Adobe Draw to Adobe Illustrator: Using the iPad Pro and Apple Pencil | Corri Sheff | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Adobe Draw to Adobe Illustrator: Using the iPad Pro and Apple Pencil

teacher avatar Corri Sheff, Artist and Surface Pattern Designer

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 12m)
    • 1. Introduction

    • 2. Why Ipad Pro and Apple Pencil?

    • 3. Materials Needed

    • 4. Sourcing Inspiration

    • 5. Overview of Adobe Draw

    • 6. Illustrating From Sketches on the iPad Pro

    • 7. Illustrating From Photos on the iPad Pro

    • 8. Importing your Illustration into AI

    • 9. Cleaning Up Illustrations in Adobe Illustrator

    • 10. Creating an Art Print

    • 11. Class Project

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

In this class I will show you how I utilize the iPad Pro and Apple Pencil to begin digital illustrations.  This class will teach you how gather inspiration and source your own resources to create your artwork.  We will build our illustrations in Adobe Draw working from our own photographs and sketches, then bringing them easily in to Adobe Illustrator to clean up.  We will also cover using our illustrations to create a beautiful art print. This class is geared towards intermediate beginners with some basic knowledge of Adobe Illustrator. *intro music composed and performed  by Jake Sheff Can't wait to get started!!

Meet Your Teacher

Teacher Profile Image

Corri Sheff

Artist and Surface Pattern Designer


Hello and Welcome!!


I'm Corri Sheff an artist and designer.  I have a B.S. in Fine Art (painting), Commercial Art and Illustration, and Graphic Design. I draw inspiration from nature, vintage botanical illustrations and my own garden.  I find inspiration in the strange and unconventional - from the creepiest of crawlies to a knotty tree.  My designs are elegant and sophisticated with just a touch of whimsy.  I am an avid sewist making everything from quilts to bags to garments. I currently reside in the Mojave Desert with my husband, daughter, two dogs, two cats, and Mustard & Solomon, both goldfish.

I have found myself and my own creative path through the many classes on Skillshare I have taken... See full profile

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction: uh, hi. My name is Corey Chef, and I am an artist and surface pattern designer working in the Mojave Desert. In this skill share class, we're going to explore using the iPad Pro Apple pencil in Adobe Drop to effectively build illustrations to then be imported into Adobe Illustrator, we learned how to gather inspiration and sources to build our illustrations and also how to work from our own sketches as well as photographs. I hope you're able to utilize some of these tips and tricks in your own workflow. Let's get started. 2. Why Ipad Pro and Apple Pencil?: Hi there. In this segment, we're going to go over why we would use the iPad pro in Apple pencil versus maybe just designing straight on the computer. The main reason for me is it's portable. I can bring it anywhere with me. I can bring outside one of my daughters playing and work on things. I've brought it to her dance classes before, and you can travel with it. It's just really nice to be able to bring your work everywhere with you. Second would be the feel of the apple pencil. It feels exactly like a real pencil. It feels very natural to draw with versus something like Awaken pencil. That's kind of chunky. The pressure sensitivity. I really, really love the pressure sensitivity. Using the iPad pro with the pencil. I just feel like you get really nice, smooth strokes. Also, there are maps you can use to link your iPad pro to your computer and use it as a drawing tablet so it would work like a sin teak tablet. But you know, a senti que can't use like an iPad pro. It doesn't work like an iPad. All of the other uses you can play movies on it, all of the apse that are available. It's basically like a mini computer. It's just really great, and I hope you'll join us in our next segment, where we're going to go over the materials needed for this course hope to see you there. 3. Materials Needed: Hi there. In this segment, we're going to be going over the materials that you'll need. For this course, you'll need an iPad Pro, an apple pencil adobe draw, which is a free app for your iPad Pro Adobe illustrator Creative Cloud version. It's really important that you do have the creative cloud version. Otherwise, you won't be able to get your illustrations over to Illustrator in effect arised format. A phone or a camera, a sketchbook, pens and or pencils. An optional would be a scanner, and I hope you'll join us in our next segment. War will be going over sourcing inspiration. Hope to see you there. 4. Sourcing Inspiration: here in this segment, we're going to be going over sourcing inspiration for illustrations. First and foremost, make sure that it is your own. Make sure you're using your own ideas, your own sketches and your own photographs. You will feel so much better about yourself knowing that your work is really coming from your heart. Get out and take photos. It's a good excuse for us creative types to get out of the house and go do something fun and take some photos and make your sketches. They absolutely do not have to be perfect. You're going to be tracing over them and you can adjust as you go. If, for whatever reason you are not able to source your own resource is make sure that you use multiple resource is so that your your drawing from a whole bunch of places So you're not, you know, copying just one source. I hope you join us in our next segment, where we're gonna do a little overview of adobe draw Hope to see you there 5. Overview of Adobe Draw: Hi, everyone in this segment, we're going to be going into an overview of Adobe Draw. So let's go ahead and open it up here. And right now we're in our settings panel and there's tons of tutorials and different things you can look at. Here. You can choose where you'd like your tool bar. Probably the most important thing in this whole window is the stroke smoothing to choose If you'd like to have it happen while you're drawing or after your drawing. If you do it while you're drawing, it's a lot more accurate after drawing makes it a lot smoother. I toggle between these quite a bit, and I also have my show touches on. So as we're playing around right now, you can see where I'm where I'm working. So let's go over to work on the bottom here. We're gonna hit this plus sign down here, just open a new project and we're going to choose iPad pro landscape. You can choose whatever you would like, and that gets us in our project. Here you always start with one draw layer in a background layer. Your brushes are over here on the left hand side, we have a round brush, a tapered brush are flat brush and a couple of angle brushes. And then also any racer down here, probably about 99% of the time. I just used this round brush right here. But you know you can play around and and use whatever gets you the effect you're looking for. So in order to increase or decrease the size of our brush, you push and hold. And if I go upwards, it makes my brush larger and downwards will make it smaller. I like to keep it right around like six, and you can go ahead and play and see. You know, if I push harder, it gets bigger, can do it really light. And then let's play with the tapered brush here. Now let's close this and see what happens if we go into our settings and choose to smooth our strokes after we draw and see how that gives us a much smoother effect, we'll just kind of play with all the brushes here. Say that when I started pushing harder as I got towards the bottom, so again you to change your size, push and hold up for bigger down for smaller to change your opacity. This is already 100 so we can really only go down. You can see you can get some nice layer. It effects there and tap on color to change color. Adobe Draw has a bunch of themes built in, and you can scroll through and shoes a theme that way or choose a color that way. There's also a color picker. You got your sliding scale down here for later and darker, and you can tap around and find a different color that way. One other way, you can choose color. If I had a photograph in the background or something, I can push and hold and then go over to a color and choose it. Now, speaking of adding an image if I wanted to trace over something like a sketch or photograph what we're going to do, you go over and hit this plus button, and that's toe. Add a layer you couldn't add a draw lier or an image layer. Let's add an image layer right now from my iPad. I will just add one of the sketches that we're gonna dio and how I'm making this bigger. You can see those dots. Those are my fingers. So I put two fingers down and pulling away from each other is making it bigger. And if I push them together, that's making it smaller. And then you hit done when you've got it where you like it. So now my image layer is over my draw layer, which generally you wouldn't want. So if I push and hold on my draw layer, I can slide it up over my image layer like that, and it's behind it now let's say I wanted to name my image Lee or something. Let's tap on it, get to come up and we can just click, and we can call it be because there's a be in there and now it's named, and now we can also add more. Draw layers to this to create and build your illustration that way, and you can move them so you just push in a hold. You can slide them wherever you need them. Now let's say I have done some drawing on on this. Be over it and I wanted to see what it looked like. Without the image layer. I can double click on it and that will make that layer be invisible for right now to undo an action that I have done of at the top, there is a little arrow pointing to the left. It's like a little you arrow on. It points to the left. That is your undo. I find Adobe Draw has a lot of hand gestures built in, but I find a lot of times when I use them, I end up drawing marks and I have to undo those. So for me, it's a lot faster. Just toe tap on that. You go ahead and use what works best for you if you want to redo your action. So let's let me draw something and I'll undo it. So there I drew that. So I'm gonna hit the arrow and undo it. Also up at the top, you have some shapes. I know it's not showing up on my screen cast, but there is a triangle and a circle so we can click on that. And then we have French curves. You can use there's lines and basic shapes, polygons and then some other little things. You know, I've never really used these before, so I've just put one of the poly guns down. I can change its shape. I'm just sliding back and forth on that back and forth arrow. And now I'm gonna make this take the opacity away here, and then you just trace over it and that will take that shape away. So if I wanted a perfect circle here, let's make this make it black so we can see it a little bit better, So that would be a perfect circle. We could make it an oval in either direction are just a circle, and then we can just trace around it, and it kind of locks you into that when you do it. Also up here there is a stack of three little squares and that's to hide and show your your layers. We have our settings right here. You can add a grid or shape snapping, and then also you can go ahead and learn about brushes and gestures. And if you want to view all of the gestures, it tells you what you can do there, and that's about it. I hope you join us in our next section, where we'll be learning how to places, sketch and go ahead and create an illustration from our sketch. See you there 6. Illustrating From Sketches on the iPad Pro: Hi, everyone. Welcome back in this segment, we're going to be working on illustrating from a sketch. So let's go ahead and open up. Adobe Draw. And I am going to hit the plus sign down here to create a new project. And I'm going to go with iPad Pro Landscape. But you couldn't do whatever works for you already. Then we have a new project here. I'm going to hit the plus sign over here. Where are layers are to create a new layer and I would like it to be an image layer and my images on my iPad in my photo stream. What I did was I drew some sketches, and then I went ahead and took a picture with my phone and just texted that to the iPad and saved it to the photo stream. Here it ISS it's a little bit dark, but I don't mind working with it that way. I'm just gonna increase the size a little bit and hit done to place it. We'll move our draw layer over image layer just by holding on the draw layer with the apple pencil and dragging it above. Here we go and you are more than welcome. You know, if you want a higher quality picture of your sketch, you can scan it or you could trace it with, like, a black marker or something to make it more visible. I don't really have a problem working with it like this, though. And now we can go ahead and work on illustrating these. So I prefer to use the the round brush here, and it really doesn't matter again. What color we use? Think I'll start with this flower down on the bottom. We'll just go in the themes and grab a nice green and then making sure that I'm on that draw layer. Just gonna go ahead and start tracing over, okay? And I really don't like how squiggly that's turning out. So I'm going to do two things. I'm first gonna undo those by using this backward little arrow at the top. I'm gonna close this and go into my settings and instead of having the strokes moved while I'm drawing, I'm going to have it done after drawing. And just so I can see what I'm doing a little bit better, I'm going to take off this show, touches and go back to work and my project, and we'll see if this starts turning out a little better. You can see it's smoothing it out a little bit after I do the drawing and I am liking that a little bit better. Sometimes it turns out a little shaky probably depends on how much coffee I've had. I don't like Okay, I think that's looking pretty good. So I'm gonna go ahead and kind of get an outline on all of the's, and then I'll come back and we can work on kind of feeling them in and shading them and will be working a little bit more of the layers. Okay, so we have our flower pretty well traced. And when you're working from a sketch, sometimes I don't follow my lines. Exactly. Kind of. Just do what feels natural to you and you'll notice for the actual petals of the flower. I chose to do those on another layer just so things don't get mixed up when we bring it into Illustrator. So I think right now we'll work on coloring in the stem and the leaves. So what I'm going to do, I'm going to click on the layer that they are on. Oops. Just tap it once. And I want to make a duplicate layer. So just hit do cocaine and it makes another layer right underneath it. So I'm gonna work on that layer. So I'm gonna grab kind of different color green here a little bit lighter. To do these lines would be a little bit different. Okay, let's grab another green and fill it in and see what that looks like. So now if I just press and hold, it'll Philemon, it should. Yeah, that green is a little bit too bright gonna undo that. What I'll do is take this one and go into the picker and kind of just lighten it up a little bit. We'll just do it like this for now. We can always, you know, change it later when we get into Illustrator. Okay, so let's add a little bit of shading to the stem and the leaves here. I'm just gonna use that same kind of dark green that we're using. Can I add that in for here? Cause it's so little. I'm just using strips to fill it in, like, let's imagine that this little part of the leaf is maybe folded over and it would be darker . So we'll just draw that there, and I'm gonna press and hold and fill that in. There's that. Maybe we'll do that over here, too. That's looking pretty good. All right, so let's move on to working on the pedal portion. So I'm going to click on that draw layer, kind of tap it again and duplicated and go on to that layer. So let's start choose a different color here. Hopes not that one. Let's go a little bit later and start filling in our shapes here, and then we'll add a little bit more dimension. So make these pedals that color and then usually as flowers air opening up there a little bit more intense on the inside. I'm gonna grab this one and go to the picker, maybe make it a little bit darker and a little bit more towards the red. There, fill in these center ones and make it even a little bit redder for that. That really center one. Okay, that's looking pretty good. And now let's start adding a little bit of dimension here, so I'm gonna press and hold on the color, and I want to grab this berry color that we were using before. And let's just start adding a little bit of dimension to this. So maybe there's, like, a little bit of a shadow here will draw a shape, close it and fell it in a little blip over there. I'm gonna grab the eraser. And when I set my hand down on the iPad, it have recognized it. Okay? And let's gonna make this a little bit darker just sliding this towards the black end and zoom in here just by spreading my fingers. We're not filling in here, you know that. She must not be in closed. I'm gonna undo that, um, host stripe here, just adding a little bit of dimension to make it a little bit more painterly. That's one of the reasons I really like Teoh work from from sketches. I feel like you kind of retain that hand drawn look. Maybe we can use that same color to draw. I'll hide this layer. You can see how we have those lines kind of drawn in there. That will add a little bit more dimension to it. You can see the pressure sensitivity is just amazing and pushing a little bit harder when I first started, kind of easing it up as I go. All right, let's zoom out. Gonna hide the sketch layer so we can see what that looks like. I think that's looking pretty good. I think that'll work for illustration. There's a couple little blips you conceal Zoom in right down here. But that's something we can clean up when we get it into Illustrator to my sketch layer back on. And now I'm going to go ahead and go over to this B and start working on the B. So that's find I'm just gonna work from the themes because we can always change it. Two colors, different colors layered or let's grab this nice yellow. And we're just going to start kind of tracing over the sketch but retaining some of the same qualities, and I'm gonna do it on a new draw layer gonna move it just right. Can Pepsi's keep my keep everything in order? I'm just gonna move it down here, so I have everything kind of organized, and you can name them if you like. I don't always do that, but it will help you keep things organized if you'd like to. But soon, man, let's start. Kind of maybe I'm going to start with the black. I think so. I know his little legs are black, so let's start getting these segments on here. I'm gonna go ahead and start just working with black, and then we'll come back and start working with the yellows in there will be right back. Okay, so I have most of the black done. And then when I was choosing to do the black on the body, I went with a charcoal gray, which Aiken change later. I just wanted to be able to differentiate between the two. I just want to show you a couple of things because I knew that the wings and antenna and a couple of the legs would be going behind. I put them on a different layer than the ones I knew would go in front just to make it easy to draw over them. So you can see Let me turn off. You can see these are the ones that are going to go behind something. And then these were the ones that are in front just to make it easy for myself. So let's go ahead and work unfeeling in the eyes, in the legs and maybe some of the charcoal. And then I can start working on the other colors and show you the finished illustration. So let's go. I'm going to go to this draw earlier with the ones in front and again just tap on it to duplicate it. No, I've got one right underneath. So I'm going to be working on that layer. So let's go in here. These little circles I drew those were my highlights. Anything go may come, but this yellow color So that's could those in there? I won't say. Make up just a tiny bit smaller to make your bursts Mallory again You just hold and up makes it bigger, and going down makes it smaller. Get those filled in. And now let's go to our black press and hold and fill in our black Those little blips weaken Smooth those out once we take it into illustrator. So I will go ahead and work on coloring and shading the same way that I just have shown you . And then we'll come back and see are finished illustration! Okay, So now we have our little be completed. And I just want to show you how I added this texture to him. I'm going to zoom a in. Here we go. And I used this taper brush and just went It's a little bit big. Let me make it smaller. I just went in and added some little hairs like that all over and varied the color to add some dimension to him. And that is him. And you can see we have everything on a lot of different layers. Here. You can see that there and then I hope you join us in our next segment, where we work on illustrating from photographs. See you there. 7. Illustrating From Photos on the iPad Pro: Hi there. Welcome back in this segment. We're going to go over making our illustration from a photograph that we've taken. So I'm going to go ahead and use my apple pencil and opened up a dopey draw. And quickly, I'm going to go to my settings and show touches So you guys can kind of see what I am doing as I'm doing it. I'm going to go down and touch work, and I'm going to hit the plus sign in the lower right hand corner to start a new project. And I'm going to choose iPad pro, um, landscape. You can choose whatever you'd like, and that gives us a nice clean slate to start here. Now, I'm going to go and hit the plus sign here, toe adult layer. And the layer I want to add is an image layer in the image that I'm going to choose is on my iPad. It is a photograph of some roses in my garden that I took and I took them with my phone and just went ahead and texted them to myself on the iPad. So I'm gonna choose this one right here, and I was gonna make um, kind of big and then hit Done. And now my image layer is over my drawing layer, and I would like to draw above that. So I am going to hold and slide my draw layer above my image layer. Now I'm going to go over to my brushes, and I prefer to use the round brush. You can go ahead and play around and see what works best for you. And right now the default is black, and at this point, really, you can use whatever color you like. And some people like to use a heavily contrast in color. And I usually like to use something kind of close to the illustration that I'm making, so there's a couple ways you can play with color. Go ahead and tap on the color Adobe draw has a whole bunch of themes built in. You can scroll through and see, and you can even make your own library and save your swatches. If there's a color that you really, really like and you want to use it in multiple projects, you can do that. And then there's also the color picker, which it's got the sliding scale down here And then you can kind of go around and pick different colors that way, just different ways. You can play around with it. I think what I'm going to dio let me get out of this is I'm going to press and hold on the color and drag it out to my illustration. And this works like the eyedropper tool that they have in Adobe Illustrator and photo Shop . I'm gonna go around and look for, like, a nice, peachy color to do my outlines in. Here we go. All right, Now I'm going to zoom in on this flower right here. And right now, I'm just going to start tracing around my shapes anything for right now. I'm gonna go ahead and turn those touches off so I can see what I'm drawing a little bit better from too close. Go down to my settings and put show touches off and then go back to my work. I just want to see what's going on up here. I've got a couple little blips up here. I'll turn off my image layer so you can see that I'm not gonna worry about that so much. That's something that I can clean up when I get this into illustrator, you could go and smooth it and go in with the the eraser if you wanted to kind of clean it up, But I'm really not gonna worry about it so much. Turn that layer back on and make sure that I'm still drawing on my draw layer. I'm just going to continue to go around and trace all of these pedals, so I'm gonna stop recording and kind of pick up again when I've got it all. All traced for you. Okay, so I have most of our flowers traced here, and I ended up doing them on separate layers because there's that one pedal that overlaps, and I didn't want to have any issues. When I go ahead and do bring that into illustrator, I'll hide my image layer so you can go ahead and see Zoom in. You can see there's a couple little little blips in there and that's OK. That's something you can go in when you bring it into illustrator and clean those up super easily. And he also when it had ended just one little set of the leaves. So when we make our art print. I have some foliage, so we turn this image layer back on. And now I'm going to go ahead and start working on colorizing these depending on the level of detail you want, you could go ahead and bring these into illustrator. Now, if you're just looking for, like, one flat color in them, I really like coloring on the iPad. I really like the holding the apple pencil. I like the sensitivity of it. And I feel like I can get, like, a really kind of painterly effect like I like, so I'll show you how I do it. And, you know, as with every adobe product, there's a 1,000,000 ways to do everything. This is the way I like to do it. I I use ah lot of layers because that tends to minimize some headaches when you get it into Illustrator. If you've ever tried to do this during it all on one layer, it comes in, you know, kind of in bits and pieces. And if you draw through another color with another color, it can cut it, and I don't know, there's a lot of headaches with it, so I will show you how I do it, I'm gonna go ahead and work on this flower first, so I'm gonna turn off the layer with that other flower. The first thing I'm going to dio is duplicate this layer. So I just tapped on it with the apple pencil and you can duplicate it. So now it's right below it. I'm going to work on to duplicate layer. So Manetta, select that And what I like to do is I kind of like to see where my highlights are, my mid tones and my shadows. And generally, since I work for surface pattern design, I'm limited in the amount of colors I can use. If you're working for print or even just for personal use, you can use as many colors as you would like. You could make it as detailed as you would like on. So what? I dio I'm going Teoh, Zoom in. I think we'll start in the center on this guy. So let's go ahead and choose one of the colors that we're going to use as all of our shadows. So I'm going to press and hold on the color and go and and get kind of this peachy red color. And, you know, I'm always surprised that the color that the shadows actually are Actually, I think I'm going to get one. That's just a little bit later, the kind of in between it for using it for all of our shows. So now I'm working on that duplicate layer zoom, and and what I'm going to start doing is just creating closed shapes, using my outline as well in filling those in with the shadow color. So I'll show you right now, so we'll go ahead and we'll draw. And now if you press and hold, that should fill in. Sometimes it doesn't What's right again? There we go. Then it filled in. This whole thing can be filled in there. Trump sees someone. Undo that. And that is this little backwards arrow appears. Undo. I I find using the gestures, I end up making more marks and then it ends up just taking longer. So I just do it darling way. So I will go through and do all of the shadows and then come back and we'll work on our mid tones and highlights. Okay, so we have our shadows put in on there. You can see I did each flower on its own layer. You can see here, let me turn are image layer off so you can see it a little bit better. And then here's my original draw lier for the top flower Aiken. Turn that off and and you can see the other flower. So let's get her image layer back on and again, I'm gonna work on the top flower. First, I'll turn off the draw layers for that bottom flower. Just so it's not in my way. We'll use two fingers and spread them to zoom in. And I think just so we get a nice spread of colors on this one, I'll probably end up doing four or five colors in this one and then also the outlines, so probably like a total of six colors. So I'm just going to go through Oh, I see you're missed a couple of shadows on this one. So finished those two shadows and then work on our next color. So the shadows were that same color. Let me zoom in here. I think I could just feel in that whole box and then hopes Oh, undo that. I'm on the wrong layer. So make sure you're not on here is no outline layer that will just draw a little line there . And then I think maybe this whole box, too and again Teoh fill in an enclosed shape. You just press down and hold. So let's see here. I think that's looking pretty good. And I noticed some of the the shadows here are like a little bit more yellow. That kind of that hot red. I'm gonna go over and try to get. Maybe this one's better. It's kind of like a rusty peach color, and we'll use that for some of these other shadows. I just like to get a lot of dimension as much as I can get. Just go through and start feeling it. And it's almost, you know, almost like painting, but a lot less messy. Maybe this whole the whole thing can get filled in, and here I'll show you. I'll turn off that top layer so you can see what the layer underneath looks like. You can see, you know, just kind of drawing over and filling in, just making making in close shapes and filling those in. And all of this will make more sense when we get it into illustrator. Why? Why? We're building our illustration this way. Go through like this and I kind of like to systematically go and do one color at a time. You absolutely don't have to do that. You can switch between colors like I can go. Let's choose like this one of these pinks you can go up sees kind of make a shape there like that. There's going to be little blips will clean those up. Sometimes I will do other colors on other layers like that I know might be a problem or at least a headache when we get it into illustrator. So I could do it on another layer, But I think I'm just gonna leave it for now and to start filling in that can go press and hold on the color. And I want this kind of rusty shadow color back. Just go through and get it all colored in. So I will go ahead and I'll finish up coloring. These two flowers will go back and and I'll show you the flowers. Okay, so here we have both. Rose is illustrated in that little piece of foliage I just left plane. I'll work on that. When we get these into illustrator, I will turn off image layer for use. You can see it a little bit closer. Zoom in on these guys. Probably tweak the colors once we get them into Illustrator too. Because some of these these jumps are a little extreme for me. But we for the most part, we have the illustration done in the next segment. We will go over how to get our illustrations into illustrator, so I'll see you there. 8. Importing your Illustration into AI: okay, in this segment, we're going to be going over how to get our illustrations onto our computer and into Adobe Illustrator. It's really pretty simple. You do need to have creative cloud in order to work this way. But you go at the top. There is a square with an arrow pointing up and you tap that and we want to open it in adobe dust, top APS and we're going to bring it into Illustrator and that will start sending it over. And then I hope you'll meet me in the next segment where we're going to go over how to start cleaning up the illustration so we can use them. Hope to see you there. 9. Cleaning Up Illustrations in Adobe Illustrator: Hi, everyone in this segment, we're going to be going over how to clean up our illustrations now that we have them over an illustrator. So I'm going to go ahead and go down here and open up, Illustrator. You can see we have both of our projects in here, but our be on our roses anything for now. I'm just gonna work on these roses, so let's go ahead. Rethinking man. You can see all of our layers came in, So the first thing I'm going to do and this is totally up to you and what application you're going to be using it for is I'm going to change my color mode from RGB two c m y que Here we go. And then next, I'm going to delete this background layer because there's nothing on there that we need. And I think I can probably delete this image layer to we don't need that one any longer. No, I think I'll work on this bottom flower first. So gonna hide his layers. You see, I've got a little dot up there, so I'm gonna grab my eraser. Just go ahead and get rid of that. I'm gonna go back and grab my selection tool. Didn't see. I'm gonna just work on this layer with our outline on it first. So I'm gonna hide our bottom layer. And now you can see how it came in and all of these little bits and pieces. I'm gonna go ahead and select all of that and go over here to my Pathfinder. And if you don't have this over in your menu bar, you can goto window. And I believe it's in transform or No, it's right here, Pathfinder, And I'm going to unite them. Gonna hide my edges right now. And that is command H. I'm gonna take my magnifying glass and get really, really close because what I'm gonna work on right now is smoothing all of these little little bumps and blips. So right here where the shaper tool is is the smooth tool, and you're gonna want to choose that. And now I'm gonna use my keyboard shortcuts and toggle between my selection tool and my smooth tool. And to do that, I'm going to hit my command button. You can see it. It goes to the last arrow that I've used. So if I have been using the direct selection tool. It would talk between that and not just the regular selection tool. So I'm gonna click on that and just kind of start massaging these edges in here and now to move around because I still want to be super zoomed in like this. I'm going to hit my space bar, which goes to my hand tool and grab and drag. And I really like to go over everything with a fine tooth comb when I'm doing this. So let's hit my command button and then taco to the smooth tool in just all of that stuff out of there. So little blip here. Now that one's kind of big. So what I'm gonna do is push gift e on my keyboard. I'm gonna use my left bracket tool to make that a little bit smaller. I'm just gonna erase that little bit there and go ahead and grab my smooth tool again and smooth out that spot. So now command to select space far to move. We've got some craziness over here. Let's get this fall cleaned up, and this is just because of all the different strokes that I made and I wasn't being super careful when I traced this. I don't know if you guys have noticed this, but you can see like, this little flip in here is probably not even really there. Just since they've updated to see See that I've noticed. There's, like, a few a few things that show up from time to time. See if I smooth it if it'll go away. If they were to bring back my edges and go ahead and select this, you can see it should be filled in so that that little blip isn't even there. I'm gonna hide my edges again, and they're not even really worry about that. So command to tackle for my selection tool using space bar to get my hand tool to move around. I'm gonna go out just a little bit, I assume out again. Hey, haven't done down here. You've been assume out and just make sure that they got everything. And I'm just using command and the minus key to zoom out and command and the plus keys to zoom in and space bar hand to moving around. Now that is looking pretty good and smooth. I'm just gonna double check this section right here. And I think that looks pretty good. Yes. Okay, so now I'm gonna go ahead and turn on our draw earlier again are the jollier that's under it. Turn off that layer. And now what? I want to dio gonna put this on again, put my edges on again so we can see. And now I'm going to select the same fill color because what I want to do is delete the outline that's on that layer that was underneath. So I'm gonna press delete to get rid of that. Now, I see I've got a little blip down here, so I'm gonna grab the eraser and actually don't need the racer. I could just select that and delete it. Okay, so now I'm gonna turn on the draw lier again, and now we're going to get super close again because you can see everywhere that I have smoothed, but we filled in on the other layer. There's, like, little little pieces that are missing. We've been really close. You can see that. And how I fix that is I use the blob brush, which is going to be you can either. Just selected over here under the paintbrush or shift B? Is your Bob brush going to reduce the size a little using the the left bracket key? And now I just want to see what's going on here. Okay? Actually, gonna hit I and choose the eyes, eyedropper. True tool. I'm gonna choose the speech he color and then shift. Be back to that the blob brush. I'm just gonna fill in the areas. And since we're on a layer underneath, it is just just gonna fill it in Nice for us. Eyedropper Tool again Shift to be for the blob brush. And I'm just gonna fill in my edges. Pepsi's undo that. All right, I'm going to zoom out again. So I'm just gonna go through and find everything that I need to clean up here. Let me see when it turn my edges on again. That's when I select things. You should be able to see them. I just want to make sure that we don't have anything that's too pc. Like how that how the outline came in where it was in ah, bunch of different pieces from all of the brushstrokes that we used. Just going to check that And if I did have something that was kind, kind of PC. I would select what I wanted to be selected. They're wanting to be united, and I would unite it. So it's one shape. But I think it looks like because we just, you know, made those in close shapes and filled them. And it looks like everything came in in one piece so we can go ahead and Haider edges again and go back to using the blob brush and filling in these spots that need to be filled in. So let's d my eye dropper to look at this orange shift B you can see sometimes it's just like the teeniest amount. So I drop virtual choose a new color shift, be for the blob brush. No, I will go through the whole illustration and get this all all done. But before I do that, I just want to show you, like, right here, you can see how this cut into this shape will turn my edges on so you can see and select it how, When we drew with this brush, it cut into the shape because when we originally drew this one, it it came down from here to here, So there's a couple ways you can fix it. Um, I can go ahead and smooth it out. I could draw over it. I could use my direct selection tool and choose the points and just move, you know, moved the points one by one. I think for now I'm just gonna take the blob brush to get down a little bit and just do that. And then I'm going to use my smooth tool. We'll see. When I did that, it it did not unite those. So let's with this selected, I'm holding down the shift, key it and choosing the other little bop there. And then we're going to unite those. So it's one shape and I can go ahead and take the smooth tool and just smooth this out a little bit, Gonna hide my edges again so I can see what I'm doing. And now we have a little spot where we want it to be. Orange. So that's we have our eyedropper tool. Choose our orange shift, be for blob brush up, sees that was selected, so make sure you d selects before you do that. So I dropped her tool shift B And now if I were to just draw on that, that's not how we like that. We don't want that to be in front. So command Z to undo that I wanted to drop behind that red shape. So right under here, you have draw behind and that feels that in nice for us. Go back to draw normal and go through and keep on cleaning up. - I think what? This little guy going to select it and then smooth him out a little bit? Let me stay out. You can see that's where it's two different shapes like I was talking about. So let's grab that other one will unite them and then go back and smooth them. And actually, it looks like this is behind. This is pink shape so we can go ahead and object. A range will bring it to the front. Gonna hide my edges again so I can see. I can see that zoom in really close. So when we did that now we have some spots that we need Teoh to draw in with. So we will get that color, get our blood brush, let's take it way down and now I did it in front again. So undo that I had forgotten to click on Drop behind. I think even the drop behind this this little red shape is in the back. So let's select him. We'll bring him to the front and then we'll go ahead and to our Bob brush, I'm gonna steal mouth. I'll continue to clean this up and go ahead and clean up the rest of our illustrations, and then when we meet again in our next segment, will will be putting those illustrations together to make an art print hope to see you there. 10. Creating an Art Print: Hi, everyone. In this segment, we are going to go over kind of re coloring and re sizing our illustrations and also making an eight by 10 arc print. So you can see I went ahead and got all of our illustrations cleaned up like I showed you in the previous session. I did. Go ahead and re color one of these roses here, and I'll show you how I like to re color. I know a lot of people do, like using the re color artwork tool, but I like to have a little bit more control over things, so I'll go ahead and re color and I hide my edges real quick. Um, well, re color this little flower that we made. So I'm gonna double click on it to enter isolation mode. Zoom in a little bit. I'm gonna grab my direct selection to all and gonna choose this green and select same fill color and then just go and choose the color that I want. So I think I like that color. Let's go ahead and change this green. Select same fill color. See, that's the same one. And this, uh, this palette that I'm using is just something from some previous art that I have done. It's one that I had liked. I'm gonna go ahead. I'm gonna change this other green to something a little bit darker. Maybe that and then select same feel color. Use that other green that we originally chose. Help ease. Oops. You don't quite have them selected. When is doom in a little bit so I can grab these? Here we go. Select same fill color. And let's has he That's the same color. That one doesn't have quite enough contrast. It's maybe a little bit too yellowy. I wonder if we do this and then double click on our swatch over here. Let's try to just lighten it up a little bit since day if we like that, Yeah, I like that a little bit better. So I'm gonna zoom out, not start working on the flower leads, Maybe make this like a deeper color. So I'm gonna select same fill color. I'm gonna choose this dark wine color. Select same fill color. Let's choose something a little bit lighter. Get this little middle one. That is the only color. So I don't have to select the same fill color on that one. I think I'll just go with this dark, almost black color. And now let's get our outline. No wonder she dio like that. That's a little bit too dark. So I think I want it a little bit darker than this one. So then I'm gonna click on my swatch over here and just go a little bit darker. I like that. I'm gonna leave these little little dots yellow. So exit isolation mode. I'm gonna double click on my hand to get everything in view. And I'm gonna go ahead and make a new document and I would like it to be eight by 10. So I'm going to switch this two inches and we want it eight inches by 10 inches and we will create that. So now I'm just gonna select everything here and go ahead and paste it over on this art board, like everything or just that one. It's too looked Oh, happy paste. There we go. I'm just going to kind of get these off to the side so we can start building our art prints . I think I really like this, Dahlia. So I want that front in center gonna hide my address. We can see things a little bit better. And this again was done the exact same way that we did these flowers. So let's get that in there. How I like to work. I just kind of start building from the center out. See, I'm gonna rotate this little flower here. I'm gonna hit are on my keyboard and just rotate him a little bit. If I hit V, I get back to my arrow tool. Who's that? I want this little B flying above there. Gonna hit our I want him tilted just a little bit forward. Right. This guy, I think I want to go down here. So I'm gonna go ahead and continue building our illustration, and then I will show you the finished results. Okay, so we have our completed art print done right here. And as I was working building my illustration, I thought it worked a little bit better in a landscape orientation than the portrait. So I'll show you how I switched my art Ford Goto file documents, set up edit art boards, and I just clicked from portrait over toe landscape. And then you can just click out of that. And as I was building, I didn't end up using this flowers. I'm just gonna go ahead and delete that and we can go ahead and save. This was going to save it to the dust top Eskil share, and we'll save that. We'll take a minute. There we go. And then I will see you in the next segment where we go over the next step and creating illustrations on your own. See you there. 11. Class Project: Hi there. In this segment, we're going to be going over your assignment for the course. First, get out and find some inspiration for the work you'd like to do. Take photos and makes gushes. Build your illustrations starting in adobe draw and then go ahead and import them into illustrator to finish them up in making art prints. Most importantly, share your work. We would love to see your work in progress. So go ahead and show your illustrations and show your art print. I just want to thank you so much for taking the time to take this course. I just really can't wait to see all of the great work that you dio and hopefully we can inspire each other.