Vectorize Anything in Adobe Illustrator with Image Trace (Without touching the Pen Tool) | Douglas Butner | Skillshare

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Vectorize Anything in Adobe Illustrator with Image Trace (Without touching the Pen Tool)

teacher avatar Douglas Butner, Teacher of Nomadism, Art Marketing, Rap

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

10 Lessons (48m)
    • 1. Class Introduction

    • 2. Your Asignment

    • 3. Diving Into Image Trace

    • 4. How Image Trace works

    • 5. Photo Pre-Edits

    • 6. Vectorizing Photos with Image Trace

    • 7. Marker Drawings: Pre-Edits

    • 8. Vectorizing Drawings with Image Trace

    • 9. Found Elements: Vectorizing Small Images and Cartoon Characters

    • 10. Class Review

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About This Class

What would your digital portfolio be without vectors? 

In this class, I will share with you my tips and workflows for one of the most valuable skills as a digital artist, vectorizing images.

I use them all the time in my art. Image trace has been a great tool, but when I started, I was getting terrible results..

The pen tool is a difficult thing to master, and takes a lot of time to use, even when you are good.

So I was stuck with Image Trace for complex images. I had trouble tracing small or pixelated jpegs, and big images took forever between edits, or had poor results. 

I experimented making some quick edits in PS. It instantly got better. I was so stoked to be able to find elements and keep them in this valuable format.

I looked online, and no one was teaching this concept, so I wanted to share it. This skill seriously helped me, and I hope it helps you. I am stoked for your art and your excitement creating vectors you can use now and for future projects for years to come!

This class teaches pre-edits and vectorization for three types of artwork: 



FOUND ELEMENTS (online images of small or low quality)

and we also cover every option in Image Trace. 

Here's a breakdown of what our core lessons will cover in this class

Diving Into Image Trace

Ever wanted to really learn image trace, but never got around to it? 

We’ll review every option in the Image Trace panel while playing around with an orange.

Vectorizing Photos Pre-Edits

Once we understand what we are looking for in a photo, we step into Photoshop and make the necessary changes. We will go over making these changes with adjustment layers, and making them with Camera Raw Filters. 

Vectorizing Photos with Image Trace 

We will jump into making our image into a vector, and getting a subject out of our photo. 

UPDATE: Photoshops subject selection tool has gotten much better, and is worth not just a mention, but a recommendation for applicable photos. Learn more in the (official) Adobe article and/or (unofficial+unaffiliated) video

Vectorizing Drawings Pre-Edits

Marker drawings were made to be vectorized!! Chances are, you may not even need to pre-edit the images, but just in case we will learn how to make sure that image trace can do its best job.

Vectorizing Drawings with Image Trace

We will turn the marker drawing my girlfriend made into a finished vector. Once we have this one-color vector, we can replace the fill with anything we desire!

Vectorizing Found Elements

In this lesson, we will quickly pre-edit some small images we find online, then make them high-quality vectors.

This class is short, and surprisingly easy. Tracing (vectorizing) is one of the most exciting and rewarding skills to learn, and I know you will have have fun making great-looking vectors. 

I'll see you in class,

- Douglas

Meet Your Teacher

Teacher Profile Image

Douglas Butner

Teacher of Nomadism, Art Marketing, Rap


I love to learn and teach. I am a free-spirited creator, and have been traveling the world as a digital nomad for over three years. My courses focus on selling art online, energy work, and music. I teach what would help a younger me, including the strategies I used to sell over 20,000 copies of my artwork without paid advertising, energy techniques I have learned to unlock human potential, and tips to help musicians.


My Life

I grew up in Maryland, and I am currently slow traveling the world thanks to selling art and teaching online. I plan to keep traveling, creating, and learning from this amazing planet as long as I live!

My purpose on Earth is love. Love is the greatest teacher, healer, and creator. I believe when the individual chooses to... See full profile

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1. Class Introduction: Hello and welcome to this forest on Vector rising. Anything in Adobe Alicia In this course, you will learn the fastest and easiest ways. The vector is your artwork using in its trails. Vectors are valuable because you can infinitely scale them without losing quality. This the must if you're doing any medium to large scale renders, including posters, school projects, brandy or Sonia art on beauty products for as stock images. This technique can be used by artists in nearly any video, whether you paint on canvas drawn paper, take photographs or even have an entirely digital workflow factor. Rising is a skill you will cherish more and more as your art grows. This isn't just a walk through image traits where us going to look at prepping the images voter shop to make image chase work even better. By the end of this course, you will understand all of the options in the image trace and be comfortable optimizing and vector rising. Multiple types of artwork, walking victimization, using marker drawings, photographs and elements refined online. Let's get back to rising 2. Your Asignment: your assignment. In this last, we'll go over three use cases for victimization. There's being photographs, marker drawings and found elements for your sign. Choose one of these techniques, do it and then share your results in the project section. You should include the beginning image, the image after the pre edits and then the final factor. Extra credit. Do one photo, one drawing and one found out. That's good start. 3. Diving Into Image Trace: we're going to dive right into image trees with a walk through of all of the options. Then we'll circle back to talk about how image trace works, what type of images work best and how we can pre edit our images worked better With demonstrates. Start out with a blank illustrator document of any size. Open the image trace panel by going to window demonstrates, you're gonna need to drag in a small image. To see all of the options that demonstrates has to offer. Small is best at this point because with large images, tracing calculations take longer. And right now we're just exploring and we don't wait. Once you have your image, go ahead and embedded by clicking in bed up here. This rule removed the Blue X so you can see what you're doing, and the results are going to be exactly the same. Now let's take a look at the Image trace panel in the top are you will find standard use cases to get you started, and just under that you'll see the default presets. Let's go ahead and check some of these out so we can see what they're doing right off that see high color is very accurate and a little color grayscale, coarse, gray, black and white and outlets now under precepts. We have a lot more options, so let's check out some of these. So sketch are lie are three colors Lou Fidelity Voodoo High Fidelity. After choosing a preset, you will be able to adjust it, and you could even save your own presets. So let's just change something and just as an example, will save our own preset by clicking these three lives over, hear clicking, save as new presets and then typing in our you know that appear at the bottom of the presets list whenever you want to use it. Now let's move on to you. You allows you to see the image and results in different ways. By default, we have tracing result, which is usually what you want, But you can also choose something with the source image or even do the trace and results. You could easily see exactly the lines that image trees is making on top of your image. No matter what mode you're in, you can click this I right beside here to see the original image but relate on top gonna go back to Tracy. Result moving on to move in. Move. We have color gray scale in black. Your choice here is going to affect the options that you have later on. If you're in color mode, you'll see palette right down here. How it is a huge jam that can take a factory ization into an instant piece of art. Your palate, just like if you're pain, determines what colors are used in your image. Trace. And before we get to the gym, let's just go through the 1st 3 options so full time will give you a slider here called collars. And in this ladder you have the color accuracy as a percentage. This includes an unlimited amount of colors. The bigger the number, the more colors and more complexity in the resulting back here, you can see exactly what that means in a limited palette. You only have a specific number of colors upto 30 but you can set using the slide. Automatic would choose between a full palette and limited palate based on what image you're working. Now let's get to the phone part. What if you want a color image with colors, not found in the image. You can't using the built in swatches libraries, and you can use any other color you find in Adobe called Let me show you What I will start out by adding one of illustrators built in Swatch libraries. Grow to the swatches panel and click the through lines on top, then go to open slash library and pick any of the ones over here. My favorite ones are the options under scientific as they used angles on the color wheel to ensure the colors work well together. Once you selected option, it's going to open up a pound, which you don't need to touch, so you can just exit out of it. Return to image traits, and you will see you have a new option under palette. Pretty cool, right? It's like we have a piece of art made from a seven killed by image of an orange. You could then further refined palate by clicking the colors dropped down here right underneath, and you can see you can get some pretty cool stuff. And if you put these together and make a pretty cool pop art to get back to all the colors , just like all here at the top. OK, that's pretty cool. But what about adobe color feeds? Open the color things panel by going to window color things you can create Explorer choose from the themes you already have in. You are doing color proof. Let's go ahead and search for something under the explore off. I'm gonna go for sunset and we can use any of these. So when you see something that you like, I think this might work pretty interesting with the orange. Just click these three dots and go to add to swatches and you'll see it appears right over here. If it's not already selected, maybe you clicked off. Just go ahead and click the Fourth Reich on and they go down here to this clown with zero and click it. Now it showed up right down here under the library's, and that's exactly where we want it. And that's all we have to do now. If we go back to image Trace, just close out of here, we can go to palate and then document library. And now you need colors. We have this the and it didn't look as good as I thought, but you see it worked, and that's pretty cool because you have access to all the color means unity, color. You could use this to make an art from very simple photos you find online and create any Warhol s posters in the blink of an eye. And you don't need to know anything about what colors work together. Just choose what looks and feels good to you. Let's go back to mode and check out the other two options. Black and white does just that. You can change what is considered white, what is considered black using the threshold slack. This latter goes from 0 to 2 55 This number comes from the value of picks, which is two digits in based 16 or 0 to 2 55 in our familiar base 10 number system. If you have a hex color code, it has three of these guys, one for red, green and blue. This slider uses an average of these three values to get one number called the value to compare. Pixels with a higher value than this number on the slider are considered black and the rest are considered next up. We have gray scale, the Briscoe slider uses percent accuracy, not number of great. So higher values give a more complex and hopefully accurate image, but not necessarily more shades of gray, and you can see exactly how that translates by dragging around a slider. Now it's smooth, advanced section we confined to the complexity of our vector. Ideally, we want the least complex image that is true to the subject. This isn't always easy, so play around with each image. In fact, arise until you really get the hang for what settings were for what type of image. If you have a war, you may want to turn off the preview check box in the lower left corner. In between its image, Trace will try to re render the image every time we move a slide, which can be slow. So make all the edits, then click on preview to see the results. And if it didn't work well, turn it off and the change it and do it again. So we know we want lower complexity up until the point where it starts to make our image lose clarity. So how did these sliders relate to complex mawr complexities found when moving the half and the order sliders to the right hand side and removing the north slider to the left hand side. Keep that in mind as we look at each of these lives. The past, like higher value in this slider, will create shapes that tightly fit to the detective edges when the value is too high. This tightness bakery unwanted squiggles like you can see here on the edge of the orange. But the value is too low. You may use parts of the subject, so pay attention right here. You can see when we tried up, we actually have a whole purple section that disappears and you turn it down. So what you might want to do is start at 100% and then just start to go down and you can see actually get right about 1% and you don't use but looking again. I see we loosen parts of here. If we go too low. I like about that. Next up is corners. Higher corner value will turn a bend into a corner. Generally, this results more jacket edges to your shapes, and you can see exactly that happening right here. Now more jagged edges can be a good thing or a bad thing, depending on the result you want for a particular image. I think for this planet I want more smooth. That is so I'm going to move it down. Finally, we have noise. No one's refers to small color groups. That illustrator is ensure they're part of a larger color root. The higher the value in the slider, the more likely illustrator with your small pieces or include them in a larger color group . You can see when I put it down to one. There is just incredible amount of these little dots, and as I start to move the slider up, they disappear very rapidly. I like it about their moving on from the sliders. We have method now. This is either a buddy or overlap. Ah, buttons edge to edge. Every part of the image will be covered with Vector XI, and the shapes will touch each other. But not overlap. Obviously overlap mood. The shapes will overlap. And not only that, sometimes you'll have gaps where they don't quite me. You pretty much always want to use a buddy below method. You'll see we have some great out options to either do fill or tricks, and these options only appear during outlines, and you can choose to have both fills in strips only fills or just strokes. This value right here is the maximum with to be considered a stroke, so if you up the number, you'll end up with more paths. Next up, we have an option. Call it snapped. Curves last. Now what this does is, Illustrator says, Hey, you got a curb, but it's almost a straight line. Would you like us to make it a straight line? You can see exactly what that's doing right here in this orange. And while this may not make much sense for a round orange, if you're ever vector rising a typeface or something like that, maybe a car or rising anything with straight lines, this is something one of at least try. And finally, we have ignore way. Your wife is a time saver. If you're working with, say, a gym had pulled off line that has a ***. Normally, whenever you go to expand it, the white would be its own shape, and you have to believe it in order to get to just part of what I certainly nor white. It will not turn anyway part into a shape which can also be helpful Any time you're doing a black and white trace. Okay, we have our orange. Exactly how one In order to turn this into a vector, there's only one last step, and that is to click Expand up here. We're go to object. Expand. And there we have it. We have our magically created vector from a seven kilobyte orange for what they're worth mentioning is, if you ever need to get rid of a background wasn't white. Just simply get a corner hit, delete, delete and it's gone. And I'm gonna bring it back because I want to show you one with. And that is this. If you select all of your shape and then you go up to this little circle icon, it's actually a re color artwork. And if we go in here, we could use some really cool things. Now, one click right down here. We're going to be brought back all of these watches, which we talked about earlier, so you can quickly change your vector. They already have into a bunch of fun events. Something else, you know, that's kind of fun is you can change the color order, you know, ran away, so you'll just get a bunch of different versions with the same color. You could make some cool posters with this like I would probably buy something to put on my wall that had a bunch of oranges difficult. It's pretty cool. And this is slightly different, you know, change saturation and brightness using the same cause. Are you guys that is it. That is the nuts and bolts of image traits. In the next lesson, we're going to go over how this magic. 4. How Image Trace works: now that we're baptized into the awesomeness of image traits the sickest step back and see how the magic happens. Image trace measures the hue, saturation and brightness of each pixel in the image. If then groups the pixels with neighboring pixels that have similar attributes with its spots. Difference between one range of pixels and another. It separates these two into different shapes. It s great reads the colors each group of pixels to find one perfect color to represent the area, which it has turned into a shape. In the last lesson, we saw how we can use different settings. Teoh influence What illustrator considers a separate color group for image trace the work. There has to be differences in the subject in background that are represented in the pixels himself. While our brain understands shadows, glares, ingredients, industries, doesn't I often make incorrect judgments? Will talk about minimizing these incorrect judgements using pre. It's later on 5. Photo Pre-Edits: images that work best. When you master victimization, you'll be able to predict what image trace will see when given a particular photograph. Typically, the best voters have clearly defined edges of pixel groups and high contrast. In this lesson, we will edit our images to make them have these. Actually, folklore. Footers typically don't work great with industries, but with the right preparation, they work well for specific use cases. You may want the vector rise an entire image to make it scalable for a large print on the man product. Or you may be trying to keep just a subject from an image used as an element in other artwork we'll talk about. If you're only looking for a subject, here's some tips to tell if it's gonna work. Does the image have a complete subject with no part of the subject, block or cover? If you don't, the only way to get that heart back is to redraw it in with pencil, which should be time consuming and technically difficult. We're working with many colors. Does the photo have contrast in the colors and brightness between background and the subject pictures with a white or light background work best with a dark subject and by sippers clearly defined edges on your subject. Fuzzy hair and objects are a nightmare to vector rise. Cartoon characters generally work well, as you may have seen my fan art class if you want to back to rise higher image. This is not a big ammunition as long as different parts of the image have contrasting colors and brightness. For example, if you have a person with a green shirt standing on a grassy hill, sugar may think the hill and the person are one element. Here's some ways to spot photos that will not work well, overexposed or over. Let images will call us actual white areas. Image trace doesn't understand. This is especially true with images that have light on the edges of the subject, which caused the background in the foreground. Blend together. Poorly lit images aren't gonna work that well either, although these are generally better than overly live images because with an over exposed image, you're losing information as it goes to your wife. Dark images usually don't lose information unless their pitch black, and you can get this information back when you increase the brightness of the image also images that are out of focus. Or if they part that you went to vector rises out of focus, you're gonna have a lot of trouble. We were making our creates. We want to focus on brightness, sharpness and color, including the saturation of the coats. Now you may think about adjusting these attributes in Illustrator after Your artifact Arising our work, such as through the re Color are were panel or something similar. But trust me, it's a lot easier to do it ahead of time in footage shot. There are many ways to do this because we're basically just editing a photograph, but I'm going to show you too easy ways to do it. One. Using adjustment layers in another, using camera raw filters. We'll start using adjustment lives. Now the first thing we want to do is to duplicate our background layer so that we can keep it half of what we're doing, and we're just going to uncheck the visibility and then completely ignore that. The first thing I like to do is add a levels adjustment layer, and what that's going to allow us to do is drag in the black point and the way now this is very similar to the threshold that we talked about when we did the orange. We're dealing with black and white. It's doing pretty much exactly the same thing. It's chopping off any pits a little darker than this value and turning it into pure black. We want to be careful. Make sure that we're not losing any area that you could see. I'm losing a little bit of the news when I go up there, so I'm going to scale it back. So we're not losing any information. Next, we want just the color, and if I'm getting serious about it, I usually do three curved players, one for red, green and blue and then individually news. But quick and easy way to do this is with color balance, and I'm gonna go ahead and I want to bring out the blues a little bit, so that's a little too much. But I'm just going to slightly bring out He's lose if you need to. You can add a brightness slash contrast layer and play with it a little bit, and you don't want to do too much because again you can lose a little bit of information if you go too crazy here, but just a few points up, you know what? And then finally, we're going to do a vibrance adjustment layer. Now, if you want to adjust the saturation, it's always better to do it in the vibrance adjustment layer as opposed to the hue and saturation adjustment layer. And the reason for that is this particular slider has trouble with browns and raise, so that involves human skin tones. If you're dealing with bricks of a house, it's always going to come out to read, you see right here. So I'm going to get rid of that layer and then go back to the vibrance. And you can see that if I put this saturation up in this letter, it doesn't overblow the rest, so it is always better to do it from this latter. Here and again. You don't want to go crazy, although it actually looks pretty good at 100 which is very rare. But I'm going to put the saturation here and to be honest with you, I really preferred to use virus is worth a so effect, but it always does better in my eyes or you can always do both. So there we have it. We have our long we have our lake. Things are looking good. You're gonna click tab so we can see what we got. Make sure that you get layer that you had at the beginning is at the top and we can check it on and off and see just how good that we did. And also, when you're doing this on your checking, you want toe. Most importantly, make sure that you're not losing information to either too dark or too light. So I'm particularly concerned up here that we didn't lose anything and you can see that there's a little bit of extra shadow there which represents a little bit of data loss. But I think it's OK for now. Now you may notice we get you anything. As far as sharpness is concerned, we're going to do that at the very end. But before we do that, I want to show you how to do this with the camera Raw filters. Now you also use camera raw, which in my opinion, is even better. So before it started, we're going to duplicate our layer again because camera was actually going to destructively edit the layer, meaning it's hard to get our changes undone if we mess up. So once we have our copy, we're going to go up to filter camera off in camera. We can start out by going down here to be hate, and what kind of does is just make the image look closer to when you actually saw it. So I'm gonna zoom in and sort of focus on the L Pack up all. We're doing this and you can really see what is doing. So it's always like adding more contrast. Then we can play with the clarity and capture sliders, and these were going to help with our edge. It's It's really helping to sharpen our image. You can see how this one really sharpens. That's one great thing about camera is you? Can you the colors and the sharpening all in one step? And to edit the colors, we could go over to hs l adjustments, hue, saturation, lightness or brightness or value. It's all the same thing, and then we can adjust the hue. Where we really want is the saturation of the individual colors, which is really really cool, because I can sort of target my pack if I want and make him wait more saturated. This is also really great. If you have a subject that maybe isn't quite light enough for dark enough compared to the background because you could target just the colors in the subject. I command zero to go back to the whole image and then I'm going to bring up the blues little bit. I'm gonna make my back a little bit brighter under luminous. And if we go back to the basic cab, which looks kind of like the chrome logo we see that we have this saturation and violent slider down here so we can make sure, like a last past make the color is what? We're going to one in our vector right here. Okay, then we are done. We have our it's and you can see what we got. And then we can compare this to what we did with our adjustment layers so you can see that the camera raw filters had a more profound effect. But I actually think that the adjustment layer ones maybe a little bit better for it. It's just because we didn't make as much destruction. All right, so now, regardless of what you choose, I want to show you the best way to sharpen your images. We're going to need yet again, another layer so you can drag it down here to make a copy or simply right. Click this time and we're going to go to duplicate Layer. The first thing we want to do is go to image adjustments, he sat Trick. We're doing this because we're going to turn this layer into a high pass filter. And what that's going to do is make all the middle pixels gray and only highlight the light and the dark picks, which were then going to use an overlay blend mood to really make our image pop. We want to do one more thing, and that is to make it a smart object to go ahead clear convert to smart Object. She's now with our smart object later selected. We're going to go to filter other, and you may have to move so that you can see some of the subject, but you'll see what I mean. We have all these gray, but then we also have black and away so if we turn radius down, we'll see that we lose all of the details and if we turn it up, we get almost too many gives. And because we already have the overlay bland mood applied to the layer, we can see right away what effects are changes are hat. I think it looks pretty good here. So I hit. OK, this take a look at what we just did. Now, if we topple the visibility of this layer, you could tell that his sharpness has increased dramatically and that is exactly what we want. And we are. It's applied. Here is our final Paco and our final packer using adjustment legs. Now there's one final step if you want to work with justice subject and that is to prop up the subject and this is very important for a few reasons. Number one is easier for illustrator to do its job if it doesn't have as many colors to work with, so you will get a better result and there were two. You don't have to wait around while illustrator calculates the victimization of an entire image. If you only need the subject, so what? We're going to do is simply crop out everything we don't need. And you can do that by hitting crop over here or by using the selection tool and then going to image problem. I'm gonna just use the crop tool and then we'll bring it over nice and tight. It didn't happen again, so I can really see what I'm doing. And now we can just save our image out. I'm going to get shipped Option Command s get the legacy safer web and that I like to do PNG because it's usually a higher quality, but you can do a J pick as well. One thing you want to think about is your image size. You don't want it to be too small, such that you lose information, but you also don't want it to be too huge. So they have to wait on image trays, make every single copulation. I would say anything between 800 by 800 to 3000 by 3000 depending on the details of your image are gonna be just fine because there's a lot of details in the hair of this alpaca. I'm gonna go ahead and leave it at the highest resolution in the next lesson will jump into illustrator and cut out 6. Vectorizing Photos with Image Trace: vector rising. Large images will be taxing on your computer, so it's best to restart your computer and make sure that you don't have any other programs open so that illustrator can use all the resources available. So we've got a blank illustrator document, and we're going to drag in the crop picture of the first thing you always want to do is bend the edge that's gonna get rid of this blue X. It's going to have exactly the same effect because illustrated automatically have to have any image before your eyes. I'm gonna show you a super simple tip, and that is to hit and what we have. He gets rid of anything else, and then we can go to window in this trace. So we're not distracted, and we can focus entirely on effect arising. This beautiful paca, which probably just called along. So when we're dealing with photographs, Illustrator does pretty much all the work. But we still want to play with a few say's so first things first I want to make sure that preview is unchecked. I'm gonna start with the high fidelity photo preset and then wait. One thing you know, when we do that is that it might be fall puts it on the overlapping method. So we're gonna want to go ahead and change that notice. I turn off preview because I don't want to wait in between. Every single we're gonna try to do is take a look at what we have and then change the sevens to what? I think it's going to work. And then we'll put on a preview and see what we One thing I'm looking for is the point itiveness of the shapes. Now, in a lot of organic pictures, I don't really want a bunch wince. Personally, I like more rounded shapes, So I'm going to turn it down the courts and remember what we talked about in the orange example. We want to get as close to this side as we can without losing too much information. And we want to get as close to the right side, annoy slider without losing information as well. So I'm going to go ahead and move this over and this down a little bit, too, and I'm not exactly sure we're going to have problems, but I find that usually around maybe 30% sometimes as low as 10 12%. I do Okay, I think that the colors is fine for this image. And then we'll click preview and waiting for the results. And you can see our long actually got a lot less detailed but zooming in here. I think it looks pretty good. It has honest in artistic flair by itself. This result tells me that I do want a few more pounds and I do want a little bit less noise , and I'm going to give it one more render. And I think it's going to be fine, all right, and I'm liking the way that this turned out. So I'm going to hit Tab again to get back on my options, and then I'm going to play expand to characterize my heart. Wow, we have a ton of shades going on here. The next thing we want to do is get rid of everything that is in our subject, and there's a few ways to do this. One way is to simply use the direct selection tool and start to chip away at the edges. You lied and lied again, and we could also try the magic want to? You can see that it did an all right job except for a got a lot of things in here that we don't want to do it. We can de selectors by hitting the direct selection full up here, or you can use the A key and holding down shift and then clicking each individual shape. Now we want to be careful to check the edges and make sure that there's no hairs that we want to keep that are getting deleted. And then once we have everything you just said, do we? And it gets rid of a lot of the excess. If you're having troubles, you can double click the Magic Wand Tool and then you'll get some options like tolerance. But you've been turned down so you don't select too much of your life. 7. Marker Drawings: Pre-Edits: All right, So we've got our marker image. My girlfriend Drew in photo shop and you can see right off the bat, the image looks great. The white background is pretty even, and that's the most important thing. You're taking a picture if you have shadows of what side and make it a little bit harder. But even if you do using these simple techniques, you can give what's again. We're going to do it with adjustment layers and with the camera raw filters. So we'll make our copy of the background, and then we can start off with a black and white layer and then jump right into a Wellesley . Now, when I said that, we want to polarize the light in the dark. What we really want is all this information over here, all this information over here. So these are the darker picks is, and I'm gonna go ahead and push this past all the darker pixels so that all the dark pixels are now black and going to drag this white way. We're here, so all the light pixels are now white and that's it. That's all we have to do now. Industries knows exactly what is going to do it. Let's make another copy and then do pretty much the same thing with camera roll. You can't go wrong. We could go up to black and white and then you have your shadows and highlights right here so you can come down the shadows in the black, turning up the white and the highlights, and you're done and that's it. Now let's jump into Illustrator Invicta Rises. 8. Vectorizing Drawings with Image Trace: Victor rising drawings with image trace. So went ahead and click the image that I just wandered out into Adobe Ocean. We're gonna go ahead better, and we've got our image traced open. But I want to do the cool little trick window image trace to get back that handle. Now we can focus on exactly what we want to do, going to go to black and white logo, or you can just click up here and you'll see that right off the bat Industries does a great job, but you may not be satisfied with this. You may want to go ahead and play around, and because we have such a black and white image without any colors, it's very easy for illustrator to do this, even if it is a big file. This is a time where you could really focus on getting the least amount of complexity. So I'm going to drag the sliders all the way over and drag this one over here, although really, the noise isn't very important. We don't have any noise in this dry, so I see them getting some jagged edges, which I don't really want it all. And that was because I didn't have enough path. So you don't want to low pass. You do want to make sure that you have enough paths to complete your image, but not so much that it starts to look squiggly. All right. And that looks pretty good to me. That's right where I want it. So I'm going to go down here and click. Ignore White for the reasons that we talked about earlier. I'm going to hit shift command D so I can see what that looks like. And then how about see everything it expand? And now we have our vector shape, and now we have the shape we could do pretty much anything with it. We can give our fill and apply image. Any type of pattern colors, things like that. Next up, we're going to look at factory izing images that we find our lives 9. Found Elements: Vectorizing Small Images and Cartoon Characters: all right. So here we have a very low resolution apple that I found online. And if we zoom in, you can see that we have this pick civilization stair stepping that I was talking about. The colors are great. So we really need to do is make this image bigger so that we convict arise. And that's super simple. To do we have to do is match image size. Now you'll notice that there is this re sample check box and what that's going to do is it's going to do a calculation and try to smooth out this stair stepping and make it look less pixelated. So I'm gonna go ahead and put it just 300% of the size. So now at 7 68 by 7 68 and that should be big enough for us. So I'm going to go ahead and hit OK, and that's all we have to do to let's save it out and take it and Illustrator and we're gonna save it as a PNG 24. So we maintain that transparent and we're going to open illustrator and dragging our apple . And if you ever drag foot right in without opening the document first, you know, actually automatically embedded. So it saves you one step, okay. And for this apple, I want to do a high fidelity photo, and you can see that right off the bat. It's not looking too great. So we're gonna go ahead and change options. First off, we can see that the method has been put to overlapping, which we always got to keep an eye out for. So we're gonna change that back to a buddy, and then let's play around with some half and bring the corners down as well as we wanna have a lot more noise tolerance. Now, this is looking really bad. And I just realized that it's because I dragged in the wrong out. So we're going to go and get the right apple and you'll see why we needed to do that in the first place. So with you, little apple, we're having all kinds of problems Vector rising. It looks bad on the outside. It looks bad on leave, but lovely. With this bigger apple, you're going to have a much better time. So I'm gonna go ahead and bet it and we'll get started. Wow, would you look at that? It's just like you can barely even tell the factory ization is taking place. But what I can tell is that we need to change back this. Ah, buddy Setting. All right, so just with the default settings is looking really good. But as a human, I'm noticing a lot of stuff that could be better. So this is usually taken, Carol, with noise. We have these extra little dots on the outside, so I'm gonna turn it up and see what happens. And I'm not sure that that did what I want, but we're gonna go ahead and smooth some things out and see what we can do. So what I felt was that I kept getting this stuff on outside that I didn't like, So I actually went to the extreme kind down, all the past, all the corners, trying up the noise to 100 pixels. And I really like the result that I got. Finally, we need to click Ignore white. And the reason for that is, even if it's a PNG with a transparent background image, Trace will still put this white on, and we don't want So we're going to ignore White, and then we're going to be done. We can hit, expand to get our vector, and then finally do our long nothing and lead all the stuff. We don't need our ensuing governor apple, and it's definitely possible. But it's not perfect. You can see that we have a little bit of stuff going on here and what show you a quick and easy way to deal with? We're going over here and go to work. We're gonna double click it so that we can make it a little bit smaller because it's way too big for us, and then we can just go ahead and start for war. These sections now, it's actually not working extremely well because we have so many shapes going on. But it does work really well when you only have, like one or two of these shapes. And I found another little spot, which I'm just going to over, and when all else fails, we can always go in with the direct selection tool A and then you can drag this over, make sure it's overlapping until our problem is six and now we have a beautiful we're going to do this. Show me what you got head from working morning now. I wanted to show you right off the bat what the problem is. So I dragged the unedited image into Adobe Illustrator. We're gonna go to low color, and you can see that these edges are sort of slosh. Now, if you've been paying attention, hopefully you think Well, you could just turn this noise slider all the way up and it should go away, But it doesn't. It actually gets worse. But with a little bit of pre ending magic in photo shop, we could make this vector rise varies. So let's hop over Photoshopped and we're going to go ahead and open up our image and right away we're going to go to image image size we're gonna upset, lit by 300% once again. But we know that it was the edges that were giving us the problem. So we're going to be preemptive. And instead of trying to just render this out and then put it in its trace, we're gonna go ahead and make these outlines darker. So I'm gonna go up here to filter and then camera, raw filter And what we're going to do is very, very simply, we're going to make the dark starker. We could do that by moving down black slider and awesome down the shadow slider, but with the shadows. We're seeing that work also getting other colors as well. But if we look closely, we could see that it looks like the black slider is doing its job. Suggestion. Be all we need. Command zero. Just take a check. It looks pretty good. And that's it. Just simple as that. We've done all the edits that we need. So we're gonna go ahead and save it out. Head back over to Illustrator. We're gonna put in our new image. We're going to bed, are new image and then we're just going to click this little color. We can see that our vector is looking very, very good with just the default settings. I'm gonna go ahead and play with a few settings just to make sure that we had everything that we can put on a more white and that's exactly what I want. So I'm gonna go ahead and tell out and it expand. And now we have our finished factor and there we have it factory ization of three different times. Stick around for the class recap Finalist 10. Class Review: this'll last, we learned every single setting slider in Adobe Illustrator's demonstrates. We learned how to use our own color palettes and how pretty ended different types of images . So the victimization is much easier. You went through veg, arising three types of images and touching up the final product. You're now a master of image strays. You short a complete your assignment and share in the project section. So I other students can see your results. If you're interested in learning how to monetize the art that you make sure to check out my classes. Thank you for taking this class. I wish you high fidelity all of your images.