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Technique

Any version of Illustrator

Perfect vector portraiture

Digital portraiture is as in demand as ever, particularly for editorial. Simeon Elson shows you how to get in on the act the easy way, whatever your style
When it comes to portraiture, Illustrator is one of the most exible and powerful tools we have at our disposal in the creative world. Because Illustrator is a vector graphics program, shapes can be swiftly and easily formed to produce portraits that are striking and fresh yet still have a great likeness to the photo reference. Such portraiture skills are often required in editorial, from fashion all the way through to business magazines. I am often commissioned to produce portraits to accompany magazine articles. For example, my brief for a Touch magazine commission for an article entitled Adele Vs Duffy was to illustrate the two singers in a boxing ring, complete with boxing gloves on, ghting for the No 1 chart position. Many editorial clients have very tight deadlines, so being able to create quality contemporary portraits quickly is a very handy skill to have. Using Illustrator, Ill show you how.

Simeon Elson A freelance illustrator and graphic artist based in London, Elsons recent clients include Touch magazine, 2Darc Entertainment and Black Enterprise magazine. You can nd more of his work at www. simeonelson.co.uk

Time needed 4 hours Skills Using blending modes Working with texture elements Effective composition Adding shapes using the Pathnder palette

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The rst step is to select your photo reference. One thats done, open a new document in Illustrator and click File>Place to place it in the document. Double-click on the images layer and, in the resulting dialog box, name it Photo Reference. Also be sure to tick the Lock box, as we dont want the image moving. Now go to File>Document Color Mode and select CMYK.

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Next, click the Create New Layer icon in your Layers palette. Double-click the layer and name it Black Bits. Then set your Colour palette mode to Grayscale. Within this layer, using the Pen tool we will sketch black shapes to form the portraits features, outlines and shadows.

Starting with the eyes, select the Pen tool and click where you want your shape to begin. Go to Window>Transparency, and type 0 in the Opacity box. Begin drawing around the eye, as shown in the screen grab. When you have nished each shape, set the Opacity back to 100%.

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Continue drawing shapes around your models main features such as eyes, mouth and nose, plus any other outlines and the deepest shadows. You should see your portraits structure and pose begin to form. Try to create interesting abstract shapes the more irregular, the better.

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Check your progress ever so often by clicking the eye icon on the Photo Reference layer. This will show you how your portrait is forming against a white background. Remember to be consistent if youre using curved shapes, by using them throughout. The same goes if you are using straight lines.

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Now we need to build detail by highlighting the tones of our models skin, starting with the lighter areas. Create a new layer and name it Lighter contours. Set the Grayscale colour percentage to 16% and begin drawing shapes around the lighter skin contours. Adjust the colour percentage slightly where needed.

Repeat the Step 6 process on two further layers; the second layer will be named Medium contours, with the third being Darker contours. Set the Grayscale colour percentages accordingly, with the Medium contours layer ranging from 22% to 27%, and the Dark Contours layer from 35% to 55%. These amounts are my guideline suggestions, but feel free to experiment.

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Add highlights to the various elements I select parts of my models eyes, lips, top, trousers and shoes. Create a layer for each area in order to stay organised. Set the white areas to Grayscale colour 0% (the darker areas will vary.) This process is particularly important for the eyes, to avoid them appearing hollow.

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We need to ll the rest of the image with white. Create a new layer called White Base and place it above the Photo Reference Layer. With only the Black Bits layer visible, using Grayscale colour at 0% trace around the face, arms etc. Be careful not to go outside the black lines.

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Its texture time. Create a new layer above the Photo Reference layer. I name mine Green Gradient. Switch your Colour palette mode to CMYK. I select the Rectangle tool and set the Fill to the Radial Gradient colours I want, then draw a rectangle and change the blending mode to Overlay.

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Technique Perfect vector portraiture

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CV Visualguide to

In pictures: a rk of the career and wo s ter our Technique wri

Simeon Elson
The illustrator and graphic artist picks his nest moments

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I create a new layer named Texture below the Green Gradient layer. Source a suitable texture image and open it in Illustrator. Then set the blending mode to Darken and the Opacity to 80%.

I duplicate the Black Bits layer and place it below White Base, then name it Glow. I lock all other layers and select all, then go to Window> Pathnder and click the Add Shape icon. I then go Object>Transform> Reect, then select the Vertical Axis option, setting the angle to 90 degrees.

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Now I set the Fill gradient to appropriate colours, and the blending mode to Colour Dodge at an opacity of 60%. Position as you see t. I lock all layers below White Base, select all then go to Edit>Copy. I create a new layer on the top of the pile, lock all layers beneath and go Edit>Paste in front.

Rahzel Live June 2007 This was a promotional piece, referencing my own photos. I like the use of textures, composition, energy and silhouettes. Black Enterprise magazine illustration July 2007 Im particularly proud of the colour scheme, composition and the strong sense of narrative in this editorial illustration. Flyer illustration October 2007 This was produced for promo company The Flying Squad 2001. I wanted it to be energetic, so I used lots of detail, lighting effects and silhouettes. Cometh the Man July 2009 This is a selfinitiated piece. I wanted to create a striking creative portrait of an identiable gure by utilising black and white with colour. Corporate Fitness August 2009 Another highly conceptual promotional piece mixing pixel and vector art.

I click the Add Shape icon on the Pathnder palette and name the new layer Stroke. I place it below the White Base layer, setting the stroke to 10, the blending mode to Overlay and the opacity to 40%. Finally, I change the stroke colour. A few compositional alterations later and job done.

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