Turn a Photo into a Cartoony Artwork (in 3 easy steps!) | Maria Lia Malandrino | Skillshare

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Turn a Photo into a Cartoony Artwork (in 3 easy steps!)

teacher avatar Maria Lia Malandrino, Story / Illustration / Animation

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

    • 1.



    • 2.



    • 3.

      Flat Colour!


    • 4.

      Final Touches


    • 5.



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About This Class

Wanna draw a beautiful Disney style portrait for a friend or a loved one because it makes a great present? Wanna learn more about drawing and colouring in Photoshop? Wanna just practice and learn a new portrait technique? You're in the right place!

In this class I'm going to break down in 3 easy steps the process of drawing a cartoony portrait starting from a reference picture.

No or very little experience is required for this, as I'm going guide you step by step, although you do need Photoshop (download the trial version here: https://www.adobe.com/products/photoshop/free-trial-download.html) or a similar digital painting software to follow me through the colouring process. 

At the end of the class you will have created a beautiful digital artwork of yourself, a friend or a loved one and I'd love to see the result of your hard work! Actually, I'm going to look through all the work and I'm going to give shoutouts to some of you guys on my social media (*EDIT* I've recently changed my Instagram handle - you can find me here as @art_bymemo) so you will not only improve your skills as an artist but also may receive a nice little boost of your social media presence!

Are you ready? Let's get started!

ps. You can find more of my art checking out my social media (link in bio), buy it on my online store and read my ramblings on my blog! Get in touch!

Meet Your Teacher

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Maria Lia Malandrino

Story / Illustration / Animation

Level: Beginner

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1. Intro: hi, guys. And welcome to how to do on a photo in Trucker Tony, Our work in three is that my name is Maria. Everybody calls me memo. I'm illustrator, animator and story artists from Turin, Italy. My journey into art in the creative career has bean full of twists and turns so far. I set out after high school to get the green publishing in London. Then I became a graphic designer in the UK They said it was not for me, became sl traveling teacher in Asia and then came back to Italy to get another degree into the animation. And since then, I have worked in animation gaining, and I have been taking portrait commissions for a while. So I'm telling you this because I want you to know that even if you haven't done at school or you haven't taken through the path, if you put the work in and the effort in the hours, you will become a pro adroit. So, yeah, in this course, I'm going to share with you my workflow. I have found it down to a sketch color and shading. I'm going to share with you some tips on how to turn human anatomy into cartoony shapes. You have to call her own father shop and also how to add extra kick with Grady ums and lighting. All you need is a version of photo shop is a software which you can download from the description some sort of graphic tablet. But people have been known to drop with the mouse in the past me as well so you can try that and just practice. Basically, I am going to be uploading course materials, my progression sketches and also the brushes that using I'd love to see your working progress is also police Upload your artworks as you get along so that you could get feedback. So after sketching after coloring on defined our folk of course. And I'm going to be giving some of you guys a shout out when you upload your final at work on my instagram which is here, the handle So yeah, let's get started 2. Sketch: Hi guys and welcome Teoh How to turn a picture into Brittany artwork in three easy steps here and trying to choose a reference picture. I'm amusing. Bridges Santarelli, who's an Easter model? Gary Barlow and I have three options here. I'm gonna share my reasoning with him, but first, let's focus on brushes. So here on the side, you can see there's your brushes panel and I'm gonna load the basic rushes because for sketchy images use dollars, I'm gonna choose fortitude and select the transparency and pressure bottoms up here which allow me to have a less defined sort of stroke and also to keep it either bigger, small according to whether you press more or not. With your pen done, here we go. The reason why you should choose a reference feature or not is, of course, whether you like the photo. But also we have to keep in consideration, for example, in this picture, eyes very pretty. But her face is occupying almost all of the picture, and I wanted to, um, to do some body bars with you guys as well. So this one, it's OK, but it's kind of an awkward position, so I thought especially for beginners, Maybe is not the best. So I'm gonna trust this picture because you can see the body. It's very has a nice dynamic line, which is thes thing that passes through the body on makes the makes a picture move, and you can see everybody part very clearly. So I'm gonna go with this one, Okay? So when we turn a real picture into a cartoony version of it, we need to remember that some of the proportions are different. For example, we will have the face getting bigger in comparison to the body, especially the eyes. And what's the nose will get smaller interest. The body will get smaller. So a very important to also that we have to use eights. The lawsuit. Oh, thank you. Sure. Curtis L. And you can use it to select parts of your drawing or your sketch on just resize them using command t to free transform this election and that this will help you. A lot of you will see me using it a lot. So use it to resize a person you sketch that you don't like. Andi. Let's go ahead and get started creating the construction so, like the base construction of the body, you just have to create a new layer. And then we're gonna start tracing on top over reference. Picture the basic geometric shapes off the body. So I circled for the head, and then you have the draw, and you can put a line in the middle to make sure that you have the center, then lesser, too precise to decide on. Let's move on to the body again. You should mark the center off the body, and then we have to make the waste a little smaller on and in general, the body a little bit shorter and more compressed because again, the body is a bit smaller in the cartoon version, so we can resize it and place it underneath the head so you can see it's very easy on. Do you already have the basic shape off the drawing on off course, or as you get better and more experienced? You can do this just by looking at the reference picture. You don't have to trace it, but I think this is a very good exercise to get used to those cartoony proportions. It really helped me when I was started rolling. So go ahead on and just make this schedule. It would be better off. It'll be more rounded in terms of the shapes. And don't worry about being very rough like we want rough at this stage. We don't want clean lines. We want a lot of lines and just keep it loose. So let's move ahead to the face on to make a numbs. I usually just use a triangle shape with the nostrils as the base of the triangle and the little round circle in the middle to give the point of the nose. Then for the mouth, place two dots where you want your sights of the mouth and then just link them and draw the frames per counters, as I call it mouth, which is without the Depression in the middle. As for the eyebrows, we place them on another line that we traced from the original about a reference, Um, and try and follow the kind of eyebrows that the character actually has, and the eyes are almond shaped. Yeah, like an almond. They follow in terms of size theme eyebrows, and they start at the sides of the noise in the area in between the eyebrows and the top of the nose. In terms of the eyelashes, I normally don't really draw them individually. I just I just do like a genetic shape on top of the I. And make sure that you you still follow the original traits of your characters of reason for This girl has very specific eyebrows. So I'm trying to follow that. And then there's the hope and I'm gonna start join the the hair, which at this stage is just, um, kind of like a shape, you know, you don't you don't have to be very specific about it at this stage because they're here comes out in coloring part. Mostly, eso just draw the generic shape of the here and don't worry about it being too specific. So changing the eyes here a little because she has a very specific soldier look, and I want her eyes barely different, a little bit more similar to the original picture. Um, because it is a cartooning version but still needs to resemble some of the main traits off the original character. So here we go again in a suit to I use it to move parts of the sketch without having to erase and redraw on the stage just really, really useful. So always remember l for the shortcut and then be a selection tool to move the area around . So for the hair, um, usually two to make it look like it's just being ruffled. I draw some upward lines, starting from the top with forehead and then a dumb war lines as if it's just tumbled on the other side, um, again, just generic shapes of the hair. And I guess we're done with the first rough construction eso. What we can do is, um, turn the capacity on that layer to 50 and create a new layer on top, using theme the black color at this point and loading a different set of brushes, which are called DP brushes, and using the's particular brush or any other brush the like. I like to use this brunch because it has a particular texture. It seems a bit more rial imitates a riel ink on it will be better, and I like it. This part of the process that we're gonna do now it's called clean up, and it basically means to clean up your sketch by drawing on top. Just one line that will help you when you move onto coloring thes line is probably not going to be visible afterwards at the end of the whole process, because I don't usually use liners, but you know you could use it if you wanted to. Do you? Um, we could do her whole course on the subject because it's really it's really complicated and , you know, in artists just do that for a living. But for the moment, I can give you a few tips. Eso first. You have to breathe out as you do the stroke, and that will help you keep your hand of a steadier and trying to short the size of strokes because undersize sickness will make your clean line Earth. Not as well done. So, yeah, do the whole cleanup for your drawing and please upload your coursework so far, whether you want to upload just the clean line or the clean line with the rough layer underneath, with the capacity turned down to 50 or 40 or whether you just want to upload the construction first on get feedback, it's up to you. Eso you see you in the next video and we'll get coloring 3. Flat Colour!: hi guys. Unwelcome back in this lesson, we're going to flat color are portrait, but duties I want to talk about for the shop players first, So I think most of you guys know what they are, but I'm going to go over it anyway. You can find the layers here in thes area off the screen. A layer on top of the other would cover what's underneath. This is very helpful for us to make her coloring more time efficient. So if we place each area of color on a different layer, will be able to call her faster without worrying so much about the color going over the border to a different area. Also remember, it's always good practice to name your layers, because if you end up with 10 or 15 it's gonna be hard to remember what's on each layer. So let's name this layer skin and let's start with that. So I'm going to use the texture brush that I was using before, but just a bit bigger and I'm going toe. I drop pick the color of the skin. The I drop to shortcut is I, and you should pick a color that is not in the lighter part or the darker part of for the reference. So when I flat color are usually color the border off the area that I want a color. And then I used the lawsuit tool. You remember from the previous lesson, it's l. The shortcut to fill in the rest. To fill in. You can either right click and select fill in. Or you can press option delayed, which will automatically fill in the rest of the drawing with your foreground color. So let's get started. So as you can see in these Bay of Video that I just beat up because otherwise it was gonna be boring. I am just creating new life years on top of each other each time that I want to call her a new area. So I have my hair layer my but apparently your might front here layer close. Andi, etcetera. Color the eyes. I usually lock the base color layer, which is the little lock to you and final the side, and this way you can't call her outside of the layer. So then I can pick a softer extra brush and turned capacity down. Then I called her with a darker color in the direction where the character is looking. Thes gives a nice effect without actually having to draw the people waken. Change the blending mode off the line Earth Too soft light, which will make it of a similar color of what's underneath. And then I proceed to tidy up the line. Earth and the Rays summer the area of the liner. I don't like to see a line where the shape underneath is already clear, so what I do is that I keep the line are only between areas of similar color. That's just my style. But if you want to, you can different visit. So now let's take care of the hair to give it a messy, more realistic look. You should draw strands of hair and break up the original flat shape underneath, both in the back layer, the back hair layer and in the front hair layer. This will really add a touch of realism. Andi acuteness to believe. Now it's time to add some more detail in terms coloring to give this portrait of Rosie kind of look, we're gonna add some blush, but in order not to spoil the base color skin. We can create a new layer on top of the skin and then right click create flipping mask, which means that you cannot draw outside of the boundaries off the layer underneath so you can basically call or on a separate layer above. And it's still not gonna go outside of the countries of the one you love. So let's have a rosy bloom in the areas where we naturally have more blood like the cheeks , the nose etcetera on here. We're also gonna add the sparkle penguin B I, which gives the character life with the same exact method of creating a clipping mask. We're going to other Grady int the shortcut, his gene and the two colors are gonna be the foreground color and background color. Um, so, yeah, we can integrate into the hair just to give it some more realism, and then we can miss around with the blending settings that's entirely up to you. Normally, I like to use multiply overlay, but you know, it depends. What's the effect that you want to go for And yeah, So I think we're pretty much ready for the next chopper. Eso don't forget to upload your progress after this point and I would love to see it and give you feedback and I'll see you in the next video. 4. Final Touches: Hi, guys. And welcome back in this final video, we're going to talk about shading, lighting radiance on all those effects that give your painting a truly special field. So what we're gonna dio is that we're going to make a group going the layer area, select the first layer, which is the Leinart goes scroll down to the back layer and was holding shift selected a point. Then you can press this bit here, which is group. So you created a group when we're gonna call it character. Okay, so now, with the method of creating a clipping mask which we saw in the past video, uh, we're going to create a new layer on top and then right leg right leg create clipping mask , which would allow us to, um, to draw the shading like the shades and the lights on top of the character without actually spoiling any off the stuff that it's underneath. Um, so this one is gonna be my generic shade one. I call it ladies because it's just the soft straight basically. Then we're gonna have another layer. Ways are hard shade and then one layer off. So light No. One year. Uh, um, color coach and then one another year off. Radiant. Right. So this is my usual set up on DSO. We're probably gonna received his way. Sometimes I use different kinds of shading. Ah, and sometimes as they go along, I see the maybe a different kind of shady is needed. But generally speaking do is pretty good. So some shade I'm going to use a soft brush like this 1 300 We're gonna un select the pressure brush and instead we're going to select the transparency brush. Of course, it's not gonna draw there because we have Ah, clipping muscle is just gonna throw here, um, for the shading I usually use. You can see there's these particular purple that unusual use for the shading. So I'm looking at the photo reference. I'm going to try and shade in the areas where she's drinking. So her light comes from the front mostly, um, so I'm gonna softly show either where I can see that she is like here in the back of her hair in the crook of her neck. So now it just looks kind of weird, but we're gonna dio is that we're gonna multiply that are already looks a lot better. And then we're gonna turn your positive down to 25 4 nights. Um, maybe 50. Otherwise, your family, you say anything? Look. Thanks. So we big. Ah, yellow. Um yeah. And make this even bigger, I think, like I found, um, so this time we're going up off course, draw yellow wherever she is, most exposed her light. Then we're gonna change the Venice setting suits off light. Okay. On lower to 15%. Yeah, even 25%. Then we're gonna do the radiant thing so radiant, it's shortcut. Fergie and I would like to use two colors, like, ah, pink and blue. We can multiply it to 25. Not already. Gives us some stuff to play with. Like this. Um, I don't love the blue, so I'm gonna change it. We've orange. Yeah, I love it more. Right then. Heart straits. We're going to go back to the Dexter brush. Um, we're gonna use it to draw some shadows in the places work. We can see it because is the shutters. They're not really created by the light, but by the the body itself. For example, Here, uh, here in the eye. These are classic places where you have the shuttle even if you are in flight. Okay, way. Go home. Starting to come out? I think so. Hard. Sort of like light points. Thanks. Point way Change the blend in settings, you can change those green or color dolls. Well, whatever setting you prefer, it's pretty much just trying. Remember most of the lines, and then I've decided that I want some more light. So I'm gonna use color Lodge, which, as you concedes, his effect that is again given by the blending settings. Because I want to add some more lighting that gives this kind of spotlight, or Sunray comes effect at this point is looking pretty good, but I don't like the fact that he looks a big overexposed. So I'm going to add an extra shading mayor, and I'm gonna use thesis sort of redder, darker color to give some saturation. Andi, I am going to lower the capacity and I think we're pretty much done. I am going to tidy up the shading a little bit more. It's our Addison more shading to the party shade layer. And that site from that I'm done s o What I would like you to do now is just to sort of try out different things with the blend in settings. Because each painting is different, each photo reference is different. The lightings are different. So you should really play around with this information and try and make it as personal to you as possible. And I can't wait to see you guys final artworks. And I am going to give a shout out on my instagram, um, to some more of you guys who actually complete dusk s. Oh, yeah, In the next video, I'm just gonna wrap it up and and maybe talk more about future classes that I could do here on sculpture. So yeah, Thank you for watching on and see in the next video. 5. Wrap-up: Hi guys. Unwelcome back. I wanted to post one last video with the full time lapse over process because I think many artists can get discouraged sometimes because their artwork doesn't look good midway through the process. That is OK. It's totally normal. As you work, your drawing will reach a low where it looks like a mess, and then you work a better. So don't give up. Um, also, I wanted to ask you guys to let me know if there are aspects of this process that remain unclear and whether you like me to Fargo some some specific issues more in depth. I am planning to record a full glass of sketching and maybe some some classes own particular body trades that are difficult to approach, like hands, hair, you tell me. So please let me know if you'd be interested on dumbed People frequently asked me to do store Eos on simple animations like jumps, walks and other quick takes. So I might do that in the future too. So let me know your thoughts. Show me your work and keep in touch. Hopefully see you again with another course. Thank you for watching and have fun