Drawing from a photograph. Photoshop tutorials: Drawing a car, vector style, draw yourself a cool car

DRAWING OF A CAR IN VECTOR STYLE.

PREPARATION.

Selecting a photo.

Often, the choice of photograph is not given much importance, but in vain - the quality of future work directly depends on the original photograph. So a few hours on the Internet searching for a suitable picture is perhaps the most important part of the entire project. I can recommend the Image Search function in Google and AltaVista search engines.

Size matters! The larger the photo, the better; don't start with a tiny photo and expect the same result as working with a desktop-sized image, i.e. 1024*768 or larger.

Photos taken in a studio work best. In studio photographs, the light is set in such a way as to highlight the shape of the car, and there are no unwanted reflections from the buildings around it. Thus, a good studio photo will make your drawing more accurate and make working on it much easier. If you still don’t have the opportunity to get a high-quality studio picture, a photograph taken outside on a quiet, clear day will help achieve similar results.

For work, I chose this photo measuring 1280*850 pixels. It clearly shows all the details I need, as well as shadows and highlights, headlights and interior.

Preliminary modification.

It's very rare that your original photo perfectly matches the desired result. Don't despair - editing a photo is not difficult. Don't like the wheels, spoiler, body kit or height of your dream car? So change everything that doesn't fit.
Have you always dreamed of seeing what a Nissan R33 GTR tuning looks like with a 240SX front end? Yes, me too, so what’s the problem - do as you want. The great thing about this "finishing" is that you don't have to worry too much about getting the car parts exactly right, since you'll be painting on top of them anyway. And you certainly don’t have to worry about the color of the car, here you are completely free in your choice.

This is what my "modified" RX7 looks like. I just added a tire.

TUNING.

Okay, you've done your homework, found a photo, and what next?

It's time for Photoshop.

Before starting tuning, close all unnecessary menus like History/Actions/Tool Presets and Colour/Swatches/Styles, since you won’t need them and will only get in the way.

The only thing you really need to work is the Layers and Paths window.

We make a stroke.

So, the first step is tracing the outlines.

First, you need to create a new layer. To do this, click on the fifth icon at the bottom of the layers menu.

Then make sure you have the same settings as in the picture below. The standard color for stroke outlines is black, but you can use any color you want.

Using the Pen tool, outline the main outline of the car. Anchor points are added by clicking the mouse. After adding a point, you can manipulate the curve with the mouse.

To accurately trace contours, it is often useful to zoom in on the drawing. To quickly zoom in/out, you can use Ctrl in combination with + (to zoom in) or with - (to remove).

I usually draw contours at a large zoom, so moving along the “canvas” can be a certain difficulty. To make navigation easier, you can use the space bar to move freely in the desired direction. If you release the space bar, the previously selected tool will be activated again.

So, after finishing the stroke, you need to decide on its thickness. Select the Brush tool and set the brush to the desired thickness. I chose a 4 px brush, but where such a stroke looks too massive, I used a 3 px brush, but the parameters of the brush are entirely up to you.

After selecting the brush, select the empty layer created at the very beginning and open the Paths tab (it's next to Layers). The outline you outlined is here. Select Work Path and click on the Stroke Path button at the bottom.

The next step after the basic outline is working out the details. For an optimal look, use a brush of varying thicknesses. Select details that are more or less important to you and adjust the stroke thickness according to the importance of the detail. For example, I outlined the outlines of the windows and headlights with a 3 pixel brush, and for the rest of the details I used a 2 or 1 pixel brush.

Painting.

Create a new layer below the outline layer.

Use the Polygonal Lasso Tool (L) to trace the outside outline of the car. The point of this manipulation is to select and fill the entire contour with color, which will serve as a base for further work with color. As with the Pen Tool, use zoom and space+drag to move around the drawing.

After selecting the outline, exclude from the selected area areas that do not need to be painted. For example, I removed the area between the spoiler and the rear body and roof.

It's time to choose a color for the car. It's not easy to explain the best way to do this, but I usually take the Eyedropper Tool (I) and sample a color that takes up a larger area of the car than the rest. It’s easier to work with this fill later.

Paint the selection on a new layer with the selected color using a large brush or fill. The results obtained with the brush and fill are slightly different, personally I prefer the brush.

There you go. From now on you will have to work on the chiaroscuro of the body. There are several important points here. First, always create a new layer for a new color. Always use the Pen to draw areas outside of the pre-drawn outline. Never use Lasso to create such "open" colored areas.

Painting completed successfully. At this stage I finally decided on the final color of my car. So far I've been making it blue since that's the original color of the car in the photo, but after finishing painting I realized I wanted to change the color.

At this stage, changing the color is quite simple. I hope you remember to save your work regularly, but now is the time to save everything into a new file. Whenever I plan to change something radically, I always make a backup copy of the entire file so that I can return to it if something happens. Towards the end of drawing this RX7
I had 7 files with different versions of the drawing.

In one of the copies, glue the layers into one.

Now, if you want to change the overall color of the car, simply change the Hue/Saturation layer (Ctrl+U). If you want to make the car two-color, simply select the desired area with a pen and change its color. I made my car black and orange.

Having figured out the body color, I had to spend a little more time on the outline color. I left some of the lines black, but had to change the color of some to match the orange body, as well as make the outline darker or lighter in some places.

To create the illusion of three-dimensional joints of the body parts, I added light lines next to the dark ones, something like this. I applied this technique to several parts of the body.

Now the body painting is finished, but there is still plenty of work to do. So let's get to the headlights.

LIGHTS.

I always think about how the overall headlights will look in advance when working on the body color.

Here I came to the conclusion that it would be best to paint each part of the headlight separately. For example, here is the original photo of the headlight.

What can we see on it? So, there are two similar light bulbs and an indicator lamp in the center. Around them is a fiberglass body. This entire structure is surrounded by a thick black frame, and the entire headlight is entirely glass with white rivets.

After I have decided what exactly I have to draw, I start working with the headlights using the same algorithm as with the body of the car.

First, a basic fill of the outline, then a new layer for the highlights on the fiberglass, a new layer for the light bulbs, a layer for the edging and rivets.

Base color, highlights and headlight surround.

With lamps.

As you can see, I only drew one light bulb and then duplicated it. This not only helped save time, but also made the whole job more consistent.

All that remains is to add white rivets and create the effect that everything is under glass. To do this, I create a new layer on top of the headlight layers and apply a light white gradient to it from top to bottom. This is intended to create the effect of glass on top of the headlight.

White rivets and gradient.

The finished headlight has a less pronounced blue tint than the original. This happened because after painting the body orange, I decided that blue headlights were out of place.

The second headlight was painted exactly the same way.

And this is a car already with headlights.

SALON.

The process of drawing the interior is similar to drawing headlights. Look at the photo, decide what you want to add or change, and then act.

Here is a photo of the interior of my RX7.

So what do we see there? A couple of seats, a speaker, a steering wheel, a rear view mirror, etc. Here are the drawn individual parts of the interior after tuning.

Since we can't see much through the side window, I didn't even try to draw the parts of the interior that are visible through it.

Now the car has a salon.

WHEELS.

The very first step when drawing wheels is to draw the shadow of the car.

Using a basic rendering technique, draw a shadow outline on a new layer. This layer should be the bottom one.

How dark your shadow is doesn't matter. However, if you intend to detail the wheel, it will be better to make the shadow lighter so that the details can be seen. I'm going for realism, so I'm painting a light gray shadow.

Let's start drawing the wheels.

To begin with, I chose a suitable photo.

I cut out the piece I needed, stuck it in place, and added a shadow to get the best possible idea of what I wanted to end up with.

Just like for the headlights, I created a wheel-shaped layer with a single color fill. For the disk I added a gray ellipse.

Then with a pen I drew another ellipse for the disk, to give it some realism I applied Bevel to it. To do this, double-click on the layer icon in the Layers menu and select Bevel&Emboss. For such thin objects, a value of just 1 pixel is enough to achieve the desired effect.

Layers within a wheel.

For the other wheel, I simply copied the elements of the right one and distorted them accordingly. Since the other wheel is almost invisible, the distortion did not affect the quality of the final result.

Here is the wheel ply structure for my Fabulous RX8 tuning. The principle of drawing this wheel is exactly the same. The diagram shows how I work with layers, as well as how I give the layers “telling” names.

Here's my RX7 with wheels.

If you have reached this stage, then you can rightfully say that you are finished and have done a great job. However, we can add a few more finishing touches to our tuning.

The last parts of the lesson will be devoted to these finishing touches.

CARBON.

In this part of the tutorial I will try to explain how I draw carbon. For simplicity's sake, I'll only be working on the hood of the car, but you can apply this method to anything, including wheels and the interior.

Create a texture.

As with most carbon drawing tutorials, let's first create a Pattern, the simpler it is, the better.

Hello, dear readers of PhotoCASA magazine!
Today I am with you, Anna Zadvornova, with a new lesson in which I will tell you how to draw a portrait. So, let's begin!
First, open the original image.
Let's go to Curves.

Next Selective color correction, set the values:
RED: Cyan +4, Magenta –9, Yellow +7, Black –2.
YELLOW: cyan –13, magenta –3, yellow +3, black +3.
CYAN: cyan +15, magenta –6, yellow –60, black +7.
BLUE: Cyan +100, Magenta –55, Yellow –84, Black +11.
NEUTRAL: Cyan –2, Magenta –2, Yellow –1, Black 0.
BLACK: Cyan –1, Magenta 0, Yellow –1, Black 0.
Combine all layers into one ctrl+alt+shift+E, go to the Color efex pro 4 filter and apply the Detail extractor effect.
Set the values: detail extractor 32%, contrast 0%, saturation 0%, effext radius (Large).

Duplicate this layer and carefully draw on it.
To do this, take the Finger tool and select a special brush with strokes (you need to download). We draw along the lines of the face, hair, clothes, and so on, changing the diameter and intensity of the brush.

Combine the layers into one, take the Mix Brush tool, set all values to 20% and go over the skin.

Create a new layer, blending mode Overlay. Using a white 5% brush we draw highlights and light on the face, hair and clothes, and with a black brush we draw shadows.

We combine the layers into one, go to the portraiture filter, set the preset to medium, go through the black mask with a white brush only over the skin.

We combine all the layers into one ctrl+alt+shift+E, go to the Color efex pro 4 filter, and apply several effects:
1. Detail extractor. Set the values: detail extractor 10%, contrast 0%, saturation 0%, effext radius (Large);
2. Darken/Lighten center: shape 2, center luminosity 25%, border luminosity –40%, center size 63%, opacity 69%;
3. Ink: color set 1, strength 12%, opacity 31%;
4. Photo stylize (varitone): stile 1, strengtn 28%, opacity 8%.
Go to Levels, set the values as in the screenshot.

Create a Selective color correction layer, set the values:
RED: Cyan –3, Magenta –4, Yellow +8, Black 0.
YELLOW: cyan –12, magenta –5, yellow +10, black 0.
Hue/Saturation, set the values:
RED: +1, +8, 0.
YELLOW: +1, +13, 0.
BLUE: +3, +12, 0.
Next, set the Curves, as in the screenshot.

Combine the layers into one, go to Filter > Sharpening > Mask Mask. We set the values: effect 152%, radius 3.2 px, isohelium 0.
For those who want a brighter and more saturated photo picture, you can twist the curve in Lab mode, which is what I did.
Finally, let’s combine all the layers into one, ctrl+alt+shift+E, go to Filter > Filter Gallery > Texture > Texturizer. Select Limestone, set the scale to 200%, relief 3, brush the face with a 40% opacity brush through a white mask, set the layer opacity to 70%.

In this lesson we will show how in literally 20-30 minutes you can make a wonderful gift in the form of a hand-drawn portrait. At the same time, it is not at all necessary to have any artistic abilities. Need a photo Photoshop and a little patience.

Photography Hand-drawn improvisation

Step 1.

Open the sample photo in Photoshop. Tool frame (key C ) crop the photo. Set the required image size (keys Alt+ Ctrl + i) , check the box Maintain proportions. We recommend setting the resolution to 300 pixels; this will allow you to scale the image with minimal loss. For convenience, copy the photo and paste it into a new layer (click sequentially Ctrl + A, Ctrl + C, Ctrl + V ). This will allow you to move the photo between layers.

Step 2.

Next we need a tool feather (key P ). This tool allows you to create vector images in different colors. Moreover, color and transparency can be changed at any time. If you click on the small triangle on the icon with your cursor feather , then additional tools will open, with their help you can edit an already drawn image (add and delete vertices, change the angle). Under the instrument feather there is a tool arrow (key A ). By using arrows you can move the vertices of a vector drawing. Create a new layer (keys Shift + Ctrl + N ). Before you start creating a vector path, we recommend using the palette Layers remove transparency for the new layer so that the fill does not obscure the photo.

Outline the eye.

Step 3.

Double click on the drawn layer in the palette Layers . A color palette will appear. If you move the cursor from the palette to the drawing, you will see pipette , she can choose the color of the eyeball in the photo. Click Yes . You can also assign a fill color for a vector outline in the tool palette Feather by clicking on the icon Color .

On the palette Layers Make the current layer 100% opaque.
The result will be an eye filled with white.

Next, so that the filling does not interfere, on the palette Layers turn off the visibility of the vector layer
contour of the eye (to do this, click on the eye to the left of the layer icon).

Step 4.

Create a new layer (keys Shift + Ctrl + N ). Make it transparent (see Step 2.).
To draw the iris of the eye we will use the tool Ellipse. You can select a tool from the panel Tools by clicking on the small triangle on the button Rectangle or by pressing the keys several times Shift + U until selected in the panel Ellipse. Since we made the layer transparent, the drawn ellipse will not be filled. To edit a shape, right-click and select Free path transformation ( Ctrl + T). When the ellipse is ready, select a fill for it (see Step 3.).
Draw the pupil in the same way.

Further using Pera (key P ) draw all parts of the face. Don't forget to turn off the visibility of layers for convenience. Also using the mouse on the palette Layers you can move the sequence of layers. The result should be something like this.

If you add a contour to the entire face and place a layer under the rest of the contours, you will get the following picture:

Step 5.

At this step we need to blur the hard lines of individual elements.
If you look closely at the iris of the previous drawing, you will see that, unlike your blank, it looks three-dimensional. This is achieved by darkening the edge of the ellipse. There are many ways to achieve this effect. We will offer one of them.

Advice: To avoid getting confused in the layers, we recommend organizing them. For each logical element, create a group (folder) and transfer all layers related to it there. The group creation icon is located at the bottom of the palette Layers. You can also combine layers into a group by selecting them (while holding down theCtrl) and pressingCtrl + G . To rename a group, just double-click on the name. To view the contents of a group, you need to click on the triangle to the left of the folder icon.

Double-click on the iris layer to the right of its name. A palette will appear Layer Styles . We will need an item internal glow.

Settings can be selected at your discretion. We offer the following:
Mode – normal;
Opacity – 60%;
Glow color – black;
The method is soft;
Size – 35 pixels (depending on the size of your drawing).
Please note that these settings can be changed at any time. In point color overlay you can change your eye color.

In order for these settings to be automatically applied to the second eye, you need to copy the layer properties. To do this, click the right mouse button to the right of the layer name. Select the item from the pop-up menu copy layer style . Next, select the layer with the vector image of the iris of the second eye and also right-click to the right of the layer name. Select a pop-up menu item paste layer style .

In a similar way, you can blur the transitions of other hard lines that you would like to soften. But this method has disadvantages. The transitions turn out to be too unnatural and are more suitable for regular shapes. Therefore, further we recommend working with raster tools.

Step 6.
To create smooth transitions of arbitrary size, we need to create a layer mask. Select the layer with the element (in our case it is the shadow of the nose) and at the bottom of the palette Layers click the button add a layer mask .

Advice: Turn off all layers except the one you are editing (clickAlt and a peephole on the palette Layers). You will also need a photograph. Don't forget that the photo layer can be moved anywhere. If you right-click on the peephole, a menu for selecting a display mode will appear. You can show all layers except the selected one, only the selected one, and also assign a color to the layer to make it easier to find it later.

A new icon has appeared in the layer. By clicking the left mouse button, you can select the desired one (shape, mask or path), if you click with the right one, its properties will appear. Highlight mask (white rectangle). In the place where you draw black on the figure in mask mode, the figure will be transparent. To restore opacity, paint with white. For smooth transitions, choose brush on the toolbar (key IN ). At the top of the palette, select the desired brush, adjust the desired diameter and hardness. Don't forget to assign black for transparency or white for return in the palette.

Edit the shape until you achieve the desired result. Thanks to the use of a mask, we can always return to the original outline and blur the boundaries again. Also on the palette Layers You can select transparency for the entire layer.

Step 7
Now there's just a little bit left to do. It is necessary to “powder” dark areas to enhance volume.
Go to the layer with the outline of the entire face. Duplicate the layer. To do this on the palette Layers, to the right of the name of the desired layer, right-click, select Duplicate Layer . Double click on the new layer rectangle, a Color palette . Choose a color for the shadow areas (about the same as we used for the outline of the nose). Create a mask for the dark layer (see Step 6). We got two identical layers, but the top one is dark with a mask, and the bottom one is light without a mask.
On the palette Layers For the dark layer, select a mask (click the white rectangle). On the panel Tools select black color using the tool Fill (key G) paint over the layer. As a result, it will be transparent. Turn off the visibility of the light layer (click on the peephole) so that we can see the photo.

Now, if with white color, with the selected mask, draw brush on the dark layer, we will apply the desired tone.
Select a brush, it is advisable to use a large diameter (see. Step 6). The result should be something like this.

This procedure could be done with a regular brush, but then the fill will go beyond the border of the face, and thanks to the mask, we can clearly darken only the necessary areas.
If necessary, you can add more shades either by duplicating the layer, as we just did, or with a regular brush. When you're done, add a light layer to the face outline.

Step 8

It is worth noting that you can improve the drawing ad infinitum. It all depends on desire and time. You can draw eyebrows and eyelashes with a hair brush. Add an additional filter, experiment with eye coloring, etc. We will limit ourselves to filling the background.

Combine the layers into one, take the Mix Brush tool, set all values to 20% and go over the skin.

Create a new layer, blending mode Overlay. Using a white 5% brush we draw highlights and light on the face, hair and clothes, and with a black brush we draw shadows.

We combine the layers into one, go to the portraiture filter, set the preset to medium, go through the black mask with a white brush only over the skin.

“Drawing pictures” I’ll write what I use myself, what method

I liked it. I will try to make the lesson detailed, because... it is important to understand and feel the method

pen drawing. In addition, there are many nuances that I will also try to cover in the lesson!
At first glance, everything seems difficult, but once you get the hang of it, you will see that this is a very accessible skill!
So let's get started.

1. First, we select the picture we want to draw. Usually this is not a very good drawing

quality, but with clearly visible contours. You can also draw fluffies, but this is a topic for

another lesson.

I will have this funny cat

2. Create a document 2000 x 2000 pixels on a transparent background

3. Drag your picture onto a new document with a transparent layer and transform (stretch) it

with the button held down (to maintain proportions) so that the picture is as close as possible to

our document.

4. Create a new layer. And in the future, we fill and outline each element on a separate

5. Usually, I create two layers in a row with an outline and a fill (later there will be many pairs), but for some

It will be more convenient to divide into folders, in one there are only outlines, in the other only fills. It’s more convenient for me to

everything was lying nearby, allowing you to navigate faster.) Then you yourself decide how you like it more

like. My version will look like this.

And also, in order not to accidentally get into the wrong layer, hang a lock, this will prohibit all actions

above the layer.

6. Well, the last step in preparation will be setting the desired brush size.
I will have a standard brush, diameter 15

With Shape Dynamic set to 40%. This is done for a beautiful thickening and thinning
lines; for straight lines this can be omitted.

7.Preparatory steps are completed, let's start drawing.
Make the fill layer active. Select the Pen Tool (P)

The selected modes will look like this. You can put a tick in the red circle at your own discretion. To me

This function only gets in the way, but for some it makes the process very easy;) Try with and without it.

8. We determine which part will be the bottom (immediately imagine a layer cake and what layer will be

cover the next one). For us, this is the one above which there are more elements - a body with paws, a layer above -

head. Therefore, we start with the torso. Enlarge the desired fragment for convenience. We put point No. 1, then
We put point No. 2 and, without releasing the mouse, bend it so that it takes on the contours of our future line.

9. If you didn’t manage to get the line right the first time, hold down Alt and correct the position

moving the ends of the “antennae”
Or select the Convert Point Tool and also edit without resorting to the Alt key

By holding the Ctrl button you can move the point to the desired distance or by clicking on an empty field to complete this

segment, without resetting the constructed lines, begin to bend the following lines in the vector, but only those that are

parts of one part (one color).
By holding Ctrl+Alt you can copy the drawn line.

The rule I always use is to make as few “nodes” on the line as possible, only the most

necessary, without which the line will not work. The more dots you put, the more bumps there are.

will arise as a result.

10. So, step by step I trace the desired fragment of my drawing - I “bend” the line, reset the selection through

Ctrl, click the mouse anywhere and build the next one. Also, by holding Ctrl you can click on any

line and return to editing it - change the bend (Alt) or move the point (Ctrl). Tips

The lines should be close together, but not overlapping each other.

11. Now let's move on to filling. It can be either very simple or with some effort. In my

In this case, you will have to work a little with a brush and an eraser, but there are ways in which this can be avoided.

do. As I already wrote, it’s more convenient for me to do this, it saves a lot of time.
I always fill the color with white, so that later I can select the desired shades of color in combination with

others and besides, white contrasts better with others and I always see where some remains

error.
So, as I wrote above, we should have the fill layer active.

Let's move on to the pen tool:

Right-click and a menu appears. Here we are interested in the Fill Path item - click on it.

The following window appears. Leave these parameters and click OK

Next we see an unevenly filled stroke. It only filled in the bends. If our

the contour was closed by a single line, then everything inside would be filled with white, this is how you can make a head,
nose, eyes and much more.

But since we got it this way, I manually carefully paint over everything inside the outline and delete

the eraser is too much.
Here the Shift key comes to my aid; by holding it, I make neat, even segments with a brush (on

straight sections) without going beyond the edges. The same can be done with an eraser and any other tool,

As a result, we get this picture. We can ignore the fact that we climbed onto

head, in the future it will be covered with other layers.

12. Let's move on to the outline of our drawing. Make the layer with the outline active, and not the layer with the fill.

We forget to put the lock on.

Change the color to black or whatever suits you

this time we will need Stroke Path

We select and see the following window. Here we check the box for a soft transition of the line thickness. Can

don’t put it, then the line will just be straight. Click OK.

13. Now we see the resulting outline

14. Remove lines in the vector, right-click – Delete Path

15. This part of the fill and outline is finished. We hang a padlock and turn off the visibility of layers so as not to

Circle (step 8)