Creating an illustration of a sparkling disco ball might seem very complicated, and with good reason. In this new Adobe Illustrator tutorial we will try make it simple. We will be creating a really nice, shiny disco ball using only AI and our good taste in color selection. Overall, the coloring will be a real challenge. So get ready to create a vector that will have you dancing in your chair.

This is what we will be creating.

Creating the Basic Shape of the Disco Ball

In this part of tutorial we will create the basic shape of the ball with small rectangles. Grab the Ellipse Tool (L) from the Tool Panel and just click on the Artboard. It will bring up the Ellipse Options box where we can set the dimension of the circle. Let’s set it to 200 x 200.

Now, grab the Rectangle Tool (M) from the Tool Panel and click somewhere on the Artboard. It will bring up the Rectangle Options box. We will set the width to 400 pixels and the height to 200 pixels.

Now we have to divide our rectangle into small squares.  To do that, under Object click Rasterize. Leave everything at its default and hit the OK button.

Select Object again and then Create Object Mosaic.

Set the Tile Spacing to 1 and the Number of Tiles to 60 and 30.

This way we have created many small squares that we will apply to the Disco Ball later.

We have to make a small adjustment to the group of small squares. In the Layer Panel make sure to remove the last rectangle on the list. This way we’ll have only small squares.

Grab the group of the small squares and drag it to the Symbol Panel. Make sure to set the Type to Graphic and hit the OK button.

Now when we have the symbol of the squares we can remove it from the Artboard.

Now we have to prepare the circle we created in the beginning of this tutorial. Grab the Direct Selection Tool (A) from the Tool Panel and select the left anchor point on the circle. Hit the Delete button on your keyboard in order to remove it.

Under Effect select 3D > Revolve. Make sure to set the Surface to No Shading. This way we will avoid creating unnecessary parts of the ball.

Now is the time to apply our squares to the ball. To do that hit the Map Art button. A new window will pop up. In the Symbol drop down menu select the symbol of the squares.

You will notice that the squares don’t cover the whole surface of the ball. To fix that just hit the Scale to Fit button in the bottom of the window. It will stretch out our symbol and will cover the ball.

Feel free to change the rotation of the cube in the 3D Revolve Options window. This way we will change the rotation of the disco ball as well.

When you are satisfied with the basic look of the Disco Ball make sure to select Object > Expand. Ungroup (Shift + Ctrl / Cmd + G) the ball (several times). You should end up with the Layer Panel like this.

You will notice that one of the layers contains the front side of the ball, the other layer contains back side of the ball, and the other two layers contain only round paths. Remove both paths and the back side of the ball. You should end up with something like this.

This is actually the look of the Disco Ball without the nice colors which will give our illustration the fancy look we desire.

Applying Color Gradients

This is the part of the tutorial where we will show off our ability to turn something very simple (our red ball with small squares) into a stunning illustration of a shiny disco ball. In theory, all we have to do to it is Ungroup (Shift + Ctrl / Cmd + G) the ball and to change their Fill color to something more colorful. Sounds easy.

For the right look, we have to find the exact combination of colors which will create the impression of a three dimensional object (ball) and the shiny effects. This can be very tricky. Given that a disco ball is actually a ball with many small mirrors attached to the surface all with the ability to reflect light and we have to recreate this effect. What we will try in this tutorial is to make several groups of rectangles and change their Fill color with colors that will blend nicely. But let’s move from words to deeds.

As we said, Ungroup (Shift + Ctrl / Cmd + G) the disco ball. Now, with the Selection Tool (V) select the rectangles as it’s shown in the pictures below (don’t forget to hold the Shift key on the keyboard for multiple selections).

There are many rectangles that needs to be selected. It might be easier if you select the larger area at once and then holding the Shift key on your keyboard with Selection Tool (V) just deselect some rectangles.

Now, grab the Ellipse Tool (L) from the Tool Panel and click somewhere on the Artboard. In the Ellipse Options box set the dimensions to 200 x 200 (same as we did at the beginning) and hit the OK button. Send the new circle behind our disco ball (Shift + Ctrl . Cmd + [) and align it horizontally and vertically with the disco ball using the (Align Panel > Horizontal and Vertical Align Center).

Now we need to find a way to turn this boring illustration into a nice and fancy disco ball. Color gradients will help us to do that.

In this tutorial we will use a golden gradient, but feel free to use any color combination you like.

Apply the golden gradient to the circle behind the rectangles.

We will apply the same radial gradient to each part of the disco ball we’ve grouped. Make sure to use different angles when you are dragging the gradient with the Gradient Tool (G).

As you can see, we’ve made some improvements but we still need to work on details.

To emphasize the influence of the light we will set the Fill color for some rectangles to white (#FFFFFF). Feel free to use other colors as well, in order to reach the look you like. To be able to edit individual rectangles inside their groups, without ungrouping them, just enter the Isolation Mode that can be found under the right click.

Play around with colors, use different shades of the gradient until you create something you like.

To exit the Isolation Mode just click on the bar at the top of the window.

Our disco ball looks better now, but there is one more thing we can do to improve it. Grab the Ellipse Tool (L) from the Tool Panel and create a circle. Apply a radial gradient to the circle, as is shown below. Just make sure to set the Opacity of the white color on the left side of the slider to 0%.

Make a few copies (Ctrl / Cmd + C, Ctrl / Cmd + V) of the circle and place them on some of the white rectangles on the disco ball. It will create a nice glow around the sparkling mirrors.

Next Page to Continue

Almost there, but not quite done. Read more here to add the rest of the finishing touches!

  

Tutorials are one of the best ways to learn and practice new tricks using Illustrator’s various tools. Learning through a step-by-step AI tutorial not only assists you in twisting the tools, but will also let you learn how to combine them in order to generate innovative and compound vector artwork, icons, and more.

In today’s post, we are presenting a collection of some valuable step by step Adobe Illustrator tutorials. These learning tools have been compiled to help guide you through the process of using this powerful program more efficiently. All the tutorials presented in this showcase have been created by some astute members of the graphic design community; therefore you will definitely be doing yourself a favor by checking out this collection.

Let us take a close look at the tuts. Feel free to share your opinion via the comment section below, and do let us know if we have missed out on any great Illustrator tutorials that you tend to turn to for enhancing your skills.

The Tutorials

Create a Burning, Vector Match Using Gradient Meshes
In this tutorial you will learn how to generate pragmatic vector fire, via the Gradient Mesh Tool and Screen Blending mode. Not as difficult a tutorial as you might think. Let’s strike a match!

How to Make a Classic Air Mail Envelope with Adobe Illustrator
In this tutorial Ryan shows us how to create a classic air mail envelope in Adobe Illustrator, using simple shapes, effects, and gradients.

How to Create a Vector Snake Using Adobe Illustrator CS5 and Mesh Tormentor
In this tutorial we will find out how to create a vector snake using the Mesh Tormentor – a free Gradient Mesh plugin, which will make your work with the gradient mesh easy and pleasurable.

How to Create a Vector Radiator Artwork
In this detailed tutorial you will use 3D-rendering, blends, as well as other tools and techniques for creating an oil filled, vector radiator. The skills you will learn here can easily be transferred to other creations and projects. So let’s get started!

How to Illustrate a Tomato Using Adobe Illustrator
You will employ meshes, gradients and blends for producing the resulted picture. The techniques learned in this tutorial will come in handy far beyond this creation alone. So let’s get started!

Basics of the Mesh Tool in Illustrator
In this tutorial we’re going to find out about Illustrator’s mesh tool. We’re going to build a Super Mario-style mushroom so as to better comprehend how to use this tool by means of a real life example.

How to Draw a Vector, Music Folder Icon
Here, you can learn how to draw a music folder icon in Illustrator. In this tutorial, you will learn how to use the 3D revolve tool and extrude & bevel effects. They are put into use all through the complete workflow, starting from shaping a 3D folder by means of a single path and finishing with all the bright lustrous musical notes.

How To Design a Print Ready Die-Cut Business Card
Want a new set of business cards? Follow this step by step tutorial to learn how to produce a cool business card design in Adobe Illustrator.

How to Illustrate a Vector Kitchen Pot
In this thorough tutorial you will study how to illustrate a standard, everyday household utensil, a cooking pot.

How to Create Advertising Billboard Using Adobe Illustrator
Create an advertising billboard by means of 3D modeling and a small amount of other simple techniques; for example shape building with the pathfinder palette, defining the vanishing point by means of using the guides, filling an object through gradients and using the blend tool.

Creating a Realistic Curtain
In this tutorial, you will learn to create realistic looking illustrations with the mesh tool. You can use this to create an interesting damask style curtain as it shows you how to give the piece the illusion of the silk accompanied by a nice floral design.

How to Turn a Photo into Vector Artwork
In this Adobe Illustrator tutorial, we’ll construct a vector illustration of a high-heeled shoe by tracing a reference photo using the pen tool.

Create a Steel, Vector Power Button Set
This tutorial will walk you through creating a set of steel looking power buttons in simple easy to follow steps.

Create a Cute Robot Using Adobe Illustrator
There are several reasons why Adobe Illustrator is an exceptional application for producing icons. The same components can be applied as building blocks to ensure uniformity and expedite your workflow. This tutorial is filled with a variety of techniques, from fundamental shape-building to more intricate lighting effects.

How to Make an iOS Style Mobile Navigation Bar
This tutorial will teach you how to recreate the navigation bar of an iOS mobile device complete with icons. This plain, easy to follow tutorial is great for a novice to intermediate level user. Let’s get started!

How To Create a Cubist Style Logo Design in Illustrator
Create a cubist-esque design perfect for logos using Illustrator and learn how you can incorporate lots of detailed vector facets in it. This tutorial explains the whole process of logo designing right from the initial sketches to finishing off the final design.

Create a Detailed Toilet Plunger Illustration
In the following tutorial you will employ essential shape building techniques, together with advanced Illustrator tools, to create the best plunger artwork you’ve ever made. By using these techniques you’ll become skilled at making several household tools to boot.

Create a Simple Vector Ninja Character in Illustrator
In order to create your very own set of awesome vector ninjas, you can follow this simple Illustrator tutorial. You will learn how to make the designs from basic shapes by using Illustrator’s core tools.

How to Create a Simple Web Button Set Using the Appearance Panel
In the following tutorial you will learn how to generate your own set of web buttons using Adobe Illustrator that can come in handy for any of your web design projects. Let’s get started!

Make a Fun Holiday Reindeer Illustration
This tutorial covers illustration style, color choice, shading and touches on typography. The procedure of adapting your illustration throughout the creation is also covered. This tutorial is created by Jesse Hora and Darrin Higgins.

Easy Clock Icon in Illustrator
A very simple and easy to follow tutorial to show you how to create this slick looking clock icon in AI. This tutorial is perfect for the beginners as well as for the pros.

How to Create an Open Book with Illustrator’s 3D Extrude & Bevel Tool
In this tutorial, we’ll generate open pages with graphics and put in a crimped background. The book can be personalized by employing your own graphics to the pages.

How to Create a Watercolor Background Using Adobe Illustrator
In this tutorial, we will make a watercolor painted styled background by means of a gradient mesh, tools of deformation and blending modes. The techniques covered here permit the creation of intricate textural backgrounds in an easy and effective way.

Create Super Mario’s Head in Illustrator
In this tutorial the artist explains how to craft a Super Mario face using mostly plain and easy to create shapes.

Create a Garden Scene Using Brushes in Illustrator
Become skilled at how to create a magnificent garden scene in Illustrator. You’ll explore the depth of the appearance panel, and art and scatter brushes in this tutorial.

Magnifying Glass Tutorial for Adobe Illustrator
In this tutorial we will be learning how to create a simple magnifying glass in perspective with Illustrator. This process uses the pen tool and a few ellipses.

Create a Wireframe Face with the Envelope Distort Tool
In this comprehensive and methodical tutorial you will learn step-by-step how to produce a wireframe face in Illustrator using the envelope distort tool.

How to Cell Shade and Add Texture to a Vector Comic Character
This tutorial will demonstrate how to produce a cell shaded character in Adobe Illustrator. This is a quick technique applying the live paint bucket used for block coloring, the gradient tool to add depth and form, and masked blended shapes for texture.

Create a Vector Gift Box for Upcoming Christmas
Here we will be creating an eye-catching gift box in Adobe Illustrator. We are going to apply a few standard types of tools, for example, the rectangle tool, ellipse tool, extrude & bevel 3D effect and some pleasant colors to help us in this creation.

Create a Magical Vector Landscape Using Illustrator
In this extremely detailed and magical tutorial you will learn how to produce a fantasy landscape by means of some of Illustrator’s powerful tools.

How to Create a Vector Stamp Set in Illustrator
In the subsequent tutorial you will learn how to craft your very own set of vintage styled stamps with AI. Go through creating the stamp border, emphasizing the edges, generating the branding, and providing the vector postage stamp a vintage texture, to help complete the effect.

How To Create a Cute Hairy Vector Monster Character
Follow this step by step Illustrator tutorial to generate an attractive vector monster character. We’ll generate the character from fundamental shapes to furnish a cute and forthcoming appearance then we’ll bring the character to life with gradient colors and a meticulous fur effect.

How To Create a Gruesome Zombie Illustration
Follow this step by step Adobe Illustrator tutorial to craft a hand-drawn zombie illustration. We’ll make use of a photograph as a critical reference then bring into play our Wacom tablet together with Illustrator’s vector brush tools to put together a range of gruesome components on our zombie character.

Create a Macbook Pro Illustration Leftside View
In the following tutorial you will gain knowledge that will teach you how to generate a semi-realistic looking MacBook Pro illustration. This is the left side view of the product.

Create a Simple Penguin Character
In the following tutorial the artist will demonstrate how to generate a plain little penguin character. The twenty-seven comprehensive steps will set up the fundamental tools and shape building techniques needed. Once you’ve created the starting paths, you will insert some basic colors and effects. At last, you will learn some fundamental stuff about the blending techniques.

A Complete Guide to Drawing Evil Vector Skulls in Illustrator
This tutorial will teach you how to pencil in evil looking skulls with ease, as well as learn a little anatomy along the way.

Create a Cocktail Glass in Adobe Illustrator
In this very comprehensive tutorial we will learn how to produce a cocktail glass with a multi-colored drink and fancy ornamentation. Producing a glass object can be a challenge seeing as there are only few colors you’re allowed to employ, frequently white, light blue and light gray.

Create a Sale Tag Icon with Adobe Illustrator
In this tutorial, we will be learning how to produce a smart looking sale tag in Adobe Illustrator. This tutorial will show you how to reproduce the look of a folded corner of the paper by using plain color gradients.

How to Create a Rainbow Beetle Using Adobe Illustrator
Here you will learn how to use some basics like the gradient tool, gradient mesh tool, art and scatter brushes, blend tool, and many other techniques to create a rainbow beetle.

How to Create a 3D Chart Using the Perspective Grid Tool and Adobe Illustrator CS5
The perspective grid is not extensively employed by designers. It’s a moderately powerful tool, although not truly a suitable one. Let’s learn how to make use of it on this simple example of the construction of a three dimensional chart.

How to Create an Illustration of Stylish Club Shades Using Adobe Illustrator
In this tutorial we will learn how to create club shades via simple and wide-ranging techniques. To create dramatic reflections from the lights of the discotheque club, we will make use of different blending modes. The tutorial contains lots of professional tips and techniques.

Create Vector Whiskey on the Rocks Using Adobe Illustrator CS5
In this complete and handy tutorial you will learn how to craft a vector glass of whiskey on the rocks by means of Adobe Illustrator CS5.

Make a Worm in Illustrator
In this throwback tutorial the artist demonstrates some quick tips on how to make an effortless but efficient vector illustration inspired by the classic video game, Worms.

Create a 50s Ad Poster in Illustrator
This tutorial will teach you how to make a retro looking poster for a web designer that gives off the impression that it was crafted in the 50’s.

(rb)

  

Business icons are one of the most poplar vector illustrations. As with all vectors in general, business icons are scalable which makes them perfect for use in web design. The best way to create an icon is to use one of the vector based programs, such as Adobe Illustrator, Corel Draw, etc. We are going to create an interesting business icon that consists of two arrows and a globe in this Adobe Illustrator tutorial. The techniques we are going to describe is applicable for creation other kinds of illustrations as well.

So, let’s get down to business.

This is what we will be creating.

Creating the Globe

Before we create the globe we need to prepare a grid of parallels and meridians. It means we have to prepare the symbol that we’ll apply to the globe. The Blend Tool will help us do that.

Grab the Line Tool (/) from the Tool Panel and create a vertical line. Now, select Add Anchor Point Tool (+) and add an anchor point exactly in the middle of the line.

Select the Direct Selection Tool (A) from the Tool Panel, grab that anchor point and drag it to the left (don’t forget to hold the Shift key on the keyboard for straight dragging).

This way we have created a sharp corner. We need to smooth it out. Grab the Convert Anchor Point Tool (Shift + C) from the Tool Panel, click on the anchor point and to drag it downwards (Shift for straight dragging).

Select the path and under Object select Transform > Reflect. Set the Axis to Vertical and hit the Copy button. It will create a mirror image of our path. Move the new path to the right (Shift for straight dragging).

Select both paths and under Object select Blend > Make. It will create more paths in the middle. To specify the exact number of the paths open Blend Options (Object > Blend > Blend Options). We’ll set the value for the Specified Steps to 17.

Grab the Line Tool (/) from the Tool Panel and create a horizontal line (Shift for straight dragging), as shown on the picture below.

Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the line and place it as pictured.

Select both horizontal lines and under the Object select Blend > Make. Set the value for Specified Steps to 9.

Select all the elements we’ve created so far and Group them (Ctrl / Cmd + G). Grab the group of elements and drag it to the Symbol Panel. Symbol Options window will pop up. Set the name to Grid, make sure to set the Type to Graphic and hit the OK button.

Now we have created a symbol which we’ll use to apply to our globe.

Creating the Globe

First of all, we have to create a circle. Grab the Ellipse Tool (L) from the Tool Panel and create a circle (don’t forget to hold the Shift key on the keyboard for the proper circle).

With the Direct Selection Tool (A) select the anchor on the left side and hit the Delete key on the keyboard to remove it. You should end up with something like this.

Under Effect select 3D > Revolve.

Under the 3D Revolve Options box make sure to set the Surface to Diffuse Shading and then hit the Map Art button. This is the where we are going to apply the symbol we created to our sphere.

In the Symbol drop down Menu select the symbol of the grid we have already made. Make sure to hit Scale to Fit button. It will apply the grid symbol properly.

You should end up with something like this.

Now we need to apply some nice color gradients. To be able to do that, first we have to turn our object into editable shapes. Under Object select Expand Appearance. Then we need to Ungroup (Shift + Ctrl/ Cmd + G) the object. Be ready to repeat that action a few times, until you “separate” the sphere from the grid. When you achieve that select the sphere (you’ll notice that it contains many concentric circles) and under the Pathfinder Panel hit the Unite button. This will turn the circles into a single one.

Set the Fill color for the grid to #61D4E0.

We are going to apply a nice blue radial gradient to the circle. It will turn our circle into a nice blue sphere.

There is one more thing we should add to the globe. Select the Rectangle Tool (M) from the Tool Panel and create the ellipse. Set its Fill color to white (#FFFFFF) and place it as it shown on the picture below.

Set the Opacity of the new ellipse to 26%.

Our globe is ready for some nice arrows. Before we create them don’t forget to Group (Ctrl / Cmd + G) all the elements of the globe together.

Creating the Arrows

To create nice 3D arrows we will be using 3D effect Revolve. It will help us to fold the arrow around the globe. So, lets get started. First we will create the shape of the arrow.

Grab the Rectangle Tool (M) and create a rectangle, as it’s shown on the picture below.

Now, grab the Star Tool from the Tool Panel and click on the Artboard. The Star Options window will pop up. Set the value for Points to 3 and hit the OK button.

It will create a triangle. Rotate it and place it as it show on the picture below. Align the shapes by using Vertical Align Center under the Align Panel.

When you are satisfied with the result under the Pathfinder Panel hit the Unite button. It will turn both shapes into the arrow shape.

Drag the arrow to the Symbol Panel and name it Arrow. Set the Type to Graphic. This way we are creating the symbol of the arrow which we’ll be using later.

Now, grab the Rectangle Tool (M) from the Tool Panel and create a rectangle, as pictured.

Under the Effects select 3D > Revolve. Check the Preview box in order to be able to see what are we doing. Under the Revolve Options box click on the Map Art button.

You will notice that the cylinder contains three sides. Upper ellipse, lower ellipse and the lateral side of the cylinder. Switch between sides, and when you select the lateral side of cylinder select the arrow in the drop down menu for Symbol. Also, make sure to check Invisible Geometry. It will remove the cylinder shape and only the arrow will be visible.

Feel free to play with the size and the rotation of the arrow, until you reach the right angle and position.

When you reach a desirable result hit the OK button. We can also change the rotation of the invisible cylinder in order to find the best position for our arrow by rotating the cube in the 3D Revolve Options box.

Now we have to turn our arrow into an editable shape. Select the shape with the arrow and under Object hit Expand Appearance. You should end up with something like this.

Lets Ungroup (Shift + Ctrl / Cmd + G) the new shape (we’ll have to do it more than once) and remove everything besides the arrow. This is what we should have by now (blue color is changed to be able to see the result clearly).

Take a good look at the arrow. See if there are any unnecessary anchor points and remove them.

Now we have to turn the arrow into a 3D shape. Select both parts of the arrow and duplicate them (Ctrl / Cmd + C, Ctrl / Cmd + F). Using the arrow keys on the keyboard nudge the copies a few pixels to the right and then downwards. You should end up with something like this.

We have to connect some shapes now. Grab the Add Anchor Point Tool (+) from the Tool Panel and add few anchor points.

With the Direct Selection Tool (A) grab the new anchor point and move it to the lower corner of the green shape.

Repeat this step for the other corners of the arrow as well.

To be able to create a glossy arrow with lots of reflected parts, we’ll have to divide some parts of the arrow. Select the Pen Tool (P) from the Tool Panel and create the path as it’s shown in the picture. We will use the path to divide the red part of the arrow. Just select them both (red shape and the green path) and under the Pathfinder Panel hit the Divide button. It will split the red shape exactly in half. Don’t forget to Ungroup it (Shift + Ctrl / Cmd + G).

And, now our arrow is ready to get some nice colors.

Applying the Color Gradients

In this part of the tutorial we will try to achieve a nice glossy look for the arrow.

To start we will apply some nice linear gradients.

Use a radial gradient for lateral side.

We can also divide the inner part of the arrow. Just create another path using the Pen Tool (P) and divide the inner side of the arrow. Apply a nice radial gradient to both sides.

We can also make some additional shapes that will help us to create the glossy look of the arrow. Select the right upper side of the arrow and under Object select Path > Offset Path. Set the value for Offset to -3 and hit the OK button.

With the Direct Selection Tool (A) move the upper side of the new shape. Just select the upper anchor points and move them upwards, as shown below.

Apply a nice linear gradient to the new shape.

We can do the same thing with the left side of the arrow. You should end up with something like this.

In order to create more light reflections we will divide some other parts of the arrow as well. Grab the Line Tool (/) from the Tool Panel and create a few random lines.

Use each of the lines to divide the surface underneath the line. Just select the line and the shape you want to divide and under the Pathfinder Panel hit the Divide button.

Apply a green radial gradient to the new shape, just make sure to create a sharp transition, just as it’s shown in the pictures below.

Repeat this step for the other shapes as well. It will create nice light reflections.

Some nice edge highlights will give our illustration a real glossy look.

The Final Touch

Now we will combine our globe with the arrows. To be able to set the two arrows in the right place we will have to learn to draw a Clipping Mask. A Clipping Mask is actually a random shape without the Fill and Stroke colors which allows us to hide some parts of the illustration.

Let’s get down to business.

Place the arrow on the top of the globe (as pictured). Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the arrow and send the copy behind the globe (Shift + Ctrl / Cmd + [). You should end up with something like this.

Grab the Pen Tool (P) from the Tool Panel and draw a shape similar to this.

When you are drawing the shape for the Clipping Mask keep in mind what parts of the arrows needs to be visible (everything inside the path will remain visible). Also make sure to follow the shape of the globe in order to avoid overlapping the globe and the part of the arrow that needs to be behind it.

When you are satisfied with the shape of the Clipping Mask remove the Stroke color, select the globe and the arrow and under the right click select Make Clipping Mask.

This action will hide all parts of the arrow outside the Clipping Mask. This way we have created the illusion that the arrow is "sitting" on the globe.

Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the green arrow behind the globe, Bring it to the Front (Shift + Ctrl / Cmd + ]) and change the color to red. Using the Reflection feature under Object > Transform > Reflect flip the arrow upside down by using reflection on a Horizontal and Vertical axis. You should end up with something like this.

Repeat the steps for creating the Clipping Mask and you should get something like this.

Feel free to create a few more shadows and some sparks…

…and we are done!

The Conclusion

Glad that you went through the entire tutorial. It will help you to create a really interesting web icon that can be used for different kinds of purposes (business, environment, communication, etc). Using this technique you can actually do other kinds of illustrations as well.

Just feel free to be creative and to explore the other possibilities. Hope you like this tutorial. Thank you for following along.

(rb)

  

Over the years, Adobe Illustrator has become one of the top applications for creating vector illustrations. There is almost nothing you can’t make in Illustrator. It is a powerful tool for creating vectors for all kind of logos, websites, icons, business cards, print materials, etc. One of the best features of the vector format is its ability to scale up or down to any size without any loss in quality (unlike raster illustrations).

But let’s not forget that Adobe Illustrator is complex software. Despite all of its advantages, Illustrator demands a lot of skill, work, time and patience. The software will not generate effects automatically; excellent effects are the result of trying and testing different settings. Trial and error is an effective method in achieving the desired result. Creating realistic vector illustrations in Adobe Illustrator can be fun, but it can also give you a headache if you can tell something’s missing from an illustration but don’t know how to get it.

Here is a list of things to consider when creating stunning vector illustrations:

• Perspective,
• Smooth lines,
• Colors,
• Edge highlights,
• Reflections,
• Shadows.

Stick To Perspective

When it comes to drawing realistic vector illustrations, perspective is paramount in importance. If you ignore perspective, the illustration will look flat and distorted and lack depth.

The most important aspects of perspective are size and distance. The farther away an object is, the smaller it will appear, and vice versa. By increasing and decreasing size in this way, you can achieve good depth in your illustrations.

There are a several methods of drawing perspective.

Perspective Grid

One very useful way is to use a perspective grid, which is a new feature in Illustrator CS5. Establishing a horizon and the vanishing point is part of this. The perspective grid in Illustrator is an editable tool, so it can be adapted to suit one’s purpose. You can change the perspective simply by dragging the corner nodes of the grid. You can make the vanishing point longer or shorter and change the number of boxes in the grid. Being able to adapt the working environment to your needs will make it easy for you to do advanced drawings.

Extrude and Bevel

Some people have trouble seeing and presenting perspective in the first place. In this case, I would recommend “Extrude and Bevel,” which is a convenient tool for creating 3-D objects. You can set a value for “Perspective” in the “Extrude and Bevel” options box (either type in a value or drag the slider over). Expanding an object will make it editable. Because the Extrude and Bevel effect gives you an object with many parts and anchor points, it is highly recommended that you use that object as the reference for tracing with the Pen tool (P). This way, you’ll create clean and simple vector illustrations without any unwanted parts or any anchor points that are an obstacle in the printing process.

If you have imagination and some skill, you will be able to draw an illustration based on an estimation of perspective. Of course, this method is not quite precise.

But adding perspective alone is obviously not enough to create stunning artwork.

Using The Pen Tool For Smoother Lines

Creating shapes in Illustrator shouldn’t be complicated. To draw paths and curves, either use the Pen tool (P) or simply combine objects with Pathfinder features such as “Unite,” “Minus Front,” “Subtract,” “Intersect,” etc. Because the paths contain numerous anchor points, you will have to adjust them to create smooth lines. Anchor points are highly editable and can be adjusted with a few excellent tools. You can change the position of the path just by editing one anchor point. This takes a lot of practice; you’ll need a steady hand and patience.

Live tracing is one effective way to create vector illustrations. Try to complete a drawing with as few anchor points as possible; avoid adding anchor points at shorter intervals just to maintain the smoothness. To get smooth lines, make sure that the handle of the anchor point forms a tangent on the curve (i.e. inner or outer tangent). You can always add or remove anchor points by going to the “Add Anchor Point” (+) and “Delete Anchor Point” tools (-).

“Convert Anchor Point” (Shift + C) allows you to make changes on the anchor points themselves. With this amazing tool, you will be able to change the angle of the handle, thus enabling you to change the path of the lines. Whereas adjusting just one side of the handle will result in an angular shape.

Coloring

This part of the creative process is quite fun, but still demanding. Choosing the right colors can be a challenge. First, you have to determine what style you want. Gentle and pastel colors might work for retro illustrations, which would be rather simple and two-dimensional.

If you want to get photo-realistic, you might want more vivid colors. Good contrast can make the artwork stunning. If you don’t know how to mix and match colors, Adobe has a great website with color swatches and beautiful combinations.

There is also a swatch library in Adobe Illustrator, where you can find a lot of useful swatches and even create your own and save for future projects.

Gradients

When it comes to coloring, applying linear and radial gradients is the best way to show light sources and to give depth to your artwork. Establishing the position and angle of the light source is the first step in the coloring process. Shadows and highlights should be added according to the source of the light. Dark colors will simulate shadows and shade, while light colors will create highlights.

Besides creating shadows and highlights, gradients are the great way to simulate shape. Using color, you can give volume to an object or character. Use as many colors as you’d like to build a gradient, but just blend them well; otherwise, you’ll end up with harsh color transitions. If you tend to blend colors effectively, then try out the different “Blending Modes,” such as “Multiply,” “Overlay,” “Screen” and “Light.”

Linear gradients are mostly used to present a plane. Radial gradients are suited to ovals and round shapes.

Transitions between colors in gradients can be smooth or sharp. Smooth transitions are convenient for representing shade, shapes and forms. Sharp transitions are good for simulating gold, steel, chrome and other metals (i.e. for representing the reflection of light on these metals).

Gradient Mesh Tool

Because gradients are limited to linear and radial shapes, we sometimes have to find ways to use gradients in unconventional ways. Creating a gradient for an irregular shape is complex, because it involves blending colors between uneven forms with the use of linear and radial gradients. This can be a lot of work, but the Gradient Mesh tool is handy for this purpose.

The Gradient Mesh tool is a powerful tool that enables you to split up any part of an object by adding editable points and applying solid colors to those points. This way, you are able to create a gradient that follows the actual shape of the illustration.

While gradients make illustrations more realistic, there is always room for improvement. A great illustration is made up of many well-integrated details. Mixing and matching colors and shapes is not easy, but it does lead to a beautiful result.

Highlighting The Edges

When you are done with the gradients, your illustration should be ready for some nice edges. There are a few ways to create them. If your illustration has straight edges, the best way to highlight them is with the Pen tool (P). This enables you to create simple shapes that can be blended (via gradients) with the rest of the illustration. Or you can create a sharp white edge and turn it into the reflection using a low-opacity setting. Either way, you will be emphasizing the shape of the object.

Creating a highlight for curves is not much different. The most important thing is to make the shape of the highlight follow the shape of the object. The Pathfinder panel has a lot of features for creating curved highlights; doing it with the Pen tool alone would be tricky.

Reflections

Besides edge highlights and shade, light sources can create many reflections and shadows. Take a good look around you and you’ll see all kinds of reflections: on glass, plastic, wood, metal, clay, even in liquid. Reflections come in various forms. The most important thing, again, is to follow the shape of the object. For those skilled with the Pen tool, curved highlights shouldn’t be a problem. If you are unsure how to draw highlights with the Pen tool, try combining different shapes in the Pathfinder panel.

Even though the most common color for reflections is white, with reduced opacity, try out different color combinations.

Highlights are useful for showing off the material of an object. With a careful color combination and reflections in the right places, you can simulate the look of a surface quite well. The result is a nice illustration with a glossy surface.

The Final Touch: Shadows

The main purpose of a shadow is to create an illusion of three-dimensionality. Without shadows, the illustration is not really complete. The shadow “defines” the illustration in a way. Like reflections, shadows are created by the influence of light sources. The intensity or softness of the shadow depends on the distance between the object and the light source. A light source above an object will cover almost the entire object. Uncovered parts of the object will cast shadows on surfaces below and on objects nearby.

You can create a shadow with a solid color (for a sharp shadow) or with a linear or radial gradient (for a soft shadow).

If your object is complex, the best way to create a shadow that follows the entire shape of the object is to use the Blending tool.

There is one rule about the Blending tool, and that is to create two objects or paths with the exact same number of anchor points. This way, you ensure that every anchor point on one object (or path) has a corresponding anchor point on the other object (or path). The result will be a shadow with nice color transition.

Summary

Although there are just six rules to follow, there is the danger of too much detail. Try not to exaggerate the details, or else the illustration could look messy and overcrowded.

Light is your greatest ally. It will lead you through the whole creation process, connecting the different parts of the illustration and making them come alive.

Just keep the illustration simple and clean to minimize mistakes.

(al)(rb)

  

Adobe Illustrator is a powerful tool that you can create fluffy, vague, sparkling, gelatinous, glossy, glittery, retro and revolutionary effects with. Creating a particular text effect in Illustrator is not that difficult now; thanks to the availability of huge number of tutorials that guide you through each step.

Here we have gathered a collection of around 50 amazingly helpful tutorials that let you create breathtaking typographic effects in Illustrator. Some of them also use Photoshop to give the text effect its fully refined look. Let’s have a look at this collection.

Text Effects in Illustrator

Create a Poster Theme Illustration in Illustrator
This following tutorial lets you create beautiful poster theme illustrations simply, using Adobe Illustrator.

How to Create a Neon Text Effect Using Adobe Illustrator
Create appealing and tempting neon text effects by using Gradient Mesh, 3D Modeling, Art Brushes and Transparency palette. Let’s begin!

How to Create Colorful Neon Text with Adobe Illustrator
This tutorial teaches you some quick tips on how to create a colorful neon text effect. In this tutorial, you will learn the use of thick font and the Round Any Corner Script to create letter shapes and other techniques to create neon text effect.

Creating a custom Font : Understanding the Dynamics of Blend Tool
This tutorial is designed to help you create a custom Font, while at the same time accepting the dynamics of the Blend Tool.

How to Create a Colorful, 3D Text Effect
This tutorial is shared here to let you learn the technique of creating some colorful and appealing 3D texts.

Create an Airport Time Table Type Effect
In this quick tutorial, you will learn to create an airport timetable text effect. Creating such an effect is ideal for websites, posters and even logos.

How to Create a 3D Sketch Text Effect
This tutorial lets you learn how you can play with the 3D options in Illustrator to create 3D letters while also transforming them into a sketch text. Add any color that you like as the transparency allows you to place it on any background.

Create a Jar Illustration and Splashy, Purple Text Effect
This tutorial walks you through creating a jar illustration with a splashy purple text effect. You will see how different layered shapes and opacities are used in this tutorial and how the paths and the Pathfinder tools are used to enhance the result and give your text dimension and style.

Create Colorful, Layered Paper Type in Illustrator
Let’s create some vividly colored illustrations with layered text and ribbons. Here, you will learn to use Illustrator effects expansively to optimize your work.

How To Create a Cool Chrome Text Effect in Illustrator
The following tutorial helps you get the skills required to create cool retro chrome text effects by using Illustrator. This tutorial teaches you all the steps from beginning to end.

How to Create a Retro Style Textured Logo
This tutorial helps you learn to create a retro vector seal logo by using Illustrator with Ryan Quintal. This extremely easy to follow tutorial lets you create an awesome final effect.

How to Create a Paper Style Alphabet using Illustrator 3D
With this, you will learn to create a paper style alphabet and the shadows of them by using 3D modeling. This tutorial is perfect for creating logo designs.

Create a Chalkboard Type Treatment
This tutorial lets you create amazing chalkboard type treatments by using some gradients, a bristle brush, and some freebies from Vector Mill.

Learn to Create a Variety of Script Lettering
This tutorial showcases three unique approaches to create different script lettering styles. The tutorial starts with a simple basic script and leads you to more advanced techniques.

How to Create an Entangled Lettering Illustration
Creating a perfect entangled lettering illustration is what you will learn in this tutorial. You can also learn casting shadows and highlighting through abstract color shapes.

Create a Variety of 3D Lettering Effects for Poster Design
This tutorial teaches you different techniques of creating simple 3D lettering effects in the context of poster design.

Create a Green Viscous Text Effect
This tutorial helps you learn the use of existing font and 3D tools of illustrator to add dimension and create a green viscous text effect.

How To Create a Simple Sticker Text Effect
This tutorial showcases the technique of using text and the Round Any Corner script to create a simple sticker effect. Such text effects can be used in graphics, including shapes and symbols.

Create a Furry Calligram in Illustrator
Here you will learn to create your own calligram by manipulating a typeface, rendering fur and by adding dog features and various details.

Learn to Create a Variety of Beveled Lettering
This tutorial is designed to teach you different techniques of creating beveled lettering styles. The tutorial starts with the least complex and moves on to the most polished and professional look.

Cool Typography with the Blend Tool in Illustrator
Here you will use Illustrator’s Blend tool first and then use Photoshop for some final retouches in order to create cool typography.

Create a Top Gun Badge on Illustrator
Here, you will see how to create a vector badge and then make it look more appealing by adding some features. Simple to execute.

Tron Legacy Tutorial
In this tutorial, you will use Adobe Illustrator, Adobe Photoshop and Cinema 4D. This is an interesting tutorial that helps you learn all three of these programs simultaneously.

Vintage Badge in Illustrator and Photoshop
In this tutorial you will see how to create a vintage badge by using Illustrator and Photoshop. Take a look!

Grungy 3D Text In Illustrator
Use Illustrator to create appealing grungy 3D text with some smart shadow techniques.

Create a Silky Ribbon Text Effect
This tutorial teaches you to use the Pen and Gradient tools in order to create a swirling ribbon text effect. You can also use this effect to create different shapes and scrolls.

How to Create a Glassy Text Effect in Illustrator
In this tutorial, you will see how to create a splendid glassy text effect by using Illustrator. Here you will learn some clever techniques to enhance your skills.

Create a Mummy Text Effect
This guide helps you give your text some classic mummy treatment by using a few gradients and the Appearance panel.

Create a Polished Raised-Type Treatment
Learn to create a polished, lifted-type treatment by using the Appearance panel, some gradients and transforms. You can also apply the treatment to other fonts and vector elements as well.

Create a Reusable Retro Type Treatment
Here you will see how to create retro type treatments by using some powerful Illustrator features and texture effects, Warp effects, and some simple layering.

Create a Glossy Smooth Text Effect
This guide lets you discover how to create a glossy smooth text effect by using multiple fills and strokes with various blending modes and different opacity settings.

3D Golden Text Effect
This tutorial will be great for beginners who want to create professional 3D text effects in Adobe illustrator. Here, you will see how to create text using 3D extrude and the techniques to clean up the broken shapes and then apply glow to the 3D text.

Golden Text with Diamonds
This tutorial showcases the use of the appearance palette and scatter brushes to create this stylized text with diamonds. Several other useful techniques will also be taught in this tutorial that will help you in your future endeavors. So let’s get started!

How to Add Decorative Glamour to Your Ordinary Script Font
Learn to add glamour to your ordinary scripts in simple to follow steps and add some extra sparkle to your ordinary font.

How to Make a Flesh Ripping Zombie Type Treatment
Follow the artist’s steps and create flesh ripping zombie characters and type treatments for this blood-curdling illustration.

Creating an Environmentally Friendly Green Type Treatment
This tutorial lets you create some cool and soothing environmentally friendly green type treatments that you can apply to your different projects.

How to Create Candy-Cane Typography With Photoshop and Illustrator
Learn how to craft some lip smacking Candy-Cane type by using Illustrator and Photoshop and create the appeal that you always wanted to harness.

How To Create Detailed Gothic Linework Typography
This step by step explanation demonstrates the design process for an amazing gothic typographic design.

Multi-Stroke Tips for Adobe Illustrator
In this tutorial, learn to add multiple strokes to objects in Illustrator using the Appearance panel.

Produce a Glowing Neon Open Sign Using Illustrator CS5
Here you will see how neon tubes are produced in the Illustrator world by simply altering a path and adding stroke colors with Gaussian blur. This will allow you to produce our own glowing neon open sign in Illustrator CS5.

Create a Bubble Text Effect
Use different tools such as Ellipse, Rectangle, Rectangular Grid and Twirl along with some basic effects to create this Bubble Text Effect.

Stylish text effect tutorial using Illustrator
Here you will see how to use Illustrator to create stylish and elegant text effects with a subtle vintage look that can be applied to any specific typeface.

Create a Simple Blood Text Effect
This is an extremely easy to follow tutorial that will teach you how you can create simple blood text effect.

Create a folded paper text effect
Create a simple folded paper text effect by watching this tutorial and also see how to improvise the final look.

Make Grunge Type with Live Trace and the Pathfinder
This tutorial aids you in creating a grunge type effect by simply creating a vector texture with Live Trace first and then applying it to the text.

How to Create a Piped Frosting Text
This tutorial will help you learn how to create a paste text effect. You will also learn the use of different tools to create the text effect that can be used to demonstrate a piped frosting effect.

How to Create a Gummy Text Effect
Here you will see how to use the Offset Path function and various other coloring techniques to create cool and cute gummy text effects.

How to Create a Zodiac Themed Graphic Style
This particular tutorial helps you learn the basic techniques to create a complex graphic style, using only the Appearance palette and commands from the Effect menu. This lets you create designs based on zodiac signs. Let’s get started!

How to Create Smoky Brushes and Type In Illustrator CS4
Here you will see how the smoky brushes and type are created in Illustrator. You will be amazed to see the realistic results.

You may also want to consider our previous posts:

• Vector Illustration: 60+ Illustrator Tutorials, Tips and Best Practices
• 80 Best-Of Adobe Illustrator Tutorials, Brushes, .EPSs and Resources
• 53 Killer Photoshop Illustrator Effects and Tutorials
• 50 Excellent 3D Adobe Illustrator Tutorials
• 50 Excellent Adobe Illustrator Video Tutorials

(rb)

  

Today we’re going to show you a detailed step-by-step guide on how to create a glamorous portrait using a stock reference. The final result will be 100% vector; therefore will retain its scalable properties. This walk through is ideal for those an intermediate to advanced knowledge of Illustrator. Illustrator CS5 was used for the tutorial although you can do the majority of the elements in the majority of vector programs. A Wacom Bamboo A5 tablet was also used, however you can achieve the same results with a mouse.

The final image will look like this:

Step 1

When I create my portraits I use a modified stock image as a reference.

The stock I’m going to be using in this tutorial is from Jessica Truscott. The specific image can be found here.

The original stock image.

Using the Lasso Tool (L) and the Move Tool (V), I’ve resized the majority of the image to give a more exaggerated image. Ideally I want the eyes to be the focal point of the illustration, so I make sure that the eyes and the irises are the most prominent.

Using the Brush Tool (B) I sketch and draw on the afro and hair band to give me an idea of what the overall composition may look like. I then bring this over to Illustrator to work on.

Step 1: The manipulated stock image.

Step 2

Open up Illustrator and a New Document (Ctrl + N) in with a Print document profile and Color Mode CMKY.

Go to File > Place and locate the modified stock image. Using the Free Transform Tool (E), resize the stock image to the canvas. Double click on the layer folder containing the stock image and rename it “Reference” and click on OK.

Create New Layer and rename it “BG”. Within this layer folder, use the Rectangle Tool (M) to draw a white filled rectangle to cover the canvas and reduce the opacity to 30%. This is a similar method to say using tracing paper on top of a drawing.

Finally Create New Layer and rename it “Bases” and then lock the Reference and BG layer folders.

Step 2: The canvas is prepped to start vectoring!

Step 3

Within the Bases layer folder I’m going to begin adding “base layers”. These are shapes of 100% opacity which I will use later on for shapes for clipping masks for the shading.

In total, there are four base layers: the back of the afro (C=60, M=65, Y=70, K=70), the skin (C=15, M=30, Y=35, K=0), the hair band (C=20, M=100, Y=90, K=0) and the afro overlapping the hair band (C=60, M=65, Y=70, K=70).

Step 3: The outline against the reference image and the base layer preview.

Step 4

Create New Layer and rename it “Skin”.

Copy (Ctrl + C) the skin base layer and Paste in Front (Ctrl + F) the shape into the Skin folder. Hide the Base layer folder and set the Skin folder to preview by Ctrl + Clicking on the hide Toggle of the layer palette. This is so you can see the reference image underneath while you draw the shapes for the shading.

Step 4: Skins folder on preview to show the reference image underneath.

Step 5

I’m going to be adding shading to the portrait. Using the Pen Tool (P) I will create a variety of shapes in the areas where there are shadows cast or there are darker areas in the skin. The fill color will be just a bit darker than the skin color (C=35, M=60, Y=70, K=15) and the Opacity of 5%.

Using the reference image as a guide, I begin adding the shading shapes. Adding larger shading shapes first.

Step 5a: The first two shading shapes.

Once the initial shapes have been added, I add further shapes within them to give darker shading. If you overlap areas of low opacity over each other, it will appear darker. With this process of skin shading I can gradually overlap the shapes to build up the contrast in the portrait.

Step 5b: Adding further shapes to increase the shading contrast.

I keep on adding further shapes to give a smoother look to the skin. Typically when viewing a portrait you’re drawn into the eyes, the lips, the hair… if the skin is flawless. If the skin and the shading hasn’t been rendered well, then this will always show.

Step 5c: To give an idea of the amount of shapes used in the nose to give the contrast required.

I keep building up the shading shapes until I’m satisfied with the level of detail. If I can see parts of the portrait clearly, for example detail in the ears, eyelids and nostrils; then I’m happy with the detailing.

Step 5d: Initial shading is complete, but this is only one shade!

Step 6

As you may have noticed in the image Step 15d, the shading is overlapping the skin base layer. I’m going to trim this off using a clipping mask.

Select all the shading shapes, excluding the copy of the skin base layer and Group them (Ctrl + G). Drag the group below the skin base duplicate and then recolor the duplicate to black.

Select the group and the duplicate and go to Object > Clipping Mask > Make (Ctrl + 7).

Step 6: The skin shading clipping mask is applied.

Step 7

Repeating the same process as Step 15, I’m going to add further depth to the shading by using a darker skin tone (C=45, M=65=, Y=70, K=40) with the Opacity set to 5%.

The key with using the darker color is to create smaller shapes for the darker areas rather. If you feel you’ve missed a section of shading which is a larger area, I would suggest using the color/process in Step 5.

I focus on adding shading to the edges of the skin base layer, around the eyes, nose, centre of the lips and ear details. These almost always have deeper shadows than the rest of the portrait.

Step 7a: Adding darker shadows to the portrait.

Once I’m happy with the shapes added, I group up the shapes and then drag and drop them into the clipping mask group with the other skin shading.

Step 7b: The darker shadow shapes are added to the clipping mask group.

Step 8

As I’ve now added the main shadows in the portrait, I will need to add highlights to the skin. I do this using the same color as the skin base layer (C=15, M=30, Y=35, K=0), but setting the Blending Mode to Screen and the Opacity to 7%.

I no longer use the reference image as a guide as I have the structure of the face. The parts of the illustration which have no shading present are the areas I’ll be looking at building up highlights on. If you don’t feel comfortable with this, then continue using the reference image to guide you – it’s what it’s there for!

Step 8a: The placement of the highlighting shapes.

As with before, now I’m happy with the highlight shapes I’m going to Group them (Ctrl + G) and add them to the clipping mask group.

Step 8b: The skin base with the shadow and highlight shapes.

Step 9

I create a transparent radial gradient using the skin base layer color (C=15, M=30, Y=35, K=0) with the centre at 100% opacity and the outside at 0%. I’m going to use this to add further highlights to the skin with the Blending Mode of Screen and the Opacity of 30%. The benefits of using gradients in skin shading is that it helps smooth the skin and make it look iridescent.

Step 9a: Adding further highlight shapes with a transparent radial gradient.

Then when all the shapes are placed, Group them (Ctrl + G) and add them to the clipping mask group.

Step 9b: The skin looks smooth with the use of gradients.

Step 10

The skin isn’t all one color and this is especially true for a glamorous woman who loves her make up. I’m going to add blush to her cheeks to give a rosier appearance.

Firstly I create a magenta to magenta transparent radial gradient. Then using the Ellipse Tool (L), I draw a circle on one cheek. Then Copy (Ctrl + C) and Paste (Ctrl + V) the shape and move it to the opposite cheek.

Then reduce the Opacity to 45% and the Blending Mode to Soft Light. Drag and drop the shapes into the clipping mask group when done.

Step 10: Adding pink blush to the cheeks using a transparent radial gradient.

Step 11

In the corner of a person’s eyes, the skin is often a slight shade of grey. So to incorporate this into the portrait I’m going to use a similar method as above, but using a black to black transparent radial gradient. The Blending Mode will be set to Hue and the Opacity at 30%.

Drag and drop the shapes into the clipping mask group once completed.

Step 11: Black transparent radial gradients are added to the corners of the eye.

Step 12

Using the darker skin shade (C=45, M=65=, Y=70, K=40), I’m going to create a transparent radial gradient and add a change in tone to the sides of the arms/shoulders, under the nose and under the chin/neck.

Then setting the Blending Mode to Color Burn and the Opacity to 20%.

Step 12a: Brown transparent radial gradients are added.

Then I’ll Group the shapes (Ctrl + G) and drag and drop them into the clipping mask group.

Step 12b: Due to the gradients the face looks almost porcelain.

Step 13

I’m going to create a new art brush using the Ellipse Tool (L), draw a slim black filled ellipse. Using the Convert Anchor Point Tool (Shift + C) to just click once on the end tips of the ellipse to taper the ends.

Drag and drop the shape into the Brush palette and select “Art Brush” then copy the below settings.

Step 13: Creating a curved tapered art brush.

Step 14

Create New Layer and rename it “Hair”.

Copy (Ctrl + C) and Paste in Front (Ctrl + F) the skin base layer and the two hair base layers. Using the Pathfinder options, I Minus Front the skin base layer from the larger hair shape.

Then selecting both of the hair base layers and back in Pathfinder again, select the Divide option. This will divide the afro into three shapes. Delete the shape which is overlapping the skin and wont be showing.

Finally, selecting both the remaining shapes, Unite them.

Step 14: Creating a complete afro base layer.

Step 15

I’m going to build up the hair gradually by using the Paintbrush Tool (B) and the new art brush with the stroke color of a dulled brown (C=55, M=60, Y=65, K=40).

First I go around the edges of the base layers for the hair to add C shaped strokes and spiral strokes. It’s ok to go over the edges as it will be resolved later on.

Step 15a: Starting with creating spirals around the edges of the base layer.

Then I work inwards from the edges to fill in the rest of the afro.

Step 15b: Drawing the curls inwards.

Be patient while drawing the swirls as if they are rushed they may look too messy.

Step 15c: The completed swirls.

Step 16

Copy (Ctrl + C) and Paste in Front the afro base layer (Ctrl + F).

I’m going to Select All of the strokes (Ctrl + A) and reduce the Opacity to 50%. Then I’ll Group them (Ctrl + G).

Recolor one of the afro base layer and recolor it black then drag and drop it in front of the swirl group.

Then select the swirl group and afro base layer and create a Clipping Mask (Ctrl + 7).

Step 16: The swirls in a clipping mask.

Step 17

With the duplicated afro base layer, fill it with a black transparent radial gradient with the outside set to Opacity 100%.

Then I’ll duplicate this shape and invert the gradient and use the Gradient Tool (G) to reposition and shape the gradient.

Selecting them both, I change the Blending Mode to Color Burn and the Opacity to 80%.

Step 17: Using gradients to add depth to the afro.

Step 18

I’m going to start adding further detailing to the afro now, first I want to add some texture to it. Using the Paintbrush Tool (B) and a larger stroke weight (I used 8pt), set the Blending Mode to Color Burn and the Opacity to 10%. I used a brown color (C=35, M=60, Y=80, K=25) to draw dashes around the hair area.

Overlap the dashes in areas to create darker areas in some parts to add more texture to the hair.

Then group the strokes (Ctrl + G) and add them to the afro clipping mask group.

Step 18: Wide dark dashed strokes are added to give the afro texture.

Step 19

I’m going to repeat Step 18, but with the stroke color of a lighter brown (C=25, M=40, Y=65, K=0), Blending Mode Soft Light and Opacity 10%.

Step 19: Wide light dashed strokes are added to give the afro texture.

Step 20

Afro hair doesn’t have a smooth edge, so I’m going to recreate this effect by adding strokes around the edge/outside of the afro.

I’m going to use the Paintbrush Tool (B) with the tapered brush and a small stroke weight, I’ve used 0.5pt here. I’m going to use a dark brown color (C=60, M=65, Y=70, K=90) with a Blending Mode of Multiply and Opacity of 80%.

The strokes I’m going to make are mixture of spirals, C and S shapes. Cross the lines over, make them a bit irregular, as long as a portion of the strokes are within the area of the afro. In other words, the strokes must not appear to look as if they are floating outside of the edge of the afro.

Group the strokes up (Ctrl + G) and drag and drop them below the clipping mask, not within.

Step 20: Drawing strokes around the outside of the afro.

Step 21

I’m going to split up the base layers now so I can add elements more easily.

Firstly to Create New Layer below the Hair layer folder and rename it “Afro Front”. In the Bases layer folder, drag and drop the brown long shape into this new folder.

Create New Layer below the Afro Front layer folder and rename it “Hairband”. Drag and drop the red hair band shape into this folder.

Step 21: Reorganising the layer folders.

Step 22

Within the Hairband layer folder I’m going to add strands of hair which would be shown between the ear and the hair band.

I’m going to use the Paintbrush Tool (B) with the same settings as the spirals on the outside of the afro. So that is the tapered brush and a stroke weight of 0.5pt. I’m going to use a dark brown color (C=60, M=65, Y=70, K=90) with a Blending Mode of Multiply and Opacity of 80%.

Firstly draw a guide of the hairs between the hair band and the ear. Then fill in and layer on top further strokes to thicken the hair.

Step 22: Using a structure of strands as a guide then thickening the hair up.

Step 23

Create New Layer above the Skin layer and rename it “Lips”.

If you noticed while creating the skin shading, I drew elements of the lips. This is because the lips should be considered as part of the skin. If you treat them as unconnected elements in the illustration, it will look like the lips are floating on top of the skin.

I’ll be using a red transparent radial gradient for the initial shading of the lips (C=20, M=100, Y=90, K=0).

Firstly creating an overall shape of the lips and changing the Blending Mode to Multiply and the Opacity to 30%.

Then drawing two shapes for the top and the bottom lip at a 50% opacity. The bottom lip shape will overlap the top lip to give extra shadow for the top lip. When drawing the lips, draw them slightly within the shape of the initial lip shading shape you created first. This will give the lips a softer edge.

Step 23: Gradients are used to add depth to the lips.

Step 24

Using the same gradient, I’m going to add further shapes towards the center of the lips and underneath the bottom lip.

These shapes I’m changing the Blending Mode to Color Burn and the Opacity to 30%.

Step 24a: Adding depth to the center of the lips and underneath the bottom lip.

I’m going to add further shapes in these places and the corners of the mouth to give the lips further depth.

Step 24b: More gradient shapes are added to the lips.

Step 25

I’ve decided I’m not happy with the color of the lips and wish to change it to a shade of pink. A good way of doing is, is to create a shape on top of the area you wish to recolor. Then fill it with the desired color and change the Blending Mode to Color. Play around with the Opacity of the layer to get the intensity you want.

I’ve opted for a fill color of C=20, M=100, Y=0 and K=0 with the Opacity of 60%. If you notice in the image below, I’ve draw the shape just beyond the lips area. This is to help the lips look as if they are part of the face and not floating on top of it.

Step 25: The lips are recolored to pink.

Step 26

Now that I’m happy with the color of the lips, I’m going to increase the shadow on the underneath of the top and bottom lip.

Throughout this process, I often feel I want to balance the tones and shadow. The shadow is becoming bolder in the lips, therefore I want to balance this off in the nose area.

The below shadows are done with a dark brown (C=45, M=65, Y=70, K=40) with the Blending Mode as Multiply and the Opacity at 7%.

Step 26: Balancing the shadow in the lips and the nose area.

Step 27

The more plump the lips, the more creases there are in them. This is especially true of bottom lips. So to create this texture I’m going to add some spikey shapes around the parting of the lips.

I’m using a pink fill color (C=20, M=100, Y=0, K=0) with the Blending Mode of Color Burn and Opacity of 40%. Some areas will be darker than others, so I’ve overlapped the spikes to reflect this.

Step 27: Adding creases to the lips.

Step 28

To emphasis the creases further, I’m going to start adding highlights to the creases and the top of the lips.

Firstly, create a light pink transparent radial gradient (C=5, M=35, Y=0, K=0) and then use this to draw long shapes between the creases previously drawn. Then along the top of the top lip. Then set the Blending Mode for the shapes to Screen and Opacity 30%.

Step 28: Using gradients to highlight the lips and creases.

Step 29

Now to add the teeth. Using the light pink transparent radial gradient, draw out the teeth individually and then a smaller shape within. This will give the impression of a slight shadow from all sides. Set the Blending Mode to Screen and the Opacity to 20%.

Then using a black transparent radial gradient with the centre at 0% opacity, draw a shape which covers the entire opening of the mouth. Set the Blending Mode to Multiply and the Opacity to 25%.

Using a solid black color, add further shadows in the corner of the mouth opening and in between the teeth on Mulitply and 25% as before.

Step 29: Adding the teeth and inner mouth shadow.

Step 30

Finally, using the Ellipse Tool (L) with the light pink transparent radial gradient on the Blending Mode Color Dodge and Opacity 40%, add circles on the bottom lip and along the outside of the lips. This is to give the impression of shine and glitter.

Step 30: Creating a glitter effect with radial gradients.

Step 31

Create New Layer above the Hair layer folder and rename it “Eye shadow”.

I’m going to create to transparent radial gradients. A green one for the eyelid (C=85, M=10, Y=100, K=0) and a yellow (C=0, M=0, Y=100, K=0) gradient for above the eyelid. Set the gradients to Blending Mode Color Burn. This will give me a good base for the eyeshadow.

Step 31: Using simple gradients for disco eyeshadow.

Step 32

Create New Layer above the Eye shadow layer folder and rename it “Eyes”.

Using the Pen Tool (P) and a white fill color, draw around the whole eyeball including the corner. Then draw within the eye ball but excluding where there would be a slight shadow. Finally adding white shapes either side of the iris but within the other shapes.

Then reduce the Opacity of the shapes to 40%. This is because I want to give the eyeball some impression of shadow and eyeballs aren’t white!

Step 32: Adding white shapes for the eyeballs.

Step 33

I’m going to use the Ellipse Tool (L) to draw a circle for one the iris of one eye with a blue fill color (C=85, M=50, Y=0, K=0). Copy (Ctrl + C) and Paste (Ctrl + V) the circle and move it into place for the other eye.

Using the Pen Tool, add anchor points (+) where the circle meets the upper and lower eyelids. Then remove the anchor points (-) which are beyond the eye ball.

Copy (Ctrl + C) and Paste in Front (Ctrl + F) the shapes and using the Free Transform Tool (E) decrease the size of the shape slightly.

Then select all the blue shapes and reduce the Opacity to 75%. Due to duplicating and resizing the shape, it gives the iris a soft outline.

Step 33: Creating the shape for the iris.

Step 34

Using the Ellipse Tool (L) and a similar technique, I’m going to create a circle for the pupil filled with black and with the Blending Mode Multiply and Opacity 70%.

Duplicate the circle and decrease it’s size to soften the edge. Then Copy (Ctrl + C) and Paste (Ctrl + V) the two circles and place for the other eye.

Step 34: Creating the pupil.

Step 35

I’m going to begin adding further shading and detail to the eye. The pupil shapes can be used as a guide to where the detailing is surrounding so I would advise these elements to be below the pupil shapes so it doesn’t distort it. Also worth noting, that whatever I do to one eye, I repeat the process for the other.

I’m going to build up the shading and contrast within the iris. Throughout creating this, you need to consider the main color of the iris, which in this case I want to be blue and the shadow and highlight in the eye. The top eyelid and eyelashes will cast shadow over the eye and the iris, so shading will need to be taken into consideration.

My first step is to add shading around the sides of the eye and towards the top by layering a darker blue (C=100, M=100, Y=25, K=25) at Blending Mode Multiply and Opacity 30%.

Step 35: Adding shading towards the top and sides of the iris.

Step 36

Create a new transparent radial gradient with a pink color (C=10, M=100, Y=50, K=0) on the outside set at 100% opacity and the centre with a blue (C=100, M=0, Y=0, K=0) at 0% opacity.

Using this gradient, Copy (Ctrl + C) and Paste in Front (Ctrl + F) the smaller shape for the base of the iris twice. With the first gradient, use it to give a soft outline to the whole iris.

Step 36a: The gradient adds a soft outline to the iris.

Then using the second gradient to give a highlighting area towards the bottom of the iris, but will also give shade towards the top of the iris. Set both of the gradient shapes at a Blending Mode of Color Burn.

Step 36b: The gradient adds contrast to the iris.

Step 37

I’m going to add some detail into the iris. To do this draw a circle using the Ellipse Tool (L) with a yellow fill color (C=0, M=0, Y=100, K=0). Then apply a Zig Zag effect by going to Effects > Distort & Transform > Zig Zag and use the below settings.

Step 37a: Applying a zig zag effect to a circle.

Copy (Ctrl + C) and Paste (Ctrl + V) the shape over to the other iris. Then set the Blending Mode to Overlap and the Opacity to 70%.

Copy (Ctrl + C) and Paste in Front (Ctrl + F) the smaller iris base shapes and use them to create a clipping mask for the zig zagged shapes.

Step 37b: Using a clipping mask to trim the zig zag shape.

Step 38

Using the Ellipse Tool (L) create two circles and Minus Front the smaller circle from the larger. The smaller circle should be the same size as the pupil. Create a yellow transparent radial gradient (C=0, M=0, Y=100, K=0) and fill it circle with it.

Set the Blending Mode to Overlay and the Opacity to 50%.

Step 38: Using a gradient to add further contrast.

Step 39

I want to add more contrast around the outside of the iris. So I’m going to add some dark blue shapes (C=100, M=100, Y=25, K=25) set to Blending Mode Multiply around the sides and top.

Step 39: Adding darker shapes to increase contrast.

Step 40

The eyeball has some shading from around the top lip towards the corners. To reflect this I’m going to add two black transparent radial gradients with the center at 0% set to Blending Mode Multiply and Opacity 35%.

Then I’m going to add a black fill shape around the top of the eyeball and corner of the eyes. This is a more solid shadow cast by the eyelid. I’m going to set the Opacity to 25%.

These shapes and further from now on will be above the eye’s pupil.

Step 40: Using gradients to add a shadow to the eyeball.

Step 41

Using the red from the hair band to create a red transparent radial gradient, draw two shapes at the corners of the eyes. Bring the source of the gradients right into the corner.

Set the Blending Mode to Hard Light and Opacity to 25%.

Step 41: Adding the red to the corner of the eyes.

Step 42

Now to start building on the lashes and to do this I’m going to give our girl a nice thick eye line on her top lashes and a slimmer line along her bottom lid.

Using the Pen Tool (P) to draw several black shapes with the Blending Mode Multiply and Opacity of 25%. I layer them in lower opacities to give a soft line to the eyes as it appears more natural. I also add two shapes in the eye lid crease to define it.

Step 42: Layering black shapes to create a soft line.

Step 43

I’m going to build up the eye shadow further with a shine around the eyelids. Within the Eyes layer folder I’m going to add the same green transparent radial gradient used for the eye shadow on the top and bottom lids. The set the Blending Mode to Color Dodge.

Then adding the yellow transparent radial gradient to the corner of the eyes and set that to Blending Mode Color Dodge and Opacity to 75%.

Step 43: Adding color dodge gradients to the eye shadow to give a shine.

Step 44

With the fill color of the green transparent radial gradient with the Blending Mode Color Dodge and Opacity of 75%, use the Ellipse Tool (L) to draw circles around the eye shadow areas to give the impression of glitter.

Select the all and then Group them (Ctrl + G).

Step 44: Using radial gradients to create a glitter effect.

Step 45

Using the brush I used for the hair, I’m going to use the Paintbrush Tool (B) to create the eyelashes. I’m using 0.25pt stroke weight and stroke color of black. Then setting the top lashes to Blending Mode Multiply and the Opacity to 75%. The lashes are drawn in a slight J shape, so they curve over the lash line and over into the eyeball. Then I Group up the top lashes (Ctrl + G).

Step 45a: Adding the eyelashes using the Paintbrush Tool (B).

The lower lashes aren’t as prominent, so I’m just going to lower the Opacity to 50% for those and then Group them as before (Ctrl + G).

Step 45b: Adding the eyelashes using the Paintbrush Tool (B).

Step 46

To finish off the eyes I’m going to add some white transparent radial gradients to the eyeball to add a shine and light source. These will be set to a 75% Opacity.

I’m going to Copy (Ctrl + C) and Paste (Ctrl + V) the light source so they match, the other elements are drawn individually so they don’t look cloned. In the shines, make the top line of them slightly jagged to give the impression that the eyelashes are casting a shadow.

Step 46: Adding a shine and light source using a white gradient.

Step 47

Create New Layer above the Eyes layer folder and rename it “Eyebrows”.

I’m going to use the Paintbrush Tool (B) with a 0.5pt stroke weight. Using the brush used for the hair, I’m going to draw the eyebrows using a medium brown stroke color (C=45, M=65, Y=70, K=40) set on Blending Mode Multiply and Opacity 45%.

Layer the strokes to give the impression of denser eyebrow hairs in parts.

Step 47: Adding the eyebrows.

Step 48

Going into the Hairband layer folder, I’m going to change the base layer of the hair band to a dark blue (C=100, M=100, Y=25, K=25) to compliment the eyes.

Copy (Ctrl + C) and Paste in Front (Ctrl + F) the base layer and fill it with a black transparent radial gradient with the center at 0% Opacity. Using the Gradient Tool (G) shift the source and change the shape of the gradient to give the impression of shadow at the sides of the hair band and underneath the afro.

Set the Blending Mode to Multiply.

Step 48: Using a gradient to add shadow into the hair band.

Step 49

Create a cyan transparent radial gradient with the source being more concerned towards the centre. Then using the Ellipse Tool (L), draw many circles over the hair band, overlapping some and set them to a Blending Mode of Screen and the Opacity of 35%.

Step 49: Creating a glitter effect on the hair band.

Step 50

With a black fill color, using the Pen Tool (P) draw a shape to represent the shadow which would be cast by the afro bangs/fringe onto the hair band. Set this to Blending Mode Multiply and Opacity 65%.

Step 50a: Adding a drop shadow effect on the hair band.

Then changing the Opacity to % to add a slight drop shadow around the bottom of the hair band onto the forehead. The shape should slightly cover the bottom of the hair band also to give it some depth.

Step 50b: Adding a drop shadow effect on the hair band and forehead.

Step 51

After you’ve put this level of detail and color into a portrait, you may notice that the skin is lacking the same amount of contrast. It’s usually at this point I add further skin shading.

I’m going to add some extra shadow around the ears, nostrils, under the chin and at the sides of the shoulders using a brown shade (C=45, M=65, Y=70, K=40) set to Blending Mode Multiply and Opacity 10%.

Step 51a: Compared to the rest of the portrait, the skin requires more shading.

Repeating this process again but for the highlights and the light brown (C=15, M=30, Y=35, K=0) transparent radial gradient I used previously set to Blending Mode Screen and Opacity 25%.

Step 51b: Adding gradients to create further highlights.

Then once they are drawn, I’ll Group them (Ctrl + G) and drag and drop them to the Skin shading clipping mask group.

Step 52

Create New Layer above all the other layer folders and rename it “Earrings”.

Using the Ellipse Tool (L) with a yellow stroke color and 4pt weight, draw a long ellipse. Copy (Ctrl + C) and Paste (Ctrl + V) it and using the Free Transform Tool (E) make it slightly fatter. Then go to Object > Expand.

Step 52a: Creating long ellipses for the hooped earrings.

Using the Pen Tool (P) and then using Pathfinder Minus Front, remove the section of the hoop which is hidden by the ear lobe.

Step 52b: Using Pathfinder to take away the hidden part of the hoop.

Step 53

Copy (Ctrl + C) and Paste in Front (Ctrl + F) the hoop bases. Using the green transparent radial gradient I used for the eye shadow to fill the duplicates. I’m going to invert it and then using the Gradient Tool (G), reposition and shape the gradient to appear to be the back of the hoop so it’s yellow in front.

Then set the Opacity to 75%.

Step 53: Using a gradient to give the impression of shadow.

Step 54

I’m going to add further shading to the hoops. Firstly by adding two shapes to each of the hoops to give the impression of the inside of them being hollow. This is with a dark green (C=90, M=30, Y=95, K=30) set to Blending Mode Multiply and the Opacity of 60%.

Then Copy (Ctrl + C) and Paste in Front (Ctrl + F) the base of the hoop and use it to create a Clipping Mask (Ctrl + 7).

Duplicate the base hoop again and position a white transparent radial gradient over the yellow portion of the hoop to give the impression of a shine. Set this to Screen, 70%.

Step 54: Adding shading and shine to the hoop earring.

Step 55

Using a similar technique as previous, I’m going to use white transparent radial gradients on Blending Mode Color Dodge and Opacity 75% to create a sparkling effect on the hoops.

I’m only going to place these to the yellow portion of the hoop as it can be assumed that a decorative finish would be applied to the outside of the earring.

Step 55: Sparkles are added to the hoop using a radial gradient.

Step 56

Go into the BG layer folder and using the Free Transform Tool (E), alter the shape of the white rectangle and then change the fill color to a pink shade which was used for the lips (C=20, M=100, Y=0, K=0) and change the Opacity to 100%.

I’m then going to create a vignette effect in the background by duplicating the pink rectangle and then applying a black transparent radial gradient set to Blending Mode Multiply.

Step 56: Adding a vignette effect with a black radial gradient.

Step 57

Create New Layer above the Skin layer folder and rename it “Mole”. I always like to add atleast one mole to the skin, as I feel the flaws in a person give them beauty.

To create a simple mole, offset two brown transparent radial gradients upon each other using the Ellipse Tool (L). Then set the Blending Mode to Multiply and the Opacity to 50%.

I then Group them together (Ctrl + G) and I can duplicate them and place them all over the body where I feel is appropriate. In this piece, I’m going to add a mole above the top lip to bring more focus to the lips and then add a couple to her shoulder.

Step 57: Using gradients to create a mole.

Step 58

Finally, using the Artboard Tool (Shift + O), set the boundaries of the art board so it gives a large boarder around the image.

Step 58: Giving the overall piece a frame using the Artboard Tool.

Conclusion

The portrait itself took about 6 hours to complete with the majority of the time spent doing the skin shading and the hair curls. If you’re attempting a portrait this complex in vector for the first time, try not to rush it. It’s the finer details which help build an overall beautiful illustration and not to mention 100% scalable.

The final vector of our Disco Diva.

(rb)