How to Paint a Spring Lady Floral Portrait in Adobe Photoshop


Final product image
What You'll Be Creating

Spring is in the air! Can you already feel it? Join me and get in a warm and sunny mood while drawing this vivid floral illustration of a girl surrounded with gentle flowers and fresh green foliage. Follow through a calming process of digital painting, using the Lasso Tool and standard Adobe Photoshop brushes, creating a textured effect. Let's start!
I usually start by scribbling a rough sketch on paper or directly in Photoshop, making up the overall idea of my future painting and depicting some minor yet important details. This helps me to keep in mind the plot of the artwork and prevents me from forgetting some essential details. 
This time I want to personify an image of spring, turning it into a portrait of a young girl. The spring season and the sense of nature—pure, refreshed and peaceful, slowly waking up from its deep sleep—will serve us as sources of inspiration.
I don’t want my painting to be too overloaded with background elements. Let’s stick to a simple and clean portrait, representing a silhouette of a girl, wearing a wreath. 

initial sketch

Let's prepare the basic parts of our picture, which we’ll be enlivening in the process of coloring. Start by taking the Lasso Tool (L) and trace our girl's face, following the sketch. Keeping the “marching ants” selection, create a New Layer for the skin and fill the shape with a gentle pale-rose skin color using the Paint Bucket Tool (G).

prepare the basic parts with Lasso tool

Move on and draw out the body shape, filling it with the same skin tone color.

draw out the body shape

Now that we already have some parts filled with solid color, let’s make them more realistic and three-dimensional by adding texture and color blends. But firstly, let’s prepare the necessary brushes. Take the Brush Tool (B) and click your right mouse button on the canvas. Find a small gear icon and reveal the dropdown options menu. Select Dry Media Brushes and either replace or append them to your brushes set.

add dry media brushes

Now select our “Skin” layer, hold down the Alt key and click the New Layer icon in the bottom of the Layers panel. Tick the following checkbox: Use Previous Layer to Create Clipping Mask. Then hit the OK button. You will have the new layer, linked to your “skin” layer with a tiny arrow icon. Now you can draw inside the boundaries of the created skin shapes, without making a mess while crossing the edges of the face or body.

create clipping mask layer

Select the Soft Oil Pastel from the brushes that we’ve added and try making a few strokes, creating a subtle shadow on the girl’s neck with a darker rose color.

use Soft Oil Pastel

Add more shadows, gradually sculpting the body. Don’t be afraid to use other colors. For example, cool shades such as pale-blue or lilac are best for shadows, while warm hues are suitable for highlights. Put a gentle shadow spot on the neck, using a soft lilac color. Depict the shoulder by separating it from the chest with a stroke of similar lilac color and emphasize its smoothness with a bright highlight. 
Like any other object, the human body reflects light and colors from the environment and surrounding objects, creating overtones. Adding colored spots helps us to make the image more intricate and true to life.

Add more shadows gradually sculpting the body

Continue by adding a gentle blush to the girl’s face. Darken the eyelid and underline the cheekbone with a soft lilac stroke.

add gentle blush to the face

Move on to the main facial details. Start by forming thick eyelashes with the Pen Tool (P). Place the starting point at the inner corner of the eye and make a curved line. Click and hold the Alt key to change the position of the anchor handle as shown in the screenshot below. Continue drawing a curved line, moving to the outer corner of the eye.  

form the eyelashes with the pen tool

Finish up by returning to the initial point and closing the path. Click your right mouse button and find Make Selection in the dropdown menu. Set the Feather Radius to 0 px and create the “marching ants” selection from the path that we’ve formed.

make selection from the path

Finally, take the Paint Bucket Tool (G) and fill the created selection with chocolate-brown color.

color the eyelashes

Switch to the Brush Tool (B) and select Hard Round brush from the default Photoshop Round Brushes with Size set. Add a smooth, slightly curved line, depicting the closed eyelid. Make it thicker by tracing the created line a few more times. Place some additional strokes, making the eye more detailed.

add details to the eye

Use the Lasso Tool (L) to style an elegant eyebrow.

draw the eyebrow

Continue with the next significant facial feature and use the Pen Tool (P) to create the lips, using the same technique as for the eyelashes. Fill the created shapes with gentle shades of pink—darker for the upper lip and light-pink for the lower one.

form the lips with the pen tool

Add a few thin lines with the Brush Tool (B) to shape the girl’s ear, depicting its inner part.

add lines with the Brush Tool B to the ear

Here is how our Spring Lady looks at this stage.

spring lady colored face

To start with, create a New Layer for the hair and draw out the shape with the Lasso Tool (L), following the lines of our sketch. Fill the created selection with soft yellow color, creating a wheat-blond bun of hair.

draw the hair shape with the Lasso Tool

Add a few more hair locks. According to the initial image, one of the locks is partially hidden behind the girl’s face. Let’s make a New Layer, beneath the “Skin” layer, and draw a darker curly lock. 

Add a few more hair locks

Switch to the Soft Oil Pastel brush again and create another Clipping Mask Layer, linked to the “Hair” layer. Make the fill color slightly darker than the basic hair tone and start forming a gentle shadow on the back of the girl’s head, making it more rounded and three-dimensional.

add shadow to hair with Soft Oil Pastel

Continue painting the hair, adding darker shadows and bright overtones. Decrease the brush size, making it very small in order to add the thinnest strokes, styling separate locks.

Continue painting the hair

Let’s move to the wreath and start forming our first flowers. Create a New Layer for the flower, take the Lasso Tool (L) and form a simple flower silhouette with several petals. There is no need to make it symmetrical or too complicated—just draw a freehand curved shape. Fill the created path with light-blue color. Add a few more flowers, creating a New Layer for each of them and varying color saturation and brightness.

start forming wreath flowers

Add a bright-pink tulip, and let’s recolor the very first flower in order to alternate colors, making the wreath bushier. Select the flower layer and find a checkered Lockicon in the Layers panel, which allows us to Lock transparent pixels. This is another way of coloring inside the shape without crossing its boundaries. Switch the color to bright-pink and paint above the flower, changing its color.
Form more flowers, making the wreath more detailed and intricate.

 recolor the first flower

Make copies of the created flowers by selecting the relevant layers and pressingControl-J. Move the copies and make them overlap each other, adding more elements to the wreath, so that it entirely encircles the head. You can select all the created flower layers and Group (Control-G) them to keep our Layers panel tidy.

Make copies of the created flowers

Let’s add some foliage. Create a New Layer for the leaves and place it beneath the flowers. Use the Lasso Tool (L) to form simple elliptical silhouettes of the leaves. Hold down the Shift key to add several separate selected areas at once. Fill the created silhouettes with fresh green color.

add foliage base

Let’s shade our leaves, making them lusher. Create another layer for the leaves beneath the previous one and add more foliage with the help of the Lasso Tool (L).Fill the created shapes with darker green color, thus visually separating the leaves layers from each other.

shade our leaves

Start coloring the leaves and the blooms the same way as we did with the hair. Lock transparent pixels, pick a lighter tone, and use the Soft Oil Pastel brush to highlight the edge of the selected element. For example, I’ve added a light touch of yellowish-green to the upper part of the leaves and painted the petals of the red tulips with lighter orange color, thus creating a nice glow.

Start coloring the leaves and the blooms

The brush gives a nice grainy effect, making the elements look matted. Add a subtle shadow under the wreath to detach it from the hair.

Add a subtle shadow under the wreath

Move on to the hairdo and make it more detailed by adding thin light-yellow strokes along the locks that we formed earlier. Increase the highlights by adding brighter strokes.

add thin light-yellow strokes along the hair locks

Now her hairdo looks more complete.

completed hairdo

I decide to put aside the concept with roses from the initial sketch in order to make the image more gentle and airy, leaving only the spring blossoms (the same as we have on the wreath). Such flowers also create a younger look. Copy the wreath group and turn the flowers upside down, so that the drawing looks more dynamic. Cover the body with an elegant flower framing, rotating and rearranging separate flowers.

add flowers to the bottom part of the portrait

Duplicate the leaves layers from the head wreath, select the leaves with the Lasso Tool (L) one by one and hit Control-T to enable Free Transform. Move the leaves to the proper places, putting them behind the flower framing on the girl’s chest. Add more leaves, dotted around as if they've been blown by the wind.

Add leaves to the floral framing

Draw out smaller leaves, filling them with darker green color.

add more smaller leaves

Add similar leaves speckled around the girl’s head, making the picture festive.

add leaves to the head wreath

Let’s move on to the next detail that we’ve depicted in our sketch: an elegant flower hair accessory. Start by forming a blue petal with the Lasso Tool (L). Then duplicate the petal and change its position. Keeping the new petal layer selected, open theLevels (Control-L)  options window and move the right (white) slider to the left a bit, making the petal color lighter.

make a flower hair accessory 1

Duplicate the initial petal and go to Edit > Transform > Flip Horizontal to reflect the copy over the vertical axis. Move the mirrored petal to the other side of the hair bun.

make a flower hair accessory 2

Add a few more petals, creating a symmetrical lotus flower. Arm yourself with theBrush Tool (B), selecting the Soft Oil Pastel brush, and start adding lighter grainy spots to the petals, moving from the upper side. Add several groups of tiny petals, scattering from the lotus. Shade the light elements by adding darker petals beneath, making the flower pop out more.

make a flower hair accessory 3

Use the Elliptical Marquee Tool (M) and hold the Shift key to add a group of circle-shaped selections in the bottom of our picture. Fill the created areas with bright pink color and add bright spots of lighter pink and vivid orange, forming ripe shiny berries. Add some more berries around the girl’s head, using the same method.

Use the Elliptical Marquee Tool to add berries

Finally, let’s work on the background. We won’t be adding any extra details to it, because we don't want to distract the viewer from the center of our composition. Let’s just edit the color a bit, adding a warm touch of spring.
As you may have noticed in my previous screenshots, I’ve already added a blurred color spot to the background layer in order to emphasize the girl’s silhouette. You can add a bright spot in the center of the background with the help of the Brush Tool (B) or darken the corners, creating a subtle vignette.
Use the Hue/Saturation feature (Image > Adjustment > Hue/Saturation or simplyControl-U) to play with the colors of your background by moving the sliders for more brightness or deeper contrast. Tick the Colorize checkbox if you want the colors to be more monochromatic and uniform. You can discover some nice color combinations, which change your artwork completely. 
As for this image, let’s make the background vivid green, like those fresh leaves we meet at the beginning of spring.

HueSaturation applied to the background

A few finishing touches, and here you have it: a gentle portrait of your girl, depicting one of the best seasons of the year, which we have all been impatiently waiting for. I hope you enjoyed painting with a fancy oil pastel brush and discovered some new tips and tricks, helping you to speed up the process. Good luck, and let the inspiration guide you!

final image lady spring portrait

Understanding Adobe Illustrator's Grid System


Final product image
What You'll Be Creating

Adobe Illustrator is today by far the most popular vector software out there. As complex and elaborate as it might seem at first, it doesn’t take you long to tinker with it and figure out what most of its buttons and options do.
Still, some functions and settings are usually overlooked by those who are just starting to grasp it, which is why I’m going to share with you something that I wish somebody had showed me when I first started out using it.
Yes, I’m talking about the Grid system.
As with any learning curve, the first thing we need to ask ourselves is what is the actual meaning of the word?
According to the Merriam-Webster online dictionary, a grid is defined as “a network of uniformly spaced horizontal and perpendicular lines (as for locating points on a map)” .
An even more refined definition can be found over at Wikipedia, where the grid is explained in the context of graphic design: “a grid is a structure (usually two-dimensional) made up of a series of intersecting straight (vertical, horizontal, and angular) or curved guide lines used to structure content. The grid serves as an armature on which a designer can organize graphic elements (images, glyphs, paragraphs) in a rational, easy to absorb manner. A grid can be used to organize graphic elements in relation to a page, in relation to other graphic elements on the page, or relation to other parts of the same graphic element or shape.”
It’s worth mentioning that Illustrator’s Grid is made up of only straight vertical and horizontal lines. If you want to set up curved or more complex grids, you will have to rely on creating them using guidelines, which are fairly easy to use.

grid example

Probably at this point you have a basic idea of what a grid is. But why should you care or even use it? Well, if you want to create something that has balance in terms of the way the visual elements complete one another through their positioning, grids are the way to go. They offer you guidance on how to relate one object to another, and most importantly how to structure elements on the artboard.
Beyond that, the Grid helps designers create pixel perfect artwork for digital devices (which in my opinion is a must), but more on that in a couple of moments.
Before I can expand on the importance of using the Grid to create sharp artwork, I need to talk briefly about some key aspects of the way images are constructed on the two different media (screen and print).
As you probably already know, the digital medium differs a lot from the printed one. Each of them has different color modes (RGB vs. CMYK), and each one can output different resolutions (screen resolution vs. print resolution). What makes them even more different is the way they render images, and most importantly the way they handle curved lines.
A computer monitor is pixel grid dependent (squared pixels tiled to one another), meaning it will handle curvatures by adding transparent pixels (alpha channels) on the sides, a process called anti-aliasing, which in the end mimics the natural straight line one would draw on a piece of paper for example.

round corner antialiasing example

A printer is dependent only on the paper size and the dpi (dots per inch) you set the image to, meaning it will print out the curvatures perfectly (with the condition that you set the dpi to a high value). This is because printing is based on layering color dots one by one without the need for adding the semitransparent values that screen devices use to create the illusion of a smooth curve.
Well, this is probably the best question one might ask. Through the process of snapping, you instruct Illustrator to align each object on the artboard to the grid / pixel grid.
Remember I told you a few lines ago that the Grid helps us create pixel perfect illustrations? Now that you know how digital handles images compared to print, it’s time to elaborate more on the most important role that I think the Grid has.
I am almost certain that you’ve seen some illustrations on Dribbble or Behance with super-sharp lines, and always wondered how the designer pulled that off. Well wonder no more: he or she simply made sure to align everything to the pixel grid, creating every element with whole values.
By whole values I mean values that do not have decimal places, so for example we have a rectangle with a 200 px width and a height of 100 px, and not something like 200.84 px by 99.80 px.
Because I believe that examples speak more than words, I will explain all you need to do in order to get the Grid right by showing you a step by step preparing process that you can rely on every time you create something in Illustrator.
As with any new project, the first thing we always set up is the document. Open up Illustrator and create a test document with the following values:
  • Number of Artboards: 1
  • Width: 800 px
  • Height: 800 px
  • Units: pixels
And from the Advanced tab:
  • Color Mode: RGB
  • Raster Effects: 300 ppi
  • Align New Objects to Pixel Grid: checked

setting up a new document

Quick note: you might have noticed I set the Raster Effects to 300 ppi, when the document is intended for screen use. Well, setting the Rasters to higher ppi values will have no visible effect on the screen, but if for some reason you need to print out what you designed (even though you created it using RGB color values) any drop shadows, inner shadows, and other effects will get messed up if they are printed at a lower ppi value than 300.
You can always modify the ppi of a document, no matter the initial setting, by going to Effect > Document Raster Effects Settings and giving it the desired value.
Once you have the document set up, create a 100 x 100 px black square and position it towards the top left corner of the Artboard using the Align panel.

positioning the black square

In order to understand how the Grid works you must first see it. Go to View > Show Grid (Control-") and immediately you should see the default 1000 x 4 Grid that Illustrator comes set up with.

viewing the grid

Now that we see it, how does it actually work? First I want you to select and move the little square with the help of your keyboard’s directional arrows and see how it behaves.
You might notice that our little object jumped a few pixels here and there but nothing easily observable. This is because we haven’t enabled the Snap to Grid option.
Position the square to its original location, and then go to View > Snap to Grid (Shift-Control-Y), and again, try to move the object to the right.

moving the black square on the grid

Now clearly we can see a difference. If you move it one more time to the right you start observing a pattern. Each time the square jumps, it does so by snapping to one of the sides of the little squares created by the horizontal and vertical lines that form our Grid.
Let’s see why Illustrator behaves that why, by explaining how Illustrator creates the Grid itself. As I’ve already mentioned, the default settings that are configured in the software are:
  • Gridline every: 1000 px
  • Subdivisions: 4
But what do these settings actually mean?
It’s quite simple. At each 1000 px, Illustrator will draw four delimiting lines (two horizontal and two vertical) creating a 1000 x 1000 px square which will be further divided into sixteen smaller 250 x 250 px squares ( 1000 / 4 = 250).

grid dimensions explained

Because our Artboard has only 800 x 800 px ( three 250 px squares plus another smaller 50 px section highlighted with green) it will snap towards the left and top side of one of the Grid’s 1000 x 1000 px squares, leaving the right and lower sections of the Grid space unoccupied (200 px highlighted with red).
Now going back to our little black square, the reason why it jumps all the way to the sides of the 250 x 250 px square is because it has only 100 x 100 px, and as it did with the Artboard, Illustrator forces it to snap to the delimiting lines. If the black object had been exactly 250 x 250 px, it would have occupied the entire surface of one of the Grid’s square, and would have jumped exactly one out of the sixteen inner positions.

artboard dimensions vs grid system

I hope that the last step managed to shed light on how the Grid works, but you must understand that each project you create might require setting up different Grids depending on the size of your Artboard, and the accuracy with which you want to position your elements onto it.
I’ve found that using the smallest possible settings will give me the most accurate results, and by combining the power of the Grid with Pathfinder I am able to position my elements quickly and intuitively.
My Grid settings:
  • Gridline every: 1 px
  • Subdivisions: 1
If you want to experiment or simply use the settings I have you, all you need to do is go to Edit > Preferences > Guides & Grid and modify them as you desire.

adjusting the grid settings

Let’s try a short exercise and see how we can create a quick website wireframe using a Grid with Gridlines every 800 px and a subdivision of 4, on the same 800 x 800 px Artboard.
Yes I know the default width of today’s basic website is 960 px, but I wanted to show you a quick example of how easy it is to position things using custom Grid settings.
Create an 800 x 200 px rectangle and position it towards the top of our Artboard, coloring it using #191919. Grab the Type Tool and label this section as our website’s Header.

prototype header

Quick tip: if you have elements that are smaller and don’t actually need to be snapped to the Grid, in our case the section labels, simply select those elements and then go to the View menu and deselect Snap to Grid.
Create a smaller 600 x 400 px rectangle, color it using a darker tint (#3D3D3D) and then position it using the directional keys to the left of the Artboard, just under the header. Make sure to label this section of the website as the Content.

prototype content

Create an even smaller 200 x 400 px object, color it using #B24747, and then position it to the right side of the content, making sure to label it as the Sidebar.

prototype sidebar

Finish up our little wireframe by adding another 800 x 200 px rectangle (#191919) to the bottom of our Artboard, labeling it as our Footer.

prototype footer

In a manner of just a few seconds we managed to create a rudimentary website. Imagine if we had spent more time playing with it.
Before I let you experiment with custom Grids on your own, I wanted to talk to you about the main differences between the Snap to Grid and Snap to Pixel options.
By default, when you set up a New Document, the Preview Mode is usually set on Default. That means that what you design is basically what you see (you see the vector as it is and not in pixel format). In this case the Snap to option will be set to the Grid, and depending on the values you assign to it, it will snap to one of the little squares that form it.
If you enable Pixel Preview (View > Pixel Preview) and zoom in on the Artboard,Illustrator will reveal the actual pixels that form your vector elements. Once the snapping is set to Pixel, each movement made on the Artboard will be by exactly the number of pixels you’ve set your Keyboard Increment to, in the direction you pushed it to.
Quick tip: Yes you can set a default Increment for the precision with which you move objects around your Artboard. The option can be found going to Edit > Preferences > General > Keyboard Increment.

keyboard increment settings

The key difference between these two snapping methods is that if you’ve somehow created an object that has pixels with decimal places, for example a rectangle of200.9 x 60.40 px, snapping it to the Pixel Grid will force it to change its dimensions to whole values, thus creating a sharper object.
I recommend that once you’ve created something using the Snap to Grid option, you should always switch to Pixel Preview mode and see if they align correctly to the Pixel Grid so that you can make sure your artwork will end up looking as crisp as possible.

How to Make a Felted Wool Terrarium



Final product image
What You'll Be Creating

Love the idea of a whimsical little terrarium, but don't like all the fuss of watering and making sure they get enough sunlight? This felted wool faux terrarium is the perfect solution to your no-maintenance greenery needs.

Felted wool terrarium supplies

  • Assorted colors of wool roving (pictured red, white, brown, green, and gray)
  • Felting needle
  • Glass container for terrarium 
  • Large sponge
Pull a large draft of red wool to make the toadstool cap.

large draft of red wool

Tightly roll the wool into a log shape.

wool in a log shape

Secure the end of the roll with a light bit of needle felting, poking the wool with your felting needle, all along the whole length.

poke the wool with your felting needle all along the whole length

Fold the roll so that the two ends meet.

Fold the roll so that the two ends meet

Using your felting needle, felt these two ends to each other so that you have a roundish shape.

felt the two ends to each other

Once the ends are felted together, gently pinch the wool ball in the middle and pull the outside of the ball down towards the ends you just felted together, The top of this shape should now be nice and round. This will be the top of your mushroom cap!

Round red shape of wool

Start at one side of the pinched seam you just made, and felt the pinched wool into the bottom of the mushroom cap. Continue felting all the way across this seam. 

felt the pinched wool into the bottom of the mushroom cap

This will form the flat bottom of the mushroom cap. Continue felting the rest of the bottom so that the cap is nice and flat.

Continue felting the rest of the bottom

Once the bottom is flat, turn the cap over and lightly felt the rounded top. If there are any bumps or bulges, poke at those areas a bit more with your felting needle to make the cap nice and smooth. 

make the cap nice and smooth

Pull a small draft of white wool.

small draft of white wool

Roll the wool you just pulled into a small ball between your fingers.

Roll wool into small ball

Place the small ball you just made onto the cap and lightly felt it onto the cap by poking the felting needle around the outside and through the inside of the ball. Repeat Steps 1 to 3 for all other spots.

lightly felt the ball onto the cap

The toadstool cap is finished!

Finished toadstool cap

Pull a draft of white wool that is a bit less than the amount of red wool you used for the toadstool cap. Roll this draft of white wool into a log.

White wool in a log

Lightly needle felt the whole log until it holds together rolled up.

needle felt the whole log

Now fold the log in half, making the two ends meet. The point where they meet will be the end of the stalk that attaches to the toadstool.

fold the log in half

Needle felt the seams of the stalk together. Once the stalk holds its folded shape, continue to felt the whole piece. Make sure to turn the stalk so that it is evenly felted all around and maintains a cylindrical shape. Leave the fibers at the end, where the stalk and the toadstool cap will be joined, relatively unfelted and loose. 

Needle felt the seams of the stalk together

Once the stalk is the desired shape and density, position the end of the stalk on the bottom of the toadstool cap.

position the end of the stalk on the bottom of the toadstool cap

Once you have positioned the stalk, carefully felt the loose fibers of the stalk into the toadstool cap. Work your way around the stalk with the felting needle two to three times to make sure they are securely felted together.

felt the loose fibers of the stalk into the toadstool cap

Your toadstool is done!

Finished toadstool

Pull a small draft of wool in the color you would like your stone to be. Roll this wool between your fingers to make a roundish shape.

Roll the wool in between your fingers to make a roundish shape

Use your needle to felt all around the shape, making the wool denser. Once you are satisfied with the shape and size, your wool pebble is complete.


Take a long length of green wool roving and fashion it into the shape of the bottom of your terrarium. The glass container used in this tutorial is round, so I made the roving into a circle. Make sure that the base is big enough to comfortably cover the bottom of your terrarium. 

Take a long length of green wool roving and fashion it into the shape of the bottom of your terrarium

Lightly felt all around the base. Felt it enough that it stays together in one piece. The more you felt, the denser and less airy the base will be.

Lightly felt all around the base

Once the base is felted into one piece, position the toadstool in the proper place and carefully felt around the bottom of the stalk and into the base piece. Felt around the base several times until the toadstool is firmly in place. Repeat this attachment process for any wool pebbles you have made.

position the toadstool in the proper place and felt around the bottom of the stalk and into the base piece

Now just pop the toadstool and base into your glass container, and your felted wool terrarium is ready to go!

Finished felted wool terrarium

The best part is that this "greenery" doesn't require any care like water or sunlight. It's the perfect plant for those who have a less than green thumb! This terrarium is perfect for almost any room in your home—it looks fantastic on a bookcase, or as a centerpiece on your dining room table.

 

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