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Illustra

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Photoshop

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Illustrator

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Illustrator

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Illustrator

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Illustrator

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Illustrator

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Photoshop

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Photoshop

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Illustrator

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Illustrator

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Illustrator

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Thomas

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Illustrator is the best design,modify and editing vector graphics program which is powered by Adobe and over the years Adobe Illustrator has become the standart software among graphic designers.It is flexible and lets you create high resolution artworks.

We have showcased very detailed and high quality Adobe Illustrator tutorials in the past and in today's post we are featuring portrait tutorials created using Adobe Illustrator.Thanks to all graphic designers for these beautiful portrait tutorials.

You may also take a look at our past illustrtor tutorial collections;

Make Watercolor and Marker Style Portraits with Illustrator

With this tutorial, we are going to work through ways of creating digital portrait illustrations that have a unique and somewhat tactile feel of marker and watercolor. This tutorial will focus on using a drawing tablet and Adobe Illustrator.
View Tutorial

Modeling the Human Face in Illustrator

Changing Hair and Makeup to Create a Retro Style in Vector Portraits

Creating a Dramatic Portrait with Chunky Line Art

Create a Psychedelic, Funky Line Art Portrait

How to Create a Zodiac-Themed Portrait in Adobe Illustrator

Creating a Day of the Dead Inspired Portrait

Create an ASCII Inspired Text-based Image with Illustrator

Create a Sparkly Female Portrait in Illustrator

Create a Simple Character Face with Vector Shapes

How to Create a Mosaic Portrait from a Photograph

How To Create a Beautiful Vector Portrait in Illustrator

Create an Inspirational Vector Political Poster

Shakespeare Text Illustration Tutorial

Create A Grisly Zombie Illustration With A Pen Tablet

How to Create a Portrait in the Pop Art Style using Adobe Illustrator

The Discreet Charm- Adobe Illustrator Tutorial

Create a Vector Male Portrait from a Photo

How to Create a Glamorous Portrait Using Adobe Illustrator

Design a Dexter Vector Illustration

Simple Roy Lichtenstein Style in Illustrator and Photoshop

Tracing a Vector Face From a Reference Photo

How to Illustrate Dynamic Hair Using Adobe Illustrator's Paintbrush Tool

Create an Unusual Multi-layered, Drip-effect Portrait

Vectoring a Pair of Luscious Lips in Illustrator CS6 from Stock

Creating a Detailed Eye from Stock in Adobe Illustrator

About The Author

Designbeep is a design blog dedicated to web developers,bloggers,designers and freelancers.Our aim is to share everything about web design,graphic design,tutorials and inspirational articles and more.

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26 Best Adobe Illustrator Portrait Tutorials

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Illustrator is the best design,modify and editing vector graphics program which is powered by Adobe and over the years Adobe Illustrator has become the standart software among graphic designers.It is flexible and lets you create high resolution artworks. We have showcased very detailed and high qual...

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Thomas

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In this tutorial, Brazilian designer Breno Bitencourt shows you step-by-step how to create a stylish low-poly portrait in Illustrator and Photoshop.

The secret to creating works in this style is working from the best reference photos - and first off Breno reveals how to capture these (using himself as a model). He then reveals how to work these up in Photoshop, then create a vector version in Illustrator.

Breno says you don't need to be an expert in Illustrator or Photoshop to follow this tutorial, as long as you have a good eye - and a good amount of patience.

You can watch a video of the creative process of designing a low-poly portrait detailed in this tutorial above. You can also see some of the amazing portraits other readers have created using this tutorial in the comments section below.

Time to complete

4 hours

Software needed

Any recent version of Adobe Illustrator and Photoshop

STEP 1

First you'll need a good photo reference. For this tutorial, I decided to create a self portrait, so I requested a little help from a friend of mine to get the shots.

Important tips here are to use perspective to show depth, have a good variance of light and shadow, and try to ensure your model has some hard-edged accessories that will contrast with the softness of skin and clothing (such like glasses, jewellery or a starched collar).

From these photos you'll need to choose the best fragments to combine in a single image that will form your main reference. As you can see from this screenshot, I've chosen the face from one, glasses from other, and other details from other shots. Be picky in this stage, it's well worth it.

For each part, roughly crop around the part your want. Then open a new document on Photoshop with a black background, and place each of the elements on separate layers.

STEP 2

Now, you'll need to combine them to create your perfect reference. Erase the unnecessary parts and make a collage of the parts you've selected - using masks and blending modes to bring them all together.

You don't have to stick completely to the reality of the photos - you want to create a reference photo that's as handsome as I am. For example, I wasn't liking the way the glasses' arm was sitting on my ear, so I extended it.

I also changed some parts of my hair that weren't very interesting.

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STEP 3

Now you have the integrated image, adjust the contrast, colour balance, levels and the like to create a more dynamic image.

I shouldn't really say this but I often find using Photoshop's Auto Contrast, Auto Colour and Auto Levels functions (in the Image menu) to be really useful here if you don't want to manually correct your composite.

STEP 5

Now we come to the time-consuming part of the process: the triangular mesh. There's no secret trick to this - you need to do it by hand. Why? Because your brain is better than any script or automated process at determining the contours of the face.

Here are some guides though. Small parts require small triangles. Never make quadrilaterals - they just look wrong. Stick to triangles. It's easier if your subject has has a straight nose like me. Rounded noses are fiddly.

Create your mesh using a small brush on an empty layer above the image. Use a light colour that contrasts with the portrait. I prefer blue or green, since these are are two colours your subject probably hasn't got in his or her face (unless they have a tattoo of a praying mantis on their neck).

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STEP 6

If you've got this far, pat yourself on the back - you've done much of the hard work (but not all).

It's now time to refine any mistakes triangles. Hide the image reference, you need to just concentrate on the mesh. Clean it up and look for any triangles you've forgotten to create.

Once you have perfected it, change its colour to white so it contrasts with the black background and save it as a jpg.

Now fire up Illustrator.

STEP 7

Place your mesh into your artboard, lock it and it's time to trace a vector mesh of triangles over it in a contrasting colour (I've used as bright purple) using the Pen tool.

Again this will take some time - so put on a nice playlist, your best coffee and let's get going on this long trip.

Here are a few tips to speed up the process.

You don't need to close up your triangles, just use the Pen tool to mark out the three points. This might sound silly, but it'll save you a bunch of time over the hundreds of triangles you're gonna create.

STEP 8

You also don't need to be that precise - you'll use a nifty trick to bring them together in the next few steps.

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STEP 10

Now I'll teach you the trick to make all points align perfectly at the right position. It's a easy procedure - but of course, you'll need to repeat it as times as you have triangles on your portrait.

With the Direct Selection tool, select each group of points that should be at the same place.

STEP 11

Open the Align panel and click on Horizontal Align Center under Align Anchor Points.

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STEP 13

Now move the points around to correct their position if needed.

Then repeat steps 10-12 for all of your vertices.

STEP 14

Hide the mesh you created in Photoshop. Again check over your mesh for any missed triangles (I always forgot at least ten triangles per portrait). The best way to do this is to select all of your vectors ( Cmd/Ctrl + A) then invert the Fill and Stroke ( Shift + X).

If you spot one missing, return the Fill and Stroke to what they should be ( Shift + X again), add your triangle and check again. When you've got a complete mesh, move onto the next step.

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STEP 16

Now the most fun part - let's add colour. Select each triangle in turn, choose the Eyedropper tool ( I) and select the colour in the middle of each triangle as fill to it.

If you enjoyed this tutorial, why not take a look at our 70 favourite Photoshop tutorials and our 28 favourite Illustrator tutorials.

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Create a low-poly portrait in Photoshop & Illustrator

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In this tutorial, Brazilian designer Breno Bitencourt shows you step-by-step how to create a stylish low-poly portrait in Illustrator and Photoshop. The secret to creating works in this style is working from the best reference photos - and first off Breno reveals how to capture these (using himself as a model).

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Thomas

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In this tutorial for Adobe Illustrator and Photoshop, he reveals how he chooses the right photo to work from, and designs the key shapes that will underpin the style of the portrait - as using different types of shape from smooth to sharp can really affect how the final work feels.

From here he shows you how he has created an environment to find new ways to create his portraits, using a template built within Illustrator to guide his process.

He then shows you how he works up his initial draft into the final work - adding additional lighting and effects in Photoshop.

STEP 1

You should start with the correct mindset. You are going to fail a few times on the way and it's ok - but with a process of experimentation and refinement, you're going to create something amazing in the end.

All I know at this point is the fact I want to create. I go through my some of my favourite blogs - in this case baubauhaus - for inspiration and photographs to base my illustration. I keep on looking until a photograph stops me naturally. It must feel right, and the photo must draw your attention out of the hundreds you see.

Which one stands out for you here?

STEP 2

Whenever I look for a photograph to work with, there are three main things I'm looking for. One: The model must have interesting eyes. The eyes make or break your portrait. Two: The lips. These leverage the emotional value of the eyes.

Lastly I look for something odd, an imperfection that makes it interesting.

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STEP 3

Once you have found your photograph, open Adobe Illustrator and create a new document. I choose an A3 size to start any illustration, as I might want to use this in print (or as a print) - so it's easier to scale down for final output than to scale up. Also, charge your magic mouse and/or tablet, it's super annoying to pause your drawing in the middle of a session.

STEP 4

I am very strict on organisation. Getting things organised first means that I won't have to deal with a total mess of folders and layers later.

Before I paste my photograph into my file to start drawing/tracing over, I always start by creating these folders, to keep an overview of the final work.

Place your photo into the Photography folder. If it's a darker image, change its opacity to 80% so you'll better be able to see any blacks you draw on top of it.

STEP 5

Before you start drawing, I would like to give two examples of typical 'Bram-style- shapes that I draw on my portraits. The top style is a more sporty, energetic shape to keep the illustration sharp and edgy. The bottom style is more used for emotional portraits, playful and soft.

Ensure you experiment to find your own unique shapes.

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STEP 6

By double-clicking on the Pencil tool, you are able to adjust the fidelity and smoothness off your shapes.

Make sure to test different options to get the effect you like. I draw with a mouse rather than a pen and tablet, therefore I don't push the slider all the way towards Accuracy. Pushing it towards Smooth can make drawing quicker, though you'll have less detail and fewer imperfections (which is either a good or bad thing, depending on your style).

STEP 7

I always start with the Pencil tool with a pure black Fill at 100% opacity. I draw the defining facial characteristics first as simple blocks of black on white, then build up the detail - so that while that detail and colour add depth and visual interest, the things that initially draw you to the picture are clear (especially from a distance or as a thumbnail online).

Draw a relatively small number of strokes and shapes to create the eyes. For each, start with the pupil and iris, followed by the inner and outer corner. Then move onto the eyelids and lashes, finishing off with the brow.

Draw both eyes, then zoom out to check your drawing. This is the most important part of the illustration - so make the eyes pop!

STEP 8

Continue to define the model's face drawing the nose and lips. Use even fewer strokes and shapes here, and don't create too many details - it's just important that the face is recognisable. For example, the mouth can be just some basic shapes at the sides of the lips as I've done here - though sometimes you want to include a few tooth shapes if your model's mouth is open

Most important of all, any clear emotion on your model's face should be recognisable.

Keep adjusting these few parts until it's perfect.

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STEP 9

Once you have the most important basics down, you are now free to lose yourself into the details of the model's hair, clothing, textures and the like.

Personally, I like to draw hair by placing similar shapes on top of each other - as we did earlier - adding shape upon shape based on the photograph's lighting.

STEP 10

Once you think you have completed all the darkest spots of your portraits, build up lighter areas by using softer grey each time. Start with 80% black for less dark, followed by 60% and 40% for mid-tones, and 20% for highlights (leaving the brightest highlights as white).

Sometimes I feel that 20% black is too dark for some parts, so feel free to adjust your opacity to what feels right for you. I use 5% black for some lighter areas and even used 1% black in one area that needed subtle differentiation from the brightest highlight)

Build up your artwork until you have a complete black and white portrait.

STEP 11

Next enhance the details with a new group of layers on top of everything, within which we'll use pure white filled shapes. Think of the sparkles in the model's eyes, freckles on her cheek and nose, lip gloss - anything that makes it special.

Also draw some abstract lines. This has no real goal beyond simply adding chaos to your otherwise perfect illustration - a looseness that gives it character.

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STEP 12

This step is where we get more experimental. As we've just completed an illustration with five colour swatches, try changing the swatches in a different colour for a unique effect. To do this, simply select each shape and then adjust each's Fill colour.

STEP 13

I mixed a blue-and-purple colour palette to highlighting her eyes and brighter side of her face.

STEP 14

Awesome - good job! You have now completed 90% of the artwork.

Now it's time to open Photoshop and add more colour. Create a new document with the same parameters as before (A3, 300dpi). Again, make sure to organise your document, before you copy-&-paste all of your layers from Adobe Illustrator - which will come across as Smart Objects.

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STEP 15

The first thing to do in Photoshop is use a soft round brush to add some depth to the background, behind the model. It's very subtle in this example.

STEP 16

Next I want to soften the edges of the extreme highlights so they're less jarring - the glows on her head and top of shoulders, for example. I'd also like to soften the colouring around her eyes.

Again use a basic round brush with a bright colour at 60% opacity. Play with the blending mode options - trying combinations of Screen, Overlay and Color Dodge. Brush at the spots you like to enhance, like you're applying make-up.

STEP 17

Lately I have been playing with adding simple geometric shapes to add another dimension over portraits. These indicate movement and add a sense of. I made it drip to add depth and added a few realistic paint-drops just because I liked the look and feel of them.

Finally, I applied a soft gradient to the shapes to add more depth.

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STEP 18

To finish off the artwork, I added a pre-created group of layers that I've created with with specific blending options to give my colours the 'pop' I want.

To create your own, first add a new layer at the top of the layer stack. Fill this with a solid pink colour and change the opacity to 30%. Add another new layer - bright green with a blending mode of Saturation at 10% opacity. Next, royal blue with a Difference blending mode and a 5% opacity. Finally, a royal blue with a Soft Light blending mode at 30% opacity.

Play with the order of these until you get a subtle consistent colour grade across your whole image.

STEP 19

Repeat this project one day or week later to see if you still like the colouring, shapes and other effects. Continue your journey to find new colouring techniques, unique shapes to create your illustration. Never give up and repeat the process.

After a while you have mastered different styles which you can apply on future client work.

STEP 20

As eyes and lips are the most important parts of a portrait, draw new eyes and mouths on a daily basis. It takes only takes you five to 10 minutes to draw a set - but once you have mastered these two specific parts of your portraits, I promise you will see a huge difference in your work.

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Create a brand new style of vector portrait

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In this tutorial for Adobe Illustrator and Photoshop, he reveals how he chooses the right photo to work from, and designs the key shapes that will underpin the style of the portrait - as using different types of shape from smooth to sharp can really affect how the final work feels.

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Kevin

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Kevin

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Kevin

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Myat Kaung Khant

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Myat Kaung Khant

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Myat Kaung Khant

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Su

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Su

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Su

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Su

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Su

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David

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David

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Making the Emerald City of Oz in Photoshop

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Making the Emerald City of Oz in Photoshop

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Oscar

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Oscar

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Oscar

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Oscar

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Ms. Alisa

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Ms. Alisa

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#05 Tutorial Vector Portrait Adobe Illustrator cs6, coreldraw, adobe photoshop | qinaradesign

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OPEN ORDER TUTORIAL VECTOR PORTRAITS http://tutorialvectorportraits.blogspot.co.id/ contact person : email: qinaradesign@gmail.com Wa. : 087898195165