will be more readable, more legible, because that ultimately, is what we're going for. But since we're style izing portrait's, that means that we can add some, you know, some details, some flares, some stuff to them that makes them stand out. We're going to talk more about adding those sorts of details in the next video. Um, but hopefully by now you've selected your portrait subject and have started tracing with depends rule. Um, and that you've come down, get some line work that you like, because once you have that line work, we're gonna be developing it onto the page and the composition and live painting in color. But it really starts with establishing some line work that you like and kind of just going from there. It's that simple. So I think really anyone could do this, um, process the portraiture as long as they just sit down, take the time, get good reference images and start to get comfortable with the pen tool because that really is what it's all about. So you'll see I have three figures here that came right off of my reference image. Um, and I have friends and instance I have a figure with him tipping his cap. There is a line work for that. A figure, um, of just up close portrait of him looking away. And the 3rd 1 which I think is important, um is just an action shot of his swing profile of the players. The players swing profile. So I have my line. Look over that and you'll see, um, if we zoom in here, Matt Mead, maximize screen for you. So hopefully you can see this video and you'll see I'm not adding a lot of detail. I'm keeping this really rough, but it did do something like, um, trace over the font that's on his jersey, adding little details like that. And also you'll see down here the shoes, um, you know, adding these exact lines here are cool because you're creating these awesome, stylized custom shapes that once they're filled in with life paint. They're gonna look awesome. So that's what we want. So find little areas of intricate details in your figure in your portrait in your subject that create good, solid, um, stylized shapes that once you fill them in, they're gonna add depth and add, um, just quality and, um, quality to your image and quality to your overall composition and the peace. So here is that swing pile profile coming all the way out with the bat. I think that's pretty cool. You see how simple the line work is here? I'm really only suggestion suggesting shapes. You see, all these shapes are broken up and closed off. So broken off, closed up, closed off, intentionally left open because it's meant to suggest motion here in the arms of the Jersey motion in the Jersey here. Motion in the belt area, down here towards the bottom with his legs. More motion. But a lot of these shapes and areas are simply closed off. Now, if you catch yourself like right here, the area that needs to be closed off and it's not you want to go ahead and try to close that off. So when we live pain it will be less of a less stressful. And I'll just be easier because it will make the live paint effect. Um, just overall, go faster, look better and be easier to change. So you'll notice one more thing. Um, if you have any uploaded brushes, um, or if you want to download, go ahead online research downloads and brushes. Um, that could be another stylized. The fact that you can add to your that you can add to your portrait so you'll see. I'm just changing their with and the type of brush that amusing kind of cool. You may not want that effect in every scenario, every situation, every case. But there are some different things you can do. Um, that's mostly all I'm trying to show you. There's a lot of different things you can do with the pen tool. Once you could do have your line work down and once you, um, have an idea of what overall composition is gonna look like. Sorry about that. Guys living off of the Main street is not the ideal time to record a school show course. However, um, I'll show you these in black and white, just in case, it comes up better on your screen. So I put these on a black background and a white line work. And here's one that's colored using live pain. I'm just sort of sketching out a rough idea of what I'm wanna have in the future. When I get to my final composition, there's my profile Swing profile Short of my action shot for this portrait. This is cool. You'll see the spaces down here that have closed off the shoes, the jersey uniform all the way up to the text that goes across the chest out towards the bat so you'll see. I'll be using the's three profiles, Um, that we're gonna be the elements or basically pieces final pieces of the puzzle here. So this all came from using the pen tool and from using life paint. So go ahead, experiment with the technique of adding, um, subtract of, of, of closing off and sort of finalizing your line, work in your portrait and finding those little areas that you think are going to style, eyes your project and really help it. Comment to being so go ahead, take some more time on your project on and post your process and post any questions that you might have that might come up or any suggestions. You might have a nice suggestion for a brush that you might use, um, or suggested with of the pen tool. Um, there's a lot of room for open room for interpretation here, so go ahead, work some more. Um, in the next up sewed of Adobe sessions were going to make sure, uh, whole project essentially is organized the way we want it to be organized. As faras layers go and we'll talk about adding details, Um, like tattoos and using brushes toe maybe make hair, um, or others other details. And then we'll do a final ah final colorization, um, and talk about selecting a palette in the next video. So hope you guys enjoyed that. There's a lot of information. Hopefully, it's a review for a lot of some of you people who are designers, um, or do some Web. But as long as you're familiar with the pen tool, that's really the heart of this course in this skill share learning, um, process for this project, um, so go ahead and continue to work on your portrait's and we'll see you in the next Adobe Sessions Video on creating stylized portrait Thanks 5. Adobe Sessions: Live Paint and Adding Detail: well, again. Goes and welcome to this third. And what were the final off adobe sessions and creating stylized portrait? It's with parents from snow, our studios. So here we go. We're gonna dive right back in. You'll notice I've brought up a file from a previous project that use the same exact approach of using the pencil to trace over reference images to create stylized portrait. It's in Adobe Illustrator. So, um, I'll go ahead and show you the reference imaged image I worked off to create this again. This is another baseball player. Um, part of the reason that ah lot of these projects end up being for sports is because it's really easy to get high resolution quality, you know, working action shots from different angles. That air Good that you that make great, really great reference images for projects such as these. So here, just going to show you how easy it is to use different brushes to different effects. In this particular case, I want to before I talk about brushes. Um, I'm gonna show you. Add some how to add some. We talked about this in the last video, but just doing something as simple as changing the with profile on the brush of the pen tool that you're using can add a little bit of depth. So you're trying to do, um, in parts in different parts of the composition. Um, like you would notice this profile is sort of, ah wide too thin or thin toe wide brush. And that's just getting give you a little bit of extra depth. Um, in some sort of variation, instead of having one solid line failed, you're gonna have a lot of sort of very depth, which, maybe in effect, you're going for it may not be ineffective going for, but what? I'm gonna show you really quickly. Here is how I just took a scattered brush using key. Be and essentially, um, you could do it with looking at your reference images. Um, just to get an idea of which stops and starts and the overall shape. But generally, how easy is it? Just find the right brush. Um, Eyeball, you have referenced photo and say, Hey, I could use this scatter brush for the splash of pain. Or maybe it's ah, the foam coming out of your dog's mouth. In this case, the hair, Um, on a baseball player. Um, really. There's no limit and no end to the types of textures that you can get out of illustrator in order to mimic sort of real life situations or to find a way to stylized stay true to your portrait because that's ultimately what we're trying to do is created, if perfect for the sake of the portraiture, um, in a recreated in vector form. So there we go. We just added some hair on both sides of this player. Cool. Now you're see, I just add squiggly lines. I'm just trying to get an idea of what, uh, what the brush is gonna do before I Why that effect to all of my line work. So moving on this is what a finalized version off same portrait, using the same process from another project came out. I just added a type element here that we're going to talk in a moment back to our original project about, um, re layering are composition, um, to create ah, high level of compelling visual interest for our composition or for our portrait, and adding a small element like this that could just give it that um, finally, a little bit of pop that it might need. Maybe this standalone porch trip isn't doing enough for you. And you just want to add you can feel free to get creative with that. Um, but here you can see I added in some shadows, just with the pen tool going in and creating depth by using different shades, different shades of the same color gray because I know it would give off the effective more having motion. So again, we want a very, um, we want to vary the brush that we're using just to see what's possible. And really, you want to experiment this, Um, the more you do it, the better you'll get. As with anything in these adobe programs, the more comfortable you are using the tools, the better you'll be with them. And remember, you want to work smarter, not harder. So instead of recreating a line, I could just copy paste it and put it somewhere else could be that simple. So however you come on cars, your solutions and your projects. I'd love to hear about those guys in the form in the chat room on the skill share, um, place where you leave comments and questions, so feel free to go ahead and do that as much as you wish. But we're gonna move on here. Um, I'll show you the two final versions. This is what we're sort of going for. This is all the same process using live pain, tracing over illustrator over a reference image image to come up with some interesting, um, some cool shadows going on here. Um, an interesting portrait piece, something that's gonna catch your eye, something it's gonna hit you right away. So you know what it is, Um, and it's still extra vision ALS because it includes some of your style. So let's go back to our original project we had been working on you. Remember? I showed you some of the black with the white line where just to show you the shapes and overall, the shadow or the silhouette. Um, we're just gonna go ahead and run through a really quick, um, live paint demo. And also again, um, having your layers organized is gonna help you every step of the way. Um, and that's with most projects. Whether you're doing with Web design. Graphic design illustration. Package design you name it. Um, I cannot emphasize how important it is. Do you just keep your layers organized. So, um, why don't we go ahead and just pull our line work from original projects? I want to get rid of my tattoos. I assure you that in a minute. Really quick here. So all I do is copy. Bring this over to the opposing art board that I've created and I know is going to be my final composition. Creating new layer. Put it on that layer. I like to work with it big on live painting. So what? The whole line work selected? You have it all selected in this case. I'm using a very thin one inch line with. And previously I was using 0.5. So you're gonna experiment that try to get it where you want, But for life painting all gonna do, select all that lie, work. Come toe objects, go down toe live paint and click Make. Now, this is just a warning that may or may not come up depending on your vision of illustrator , depending on the groupie selected, depending on what effects It's just telling you that you're entering sort of Ah, destructive ST ST with life pain. Things might get lost, sort of in transition. So since I know my Lai Mark is clean and I trust myself and I trust my process, I'm gonna go ahead and click, Okay? And there's my line work. Now I have it. You'll notice these little stars in the anchor points of the selection. That means if I click the letter K and I come over here to the paint palette that I created , um, what I can do so I for sample and color. Okay, these are lower letters on the keyboard, I for sample color. Okay. For life pain. So I'm just gonna go through really quickly here. As a matter of fact, um, I'll share with you another little trick. If you double click on an area, it will read all the areas surrounding that and life pain, the whole thing, just like that. So very quickly. I'm gonna go here and you get the idea of what I'm doing. I'm just eyeballing this, but look how quickly things are starting to come together. Hair. I want my black from my palate. I mean, this is what you're doing. You're live painting your selection, and this is really the fun part. It's getting to this point and really focusing on creating the best possible line work and closing off your shapes so that this part is the easy part and really the fun part. So I'm just drawing off my pre created palette here in adding in his much color. That gives me some good contrasts because that's always what makes an image Pop is the level of Colin Trust that it has. You know, there's other factors in visual communication to, but you're always going to read something that pops and stands out at you and and, um is bold. So we're just gonna color in the glove here. So you notice different elements are different shapes. We want to make sure the eyeballs are easy to read. Um, it's the surrounding areas are gonna be wide while that people peoples are going to be block pretty cool. Look at that. You can get is picky, as you want here. You're gonna be creating a lot of little spaces and a lot off little areas. Um, so when you're live painting, just feel free to kind of do it free form. That's kind of my general approach to it. And it works with life paint for this for the sake of this process. So here we go. That's just a quick demo of how quickly, once you have good, clean, solid, um, readable line work and you get your life pain selection. That's how quickly we can just have something to work with Here. I was a lot of areas of little detail that I missed because I was trying make this video relatively shorter than the other sessions. But look how quickly we go from having just a reference image, just the line work. Maybe we add some breaststroke alteration for the sake of depth. Maybe we add some brushstroke alteration for the sake of effect for the sake of style izing . But ultimately, when get to the life points live paint phase, Um, this should be pretty self explanatory once you know how to use the moats of illustrator to your advantage. Um, really, the program, um here is designed for you to do these things and get a working version off what you want in, you know, a lot less time. These tools have developed over time Live paint hasn't always been available. An illustrator I remember working on CS two or see his three, and that was sort of unheard of and have toe paint every shape sort of individually. Or they were just longer, a lot more sort of red tape you had to go through in orderto get their effect or the visual of the vision that you had in mind to come up with. So now we're past all those sort of traditional technology technological techniques. Um, and by the time we get to creative cloud, things have become really much more streamlined, Um, and ultimately easier for the designer to present an idea on the page that's important to keep in mind, too. We're presenting ideas on a page. So let me show you in the final composition what I decided, um, to how I decided to layer the final composition and color. Now, you'll notice here when I did have my color palette. Um, I had it in a couple different places. That's totally up to you. If you want to do that, it helps. It just helps me every time I have re color to keep an eye on my palette boom. So Harry out, Guys, here's my finalized version off my stylized portrait, an illustrator that we took from day one from the start. And we started just tracing those lines, building up those shapes. And all I did here was at an element of type, a little bit of a a background with the opacity turned down of the city of Boston. Here, in this case, with the portrait sort of laying over it, I'm pretty happy in the small amount of time that it took me to to do this project with the outcome that I get. And I really hope that skill share students come can sort of see the pen tool in a new light and how it can be used, maybe in a new way or whether you hadn't out of before. Um, and please feel free to addict suggestions or brushes or tools. Um, that might make this process easier for the sake of style is in your portrait. Um, in this case, I found a phone that complimented my portrait. Very well. Um, I found a background. The complimented my portrait very well, and I made sure when I had my life paint selections that I group to them, too. So when you move them, they stayed together, and they in the program Illustrated, reads it as one piece. To do that, you just made your selection. You go to object. And, of course, you go to group. So not reads it as one, and it moves it as one. And you can really, um, essentially, once you have your live paint objects groups, you can kind off experiment. Essentially do whatever you want. That's the fun part of designing. And that's the fun part of style I creating stylized portrait is there's a lot of room for interpretation with what you can do in once you understand the process in a relatively short period of time. So here we are throwing around size options with that lime work because probably one of the biggest things to keep in mind is that vector, once you have it correctly done, is scalable without being destroyed, which means that you can do you can move it around even once it's live painted. Um, you can move around without distorting it, which is very different than in a program like photo shop, um, where you don't have as much flexibility. But since you're watching working in Vector um, which is ultimately one file format or reads as vectors instead of pixels, um, you have a lot more, um, sort of freedom with what you can do visually when it comes to laying out and setting your composition. So I really hope you enjoy the information that it presented in this course. Feel free to comment and like, um, or see any of my other skills share videos. I hope to make more in the future. But since I'm pretty new to skill share, um, I'm just getting used Teoh recording the videos and recording the process and coming up with new techniques and processes that I feel like students or designers or freelancing designers might be curious about. And if there's anything that comes up that you guys can think of any tips or tricks or hints that you might have learned along the way Fif free and Cementos I love to read him. I'd love to see him and yeah, this is just one version you can see. It's very similar to the other ones, but they're always gonna come out different and that's what School boat being creative. And that's what's cool about style. Izing Portrait's in this case. So I hope you guys find some good reference images. Take lots of time with the pen tool, Um, and get some good line work down and you submit your final submission for this should be at least one portrait that follows the process of this technique of illustration and some things that you did that were different or some things that you did that with the same that you might have learned already knew from this course. Um, so again, um, this is Terrence from Snow. All studios. Thank you so much for, um, go ahead and taking this scale share course. I hope you guys had a lot of fun and sort of, uh, this may be eye opening approached the illustration. Maybe you do character design. Maybe you do fashion modeling and maybe you do industrial design or even photography. This skills that depending on your project, depending on what you're doing and being comfortable with the pen tool and understanding sort of some of the things that it could dio is really fundamental to your ability to operate in the design world, at least for me when you're working graphically, um, so getting comfortable with these tools and doing them pretty quickly and being able to come up with these projects sort of on the fly on the go and come up with ideas and to be ableto put them into play, um, really is crucial. So if you guys had a lot of fun doing that, um, and you join me for my next course, Um, so this is the end of the third adovia sessions. Um, that's our recap. Help you guys have an awesome day and getting ready for a great productive season, um, in your life's take care.