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Creating a Reusable Pagination Component in Vue

Post pobrano z: Creating a Reusable Pagination Component in Vue

The idea behind most of web applications is to fetch data from the database and present it to the user in the best possible way. When we deal with data there are cases when the best possible way of presentation means creating a list.

Depending on the amount of data and its content, we may decide to show all content at once (very rarely), or show only a specific part of a bigger data set (more likely). The main reason behind showing only part of the existing data is that we want to keep our applications as performant as possible and avoid loading or showing unnecessary data.

If we decide to show our data in „chunks” then we need a way to navigate through that collection. The two most common ways of navigating through set of data are:

The first is pagination, a technique that splits the set of data into a specific number of pages, saving users from being overwhelmed by the amount of data on one page and allowing them to view one set of results at a time. Take this very blog you’re reading, for example. The homepage lists the latest 10 posts. Viewing the next set of latest posts requires clicking a button.

The second common technique is infinite scrolling, something you’re likely familiar with if you’ve ever scrolled through a timeline on either Facebook or Twitter.

The Apple News app also uses infinite scroll to browse a list of articles.

We’re going to take a deeper look at the first type in this post. Pagination is something we encounter on a near-daily basis, yet making it is not exactly trivial. It’s a great use case for a component, so that’s exactly what we’re going to do. We will go through the process of creating a component that is in charge of displaying that list, and triggering the action that fetches additional articles when we click on a specific page to be displayed. In other words, we’re making a pagination component in Vue.js like this:

Let’s go through the steps together.

Step 1: Create the ArticlesList component in Vue

Let’s start by creating a component that will show a list of articles (but without pagination just yet). We’ll call it ArticlesList. In the component template, we’ll iterate through the set of articles and pass a single article item to each ArticleItem component.

// ArticlesList.vue
<template>
  <div>
    <ArticleItem
      v-for="article in articles"
      :key="article.publishedAt"
      :article="article"
    />
  </div>
</template>

In the script section of the component, we set initial data:

  • articles: This is an empty array filled with data fetched from the API on mounted hook.
  • currentPage: This is used to manipulate the pagination.
  • pageCount : This is the total number of pages, calculated on mounted hook based on the API response.
  • visibleItemsPerPageCount: This is how many articles we want to see on a single page.

At this stage, we fetch only first page of the article list. This will give us a list two articles:

// ArticlesList.vue
import ArticleItem from "./ArticleItem"
import axios from "axios"
export default {
  name: "ArticlesList",
  static: {
    visibleItemsPerPageCount: 2
  },
  data() {
    return {
      articles: [],
      currentPage: 1,
      pageCount: 0
    }
  },
  components: { 
    ArticleItem, 
  },
  async mounted() {
    try {
      const { data } = await axios.get(
        `?country=us&page=1&pageSize=${
          this.$options.static.visibleItemsPerPageCount
        }&category=business&apiKey=065703927c66462286554ada16a686a1`
      )
      this.articles = data.articles
      this.pageCount = Math.ceil(
        data.totalResults / this.$options.static.visibleItemsPerPageCount
      )
    } catch (error) {
      throw error
    }
  }
}

Step 2: Create pageChangeHandle method

Now we need to create a method that will load the next page, the previous page or a selected page.

In the pageChangeHandle method, before loading new articles, we change the currentPage value depending on a property passed to the method and fetch the data respective to a specific page from the API. Upon receiving new data, we replace the existing articles array with the fresh data containing a new page of articles.

// ArticlesList.vue
...
export default {
...
  methods: {
    async pageChangeHandle(value) {
      switch (value) {
        case 'next':
          this.currentPage += 1
          break
        case 'previous':
          this.currentPage -= 1
          break
        default:
          this.currentPage = value
      }
      const { data } = await axios.get(
        `?country=us&page=${this.currentPage}&pageSize=${
          this.$options.static.visibleItemsPerPageCount
        }&category=business&apiKey=065703927c66462286554ada16a686a1`
      )
      this.articles = data.articles
    }
  }
}

Step 3: Create a component to fire page changes

We have the pageChangeHandle method, but we do not fire it anywhere. We need to create a component that will be responsible for that.

This component should do the following things:

  1. Allow the user to go to the next/previous page.
  2. Allow the user to go to a specific page within a range from currently selected page.
  3. Change the range of page numbers based on the current page.

If we were to sketch that out, it would look something like this:

Let’s proceed!

Requirement 1: Allow the user to go to the next or previous page

Our BasePagination will contain two buttons responsible for going to the next and previous page.

// BasePagination.vue
<template>
  <div class="base-pagination">
    <BaseButton
      :disabled="isPreviousButtonDisabled"
      @click.native="previousPage"
    >
      ←
    </BaseButton>
    <BaseButton
      :disabled="isNextButtonDisabled"
      @click.native="nextPage"
    >
      →
    </BaseButton>
  </div>
</template>

The component will accept currentPage and pageCount properties from the parent component and emit proper actions back to the parent when the next or previous button is clicked. It will also be responsible for disabling buttons when we are on the first or last page to prevent moving out of the existing collection.

// BasePagination.vue
import BaseButton from "./BaseButton.vue";
export default {
  components: {
    BaseButton
  },
  props: {
    currentPage: {
      type: Number,
      required: true
    },
    pageCount: {
      type: Number,
      required: true
    }
  },
  computed: {
    isPreviousButtonDisabled() {
      return this.currentPage === 1
    },
    isNextButtonDisabled() {
      return this.currentPage === this.pageCount
    }
  },
  methods: {
    nextPage() {
      this.$emit('nextPage')
    },
    previousPage() {
      this.$emit('previousPage')
    }
  }

We will render that component just below our ArticleItems in ArticlesList component.

// ArticlesList.vue
<template>
  <div>
    <ArticleItem
      v-for="article in articles"
      :key="article.publishedAt"
      :article="article"
    />
    <BasePagination
      :current-page="currentPage"
      :page-count="pageCount"
      class="articles-list__pagination"
      @nextPage="pageChangeHandle('next')"
      @previousPage="pageChangeHandle('previous')"
    />
  </div>
</template>

That was the easy part. Now we need to create a list of page numbers, each allowing us to select a specific page. The number of pages should be customizable and we also need to make sure not to show any pages that may lead us beyond the collection range.

Requirement 2: Allow the user to go to a specific page within a range

Let’s start by creating a component that will be used as a single page number. I called it BasePaginationTrigger. It will do two things: show the page number passed from the BasePagination component and emit an event when the user clicks on a specific number.

// BasePaginationTrigger.vue
<template>
  <span class="base-pagination-trigger" @click="onClick">
    {{ pageNumber }}
  </span>
</template>
<script>
export default {
  props: {
    pageNumber: {
      type: Number,
      required: true
    }
  },
  methods: {
    onClick() {
      this.$emit("loadPage", this.pageNumber)
    }
  }
}
</script>

This component will then be rendered in the BasePagination component between the next and previous buttons.

// BasePagination.vue
<template>
  <div class="base-pagination">
    <BaseButton />
    ...
    <BasePaginationTrigger
      class="base-pagination__description"
      :pageNumber="currentPage"
      @loadPage="onLoadPage"
    />
    ...
    <BaseButton />
  </div>
</template>

In the script section, we need to add one more method (onLoadPage) that will be fired when the loadPage event is emitted from the trigger component. This method will receive a page number that was clicked and emit the event up to the ArticlesList component.

// BasePagination.vue
export default {
  ...
    methods: {
    ...
    onLoadPage(value) {
      this.$emit("loadPage", value)
    }
  }
}

Then, in the ArticlesList, we will listen for that event and trigger the pageChangeHandle method that will fetch the data for our new page.

// ArticlesList
<template>
  ...
    <BasePagination
      :current-page="currentPage"
      :page-count="pageCount"
      class="articles-list__pagination"
      @nextPage="pageChangeHandle('next')"
      @previousPage="pageChangeHandle('previous')"
      @loadPage="pageChangeHandle"
    />
  ...
</template>

Requirement 3: Change the range of page numbers based on the current page

OK, now we have a single trigger that shows us the current page and allows us to fetch the same page again. Pretty useless, don’t you think? Let’s make some use of that newly created trigger component. We need a list of pages that will allow us to jump from one page to another without needing to go through the pages in between.

We also need to make sure to display the pages in a nice manner. We always want to display the first page (on the far left) and the last page (on the far right) on the pagination list and then the remaining pages between them.

We have three possible scenarios:

  1. The selected page number is smaller than half of the list width (e.g. 1 – 2 – 3 – 4 – 18)
  2. The selected page number is bigger than half of the list width counting from the end of the list (e.g. 1 – 15 – 16 – 17 – 18)
  3. All other cases (e.g. 1 – 4 – 5 – 6 – 18)

To handle these cases, we will create a computed property that will return an array of numbers that should be shown between the next and previous buttons. To make the component more reusable we will accept a property visiblePagesCount that will specify how many pages should be visible in the pagination component.

Before going to the cases one by one we create few variables:

  • visiblePagesThreshold:- Tells us how many pages from the centre (selected page should be shown)
  • paginationTriggersArray: Array that will be filled with page numbers
  • visiblePagesCount: Creates an array with the required length
// BasePagination.vue
export default {
  props: {
    visiblePagesCount: {
      type: Number,
      default: 5
    }
  }
  ...
  computed: {
    ...
      paginationTriggers() {
        const currentPage = this.currentPage
        const pageCount = this.pageCount
        const visiblePagesCount = this.visiblePagesCount
        const visiblePagesThreshold = (visiblePagesCount - 1) / 2
        const pagintationTriggersArray = Array(this.visiblePagesCount - 1).fill(0)
      }
    ...
    }
  ...
}

Now let’s go through each scenario.

Scenario 1: The selected page number is smaller than half of the list width

We set the first element to always be equal to 1. Then we iterate through the list, adding an index to each element. At the end, we add the last value and set it to be equal to the last page number — we want to be able to go straight to the last page if we need to.

if (currentPage <= visiblePagesThreshold + 1) {
  pagintationTriggersArray[0] = 1
  const pagintationTriggers = pagintationTriggersArray.map(
    (paginationTrigger, index) => {
      return pagintationTriggersArray[0] + index
    }
  )
  pagintationTriggers.push(pageCount)
  return pagintationTriggers
}
Scenario 2: The selected page number is bigger than half of the list width counting from the end of the list

Similar to the previous scenario, we start with the last page and iterate through the list, this time subtracting the index from each element. Then we reverse the array to get the proper order and push 1 into the first place in our array.

if (currentPage >= pageCount - visiblePagesThreshold + 1) {
  const pagintationTriggers = pagintationTriggersArray.map(
    (paginationTrigger, index) => {
      return pageCount - index
    }
  )
  pagintationTriggers.reverse().unshift(1)
  return pagintationTriggers
}
Scenario 3: All other cases

We know what number should be in the center of our list: the current page. We also know how long the list should be. This allows us to get the first number in our array. Then we populate the list by adding an index to each element. At the end, we push 1 into the first place in our array and replace the last number with our last page number.

pagintationTriggersArray[0] = currentPage - visiblePagesThreshold + 1
const pagintationTriggers = pagintationTriggersArray.map(
  (paginationTrigger, index) => {
    return pagintationTriggersArray[0] + index
  }
)
pagintationTriggers.unshift(1);
pagintationTriggers[pagintationTriggers.length - 1] = pageCount
return pagintationTriggers

That covers all of our scenarios! We only have one more step to go.

Step 5: Render the list of numbers in BasePagination component

Now that we know exactly what number we want to show in our pagination, we need to render a trigger component for each one of them.

We do that using a v-for directive. Let’s also add a conditional class that will handle selecting our current page.

// BasePagination.vue
<template>
  ...
  <BasePaginationTrigger
    v-for="paginationTrigger in paginationTriggers"
    :class="{
      'base-pagination__description--current':
        paginationTrigger === currentPage
    }"
    :key="paginationTrigger"
    :pageNumber="paginationTrigger"
    class="base-pagination__description"
    @loadPage="onLoadPage"
  />
  ...
</template>

And we are done! We just built a nice and reusable pagination component in Vue.

When to avoid this pattern

Although this component is pretty sweet, it’s not a silver bullet for all use cases involving pagination.

For example, it’s probably a good idea to avoid this pattern for content that streams constantly and has a relatively flat structure, like each item is at the same level of hierarchy and has a similar chance of being interesting to the user. In other words, something less like an article with multiple pages and something more like main navigation.

Another example would be browsing news rather than looking for a specific news article. We do not need to know where exactly the news is and how much we scrolled to get to a specific article.

That’s a wrap!

Hopefully this is a pattern you will be able to find useful in a project, whether it’s for a simple blog, a complex e-commerce site, or something in between. Pagination can be a pain, but having a modular pattern that not only can be re-used, but considers a slew of scenarios, can make it much easier to handle.

The post Creating a Reusable Pagination Component in Vue appeared first on CSS-Tricks.

You probably don’t need input type=“number”

Post pobrano z: You probably don’t need input type=“number”

Brad Frost wrote about a recent experience with a website that used <input type="number">:

Last week I got a call from my bank regarding a wire transfer I had just scheduled. The customer support guy had me repeat everything back to him because there seemed to be a problem with the information. “Hmmmm, everything you said is right right except the last 3 digits of the account number.”

He had me resubmit the wire transfer form. When I exited the account number field, the corner of my eye noticed the account number change ever so slightly. I quickly refocused into the field and slightly moved my index finger up on my Magic Mouse. It started looking more like a slot machine than an input field!

Brad argues that we then shouldn’t be using <input type="number"> for “account numbers, social security numbers, credit card numbers, confirmation numbers” which makes a bunch of sense to me! Instead we can use the pattern attribute that Chris Ferdinandi looked at a while back in a post all about constraint validation in HTML.

It’s worth mentioning that numeric inputs can be more complex than they appear and that their appearance and behavior vary between browsers. All good things to consider along alongside Brad’s advice when evaluating user experience.

Also:

<input inputmode="numeric"> is the way forward for mobile numeric keyboards (paired with `pattern="[0-9]*"` on iOS pending inputmode support).

Note: positive integers only!https://t.co/R9WuwXy106 https://t.co/2HiSq4ZXK0

— Zach Leatherman (@zachleat) March 25, 2019

Direct Link to Article — Permalink

The post You probably don’t need input type=“number” appeared first on CSS-Tricks.

Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Post pobrano z: Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Final product image
What You’ll Be Creating

Let’s draw some fun cartoon icons in Adobe Illustrator CC! Download the sketch file to the right of this tutorial, or you can sketch out some portraits of your own and apply the techniques outlined below to create your own personalized icons, ready for web and print use.

On 31st March, it is International Transgender Day of Visibility, a day celebrating the transgender community and raising awareness of the discrimination transgender people face worldwide. The people I chose for these icons identify in a variety of ways and have been active for transgender awareness and within the larger LGBT community:

  • Janet Mock: Notable writer, trans+ activist, and entertainment host. Janet has worked with LGBT organizations in creating transgender-specific youth programs to support and educate, as well as written and spoken frequently about trans* issues within our society and her own experiences.
  • Laura Jane Grace: The front woman for the punk band Against Me!, Laura is not only a fantastic musician, but also went through the process of transition in a public way. Against Me!’s album Transgender Dysphoria Blues deals with the topic of gender dysphoria.
  • Marsha P. Johnson: Notable LGBT activist, Stonewall Riot veteran, and drag queen, Marsha was a staple of New York City’s gay and art scene throughout the 60s and 70s. She, along with Sylvia Rivera, co-founded STAR (Sweet Transvestite Action Revolutionaries), a group focused on helping homeless drag queens and trans* women of color.
  • Chaz Bono: Quite famous as the son of Cher and the late Sonny Bono, Chaz is a writer, entertainer, and LGBT activist in his own right. Like some of the others in this list, his transition was public. He has written for the magazine The Advocate, worked as spokesperson for the Human Rights Campaign, and worked with GLAAD as their Entertainment Media Director.
  • Balian Buschbaum: German pole vaulter who competed in world and Olympic competitions before retiring to transition. I included him for his openness and public transition, as athletes are often regarded in high esteem and those who tackle gender issues in a public way are icons to youths.
  • Tyler Ford: Though not as famous as those listed above, Tyler is a noted agender youth and LGBT activist and writer. They’ve written for Rookie magazine, MTV, and worked with the Happy Hippie foundation, an organization supporting homeless LGBT youth. 

The list of notable trans* activists goes quite a bit further than this, and I encourage you, after creating something fantastic with the tutorial, to consider those profiled here as a starting point for International Transgender Day of Visibility.

1. Using a Sketch for an Icon

Step 1

Let’s check out my initial sketches. All six of my subjects have portraits drawn out in little rounded boxes. I’ve made notes about their hairstyles and face shapes, and aimed for a cute, cartoony likeness for each. 

You’re welcome to build your icons off these sketches and follow along with me, or use something of your own and apply the techniques outlined below.

Start with some fresh sketches

Step 2

Our first icon subject is Janet Mock. I’ve locked my sketch on its own layer in the Layers panel of a New Document in Adobe Illustrator. On a new layer, I started with the Pen Tool (P) and traced the basic head shape from my sketch.

Then I started to trace the eyes. I temporarily set the head shape’s Blending Mode to Multiply in the Transparency panel in order to make sure it fit with the facial features I was beginning to draw. 

Start by tracing the basic head and face shapes

Step 3

I’ve hidden the head shape for now in the Layers panel. Using the Blob Brush Tool (Shift-B), with pressure enabled, I followed my sketch’s lines in order to draw the eyes, nose, and mouth. (If you’re using a mouse, feel free to stick with the Pen Tool or Curvature Tool (Shift-~) to draw components and trace your sketch.)

For the eyes, I drew two almond-shaped gradient objects with Linear Gradients going from dark purple to white and back to dark purple. Adjust the gradient’s distribution with the Gradient Tool (G) or the Gradient panel.

I find that using the Blob Brush Tool keeps the design cartoony and looking as if it was drawn with a marker. You can also get a similar look by using stroked paths and adjusting the stroke weight with the Width Tool (Shift-W).

Start drawing facial features withthe blob brush tool

Step 4

I’ve placed the head shape beneath the newly drawn facial features. Group (Control-G) together the face components and center them vertically with the head object. As you can see, we have the basics ready: eyebrows, eyes, nose, and mouth. Let’s get on to the details!

The face so far

2. Detailing the Face With Gradients

Step 1

I like to reference my sketches as often as possible. Give the nose some color variation by drawing a shape over the entirety of the nose and applying a gradient that goes from a red, orange, or brown hue to the skin tone you’re using for your portrait.

I’ve done the same thing with eyeshadow behind both eyes, emphasizing the arch of the brow and the cat-eye shape of the eyelashes.

I changed the lines of the nose and mouth to a dark pink and drew the mouth with the Pencil Tool (N) as two distinct shapes placed below the mouth lines in the Layers panel.

Using gradients on the nose and eyes to create details

Step 2

Let’s break down some of the details created so far:

  1. Place the eyeshadow gradients behind the eyes. Also note the transparent shadow drawn over the eyes. Make sure it’s the same color as your eye outline and adjust the transparency or apply a gradient to it to give a little bit of depth to the face.
  2. The teeth are the same gradient and shadow attribute as those on the eyes—note how the shadows are in the corners of the mouth and the highlight is in the center.
  3. For the nose, I drew an oval for the center of the nose using the same gradient used previously on the nose. The Blending Mode was set to Screen and the Opacity was reduced to 70-50% in the Transparency panel.
Facial details with gradients highlights and shadows

Step 3

For Janet’s high cheek-bones, I drew a shape that cuts the side of her face in half diagonally and used the Shape Builder Tool (Shift-M) to fit it to the head object perfectly. I applied a Linear Gradient to the shape that goes from dark brown to the same brown used for her skin color, with the darker color on the outside of the jaw (see below).

Use the shape builder tool to intersect objects

Step 4

Next up I drew some highlight shapes on the forehead and cheeks. I applied Radial Gradients to each, going from skin tone at 100% Opacity to 0% Opacity with the Blending Mode set to Screen.

Draw highlight shapes on the forehead and cheeks

Step 5

Speeding up our face creation process, let’s take a look at the details I’ve added:

  1. Add some simple ears! Using the sketch as a guide, draw two ear shapes and place them behind the head with dark pink detail shapes.
  2. The earrings are two rounded rectangles with a Linear Gradient applied that goes from yellow to light yellow and back to yellow again. There’s also a yellow-orange stroke applied to the shape to separate it a bit from the face.
  3. Finally, I’ve added shadow and highlight shapes to the chin and mouth areas. 
Shadows highlights and earrings added to the head

3. Creating Hair and Clothes

Step 1

I like to handle the drawing of hairstyles in sections. For Janet’s fabulous, thick hair, check out my process below:

  1. I like to start with the largest section and a side part. Using the Pencil Tool, I’ve drawn a fluffy, cloud-like shape in the same dark brown I’ve used throughout this illustration.
  2. Continue filling in the other side of her hair. I want to make sure it covers most of her forehead and part of her ears.
  3. I added another fluffy shape to the left side in order to lead us into the rest of the hairdo, which will be placed behind the head.
  4. Finally, with a darker brown, I’ve drawn a large shape behind the head in order to give the hair some depth in addition to all of this dimension.
Drawing the hair in four quick steps

Step 2

The neck and shoulders are one shape drawn with the Pen Tool. The Linear Gradient applied to the shape goes from dark brown at the top to medium brown. Place this behind the head but above the lower layer of hair.

For the shirt, I drew it quickly and simply with the Pen Tool and added a couple of stroked paths to create a quick bit of detail without taking away too much attention from the rest of the portrait.

Draw the neck shoulders and shirt

Step 3

Each of my icons will have a similar background of a rounded rectangle, which you can draw with the Rounded Rectangle Tool, with a Radial Gradient applied. Group all of the icon components together. Draw another rounded rectangle and place it over the icon group. Create a Clipping Mask (Control-7) so the portrait body stays within the icon’s frame.

Add other details like a bit of scripted text (check out some fantastic fonts over at GraphicRiver, or draw them in yourself) and additional shadow shapes to define the hair.

Finalize your icon design

4. Creating Other Hair Styles

Step 1

Rather than going through the same process for each of the icons, I’d like to highlight some of the techniques that make each icon unique. Starting with a cartoony version of Laura Jane Grace, let’s check out how I handled her long tresses.

  1. On a layer above the rest of her body, I started with a half circle for her bangs. This was drawn with the Blob Brush Tool, but could definitely be done with the drawing tool of your choice.
  2. Like Janet’s hair above, I like to handle hair in sections. A couple of curved lines take care of the details in the top of her hair.
  3. Then, I focused on wavy hair to frame the face. Notice how it’s not detailing every strand, but gives you a good idea of volume and shape.

Group these hair outlines together, and we’ll define the hair further with some shadow shapes next.

Drawing wavy hair in sections

Step 2

Much like shadow shapes drawn before, we’ll be using Linear Gradients that go from 100% to 0% Opacity.

Draw a large shape outlining the hair with the Pen Tool or Pencil Tool and place it beneath the hair line art. I drew a big, jagged shape that follows the contour of the bangs.

Apply the shadow gradient and continue drawing shapes that define a few sections of hair, similar to what’s seen below. 

Draw shadow shapes in the hair to define each section

Step 3

The highlights are similar to the shadow shapes: they accentuate several sections in the hair and bring depth to the design. Use a lighter shade than the hair or set the gradient shapes to Screen as the Blending Mode in the Transparency or Appearance panels.

Use lighter gradients to highlight the hair

5. Drawing Clothes and Accessories

Step 1

For the crown of flowers on either Marsha P. Johnson’s or Tyler Ford’s heads, I mostly followed my initial sketch and drew shapes with the Pencil Tool. Like the hair, I took it all in sections. 

In the case of the flower crown below, I went for color sections of flowers and leaves. I drew red flowers, Grouped them together, and then drew yellow flowers and leaves after that.

draw flowers in sections

Step 2

Drawing something complex like a crown of flowers or a floral arrangement in sections allows you to change colors quickly and easily. I drew veins on the leaves with the Blob Brush Tool.

To add some shadow to the flowers I Grouped the crown together and then Copied (Control-C) and Pasted (Control-V) the whole thing. In the Gradient panel, I applied a Radial Gradient of dark brown at 100% to 0% Opacity (with the opaque color in the center), and set the Blending Mode to Overlay in the Transparency panel.

The highlights are light yellow Linear Gradient shapes, similar to those drawn on the Laura Jane Grace icon’s hair.

Add details shadows and highlights to the flower crown

Step 3

Most of the clothes drawn on each icon are simple. The clothes drawn on my Balian Buschbaum icon were drawn in three steps: shirt, scarf around the neck, and scarf hanging down. Then I drew simple gradient shadow shapes that accentuated the draping and folds in the scarf itself (as seen below). 

Balian Buschbaums scarf and shirt is simple but effective design

Great Job, You’re Done!

The icons seen below were created with the techniques highlighted above. Feel free to follow along with the sketch provided or create some designs of your own and use the ideas, style, and techniques from this tutorial. Share your results in the comment section below!

Final design result

Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Post pobrano z: Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Final product image
What You’ll Be Creating

Let’s draw some fun cartoon icons in Adobe Illustrator CC! Download the sketch file to the right of this tutorial, or you can sketch out some portraits of your own and apply the techniques outlined below to create your own personalized icons, ready for web and print use.

On 31st March, it is International Transgender Day of Visibility, a day celebrating the transgender community and raising awareness of the discrimination transgender people face worldwide. The people I chose for these icons identify in a variety of ways and have been active for transgender awareness and within the larger LGBT community:

  • Janet Mock: Notable writer, trans+ activist, and entertainment host. Janet has worked with LGBT organizations in creating transgender-specific youth programs to support and educate, as well as written and spoken frequently about trans* issues within our society and her own experiences.
  • Laura Jane Grace: The front woman for the punk band Against Me!, Laura is not only a fantastic musician, but also went through the process of transition in a public way. Against Me!’s album Transgender Dysphoria Blues deals with the topic of gender dysphoria.
  • Marsha P. Johnson: Notable LGBT activist, Stonewall Riot veteran, and drag queen, Marsha was a staple of New York City’s gay and art scene throughout the 60s and 70s. She, along with Sylvia Rivera, co-founded STAR (Sweet Transvestite Action Revolutionaries), a group focused on helping homeless drag queens and trans* women of color.
  • Chaz Bono: Quite famous as the son of Cher and the late Sonny Bono, Chaz is a writer, entertainer, and LGBT activist in his own right. Like some of the others in this list, his transition was public. He has written for the magazine The Advocate, worked as spokesperson for the Human Rights Campaign, and worked with GLAAD as their Entertainment Media Director.
  • Balian Buschbaum: German pole vaulter who competed in world and Olympic competitions before retiring to transition. I included him for his openness and public transition, as athletes are often regarded in high esteem and those who tackle gender issues in a public way are icons to youths.
  • Tyler Ford: Though not as famous as those listed above, Tyler is a noted agender youth and LGBT activist and writer. They’ve written for Rookie magazine, MTV, and worked with the Happy Hippie foundation, an organization supporting homeless LGBT youth. 

The list of notable trans* activists goes quite a bit further than this, and I encourage you, after creating something fantastic with the tutorial, to consider those profiled here as a starting point for International Transgender Day of Visibility.

1. Using a Sketch for an Icon

Step 1

Let’s check out my initial sketches. All six of my subjects have portraits drawn out in little rounded boxes. I’ve made notes about their hairstyles and face shapes, and aimed for a cute, cartoony likeness for each. 

You’re welcome to build your icons off these sketches and follow along with me, or use something of your own and apply the techniques outlined below.

Start with some fresh sketches

Step 2

Our first icon subject is Janet Mock. I’ve locked my sketch on its own layer in the Layers panel of a New Document in Adobe Illustrator. On a new layer, I started with the Pen Tool (P) and traced the basic head shape from my sketch.

Then I started to trace the eyes. I temporarily set the head shape’s Blending Mode to Multiply in the Transparency panel in order to make sure it fit with the facial features I was beginning to draw. 

Start by tracing the basic head and face shapes

Step 3

I’ve hidden the head shape for now in the Layers panel. Using the Blob Brush Tool (Shift-B), with pressure enabled, I followed my sketch’s lines in order to draw the eyes, nose, and mouth. (If you’re using a mouse, feel free to stick with the Pen Tool or Curvature Tool (Shift-~) to draw components and trace your sketch.)

For the eyes, I drew two almond-shaped gradient objects with Linear Gradients going from dark purple to white and back to dark purple. Adjust the gradient’s distribution with the Gradient Tool (G) or the Gradient panel.

I find that using the Blob Brush Tool keeps the design cartoony and looking as if it was drawn with a marker. You can also get a similar look by using stroked paths and adjusting the stroke weight with the Width Tool (Shift-W).

Start drawing facial features withthe blob brush tool

Step 4

I’ve placed the head shape beneath the newly drawn facial features. Group (Control-G) together the face components and center them vertically with the head object. As you can see, we have the basics ready: eyebrows, eyes, nose, and mouth. Let’s get on to the details!

The face so far

2. Detailing the Face With Gradients

Step 1

I like to reference my sketches as often as possible. Give the nose some color variation by drawing a shape over the entirety of the nose and applying a gradient that goes from a red, orange, or brown hue to the skin tone you’re using for your portrait.

I’ve done the same thing with eyeshadow behind both eyes, emphasizing the arch of the brow and the cat-eye shape of the eyelashes.

I changed the lines of the nose and mouth to a dark pink and drew the mouth with the Pencil Tool (N) as two distinct shapes placed below the mouth lines in the Layers panel.

Using gradients on the nose and eyes to create details

Step 2

Let’s break down some of the details created so far:

  1. Place the eyeshadow gradients behind the eyes. Also note the transparent shadow drawn over the eyes. Make sure it’s the same color as your eye outline and adjust the transparency or apply a gradient to it to give a little bit of depth to the face.
  2. The teeth are the same gradient and shadow attribute as those on the eyes—note how the shadows are in the corners of the mouth and the highlight is in the center.
  3. For the nose, I drew an oval for the center of the nose using the same gradient used previously on the nose. The Blending Mode was set to Screen and the Opacity was reduced to 70-50% in the Transparency panel.
Facial details with gradients highlights and shadows

Step 3

For Janet’s high cheek-bones, I drew a shape that cuts the side of her face in half diagonally and used the Shape Builder Tool (Shift-M) to fit it to the head object perfectly. I applied a Linear Gradient to the shape that goes from dark brown to the same brown used for her skin color, with the darker color on the outside of the jaw (see below).

Use the shape builder tool to intersect objects

Step 4

Next up I drew some highlight shapes on the forehead and cheeks. I applied Radial Gradients to each, going from skin tone at 100% Opacity to 0% Opacity with the Blending Mode set to Screen.

Draw highlight shapes on the forehead and cheeks

Step 5

Speeding up our face creation process, let’s take a look at the details I’ve added:

  1. Add some simple ears! Using the sketch as a guide, draw two ear shapes and place them behind the head with dark pink detail shapes.
  2. The earrings are two rounded rectangles with a Linear Gradient applied that goes from yellow to light yellow and back to yellow again. There’s also a yellow-orange stroke applied to the shape to separate it a bit from the face.
  3. Finally, I’ve added shadow and highlight shapes to the chin and mouth areas. 
Shadows highlights and earrings added to the head

3. Creating Hair and Clothes

Step 1

I like to handle the drawing of hairstyles in sections. For Janet’s fabulous, thick hair, check out my process below:

  1. I like to start with the largest section and a side part. Using the Pencil Tool, I’ve drawn a fluffy, cloud-like shape in the same dark brown I’ve used throughout this illustration.
  2. Continue filling in the other side of her hair. I want to make sure it covers most of her forehead and part of her ears.
  3. I added another fluffy shape to the left side in order to lead us into the rest of the hairdo, which will be placed behind the head.
  4. Finally, with a darker brown, I’ve drawn a large shape behind the head in order to give the hair some depth in addition to all of this dimension.
Drawing the hair in four quick steps

Step 2

The neck and shoulders are one shape drawn with the Pen Tool. The Linear Gradient applied to the shape goes from dark brown at the top to medium brown. Place this behind the head but above the lower layer of hair.

For the shirt, I drew it quickly and simply with the Pen Tool and added a couple of stroked paths to create a quick bit of detail without taking away too much attention from the rest of the portrait.

Draw the neck shoulders and shirt

Step 3

Each of my icons will have a similar background of a rounded rectangle, which you can draw with the Rounded Rectangle Tool, with a Radial Gradient applied. Group all of the icon components together. Draw another rounded rectangle and place it over the icon group. Create a Clipping Mask (Control-7) so the portrait body stays within the icon’s frame.

Add other details like a bit of scripted text (check out some fantastic fonts over at GraphicRiver, or draw them in yourself) and additional shadow shapes to define the hair.

Finalize your icon design

4. Creating Other Hair Styles

Step 1

Rather than going through the same process for each of the icons, I’d like to highlight some of the techniques that make each icon unique. Starting with a cartoony version of Laura Jane Grace, let’s check out how I handled her long tresses.

  1. On a layer above the rest of her body, I started with a half circle for her bangs. This was drawn with the Blob Brush Tool, but could definitely be done with the drawing tool of your choice.
  2. Like Janet’s hair above, I like to handle hair in sections. A couple of curved lines take care of the details in the top of her hair.
  3. Then, I focused on wavy hair to frame the face. Notice how it’s not detailing every strand, but gives you a good idea of volume and shape.

Group these hair outlines together, and we’ll define the hair further with some shadow shapes next.

Drawing wavy hair in sections

Step 2

Much like shadow shapes drawn before, we’ll be using Linear Gradients that go from 100% to 0% Opacity.

Draw a large shape outlining the hair with the Pen Tool or Pencil Tool and place it beneath the hair line art. I drew a big, jagged shape that follows the contour of the bangs.

Apply the shadow gradient and continue drawing shapes that define a few sections of hair, similar to what’s seen below. 

Draw shadow shapes in the hair to define each section

Step 3

The highlights are similar to the shadow shapes: they accentuate several sections in the hair and bring depth to the design. Use a lighter shade than the hair or set the gradient shapes to Screen as the Blending Mode in the Transparency or Appearance panels.

Use lighter gradients to highlight the hair

5. Drawing Clothes and Accessories

Step 1

For the crown of flowers on either Marsha P. Johnson’s or Tyler Ford’s heads, I mostly followed my initial sketch and drew shapes with the Pencil Tool. Like the hair, I took it all in sections. 

In the case of the flower crown below, I went for color sections of flowers and leaves. I drew red flowers, Grouped them together, and then drew yellow flowers and leaves after that.

draw flowers in sections

Step 2

Drawing something complex like a crown of flowers or a floral arrangement in sections allows you to change colors quickly and easily. I drew veins on the leaves with the Blob Brush Tool.

To add some shadow to the flowers I Grouped the crown together and then Copied (Control-C) and Pasted (Control-V) the whole thing. In the Gradient panel, I applied a Radial Gradient of dark brown at 100% to 0% Opacity (with the opaque color in the center), and set the Blending Mode to Overlay in the Transparency panel.

The highlights are light yellow Linear Gradient shapes, similar to those drawn on the Laura Jane Grace icon’s hair.

Add details shadows and highlights to the flower crown

Step 3

Most of the clothes drawn on each icon are simple. The clothes drawn on my Balian Buschbaum icon were drawn in three steps: shirt, scarf around the neck, and scarf hanging down. Then I drew simple gradient shadow shapes that accentuated the draping and folds in the scarf itself (as seen below). 

Balian Buschbaums scarf and shirt is simple but effective design

Great Job, You’re Done!

The icons seen below were created with the techniques highlighted above. Feel free to follow along with the sketch provided or create some designs of your own and use the ideas, style, and techniques from this tutorial. Share your results in the comment section below!

Final design result

Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Post pobrano z: Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Final product image
What You’ll Be Creating

Let’s draw some fun cartoon icons in Adobe Illustrator CC! Download the sketch file to the right of this tutorial, or you can sketch out some portraits of your own and apply the techniques outlined below to create your own personalized icons, ready for web and print use.

On 31st March, it is International Transgender Day of Visibility, a day celebrating the transgender community and raising awareness of the discrimination transgender people face worldwide. The people I chose for these icons identify in a variety of ways and have been active for transgender awareness and within the larger LGBT community:

  • Janet Mock: Notable writer, trans+ activist, and entertainment host. Janet has worked with LGBT organizations in creating transgender-specific youth programs to support and educate, as well as written and spoken frequently about trans* issues within our society and her own experiences.
  • Laura Jane Grace: The front woman for the punk band Against Me!, Laura is not only a fantastic musician, but also went through the process of transition in a public way. Against Me!’s album Transgender Dysphoria Blues deals with the topic of gender dysphoria.
  • Marsha P. Johnson: Notable LGBT activist, Stonewall Riot veteran, and drag queen, Marsha was a staple of New York City’s gay and art scene throughout the 60s and 70s. She, along with Sylvia Rivera, co-founded STAR (Sweet Transvestite Action Revolutionaries), a group focused on helping homeless drag queens and trans* women of color.
  • Chaz Bono: Quite famous as the son of Cher and the late Sonny Bono, Chaz is a writer, entertainer, and LGBT activist in his own right. Like some of the others in this list, his transition was public. He has written for the magazine The Advocate, worked as spokesperson for the Human Rights Campaign, and worked with GLAAD as their Entertainment Media Director.
  • Balian Buschbaum: German pole vaulter who competed in world and Olympic competitions before retiring to transition. I included him for his openness and public transition, as athletes are often regarded in high esteem and those who tackle gender issues in a public way are icons to youths.
  • Tyler Ford: Though not as famous as those listed above, Tyler is a noted agender youth and LGBT activist and writer. They’ve written for Rookie magazine, MTV, and worked with the Happy Hippie foundation, an organization supporting homeless LGBT youth. 

The list of notable trans* activists goes quite a bit further than this, and I encourage you, after creating something fantastic with the tutorial, to consider those profiled here as a starting point for International Transgender Day of Visibility.

1. Using a Sketch for an Icon

Step 1

Let’s check out my initial sketches. All six of my subjects have portraits drawn out in little rounded boxes. I’ve made notes about their hairstyles and face shapes, and aimed for a cute, cartoony likeness for each. 

You’re welcome to build your icons off these sketches and follow along with me, or use something of your own and apply the techniques outlined below.

Start with some fresh sketches

Step 2

Our first icon subject is Janet Mock. I’ve locked my sketch on its own layer in the Layers panel of a New Document in Adobe Illustrator. On a new layer, I started with the Pen Tool (P) and traced the basic head shape from my sketch.

Then I started to trace the eyes. I temporarily set the head shape’s Blending Mode to Multiply in the Transparency panel in order to make sure it fit with the facial features I was beginning to draw. 

Start by tracing the basic head and face shapes

Step 3

I’ve hidden the head shape for now in the Layers panel. Using the Blob Brush Tool (Shift-B), with pressure enabled, I followed my sketch’s lines in order to draw the eyes, nose, and mouth. (If you’re using a mouse, feel free to stick with the Pen Tool or Curvature Tool (Shift-~) to draw components and trace your sketch.)

For the eyes, I drew two almond-shaped gradient objects with Linear Gradients going from dark purple to white and back to dark purple. Adjust the gradient’s distribution with the Gradient Tool (G) or the Gradient panel.

I find that using the Blob Brush Tool keeps the design cartoony and looking as if it was drawn with a marker. You can also get a similar look by using stroked paths and adjusting the stroke weight with the Width Tool (Shift-W).

Start drawing facial features withthe blob brush tool

Step 4

I’ve placed the head shape beneath the newly drawn facial features. Group (Control-G) together the face components and center them vertically with the head object. As you can see, we have the basics ready: eyebrows, eyes, nose, and mouth. Let’s get on to the details!

The face so far

2. Detailing the Face With Gradients

Step 1

I like to reference my sketches as often as possible. Give the nose some color variation by drawing a shape over the entirety of the nose and applying a gradient that goes from a red, orange, or brown hue to the skin tone you’re using for your portrait.

I’ve done the same thing with eyeshadow behind both eyes, emphasizing the arch of the brow and the cat-eye shape of the eyelashes.

I changed the lines of the nose and mouth to a dark pink and drew the mouth with the Pencil Tool (N) as two distinct shapes placed below the mouth lines in the Layers panel.

Using gradients on the nose and eyes to create details

Step 2

Let’s break down some of the details created so far:

  1. Place the eyeshadow gradients behind the eyes. Also note the transparent shadow drawn over the eyes. Make sure it’s the same color as your eye outline and adjust the transparency or apply a gradient to it to give a little bit of depth to the face.
  2. The teeth are the same gradient and shadow attribute as those on the eyes—note how the shadows are in the corners of the mouth and the highlight is in the center.
  3. For the nose, I drew an oval for the center of the nose using the same gradient used previously on the nose. The Blending Mode was set to Screen and the Opacity was reduced to 70-50% in the Transparency panel.
Facial details with gradients highlights and shadows

Step 3

For Janet’s high cheek-bones, I drew a shape that cuts the side of her face in half diagonally and used the Shape Builder Tool (Shift-M) to fit it to the head object perfectly. I applied a Linear Gradient to the shape that goes from dark brown to the same brown used for her skin color, with the darker color on the outside of the jaw (see below).

Use the shape builder tool to intersect objects

Step 4

Next up I drew some highlight shapes on the forehead and cheeks. I applied Radial Gradients to each, going from skin tone at 100% Opacity to 0% Opacity with the Blending Mode set to Screen.

Draw highlight shapes on the forehead and cheeks

Step 5

Speeding up our face creation process, let’s take a look at the details I’ve added:

  1. Add some simple ears! Using the sketch as a guide, draw two ear shapes and place them behind the head with dark pink detail shapes.
  2. The earrings are two rounded rectangles with a Linear Gradient applied that goes from yellow to light yellow and back to yellow again. There’s also a yellow-orange stroke applied to the shape to separate it a bit from the face.
  3. Finally, I’ve added shadow and highlight shapes to the chin and mouth areas. 
Shadows highlights and earrings added to the head

3. Creating Hair and Clothes

Step 1

I like to handle the drawing of hairstyles in sections. For Janet’s fabulous, thick hair, check out my process below:

  1. I like to start with the largest section and a side part. Using the Pencil Tool, I’ve drawn a fluffy, cloud-like shape in the same dark brown I’ve used throughout this illustration.
  2. Continue filling in the other side of her hair. I want to make sure it covers most of her forehead and part of her ears.
  3. I added another fluffy shape to the left side in order to lead us into the rest of the hairdo, which will be placed behind the head.
  4. Finally, with a darker brown, I’ve drawn a large shape behind the head in order to give the hair some depth in addition to all of this dimension.
Drawing the hair in four quick steps

Step 2

The neck and shoulders are one shape drawn with the Pen Tool. The Linear Gradient applied to the shape goes from dark brown at the top to medium brown. Place this behind the head but above the lower layer of hair.

For the shirt, I drew it quickly and simply with the Pen Tool and added a couple of stroked paths to create a quick bit of detail without taking away too much attention from the rest of the portrait.

Draw the neck shoulders and shirt

Step 3

Each of my icons will have a similar background of a rounded rectangle, which you can draw with the Rounded Rectangle Tool, with a Radial Gradient applied. Group all of the icon components together. Draw another rounded rectangle and place it over the icon group. Create a Clipping Mask (Control-7) so the portrait body stays within the icon’s frame.

Add other details like a bit of scripted text (check out some fantastic fonts over at GraphicRiver, or draw them in yourself) and additional shadow shapes to define the hair.

Finalize your icon design

4. Creating Other Hair Styles

Step 1

Rather than going through the same process for each of the icons, I’d like to highlight some of the techniques that make each icon unique. Starting with a cartoony version of Laura Jane Grace, let’s check out how I handled her long tresses.

  1. On a layer above the rest of her body, I started with a half circle for her bangs. This was drawn with the Blob Brush Tool, but could definitely be done with the drawing tool of your choice.
  2. Like Janet’s hair above, I like to handle hair in sections. A couple of curved lines take care of the details in the top of her hair.
  3. Then, I focused on wavy hair to frame the face. Notice how it’s not detailing every strand, but gives you a good idea of volume and shape.

Group these hair outlines together, and we’ll define the hair further with some shadow shapes next.

Drawing wavy hair in sections

Step 2

Much like shadow shapes drawn before, we’ll be using Linear Gradients that go from 100% to 0% Opacity.

Draw a large shape outlining the hair with the Pen Tool or Pencil Tool and place it beneath the hair line art. I drew a big, jagged shape that follows the contour of the bangs.

Apply the shadow gradient and continue drawing shapes that define a few sections of hair, similar to what’s seen below. 

Draw shadow shapes in the hair to define each section

Step 3

The highlights are similar to the shadow shapes: they accentuate several sections in the hair and bring depth to the design. Use a lighter shade than the hair or set the gradient shapes to Screen as the Blending Mode in the Transparency or Appearance panels.

Use lighter gradients to highlight the hair

5. Drawing Clothes and Accessories

Step 1

For the crown of flowers on either Marsha P. Johnson’s or Tyler Ford’s heads, I mostly followed my initial sketch and drew shapes with the Pencil Tool. Like the hair, I took it all in sections. 

In the case of the flower crown below, I went for color sections of flowers and leaves. I drew red flowers, Grouped them together, and then drew yellow flowers and leaves after that.

draw flowers in sections

Step 2

Drawing something complex like a crown of flowers or a floral arrangement in sections allows you to change colors quickly and easily. I drew veins on the leaves with the Blob Brush Tool.

To add some shadow to the flowers I Grouped the crown together and then Copied (Control-C) and Pasted (Control-V) the whole thing. In the Gradient panel, I applied a Radial Gradient of dark brown at 100% to 0% Opacity (with the opaque color in the center), and set the Blending Mode to Overlay in the Transparency panel.

The highlights are light yellow Linear Gradient shapes, similar to those drawn on the Laura Jane Grace icon’s hair.

Add details shadows and highlights to the flower crown

Step 3

Most of the clothes drawn on each icon are simple. The clothes drawn on my Balian Buschbaum icon were drawn in three steps: shirt, scarf around the neck, and scarf hanging down. Then I drew simple gradient shadow shapes that accentuated the draping and folds in the scarf itself (as seen below). 

Balian Buschbaums scarf and shirt is simple but effective design

Great Job, You’re Done!

The icons seen below were created with the techniques highlighted above. Feel free to follow along with the sketch provided or create some designs of your own and use the ideas, style, and techniques from this tutorial. Share your results in the comment section below!

Final design result

Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Post pobrano z: Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Final product image
What You’ll Be Creating

Let’s draw some fun cartoon icons in Adobe Illustrator CC! Download the sketch file to the right of this tutorial, or you can sketch out some portraits of your own and apply the techniques outlined below to create your own personalized icons, ready for web and print use.

On 31st March, it is International Transgender Day of Visibility, a day celebrating the transgender community and raising awareness of the discrimination transgender people face worldwide. The people I chose for these icons identify in a variety of ways and have been active for transgender awareness and within the larger LGBT community:

  • Janet Mock: Notable writer, trans+ activist, and entertainment host. Janet has worked with LGBT organizations in creating transgender-specific youth programs to support and educate, as well as written and spoken frequently about trans* issues within our society and her own experiences.
  • Laura Jane Grace: The front woman for the punk band Against Me!, Laura is not only a fantastic musician, but also went through the process of transition in a public way. Against Me!’s album Transgender Dysphoria Blues deals with the topic of gender dysphoria.
  • Marsha P. Johnson: Notable LGBT activist, Stonewall Riot veteran, and drag queen, Marsha was a staple of New York City’s gay and art scene throughout the 60s and 70s. She, along with Sylvia Rivera, co-founded STAR (Sweet Transvestite Action Revolutionaries), a group focused on helping homeless drag queens and trans* women of color.
  • Chaz Bono: Quite famous as the son of Cher and the late Sonny Bono, Chaz is a writer, entertainer, and LGBT activist in his own right. Like some of the others in this list, his transition was public. He has written for the magazine The Advocate, worked as spokesperson for the Human Rights Campaign, and worked with GLAAD as their Entertainment Media Director.
  • Balian Buschbaum: German pole vaulter who competed in world and Olympic competitions before retiring to transition. I included him for his openness and public transition, as athletes are often regarded in high esteem and those who tackle gender issues in a public way are icons to youths.
  • Tyler Ford: Though not as famous as those listed above, Tyler is a noted agender youth and LGBT activist and writer. They’ve written for Rookie magazine, MTV, and worked with the Happy Hippie foundation, an organization supporting homeless LGBT youth. 

The list of notable trans* activists goes quite a bit further than this, and I encourage you, after creating something fantastic with the tutorial, to consider those profiled here as a starting point for International Transgender Day of Visibility.

1. Using a Sketch for an Icon

Step 1

Let’s check out my initial sketches. All six of my subjects have portraits drawn out in little rounded boxes. I’ve made notes about their hairstyles and face shapes, and aimed for a cute, cartoony likeness for each. 

You’re welcome to build your icons off these sketches and follow along with me, or use something of your own and apply the techniques outlined below.

Start with some fresh sketches

Step 2

Our first icon subject is Janet Mock. I’ve locked my sketch on its own layer in the Layers panel of a New Document in Adobe Illustrator. On a new layer, I started with the Pen Tool (P) and traced the basic head shape from my sketch.

Then I started to trace the eyes. I temporarily set the head shape’s Blending Mode to Multiply in the Transparency panel in order to make sure it fit with the facial features I was beginning to draw. 

Start by tracing the basic head and face shapes

Step 3

I’ve hidden the head shape for now in the Layers panel. Using the Blob Brush Tool (Shift-B), with pressure enabled, I followed my sketch’s lines in order to draw the eyes, nose, and mouth. (If you’re using a mouse, feel free to stick with the Pen Tool or Curvature Tool (Shift-~) to draw components and trace your sketch.)

For the eyes, I drew two almond-shaped gradient objects with Linear Gradients going from dark purple to white and back to dark purple. Adjust the gradient’s distribution with the Gradient Tool (G) or the Gradient panel.

I find that using the Blob Brush Tool keeps the design cartoony and looking as if it was drawn with a marker. You can also get a similar look by using stroked paths and adjusting the stroke weight with the Width Tool (Shift-W).

Start drawing facial features withthe blob brush tool

Step 4

I’ve placed the head shape beneath the newly drawn facial features. Group (Control-G) together the face components and center them vertically with the head object. As you can see, we have the basics ready: eyebrows, eyes, nose, and mouth. Let’s get on to the details!

The face so far

2. Detailing the Face With Gradients

Step 1

I like to reference my sketches as often as possible. Give the nose some color variation by drawing a shape over the entirety of the nose and applying a gradient that goes from a red, orange, or brown hue to the skin tone you’re using for your portrait.

I’ve done the same thing with eyeshadow behind both eyes, emphasizing the arch of the brow and the cat-eye shape of the eyelashes.

I changed the lines of the nose and mouth to a dark pink and drew the mouth with the Pencil Tool (N) as two distinct shapes placed below the mouth lines in the Layers panel.

Using gradients on the nose and eyes to create details

Step 2

Let’s break down some of the details created so far:

  1. Place the eyeshadow gradients behind the eyes. Also note the transparent shadow drawn over the eyes. Make sure it’s the same color as your eye outline and adjust the transparency or apply a gradient to it to give a little bit of depth to the face.
  2. The teeth are the same gradient and shadow attribute as those on the eyes—note how the shadows are in the corners of the mouth and the highlight is in the center.
  3. For the nose, I drew an oval for the center of the nose using the same gradient used previously on the nose. The Blending Mode was set to Screen and the Opacity was reduced to 70-50% in the Transparency panel.
Facial details with gradients highlights and shadows

Step 3

For Janet’s high cheek-bones, I drew a shape that cuts the side of her face in half diagonally and used the Shape Builder Tool (Shift-M) to fit it to the head object perfectly. I applied a Linear Gradient to the shape that goes from dark brown to the same brown used for her skin color, with the darker color on the outside of the jaw (see below).

Use the shape builder tool to intersect objects

Step 4

Next up I drew some highlight shapes on the forehead and cheeks. I applied Radial Gradients to each, going from skin tone at 100% Opacity to 0% Opacity with the Blending Mode set to Screen.

Draw highlight shapes on the forehead and cheeks

Step 5

Speeding up our face creation process, let’s take a look at the details I’ve added:

  1. Add some simple ears! Using the sketch as a guide, draw two ear shapes and place them behind the head with dark pink detail shapes.
  2. The earrings are two rounded rectangles with a Linear Gradient applied that goes from yellow to light yellow and back to yellow again. There’s also a yellow-orange stroke applied to the shape to separate it a bit from the face.
  3. Finally, I’ve added shadow and highlight shapes to the chin and mouth areas. 
Shadows highlights and earrings added to the head

3. Creating Hair and Clothes

Step 1

I like to handle the drawing of hairstyles in sections. For Janet’s fabulous, thick hair, check out my process below:

  1. I like to start with the largest section and a side part. Using the Pencil Tool, I’ve drawn a fluffy, cloud-like shape in the same dark brown I’ve used throughout this illustration.
  2. Continue filling in the other side of her hair. I want to make sure it covers most of her forehead and part of her ears.
  3. I added another fluffy shape to the left side in order to lead us into the rest of the hairdo, which will be placed behind the head.
  4. Finally, with a darker brown, I’ve drawn a large shape behind the head in order to give the hair some depth in addition to all of this dimension.
Drawing the hair in four quick steps

Step 2

The neck and shoulders are one shape drawn with the Pen Tool. The Linear Gradient applied to the shape goes from dark brown at the top to medium brown. Place this behind the head but above the lower layer of hair.

For the shirt, I drew it quickly and simply with the Pen Tool and added a couple of stroked paths to create a quick bit of detail without taking away too much attention from the rest of the portrait.

Draw the neck shoulders and shirt

Step 3

Each of my icons will have a similar background of a rounded rectangle, which you can draw with the Rounded Rectangle Tool, with a Radial Gradient applied. Group all of the icon components together. Draw another rounded rectangle and place it over the icon group. Create a Clipping Mask (Control-7) so the portrait body stays within the icon’s frame.

Add other details like a bit of scripted text (check out some fantastic fonts over at GraphicRiver, or draw them in yourself) and additional shadow shapes to define the hair.

Finalize your icon design

4. Creating Other Hair Styles

Step 1

Rather than going through the same process for each of the icons, I’d like to highlight some of the techniques that make each icon unique. Starting with a cartoony version of Laura Jane Grace, let’s check out how I handled her long tresses.

  1. On a layer above the rest of her body, I started with a half circle for her bangs. This was drawn with the Blob Brush Tool, but could definitely be done with the drawing tool of your choice.
  2. Like Janet’s hair above, I like to handle hair in sections. A couple of curved lines take care of the details in the top of her hair.
  3. Then, I focused on wavy hair to frame the face. Notice how it’s not detailing every strand, but gives you a good idea of volume and shape.

Group these hair outlines together, and we’ll define the hair further with some shadow shapes next.

Drawing wavy hair in sections

Step 2

Much like shadow shapes drawn before, we’ll be using Linear Gradients that go from 100% to 0% Opacity.

Draw a large shape outlining the hair with the Pen Tool or Pencil Tool and place it beneath the hair line art. I drew a big, jagged shape that follows the contour of the bangs.

Apply the shadow gradient and continue drawing shapes that define a few sections of hair, similar to what’s seen below. 

Draw shadow shapes in the hair to define each section

Step 3

The highlights are similar to the shadow shapes: they accentuate several sections in the hair and bring depth to the design. Use a lighter shade than the hair or set the gradient shapes to Screen as the Blending Mode in the Transparency or Appearance panels.

Use lighter gradients to highlight the hair

5. Drawing Clothes and Accessories

Step 1

For the crown of flowers on either Marsha P. Johnson’s or Tyler Ford’s heads, I mostly followed my initial sketch and drew shapes with the Pencil Tool. Like the hair, I took it all in sections. 

In the case of the flower crown below, I went for color sections of flowers and leaves. I drew red flowers, Grouped them together, and then drew yellow flowers and leaves after that.

draw flowers in sections

Step 2

Drawing something complex like a crown of flowers or a floral arrangement in sections allows you to change colors quickly and easily. I drew veins on the leaves with the Blob Brush Tool.

To add some shadow to the flowers I Grouped the crown together and then Copied (Control-C) and Pasted (Control-V) the whole thing. In the Gradient panel, I applied a Radial Gradient of dark brown at 100% to 0% Opacity (with the opaque color in the center), and set the Blending Mode to Overlay in the Transparency panel.

The highlights are light yellow Linear Gradient shapes, similar to those drawn on the Laura Jane Grace icon’s hair.

Add details shadows and highlights to the flower crown

Step 3

Most of the clothes drawn on each icon are simple. The clothes drawn on my Balian Buschbaum icon were drawn in three steps: shirt, scarf around the neck, and scarf hanging down. Then I drew simple gradient shadow shapes that accentuated the draping and folds in the scarf itself (as seen below). 

Balian Buschbaums scarf and shirt is simple but effective design

Great Job, You’re Done!

The icons seen below were created with the techniques highlighted above. Feel free to follow along with the sketch provided or create some designs of your own and use the ideas, style, and techniques from this tutorial. Share your results in the comment section below!

Final design result

Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Post pobrano z: Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Final product image
What You’ll Be Creating

Let’s draw some fun cartoon icons in Adobe Illustrator CC! Download the sketch file to the right of this tutorial, or you can sketch out some portraits of your own and apply the techniques outlined below to create your own personalized icons, ready for web and print use.

On 31st March, it is International Transgender Day of Visibility, a day celebrating the transgender community and raising awareness of the discrimination transgender people face worldwide. The people I chose for these icons identify in a variety of ways and have been active for transgender awareness and within the larger LGBT community:

  • Janet Mock: Notable writer, trans+ activist, and entertainment host. Janet has worked with LGBT organizations in creating transgender-specific youth programs to support and educate, as well as written and spoken frequently about trans* issues within our society and her own experiences.
  • Laura Jane Grace: The front woman for the punk band Against Me!, Laura is not only a fantastic musician, but also went through the process of transition in a public way. Against Me!’s album Transgender Dysphoria Blues deals with the topic of gender dysphoria.
  • Marsha P. Johnson: Notable LGBT activist, Stonewall Riot veteran, and drag queen, Marsha was a staple of New York City’s gay and art scene throughout the 60s and 70s. She, along with Sylvia Rivera, co-founded STAR (Sweet Transvestite Action Revolutionaries), a group focused on helping homeless drag queens and trans* women of color.
  • Chaz Bono: Quite famous as the son of Cher and the late Sonny Bono, Chaz is a writer, entertainer, and LGBT activist in his own right. Like some of the others in this list, his transition was public. He has written for the magazine The Advocate, worked as spokesperson for the Human Rights Campaign, and worked with GLAAD as their Entertainment Media Director.
  • Balian Buschbaum: German pole vaulter who competed in world and Olympic competitions before retiring to transition. I included him for his openness and public transition, as athletes are often regarded in high esteem and those who tackle gender issues in a public way are icons to youths.
  • Tyler Ford: Though not as famous as those listed above, Tyler is a noted agender youth and LGBT activist and writer. They’ve written for Rookie magazine, MTV, and worked with the Happy Hippie foundation, an organization supporting homeless LGBT youth. 

The list of notable trans* activists goes quite a bit further than this, and I encourage you, after creating something fantastic with the tutorial, to consider those profiled here as a starting point for International Transgender Day of Visibility.

1. Using a Sketch for an Icon

Step 1

Let’s check out my initial sketches. All six of my subjects have portraits drawn out in little rounded boxes. I’ve made notes about their hairstyles and face shapes, and aimed for a cute, cartoony likeness for each. 

You’re welcome to build your icons off these sketches and follow along with me, or use something of your own and apply the techniques outlined below.

Start with some fresh sketches

Step 2

Our first icon subject is Janet Mock. I’ve locked my sketch on its own layer in the Layers panel of a New Document in Adobe Illustrator. On a new layer, I started with the Pen Tool (P) and traced the basic head shape from my sketch.

Then I started to trace the eyes. I temporarily set the head shape’s Blending Mode to Multiply in the Transparency panel in order to make sure it fit with the facial features I was beginning to draw. 

Start by tracing the basic head and face shapes

Step 3

I’ve hidden the head shape for now in the Layers panel. Using the Blob Brush Tool (Shift-B), with pressure enabled, I followed my sketch’s lines in order to draw the eyes, nose, and mouth. (If you’re using a mouse, feel free to stick with the Pen Tool or Curvature Tool (Shift-~) to draw components and trace your sketch.)

For the eyes, I drew two almond-shaped gradient objects with Linear Gradients going from dark purple to white and back to dark purple. Adjust the gradient’s distribution with the Gradient Tool (G) or the Gradient panel.

I find that using the Blob Brush Tool keeps the design cartoony and looking as if it was drawn with a marker. You can also get a similar look by using stroked paths and adjusting the stroke weight with the Width Tool (Shift-W).

Start drawing facial features withthe blob brush tool

Step 4

I’ve placed the head shape beneath the newly drawn facial features. Group (Control-G) together the face components and center them vertically with the head object. As you can see, we have the basics ready: eyebrows, eyes, nose, and mouth. Let’s get on to the details!

The face so far

2. Detailing the Face With Gradients

Step 1

I like to reference my sketches as often as possible. Give the nose some color variation by drawing a shape over the entirety of the nose and applying a gradient that goes from a red, orange, or brown hue to the skin tone you’re using for your portrait.

I’ve done the same thing with eyeshadow behind both eyes, emphasizing the arch of the brow and the cat-eye shape of the eyelashes.

I changed the lines of the nose and mouth to a dark pink and drew the mouth with the Pencil Tool (N) as two distinct shapes placed below the mouth lines in the Layers panel.

Using gradients on the nose and eyes to create details

Step 2

Let’s break down some of the details created so far:

  1. Place the eyeshadow gradients behind the eyes. Also note the transparent shadow drawn over the eyes. Make sure it’s the same color as your eye outline and adjust the transparency or apply a gradient to it to give a little bit of depth to the face.
  2. The teeth are the same gradient and shadow attribute as those on the eyes—note how the shadows are in the corners of the mouth and the highlight is in the center.
  3. For the nose, I drew an oval for the center of the nose using the same gradient used previously on the nose. The Blending Mode was set to Screen and the Opacity was reduced to 70-50% in the Transparency panel.
Facial details with gradients highlights and shadows

Step 3

For Janet’s high cheek-bones, I drew a shape that cuts the side of her face in half diagonally and used the Shape Builder Tool (Shift-M) to fit it to the head object perfectly. I applied a Linear Gradient to the shape that goes from dark brown to the same brown used for her skin color, with the darker color on the outside of the jaw (see below).

Use the shape builder tool to intersect objects

Step 4

Next up I drew some highlight shapes on the forehead and cheeks. I applied Radial Gradients to each, going from skin tone at 100% Opacity to 0% Opacity with the Blending Mode set to Screen.

Draw highlight shapes on the forehead and cheeks

Step 5

Speeding up our face creation process, let’s take a look at the details I’ve added:

  1. Add some simple ears! Using the sketch as a guide, draw two ear shapes and place them behind the head with dark pink detail shapes.
  2. The earrings are two rounded rectangles with a Linear Gradient applied that goes from yellow to light yellow and back to yellow again. There’s also a yellow-orange stroke applied to the shape to separate it a bit from the face.
  3. Finally, I’ve added shadow and highlight shapes to the chin and mouth areas. 
Shadows highlights and earrings added to the head

3. Creating Hair and Clothes

Step 1

I like to handle the drawing of hairstyles in sections. For Janet’s fabulous, thick hair, check out my process below:

  1. I like to start with the largest section and a side part. Using the Pencil Tool, I’ve drawn a fluffy, cloud-like shape in the same dark brown I’ve used throughout this illustration.
  2. Continue filling in the other side of her hair. I want to make sure it covers most of her forehead and part of her ears.
  3. I added another fluffy shape to the left side in order to lead us into the rest of the hairdo, which will be placed behind the head.
  4. Finally, with a darker brown, I’ve drawn a large shape behind the head in order to give the hair some depth in addition to all of this dimension.
Drawing the hair in four quick steps

Step 2

The neck and shoulders are one shape drawn with the Pen Tool. The Linear Gradient applied to the shape goes from dark brown at the top to medium brown. Place this behind the head but above the lower layer of hair.

For the shirt, I drew it quickly and simply with the Pen Tool and added a couple of stroked paths to create a quick bit of detail without taking away too much attention from the rest of the portrait.

Draw the neck shoulders and shirt

Step 3

Each of my icons will have a similar background of a rounded rectangle, which you can draw with the Rounded Rectangle Tool, with a Radial Gradient applied. Group all of the icon components together. Draw another rounded rectangle and place it over the icon group. Create a Clipping Mask (Control-7) so the portrait body stays within the icon’s frame.

Add other details like a bit of scripted text (check out some fantastic fonts over at GraphicRiver, or draw them in yourself) and additional shadow shapes to define the hair.

Finalize your icon design

4. Creating Other Hair Styles

Step 1

Rather than going through the same process for each of the icons, I’d like to highlight some of the techniques that make each icon unique. Starting with a cartoony version of Laura Jane Grace, let’s check out how I handled her long tresses.

  1. On a layer above the rest of her body, I started with a half circle for her bangs. This was drawn with the Blob Brush Tool, but could definitely be done with the drawing tool of your choice.
  2. Like Janet’s hair above, I like to handle hair in sections. A couple of curved lines take care of the details in the top of her hair.
  3. Then, I focused on wavy hair to frame the face. Notice how it’s not detailing every strand, but gives you a good idea of volume and shape.

Group these hair outlines together, and we’ll define the hair further with some shadow shapes next.

Drawing wavy hair in sections

Step 2

Much like shadow shapes drawn before, we’ll be using Linear Gradients that go from 100% to 0% Opacity.

Draw a large shape outlining the hair with the Pen Tool or Pencil Tool and place it beneath the hair line art. I drew a big, jagged shape that follows the contour of the bangs.

Apply the shadow gradient and continue drawing shapes that define a few sections of hair, similar to what’s seen below. 

Draw shadow shapes in the hair to define each section

Step 3

The highlights are similar to the shadow shapes: they accentuate several sections in the hair and bring depth to the design. Use a lighter shade than the hair or set the gradient shapes to Screen as the Blending Mode in the Transparency or Appearance panels.

Use lighter gradients to highlight the hair

5. Drawing Clothes and Accessories

Step 1

For the crown of flowers on either Marsha P. Johnson’s or Tyler Ford’s heads, I mostly followed my initial sketch and drew shapes with the Pencil Tool. Like the hair, I took it all in sections. 

In the case of the flower crown below, I went for color sections of flowers and leaves. I drew red flowers, Grouped them together, and then drew yellow flowers and leaves after that.

draw flowers in sections

Step 2

Drawing something complex like a crown of flowers or a floral arrangement in sections allows you to change colors quickly and easily. I drew veins on the leaves with the Blob Brush Tool.

To add some shadow to the flowers I Grouped the crown together and then Copied (Control-C) and Pasted (Control-V) the whole thing. In the Gradient panel, I applied a Radial Gradient of dark brown at 100% to 0% Opacity (with the opaque color in the center), and set the Blending Mode to Overlay in the Transparency panel.

The highlights are light yellow Linear Gradient shapes, similar to those drawn on the Laura Jane Grace icon’s hair.

Add details shadows and highlights to the flower crown

Step 3

Most of the clothes drawn on each icon are simple. The clothes drawn on my Balian Buschbaum icon were drawn in three steps: shirt, scarf around the neck, and scarf hanging down. Then I drew simple gradient shadow shapes that accentuated the draping and folds in the scarf itself (as seen below). 

Balian Buschbaums scarf and shirt is simple but effective design

Great Job, You’re Done!

The icons seen below were created with the techniques highlighted above. Feel free to follow along with the sketch provided or create some designs of your own and use the ideas, style, and techniques from this tutorial. Share your results in the comment section below!

Final design result

Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Post pobrano z: Create Cartoon Icons for International Transgender Day of Visibility in Adobe Illustrator

Final product image
What You’ll Be Creating

Let’s draw some fun cartoon icons in Adobe Illustrator CC! Download the sketch file to the right of this tutorial, or you can sketch out some portraits of your own and apply the techniques outlined below to create your own personalized icons, ready for web and print use.

On 31st March, it is International Transgender Day of Visibility, a day celebrating the transgender community and raising awareness of the discrimination transgender people face worldwide. The people I chose for these icons identify in a variety of ways and have been active for transgender awareness and within the larger LGBT community:

  • Janet Mock: Notable writer, trans+ activist, and entertainment host. Janet has worked with LGBT organizations in creating transgender-specific youth programs to support and educate, as well as written and spoken frequently about trans* issues within our society and her own experiences.
  • Laura Jane Grace: The front woman for the punk band Against Me!, Laura is not only a fantastic musician, but also went through the process of transition in a public way. Against Me!’s album Transgender Dysphoria Blues deals with the topic of gender dysphoria.
  • Marsha P. Johnson: Notable LGBT activist, Stonewall Riot veteran, and drag queen, Marsha was a staple of New York City’s gay and art scene throughout the 60s and 70s. She, along with Sylvia Rivera, co-founded STAR (Sweet Transvestite Action Revolutionaries), a group focused on helping homeless drag queens and trans* women of color.
  • Chaz Bono: Quite famous as the son of Cher and the late Sonny Bono, Chaz is a writer, entertainer, and LGBT activist in his own right. Like some of the others in this list, his transition was public. He has written for the magazine The Advocate, worked as spokesperson for the Human Rights Campaign, and worked with GLAAD as their Entertainment Media Director.
  • Balian Buschbaum: German pole vaulter who competed in world and Olympic competitions before retiring to transition. I included him for his openness and public transition, as athletes are often regarded in high esteem and those who tackle gender issues in a public way are icons to youths.
  • Tyler Ford: Though not as famous as those listed above, Tyler is a noted agender youth and LGBT activist and writer. They’ve written for Rookie magazine, MTV, and worked with the Happy Hippie foundation, an organization supporting homeless LGBT youth. 

The list of notable trans* activists goes quite a bit further than this, and I encourage you, after creating something fantastic with the tutorial, to consider those profiled here as a starting point for International Transgender Day of Visibility.

1. Using a Sketch for an Icon

Step 1

Let’s check out my initial sketches. All six of my subjects have portraits drawn out in little rounded boxes. I’ve made notes about their hairstyles and face shapes, and aimed for a cute, cartoony likeness for each. 

You’re welcome to build your icons off these sketches and follow along with me, or use something of your own and apply the techniques outlined below.

Start with some fresh sketches

Step 2

Our first icon subject is Janet Mock. I’ve locked my sketch on its own layer in the Layers panel of a New Document in Adobe Illustrator. On a new layer, I started with the Pen Tool (P) and traced the basic head shape from my sketch.

Then I started to trace the eyes. I temporarily set the head shape’s Blending Mode to Multiply in the Transparency panel in order to make sure it fit with the facial features I was beginning to draw. 

Start by tracing the basic head and face shapes

Step 3

I’ve hidden the head shape for now in the Layers panel. Using the Blob Brush Tool (Shift-B), with pressure enabled, I followed my sketch’s lines in order to draw the eyes, nose, and mouth. (If you’re using a mouse, feel free to stick with the Pen Tool or Curvature Tool (Shift-~) to draw components and trace your sketch.)

For the eyes, I drew two almond-shaped gradient objects with Linear Gradients going from dark purple to white and back to dark purple. Adjust the gradient’s distribution with the Gradient Tool (G) or the Gradient panel.

I find that using the Blob Brush Tool keeps the design cartoony and looking as if it was drawn with a marker. You can also get a similar look by using stroked paths and adjusting the stroke weight with the Width Tool (Shift-W).

Start drawing facial features withthe blob brush tool

Step 4

I’ve placed the head shape beneath the newly drawn facial features. Group (Control-G) together the face components and center them vertically with the head object. As you can see, we have the basics ready: eyebrows, eyes, nose, and mouth. Let’s get on to the details!

The face so far

2. Detailing the Face With Gradients

Step 1

I like to reference my sketches as often as possible. Give the nose some color variation by drawing a shape over the entirety of the nose and applying a gradient that goes from a red, orange, or brown hue to the skin tone you’re using for your portrait.

I’ve done the same thing with eyeshadow behind both eyes, emphasizing the arch of the brow and the cat-eye shape of the eyelashes.

I changed the lines of the nose and mouth to a dark pink and drew the mouth with the Pencil Tool (N) as two distinct shapes placed below the mouth lines in the Layers panel.

Using gradients on the nose and eyes to create details

Step 2

Let’s break down some of the details created so far:

  1. Place the eyeshadow gradients behind the eyes. Also note the transparent shadow drawn over the eyes. Make sure it’s the same color as your eye outline and adjust the transparency or apply a gradient to it to give a little bit of depth to the face.
  2. The teeth are the same gradient and shadow attribute as those on the eyes—note how the shadows are in the corners of the mouth and the highlight is in the center.
  3. For the nose, I drew an oval for the center of the nose using the same gradient used previously on the nose. The Blending Mode was set to Screen and the Opacity was reduced to 70-50% in the Transparency panel.
Facial details with gradients highlights and shadows

Step 3

For Janet’s high cheek-bones, I drew a shape that cuts the side of her face in half diagonally and used the Shape Builder Tool (Shift-M) to fit it to the head object perfectly. I applied a Linear Gradient to the shape that goes from dark brown to the same brown used for her skin color, with the darker color on the outside of the jaw (see below).

Use the shape builder tool to intersect objects

Step 4

Next up I drew some highlight shapes on the forehead and cheeks. I applied Radial Gradients to each, going from skin tone at 100% Opacity to 0% Opacity with the Blending Mode set to Screen.

Draw highlight shapes on the forehead and cheeks

Step 5

Speeding up our face creation process, let’s take a look at the details I’ve added:

  1. Add some simple ears! Using the sketch as a guide, draw two ear shapes and place them behind the head with dark pink detail shapes.
  2. The earrings are two rounded rectangles with a Linear Gradient applied that goes from yellow to light yellow and back to yellow again. There’s also a yellow-orange stroke applied to the shape to separate it a bit from the face.
  3. Finally, I’ve added shadow and highlight shapes to the chin and mouth areas. 
Shadows highlights and earrings added to the head

3. Creating Hair and Clothes

Step 1

I like to handle the drawing of hairstyles in sections. For Janet’s fabulous, thick hair, check out my process below:

  1. I like to start with the largest section and a side part. Using the Pencil Tool, I’ve drawn a fluffy, cloud-like shape in the same dark brown I’ve used throughout this illustration.
  2. Continue filling in the other side of her hair. I want to make sure it covers most of her forehead and part of her ears.
  3. I added another fluffy shape to the left side in order to lead us into the rest of the hairdo, which will be placed behind the head.
  4. Finally, with a darker brown, I’ve drawn a large shape behind the head in order to give the hair some depth in addition to all of this dimension.
Drawing the hair in four quick steps

Step 2

The neck and shoulders are one shape drawn with the Pen Tool. The Linear Gradient applied to the shape goes from dark brown at the top to medium brown. Place this behind the head but above the lower layer of hair.

For the shirt, I drew it quickly and simply with the Pen Tool and added a couple of stroked paths to create a quick bit of detail without taking away too much attention from the rest of the portrait.

Draw the neck shoulders and shirt

Step 3

Each of my icons will have a similar background of a rounded rectangle, which you can draw with the Rounded Rectangle Tool, with a Radial Gradient applied. Group all of the icon components together. Draw another rounded rectangle and place it over the icon group. Create a Clipping Mask (Control-7) so the portrait body stays within the icon’s frame.

Add other details like a bit of scripted text (check out some fantastic fonts over at GraphicRiver, or draw them in yourself) and additional shadow shapes to define the hair.

Finalize your icon design

4. Creating Other Hair Styles

Step 1

Rather than going through the same process for each of the icons, I’d like to highlight some of the techniques that make each icon unique. Starting with a cartoony version of Laura Jane Grace, let’s check out how I handled her long tresses.

  1. On a layer above the rest of her body, I started with a half circle for her bangs. This was drawn with the Blob Brush Tool, but could definitely be done with the drawing tool of your choice.
  2. Like Janet’s hair above, I like to handle hair in sections. A couple of curved lines take care of the details in the top of her hair.
  3. Then, I focused on wavy hair to frame the face. Notice how it’s not detailing every strand, but gives you a good idea of volume and shape.

Group these hair outlines together, and we’ll define the hair further with some shadow shapes next.

Drawing wavy hair in sections

Step 2

Much like shadow shapes drawn before, we’ll be using Linear Gradients that go from 100% to 0% Opacity.

Draw a large shape outlining the hair with the Pen Tool or Pencil Tool and place it beneath the hair line art. I drew a big, jagged shape that follows the contour of the bangs.

Apply the shadow gradient and continue drawing shapes that define a few sections of hair, similar to what’s seen below. 

Draw shadow shapes in the hair to define each section

Step 3

The highlights are similar to the shadow shapes: they accentuate several sections in the hair and bring depth to the design. Use a lighter shade than the hair or set the gradient shapes to Screen as the Blending Mode in the Transparency or Appearance panels.

Use lighter gradients to highlight the hair

5. Drawing Clothes and Accessories

Step 1

For the crown of flowers on either Marsha P. Johnson’s or Tyler Ford’s heads, I mostly followed my initial sketch and drew shapes with the Pencil Tool. Like the hair, I took it all in sections. 

In the case of the flower crown below, I went for color sections of flowers and leaves. I drew red flowers, Grouped them together, and then drew yellow flowers and leaves after that.

draw flowers in sections

Step 2

Drawing something complex like a crown of flowers or a floral arrangement in sections allows you to change colors quickly and easily. I drew veins on the leaves with the Blob Brush Tool.

To add some shadow to the flowers I Grouped the crown together and then Copied (Control-C) and Pasted (Control-V) the whole thing. In the Gradient panel, I applied a Radial Gradient of dark brown at 100% to 0% Opacity (with the opaque color in the center), and set the Blending Mode to Overlay in the Transparency panel.

The highlights are light yellow Linear Gradient shapes, similar to those drawn on the Laura Jane Grace icon’s hair.

Add details shadows and highlights to the flower crown

Step 3

Most of the clothes drawn on each icon are simple. The clothes drawn on my Balian Buschbaum icon were drawn in three steps: shirt, scarf around the neck, and scarf hanging down. Then I drew simple gradient shadow shapes that accentuated the draping and folds in the scarf itself (as seen below). 

Balian Buschbaums scarf and shirt is simple but effective design

Great Job, You’re Done!

The icons seen below were created with the techniques highlighted above. Feel free to follow along with the sketch provided or create some designs of your own and use the ideas, style, and techniques from this tutorial. Share your results in the comment section below!

Final design result

How to Create a Layer Mask in Photoshop

Post pobrano z: How to Create a Layer Mask in Photoshop

Final product image
What You’ll Be Creating

In this quick tip tutorial, we will learn what a layer mask is, what it does, and how to create a mask in Photoshop! 

Follow along with us on the Envato Tuts+ YouTube Channel:

What You Will Need

You will need the following image in order to follow along with this tutorial.

Find more resources on Envato Elements!

1. What Are Layer Masks? 

Layer masks are your go-to tool when doing photo composites or manipulations! You can add a mask to a layer and then use that mask to hide, or „mask,” portions of the layer. 

Masking is different from erasing as you aren’t deleting anything, but hiding it. Anything you mask can be brought back at any time! Let’s get to learning how to make a layer mask in Photoshop.

2. How to Use Layer Masks

Below, I will walk you through a simple example of how to add a layer mask in Photoshop.

Step 1

Create a New Layer over a background. I’ll be using this Night Sky image. 

Create a shape using the Shape Tool.

moon shape

Step 2

With the shape selected, click on the Add Layer Mask button found at the bottom of the Layers panel, right in the middle. The icon is of a square with a circle in the middle.

A white box will appear next to your layer icon.

layer mask layer

Step 3

Click the layer mask, the white box that appeared, to make sure it’s active. This is your Photoshop mask!

Now, with a Brush set to black, you can mask out any part of that shape. 

mask using black

Step 4

You can then mask things back in using the color white! Remember, nothing is ever really gone. 

You use black to erase and white to recover. You can even use shades of gray; the darker the gray, the more it will erase. 

unmask using white

Below, I created some star-shaped selections and then masked them out with a black brush.

star mask

Step 5

If you move your layer around, your mask will follow and stay attached, indicated by the Chain Link icon located between the layer and layer mask icons.  

However, you can also Unlink the layer and the layer mask, allowing you to move the layer and layer mask around independently, depending on which one you have active. 

layer mask link

Step 6

Finally, if for any reason you want to permanently apply your layer mask, you can Right-Click > Apply Layer Mask on your layer mask.

Once a layer mask is applied, whatever is masked out will become permanently deleted, the layer will turn back into a standard rasterized layer, and you are free to add a new layer mask.  

And There You Have It!

We’ve learned how to create a layer mask in Photoshop! Layer masks are what make photo composites and manipulation possible, allowing us to blend dozens of images to create one cohesive new piece of art! The possibilities are endless. 

So, as always, keep experimenting with different techniques, continue learning how to mask in Photoshop, and don’t forget to post your version below, along with any questions, comments, or critiques!

Final

Looking to learn more? Why not check out the following excellent photo manipulation tutorials:

How to Create a Layer Mask in Photoshop

Post pobrano z: How to Create a Layer Mask in Photoshop

Final product image
What You’ll Be Creating

In this quick tip tutorial, we will learn what a layer mask is, what it does, and how to create a mask in Photoshop! 

Follow along with us on the Envato Tuts+ YouTube Channel:

What You Will Need

You will need the following image in order to follow along with this tutorial.

Find more resources on Envato Elements!

1. What Are Layer Masks? 

Layer masks are your go-to tool when doing photo composites or manipulations! You can add a mask to a layer and then use that mask to hide, or „mask,” portions of the layer. 

Masking is different from erasing as you aren’t deleting anything, but hiding it. Anything you mask can be brought back at any time! Let’s get to learning how to make a layer mask in Photoshop.

2. How to Use Layer Masks

Below, I will walk you through a simple example of how to add a layer mask in Photoshop.

Step 1

Create a New Layer over a background. I’ll be using this Night Sky image. 

Create a shape using the Shape Tool.

moon shape

Step 2

With the shape selected, click on the Add Layer Mask button found at the bottom of the Layers panel, right in the middle. The icon is of a square with a circle in the middle.

A white box will appear next to your layer icon.

layer mask layer

Step 3

Click the layer mask, the white box that appeared, to make sure it’s active. This is your Photoshop mask!

Now, with a Brush set to black, you can mask out any part of that shape. 

mask using black

Step 4

You can then mask things back in using the color white! Remember, nothing is ever really gone. 

You use black to erase and white to recover. You can even use shades of gray; the darker the gray, the more it will erase. 

unmask using white

Below, I created some star-shaped selections and then masked them out with a black brush.

star mask

Step 5

If you move your layer around, your mask will follow and stay attached, indicated by the Chain Link icon located between the layer and layer mask icons.  

However, you can also Unlink the layer and the layer mask, allowing you to move the layer and layer mask around independently, depending on which one you have active. 

layer mask link

Step 6

Finally, if for any reason you want to permanently apply your layer mask, you can Right-Click > Apply Layer Mask on your layer mask.

Once a layer mask is applied, whatever is masked out will become permanently deleted, the layer will turn back into a standard rasterized layer, and you are free to add a new layer mask.  

And There You Have It!

We’ve learned how to create a layer mask in Photoshop! Layer masks are what make photo composites and manipulation possible, allowing us to blend dozens of images to create one cohesive new piece of art! The possibilities are endless. 

So, as always, keep experimenting with different techniques, continue learning how to mask in Photoshop, and don’t forget to post your version below, along with any questions, comments, or critiques!

Final

Looking to learn more? Why not check out the following excellent photo manipulation tutorials: