11Ĭlean up the paths by deleting excess points (use the Delete Anchor Point tool) and smoothing out others (the Smooth tool lives under the Pencil tool and its settings can be adjusted by double-clicking on it). Now you’re just left with the black silhouette. This will select all of the white shapes. Using the Magic Wand (Y), click the white, negative shape. It will save you a lot of time in the long run. NOTE: I cannot stress enough the importance of tweaking the settings in the Tracing Options dialog and getting a good trace to work with. This will convert the trace into vector paths. At this point, you can still reopen the Tracing Options and make changes – the trace is still “live.” When you are satisfied with the look of the trace, go to Object>Live Trace>Expand. Too many points and it will look jaggy, too few and it will look weird.Once it looks the way you want it, click Trace. It may be helpful to see this preview because what you want is a smooth line with a fair amount of detail. This does not affect the paths, it is only a preview. TIP: In the bottom pane of the Tracing Options dialog, you can choose how you want to preview the trace on screen. As you change the settings, you will see the trace change before your eyes. These settings determine how closely Live Trace will follow the contours of the image. In the Trace Settings pane, decrease the Path Fitting and the Minimum Area (see Step 8). The mode should already be set to Black and White. In the Tracing Options dialog, click the Preview button. Select it by clicking on it with the black arrow, aka Selection tool, then go to Object>Live Trace>Tracing Options. Choose File>Place and place your newly-saved file. Illustrator can accept most raster file formats as placed images. You can now flatten the image and save it as a TIFF, or simply save the PSD with the silhouette layer visible. 7ħSelect>All, copy and paste into a new layer. Once you’ve isolated the black silhouetted shape, fill the other outside areas with white. Here, I’ve filled in the arm with black, then I’ll continue dodging the background. You may have to paint some of the areas that won’t burn or dodge completely. Do the same with the Burn tool, using it to burn the shadows. Now, using the Dodge tool, set it to affect only the Highlights, and begin dodging the lighter areas. 4Īdjust the Levels (Image>Adjust>Levels) on the new, duplicated channel to make the image contrast even more. 3ĭuplicate the channel by dragging its thumbnail to the new channel icon in Photoshop’s Channels palette. For this photo, I’ve chosen the green channel. Look for something with a good amount of contrast, in which the darks of the figure stand out from the background. In Photoshop, examine the three channels. Try to avoid something with weird angles or extreme foreshortening. Keep in mind how the figure will look in silhouette. A figure shot on a flat white background is ideal, but one with fairly good contrast should work fine. Knowledge of Photoshop channels will help you work through the steps, but is not required.
#Silhouette connect illlustrator cc how to
This tutorial will demonstrate how to create a vector silhouette from a photo using Photoshop plus Illustrator’s Live Trace tool.
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