1. Mastering the curves: Many people have a HORRIBLE time trying to learn how to get the correct curves in Photoshop, which can really be discouraging. Illustrator is much better about its curves and is much more adaptable. But, Photoshop's limitations have never stopped me. How do I do it? I click... a lot. If you've ever wondered if you will suffer from some computer related joint disorder, this will confirm your suspisions.
figure a1: point rounding
This is DeviantART's own, Abbyb's chin. Notice all those points I made. Instead of rounding it with the pen tool and dragging, I just clicked a lot. I call this technique "point rounding," although, it's just a term that I coined to describe it like I'm following some artist's law besides my own.
1b. Example of an image that has curving problems: Commonly, people try to rush their first piece and not create a fluid image. Below is an example:
example 1: Unrounded image.
While following almost every single one of my points of this tutorial to a tee, JennyB, the author of this vector created too much variation in the line's fluidness. This results in what we see as jagged, uneven edges around a surface, creating a negative feel to the piece overall. Though the reason I mention this piece is because it is an example of what a lot of people do, not just this artist. It's very understandable for first timers and always fades away with practice. I suggest vectoring a round object and seeing how close you can get it to perfection with the pen tool. If it doesn't work out, just keep trying!
Though, please let me say that if you get an end product like this, please take the time to fix your piece accordingly to make it the best thing you can possibly do.
2. Making a smooth looking image: So, you've done the clicking proceedure. This looks a bit worse because it may be a tad jagged, but the solution is simple. Enlarge the original photo to DOUBLE (or more; I usually aim for about 400%) the original size. Then, it's very easy to find the points and click them in the right places. When you are done with the vectoring, just half-size the picture again. This not only stops the jagged edges you may have, it also helps to round out the images and produces a very smooth looking piece.
figure a2: image resizing.
To resize the image, simply go to the "Image" menu and then to "Resize Image." Change the "pixels" drop down menu to percent and enter 200 (or up to 400 for things with little detail, like a drawing). Chances are, "constratin proportions" is checked, which automatically changes the other value, i.e. height, to the double of the size. If it is not, check this box. Press "OK" and get to vectoring. To get back to the original size after vectoring, do this same process, but use 50 instead of 100. (When you click "OK" the first time, it makes the image that was doubled to 200% size become 100%, thus 50% is the 100% of the 200%... Did I lose you? It's very complex. Just nod and smile and follow these directions.)
To be honest, a skilled Photoshop vector really does not need to resize his or her base image because of so much practice with the pen tool that it just naturally flows. Of course, I still like to do this as a natural habit just incase I make a flaw, and I recommend that you do this no matter what your level is.
A little known feature in Photoshop is the ability to use something called "Actions." These are simply recordings of things you do in Photoshop; however, you can program the actions of your recording to repeat whatever you've previously done on any image. The best application of this feature in terms of vectoring is when you want to zoom in, but you don't like the pixelation of zooming in the quick way. Rather than having to use the menu as show as in figure a2, you can just make an action and program it to your choice of hot keys.
First, you'll probably need to activate the Actions window. Go to "Window" and then choose "Actions" (or just hit Alt+F9).
You will get the window above. Let's create a set of actions that will increase the image by 400% and then decrease it back to 100%. Press the icon indicated as number 4 above. This will bring up the following menu:
Now you'll notice that your new action set is ready. Press the icon indicated as number 5. This will bring up a window similar to the New Set window, except that it will have more options. You can also place a hotkey like Shift+F2 for example. I named my set "Zoom in 400%". You'll now notice that once the new action is created, the icon marked number 2 is selected; this means that it is "recording". From this point, pull up the Image Size window by going to "Image" and then "Image Size". Do the same steps as mentioned in the "Making a Smooth Image" section above, but change the percent to 400 instead of 200. You'll notice that your image has increased in size and your action has recorded the details of what you have just done. Now, since you are done with this action, press the stop icon, or number 1.
Next, make a new action and call it "Decrease by 400% (100%)". Now, go back into the "Image Size" window and make the percent "20" and hit enter. You'll now be back at your original sized picture. Press the number 1 button in the actions window, and now you have both of your actions ready to be used. Simply use them by using the hotkey you gave the action, or press the number 3 button.
You should have a window that looks like this. You can now use these to zoom your vectors without losing quality. However, if you have a resource file such as a picture that you are using for a reference, increasing the size and then decreasing it will signifigantly reduce the quality, so consider yourself warned.
3. Choosing a good image to vector: People often get discouraged by trying first time vectors of hilariously hard images. Here's a list of first time "do nots":
a. Do NOT try to vector a detailed urban area unless you really are dedicated.
b. Do NOT try to vector a poorly compressed JPEG image.
c. Do NOT try to vector a person that is far away! Stick to portraits or cartoons at first; I promise that it is easier.
d. Do NOT try to vector images with motion blur -- it's a very hard subject to master.
e. Do NOT try to vector ANIMALS. They will make you hate vectors.
f. Some things just WILL NOT vector easily. Learn to accept defeat in the short term and try it again later.
4. Organize your layers: This well help you out a lot, especially if you have tons of different shapes all over each other and mixed around.
Note: In Photoshop CS2, sets are now called "groups", but they function in the exact same fashion.
a4: creating sets
The above is an example of using sets. A set is a folder which you can put lots of layers in a group together with. Click the circled icon at the bottom to create a new set. You can rename your set to whatever you please. I chose stupid names because being serious is boring. You can drag and drop layers into sets as well as by clicking the circled arrow to expand and collapse the groups of layers. This reduces clutter and the need for a large list of random shapes without grouping. Anything you do to a set, say uncheck the eyeball icon to hide the set, will effect each and every layer. It's a quick way to get things done. This also works for locking a layer, but I doubt you will need to do that in this process. Layers can still be OUTSIDE the sets as well. The same top set is in front of the bottom set as it appears on the screen applies as well. This will greatly help you organize large groups of layers in short periods of time.
4b. Using Photoshop CS's feature of "sets within sets".
Note: In Photoshop CS2, sets are now called "groups," but they function in the exact same fashion.
I have added this little section to add on to what you just found out (or probably already knew) about sets. You have to have Adobe Photoshop CS (that's the version above 7, they decided numbers are too cliche, I'm assuming) for the following to work. This really has improved my organization, so it would be a crime not to show you.
a4b: See? Sets within other sets.
This is a very handy feature, and it is very easy to use. Simply drag and drop the set you created into another set you have made, and it makes the set appear within a set. I have been waiting for this feature for quite some time now.
5. Using the add and subtract vector properties -- Fixing vector mistakes and keeping layers neat and tidy: This is the best way to keep shapes with the same colour together, to fix mistakes, and solve other problems. Follow this step for an important lesson with vectors.
a5: the pen tool menu bar... bar menu... thing.
After clicking on the pen tool in your tool bar, you will notice that this menu appears at the upper left section of the screen. Notice the section after the "Auto Add/Delete" -- this will help to add shapes to the current layer or delete shapes as well. The first already indented selection is called "create a new shape layer." This will create a new layer per each finished shape. The next button is "Add to shape layer." This will let you add another shape, or overlap an area of a shape to add on to the previous shape. i.e., two separate squares on the same layer. Try it out and you'll figure out how simple it is. The next button is the exact opposite; "Subtract from shape." (or something close to that, as I don't have Photoshop open at the moment.) This will let you delete from shapes. Say you were vectoring somebody's face, but oh no, you went out partying with your friends and came home a stumbling mess. Then, you decided to vector. Here's an example:
a6: fixing an error. Before.
a7: fixing an error. After.
This may look a bit confusing, but all I did was use the delete tool to take out that spike. I left in a bit to show you just how it effects the image. Notice that I just drew a 4 point based square.
5b. Resuming a previous vector shape:
Just in case you need to resume a vector because you had to save and quit Photoshop, you may want this step if you have any unfinished layers. As opposed to creating a new layer, resuming the previous vector is very easy as well.
a5b-1: Vector of "LEMONTEA" incomplete.
Say this was your image. You were almost done, but you had to leave suddenly at the "A". You saved this file and came back to it when you returned, but you couldn't figure out how to resume the vector. Simply select the add vector shape tool as explained above. From there, hold the shift key over the selected image. The cursor will have something that looks like an eye (or maybe that is a chain link, I can't tell). This indicates you are ready to resume the vector. Click once and your line with be restored with all of your points! Simple, isn't it!
You should get something like the following when you select the layer. Unfortunately, Windows will not show me the cursor in a screenshot, so just pretend it is there at the end of the line where you last left off.
a5b-2: Vector of "LEMONTEA" selected for completion.
6. Fixing Gaps!: I don't know what it is about people, but they just don't fix obvious gaps in layers sometimes. Here is an example. White is the background colour of this image. Say one layer is a shirt and the other is skin.
a8: gapage!
To fix the gap takes about one second. Choose either colour from the two gapping layers to fill it in with. To fill in a gap, make a new layer behind the two gaping layers (or just use the add to shape pen tool) and then vector a shape that will cover up the gap. Like so:
a9: fixed!
There, that wasn't too hard, now was it?
7. Stroking A Vector Shape: This concept is basically sumed up as an equally proportioned outline of an object. I will show you both hand-outlined and stroked by the computer. You can decided which type of outlining you want, or if you want none at all.
a10: my vector outline (left) compared to stroked outline (right)
Well, you will notice one thing right off the bat: stroking only does the outsides of a layer, not the inside details, like where the two lemons come together. This can be a problem, and you would have to add in the details yourself later.
That said, it's a great way to quickly outline an area, even though the details and curves may not have the feel you would have liked to have if you did it yourself. This can be a real time saver to do, or if you want a balanced outline instead of the tapered lines, this will also help you out. It's pretty easy to do as well. First, select the vector shape.
a13: accessing the stroke feature
Next, click on the "F" inside the circle that is located on the bottom of the layers menu. Go down to stroke and click it. The following menu will pop up:
a12: stroke options
You will now notice that the preview of the image will have a red outline around it. Simply change the size field to make the stroke larger or smaller, and position is you want to make it located outside the shape, inside the shape, or directly over the line. The "Fill Type" drop down menu allows you to change what the stroke is filled with (like a colour or a pattern). The color is selectable if you click on the color box. Pretty simple, really.
Obviously, you will notice that you can also apply gradients, glows, and drop shadows with this menu. I will let you figure out the best way to use these features to your advantage.
8. Other Vector Functions: While I personally don't use these, and I don't really approve of their use too much, I think that this guide wouldn't be "Definitive" if I didn't mention them. Basically, I always do my pupils of people's eyes by manually clicking (because it produces the most believable outcome). I suggest you do it my way, but this is good for very small things, like beads on a necklace or something similar. I will be referring back to figure a5's pen tool option bar:
a5: the pen tool menu bar... bar menu... thing.
As you can see, the standard "pen" icon is selected (highlighted with the white square, next to the many squares and circles and the blob). First, let's start with the free form pen tool.
8a. Using the Free Form Pen Tool: This tool is pretty much what you'd think of with a "pen tool". It simply allows you to draw a shape, and then it converts it to a vector shape for you. You will notice it being the pen tool icon with a small line coming from the top. Here is an example when using the tool:
a13: in the process of drawing a shape
Basically, as you can see, you just draw whatever you'd like. I drew a bad "T". Simply connect the shape with the line, or end holding down the mouse to have Photoshop convert it to a vector shape.
a14: finished shape
You will notice that even though I did a very shakey line in the first place, the vectoring makes it very smooth (which is quite handy, might I say). Though, unless you're really proficient with a mouse, I suggest you use a tablet here because things won't look like they should if you don't.
8b. Using the Autoshapes: These are simple ways to get exact shapes. Simply put, choose from the square, the rounded square, the circle, or the pentagon option (why they included a pentagon, I have no idea), and the line tool. Hold shift if you want a perfect shape, if not, don't hold shift. Because of the simple nature of this, I don't think you really need a screen shot. You should get the hang of it pretty quickly.
8c. Using the Custom Autoshapes: These are prepackaged shapes that you can use. Click the "blob" looking icon. Now you will be greeted with a drop down box to the right with which you may choose a shape. I picked the lightbulb. Again, holding shift makes the shape perfect, while not holding it makes it conform to any size. This is also a very simple process, so I'm sure you can figure it out as well. With a little bit of work, autoshapes will allow you do use shapes like brushes. After creating a vector layer that you like, you can make it into a reusable resource. Abstract vector artists usually use these techniques.
Continue to "Vectoring a Photograph"
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