Splintered

I decided to paint this SketchClub portrait using the vector tool almost exclusively, instead of using brushes. I did this to get a stylized rather than a realistic look. I used the vector tool to paint shapes for her features, clothing, and light and dark areas of her face and neck, using the color picker to choose colors for each shape suitable for areas of light or shadow. I made extensive use of layers so that I could move some shapes in front of others. At the end I turned off visibility on the photo layer. Then I used MetaBrush and iColorama to make some interesting variations.

I would have never tried doing a portrait using SketchClub's vector tool if I hadn't been challenged to by Julia Kay at her Portrait Party at the 2017 MDAC Summit. It turns out that with some imagination and some understanding of the structure and lighting of the face, and especially with the help of layers, that it's not at all difficult! With a little practice with the vector tool before I started the portrait proper, I found I was able to produce interesting shapes.

I started with this photo from the Sktchy app. I opened the photo in SketchClub and stretched it to fill the canvas. I reduced the opacity of the photo layer, because I'll just be using it as a guide.

I created a new layer above the photo layer. I used the color picker to choose a black color. I selected Vector from the tools menu, and I created shapes for the two eyebrows.

Continuing on the same layer, I used the Vector tool to create two black round shapes for her eyeballs. Using the color picker to switch to white, I used the vector tool to create vertical white shapes for catchlights in her eyes. Switching the color back to black, I continued with the vector tool to make three black shapes for part of her clothing. Don't be afraid to overlap the shapes to create more complex shapes. Also, use the eraser tool as needed to clean up any stray edges or to remove parts of the shapes, to get the shapes you want.

Now I added another new layer and dragged it to be underneath the layer we just painted on, but above the photo layer. I switched the color to white to make the whites of the eyes, and I used the vector tool to make white triangular shapes on either side of the eyeballs, in such a way that the fat base of the triangles were hidden underneath the black eyeballs. This is why we are painting on a layer underneath the eyeballs: I don't have to be so careful with the fat bases of the triangles because those edges will be hidden underneath the eyeballs. Nevertheless, it took a bit of trial and error to get triangular shapes I liked. Now I chose a brown color and used the vector tool to make shapes around the eyeballs, making them overlap with each other a bit to form closed shapes enclosing the eyes.

I selected a dark purple color to represent the skin areas of deepest shadow. I created a new layer underneath the layer we just painted on, but above the photo layer. I used the vector tool to create shadow shapes around her eyes and on her neck. Some of these dark purple shapes were made by overlapping two or more different shapes of the same color, to make a more complex shape. Because we are painting on a layer underneath the previous layers, we have more freedom to create shapes that otherwise would cover parts of the shapes on the higher layers. That means we don't have to painstakingly paint our shapes to match shapes that we already painted on those higher layers. For example, I could make one large rectangular-ish purple shape for the shadow above the left eye, not worrying that the rectangular shape actually overlaps the eye and eyebrow, because the area of overlap will be obscured by the eye that I already painted on the higher layers.

I continued painting on this layer using the vector tool, making two small black nostrils as well as shadow shapes under the mouth and on the lower right side of the face. To paint the purple shadows around the nostrils, I made another new layer just under the layer with the nostrils. This makes it easier to paint the purple shadow shapes without worrying about obscuring the nostrils. I used the color picker to match the deep purple color that I'd used previously, and I used the vector tool to make a few overlapping purple shapes, that look like one continuous shape.

On a new layer, I chose a white color and used the vector tool to paint the white stripes on her shirt. Each stripe is actually a few connected white shapes. I dragged this layer above the layer on which I had already painted part of her black shirt. Then I went back to the layer on which I had started painting her black shirt. I used the color picker to match the black that I'd used previously, and I added a few more overlapping black rectangular shapes to cover the entire shirt area. Because the white stripes are on a higher layer, they are not obscured. I used the eraser tool to edit the edge of the shirt to look more like folds or wrinkles.

I added a new layer and dragged it above the layer on which I'd already painted the mouth shadow. I made a dark red shape for the upper lip and a lighter red shape for the lower lip, with a thin gap between the shapes. Then I went back to the layer on which I'd painted the mouth shadow, and I used the vector tool to paint a few overlapping purple shapes that covered the gap between the lips. Because I'm painting underneath the layer with the lips, I don't have to worry about accidentally painting over the lips as I paint to fill the gap.

On the same layer as the other deep purple face shadows, I used the color picker to match the deep purple that I'd used earlier, and I used the vector tool to paint a thin shadow along the right side of her nose.

I added a new layer underneath the layer with the deep purple eye shadows. I used the color picker to match the black that I'd used earlier, and I used the vector tool to paint an extra rectangular extension to her right eyebrow. Then I used the color picker to match the deep purple that I'd used earlier, and I used the vector tool to paint an extension to the purple shadow on the right side of the right eye.

I added a new layer, and I dragged it to be underneath the layers with the dark purple shadows. I used the color picker to match the deep purple that I'd used earlier, and then I picked a somewhat lighter shade of that purple color. I used the vector tool to paint a thin shadow along the lower left side of her face. I also added a shadow for the dimpled spot on the left of the mouth, and also to the right of the mouth, making sure that the layer with the mouth was above and not below the layer I was painting on, because I didn't want to paint over any part of the mouth.

I continued painting with the vector tool on the same layer, to create different areas of lighter shadow on the upper right and left sides of the face, the right side of the mouth, and on her chin and neck, choosing a few different lighter shades of the same purple. I used the shadows of the photo to guide me.

I added another new layer, and I dragged it to be underneath the layer with the nostrils and the layer with the deep purple nose shadows surrounding the nostrils. I used the vector tool to paint a light purple nose shadow, without fear of obscuring the nose.

On the empty layer beneath the photo layer, I selected a pale yellow color, I chose the Fill tool from the tools menu, and I tapped the screen to fill the layer. This left white areas where there had been hair in the photo. I turned off visibility for the photo layer, since I won't need it anymore.

I continued adding layers and using the vector tool to paint colored shapes, making sure to position each layer below any image elements I didn't want to obscure. I used my knowledge of the planes of the face and how they are lit to decide on what shapes and colors I should use. I ended up with a large number of layers.

I turned on visibility for the photo layer briefly to judge the extent of the hair. I added a new layer at the top of the layer stack. Then I selected Procedural from the tools menu and chose the Ribbon tool. I selected a black color, and drew ribbons for the hair. This was my only use of a tool other than vector for this portrait.

I turned off visibility for the photo layer. Then I continued adding new layers beneath the ribbon layer and created colored shapes using the vector tool, to paint the hair various shades of brown and yellow. Then I made a new layer just above the photo layer, and I used the vector tool to paint two large colored rectangles, one on either side of the face, to change the background color. Now we are done with SketchClub. I saved to my camera roll.

I opened the image in iColorama and used Tone/Enhance to modify the color.

I used Effect/Scrape to smear things a little. I experimented with all the sliders.

I used Effect/Blend to blend the image with itself, offset slightly to the right, in Difference blend mode. I experimented with all the sliders, including the Lightness slider and both ends of the gray slider under Set. I used a brush mask to protect the eyeballs on the lower layer. After applying, I removed the mask. Then I used Adjust/Levels to increase contrast a bit. I used Effect/Raise at low opacity to emphasize the edges. I tried various presets under Effect/Raise.

I used Preset/Border preset 7 with the radius set to maximum and blur set to zero.

I used Brush/Paint and the default brush to paint a thick white border along the lower left of the canvas. I used the color picker to match the white of the paint to the white of the adjacent border.

Again I used Brush/Paint with a white default brush and painted a diagonal border in the lower left of the canvas. To give it a gradient effect, I used a brush mask painted with a large soft round brush, over part of the paint stroke.

For another variation, I went back to this version of the image and opened it in iColorama.

I used Style/Flat Preset 18 at about half opacity. I tried all the slider settings.

I used Effect/Raise, trying different presets and slider settings. Then I used Form/Crop to crop from the top and bottom of the canvas.

I used Form/Warp to push elements off the top, bottom, and right and left sides of the canvas.

For another variation, I started again with this version. I opened the image in Metabrush.

On a duplicate layer, I selected Brushes and painted with short strokes using Color4. I used the DryTwo 1 brush and the default brush settings.

On another duplicate layer, I painted with Brushes/Art4 and Brushes/Noise. Then on another duplicate layer, I painted with Wets/Lines.

On another duplicate layer, I selected Brushes/Paint. I touched the round flower-like icon on the upper left side of the screen, and chose a version of this same image as brush image. I used a small DryTwo 1 brush. In brush settings, I increased spacing, and set all the variances to their maximums, and I increased the structure setting. Then I painted around some of the edges of the image.

I adjusted all the layer opacities. Then I saved to my camera roll.

I opened the image in iColorama. I used Adjust/EQ preset 1 at medium opacity to enhance the color. I used Tone/Enhance to modify the color. I used Adjust/Levels to increase contrast. I used Effect/Denoise preset 4 several times to reduce aliasing. I used Effect/Raise to emphasize the textures. I added a signature using Form/Signature.