Flash MX 2004 vector bitmap Vectorization by mouse

Mouse

In this tutorial, I will show you if the Audio TT car is flashmx2004 by the mouse, although it is flashmx2004, it is also suitable for its flash version.

The drawing board is not needed here, but if you are lucky enough to have it, you can also use it because it speeds up the entire drawing process, and you need to have some understanding of the Flash software itself, especially the drawing tools available to it.

The following two graphs are the original image and the vector graph we have drawn.

Original:

Vector diagram:

　　1. General Hints

1. When I took this picture as a reference, I noticed that there were some parts that were showing pixels, so I went online to search for a better reference image, and for this example, I wanted to find a bigger image. But I did not find an image of this angle, but I tried to understand the whole car and find the whole car feeling.

2. For the entire vector map I use only a few tools, use the line tool as the contour, use the paint bucket tool to Tim and use the gradient tool to control the gradient.

3. There is no complete solid color filling in this vector graph, it is obvious that we want to use a large number of gradient fills.

4. Through for each part, I basically have to spend an equal amount of time to deal with, although the windshield window does not have the door frame complex, but it uses my time to deal with.

2. Draw local details of the car

When it is drawn to the local details, the right side of the car is a part of the complex position, the shadow part of the car is more difficult. So we'll look at this part in detail to see how to draw.

2. 1 do similar to the reference graphics

This job seems to me to be living in hell, and there are some nasty reflections on it, because it's not easy to reconstruct it, because, before I do it, I take 1-2 minutes to look at the reference graph, and I do it because it's for me to get a picture-level vector map, and when you look at it carefully, , you should already know which parts are fused together and which parts fade into the dark, but at this point you have to assume that they are separate from each other. Though they are now one, now that's what we're going to do, I'm trying to visualize the reference image as a gradient, try to see where the color changes, and so on, the most important thing is to analyze which layer is on top and which layer is underneath.

2.2– Contour

Now, I know what I can work out, start drawing outlines, the first thing to do is to create a new layer on top of the reference image, double click the square on the right side of the layer name, and then pop up a layer of the Properties window.

In this panel, change the contour line color so that I can see it clearly at any time.

Now, click the Draw Line tool and start to split the color block into different parts, you can also use the Pen tool, for me to use the line tool faster, and easy to use. Draw a line from one point to another, and then use the selection tool to adjust the curvature of the line to the effect you want, and below is the layer I am describing.

As you can see, I've divided the main outline into smaller pieces, which we'll be Tim later in, where the main contour is the heaviest.

　　 2.3 Applied Colors

The next color is applied, and the base layer usually consists of just a few simple linear gradients and radial gradients, which are actually simply applied to the vector graph. Before I started, I always had to clear the color swatch.

I like this operation, otherwise I may have to lose track of the colors defined before, the next one, I start applying gradients in the contour, you need to do the following:

You have to find all the colors for a large gradient and determine where they are separated, or you divide it into smaller parts and apply a separate gradient to each small block.

I prefer to use the latter, because the quality of the first method depends on how much color you apply to the gradient, and using the smaller part I just need to apply a gradient to each piece, just pay attention to their order.
So that's why I'm dividing the main outline into more parts, and it's really simple: I'm looking very close to the color of the reference image and to the position with very obvious color changes, and in the middle of it I draw a line to separate the different sections.

Using the Color picker tool, I picked up the first gradient for both colors and placed it in the color Swatch panel, then switched to the mixer panel, adjusting the gradient and applying it to the graphic.

The result is much prettier than the default gradient, but I need to deform it to fit the reference graph. The only way to do this is to use the gradient transform tool. Select it on the tool panel, and then click the graphic you just applied the gradient to, and use this tool to scale and rotate the gradient until you reach the desired effect.

For other parts, the first color should be the end color of the last part closest to it, because we only need to take the current small part of the end color as the beginning of the next part of the color, it seems very simple, need to pay attention to their order and color samples of color. Then use the Gradient transform tool to edit them to make sure they blend properly. The method is basically the same in reference to the reference graph in the Tim process, but sometimes we need to use a radiation gradient, but the adjustment process is the same. After all is done, we select the outline and then delete it. As follows:

　　2.4 Complex Shadows

Now it doesn't look any different from the reference graphic, and it's only one layer, and it looks good.

And actually the reference graph also includes some shadows and high light, to add shadows and high light to our vector graph, we need to create more layers, but before we do this, Let me take a look at Flash's tips for using gradients: You can adjust the transparency of a color on the mixer panel (or adjust the opacity for the two colors of the gradient). This approach allows you to make complex gradients without overwriting the base color.

The next thing is to decide where to apply the shadow and the high light:

Now go back to the underlying layer, select the parts of the body that you need to draw the highlight, and then copy them to the same position on a new layer. and delete its contour line.

Through the above process, we can determine how many layers we need to get as close to the reference image as possible. Pin the second layer, create two new layers, duplicate and paste the shapes in the contour, and delete the contour lines from the periphery.

When I apply a gradient to a high light shadow, I just set a color to the Cheng Shi color, the other end is usually white, and then the opacity is set to 0 because the color on the end is unimportant, and then use the gradient transform tool to adjust to the final effect. Finally, delete all contour lines.

　　3. Complete the entire model .

There is no new requirement for the other parts of the car, so we've finished the hardest part of the entire vehicle, the other methods are the same, drawing contours, adding gradients, and then using the gradient variant tool to adjust and so on.
In the process of making, you can first make the entire profile of the model, and then in the specific to the details of the section. The following are the final results of the completion:

PS by Egoldy: This tutorial is just some ideas of the author in drawing graphics, there is no very detailed step, the individual thought can only play a hint of the role, such as in the drawing of complex parts, as far as possible according to the color changes in the position, to break into more and more small parts, and then for its gradient fill, gradient variant operation , for some of the high light shadow processing, we need to copy the original basic form of the necessary parts, and then fill, transparent processing, to achieve the ultimate effect we want. You can try it now, cheers:)