#14 How To Use The Gradient Tools In Illustrator | Dawid Tuminski | Skillshare

#14 How To Use The Gradient Tools In Illustrator

Dawid Tuminski, www.dawidtuminski.com

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7 Lessons (24m)
    • 1. 14How To Use Gradient Tools Promo Video

      1:01
    • 2. 1.How To Use the Gradient Tools

      3:09
    • 3. 2.Gradients, swatches and multiple objects

      2:06
    • 4. 3.Apply a gradient across multiple objects

      1:39
    • 5. 4.How to use the Gradient panel

      2:45
    • 6. 5.How To Work with Gradient Meshes

      3:46
    • 7. 6.Achieving photorealistic effects with gradient meshes

      9:20

About This Class

Welcome to another episode of the Every Illustrator Tool Explained series.

In this particular class you will learn how to use the Gradient Tools in Illustrator

So if you want to know how to:

  • Use tools such as the gradient tool and the mesh tool
  • Apply and adjust gradients to your artwork
  • How to achieve photorealistic effects with the mesh tool

Enroll in the class, because it is a concise source of thorough Illustrator knowledge great for newbies and everyone who feels that learning a piece of software like Illustrator can only be efficient when you get to know the tools it offers.

But you don’t have to watch all the videos to gain real-life knowledge.

Each lecture is a standalone project, so you can just select the tool that you want to learn today, watch that particular video and watch your skill set grow.

Enroll in the class now and I will see you inside!

Transcripts

1. 14How To Use Gradient Tools Promo Video: Hi there. My name is David. Too risky and I wanted to thank you for choosing this course. I know that there is a lot. Of course, is out there. That is why I am so grateful that you chose this one. Welcome to another episode off the every illustrator To explain Siris in this particular class, you will learn how to use the grading tools in illustrator. So if we want to know how to use tools such as the grading too and the mashed toe apply and just radiance to your artwork and how to achieve a photo realistic effect with Mashtal enroll in the class because it is a concise source off Thora Illustrator knowledge great for newbies and everyone who feels that learning a piece of software like illustrator can only be efficient when you get to know the tools it offers. But you don't have towards all the videos to be in real life knowledge. Each Lecter is a stand alone project so you can just slag till that you want to learn today . Watch that particular video and watch her skill set grow so enrolled in the class. And I'll see you inside 2. 1.How To Use the Gradient Tools: in the next few videos, you will talk about creating, applying and adjust ingredients in Illustrator, and we will do that while learning about the Grady in Stool and the Grady Int Mashtal Greetings are one of those effects that are most used and loved that just by especially fresh designers but also by a lot of designers clients. I guess it's because they can create that instant wow effect. But sadly, Grady ants tend to be overused. There's a thin line between just enough amount of radiance and too much radiance. So using them is that just about the tools but also about the design principles? So the next videos we will focus on the Grady and Tools rather than ingredients themselves . So let's start doing that with the Grady Int tool. The Great into sits right here in the tools panel and has a default shortcut, which is the letter G naturally. So how does this still work? Don't first of all, toe add a great and filter an object? We can either click this little box right here. I would also pressed the period key, or we can simply go to the great and panel and click on this Grady int box. By the way, if you don't have the grating panel up, you could make it active by going to the window menu. Grady Int Or he could use their control command plus F nine shortcut. Notice that when you select a great in filled object and select the Grady, install a great and an imitator appears in the object, and by default, it size matches the size of the object. You can use it to modify the Grady and pretty much the same way as you would use in the great and pal. If your position that told directly over the greedy int an imitator, it becomes a slider, same as in the great and panel, and it has great and stops and location indicators. You can collect the great in an imitator toe. Add new grading stops just like so. Double click individual grading stops to specify new colors and opacity settings. Or you can drag grading stops to new locations. Notice that all the changes we apply to the great and an imitator are taken effect instantly. When you position the pointer over the great and an imitators and two things can happen you can see either a rotation cursor or an arrow. When the rotation cursor appears, you can click and drag to reposition the angle of the Grady int, and when a narrow appears, you can click and drag to decrease or increase the range off the Grady Int. Also dragging the circular and of the great and slider repositions the origen of the Grady Int. If you don't want the great and an imitator to block your view of the great and you can hide it by going to the View menu, hide Grady in an imitator or view show great and an imitator if you want to bring it back up. So we already have the basic understanding of how the greatest tool works. In the next video, you will take a look at how the greedy INTs work in conjunction with the swatches panel. 3. 2.Gradients, swatches and multiple objects: just as you can added irregular fill. You can change a great and Phil oven object, and you can do it in different ways. But in this video, we will focus on using the great aunt and the Swatches panel. So with an object selected weaken, go to the Grady and panel and choose from grading swatches we have currently active in the swatches panel. But as you can see, we don't have too many of them by default, as there is just a few of great and swatches in the swatches panel. Once you open up illustrator Soto and more grating swatches, let's move to the Swatch spell in here we can and swatches by opening up Swatch libraries. To do that, let's click on this little button, which, once clicked, will open up the swatches library Manu. And here we can choose radiance, and you can see a whole list of swatches groups popping up from which I think the most frequently used one is the mad ALS one. So let's choose it. What we have here is a different window, with only the metal Grady in swatches. But if you decide to choose any other Grady in Swatches group. Just press one of these arrows to select any other available Swatch library. So once you click on a swatch, it will get automatically added to the swatches panel. But not only here. If we go back to the great in a panel and opened this great in a box, we can see all the greatest watches. We just clicked and added to the swatches panel. By the way, if you're working with a lot of greedy INTs, your swatches panel might get clattered with swatches you don't need. So what if you only want to see your grading swatches and now canals? So instead of deleting all the other remaining swatches, let's click on this little icon that says Show Swatch kinds. And from here, let's choose show Grady in swatches. Now the only swallow just in the swatches panel are Grady int swatches. So this is how the swatches panel can help you in creating ingredients. In the next video, we'll take a look at how to apply them to multiple objects, so stay tuned 4. 3.Apply a gradient across multiple objects: I got a bunch of ellipsis right here that I would like to fill with. Grady INTs. What would happens when, with all the ellipsis selected, I will choose a Grady in Swatch Illustrator adds Grady unstow each individual object and gives them individual greed and anil taters, and we can manipulate like we did in the previous video. But there are limitations to this. For instance, since these are all separate Grady INTs, we can't change the angle off all the greedy. It's using the grade Ian's tool. To do that, we should go to the great and panel and make all the adjustments we won't here, so they are applied toe all the selected radiance. In the next video, we will talk about using the greater panel in greater detail. But for now, let's take a look at it the other way off at ingredients across multiple objects. So the object selected and with the great instill selected, I'm going to click and drag to add a single graded toe all the objects at once. You can also play around with holding down. Alter our option key on your keyboard while treating ingredient. When you do so. This intricate box appears with number of dotted lines that corresponds with the number off objects currently selected. And as soon as I let go of the mouse, I will create, in this case nine different grade in an imitators, one for each ellipse. So this is how you can apply Grady unstow multiple objects. It takes some time to get used to the process, but it's definitely worth the effort. So, as promised in the next video, we'll take a look at using the Grady into panel, so keep watching. 5. 4.How to use the Gradient panel: the Great and Powerful is the center of Grady and creation in Illustrator. I use it much more often than I used the Grady in Tool, as it tends to be a bit unpredictable. Let's look, look at the great in options weaken set in the grading panel. So if you want to work along with me on a divided to keep an object to With a Great and Phil selected, this will allow you to see all the great and options in action. We already know that we can choose a great in Swatch in this great in swatch box. If you move to the right, we get to choose the type of the great in and in illustrator. We can create linear and elliptical Grady INTs not too much. I mean, if you're familiar with other designs software tools like a photo shop escape or CorelDraw . You know that you can also create conical ingredients using those pieces of software in Illustrator, you get to choose between linear and elliptical. And since Phyllis Ferris ES six even add Grady int to a stroke, and down here you can choose between alignment within the stroke along the stroke and across the stroke, which makes it look like a three d border, if you just to create an elliptical Grady int and by the way, noted that you can l apply elliptical ingredients two strokes as well. You can change its angle or aspect ratio right here. Did you want to quickly see what the Grady in is going to look like when you reverse the color stops order. Just click this little button right here using this grating slider. You can add color stops, remove them by dragging them away or to this trash Can I come and you also duplicate them by old option, dragging them to the left or to the right. If you want to change the color of this, stop just double click on it and either choose a swatch or use the color panel right here. So with this little diamond symbol on top of the great in slider, you can adjust the range of a particular color stop and to change the opacity value or the location of the color Stop. Just enter the numbers in the right box at the bottom off the power. So this is how you can change the grade and options to adjust the Grady and fill. I think that use ingredients is quite intuitive, but there is a bit of a learning curve to it. I definitely encourage you to test all the concepts you saw in the previous videos yourself . And once you are done, just move on to the next video, where we will start talking about the Grady int mash. 6. 5.How To Work with Gradient Meshes: Now it's time to talk about a slightly different kind of ingredient, which is called a mash. So what's that? A MASH object is a multi colored object on which collars can flow in different directions and transition smoothly from one point to another. That is why I call it a very special kind of radiant. So let's see how toe work with mashes. First of all, a mash is that something that exists in vacuum? We can create a mash object out of a regular object like this humble ellipse, and there are two ways of creating mash objects weaken. Simply grab the Mashtal that sits right here and has a default shortcut, which is the letter you and with the tool selected. Let's click anywhere on the object. And as soon as we do that, we're going to add a MASH point, which sits in the intersection between two mash lines. And the more we click, the more Mashburn's. We will add notice that if we click in a hollow space, we will create a new intersection off lines. But if we click on existing line, we will just add another MASH line, like so the second way of creating a MASH object requires us to go to the object menu, create MASH, which gives us this little dialog box where we can specify certain values. We can enter the amount of rows and columns and said the type of the appearance off the mash the flat will apply the objects original color evenly across the surface, resulting in no highlight to central will create a highlight in the center of the object and toe edge will create a highlight on the edges of the object. In most cases, you'll go with the flat or to Santer appearances, though the highlight option determines how much white is applied to the highlight. The bigger the value, the more white is applied. Now for this video's purposes, I'm going to stick to something really simple. I will choose a flat appearance with just three rows and three columns. Now, the special thing about the match points is that not only do they behave like normal ankle points, but they can also accept color. So if I select one of them with the direct selection tool now, I can just apply color to It was interesting about MASH objects is that Not only can we add colors to match points, but also to something that is called mash patches, which are the spaces between the mash points. So as an example, I will click with the direct selection toe only mash patch that I can no at a color to it. I can also shift click on more patches to add the same color to them at once. Here's a great production technique, since we can't marquis around inner patches with the direct selection tool or with the selection tool in order to select a whole bunch of patches or match points at the same time , it is best to just grab the lasso tool and then just supplied the collars before moving on to some more practical aspects of creating great aunt mashers. There's just one thing that needs mentioning. If you realize that you have too many match points, you can always delete them with the mass tool. To do that, make sure that you have the master active and hold down the old or option keep. Now, when you hover over a mash point, you'll notice that the cursor will change and clicking will delete a MASH point like so And if you don't hold down the altar, option key will be able to move the mash point around. So this is how you can create mash objects and use the Mashtal. In the next video, we will take a look at a bit more practical aspects off, creating Grady int mashes. 7. 6.Achieving photorealistic effects with gradient meshes: In this video, we will explore to more practical benefits off using MASH objects. Let's assume that you have created a nicely looking great and but you would like the effects to b'more irregular. You don't want to start over with the mimic and the great entries in the Mashtal. You need a quicker solution. So if that's the case, all you need to do is to grab a grading of your choice, go to the object menu and choose expand. So in this dialog box, we can choose to expand the Grady INTs to a MASH. However, in older versions of Illustrator, you'd have to click, expand and then create a mash separately using the create MASH command in the object menu. But in this case, I will just use the obvious option and click OK, now my object is turned into a mash object and I can work with it, just like with any other mash object. But I think that creating photo realistic of faxes scored the mash functionality of illustrator really shines. I got this banana ready and waiting to be photo realistically traced with the Mashtal. The goal here is to turn this raster image into a factor drawing and to make it as realistic as possible. We don't want it to look cartoony. So what I've done is I traced the banana with the pen tal, and if you don't know how to do it, take a look at my pencil in illustrator class, and now I can turn it into a mash object and then add colors to it. But before we start, there is one thing we should do. As you can see, I got my image and path put on separate players. So now we need to do is to turn the layer. Would the fruit into a template. So let's double click on it, check template and set the dim images to 100%. Now we did all that, because now when we go to the outline mode, we still can see the image and weaken turn the mental trace into a mash object. If you were working in the preview mode, we would notice that our match objects simply has White Phil, and it would be impossible for us to sample the colors from the underlying image. That is why it is important to work in the outline mode, not in the preview mode. So I want everything is set up. We can start picking up the colors. So as we already know what, there are basically two ways how we could start to create any grade into mash here. So we could either just grab the Mashtal and start clicking somewhere here to just add the mashed points. Or we could go to the object menu and then just go with Creed Great in the match. And I think that this thought this particular man that method would be more beneficial in this case was because we can now just add Rose. We can see that they are flow in nicely with the line and of our banana and maybe add some columns as well, although not too many. I think that this should be fine and I'm gonna leave the appearance as flat, and I'm just going to click. OK, but of course, if you think that you could use some more match points and some more mash lines, you could still add them using the Mashtal. So I'm just going to grab it from the tools panel and I think that we could use some more Mashburn's who right here at this end of the banana. So what I'm gonna do is I'm going to simply click maybe somewhere here and then maybe somewhere here to add some more somewhere match points and creed. Some more mash patches. Just like so, of course, the more mashed points and the more mash lines you add, the more precise your ultimate will effect is going to be. However, I got to tell you that creating this kind of, well, these air photo realistic effects take some time it takes. Ah, well, it's a bit laborious process just like them the low, poorly artwork effect and that you could see in my in my low polio artwork classes. But if you spend some more time, if you just put enough effort into into this process, if you're patient enough, then the ultimate effect is going to look much more much. We're closer to the original. However, in this class I don't want to obor you with me clicking and clicking and adding match points s so I will speed the process a bit up. Of course, I am going to start with um with the adding the colors because that there's just one more thing that you need to bear in mind when you are well created. This kind of an effect. Remember that we have this will banana wolf template right here. And we got this trace. Um, Layer right here. However, we are still working in the outline mode. So if I now just a grab it, just maybe zoom in real close. If I now just grip maybe this anchor point and maybe this anchor point will this match point and this match point as well Now grab the eyedropper tool and just will pick up maybe this color. You can see that we are actually, quote making them will change in the fill of the color. But we are not seen any effect right here. And that's because we are still in the outline mode. However, if we just quickly move it to them, to them to the preview mode by present command or control. Why on her keyboard, we can see the way that we just added some some colors right here. So this is one a way of working with this kind of what these effects we can either simply just so use the controller command. Why shortcut to quickly toggle between preview and the outline mode? Or we could always go to the window menu and then navigator. And in the navigator menu, you can see our image right here, and you can see that we are. And we are starting adding the color. So this navigator previews given us not the outline preview, but two of the rial preview with all the colors. So now we can just congest keep adding color. So maybe I'm just going toe ad. We'll click on these anchor points and then just to sample the colors and noticed that they are appearing right here in the Navigator panel. Or of course, we could simply go toggle between between the preview and the outline mode by present Commander Control. Why on our keyboard? So again, remember just that if you want, Teoh will speed the process up. Remember to hold them broke. Present Holt, the controller or command making key on your keyboard to quickly switch back to the to the direct selection tool just to add well, just to Adam and the ankle points to your selection, and we can simply speed the process up thanks to this little trick on that well that we already are familiar with. So let me just speed the process a bit up so you don't have to watch me clicking all day. Just note that I am just Sometimes I'm not just a selected one or one ankle point. I'm simply more keen around mawr ankle points. If I see that there's a big patch off the same color like here in the bottom. So let me just as I said, speed the process up and you can watch the progress right here in this bottom. In this bottom part, in this bottom will Navigator panel. Okay, so we are done with the most part of the trace. So now let's go back to the front of the preview mode to see what the banana looks like. It doesn't look that bad. I mean, if we just to spend some more time tracing it properly at the banana wouldn't look like there's a lot of blur applied to it. But as I said, the more time you spend on it, the more time you will more effort you put into creating the match lines and the mesh points. The more photo realistic effect we're going to you're going to get We still have this guy right here that weaken. We can quickly turn into a mash point while much objects to well t finish our effect. So I'm going to go to the object menu, create radiant mash, click OK, And then I'm going to go to the to the outline mode again. Bring back the template and now I can simply start adding collars to this to this top part . So I'm going to speed the process up for us. We don't have to watch me click like for 15 minutes. I know that this is not the most photo realistic banana you can you can create. But again, I don't want to spend the whole afternoon creative mash points and mash lines. I want you to understand the technique and I hope that that by now you understand how to create match points, how to create manage lines, how to just them how to add collars to them, to create your own photo realistic effects. And I encourage you to to try out all these and all these techniques that you just saw in this class, and if you just give it some time, you will create fantastic artwork, and I am sure about it. And this view concludes the class about the Grady INTs. So in this class, we learned how to create Grady INTs, how to add Grady's and how to adjust them, how to add them to to multiple objects, how to work with Grady ants and the swatches panel and how to create match objects and this kind of photo realistic effects.