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285 Drawing a vector-based avatar in Illustrator

From: Deke's Techniques

Video: 285 Drawing a vector-based avatar in Illustrator

Hey gang. This is Deke McClelland. All right here is the result of those I am going to go ahead and turn off all but the background layer, All right, now I'll switch over to Illustrator And then I also had this hair layer as well, so just a few pre-drawn elements.

285 Drawing a vector-based avatar in Illustrator

Hey gang. This is Deke McClelland. Welcome to Deke's Techniques. This week, I'm going to show you how to create a custom avatar that is a vector based drawing of your face inside of Adobe Illustrator. So we're going to start off with those path outlines that we traced from a photograph. Here's the photograph. Here are the path outlines that we traced inside of Photoshop and we're going to Copy and Paste them into Illustrator and we're going to create this wonderful line drawing, uniform line drawing right here. Here, let me show exactly how it works.

All right here is the result of those path outlines that we traced inside of Photoshop. And here is the final version of the avatar that we'll be creating inside of illustrator. Just so you can see everything on screen. I am going to go ahead and turn off all but the background layer, which contains the original photograph. Then, I'll switch over to the Paths Panel and if you are working along with me, select the item that contains the path outlines that you drew in the previous movie. Then you want to drop down to the black arrow tool. And you want to make sure that it's the black arrow tool that's selected, not the white arrow tool, so the path selection tool is the one that we're looking for.

And then marquee the entire image window like so, so to select all the path outlines. Now, I want you to confirm the things we'e going to work here by pressing Ctrl+k or Cmd+key on a Mac to bring up the preferences dialog box. And make sure export clipboard is turned on. Normally I recommend you turn this check box off, but we need it to be on, in order to copy the path outlines and paste them into Illustrator. So, turn it on, then click OK, and then go up to the Edit menu and choose the Copy command, or you can press Ctrl+C here on the PC or Cmd+C on the Mac.

All right, now I'll switch over to Illustrator and you can see that I've already drawn the avatar in advance just so you have a sense of what it's going to look like. But I am going to turn this avatar's layer off. I have a couple other layers that I have drawn in advance. There is a new drawing layer which contains a few neck paths. They are very simple by the way. This one contains three anchor points. This one contains two and so forth. And then I also had this hair layer as well, so just a few pre-drawn elements. Make sure that the new drawing layer's active. That's very important.

And then go up to the Edit menu and choose the Paste command. That will bring up the Paste options dialogue box. By default, you'll see compound shape is selected. That's not going to do us any good and in fact it'll get in our way. What you want is compound path. So go ahead and select a second option, click OK. And you'll paste a bunch of invisible paths, because they don't have any fill or stroke attributes. Let's change that by going up to the second swatch up here in the Control Panel and changing the color of the strokes to black. Then click on the word Stroke, increase the line weight value to four points, and then turn on round cap, and round join.

So click those center two icons right there. And then press the Escape key, not the Enter key, 'because if you press the Enter key or the Return key on the Mac, you'll bring up the move dialog box, you don't want that. Press the Escape key to hide the panel and then let's just go ahead and move this guy over to the right. And I'm pressing the Shift key as I move these paths, because I've already got things preregistered into place. Now notice that we have a group, you can see that on the far left side of the Control Panel, that's not going to do us any good. So, go up to the Object menu and choose Ungroup.

Now, we end up with a compound path, also, not helpful. So, go to the Object menu, drop down to Compound path, and choose the Release command. Now, we've got all of these path outlines. I want to keep 'em, because I might have to come back to 'em, you never know. So, let's go ahead and duplicate them over here on the left-hand side but we don't need all of them. Now let me point out here. If I go back to Photoshop and turn off the paths by clicking in an empty portion of the Paths Panel, you can see that Colleen on this particular day was wearing her hair up.

But normally she wears it down. And it's great, looks great, so we might as well create the avatar that way. So I'll switch back over to Illustrator, and you can see I've got some hair drawn in advance hanging down, which means that we don't need any of these hair paths, so Shift marquee around these paths right here, and then Shift+click on this one to turn that off, and then Shift+click on the back of the neck. We don't need that either. And now, let's go ahead and drag the remaining paths. You want to press the Alt key, or the Opt key on the Mac. Keep that key down so that we clone the path outlines, and then press the Shift key as well.

So we're constraining the angle of the drag to exactly horizontal. So I've got both the Shift and Alt keys down. Those would be the Shift and Opt keys on the Mac, and we end up with this result right here. We need to get the draw path out of the way, so we can join the chin to the neck, so go ahead and click off the path outlines to deselect them. And I want you to press Ctrl+k, or Cmd+k on the Mac, once again, this time to bring up the preferences dialog box inside of Illustrator, and check that the keyboard increment is set to one point, as by default.

If so, click OK. Then click on the jawline to select it, and press Shift+up arrow twice. That'll just get it out of the way, and we'll also know to press Shift+down arrow twice, in order to put it back in the proper location. All right, now I want you to zoom in on the chin right there. Click on that chin path, which goes all the way around the face actually, in order to select it. Go up to the View menu and make sure Smart Guides are turned off. Because if they're turned on they're just going to get in the way, they'll cause problems. And then I want you to select from the Eraser tool fly out menu, you want to grab the scissors tool and then click right about there in order to sever the path outline then press the v key to switch back to the black arrow tool.

Click on this little path fragment right there to select it and then press the Backspace key or the Delete key on the Mac to get rid of it. Now I want you to press the A key to switch to the white arrow tool and marquee these anchor points like so. So just these coincident anchor points or at least nearly coincident anchor points should be selected. And now just to make sure they are coincident meaning that one is directly on the top of the other. Go up to the Object menu and choose Path and choose this command right there Average. Notice it's got a keyboard shortcut so join that involves the J key.

And that is going to become important in just a moment. Anyway for now just choose the command. And, make sure both is selected and click OK, and that'll align those two points so that they are exactly coincident. Now I want to join these points into a smooth point. Now, if you just press Ctrl+j or Cmd+j on a Mac, to perform a standard join, then you're going to create a new corner point. I want a smooth point, so what you have to do is press Ctrl+Shift+Alt+j here on the PC or Cmd+Shift+Option+j in the Mac in order to bring up the drawing dialog box.

Select Smooth and click Ok. And that will join the path outlines and it'll also reduce the line weight to four points where we dialed in a moment ago and we don't want that. So press the V key to switch over to the black arrow tool. Click on a path outline to select it, go up here to the Control Panel, and change the line weight to 12 points. I'm using the Pop-up menu, but you can work any way you like. And that's going to seem awfully thick, but bear in mind, this is an avatar that might appear as small as an icon on screen, so these strokes are going to get much thinner.

All right, now we want to draw the head, and the best way to do this, by the way, to complete the head, and forehead and everything else, is to draw the person bald. And I'm just saying that because that way you can change out your hairstyle any time you want. Makes for a very versatile setup. So I'm going to switch to the Pen tool. And I'm going to drag from this top point right there to activate it and to maintain a smooth point. And then I'll go ahead and zoom out just a little bit here. Scroll over. And I'll drag right about there in order to create the top of the head.

And if you need to, then you can move the anchor point on the fly by pressing and holding the Spacebar. And then oops, I invoked an auto-scroll, I hate that. Anyway, I'll go ahead and release and then, drag back here, I made a big mess of things. So I'll press the A key to switch to the wide arrow tool. I'll click on the segment right here to select it and then I'll drag up on this control handle like so and I might drag it down just a little bit because notice we've got a little bit of an edge showing from the hairline and we don't want that. So I'll select this anchor point and I'll press the left arrow key, just to nudge it over to left.

Anyway, we don't want any seam, that's the point. All right, now we don't want to see the hair because we want to work bald. I'll turn off the hair layer in order to deselect it. And her skull looks terrible, but it's going to look better. So I'll go ahead and press the P key to switch back to the Pen tool. I've got to drag on this point to once again activate the path outline. And then I'll drag right about here, to create the back of the skull. And then, I'll drag from here. Notice that I can see a tiny little Connect icon next to my Pen tool cursor.

That tells me that I'm going to connect to the back of the neck. You want to make sure, by the way, that you don't move the back of the neck around. So you want to keep it as still as possible. That is you want to keep this arc the way it was. All right, now you might wanted to make some modifications with the white arrow tool, so I went ahead and switched to the white arrow. I'll select this anchor point. I'll go ahead and drag this up just a little bit. I'll turn the hair on just to see if I haven't totally messed things up yet and it looks like I'm doing okay, but I think I want the forehead to be a little steeper right there.

So that looks good. And I'm going to turn the hair layer back off, so I can better see what I'm up to here. And I'm also going to zoom in, like so. And I'm going to press the "V" key to grab my black arrow tool. Select the jaw line and press Shift+down arrow twice to put it back into place. And now we need to select all these lines right here. So click and Shift+click on the mouth, the nostril Shift drag around the eyes, Shift drag around the ears, we need this little tiny eyelash right there, on the right-hand side of the face, and let's change the line weight this time to nine points, in order to produce this effect.

And things are too thick, as you can see, but that's okay, we'll solve that problem in just a moment. But you know what, we're going to be able to see what we're doing better, at least I am. If I go ahead and marquee these path outlines here, and I change the stroke color to 50%, that way things are just going to show up better. Also going to register things a little bit by pressing Ctrl+0, in order to zoom out. That centers the zoom. Then I'll zoom in to 200% and scroll over so I can see what I'm doing. See, he's got a frown. We need to turn that upside down. And I'm going to do so, by switching to the white arrow tool, which I did by pressing the A key.

Click off the path outlines to deselect 'em. I'll grab this anchor point right there, move it to this location. Drag this control handle right about there, I think. Move this guy up just a little bit, his control handle could come down ever so slightly. The nostril's just kind of a mess, I'm going to move it out of the way for a second, and I'll check out the nose. I don't want this point, so if you find that there's a point in a path that you want to get rid of, you press the P key to switch to the Pen tool, you hover over the anchor point, you should see a minus sign next to the cursor, very important and click, and that will get rid of that point.

Now that may seem like a rotten idea, because it makes her nose look horrible. But I'll now press the A key to switch back to the white arrow tool and I'll drag this anchor point up like so. And I want to create sort of a sculptural nose here. Basically, the thing is, I know this person quite well. You may know your person quite well, as well, especially if you are you, then you know exactly what you're looking for. But if the person is foreign to you, you really aren't that familiar with their face.

Then you may want to pass the sketch by them just to see what they think of it before, of course, they're forced to go live with the darn thing. And I think I want to move this point down like so, and then move the control handle up a little bit. I think this is going to end up working out pretty well. All right, now let's get to work on that nostril, I'll go ahead and select this point get rid of it and select this point here and get rid of it, I'll press the P key to switch the Pen tool and click on this anchor point to get rid of it.

Basically, I just want two anchor points, is what it comes down to. Then I'll switch to the white arrow tool, Alt+click on the path to select the entire thing, so I can move it over to right about there. And then I'll click off the path outline to deselect it. I'll drag this guy up, this anchor point, that is. Then I'll drag its control handle up, like so and I'll drag this guy over. And I think I've got a pretty good looking nose. At least it's indicative of the nose that I'm actually trying to draw. All right, now we need to work on the eye.

So I'm going to start with the eyebrow, actually. I'll go ahead and click on it with the white arrow tool. Drag that point to that location. I'm just dragging things around until I think they look good. I want to give her eyebrow a little bit of an arch. Then I'll press the V key to switch to the black arrow tool. I'll marquee the eye paths and drag this guy down just a little bit to this anchor point. And by the way, I have the bounding box turned off. If you're seeing the bounding box on the screen, it's just going to get in your way. So go up to the View menu. And, choose a command that would say Hide Bounding Box, if you're seeing it, to get rid of it.

Then, you want to switch to your Scale tool, click right there at the tip of the eyelash in order to set an origin point. And then move your cursor about 45 degrees away from that origin. I'm going to move it downward to the right. I'm not dragging it and then drag while pressing the Shift key let's say in order to scale the eye just a little bit. Now, that ended up scaling the strokes as well, as you can see up here in the line weight option. So I'm going to switch the line weight back to nine point. Then I'll press the V key to switch to the black arrow tool, click off the path outlines.

I don't need this eyelid, so I'll go ahead and click on it to select it and press the Backspace key, or the Delete key on the Mac, to get rid of it. Press the A key to switch back to my white arrow tool. And I'm moving pretty quickly here but that's because, you know, we're doing some standard drawing work. I'll drag this anchor point here until snaps into alignment with this one, and you'll see the snap when you see the white cursor. And then you can marquee these two points and press Ctrl+j, or Cmd+j on the Mac, to join them together. And now let's get rid of this anchor point right there I'll select it and get rid of it.

Click off the paths, drag this anchor point to this location, drag this control handle down. I want this control handle down to about there as well. I don't think I need this anchor point, so I'll select it. I'll press the P key to get the Pen tool, hover over it so you would see a minus sign, click to get rid of it. Press the A key to switch back to the white arrow tool, and we've got these control handles readily accessible to us, I'll drag this one down, and I'll drag this one up, because this bit of wave here makes for a nice eyelash.

All right, now I'm going to grab this little line here and I'll select the entire thing by Alt+clicking on it, or Option+clicking on the Mac, and I'm going to move it over to right about here, then I'll get my Scale tool by pressing the S key, and then I'll Alt+click or Option+click on that bottom anchor point. And let's try a scale value of 80%. That's not enough. We do not want to scale strokes and effects. So go ahead and turn that check box off. State the Uniform value down to 60% might work.

Actually maybe even lower, something like 55. Click OK. And now, I'm going to take the line weight value up to 12 points for this particular guy. Select my white arrow tool again. Go ahead and click on this anchor point and click on this anchor point, select it, move it over a little bit. I'm just nudging. And I'm going to go ahead and zoom in, so that I can see what's going on with my control handles, and you can see I've got a little bit too much curvature. I want some curvature, so it kind of indicate the curve of an iris coming outward.

But I also have this little hump, which means this anchor point is too high, so I'll press the down arrow key to move it down ever so slightly. And now, let's zoom out because, not that far, just to about there, because that's really the only way to judge whether the eye is looking at us. So you could select the entire path there, and then press the left arrow key to move it to the left, or the right arrow key to move it to the right, until it appears to be looking into your soul which might be, I don't know, there or there. This location looks pretty good.

This eyelash I think wants to come out a little bit. If it's going to be there, might as well bring it out. So now, we want to change these path outlines back to black. So, I'll press the V key to switch to my black arrow took. Go ahead and marquee these path outlines like so and select black. From the second color swatch up here in the Control Panel. This ear is a mess, and actually, you know what, there's just too much detail here. This just isn't going to do us any good, but in fact, even starting from these path outlines is no good. So, I'll press the Backspace key, after selecting them, and I'll just draw in there.

And, I'm going to do that by dragging with my Pen tool, so I'll press the P key to switch to the pen. Switch to the white arrow tool, and grab that guy, and drag him. And then I'll press the P key to switch back to the Pen tool. I will drag from here, and I'll kind of drag up and around just to create your standard everyday, average cartoon inside of an ear. If indeed, you've ever drawn one of those. They're pretty easy. They're just kind of like a little S curve. Like so, you may want to go completely not to draw all kinds of you know, extra detail for your ear, it is entirely up to you.

In fact, for all I know you want a Vulcan ear. I don't know what you want. Anyway, I'm going to zoom out, like so, and let's take a look at what we've got, not quite that far perhaps, and let's turn on the hair layer, that's the only way we can judge this, and notice I've got this kind of gap where the ear is. So I'm going to go and zoom in, I don't like that. So I'm going to grab that inside ear point right there and I'm going to drag it down. And I'm going to fill in this tiny little gap, which I do not want using the Pen tool. So I'll press the P key and then just click click click click like so, you can see that it's got a black stroke and no fill.

So I'll press Shift+X in order to swap the fill and stroke and I can tell that's what I've done. I'll go ahead and select the black arrow tool, click in the path outline and then I can see, I've got a black fill and no stroke up here in the Control Panel. So, this is what we have friends. A delightful looking black and white avatar. Created from path outlines that we traced inside Photoshop and then enhanced here inside Illustrator. All right, so we've made a good start, but I'd give us like a B minus. After all, we can't go to market here with a black and white avatar, which is why if you're a member of the lynda.com Online Training Library, I have a follow-up movie in which I'll show you how to color your avatar, including all this shading.

We're going to be diving in and out of a clipping mask like you would not believe inside of Illustrator. Now, some of you may be thinking, hey, I'm not a member of lynda.com. I don't want to miss out on this. Well, lynda.com/deke gets you seven free days. And you can look at any movie you like during that period of time. There is tens of thousands of them. It's a gift, from, from me to you. If you're waiting for next week's free movie, I'll show you how to take that avatar and turn in into a ping graphic, this checkerboard pattern represents the transparency, that you can use anywhere on the Interwebs.

From facetube, to youbook, you name it. These techniques. Each and every week. Keep watching.

Show transcript

This video is part of

Image for Deke's Techniques
Deke's Techniques

337 video lessons · 128968 viewers

Deke McClelland
Author

 
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  1. 18m 1s
    1. 336 Drawing a hand (clenched in a fist)
      11m 44s
    2. 337 Cleaning up a sketch captured with a phone
      6m 17s
  2. 10h 39m
    1. 282 Ringing in the New Year with dynamic effects in Illustrator
      12m 59s
    2. 283 Dynamically transforming fills and strokes
      13m 41s
    3. 284 Tracing an avatar from a photograph in Photoshop
      12m 24s
    4. 285 Drawing a vector-based avatar in Illustrator
      19m 44s
    5. 286 Coloring and shading your avatar
      16m 0s
    6. 287 Exporting an illustration as a universally supported PNG file
      10m 54s
    7. 288 Upsampling a layered composition with great results
      13m 43s
    8. 289 Rebuilding a pattern at a higher resolution
      7m 29s
    9. 290 Painting happy little trees
      13m 46s
    10. 291 Shading and lighting the happy forest
      15m 15s
    11. 292 Enlarging a low-res photograph in Photoshop
      12m 20s
    12. 293 Enlarging a photo by tracing it in Illustrator
      13m 10s
    13. 294 Mastering Exposure in Camera Raw
      11m 40s
    14. 295 Super smooth and unflinchingly sharp
      10m 46s
    15. 296 Deleting an inadvertent photo bomber
      8m 13s
    16. 297 Correcting a distorted panorama
      17m 23s
    17. 298 Rebuilding bad stitching in a panorama
      14m 53s
    18. 299 Nondestructive dodge and burn
      8m 54s
    19. 300 Blending a shadow into any background
      8m 37s
    20. 301 Saving a PNG image with a translucent shadow
      8m 45s
    21. 302 Cleaning up a smart phone photo
      11m 17s
    22. 303 Using Photoshop 1.0
      5m 45s
    23. 304 Creating your own Chinese seal (or chop)
      26m 4s
    24. 305 Simulating hand lettering with art brushes
      20m 8s
    25. 306 Adding texture to your hand stamp
      3m 34s
    26. 307 Creating a black chop on red paper
      5m 55s
    27. 308 Auto-hiding iconic panels in Photoshop
      3m 44s
    28. 309 Creating a custom toolbox in Illustrator CC
      4m 21s
    29. 310 Creating the perfect passport photo
      20m 18s
    30. 311 Retouching your passport photo
      13m 38s
    31. 312 Turning a photo into a giant mural
      13m 11s
    32. 313 Enhancing the reality of your mural
      11m 8s
    33. 314 Creating a 3D bump map
      12m 7s
    34. 315 UV overlay and 3D bump paint
      14m 4s
    35. 316 Using Lens Flare for good (not evil)
      10m 48s
    36. 317 Using the Perspective Crop tool
      9m 29s
    37. 318 Reducing real-world camera shake
      10m 4s
    38. 319 Reducing glare in a photograph
      15m 25s
    39. 320 Restoring repeating details
      13m 43s
    40. 321 Integrating a detail captured with a phone
      9m 6s
    41. 322 Blending two exposures of a single scene
      12m 25s
    42. 323 Masking mountains away from sky
      14m 22s
    43. 324 Creating a photographic caricature in Photoshop
      10m 7s
    44. 325 Exaggerating facial features with Liquify
      12m 48s
    45. 326 Masking a caricature against a new background
      11m 20s
    46. 327 Shading and sharpening a caricature
      10m 6s
    47. 328 Drawing a Möbius strip in Illustrator
      12m 21s
    48. 329 Shading the Möbius strip with gradients
      9m 0s
    49. 330 Adding twisting edges to the Möbius strip
      8m 9s
    50. 331 Creating an impossible Penrose triangle
      10m 37s
    51. 332 Shading the cubes in your Penrose triangle
      8m 15s
    52. 333 Selectively converting a photo to black & white
      7m 53s
    53. 334 Straightening and “uncropping” a photo
      16m 17s
    54. 335 Restoring a missing photograph detail
      11m 26s
  3. 17h 21m
    1. 185 Creating a custom 2013 calendar in Illustrator
      11m 44s
    2. 186 Adding dates to a calendar using tables
      9m 50s
    3. 187 Branding your calendar with a field of logos
      10m 54s
    4. 188 Crafting an Infinity symbol to match a specific font
      12m 6s
    5. 189 Op art experiment 1a: Inflated checkers
      10m 49s
    6. 190 Op art experiment 1b: Rounded windows
      6m 39s
    7. 191 Building a universal ISOTYPE man with strokes
      15m 6s
    8. 192 Building a universal ISOTYPE woman with strokes
      11m 7s
    9. 193 Drawing an ISOTYPE couple in love
      12m 55s
    10. 194 Creating a Warhol-style silkscreen effect
      14m 43s
    11. 195 Creating a series of Warhol-style variations
      10m 43s
    12. 196 Adding Warhol-style background variations
      8m 20s
    13. 197 Creating opaque colored shadows
      5m 20s
    14. 198 Assembling multiple variations into a single comp
      5m 9s
    15. 199 Creating a pattern of unique inset circles
      9m 55s
    16. 200 Changing a static blended color scheme
      7m 16s
    17. 201 Op art experiment 2a: Undulating pattern
      20m 26s
    18. 202 Op art experiment 2b: Concentric rings
      9m 43s
    19. 203 Developing a dramatic castle in Camera Raw
      13m 21s
    20. 204 Artificially coloring a photo in Camera Raw
      9m 38s
    21. 205 Creating an antique photo effect in Camera Raw
      7m 53s
    22. 206 Adding a weathered old-photo frame effect
      12m 0s
    23. 207 Drawing an Angry Birds-like character
      16m 59s
    24. 208 Stroking an entire layer in Illustrator
      9m 21s
    25. 209 Drawing a classic snarling cartoon face
      11m 10s
    26. 210 Drawing a radiant, cheerful cartoon background
      18m 29s
    27. 211 Stroking any kind of type in Illustrator
      5m 0s
    28. 212 Creating synthetic water droplets
      9m 29s
    29. 213 Simulating liquid reflections with effect
      5m 19s
    30. 214 Simulating liquid refractions with a dmap
      5m 30s
    31. 215 Creating an eye-catching splatter effect
      9m 8s
    32. 216 Defringing purples and greens in Camera Raw 7
      10m 4s
    33. 217 Making a danger sign more dangerous
      15m 9s
    34. 218 Using texture and depth to add realism
      10m 22s
    35. 219 Precisely aligning artwork to the bleed
      7m 16s
    36. 220 Creating and importing a tracing template
      6m 50s
    37. 221 Drawing a distinctive 2D video game character
      18m 52s
    38. 222 Adding features to the face of a 2D character
      14m 3s
    39. 223 Creating a vivid aura around an entire character
      7m 25s
    40. 224 Adding variable-width strokes in Illustrator
      11m 23s
    41. 225 Animating bird wings with Puppet Warp
      12m 15s
    42. 226 Animating text by onion skinning in Photoshop
      8m 0s
    43. 227 Creating an animated movie in Photoshop
      9m 15s
    44. 228 Exporting an animation to QuickTime and GIF
      5m 44s
    45. 229 Correcting an underwater photograph
      10m 30s
    46. 230 Making a photo razor-sharp and porcelain-smooth
      7m 17s
    47. 231 Reducing noise in a high-ISO shot with Camera Raw
      8m 33s
    48. 232 Creating highly reflective sunglasses
      10m 43s
    49. 233 Adding drama to an outdoor portrait shot
      6m 35s
    50. 234 Creating volumetric forms with shape layers
      15m 52s
    51. 235 Creating a bloodshot eye effect
      7m 11s
    52. 236 Shading an image with shapes and layer masks
      13m 2s
    53. 237 Creating fabric textures with pattern layers
      7m 27s
    54. 238 Colorize any layer with Color Overlay
      3m 23s
    55. 239 Turning a portrait into a dot drawing
      7m 40s
    56. 240 Creating a full-color dot drawing
      3m 29s
    57. 241 Drawing an orthogonal cube with the line tool
      7m 9s
    58. 242 Creating a cube of differently colored cubes
      9m 27s
    59. 243 Recreating the Creative Cloud Logo in Illustrator
      16m 18s
    60. 244 Creating a psychedelic fabric texture
      9m 7s
    61. 245 Turning psychedelic fabric into rock letters
      5m 23s
    62. 246 Creating a more finely rendered dot drawing
      8m 29s
    63. 247 Converting from RGB to CMYK via Multichannel
      12m 31s
    64. 248 Creating printer-safe CMYK shadows
      6m 48s
    65. 249 Creating bright, golden motion trails
      12m 32s
    66. 250 Creating schematic art with grid
      12m 41s
    67. 251 Drawing precisely aligned arrowhead
      12m 8s
    68. 252 Adding arrowheads around a closed path
      6m 1s
    69. 253 Drawing the Pen tool without touching the Pen tool
      17m 13s
    70. 254 Merging frames for the best possible UAV photo
      16m 40s
    71. 255 Retouching details in an aerial landscape
      12m 13s
    72. 256 Editing a video and adding transitions in Photoshop
      10m 57s
    73. 257 Importing the quadcopter crash sequences
      9m 4s
    74. 258 Color correcting a video and adding a soundtrack
      8m 56s
    75. 259 Adding precisely timed titles to your video
      11m 43s
    76. 260 Hand-painting an image with a Wacom Cintiq
      13m 11s
    77. 261 Blending the final false-color artwork
      8m 41s
    78. 262 Creating a honeycomb pattern in Illustrator
      12m 50s
    79. 263 Building up strokes to create 3D honeycomb
      9m 8s
    80. 264 Turning yourself into a zombie
      14m 0s
    81. 265 Enhancing an ambience environment for the undead
      9m 26s
    82. 266 Creating dripping, gooey ghost letters
      16m 43s
    83. 267 Turning type into gooey green slime
      11m 19s
    84. 268 Creating heavy metal type (updated for Photoshop CS6 and CC)
      12m 27s
    85. 269 Cleaning up a crummy product shot
      11m 3s
    86. 270 Scaling and rotating photographic objects
      10m 10s
    87. 271 Tracing a line drawing with uniform strokes
      11m 18s
    88. 272 Coloring line art using Live Paint Bucket
      18m 22s
    89. 273 Creating a pigture using shapes and letters
      18m 7s
    90. 274 Integrating a cartoon into a photograph
      7m 27s
    91. 275 Converting a photo into a Lichtenstein drawing
      16m 8s
    92. 276 Adding bring Ben-Day dots and a talk balloon
      15m 31s
    93. 277 Painting an eye using a custom brush
      11m 31s
    94. 278 Painting and smoothing straight-sided brushstrokes
      12m 0s
    95. 279 Simulating pressure with path outlines
      6m 3s
    96. 280 Developing a 32-bit HDR image in Camera Raw
      14m 42s
    97. 281 Converting from 32-bit to the more flexible 8-bit mode
      11m 15s
  4. 14h 31m
    1. 091 Removing people from a photo
      10m 44s
    2. 092 Masking people back into a photo
      10m 58s
    3. 093 Hand-painting a mask
      10m 5s
    4. 094 Masking a real-life shadow
      10m 40s
    5. 095 Turning a photo into line art
      7m 44s
    6. 096 Adding a crosshatch shading pattern
      6m 46s
    7. 097 Creating type that inverts anything behind it
      5m 32s
    8. 098 Creating auto-inverting line art
      5m 7s
    9. 099 Creating movie poster credits
      8m 10s
    10. 100 Creating a dual-focus hybrid image
      6m 24s
    11. 101 Adding text to a hybrid composition
      7m 24s
    12. 102 Drawing with the reshape tool
      10m 39s
    13. 103 Hand-drawing a really great letter
      10m 6s
    14. 104 Creating a vanity frame
      5m 28s
    15. 105 Adding a frame to a photograph
      5m 3s
    16. 106 Drawing a highly graphic explosion with Illustrator
      10m 3s
    17. 107 Drawing a Ninja Turtle nose
      10m 22s
    18. 108 Mapping a dog face onto a duck
      8m 20s
    19. 109 Putting a tongue on a duck
      7m 6s
    20. 110 Making synthetic lightning in Photoshop
      11m 3s
    21. 111 Creating a driving rain effect in Photoshop
      4m 57s
    22. 112 Designing a railroad track
      12m 18s
    23. 113 Bending the railroad track around curves
      7m 46s
    24. 114 Creating a Star Wars hologram effect
      9m 23s
    25. 115 Creating leafy letters
      6m 12s
    26. 116 Creating topiary type
      6m 22s
    27. 117 Creating type in grass
      9m 0s
    28. 118 Rendering type in smoke
      7m 30s
    29. 119 Rendering type in brushed metal
      9m 57s
    30. 120 Adding brushed copper effect
      4m 14s
    31. 121 Reflecting type in water
      10m 57s
    32. 122 Reflecting water back into type
      11m 14s
    33. 123 Joining type to a circle
      7m 14s
    34. 124 Making flared type on a circle
      7m 17s
    35. 125 Making a person emerge from water
      5m 32s
    36. 126 Creating progressive water ripples
      10m 17s
    37. 127 Creating an upside-down face effect
      10m 17s
    38. 128 Achieving silky smooth skin with retouching
      6m 33s
    39. 129 Pearly white teeth
      7m 28s
    40. 130 Head-shrinking
      8m 26s
    41. 131 Getting a big head
      5m 11s
    42. 132 Adding a photographic texture to vector type
      4m 28s
    43. 133 Adding strokes in back of photo type
      5m 9s
    44. 134 Adding a border to an image in Illustrator
      4m 17s
    45. 135 Two ways to crop in Illustrator
      7m 29s
    46. 136 Inventing a 3D temple with a depth map
      10m 0s
    47. 137 Drawing a 3D object with Curves
      11m 41s
    48. 138 Creating a superhero shield in Illustrator
      16m 28s
    49. 139 Turning Illustrator paths into Photoshop shapes
      11m 42s
    50. 140 Creating a photorealistic superhero shield
      12m 39s
    51. 141 Pimping your ride in Photoshop
      9m 59s
    52. 142 Masking and blackening a car
      10m 20s
    53. 143 Drawing a multi-part vector mask
      12m 46s
    54. 144 Masking and painting a shadow
      8m 26s
    55. 145 Integrating blades of grass into tires
      5m 34s
    56. 146 Making a (ridiculously) dramatic sky
      6m 2s
    57. 147 Adding flame stripes to a car
      8m 23s
    58. 148 Creating interlocking octagons in Illustrator
      7m 44s
    59. 149 Hand-coloring line art
      13m 9s
    60. 150 Creating a custom wave pattern
      9m 56s
    61. 151 Simulating a screen print
      8m 30s
    62. 152 Drawing a perfect linear spiral in Illustrator
      9m 42s
    63. 153 Drawing a spiraling nautilus shell
      11m 4s
    64. 154 Designing a hex pattern in Illustrator CS6
      11m 10s
    65. 155 Making a hex pattern in Illustrator CS5 and earlier
      7m 4s
    66. 156 Creating a Facebook cover in Photoshop
      9m 25s
    67. 157 Matching a profile picture to your cover
      6m 37s
    68. 158 Cloning yourself in Photoshop
      11m 16s
    69. 159 Lighting the clone party
      8m 29s
    70. 160 Hand-carving letters into wood
      8m 0s
    71. 161 Creating a Spirograph-like pattern
      7m 34s
    72. 162 Tracing scalloped gear teeth around a circle
      4m 55s
    73. 163 Applying custom carve and shadow styles to type
      8m 50s
    74. 164 Turning a pencil sketch into digital ink
      12m 55s
    75. 165 Adding a graph-paper background
      13m 42s
    76. 166 Creating a continuous single-line Spirograph
      13m 2s
    77. 167 Scaling circles into complex patterns
      7m 15s
    78. 168 Creating a money-like design
      8m 43s
    79. 169 Attack of the killer pumpkin
      14m 49s
    80. 170 Simulating a glowing Jack-o-lantern
      12m 24s
    81. 171 The headless stranger in the mist
      12m 25s
    82. 172 Creating 3D punched letters
      13m 29s
    83. 173 Designing a double-wave line pattern
      11m 2s
    84. 174 Assembling a seamless pattern brush
      9m 53s
    85. 175 Creating a hand turkey in Photoshop
      18m 42s
    86. 176 Creating a depth-of-field cast shadow
      7m 29s
    87. 177 Creating a lustrous round jewel
      13m 56s
    88. 178 Cutting and brushing light on a gem
      8m 30s
    89. 179 Creating a shiny button with inset text
      11m 5s
    90. 180 Creating a jaunty six-sided star
      15m 1s
    91. 181 Interweaving star shapes and adding gradients
      8m 28s
    92. 182 Casting shadows between interwoven shapes
      9m 12s
    93. 183 Creating a Hobbit-like text effect
      15m 6s
    94. 184 Enhancing a landscape photo in Camera Raw 7
      9m 16s
  5. 13h 11m
    1. 001 Creating ice type
      8m 39s
    2. 002 Branding type on a texture
      7m 6s
    3. 003 Creating an image-branding machine
      7m 13s
    4. 004 Capturing effects with layer comps
      7m 35s
    5. 005 Rendering type in gold
      8m 9s
    6. 006 Creating a hammered metal background
      5m 48s
    7. 007 Creating heavy metal type
      8m 13s
    8. 008 Creating a molten letter effect
      6m 43s
    9. 009 Setting type on fire
      11m 20s
    10. 010 Using an anti-edge mask
      7m 20s
    11. 011 Blending textures onto a face
      9m 28s
    12. 012 Rendering a face as a cave painting
      7m 34s
    13. 013 Creating a reflection in shattered glass
      8m 32s
    14. 014 Creating a face in a tree
      11m 20s
    15. 015 Building a synthetic star field
      8m 21s
    16. 016 Making 3D type with Repoussé
      10m 14s
    17. 017 Casting 3D shadows and reflections
      9m 35s
    18. 018 Adjusting 3D light sources
      10m 51s
    19. 019 Masking highlights and shadows
      6m 27s
    20. 020 Masking glass
      10m 39s
    21. 021 High key high contrast
      8m 33s
    22. 022 Simulating sub-pixel rendering
      10m 58s
    23. 023 Fixing chromatic aberrations in Photoshop
      9m 41s
    24. 024 Fixing chromatic aberrations in Camera Raw
      8m 51s
    25. 025 Correcting red-eye like a pro
      11m 56s
    26. 026 Turning a photo into an ink drawing
      10m 42s
    27. 027 Turning a photo into a pencil sketch
      8m 43s
    28. 028 Creating a seamlessly repeating pattern
      10m 56s
    29. 029 Repairing seams in a repeating pattern
      10m 47s
    30. 030 Creating a 3D pie chart
      11m 9s
    31. 031 Splitting and modifying 3D meshes
      11m 52s
    32. 032 Using the Ground Plane Shadow Catcher
      6m 58s
    33. 033 Creating a talk show-style curtain
      7m 57s
    34. 034 Assembling a flawless panorama
      10m 5s
    35. 035 Removing people with image stacks
      11m 44s
    36. 036 Creative stacking with Maximum and Range
      11m 44s
    37. 037 Creating synthetic wood grain
      9m 23s
    38. 038 Making slats of uniquely textured wood
      10m 52s
    39. 039 Kerning within a single character
      10m 31s
    40. 040 Creating a raised bevel effect
      11m 49s
    41. 041 Putting wings on a horse
      10m 41s
    42. 042 Creating a classic heart in Illustrator
      7m 15s
    43. 043 Glossing up a heart in Photoshop
      8m 42s
    44. 044 Shooting and assembling a stereoscopic photo
      8m 15s
    45. 045 Extending 3D beyond the screen plane
      6m 13s
    46. 046 Adding stereo 3D text and shapes
      9m 9s
    47. 047 Tilting text and shapes toward the viewer
      8m 13s
    48. 048 Creating a shooting star in Illustrator
      6m 33s
    49. 049 Using blends to draw path outlines
      8m 8s
    50. 050 Inventing custom starbursts
      7m 33s
    51. 051 Making a fictional creature
      12m 5s
    52. 052 Transforming a creature into a monster
      6m 14s
    53. 053 Capturing a monster in motion
      11m 45s
    54. 054 Changing the color of a car
      7m 12s
    55. 055 Painting a colorful car black
      8m 16s
    56. 056 Coloring the stripes on a zebra
      10m 47s
    57. 057 Drawing trendy swirls in Illustrator
      10m 59s
    58. 058 Creating variable-width and brushed swirls
      10m 46s
    59. 059 Drawing trendy ornaments in Illustrator
      8m 49s
    60. 060 Designing a magically updating pattern
      8m 40s
    61. 061 Automatically collapsing a selection
      7m 43s
    62. 062 Adding a magnifying glass into a design
      7m 5s
    63. 063 Healing one eye onto another
      7m 15s
    64. 064 Creating a giant command key
      9m 15s
    65. 065 Drawing common symbols part 1
      6m 29s
    66. 066 Drawing common symbols part 2
      9m 26s
    67. 067 Filtering images with Camera Raw
      7m 52s
    68. 068 Creating a vivid HDR effect
      5m 29s
    69. 069 Creating an ambigram in Illustrator
      10m 45s
    70. 070 Making a two-word ambigram
      7m 47s
    71. 071 Drawing a Halloween scareflake
      10m 45s
    72. 072 Creating true clones in Illustrator
      11m 7s
    73. 073 Taking your scareflakes into Photoshop
      7m 20s
    74. 074 Making a faux HDR image in Lab
      8m 38s
    75. 075 Turning a guy into a zombie
      7m 3s
    76. 076 Miniaturizing the world in Photoshop
      6m 45s
    77. 077 Creating a synthetic rainbow
      8m 53s
    78. 078 Casting an artificial shadow from a layer
      7m 2s
    79. 079 Rendering a portrait in type
      8m 58s
    80. 080 Rendering a portrait in tile patterns
      7m 43s
    81. 081 Rotating a pattern layer in Photoshop
      4m 16s
    82. 082 Tracing an image with path outlines
      7m 50s
    83. 083 Turning path outlines into a vector mask
      6m 0s
    84. 084 Drawing rays of light in Photoshop
      5m 40s
    85. 085 Drawing concentric glow rings
      7m 24s
    86. 086 Designing an Indiana Jones-style logo
      8m 50s
    87. 087 Achieving mitered corners in Photoshop
      5m 43s
    88. 088 Masking with Blunt Instruments in Photoshop
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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