Adobe Illustrator CC – Advanced Training | Daniel Scott | Skillshare

Adobe Illustrator CC – Advanced Training

Daniel Scott, Adobe Certified Trainer

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55 Lessons (8h 55m)
    • 1. Introduction To Adobe Illustrator CC for beginners

      2:35
    • 2. Getting started with your Adobe Illustrator advanced tutorial

      5:36
    • 3. Trick for redrawing hand drawn images in Adobe Illustrator CC

      3:17
    • 4. Curvature Tool vs Pen Tool in Adobe Illustrator CC

      10:27
    • 5. Advanced Pen Tool Tricks using Adobe Illustrator CC

      8:47
    • 6. How to draw flowing curves in Adobe Illustrator with the Width Tool

      13:14
    • 7. Mastering corners with Adobe Illustrator CC corner widget effects

      5:27
    • 8. The best creation tool in Adobe Illustrator CC the shape builder tool

      23:01
    • 9. More shape builder goodness

      11:02
    • 10. Using Live Shape Effects in Adobe Illustrator CC

      6:03
    • 11. Class project - Drawing Exercise using Width, Curvature & Corner Widgets

      1:38
    • 12. Advanced Keyboard Shortcuts for Adobe Illustrator CC

      11:05
    • 13. Advanced Color tips & tricks for Adobe Illustrator CC

      15:45
    • 14. Using Color Themes in Adobe Illustrator CC

      3:02
    • 15. How to color a real hand drawing using Adobe Illustrator CC

      7:07
    • 16. How to use the Color Guide in Adobe Illustrator

      2:47
    • 17. How to change all the colors at once in Adobe Illustrator Recolour artwork

      4:19
    • 18. How to make gradients bend in Adobe Illustrator CC using Gradient Mesh

      13:36
    • 19. How to make long shadows in Adobe Illustrator CC

      7:15
    • 20. How to blend images with the background colors in Adobe Illustrator Blend Modes

      3:26
    • 21. How to make images Black & white in Illustrator & mix with color

      7:44
    • 22. How do you make Anaglyphic Text using Adobe Illustrator CC

      6:12
    • 23. How to make gradient stroke overlap & mix colors in Adobe Illustrator

      6:39
    • 24. How to create a Duotone image effect in Adobe Illustrator CC

      7:23
    • 25. Advanced repeating pattern swatches in Adobe Illustrator CC

      14:16
    • 26. How to change the default font & swatches in Adobe Illustrator CC

      7:36
    • 27. Advanced workflow tricks for Adobe Illustrator CC

      10:52
    • 28. Shortcuts for aligning & distributing in Illustrator CC using Actions

      4:28
    • 29. How to proof colors in Adobe Illustrator CC

      1:25
    • 30. Adobe Illustrator is running slow how do I speed up Illustrator

      9:40
    • 31. How best to use Illustrator with other Adobe CC software

      8:13
    • 32. Advanced fonts tricks & tips in Adobe Illustrator CC

      7:52
    • 33. How to put text type into the shape of a letter in Adobe Illustrator CC

      8:40
    • 34. How to use the touch type tool in Adobe Illustrator CC

      2:27
    • 35. How to multiple strokes to a path in Adobe Illustrator CC

      6:24
    • 36. How to add a stroke line around the outside of text or shapes in Illustrator

      3:45
    • 37. How to make multiple lines using offset path in Adobe Illustrator CC

      9:33
    • 38. Introduction to 3D in Adobe Illustrator CC

      11:10
    • 39. How to make Semi flat 3D icons & ui design using Adobe Illustrator CC

      15:22
    • 40. How to make the paper cut effect in Adobe Illustrator CC

      9:35
    • 41. How to make a pie chart line graph & bar graph in Adobe Illustrator CC

      17:38
    • 42. Advanced artboard & pages tricks in Adobe Illustrator CC

      5:42
    • 43. Advanced CC Libraries Adobe Stock and Adobe Market

      9:12
    • 44. Advanced Image tricks & tips in Adobe Illustrator CC

      7:22
    • 45. How to distort bend shapes & type in Adobe Illustrator CC

      3:39
    • 46. How to make a 3d Ribbon in Adobe Illustrator CC

      8:58
    • 47. How to create lots of lines that blend together in Adobe Illustrator CC

      9:24
    • 48. How to make 3D gradient lettering blends in Adobe Illustrator CC

      11:25
    • 49. How to make a Linocut effect in Adobe Illustrator CC

      8:26
    • 50. How to use the Puppet Warp Tool in Adobe Illustrator CC

      9:33
    • 51. How to use Adobe Illustrator for Web & UI design

      15:17
    • 52. How to make an animated GIF using Adobe Illustrator CC

      14:52
    • 53. BONUS: Software Updates

      33:10
    • 54. BONUS: Software Updates - Illustrator 2021

      58:16
    • 55. What next after your Illustrator Advanced course

      3:26
317 students are watching this class

About This Class

Hi there, welcome to this Adobe Illustrator advanced tutorial. 

My name is Dan. I’m an ACI & ACE for Illustrator. 

Download the exercise files here.

This course is a more advanced look at Illustrator. It’s not designed for people who are brand new to Illustrator.

This course is for people who can already understand the fundamentals of Illustrator. If you already know what an anchor point is and how to adjust it this course is for you.

This course will speed up your productivity & workflow. It is project based, so you will learn the tools & tricks to create some really beautiful current design styles.

Even if you consider yourself an experienced user, I promise there will be things in here that will blow your Illustrator mind.

You’ll learn advanced anchor point & pen tool tricks. There is a really fun section on mastering lines & strokes. You’ll learn the quick way to take hand drawn sketches and vectorize & color them.

You’ll master depth & perspective in Illustrator, creating semi-flat presentations. We’ll set permanent defaults for fonts, colours & learn how to turn hyphenation off once and for all.

We’ll make beautiful charts & graphs for your indesign documents. There is a colour mastery section where you will learn to make quick colour adjustments, gradients meshs & how to blend it all together.  

Your creativity will be doubled once you finish the transform, distort & blending section of the course.

There is an entire section dedicated to learning how to speed up your personal workflow & how to speed up Illustrator and get it running super fast. 

If you’re ok in Illustrator but you know there is so much more in there to be unlocked then please  join me and become an Illustrator super hero.

Transcripts

1. Introduction To Adobe Illustrator CC for beginners : Hi there. Welcome to this Adobe Illustrator re-bounce course and my name is Dan and I'm an Adobe certified instructor and Adobe certified expert in Illustrator. Now this is an advanced look at Illustrator. So it's not for people who are brand new to the software. It's for people who already understand the fundamentals. If you already know what an anchor point is and how to adjust it, then this is the course for you. Now on one hand, this course is all about getting your productivity, your speed, and your workflow up. On the other hand, this course is project base and we'll learn the kind of tricks and tools that we need to build some of those really beautiful styles that are trending and design at the moment. So even if you consider yourself a pretty heavy user of Illustrator, I promise in this course, I will blow your illustrated mind. You'll in advanced anchor point and Pinto tricks is a really fun section on mastering lines and struggles. You'll learn the quick way to take hand-drawn sketches, then vectorize and color them. You'll master dip and perspective in Illustrator creating semi flat presentations like beats, will set permanent default fonts, colors, and tuning that dreaded hyphenation off. Once and for all, we'll learn how to take spreadsheets and connected with Illustrator to make beautiful graphs and charts. There is a column mastering section where you'll learn to make quick color adjustments, gradient missions, and blending it altogether nicely. Your creativity will be doubled when you finish the transform distort and blending section of this course. Double attire. There's an entire section in here dedicated to speeding up your personal workflow, as well as speeding up Adobe Illustrator to return repeating pens, advanced topography. There is lots. I just want to go through it all here in the intro. But to calm down, you can check out the outline for a full description. Just one more. I promise it's a good one. This one. Animated gifs come up. So if you know that there is much more potential to be unlocked inside Adobe Illustrator, join me and together we will become Adobe Illustrator superheroes together. 2. Getting started with your Adobe Illustrator advanced tutorial: Welcome to the course. This is the getting started video. This if I'm honest, is a bit boring, but hang in there. There's a few important details that we need to cover before we get started. Let's go. To get started, the first thing is you need to go and download the exercise files, and so there is a link on the screen here. Go download those. Optionally, you might go and grab the cheat sheet. It's at bringyourownlaptop.com. There's a resources tab on the top here. There is an Illustrator cheat sheet. Go download that its free to PDF, print it off. Stick next to your computer while we're working. The next thing to do is we're going to change our units, so our measurements like inches and centimeters. Confusingly, the new version of Illustrator deals with things a little bit differently. To explain that, and normally what you do is you go to "Illustrator CC" "Preferences", "Units", this is on a Mac. If you're on a PC, it's under "Edit" and "Preferences" down the bottom here. If I go into here and I change my units and I'm saying, "I'm going to use inches or millimeters, or pixels." This doesn't really matter anymore, feels good. You can click on "Inches". But basically what happens is when I create a new document, if this thing over here really you can see pixels as up even though I picked inches. Why is that? It uses the last units you used. The document that I created previously was in pixels, so it just use pixels. If I made something now and change it to inches, it would by default be inches and next time I opened up this window. That's how it works. Another thing to keep aware of is go to web, you'll notice that it just switches it out to pixels. You just got to keep an eye on this every time you can switch afterwards, it's no big deal. But when you go into "Print", and "Mobile" and all these other ones, it really wants to be a different size, just go and change it here. Lets say I make a print document, but I want it to be inches. I click ''Create'', let's say it's not what I wanted. I was doing millimeters with nothing selected over here. This is a really easy way to do it. You can go and change it in here quickly. Another thing I want you to do is up the top here and you probably set to essentials. Its probably looks a little bit different from mine. I'm going to go on "Essentials" the click ''Reset Essentials'' Because this is like out of the box when it looks like. Now, I love that little control bar on the top there. Most people did, it just tuned off for this version. They replaced it with the properties panel, which I love, but I also like that top bar. For this course I'm going to turn it on. With essentials going to "Window" and just make sure this "Control" bar on top is actually up there, because it's just handy. Now what you might do is once you've got your properties, you know your panels in the way you'd like them, you can go and save them. You don't have to but if you want to, you can go to "New Workspace" and you can see there already have one called Dan. It's already used. I'm going to replace it. Click ''Done'' Just means that if things go wrong later on, I can go to "Reset Dan", and it goes back to this and has our nice little control bar on the top. Now they're going to be some of you who are using an older version of Illustrator. You can totally do pretty much everything like one thing the property [inaudible] you can't do. If you've got an older version of Illustrator, it'll work perfectly for this, like 99 percent of this course. Except we're going to be using this properties panel a lot, and that don't exist in earlier versions. If you are this thing won't exist and you'll have to do a lot more on opening up here and opening up the specific windows. I'm going to reset Dan just to show you what I mean. If I grab my type tool now and draw stuff out, toolbox out, you can see here I've got my fill, my stroke and my font, whereas if you're using a previous vision, you need to find it up the top here or you go to "Window" and you have to turn on and the type, you can turn on the character panel. I'm going to use this because it's quick and awesome. But if you're like, "Oh, man its going to the appearance panel." You just have a look what is called and then find it up here. You will find a specific tab or a specific panel that will control that. Cool. Another thing just to cover is I've got some stock images that I use for this course, and there's a mixture of stuff that I've made personally. You're totally allowed to use that for your own portfolios and show people that you have done it. But in terms of the stock images, they're very clear which of the stock images. Basically you need the photographs that look proficiently done, any of the hand drawn sketches, are mine. But you're not allowed to go off and start using without going and paying for the stock images. Just be warned you can definitely do it for this course and show people what you've done, but you can't go and use them commercially afterwards. But what you can do is there's a section in this course we can get free commercial use images, just switch them out for those or some of your own images and then you can stop totally using a lot of this for your portfolio. Another thing to do is in your exercise files there's going to be, well, throughout this course, I'm going to say is projects for you to do, homework. I'll do it in the videos and explain it, but there's one place in the exercise files right here, there's a folder called Class Projects and it has a Word doc in there, plus all the images, everything you need to do those projects in one little piece. Just so you know, there are projects you don't have to do them obviously, but there's a folder for them, but I will describe them as we go through the tutorials. That is a boring video that we can just skip on now and stop making some stuff in Illustrator. Thanks for hanging in there. Let's go and get started now. 3. Trick for redrawing hand drawn images in Adobe Illustrator CC : Hi there. In this video we're going to show you how to do this, put in a draw, an image in the background, faded out locket making new layer like this all INS, domestically with one of the illustrative features. Because what I'd team to do is, say this drawing here, I drew in my notebook, I take a photo with my phone just because I'm beta withdrawing often with the pin. Then in illustrated directly and then I just redraw it an illustrator. But I want to stick on its own layer that I can redraw over the top, maybe wash it out little bit. Let's go and see how to do that in Illustrator. First step, we're going make any document, we're getting a File New and we are going to go to print, and you can use either a four or use letter depending on where you are. We're going to use letter, and I'm going to go portrayed, and the big thing to just make sure when you are using kinematics new dialog box that illustrated comes with is done the bottom here, this is one quote, advanced options. By default, anything under the print tab wants to be CMYK Web. You'll see over here, it's to be RGB and the resolution needs to be 72. That's just something you need to be aware of when you are picking from these defaults. I use print mainly because I like the shape of like I'm used to this shape US letter. Well I fall, I'm used to the shape, so I just want to start with that, even though it might be going for digital or going out to web. He's got to make sure whenever you change it, go into here and say actually I want to make sure it's RGB. If I want it to be RGB. Now just so you know, if you are not really clued in and about RGB versus CMYK, it's best to use RGB to get started with because I'm seeing my K is a limited color range. Doesn't have the really strong greens or like Madonna pinks, none of that real like fluorescent colors. It's best to work in RGB and maybe switch it up to seem like, Hey, letter on becomes a little bit more washed out. But with RGB is generally how I work. The other thing as well as who you pick Web. You probably want to switch it up to maybe 300 PPI to get the resolution really high. You can change this letter on. It's no big deal, but it's just something to be aware of when you are playing around with the New Document Window. Good. All right, let's click ''Create''. Doesn't really matter as long as there's an RGB. The next thing we're going to do is put that washed out drawing. I do my drawings on my book, take a photo with my phone and then just like gem it on the page, put it on its own layer, wash it out, make a new layer, and draw on the top of that. That is up drama, it takes a little while, so there's a easy shortcut to do it. So if you go to File Place, I'm going to bring in in your exercise files is one called curvature tool. Find that one, and on the bottom here you probably can't see it. Click on the Options and just click on this one, this is template. This does all the work for us. Let's click Place. So brings a now file and you'll see now Layers panel. So you might be on properties switched the layers is that it's created a layer, it's locked, it's faded this out for us and created a new layer that we can draw on all just super quick and easy. When you've drawn it, you can turn this off, because you probably don't want it to go to print. So yeah, that's just a really quick little Getting Started trick. All right, let's get into the next video where we start drawing these guys using some of the new tools in Illustrator. All right, I'll see you then. 4. Curvature Tool vs Pen Tool in Adobe Illustrator CC: Hi there. In this video we're going to redraw this whale and we'd flowery thing that I made. We draw like this, not using the Pinto, we're going to use the new fancy improved curvature tool. You are going to test it, you might fall in love with it like me and you might be abandoning the Pinto. I take that back. Pinto, I'm sorry, but you are really very had to learn, and the curvature tool pretty easy. Let's go and learn how easy it is in this video. We're going to show you the difference between the Pinto and the curvature tool. We're going to focus on the curvature told because probably most of you doing this advanced class is at least got the basics of the Pinto, we will do an advanced video right next so we can get your skills up with the Pinto. But for the moment, we're going look at why you should give the curvature tool a go. Now, if you are handy with the Pinto like I'm, and I found the curvature tool like the beginning. I was like, what do I need on the Pinto, but it's actually quite amazing what it does. So throughout this course, my request is just a give that curvature too like go throughout this one, it's pretty cool. This wall look at the Pinto, which we know and love. I'm going to draw, and we're going to start with this guy on the right here. We're going to draw the basic. Let's say I want to draw the circle, Pinto is click and drag for curve, I'm trying my best circle. It's okay. Let's do the same thing with a curvature tool. Now, curvature tool you just click once for curve. You can see once I've finished my first, I've got more than two points here. It does doing a lovely curve. I'm going to take another time and another time roughly in the corners here. You can see it just does, by default nicer curves. Let's have a little look at kind of some of the pros and cons for the curvature tool. Remember the circle here, we clicked once for a curve, but let's say we want a corner, okay, what we do is we double-click for a corner. Along here there's a long big curve here, but halfway along and I click once because I want to curve, then you can see once I start dragging out, I get roughly where I needed to be, and I can, remember this is a corner point as well because it's a change of direction, I double-click. Cool. Up here, I've got two kinds of curves, there's one going this way, and the one kind of bending around so I want one there for curve of and maybe one there for another curve, missed it totally. That's all right. Back to the beginning here this is the way that when it joins backup, you just click once to finish it off whether it's a corner or I've just kind of click once to kind of join it or backup. What you'll first it will notice is that it's a pretty sweet curve. It needs some adjustments and you can adjust it. The cool thing about adjusting, and this is probably its biggest awesome trait is, watch this, if I start dragging this one, what you'll notice is, you can see the line underneath here kind of pointer, watch this line while I'm dragging this top one. Can you see it actually flexes. There's no only adjusting this one, it's actually adjusting the next one to continue a nice smooth curve, I can drag this one to try and get a little nicer. This is what am trying to do. I guess the difference would be is, if I tried to do that in the Pinto, I'm going to click once for a corner, and click and drag for a curve click once. It's not going to be too bad, like it's not a hard shape to do. Should get rid of the fill, click once. The difference is if I've got the y error, instead of adjusting this, you can see it does nothing to effect this line here, you end up with these just not as balanced curve. I find that the curvature tool just ends up making my drawings look a little nicer. Now, if you loved this control with list handles never fear they are still here, which I can click on these corner points they are still here. They just kind of hidden from you. Remember the biggest thing is that if I change this one, it influences the one above it, and things just end up looking nicer. Remember a double-click for corner, click once for curve, double-click for a corner, no don't double click. If I accidentally do it, that's fine. I can double-click it again, and it goes back to being a curve. As a curve double-click corner, double click curve kind of toggles in and out. Go back to here and it's a curve, no its corner double-click. I should get rid of the fill here. I will for this one and there's a curves. I click once for a curve. Click once again, and you can just see, yeah, pretty nice curves. What we're going to do now is redraw this whale. We're going to use the curvature tool and we're going to work our way around. There's nothing really new from what we've done here, but this is the shape we're going to use for this class. This is the one I really want you to do if you've skipped this one, I really want you to do this shape. Lets draw it together. Double-click for a corner and maybe halfway down here, click once for a curve. We can adjust that later on. I'm going to double-click for a corner. Now, this fill, he is driving me mad. I'm going to go to Properties, and I'm going to say fill. You should've done at the beginning, and it's what I said I was going to do. Curve, click once, double-click, click once for a curve, double-click for corner. This curves just kind of slide here. I'm going to click once about here and maybe once in there end you're like, what am I doing? It's not so you like give out here, looking for the change of direction because change is there. I want halfway in there you looking for the apex really. I'm going to click a once, look at how good it's looking, double-click. If you're like me, the Pinto, you get good, but you've got to really filled with it afterwards using the direct selection tool to get any sort of like lovely curves through here. This one has a slight dip, so click once, click once, and double-click for a corner. That's coming out pretty nice. I do say so myself, click, click once, double-click as a curve. I probably want to do in here, and then this one here probably can't go all the way out here. I'm going to double-click for Corner, and that's probably what I'm going to have to tidy up. Double-click there is a slight curve here, click once click back in here. Give it a fill color, and I'm going to give this one a fill color of blue just because, it's a whale. I'm going to continue on drawing this now with the curve tool, let's have a look at adjusting this thing. There are times you're like actually just didn't do what I want. You can't grab the curve tool, and go in and go actually, this guy just needs to be maybe up here. I can try and get them to blend a bit nicer or I can undo grab my y arrow the direct selection tool and grab this guy, and go what's going on here? This guy needs to be coming straight out of the back of this one and this one guy needs to go to the higher. It's up to you how you just want to do it. Yeah, let's continue on. Double-click, click once, double-click, click once, click, pretty nice, double-click for corner, click once, double-click. I'll show you one little trick because this is getting boring. It's great, but let me show you a little trick you can do is say you want these, like some reason I draw these leafy things over time. If you watched me my tutorials, too many leafy kind of things. Anyway, this is going to be water by the way. But what I can do is, say this guy here, I can grab the curvature tool, and remember if I want to change it from a curve to a corner, remember if I've got it wrong, I just double-click it. I find that it's kind of a curve like especially that one like leafy shape with one in them pointing especially if it's balanced, it's quite tough to do. Now, if you're getting bored, you can skip to the next video now, and I'm going to delete that. Just going to double-click. Click once, double-click, click once, double-click, click once, double-click, double click curve, double click, and click, double-click, click once, double-click I'm driving myself mad now, click once, I'm just kind of do it inside, but that is okay, you get the idea. How awesome away? This one needs a little bit of adjusting and it grabbed the curvature tool and say, "You my friend come down a little bit." If yours is snapping. That's one of the things is like, "Oh, why you doing all of these things and snapping?" There is two ways of getting around that. You can zoom right in, I've had Command Plus or Control plus on a PC, zoom right in gives you a lot more control. You can see he's not trying to snap now just because it's kind of filling in the screen or you can go to View, and turn off smart guides. I use a shortcut all the time. It's command U on a Mac or Control U on a PC. Even if you're further out, it's not going to try and snap as much. I'm going to turn it back on for smart guides and do some adjustments. The only thing I need is my Apple, last of which, what I'm going to do I'm just going get rid of full draw my ball. Like he's not going to use the curvature tool. You should just use the Ellipse still, but we're proving a point. Click once, click once, click once, click once. It's not a perfect circle, but it's not what I'm looking for this guy. I'm just looking for a little bit of witness. Here we go, stroke. I've got a stroke and a fill, and I'm going to put this one back in, going to click on my black arrow, I'll use my eyedropper tool just steal the color from him. That my friends is the curvature tool. The next video will let's get into some super-advanced Pinto stuff. If you like me, can you get at the Pinto, try curvature tool at least for this class. I picture you're going to find some nice things about it. I'll see you in next video. 5. Advanced Pen Tool Tricks using Adobe Illustrator CC: Hi there. It is Advanced Pen tool tips and tricks time in Illustrator. If you are a bit afraid of the Pen tool still, you might want to check out the Essentials course, it goes through the pen tool and a lot more, I guess a bit more of a basic understanding. This one here is going to jump straight into the, you're an okay user of pen tool when you want to take it to the next level. Get a notepad out. There's a few little shortcuts and key combinations to make this work and go fast. Let's get in their redraw this little doll thing and make it look like this. Let's get started. Advanced Pen tool time, let's bring in an image, so File, Place. Let's bring in from your exercise files, one called Pen Tool. Where are you Pen Tool? There you're there. Make sure it's a template click "Place," so its on its own layer and locked. Next thing is under Properties, let's grab out Pen Tool from October and make sure we've got a Fill of none. We'll have a Stroke of black, that's fine. One of the first things you need to do when using the Pen Tool to is turn off the Smart Guides, so Command U turns it off, otherwise it starts trying to snap to things and you lose your mojo. Now first trick is for better curves. Say I want to do this curvy bit down the bottom here, you might be at a habit, or the way you were taught by clicking once for corner, clicking and dragging for a curve and then a corner here. Now that is fine, but often you can get nice curves by using handles out of these corner points. I'm going to start by clicking and dragging out and I'm dragging out a curve, I'm dragging towards the line I want to go and roughly about there and then watch this I'm going to drag out. I get the same line with less anchor points. You'll find that if you have two anchor points using handles, it'll give you a nice smoother shape than you would get from doing two corners with a curve in the middle. The trouble runs into if you want to change direction here, because it's a corner. We knew it was a corner when we drew it. That brings me on to my next shortcut. If you've got a curve where you want it to be a corner, you can just hold down the Alt key on a Mac or the Option key on a PC. You can see I've broken it there. I'm going to go up to here, and I want it to be a curve still, so I'm going to click and drag out. I can break it again later on. Remember, by holding the Alt key on a PC or the Option key on the Mac and breaking it as I'm drawing rather than drawing it out and then having to go back of the Anchor Point Tool, or the Y arrow. It's just a nice handy extra trick. That's one way of doing it, let's show you even better way and the way I normally draw is with the Pen Tool. I'm going to click and drag out here to get this first curve. Click and drag out. Instead of doing what we did before is draw it and then come back to it and break it using the Option key or the Alt key on a PC, is you can do it here. Before you start, when you get it roughly where you want it to, hold down the Alt key on a PC and an Option key on a Mac, they're the same key. Before you let go and it snaps it while you're going. I'll often do this and drag outs, let's say I wanted to keep these curves. I'm doing a really rough job to speed through, but I get to here and I drag it out and then I hold Alt and bring it up this way because I know that's going to give me roughly where I want to go. We're going to get to this point. Alt breaks it, but you get to this point and I know I need it to be long, to get that existing curve. I know that this top point up here, you can see it's gone too far and you will have your methods to fix it up. What you can do is, watch this, while I'm dragging that one out, if you hold down the Command key on a Mac or the Control key on a PC, it still keeps it locked, but it brings this handle in so that the extent is not as far. While you are dragging, you can shorten one of them by holding the Command key. I know this rule a bit tough to remember, but you got your notepad next to you and you're going to spend, whenever you're doing in drawing. You might only use two or three of them, but I find to use all of them and it makes my Pen Tool experience a lot better. Another one we're going to do is, I get along here and I start drawing and it's not quite on the line. What I can do before I let go, is hold down the Space-bar key. Then when I move my mouse, it's moving the anchor point. I can continue on to get it perfect. That's going to be at for super shortcuts. What I'd like you to do for your project is to finish off this drawing. You can use the pen tool or the curvature tool, which we learned in the previous video. It's up to you. I'm just getting a rough drawing, don't worry if it's not perfect. I'd like you to do it because we're going to use it as an example later on, to color it in and show you how to color and drawing. One of the things that you might run into is, how do you want to complete this? You're going to get to this point here and go, "Do I go down here or up this way?" Let's just turn it into a pile of pieces. What I mean by that is that I'm going to grab my black arrow, and click off in the background and I'm going to draw it as a separate line. We will join them all up later on using some cool tool called the Shape Builder Tool. I'm just going to click and drag down her. Do I want it to join? I probably do, but you can see here, I'm not worried that it doesn't go around and completely joins. We're going to go through and connect these up a different way. Pen tool let's save this line here and there's this hand. What I'm going to do is click once and click once there. That's going to be enough for what I need. I'm going to use the Pen Tool now. I'm going to draw a curve. What I'm going to do is overlap this a little bit, because do I want to get them all perfect aligned there, becomes too hard to draw that way. We're going to overlap that. What I'll do is I'll draw that photo over the top and we'll trim it up using the Shape Builder Tool. That's the technique that I want you to use. It doesn't have to overlap completely like this, it can be close like that and we'll show you later on, that is a magic way of joining those up. I like to go through, draw all the lines that you can see here. Don't stress too much about it, but this might be a good time to practice your super amazing, fantastic new Advanced Pen Tool tricks. I'm back. I was drawing this and I thought there's probably more I can add to this video. Because one of the big problems is, let's say we're using any of the tools, I'm using the Pen Tool, is if I say I want to click over here, it's going to really want to join up to this tool, or join up to the end of these lines. You're like, "Stop connecting up." The easiest way is, the curvature tool is the worst for it. If I start down here and I put one there, one there and I want to go to this, it really wants to do stuff with this. You're like, "What happened? We were doing this line." The easiest way is to go zoom in real quick. If I click there, joined up, click there, I've really exaggerated these lines. You can see they all overlap, we'll tidy that up in our future tutorial. Click once, and where it gets in here it's where you want to join, zoom in. I'm using Command plus, you might use Control plus and click in here. It gives you a bigger room to try and guess these lines. I often do that zooming in to make sure it doesn't join up with other lines. Another thing that I realize while I'm working is that to de-select, you can go to the black arrow or hit the V key. The shortcut I use the most is holding the Command key down. You can see get the black arrow and click off in the background. While I'm drawing, so let's say we want to draw this line. Click once, I'm using the Curvature Tool, click once, I've got just a nice curve. But it keeps on joining, so I'll hold Command and click off in the background so I can start again. Again, it's going to really want to join that line, so if I zoom right in, holding Space-bar to click and hold and drag this around, I'm just going to exaggerate this. I'm going to try and avoid this line here. Click once. Curvature tool. Build for making weird here flowers. Click off in the background. One last thing before I go is when you get to the end of drawing, because we're going to color this in later on. You're left with an ugly-looking drawing, all the things overlap and it's not very nice. Nice little easy trick is, I'm selecting it all with my black arrow, holding down the Alt key or the Option key on a Mac and making a duplicate. With it selected, go over this Stroke and pick something down here that says Profile. Let's pick something nice like this first one here, the width profile. This gives it a nice hand-drawn look, I've bumped mine up to 3 point. Looks a bit better. Like I said, Shape Builder Tool, we're going to make this and fill it in and do some cool colors. That's it for Advanced Pen Tool stuff. I'll see you next video. 6. How to draw flowing curves in Adobe Illustrator with the Width Tool: Hi there. In this video we are going to take the Width Tool to the next level. We're going to take this hand-drawn logo and amazingly vectorize it. Same with this one here we're going take this pencil drawing and do all these cool with the blobby bits to the ends. Let's go and learn how to do that now in Illustrator. I've got open the Width Tool 1.ai file, and we're going to draw this curve in the middle here. Is a logo that I made a really long time ago for a company called Kiwi and just has this really nice New Zealand core shape in the mountains, that's what it's meant to be anyway. But we want to get this curve. We're going to use the width tool and we'll look at some of the advanced width tool features. First of all, we need to get this curve shape. Now, that can be the hottest bit. I'm going to use the curvature tool and it gives me the nicest coolest line, and we're practicing the tool, remember. I'm going to click once. Now, if you put not enough curve points in, trying to be really sparingly, and if you know the least amount of anchor points, Gemini gives you a nice a curve that's good, but it's not following the line as I wanted it. What we might do is I'm going to undo and just add one or two more extra points instead of going all down to here I'm going to try and go there and maybe there and then there, there. You'll see as it comes around, it reaches back and influences the line, I think it gives you two. If you get it close and you're like, "Actually it's close but not what you wanted," you can use the white arrow to adjust it. Or let's say it's really bad and you've got something that's not what you wanted. Actually let's do a duplicate over here, a nice little trick before we do the width tool is with it selected, if you've got something that doesn't flow very nicely, you can use the Object Path, Simplify. It doesn't always work, but you can see there's a tiny adjustment and feel like it's just a nicer curve there now, especially across the top here, it's peaked across this. You can play around with curved precision. Don't worry too much about where it is on this slide because it changes the shape. Just drag along until you find actually I feel like that quite nice, a liking at about there. Make sure Preview is on. Also know that sometimes I use it and it makes a big mess of it, but I'd say 80 percent of the time it makes it a little bit better. When you are drawing this, don't worry too much about the background drawing because that's just hand-drawn like goes my good guess of trying to get it ice and curvy but we want to get something that looks perfect and victor. Yeah don't worry too much about it. Now we're going to look at the width tool. The width tool is this one here. It looks like a hop or something. The easy way to do is to finds the theta's point of that line. I'm going to drag it out. That's a pretty cool thing if you've never used it before, but a lot of people have. There's a few things you'll need to watch out for is if I zoom in, because I used a font size of one, I had a stroke width of one point to start with. You can see it's got this flamed, it's not what I wanted. Afterwards you can do one or two things. You can just grab it and just drag this in to get it to be nice and tight at both ends or you can start with a really small weight fonts to start with before you start drawing it, it's up to you. Other things to know about the width tool is you can have more than one point. You see you can adjust this one in and out having lots of different points. If you get something in the wrong place, you can click hold and drag the center of it. You see you can move it around. I'm going to delete these by clicking it and hitting Delete on my keyboard. Another thing you can do is let's say I want this outside to be up just a bit bigger, let's I want it about there, you can hold down the Alt key on a PC or an Option key on the Mac and you can grab either the sides and you can see the work independently of each other. If I let go of it, they start working together. While I'm holding down the option key or Alt key on a PC, I can adjust this one can get it how I want it to be. Lots more awesome width tool action to come, but let's finish this off, and I want to run into one of the problems that people do have and a little cool shocker to fix it. Let's say I'm using the curvature tool, I'm going to draw these lines, but I want to draw them as separate lines because what happens is click once, click again, click there, and ends joined up, that's easy, I can click off. But now I want to click down here and I don't want this to join up because it does weird stuff, I just want to do separate lines. The quickest way to fix that is with the selected, the black arrow, hold Command on a Mac or Control on a PC and hit 2. That just locks it. It's locked in the background now. Back to the curvature tool, click once, and then at the top here it's not going to try and join it. If you hold Command 2, it just locks it again. It's easier than putting them on its own layer. Again you stop doing that, I am going to Command 2, they're all locked, so I can just continue on my merry way. Probably you want to join some of these lines but it's okay, so you my friend Command 2. Then grab my curvature tool. Click once, click again and back up the top there. But now you're thinking these aren't all joined. A nice little trick is let's make sure I lock them all. Under Object there is Unlock All. for some reason that shocker doesn't work on my machine, it has to be done by something else, but we can do is grab all of these linker at the top here. I'll use my white arrow, I've just selected them all, then I can go over here, the aligned pen on to say I want you to line there and line vertical and align C into horizontal and they just overlap each other now, perfect. Let's move on to our next width tool example. The second example is open up Width Tool 2 and we'll do these Psi Scott style webs checkout Psi Scott SI Scott 4, he's got amazing stuff, it's total and copy of that type of effect. What we're looking for is we're looking for these tear droppings and these nice curves. There's two things we're going to do. Let's do the t-drop one first. Let me use the curvature tool because I find it easier for doing these curves. Click once, click twice. I've practiced as a couple of times teaching it, so I know I need a little bit more than I normally do. I want to come around here and then maybe there. Now, I could use the Y arrow to tidy this up. I'm happy roughly how it is. What you might have run into problems is mine didn't have a fill. If you're finding it hard to draw turn off the fill before you start drawing. Next thing I want to do is tune the stroke weight way down so it's nice and thin, and let's grab the width tool there it is there. I'm going to have a couple of things. One is the start point, and what you find with a start points so long as you drag it the wrong way and it seems to not working, just drag it the opposite ways, I'm dragging it down, that's my first part, and it's doing a pretty good job The next bit is I want that T drop at the end. What we'll do is I'm going to zoom in close on this tip and you need two parts. I'm going to draw out one part, now it looks like a regular line, but just behind it, you drag in a skinnier bit and it make's a little tuber thing. Yours might be working by default, it's probably not, but if you click on the line, go over here to Stroke and click on the word Stroke, by default it set the unfortunately named Butt Cap. You want to go to the next one called Round Cap, and it will give you that kind of look. Works the same but we can fix it in easy by lobbing it off, but it gives you that nice teardrop shape. That's what we're looking for for this drawing. Now you might be immersed with the pin tool and spend a while getting this curve because its pretty good ride, but it's not perfect. I'll show you a way, see this one here, is quite circular. I'll show you a trick that I use to get us a reasonably perfect circle. I'm going to start with an ellipse. You might have to hold down the rectangle tool, grab the Ellipse tool, and I'm going to draw an ellipse now, shortcut if you hold down the Alt key on a PC or the Option key on the Mac, it starts from the center, hold down Shift and will give you a perfect circle. That's what I'm looking for. Now, remember my thing underneath is just a hand-drawn one, so it's never going to match up perfect. We're not looking to try and do that, we're looking to get it close. What I want to do is slice this into bits. Now, I don't use the knife tool very often seize the shortcuts, this little scissors tool. I said knife, I meant scissors. If you can't find it, it's hiding underneath the Eraser tool, and he's really good at going. Click once and click again. What it's done is if I hit the Delete key on my keyboard twice, it deletes that chunk. You might have the wrong bit deleted, so you might stick with the black arrow and delete, bit you need to go. You can see how it got the beginnings of this going. Now I want to continue it on. I'm going to use the pen tool or the curvature tool, we're going to use the curvature tool. I want to show you something. Curvature tool was like, I want to be on this side, because that was the last point drawn. You like, "I don't want you to be this side." I'm going to grab my Y arrow, I'm going to say, click on you. Now if I go back to my curvature tool it says, "I defy you and do whatever I want and go back to the first one." I find this is a little bit of a bug. If you can think of a better way than this hack. What I do is I click on this thing, just click on it once, and then go back to my curvature tool and it goes, "Huh did you mean this guy?" "Yes, I did." I use the pen tool just to click it once. What I'm looking for now is probably one about. I'm just going to follow this guy down the middle. Now I want it to follow down the center. I want it to be straight, I don't want a big curve like this. I'm going to double-click, and then here, double-click. Didn't do a great job there so I'm going to go back and maybe just adjusted it. Try not to wreck it too much. Looking okay, you might now go with the white arrows and just tidy this up. There's a cap a little that's home and stuff and not giving perfect circles. Width tool helps. I'm using the white arrow, the direct selection tool just to come tidy it up. I feel like I'm there, I might need a little bit of work across What I might do as well is tune this one underneath off because it's influencing what I think it should be, anyway. Same thing again. I've used the circle to get the bulk of it done. Now I'm going to tune down my stroke to something really light, and I'm going to grab my width tool, I might need to tune that back on now now. Just tune it off. I want a big chunk at this end probably I want to match it about here because I want the font to be the same width tool about there before it gets skinny. It gets a bit thinner across here, so I'm going to tighten it up there. Then I want to do this little blob bit, remember, let's practice that. I want to go, yeah, to get the in-paste and then just a bit for the back, so I'm on that last part of the anchor and then the bit for the back. I'm just going to tight it in. You might find it goes to maybe a bit too big, you just tuck this in there. Awesome, I'm happy enough. What I might do is trim it up. I want t to be for the back, C on my keyboard to get this as a tool, and say snap, black arrow, grab that chunk, don't need them, I need my blob back here. It's a work in progress. I'm drawing a little circle here. This goes around, it's the thing I'm looking for. Remount. How perfect does it? It's pretty good. What we're not going to do now is draw these letters. You can totally easily draw these, but you draw them separately. This L I draw with just the pen tool, the curvature tool, and I draw these two things separately using the width tool, and we'll join them up in an episode, probably two videos after this one, actually no the very next video where we start merging different shapes like this, width tool with just regular shapes. What I'd like you to do is keep practicing on a few of these. There's a few of them that change direction, and in this case I probably just do two separate lines. I do one that came out here and stop there, and that'll be the [inaudible] put on some layer and draw another one. That would be really easy to do with a circle. I should have done that one, would have been real easy. I did this one that curves as well. But you get the idea. Some of these ones change direction and I'd totally do that in one big long line. I'd like you to practice on a few of these and we'll finish it off in a future video. Onto the shape build tool which I keep talking about. We finally finish off a few of these drawings in the next one. Let's go do it. 7. Mastering corners with Adobe Illustrator CC corner widget effects: Welcome to the corner extravaganza. We're going to turn corners into curves by using these weird little targets that appeared. Now if that looked a little underwhelming, it gets a little bit more exciting, but you should stick around because some of the tips we going to learn here are going to help us later on in the advanced course. So hang around, let's learn about corners. So corner options have been around a little while and a lot of people just ignore them. I'm going to grab my rectangle tool or just get a plain document open, nothing fancy, and I draw a box and it's these guys, these little targets in the corners. If you can't see yours there are under View and they call them, hide corner widgets. So you can turn them on and off. They can get annoying a little bit if when you're using the pin tool and stuff, that with the direct selection tool. But all I do is drag them in and I get rounded corners. Not particularly fancy. We can fancy them up a little bit by grabbing the direct selection tool, the white arrow, clicking on just one corner. You can do one side, click on the side, cool. That's cooler, and where it gets nice or more advanced, K is holding down the option key on a Mac or the OPC and just clicking one of these guys. Hey, what have you've got selected? You can see I can change it from an [inaudible] to a [inaudible] to a flat E. But you get the idea. So it works rectangles, it works for anything. Grab the curvature tool, and we start doing weird corner stuff, and you'll see that if I have my white arrow here, whenever there's a corner, you can see I can flatten it out. That's going to come on lots in really handy later on when we start joining things with the shape builder tool, that was a pretty bad example. But let's look at the star real quick and we'll look at a couple of other options. Don't leave. So I've got to star and I'm going to drag it out here. I'm going to grab my white arrow. You can see this corners is everywhere and I can just tie them up or I can select just this one, hold shift, and grab all of these guys and just do the outside ones. It does get better than this, I promise. How much better? There are some extra options if you double-click any of these guys. So double-click any of the targets, you get corner options. You can decide on how relative or absolute, just different corners. It depends on how the anchor points make it. You can obviously change your anchor points here as well, and if I go back to the radius, you can push it in and out instead of dragging it. Let's click Okay. One thing you might run into is, if you were drawing something say random shape, got the pin tool and destroying randomness, and if I double-click on any of these points, it gives me this corner options panel. But you might get, if you're dealing with say, a regular shaped like a rectangle tool, it's still a primitive shape. Illustrators still knows it's a rectangle. You can see appearances, I'm a rectangle not random shape. If I use my black arrow and double-click on these guys, you get a slightly different window. We get a bit more control here, and you can see these are the corners, and these are the corner options. So it's no real difference, just I'm going to increase this up. You can see I'm looking on that top right hand corner there. Just so you know, you might look at a different window than I got just a second ago. Now the big thing to do in here though is say if I bring this [inaudible] again, scale corners. I can't remember if it's on by default or off by default. I have played with it too many times. But the difference is, if I grab my rectangle tool now and scale this down with scale corners, and I'm holding shift, so it scales proportionately, it gets smaller. Whereas if I turn that off and I scale it down, you'll notice that eventually turns into a weird circle like egg thing because it's trying to maintain those corners. So turn those on and off as you need them. If you can't get this thing to open up, just go to window and go to transform, and you end up at the same place. One thing it might happen though, you saw I double-clicked it and it might end up looking like this to start with, if you double-click the word transform, get smaller before it gets bigger, so big, medium, little bit tiny. Am not sure why that one's useful. But anyway, you get the idea, you can keep double-clicking that word, to get the different options. I'm going to click "Scale on" seems like a bit away of working. Now what I want to do before we goes, I'm just going to go back to, remember a whale from earlier. It really annoyed me this nose here. I'm going to click on it, and remember using my white arrow, if I use the black arrow, and I select the whole shape and I don't get those little targets. I'm going to grab this, I'm going to click on just this corner, and that's what I wanted for my friend, little stubby nose. I'm going to go and look for a few other bits, but you are fine to carry on. Now I'm going to grab you and just drag you down there. Should just want to stop it. Looks terrible. It looks a little bit more like water, my whale is not like bathing flowers. You get the idea. Corner options useful, they're getting more and more useful as we get through that course. So we need to introduce it now. Let's get on to the next video. But before then I'm going to undo. I'd rather have him look like he's rejecting flowers. The way looked terrible. Now we're going to the next video. 8. The best creation tool in Adobe Illustrator CC the shape builder tool: Hi there. In this video, we're going to use the very best creation tool in all of Illustrator. In my opinion, the Shape Builder tool to make this whale circly specially. Let's go and build it now in Illustrator. First step, let's work out what the Shape Builder does or replaces, it's the Pathfinder tool. We love to hate the Pathfinder tool, right? I'm going to join these shapes up or knock them out. You can only select only two at a time, you have to do some copying and pasting and have versions and then you're like, I can click on this one, not the one, undo. Everybody done that or is it just me? I do the undo, click on them all, see which one works and then it can take a while. This tool replaces that. Goodbye you guys, hello whale, let's draw you with the Shape Builder tool. Basically what we're going to do is we're going to do like we did with the Pathfinder tool, we have two shapes and cut them out. But we can do multiple shapes and this isn't great pics. You might have already used the Shape Builder tool and that's okay. I'm going to try and go into a bit more advanced techniques here. Let's get started with, I'm going to grab the Ellipse tool and I'm going to have Stroke and I'm going to have a black fill. I'm going to start in the center, hold down the Option key and Shift to start from the center. I'm on a Mac. If you're on a PC, hold down the Alt key and Shift and start dragging. You can get to start from the center, not perfect. I'm going to use my arrow keys to tap it around, that's a good start. I want to draw a line across there, I'm just going to grab my Line Segment tool. I'm going to click, hold and drag. You could use your Pin tool, it doesn't matter, cool, that's it. Maybe the next thing I'll do is, I guess I want this big rolly wave type thing. What I'm going to do, I'm going to show you how I would build it. I'm going to copy and paste this and if you use Command F, there it is there, or Control F on a PC, it paste it back exactly where it gets it. I use that often rather than copy and paste because copy and paste, paste just puts it in the middle of the window, bad. Command F on a Mac, or Control F on a PC. Now what I want to do is actually I'm going to use my arrow key, I want to try and line up that, probably we have to make it a little smaller holding Shift. What I want to do is you're looking at it in this area here. I'm just trying to get some nice code we could use the Width tool. But we're using the Shape Builder tool, because I reckon that's going to do probably a better job only because I want to keep this complete circle absolutely nice. The design calls for this round whale to build in this round bit. I've got that, but let's start with that. Actually, I don't want to lobe that that off. I'm just going to use the Line Segment tool, and I'm going to say you, just draw a little line through here. I'm going to slick that all with my black arrow and what I might do just to make it easier for you guys is on my last panel is turned it off to see what we're doing. If you've ever used the Shape Builder tool, be prepared, this thing is awesome. There it is there, hard to describe that one. That's the icon, Shape Builder tool. What we want to do is this two modes, there's adding and subtracting. In this case down the bottom here I want to add this bit. All I did was click, hold and drag across and join these two bits. Go and I want to add that bit down there. We've made that one solid shape. You can imagine using the Pathfinder tool, there would be lots of undoes. Now I want to slice these bits off. What I did was I hold down the Alt key on a PC or the Option key on the Mac. You can see that because it gets a little minus there. I'm going to drag across it. You can see how cool and quick and easy it is. I built that first little pot now, I'm going to turn on that layer again and let's start doing the rest of it. I'm not going to build every single thing with just shapes, there's a couple of curves and I would probably use the Curvature tool for, let's do the hard stuff first, so you can move on if you will. I'm getting bored at this. What we'll do is we'll join this little circle up the top here and I'm going to grab the Ellipse tool, I'm going to draw a circle starting in the scene to the air. Now, a cool little shortcut is when you getting things lined up it can be a little hard when there's a stroke weight on it. We've got a stroke weight on one, I think. But if you hit Command Y on a Mac or Control Y on a PC, I'm also going to turn background layer off and it just gives you a really fine detail. It's the long ways into View and it's called, this one here, Pixel Preview, this is not really pixel preview, Outline. There is at the top they have versus GPU Preview. That's the thing we toggle between, use on all the time. Command Y or Control Y. I'm going to go back in and what I'm looking to do is just get this thing close to here. It's never going to be perfect, I'm just trying to grab the edge and get it like touching hands so this curve is going to look nice. I'm going to slick both of them, I don't have to come out of a wire-frame outline mode to keep using the Width tool. Now I can say the Width tool, I might say that a couple of times in this course, I don't know why, I say that all the time. It's the Shape Builder tool. It's Shift M, it's one of those shortcuts, write it down, it's actually one of those ones you use all the time. I'm going to click hold and drag across all these guys and you'll notice along here its not a pretty good job at lining this up. I'll do one more and see if I can't fix it. I can't make that look a little worse so I can show you how to fix it. That's all looking okay, Command Y and let's look at this, I should have really hit that on to draw that circle. I'm okay with that. My drawing room is just a hand-drawn. What I'd like to do here is I'd like this to join up to this bit. I'm going to do it with two ellipses again, we're going to be able to use owl, cool options which is cool. I'm going to draw a circle roughly in the center here using my tricks, I get roughly the right size. That feels a bit right. I'm going to have another circle. It's going to be a little smaller to get that inside radius. Notice banging it around, trying to figure out needs to be a bit smaller. There's times where the smart guides can be a little painful at the moment. I'm going to leave them on, excuse my arrow keys, just a tab it around. I want this to line up here and what I'll do is actually I'll make it even a bit smaller and I'll have this a bit smaller. I want this corner you can see here just corners in and I want it to be smooth and that's where Corner options are going to help. You quit messing about that and just do it. Okay. I'm going to lob it off probably about here. I'm going to grab all three of these guys with my black arrow and have a shift in is our cool tool. I'm going to drag you guys to join them up. Okay, I want to minus that. Goodbye to you, drag you across. I've got rid of lots of bits. Now this is junk going on here. I'm going to go to Command Y just to see what's going on and I'll zoom in and I'm going to drag across these two guys have join them up and I'm left with this. Now I'm going to grab my Y arrow and remember there's corner options. Okay, this is, we have, this is super handy, right? I'm going to adjust this point here and I'm going to tidy it up, okay? You notice, can you see it just flows around a lot more, so happens quite a bit. It's a nice easy way to fix those terrible joint. I could fix this one. I don't want to in this case but it's just an easier way than you've probably done it before and you've spent ages with Pin tools and anchors and trying to delete bits and pin. That's your handy tip. Let's continue any other hotbeds we're going to do the circle thing again here. What other happens and be the same thing here with the corner option. Let's do that one next before we do that. Okay, so I'm going to draw and try and match these two ellipses roughly. Yeah. Something like that. Cool. Command C for copy, Command F for paste and place right at the top of it, make it a bit bigger. You get this curve. Okay. Select part of these guys, shift him. I've got to minus that bit. Join these guys here. Join you. Take care of that bit, join this and if you've gotten the shortcuts already for that it is alt and for PC and option for Mac to minus. Otherwise, it just works by joining. We're going to grab our erase tool and down here I'm going to click on just this point and I'm going to tidy that up. You can see how nice it's even a perfect circle. Look at that, handy. Same thing is going to apply to this. We're going to draw that with a curvature tool. This is probably the last thing that will be useful for you before I start actually just filling it in, I'm going to grab my curvature tool. Now curvature tool has a really weird shortcut. I see this all the time but it's really hard one to learn its shift and apostrophe. Okay, so I think it's apostrophe. I think that's what you call it. If you hover above that its shift plus that little tricky thing, I'm pretty sure that's apostrophe. Shift in that. I'm going to draw through it because if I get close to this, it's going to try and join it. Remember that shortcut we had before. If I select it with my black arrow and go command two, it locks it. If you're on a PC, it's CTRL+2. Now I can go back to my curvature tool and I can click once there and I'm going to click once there. I'm probably just going to go through, I'm not going to do this in one go cut that out with a circle. I'm going to go to about there and then I want to go down to about and you can see it's locked, but I can still follow that path, which is really nice. About there. Totally missed it though. Okay, let's bring him down. Yeah, it's looking pretty good. Black arrow clear from the background. I'm going to unlock them all. For some reason my shortcut doesn't work, so object unlock all. Unlocked. I can slick them, Shift M and actually I don't really need to like change him. If I click on him at least he's another shape now and if I crop my black arrow, this guy has a separate shaped so I can color it later. I might just do that now. Don't worry about this little spickly line, we'll do that in a sec. Actually, let's just do that now. He's part of this thing here. What ends up happening is the lines trying to go through here and it doesn't know what when it gets to the edge, it's going like all the way out and away bend to give it a nice pointy edge. If you don't want that, I don't really mind at the moment cause I'm probably going to get rid of this stroke, but you might not. With that selected go to properties, go to stroke and you've got options along here for the way the cone is a handled. At the moment it's got this miter join, which is the spiky thing. I can round it off which might be nine or I can bevel it off which gives it a arch at the end. It's hard to tell you to zoom right in and use this tool to see what happens, but have a play around with them, see which one will work for you. All right, let's tidy up a few bits and pieces. Let's stroll the little thin here and here's my shortcuts shift apostrophe, double-click for a corner, click once for a curve. Click once for a corner. What's for a curve, and then actually you really want to hit double-click right for corner. It's just one click to finish the thing off. Am I happy with it? Yeah, sometimes tuning the background layer on and off. Yeah, it's good enough. Let's slice out the circles. I'll use you, I'll duplicate them and I'll use the same one across here. Now, duplication is black arrow, while I'm dragging it, holding down the "Alt" key on a PC or the "Option" key on a Mac. Smart guy is battling with me. I'll just type it out with my arrow key, select all of you guys, shift him. I'm going to say, I would like to join when you guys up, and I want to hold down the "Option" key on my Mac, or the "Alt" key on my PC, to delete all those guys. Now, there's a couple of things as this thing I have going up the top here, and I feel like I want to go and redo it, because it's doing not what I said, it's not lining up. I want to go back and look like a professional and know exactly what I'm doing. But I'm going to leave it in here because you might run into the same problem. How to fix this? No idea. But we're going to just try and make it do it again. So I've just selected both of them. Going back to my shape-builder tool, join them up. You can see it still wants to be two separate shapes. I'm not sure what that is. "Command-Y" now he's in there, he's looking good. I don't know. Well, let's ignore for the moment and we'll go and color this thing and see how it runs into any more problems. Let's do this circle here, just on the center about here. I trim these off way too early. If you're doing yours and following along, don't trim this early, because I have to move my curves up around. It's all right, remember that "Command Y" to get the outline? We're just going to get this too. Now, I'm going to leave that little bump in there to show you how to fix that. It's a cool way of doing it. So "Command Y", "Shift M". Well, that's doing the same thing. Interesting. All right. What I want to do is tidy these up. I'm going to grab my pin tool and there's a couple of corners I want to get rid of. Let me got back to my outline view, "Command Y" or "Control Y" on a PC. I want to get rid of these guys. With the pin tool, nothing is selected, it's got the minus, just does it by itself. I don't want to get rid of that one because he controls a lot of this. We're getting rid of you. Now, we've got a problem of this flowing along here. The easiest way to do it is grab the "Y" arrow, click on this guy. He has a handle out this side, but he has nothing on the other side. The easiest way, what he does, he has a tiny little handle in there. I can't really see. With it selected, I'm going to go to, is it a curve already? Okay. I'm going to say, "Be a curve." You can see it extends that little guy out and has it made it perfect? Not quiet. But I'm going to have to do some manual adjustments. Often that little just make it a curve, we'll just fix it right up. I'm going to say I'm happy enough with it. I'm going to have to play around with the handles, but this tutorial is getting really long now, so I'm going to leave it. All right. Let's do a couple more of these and then I'll try and go and fix this by myself and come back. Actually, I'll do that now. Let's see if that is working one last time and then I'll pause and try and fix it and give you the dealer. All right. You two, join. You're still separate, join. Still separate. All right, I'm going to pause now. I'll be back in a second. Figure it out. Okay. It's got me stumped. I'm just going to leave it there because you-all might run into the same problem. I've never run into it before. So I'm hoping it's just a vision problem. How about in the comments you let me know, did you run into it or is it just me? Then if it's just me, I'll leave it. If it's with everybody, I will contact Adobe and we'll try and figure it out together. All right. Let's look at finishing the last little bits off. Okay. I'm back from the future. I couldn't work it out when I was originally fixing this video and I reached out to Adobe and they helped me and made me look like a fool. But I'm back, humble Pie. These two things are still separate, remember, I had that problem. All it is is the options in your shape builder tool. If you double-click it, you get these options and it was "Gap Detection Large". I was messing around with that with some of the project and I left it on. Turns out that it causes that problem. Turn "Gap Detection" off, click "Okay". Yours is not going to have this problem by the way, probably just mine. But now with it selected, I can go back to my shape builder tool, and everything should be good. Nice. I have both these selected. Though it's the latter problem. Now they're joined and they stopped being separate. One thing you will also notice that I turned back on was if I double-click, I turned this off previously, this thing here, where it says, sorry, the cursor swatch preview. I turned it off because it's annoying. The thing is just above the cursor. See that? If I double click it again, it shows me the coloring just above it, and I find it a bit annoying, so I turned it off. I'm going to turn it back on now. Continue watching Dan floundering. But there's some good tips in there, continue watching and now we all know. All right. Back to your regular scheduled programming. We'll do this bit down here, and actually what I'll do is I'll reuse this shape. So I'm going to drag this across here and show you how I work. I'm just going to slice this bit over here using the align tool, select all of that. My shape builder, good-bye, Good-bye you too widows, and I get rid of these bits. Cool. I've got this thing. I should officially go and use the proper flip, but I just often do this. I know you shouldn't, but yeah, just flip it across. Just shift these curves, who's going to know? You are all going to know, you're watching. Okay. Messing about, we can fix that curve. Select both of these guys, "Shift M" and I'm going to drag across there, across there and grabbed my "Y" arrow, come down to here and say, you, my friend needs to be just a bit nicer. Grab the target, not the anchor point. Just try and flatten it out. Now, if you find it doesn't flatten it out really well, you can see there's an anchor point there and there and they're both trying to do stuff. So what I might do is this guy here doesn't seem to be doing a whole heck of a lot. So I'm going to grab my pin tool, and by default it will just try minus it, which is cool. Now with my white arrow, my direct selection tool, now it gives me a bit more of a nicer curve there. Cool. All right. Last little bit here, curve with your tool. Double click for corner, click once for a curve, and the width one when you go back, if you double click here, it does wrong. Just click it once to finish the line. That's the width, little thing there. Have I missed anything? Oh, this guy down here. Okay, join you guys up. Let's turn it off layers. All right. I think it's coloring time, and avoid these guys. All right. Let's do a couple of things. We're going to do some great, and I totally move on now, because I'm just going to color it in. You can watch if you like. I'm just going to color it in, I'm going to turn the background off because I don't need you anymore. I am going to make another layer. Actually, I'm not going to make a layer. You should put layers in, but I get in the habit of just grabbing a rectangle tool and filling it with a color and locking it. I will save it quick and send it to the back. Shortcuts to sending to the back is at the moment, way above my well. With it selected with pretty much any tool, I can hold "Command-Shift" and hit the first of the square bracket. Look at your keyboard just next to P, the first square bracket. If you select "Command -Shift" square bracket, sends it all the way to the back. If you're on a PC, it's "Control-Shift" and the first square bracket, and the second square bracket brings it to the front, back, forward, back, forward, all the way through. So that's what I want. I'm going to lock at using "Command-2", or you can use "Control-2" on a PC. I'm going to stop giving the shortcuts because you might be going mad soon, but we'll do it a little bit later on. I've got lots of videos to go. He's in the middle because that's where I want him to be. I am going to give him some fill colors on. I'll start by selecting on it, just giving it all the fill. Awesome. Because it's basically on your couple of shapes, I'm going to give it a stroke and that's going to avoid my problem of the joining along with top there. It could be that solve for it maybe, and these guys here, I'm going to do a lighter color. Just some lighter color, and let's go here. It's going to be the same color. Here's my eye dropper tool, just to select from that, and this guy here's going to be lighter too, just because. Is it cool? It's all right. One last thing I'm going to show you. I'm going to show you here some more, and put gradients in this thing, when your gradients. I'm going to draw a big circle in the background. It's just for show. It's just I want to pick black. Actually, I'll go to my swatches, I'll pick this one. Maybe lower down the opacity. It's just, I guess a look that I want. I just want to lower down, send to the back. Send this guy to the back, he's locked. See this come forward one. What I could do now is I want to crop it so it's not hanging around the edge. There's two ways of doing it, I can grab a rectangle tool, just drag it out, and drag it to the edge properly. Select both of them and hit "Command-7", or if you're on a PC, "Control-7" and that crops it, and that's cool, but you'll end up with this crop circle, and sometimes that runs into problems, so I'll show you how to do it with the shape builder tool. You probably can imagine how this is going to work. "Shift-M" for the shape builder tool, it's going to delete that and this side. Now I'll send him to the back. All right. That's it for what I wanted to do with the whale, and now you would have drawn yours, and yours look different. You can totally go in a different direction in terms of the flares. You could do the whole thing slightly different and different colors, but I'd like to see it, and I'd also like to find out if you had the same problem with the little joining bits. But yes, send me, I'd like to see what you've done, either Instagram, Twitter, or here on this platform. There's an option for posting your projects. All right. Happy whale making, not hunting. 9. More shape builder goodness: Just when you thought the last video about shape builders was long, there's more. There's a few little special tricks we're going to do to complete some of the previous drawings we've done, and like this guy we did earlier, we got to run the line through the middle and split them up into gradients. Over here we're going to show you how to expand some of these lines so that you can add the feet and the stuff that we started earlier on in the tutorial series. First thing you need to do though, is go and open up the file called File Open and it's in your exercise files. It is called Shape Builder Extra, go do that now and I will see you in the video. Some extra shape builder goodness, I like it that much and it's a couple of things we haven't covered. The first one is I like a bit of a shortcut. So I've got three circles, just happened to be circles. You can have lots of circles. I'm going to select all three, jump to my shape builder tool, so I have here in my toolbar, and I can join these up by clicking them all through. That's fine, for three circles, it's no big drama, but if you hold the Shift key down and click and drag, you get our rectangle Mockito and it just does that all in one big go. If you've got lots of objects, instead of trying to drag across the room and scroll through them all, just hold Shift, trek across all three and that uses the shape builder where it flattens them all into one solid object. Next little thing that's going to happen is, remember this from earlier exercise, if I select all of this and grab my shape builder tool you'd be like, why can't I fill this scene a little bit. He might be like, it's because of the gap. It's not because that gap, if I fill that gap, it's still won't work. White arrow tool drag it right across, a bit exaggerated there but, grab my width tool. You can see why and if I select it at all, you can see the blue lines here indicating this with a path or the spine of the path here, and you can see this is more of an effect. It's not a fill around the outside because there's actually a massive gap between this line and this line. Can you see? This here's just like a pretty effect. So what we need to do is to fix that. There's two things I want to do. I'm going to copy and paste this, so I've got a version of it up here because I never want to, I hate destroying stuff that I've made because I'll come back and I'm like I want to adjust it, I can't because I've smashed to pieces. With this selected here, we're going to go to "Object" and we're going to go to this one, this is expand appearance. It just expands it so it's no longer an effect, it's actually a shape running around the outside. Now it might fill, the gap's pretty big over here, but let's grab our shape builder tool, and it does it fine. Now another thing I want to show you before we move on is if you double-click the shape builder tool, you can have gap detection by default. I think it's a medium but you can crank and right up to large or even custom where you say, I want it to fill ginormous holes, so you might have an artwork that just needs like that. You've done some hand drawing, and you want to fill it up after a live trace or something like that. Everything else in here is that when I turn off, is this one here, Cursor Swatch Preview. It just gets rid of the colors above my error, I don't know why that annoys me so much, but it does. Let's look at two things, I want to fill this with white, and I'm going to fill this with a random green. I'm going to fill it properly in the second. I want to split that in half, so I wanted there to be a line running down the outside so I've got two colors within here. It's going to be this tool here basically. I'm going to make another duplicate of them, with my black arrow holding down the "Alt key" on a PC or the "Option key" on a MAC get a duplicate. What I want to do is actually go to stroke here and go "Profile", "Uniform". I don't want any of that width tool goodness. I want to tune the white down to something really tiny. It doesn't really matter what size it is. I'm going to drag it down now. What I'm going to do is I'm going to click off, I'm going to grab this in part of it. You can see where it says anchor, I'm going to try and jam in there then hope for the best. I feel like that might have got that. I'm going to sleek both of these, back arrow drag around both ends. What I'd like to do is back to my width tool and you can see it's curved into two little pieces. You might have to go play around with gap detection to fix that, but I'm just going to put in random colors, and I'm going to do gradients in the second, because that's where I wanted to start, I'm going to select it all, say stroke none. I had to stop myself there. I'm going to go off and add gradients to this and gradients aren't particularly exciting. I'll do that at the end because there's more important stuff like this over here. What I'm going to do is when I'm expanding a line, I like to have a copy. I'll just take them up here in case I need them later on. What I'd like to do is add the feet to this and we're going to join the two bits and pieces. What I'll do is I'll draw, what should I draw first? Let's grab the curvature tool and I click off in the background so it doesn't select it. You'll notice off and on again that my cursor changes from the crosses to the pin, that's just your Caps Lock key. It happens to me sometimes you can see my keyboard tells on the screen what it's doing. What I'm going to do is I'm going to zoom in here and I'm going to double-click, double-click, molding shifts so it's a perfect line, double-click, double-click on a curve in there, and I'm going to double-click here for another corner. That's one side and what I might do is turn the stroke weight down to something here, line which is 0.25, so that's one side. Again, I want to start on this side. What I might do is just kind of overlap it here, and get it close and double-click it so it's a corner not a curve. Click once for a corner and by clicking once to tidy it all up at the end. I've got my rough guides, I'm going to just tidy this up using the Y arrow. Get it how I want to, I'd love to spend a lot more time fixing these up. I'm not going to do that while you're watching, sorry about that. We've got this now. We want to join these two up, so I'm going to leave some of the badness in there. So what I need to do is expand this one. We looked at it before. We're going to go "Object", "Expand Appearance", and now it is no longer, I can't use the width tool to fix this now, that's why I've got a copy at the top there. But now I can grab these two, grab my shift tool I'm sorry, shift in for my shape builder tool, and I'm going to join these two and delete that bit, and probably join these two and have a look how bad it is, and that's not too bad. I'm going to grab my a full arrow, and this guy here needs some corner love. Same with this guy, needs some corner love, do we love those guys. When you first see these targets you're like, what do you do there? You can do corners. It's cool, but it's when you get into this, when you start joining these and you've run into trouble before. Okay, that's a terrible serif, but I'm going to leave it. I followed my drawing without thinking, wow, that's bad. What's going on down here. All right. But you get the idea right? Lining principle, we had to outline this and we drew this separately so there's a lot in this document where that I would draw the width tool, put this bit down the bottom here and the serif and I will draw separately. All right, and that's where I should end it and where you can carry on. I'm going to show you what I'd probably do with the serifs, rather than what I've done currently, and I'm going to go add gradients to it. I'll show you what I'd do with these serifs because you're probably into it. I'm just going to draw them straight up. I'm going to say that's going to be my serif and I'm going to copy paste this and I'm going to spin and align these both up, go center, center, center once. I'm going to use my shape builder tool to join them and remember here's my sneaky shortcut, shift, drag a box across them, and we're going to grab my A tool. I going to click on this guy. Actually you can grab more than one holding shift to grab both of those two inside once, we're going to drag them up. This guy here, I want to skew across. So up here, my transform window, you might not see it's on a window, get onto transform, I'm going to use skew and I'm going to use this to get started. Now, a nice little trick for what they call a shear here is because I've got really predefined ones, you're not going to probably find it in here, so if you just click in here and use your up and down arrow, I find that's a really easy way. I'm just tapping my up arrow and it's going up at a greater time, greater slow but I'm going to get this working. That's going to be by serif for the rest of the job and what I'll do is I'll just use it for lots of things. It might be heavy with the weight of it, it's probably a little thick but you get the idea right, so I'm going to make a duplicate of it and I'm going to use it a good few times. It's actually way too thick, but I'm going to use it here, I'll use it again, where else; I can use it here. In this case, I want to split it up and open, so I'm going to move it out, grab my A tool, select that guy, hold Shift, grab all of these fellows. So I've got everything on that right-hand side and just use my arrow key, tap them across. This is how I'd build that and that's going to be my main serif and this is going to be my thin one, I deleted that one, go back. I'm going to use these two guys to start building out that rubbish one there I'm going to remove. You can see, there's lots of times I can use that, all these use a version of it and I can use that as my starting point. We have to log that bit off. I can use him and I can use it for lots of things to get started to kind of speed things up. I'm rumbling now. All right gradients, I'm going to do that, you don't need to be around for that. I'll get the editor speed it up actually. I'll see you in next video. Okay, that's it, don't judge me [inaudible] See you in the next video. 10. Using Live Shape Effects in Adobe Illustrator CC: Welcome friends. In this video, we are going to look at live shape effects. Basically, it makes pecking, and it allows you to add and remove sides to polygons quite easily like that. We'll go a little bit further and make a little pie chatty donut thing. Let's go and learn live shape effects in Illustrator. Live shapes are only on a couple of objects, there's the ellipse and the Polygon tool at the moment. Let's look at the ellipse first, and I'm just going to drag our "Ellipse". I've got a fill and no struck them. Now, what we're looking for is see this little toggle on the side, that's our little guy, it doesn't really matter what tool you are using, but look, I can drag up, drag down, Pac-Man, but probably, been a useful, maybe a Bio-graph. Now, these couple of options you can do. Obviously, I can drag these around randomly, just pick a customer shape, or you can type them in. The Transform Panel wants to open up by itself, or up the top here, if you've got the Control Panel open, there's one called Shape, they end up with this same options. Cool. More we can do over here, probably the most important is the you can invert the pie, and type in specific degrees. You can decide exactly what you want to do, and the other thing, let's have a look at the Polygon tool, is the other one that works. It's the same thing, this one here has got like this little targets on the outside. They decided to style it slightly differently, see this random tile, there's ones in all the corners and they went, let's randomly put this guy here. You can see plus or minus basically, it allows you to drag and left, and drag it right, add more sides, remove more sides, this is mainly just make triangles. Drawing triangles on Pinto, is surprisingly hard. Four-sided [inaudible]. You can see what we're doing there, any other options for the polygon, you might decide over here, it's easy, just pick the size. You can play around with the corners, this here is the corner options. You can say I want it rounded corners, in increase them up. You can see the corner is getting round, but you could just use this tool as well, we've used this corruptions in an earlier video, it's a quicker way of doing it. Now what we'll do is, we'll make a little pie graph like it's worth the beginning because that's cool. There's a flung graphing section in this advanced course. So go check that out, if you're doing lots of graphs, you just want a quick pie graph. This is going to work perfect. What we're going to do? One of the things as well as, say you want to get rid of it, go away. You just double-click these guys. It turns back to our regular old circle, then you can pull them out again. Double-click it and then go back. What I'm going to do is I'm going to start with that. That's going to be the base of my pie. I'm going to copy and paste it, so I've got another version, and then I want to work out some percentages. You're math might be a lot better than mine. I don't know why math I find quite hard, but I've got some tricks, and you might be the same as me. More of like tricks a good. I find if I need to make a slice, maybe this 15 percent, so I have got given some data and it says I need a slice, it's 15 percent. I find this really handy. So, we know that the full degrees is 360. But if you times it, so I do a little bit of math in these guys at times as the Asterix key on your keyboard, and then you times it by point, whatever the measurement is so 15, asterix point, and we'll put a period, whatever you call it, and it converts that to the right. So 54 degrees is 15 percent of 360 men. On getting everybody lost, let's try one more time. Let's say, I want one more slice that is 30. So what I do is go 360 times 0.3, which is 30 percent, and there you go, those are slices. so I'm going to color them. We go probably going to stack them on top of each other. So put this guy and they, they snap into place, is pretty cool and pretty easy. I find building separately is easier than trying to do the whole to over it. One thing is I needed to rotate this one around. So I'm just going to rotate it around, and it should snap into place. Snips easily, maybe cool, 15, 30, whatever is left. So another thing I did do in the intro, but there is, I made it into a donut. So actually what I'll do is I'll grab this guy, copy it and then, but what's the shortcut to paste directly on top? Because if I go, Command V, just puts it in the middle of my stage, will ''Ctrl V'' on a PC. You remember what it is? Is Command F on the Mac will Command and Ctrl F on a PC. So I've got two of them now right on top of each other. I'm going to make this one a bit smaller. Now I'm going to grab the top corner and I'm going to hold down two keys and hold down Shift to make sure it stays the height and width, but also the option key on a Mac, or the ''ALT key'' on the PC. So I've got this guy. Nothing much is I'm going to change the color, just so you can see it, but it doesn't really matter what color it is or whether you change it. I selected all pecked out width tow, which is ''Shift M'' not width tool. I say that a lot. It hits the shape a little, ''Shift M''. I'm just going to delete this guys on the side here. That gives me that cool donutty shape. Because they're all separate, I can maybe do a pull out like that actually, I'm going to slick that all, Shift M. I'm going to click on this guy once. All that really does is just slices them out from the guy behind him. so we're going to do something like that. Goodbye polygon. I'm going to add some text. But yeah, I'll do that by myself. You can add text. That is for live shape effects. I hope it starts applying to things like the star. That would be a cool new edition, it might do and the version that you're using in the future. But for now, it works for ellipses and it works for polygons. Let's get on to the next video. 11. Class project - Drawing Exercise using Width, Curvature & Corner Widgets: It is the end of this big section about drawing. We've done lots of bits. Now, what I've done though is I've tried to make all the exercises that you do very one tool specific so that you're not trying to combine them. But that's not real life. Whenever you're drawing something, you're going to need to mix a few tools up and that's what this guy is. The drawing I've done, I want you to redraw it as best you can using any tool you would like. I don't mind. It would be great to use some of your new skills. The tools that I'd imagine you'd be using are things like the width tool, that shape builder tool, you'd be using the curvature tool or pin tool to do some custom drawing and probably the corner widget as well, remember when we flatten some of those corners. Once you've drawn it, go through, colorize it. A little hint if you are not new but stuck in the same color world, you might check out color.adobe.com right here. In here you go to Explore and it just gives you some options for colors. You decide to go, it is fantastic. I clicked on Edit Colors, down the bottom, the HEX number is probably the easiest one to copy and paste. If I copy that, then I jump back into Illustrator, I got to my Fill and I click on this color palette here. You can see I can paste it in there and that will give me that color. That's your exercise. I'd love to see what you do. Remember Instagram, Twitter, or here as a project on the website. I'd love to see them in all places actually. Let's see how you end up doing with this drawing. All right, my Illustrator lover, happy drawing and I will see you in the next section. 12. Advanced Keyboard Shortcuts for Adobe Illustrator CC: It is keyboard shortcut time, the advanced stuff at least. Now there is a PDF you can download, print it off techniques to your computer. It's at bringyourownlaptop.com and there's a resources tab there. So go download that it's free. Let's carry on. The first tool and most useful are Command Y. That just tends into Outline mode. I'm on a Mac, it's Command on a Mac or Control while on a PC, just gets into Outline mode. Now any one I use, lets say I want to color the sky in the inside here. Now there's all these dots and anchor points and targets everywhere. You just go away for second. It's Command H or Control H on a PC. It's still selected. Look, I can go over here and pick my color. Its just hid all the anchor points, even all the handles, Command H chains are back on, Command H just cleans everything up temporarily. Now, x is an interesting one. If I click on this guy and can you see over here, I've got my filter at the front. If you tap x key, it brings the stroke to the front and that can be handy. It's going to be handy when we combine it with a couple of other tricks, but just means I can switch them around to who's active. The other nice thing is let's say that I draw something and what I mean to do is actually give it a stroke of blue and no fill switch them around so shifting just toggles, it basically is a shortcut for this little arrow that we all click. Shift x is a real handy one. Another handy one is you're like man, why is everything blue? Just hit d just d on the keyboard, nothing, no other shortcuts and it just switches it to the default colors, which is a fill of white and you can see a struggle black or you can just see it. Often I just click on d just to go back to the defaults okay if its doing crazy stuff. All right. Next shortcut let's use this guy. So looking at your keyboard, have a look down next to your m key, there is a comma, a period and a forward slash. Those three keys are quite useful. Now, let's say I want the film maybe, I have a shortcut, I want the fill at the front. This is remember the x key we did earlier. So the fill is at the front. So that's the thing that I'm dealing with. Now if I tap all three of those keys, the first one, the comma gives it a fill which is not doing anything at the moment, but the period is giving it a gradient just like adds gradients and then x1 forward slash gives it no fill, the little slash do it. So I use gradient, it's the easy one because surprisingly had like, I want to add a gradient and is there a swatch somewhere. Do I go to the gradient, to the panel? Just hit period and you get up at an ugly gradient, but you know you can go through and fix it up, but now let's say I want to go back to a fill color. I'm going to put in my comma. Comma goes back to the fill color and the baseline probably is the forward slash, gives it no fill. Goodbye whale. Come back. So those little three keys next to each other, let's go into the next one. Next shortcut is the shape build atolls. If I select all these with my black arrow shape build atoll. We looked at this earlier if I hold shift. I can just drag a box around them all and it just merges them in like the path finder super handy, you can undo. The next one is stiff and repeat, or duplicate what I did. So I'm going to draw out a box. I'm going to grab my black arrow, hold down the Alt key on PC option q on a Mac to make a duplicate and then I want a few more and then it's just command on a Mac or control on a PC and just keep hitting d, I then duplicates them out. I often do this when I want lines okay I went through a phase of like having eighties lines of everything. So I'm going to give it a stroke and go and lets say I want to drag it down a little bit as you drag it this way, and then command d or control d on a PC and you get, just stay some repeats. The next shortcut is finding things underneath other things. Let's say I've got this on top of my whale. You're like, I want to get to the whale underneath for whatever reason, let's say I've got the opacity down on this. I'm doing some cool effect, but you need to get to the whale, but I can't. It's hidden underneath this box. All you need to do to hold down is grab your selection tool and then hold down the command key on a Mac or control key on PC and watch the icon, it changes a little bit. Click it once, and you get this little weed chevron in there, and it just means it's going to slip through things and let's say now I can go and change the color of it, even though it was hidden underneath, so just hold down the command key on a Mac or control key on a PC and just keep clicking and if you've got loads on top of each other, you can just keep clicking and it will eventually get to the line you need. If you needed it at the front, you can go to arrange bring to front or use your shortcut, which is command shift and the closed square bracket. That square bracket is up next to your p key. Next shortcut is to do with ticks to k. If I select all this text and I want to make it bigger, I hold down the command shift key and hit the period key that one is on a Mac. If you're on a PC, it's the control shift key and then type period, now comma goes down. You're actually looking at those chevrons on the same keys, but you get the idea right up and down. Now tracking, if I hold down the option key on the Mac or the okay on a PC with this all selected, I can use my left and right arrows to open it up or to check it in. You can do it per letter say that you're worried about the spacing in here. Just have the cursor flashing between a letter hold down your Alt key on a PC option key on a Mac, left and right. Let's say you want to deal with the reading. So I'm going to select all of this, I'm going to use that same key, Alt or option depending on your computer and use up and down rather than left and right for checking. You can play around with the reading. Let's look at the next shortcut. It's going to be holding down the shift key and it's more like a modifier key. So if I select all of this and I want to use my x and y, the first trick I guess is enhance it. Just typing it in, just hit the up and down, you can see it just like moves it left. We'll mix it up and down in terms of numbers rather than trying to type it in. So what we can also do is hold down the shift key and they just times whatever it is by 10, so it's going up and down by one point if I hold shift. It goes by 10 points and it's just a quicker way of moving and that works for all of them. If I click in here for the rotation, if I click up once, just going to go up by one point hold shift and it goes up by loads of 10. Now that's for any lots of things if your like man, I wish this could go faster, just hold in the shift key and do whatever you were doing and it will go 10 times faster. Another really handy one is I've took my black arrow selected. I've just got my whale selected. I'm just using my keyboard, just to tap things around, but often it moves into bigger chunks for me. It's like too far. I know it's only moving slightly, but it's actually quite a big leap, left and right. So what you do is you have nothing selected. Click in the background and over here where it says keyboard increment. If you can't see this because you're in an earlier version of Illustrator jump into your preferences and you'll find it in there. One point is too big. So I got point one and I find that it's a nice happy medium, because now if I'm moving it, you can see ever so slightly, it's moving I'm holding it down. It's moving full steam. It's only a slight adjustment, but, because of that modify a key shift, I can't move it in those bigger chunks. I can move it by one point if I need to, but mainly I want just a little tap, just tap tap tap. Next shortcut is if you grab this star tool, so it's underneath my rectangle tool not that one, star tool. If you drag a star out, but before you let go of it, right, so I haven't let go of my star to make it. So I'm still drawing, if you use the up and down arrows, it just adds more or less stop add-ins. Yeah. Just up and down. Super easy. Now I have a star with no fill correct. The next one you probably already know it's command tab. If you're on a PC, it's control tab and it just toggles you between different programs that are open. I'm just holding down the command key or control key on a PC and it just allows me to cycle through the programs so I can jump between Photoshop and Illustrator, within any of the program. So that works obviously for your whole system. Let's say I open up a new document and I want to toggle between these two, and it's a similar key, so you hold down the command key on a Mac or the control key on a PC, and you are looking for the apostrophe key. On my keyboard, it's above my tab key next to the number 1 along the top, but yours might be some way different often. Yeah. It can't be different places. It just toggles between the tabs that are open, that works in Photoshop, InDesign, Illustrator after fix anything that's kind of Adobe, that will work and in fact that will work inside Word. So you're not jumping out to new programs, just new windows within that program. Another handy one like say, I want to show somebody my amazing design. It's just internally in the office. I want to like, hey, look at my whale. I type the f key once and f key twice and it goes into like full on display mode, gets rid of all the outsides. You can still work in here if you know your shortcuts. I can grab my v key for the move tool and I'm going to grab my shape build atoll, you know where the shortcut is. Remember shift m, and I can start joining these things. It's like little shift m, but if you know some of the shortcuts you can work this way. I'd worked this way if I was maybe doing a redraw, something long and tedious and I knew the shortcuts and I was working on, say, a laptop where the screen is just really small or like this, you can just present this way. If you want to have a bit of both, say you want to select on this and change the color, just hover your mouse over the side and it pops up for a second and then click back over here and it will disappear again. So for presenting and just a good use of space if you've got a small laptop. Now the last one is interesting. Let's go to the star tool. You can grab any tool. I'm going to use my shortcut. Who rules the shortcut to switch between those two? That's right shift x. So I wanted to have uploads stroke and not fill and I'm going to make sure I'm on my star tool, I'm going to hold down the apostrophe key. Some peoples might be labeled as the tilde, which is that little wave, but you're really looking for the apostrophe key, and my key, is next to the number 1. We used it before. It's above my tech key next to number 1 in the top left of my keyboard. Hold it down and it does that its really weird, just makes multiple shapes as you draw. So I was clicking and holding, let's grab a different thing and grab an ellipse, and if I hold down the tilde key, click drag around, I get this. Cool. Anybody remember aspire graph. Man, I remember when I got to say to that, looks like that stuff. Now, anything you hold down any drawing tone, you start drawing works with lines as well. Awesome but never going to use it. I'm going to finish on that amazing shortcut. Yeah. That'll be us room, but download the PDF if you want to and I will see you in the next video. 13. Advanced Color tips & tricks for Adobe Illustrator CC : Hi there. Welcome to this section all about colors and patterns. There's going be a bunch of videos to do with this and this first video here is about advanced color tips and tricks, before we get started. Let's jump in. First thing to do is open up Color Modes.ai that's in your exercise files. First thing we're going do is just recap. If I get a file, on you, just be careful when you do click on something like Print and go. I'm going to make US letter. You'll see by default under Advanced Options down here, everybody wants to be seen, yeah for commercial printing that's what they want. But what I find is everything that I'm doing has multiple purposes. I'll do an RGB first and then convert to CMYK when that particular thing is getting ready for print. Because RGB has a bigger color field or more colors to use. Just note that while you're making it. Let's have a little look at what happens if you take close on that. See this thing here, this one is set up as RGB, I can see in the top here. If I go and convert this using File, Document Color Mode, and I say I want you to be CMYK Color. Watch the color differences. You can see how much this washed out, I purposely pick colors that I knew would do badly. But is a view designing this way and this colors you're making decisions on colors you don't have as many options. Work on RGB before going to CMYK. The other thing to note is that you can't round trip, which means that you can't start in RGB convert it to CMYK and then can go actually I want to go back to RGB. Watch the colors just don't come back it's a one way street. They come back a little bit but not as much, I'm going to undo a couple of times to get back to the full version. Editing amazingness will have to get the editor flash between the two. Editor can you flash between this one and this one? Do it a couple of times. There you go. You can't just go RGB and then come back to CMYK and then flip back across. Start in RGB, go one-way straight, eventually if something's going to print convert it to CMYK. Boring. Exciting things to do with color and getting your tricks up is, let's say I grab this guy and I want to change this color and I always picks the swatches up here. You can hold down Shift and it really converts it to RGB or whatever colors you want to work with. Just holding down shift. I click on this guy, drop him down. It gives me my swatches but fall down Shift before I click it, it gives me the color RGB spectrum, we just go, holding down Shift. Another handy one is if I've slipped on the circle and I want to steal a color from here. We can use the Eyedropper Tuber, but by default it really doesn't want to. If you hold down the ''Shift Key'' like we did before and click on a ''Color'', it will go and steal it. If I've selected, grabbed my Eyedropper Tube, click on ''Shift''. Why isn't it working? Because I've got my stroke at the front then, come on, bring the fill to the front. Remember the shortcut X and hold down ''Shift'' and it will bring the colors through. I've stolen some colors from there. While you're working, is you can see, my color penalize is opened. Yours is not, got to ''Window'' and open up ''Color'', it'll default to CMYK obviously if you're using there, but it defaults to RGB. RGB is a HUD spectrum to work with. It's hard to know what to do. You can use this down the bottom here. What I find though hottest is like I want to make this a bit darker but darker. I slide this all along or I slide them all down the better of color space, the nicer color space to work with is called HSB. It's not than different than RGB, it's just a different way of looking at it. You're not changing it. These two are very different ways of working. Hue Saturation Brightness is just a different way of looking at RGB. It's what it stands for, Hue Saturation Brightness. I love it because you click on this thing is, you just want to make it a bit darker are a bit lighter. You're not having case for RGB is. Same with the Hue, a hue lateral along here, and obviously saturation. I often will you use HSB rather than RGB when I'm picking colors. Next thing we'll cover is premade swatches. At my swatches panel window, I'm going to go to ''Swatches'', there it is. You can't change the defaults like a can, something like Indesign. You can't change it forever, which is a pain. But you can import swatches. Let's say you're working at a company and you just want to have like on the network drive, you wanted to have colors that everybody uses. Maybe it's the client colors. Importing swatches is a couple of ways. The official ways, the ASE Folder. You can go to ''Swatches Menu'', go this little ''Hamburger Menu'' in the top right, and go, I want to open ''Swatches'' and we're bringing in ''Other Library''. What people tend to do is they use the ASE Files, the Adobe Swatch Exchange and that's one that should use. You're like that's the one that sounds good. Problem with that one is it doesn't allow gradients in it, which is sucky. I never use that one. So all you do is and there's no kind of like let's say you've got a document with the little colors in it, and it's an Illustrator File. You don't have to explore a special file. All you do is just save the file. Call it something like swatches like I've done in the SEC and just import them. If I go to ''Open Swatch Library'' and I'm going to bring in Other Library. That's going to allow me to find one online network drive for you guys. I've got one in your Exercise Files and called it Grabient, Gradients thing, theoretic Gradients from Grabient. It's just a Illustrator File, not Nice File and the cool thing about it is that just a regular old document, click ''Open'' and opens up this Panel here and it's got all, those are all the swatches that we used in this document. These are the ones that I wanted. What you need to do is that there are separate. What you can do is just click ''Mole'' drag them in, and now you've gotten as part of this document. Not the smoothest operation that I know which we can just update the swatches by default. If you ever find a way of doing that and you let me know, join me on an e-mail or leave a comment on this page. That's a way of doing it. Another way is just to use the Libraries. If your will, a CC Libraries will do a full video on that later on looking at the events, things. But I've got a library called My Library, Salmon Photoshop and Photoshop here I want to use my Eyedropper tool, and I'm going to steal this yellow color. You see it is there, my foreground color. Over here, I can say ''Plus''. I want to add that foreground color. There he is there. The cool thing about it is in a new editor program now, there's that color ready to be used. It's probably the easiest way to get things around and you can see your library. I've got libraries for lots of businesses that I do it for. Let's look at Instructor HQ and these the colors. It gets around us not being able to do global swatches there just in here always ready to go. This thing here is interchangeable with after fix Indesign, Premia, whatever you are using, that's probably the easiest way to shake colors. A second ago I mentioned grabient. I ignored it. These colors here, these gradients, I am so back into love with gradients. I hated them. Hate is a strong word. But, we'll win throughout phase of line graph. It's all about flat colors, flat design outcome. Now it's like, some gradients and is a really cool site. I'll jump to it now. This is grabient, grab gradients, love the name and it's just nice-looking gradients. You can look at them and go, there's a couple of pages of them and if you find one you like, it's got all the CSS and stuff for it before illustrator, you probably best to just click on the ''First Color Swatch''. Grab this hexadecimal number, copy it and then in an illustrator. Let's say that I've got this guy here, and I want to bring this coloring. I'm going to add a gradient maybe I'll add a shortcut, remember what shortcut is? It's added a gradient. Let's grab ''My Gradient Panel'' here, double-click this guy and this the hexadecimal number that goes in. There's that first color and drag him off and second color here. Here we go, cool. Next thing we'll look at is global colors versus Pantone. Let's look at global colors first. Let's close down a lot of these windows. I've got my swatches panel open. What is our global color? Basically, to look at them, it's this guy here. See this thing that has the little white cut out at the bottom of it. That is called a global color. Well, the difference between the rest of them, is that it updates. Let's do a, for instance, I'm going to do a circle here. Actually, I'll do this circle, I'm going to grab my eyedropper tool and I'm going to hold down my shift key and I'm going to pull this blue. Actually, I want to get rid of the gradient. Remember, your shortcuts, remember comma is for a full color, get rid of gradient. Hold down shift and grab that yellow and I'm going to say, I want you to add just swatches, this little, use swatch button. By default, I'm going to do this option here that's going to be global, I'll click okay, I'm going to do another one. I'm going to grab the blue, add that as a swatch, but I'm not going to make a global. I've got two colors that I made, you can see them there. There's that first one and there's the second one, global, not global. What ends up happening is, I've got these two circles, I'm going to fill one with you. I've got two colors. Global not global. If I have nothing selected and I go and change one of these if I change the global one and I go in here and decide actually I want it to be a different color. You'll notice that it reaches back into the document and adjusts all the colors whereas this one doesn't. If I double-click this [inaudible] and say actually I want this to be. Remember, I just want to darken it up. I've darkened it up, the swatch, but where it's being used has not updated. That's just something you need to know about. By default, now in the new version of Illustrator by default, it really wants to make them global and I find this probably a nicer way of working. The other color option you might find as a Pantone color and they look slightly different, and they're very hard to find. You go into swatches, you have got to really want to find a Pantone color. If you've not used Pantone, they're just pre-mixed colors. They're often bigger brands used to make sure they get color accuracy across lots of things. It's under open swatch library. I went to the bigger menu right and open source library, color book, and here they are here. They're probably the most common Pantone solid either coated or uncoated whether the paper you're using shiny or a matte finish. If you're using color bridge, obviously use these ones, there's cool neons and metallic colors, but these are, they're oldest, but still probably the most commonly used and this thing opens and you've got your Pantone colors, say we're using 032 red and I'm just going to add that to my swatches library so that when I'm designing, I'm using that specific color. It's pre-mixed Pantone guarantee's it's going to be that color red forever and you'll only use these Pantone colors when you are doing physical printing. You can use Pantone colors for going out digital, but there's no guarantee of color. It's only when it goes out to like offsite commercial printing, not printed in the LaserJet, just commercial printing. I can place that down. You'll also notice, is that it's slightly different variation. It's got that global white slash, but it's got a dot in it as well. That's like instantly I can see which of the Pantone colors. Two more handy tips is, let's say I'm going to make two more circles, and I'm just going to randomly mix colors. I'm going to go, brighten it up a little bit and I'm going to pick that color and I'm going to that color and let's pick something in here. Something really obvious, lighten it up, there we go, ugly colors there. But you can tell, they're not swatches yet because they haven't been added, and if you want to go and say actually, I just want to have this document, grab all the colors, stick it in the swatches panel so that I can use it maybe to import to another document. What you can do is, you can just go to the swatches panel, we got nothing selected and say, can you please add all the colors that are used in this document to the swatches panel and notice a chunk of new swatches get added and in this case it's added, not just those two colors there. You can see when I click on them see it, they're highlighted there because they're global colors and it's also added the colors that I used in this gradient which is really handy. You can see, that was the gradient that was already there, but the colors that make it up are now added. Another useful tip is, you can go into that same option and say actually just get rid of, select all the unused and you can see these haven't been used and I can delete it. Yes, get rid of them all. Say you're working and you want to create like a company-wide Illustrator file that people can pull colors from, is you probably don't want all the junky RGB colors. You just want the ones specific to your brand. Might not looking a little messy, but you get the idea. Another cool little trick is say, you've got purple and you've used it like a 100 times. I'm just come on ding. It's all over the place. You don't want to have to go and find it all but you can do to switch out this one, is a little trick say, this guy here want to swatch out for an obvious color, that pink. All you do is click hold and drag it, but you've got to hold down the option key. It's a little bit hard. But if I put it right over the top of it, it goes and splotches that one out for that one. I have two of the same now, which is not great, but it's, that's the way to go. I want you replace with you completely. I find it handy who've got to, say, a Pantone color and I want to get rid of you buddy, just drag that corresponding CMYK color on top of them and it will replace it. Holding down the option key on the Mac, and it's the Alt key on a PC. Last bit of this advanced color nerd-ery is that you can now, in the new version of Illustrator, you couldn't do this before, is you can put gradients on strokes and there's a few things you can do and first of all, at the moment, if I add a color to it our gradient to it. It's doing it to the fill, I'm going to undo, remember our shortcut because [inaudible] we want to bring the fills at the front surface, the strokes at the back. Do you remember what it was? The x key, and watch the little swatches down here. Just brings the stroke to the front and then I'm going to say, I'm going to pick on you. I've decided I like that color the most and so the by default, it goes on stroke which is really cool, but there's a couple of options. Under properties, click on stroke. Actually not in there at all. It's under window and it's under gradient and here what you're looking for is these options. At the moment, it's just filling it left to right. If I click on this guy and I say actually I want to do the same thing, I'm going to fill them. It goes left to right, it's a bit more obvious in the spiral. If I select on it and I click on this second option, it's going to apply along the strokes. It flows along. Remember, earlier in this course, I said we did keyboard shortcuts a little while ago and we're like mimic command H. That gets rid of all the lines member command H on, because it's hard to see the gradient, command H turns all the anchor points off. Just a little easier to use, if you move to your direct selection tool as well. It's still selected I can mess around with it, but I can see it a little easier and that brings up that last option across the gradient can be handy. It's going left to right rather than along it, or just going completely across it. That's going to be for color goodness. I'm going to hit "Command H" just to turn this back on because we lost later on. But that's it. Let's look at more color stuff in this colors and patent section. Let's go to the next video. 14. Using Color Themes in Adobe Illustrator CC: Hey there. Color themes and illustrate it as under window, and if you go down to color themes, and basically all it is, it starts on create, and you can jump across to explore and depending on your Internet connection, it can take a little time but expose the best option. What we're doing, is we're just looking for color's that just excite us and will get us out of our common really used colors. I totally use the same colors. The moment I'm just using all the gradients from grabbing and I'll move on I promise, but at the moment, I say I need to pick some new colors for this guy here, you can see where I got these colors originally, there, Window. When I was picking these colors area, I just went to this when I need some different colors, and I pick them from here. A cool thing you can do is, say that, you decide that you can pick these and most popular in the last month or all time, and let's say that you like this one here. You can click on it and say I want to add it to my swatches. Now you can't close it down, but now I can click on this, make a duplicate. With it selected, I'm going to go into here and go to my swatches, and there's that group there. I can actually go and make a different version. Do you? It's pretty exciting. I love that though. It gets me out of my color. Gloom. A bigger version of that is color.adobe.com. Let's jump to it here. When it loads up, you and create, go to explore, and if you want to, it's quite nice to sign in using your Adobe ID. Why would you do that? Because say that I like this color here, gets 80s and I can click on it. I can say actually, you want to click on edit. I can go through and copy these hexadecimal numbers over or the RGB, but actually what I want to do is, I'm going to go back to explore and I want to, and I got this one, this is safe. It says I'm going to stick it in my library. You might have a specific library, zoo, that's fine for me, and I'm going to click ''Save.'' The cool thing about that, is that now, hopefully, and if I go to illustrator, and I click on another version, and I go to my library, there is the zoo. You can actually click straight from this, I can go in here and just not clicking colors, make sure the filter at the front, it's not hard, and let's say you do like these, as you use them, they'll be added to your swatches panel. You can right-click them and say add tough swatches. Depends whether you want to use libraries or you'd like to find them in here, there is a new group. Why don't I show you that? It's just to get you out of your funk for colors, everything is green and gray like it is for me, or gradients at the moment. Just a nice way to do new games. let's get into the next color video. 15. How to color a real hand drawing using Adobe Illustrator CC : Hi there. In this video we're going to take this hand-drawn done with a pencil in real life drawing and go and do this where we fill it with color easily making it all victory and nice. All right, let's go and do it now in this tutorial. There's going to be three different types, there is going to be a hand-drawn one where if I zoom in, you can see it's just a pencil drawing. These guys here we drew earlier in the class. I'll show you the pros and cons coming with this. For this guy here, we need to first of all vectorize them. Basically it's called Live Trace, you can say image trace, if you select on them. Over here there's one is called image trace. If you're using an earlier version of Illustrator, it's at the top there, image trace. It doesn't matter if you click on it and base results. Try different ones, but normally it's just black and white logo will work. The cool thing about it, if I zoom in now it's actually Victor shapes that I can fill. It's not quite ready because you need to expand it, otherwise it won't work. Now it's lots of pieces. If I go to outline and view command y, or control one PC, it's actually victor. Now I need to color it. We're going to use our super resourceful shape tool. We use it for lots of things. With it opened its due a couple of things, it's opened up our window and else watches. Now, what have done for us in this tutorial is I've cleaned up. Remember the thing we learned in advanced colored tips and tricks. I've cleaned up Owl swatches panel just we've got the basics in here you might get to start with mixing up colors that you want to cover with. You can do them on the fly. Another thing you need to double check is if you double-click this tool, is that you want to make sure gap detection is on small for the moment. We'll look at that in a bit more detail in a second and make sure this, I turned this off earlier in the course. Basically it's the color, that appears just above your cursor, and I'm not a big fan of it. All we need to do now is click on it and color it. I'm going to pick a starting color. I'm going to click on it once and it's filled with that's awful. I should pick a slightly more specific color that you can actually see. I've clicked on that and it just fills it up. If you're running into problems with your hand-drawn type, double-click this and play around with the gap detection. Because you can see in here there is gaps that I've got, is there any gaps in this one? There's a gap right there at the top right. Because I've got gap protection on, it's going to fill that for you. Don't worry about it. Thank you. Couple of things I want to do and speed this up is, one is the shortcut that you weren't sure was that useful back in an earlier video, remember command on a Mac or control on a PC and H gets rid of all of that anchor points everywhere, which is just tidy up please. Another cooler shortcut when you're coloring is you can see just above my cursor there, there's actually three little dots, three little squares, the middle ones slightly bigger. If I go over here close to this panel here, you can see right in. Can you see over here my cursor's it's telling me that's the one I have selected, but what's going to hit my left and right arrow. You can see I can toggle through the available swatches. It makes it nice to have one hand on your keyboard to go. Actually, I want this to be this color. Then I'll go darker color in here. For this, I'm just using my left and right. Color the pieces. If you finding it very hard to color, keep zooming in. I find that the close you are zoomed, the easier it is to get into some of these gaps. I'm using left and right and you can see how quick and easy it is to start coloring this thing. Don't want white. I want this come here. I know it doesn't look like much of a color. You don't have to use these swatches. You came just use mixed colors, make your own. Double-click this, pick a swatch. I want to colorful. My [inaudible] flower thing. You can click in here. You can see I just picked a random color. Really hard to get zoom right in. There we go. Come on, here you go. All right, that is how to color. There's a couple of things, you'll end up with this white border on the outside, which you may or may not want. I'm going to hold down the Alt key on my PC. Well, the option making just delete them. Hopefully now we're going to go to transparency mode. That's a shortcut we haven't learnt before. Command Shift D will control shift D. It goes into that more photoshop style, sense of opacity or transparency and allows you to know whether these white in the background or it's blank. Let's look at some of these other guys here. Because it's going to run into a few more problems I lift to get the a on purpose. I've got some overlapping bits. We want to tidy this up. We've moved on from live during to just coloring anything. Remember these incomplete shapes. These big holes, this guy overlaps this. Select them all. Okay, let's shift in for owl shaped a little and gap detection is going to be a little bit more important in this case because you'll find things like if I double click it and I make the gap detection large. You see it's detected a really large gap over here. it's decided that, hey, I can fill it in. If you are watching this whole tutorial series that drove me mad a little bit, a little while ago. You might have to play around with gap detection to work it out for your particular drawing. I'm going to pick okay. Let's say I want to do this again. I want to color the here, the green color. I'm going to color, face this color. The eyes are going to be this color. But I've got all these extra bits, they overlap. What I can do is, I can hold down the Alt key on a PC while option kind of Mac and just click on them. These little bits just get trimmed up. I love this so much. Can you decide on how detailed you want to get rid of these, but I'm just holding Alt. You can drag across things. There's a pile of junk here I'm going to hold on Alt, drag across them all to get rid of all that. Not that I wanted. Kids getting rid of everything, hold down ultimately get rid of these guys. I said you could drag across them. It's not working very well. All right, I'm going to work my way through and keep coloring. That is going to be no difference for this guy. What I'd like you to do now is, go through and do it, by doing so, maybe with some nicer colors. I picked these colors, they seemed they're going to be good. I even did a demo before I recorded this one and it looked better. Remember window color themes. Find some nicer color themes. I want you to fill it with gap detection, delete the lines, maybe get rid of the stroke at a cool brushstroke. I'd like to see what you've done. Either stick it here as the class project, there'll be a proper space for it here on the website. But also I'd love to see, just take a screenshot and send it to me on Instagram or on Twitter. All right, I will see you in the next video. 16. How to use the Color Guide in Adobe Illustrator: Hi there. In this tutorial, we're going to look at Illustrator's Color Guide. Basically what it does is we've got all these icons. We've set one of the background colors, okay, we want to use this consistently and we want to find colors that either complemented or just kind of work well together, and we're going to do something like this, with Color Guide helped us pick all of these colors, and made sure they will work together in color theory. Let's go and check that out now. So first up, open up ColorGuide.ai from your exercise files, it doesn't really matter what file you're using, and what we want to do is these background colors, we just want to get a consistent color grouped together, and the Color Guide can be helpful for this. I didn't use the Color Guide very often. I feel like there will be people out there that will though. So I'll give you an understanding of it so that you might be like, "Man, that's the thing, that's the ticket." Okay, so first of all, I have nothing selected and pick a foreground color. So I've double-clicked my fill, and I'm just going to pick anything. Pick a color and then open up window and go to Color Guide. You might have to click on this depending on how you've got started, you might have to click on this to activate it to make it work. Now, basically what it's done is depending on what you use last, it's going to pick some harmony rules and it just means like how it interacts with the color wheel, and in my case, I'm using this one that sees right compliment, and you must be starting off and say try it. It gives you curpa colors. You use the triad methodology for the colors. So what you not want to worry about is what these things are called. You're just looking at colors and going, "Ooh, I like the way that this interacts with my base color". So go through, have a look. I'm going to use, right complementary like that one, nice colors, and you just go through and say I want you and I won't need you and I want you. You're just going through and saying, you know who might wants to use these colors? I guess this adds consistency to a group of inconsistent objects like icons. While I find what I imagined them being really useful for is maybe picking, say, skin tone, and then it gives you down the bottom here, not just the colors but tints of that color. Be really useful maybe if you were using a Hycom Tablet in drawing and wanting to pick versions and tints of that same color. If you want to get super nerdy about it, you can click on this little color wheel here, and it will show you because we're using the stuff down here, we're using right complimentary and it shows you on the color wheel what's actually happening. Say the triad which we talked about. It shows you how it's working. This kind of three-way triangle on this color wheel. That's going to be it for this one just because I don't use it very often, but I really feel like it should be in this course because there will be somebody out there going, "That solves a lot of problems." Alright, I hope that was useful. Let's get into the next video. 17. How to change all the colors at once in Adobe Illustrator Recolour artwork : Hello color loving, illustrator people. In this video, we're going to take our whale, and we're going to recolor them in a couple of different options, super quick, super easy using the Recolor Artwork option in Adobe Illustrator. Let's go learn how to use that now. First thing to do is open up Recolor Artwork from your exercise files, zoom out a little bit. We're going to grab Artboard tool. The shortcut is Shift, O. It's a weird one, but I use it all the time. Shift, O, and we're going to make a duplicate. Easiest way to make a duplicate is holding down the Alt key on a PC or Option key on a Mac. We use this for duplicating shapes. You can do the same, but you got to drag the actual name, that's the best bit. Drag the name Artboard 1, and we're going to have a second color option. With my black arrow, I'm going to select all the colors that I want to adjust. Basically is any color like two things, right? There's two gradients that I've got and I've locked the background here. So I've got them both selected and command H, remember kind of gets rid of all the blue lines. I do that when I'm recoloring and it's Control H on a PC, just to make it look nice. Make sure to turn it back on, you get lost. With it selected, over here there's one called Recolor. Make sure, in your Properties panel, kind of Recolor. To mainly adjust like, I've kept this quite simple, as only four colors going on, that's either side of both of these gradients. You might have a lot more here. So to manually go and change it, you might go and actually instead of having to reach through the whole document to find all the instances, you can't just go double-click this guy. So that's my current color and this is what I'm going to switch it to. You just double-click that swatch and you can go into here and say actually I want to switch that out for pink. Click Okay, and you can see it's gone through and switched every instance of that for the pink. And you can do that for all of them. And there's this guy as well. He's going to go from pink too. I'm going to make it look ugly, I know I am. You know it's going to happen. But you get what I mean, right? So you can manually go through it and double-click to change it. Let's click Okay and let's look at it a different way. I'm going to grab my Artboard, remember Shift 0. No, it's Shift O, not zero. Hold down the Alt key or the Option key. Black arrow, which is the V key. Select all of this. We're going to go to Recolor, and Actually what I might do is, duplicate the fist one before I made it F. So this guy, I want a second copy of. And while we're here, we're going to do another one after this, so we'll have four in total. So I'm going to select this guy and I'm going to go to Recolor. And one of the other interesting options is the random one. So all this is going to do is grab. You've got four colors and we've used them in a specific way. It's going to go, it's this little icon here, random, just goes randomly, changes them, just moves them all around the place. So it's just a nice way, I guess. If you've got maybe gradients, it's not working as well, but maybe you've used five color swatches and you just want to go through and just see what a different mixture might be. So you can click on Random. Let's look at this last one here, and probably the most important. I saved it to the last, it's Recolor. And what we want to do now is go to Edit, because the sign is what it is by default. Let's click on Edit and you get this color wheel. And there's two ways of doing it, you can just drag them around by themselves, because these are the colors, that's the red that I'm using. These are the two greens and this was the yellow-y thing that I was using. And you can just move around, just drag them. It's not much different than that first option, where we double-click them. Where it gets really cool is if you link them all. So when you change this one, they all change, and it gives you a way of recoloring the whole thing at once, and they keep the balance of initial gradient color selection. And the color moves around. Am I making this better? I'm not sure. Wow, I'm going to leave it there. Click Okay. What I'd like you to do as a class project is to go through and come up with your own color options, maybe make a few of them, take a screenshot, send them to me on Instagram or on Twitter. I am @bringyourownlaptop on Instagram, and I'm @danlovesadobe on Twitter. Or, of course, post them on the website here as a class project. Yeah, I'd love to see what you come up with. You don't have to use gradients. You can switch those out first. Yeah, let's get on to the next video. 18. How to make gradients bend in Adobe Illustrator CC using Gradient Mesh: Hi there. In this video, we're going to look at something called a gradient mesh and what that allows us to do is do gradients that don't follow the straight line like a linear gradient or round radial gradient. We're going to do things like this, we're kind of flips around and there's different consistencies and things going on. Even this like we'd blurry thing at the top here plus we're going to add this film grain has nothing to do with anything other than I tried to make it look a little nicer by adding film grain. Let's go and do that now in Adobe Illustrator. First up, open up Gradient Mesh.ai from the exercise files and we'll look at the easy ways and hard ways. I'm going to grab my rectangle tool and just draw rectangle over here. Doing it with simple shapes like this, ellipses and rectangles, super easy gradient mesh is awesome. What we're going to do is there's two ways of adding a mesh, you can go to object and go down to create gradient mesh, decide how many rows and columns. I guess the more rows and columns you have, the greater control you have, but the harder it is to make it look, I guess smooth. So more detail, but less smooth. Let's go with that and we've got our gradient mesh and the other way to do it is I'm going to grab the rectangle tool, draw something relatively similar and there's way of doing it using the tool over here as a specific gradient mesh tool and this way you can just click in specific parts, it's up to you what you want to do. Cool. Once you've got your gradient mesh though, the technique is the same. You want to work with your white arrow and let's say we're going to select all of these guys are on the outside, so I'm selecting these guys, I'm going to hold Shift and grab the ones at the bottom as well. So I've just got all these top anchor points selected and the bottom ones, I'm going to open up my properties and I'm going to get a fill and I'm going to go to my Swatches and if you're using my file, I've got some premade ones for us and I'm going to click on you guys and you can see what it does it's a gradients. Now, nothing very exciting yet has happened because you'd be like, I could have done that with just a regular gradient. I'm going to grab all these guys in the middle here and make them green and still you could have done this where it gets different is if I click on one of these guys, maybe that one, maybe that one and I'm going to go into here and say, I want you to be pink. This way it gets a bit different, as you can actually map out gradients, for my case, make them look terrible. Let's have a look at what else you can do, you can move these guys and this guy here, I can move him being done this corner. You can see it doesn't really interesting a brush style, a fix. You can move around. All these guys have handles so you can see I can adjust this guy. He doesn't have a color let's make color. I'm going to give him black and you can start bending these things around. Yeah, it's not distorting. Now that's another very good example because I'm just randomly doing a shape, but it gives you a I guess I look at how easy it is when the shape is simple. Let's look at doing something with Alt well. Now, the same thing. What I'm going to do is I'm going to duplicate and you're going to go up there as exciting as your Shift Alt brings up my artboard tool holding down the Alt key on a PC option key on Mac going to have another option here let's zoom in. Now, if I select the body of this while and trying to up gradient mesh, it's painful. It just happens when really complex shapes like this. Now, I say that just because like it's just honest, I try and use the gradient to me like I can't click there. It put it in this line and wind around the eye, which is not really what I wanted to, but it's okay, and its done some stuff around here. Up here it's going to really weed. It's just just what happens with a complex shape. I can say I want a couple of extra points follow along here because this is what I want to do or I want to make gradient it follows this line. The problem with it though, yeah, well that complexity, I'm going to hold shift and grab you because every time you do one and they crossover creates another joining path and it gets a little confusing about where you were actually going. I'm holding Shift with my direct selection tool, clicking on things. Now I'm going to go to say that color here. It's working. The more you add, the hotter becomes. What I tend to do you can mess around with that. It's fine to use a grading tool. What I tend to do is I'm going to duplicate this fist op boards. So shift on my keyboard, holding down the Alt key on a PC motion Mac to make a duplicate. What I want to do is instead of trying to turn this into a mesh, I'm just going to use a simple shape. You can use ellipse just because but it has like I guess it's quite elliptical shape use that or rectangle, something super-simple that measures what you're doing, make sure it covers the whole thing. Actually what I'll do is I'll delete that is I want to on its own lag because I want to use this guy on top. So this is going to be my whale. I'm going to have another layer, but I want just underneath it, and you're going to be my gradient. Little trick is, and let's actually grab my ellipse tool on the gradient layer. Let me draw that big guy goes, so he's just underneath. Now, what I'd like to do is be able to see through this whale. Now I could go to my outline mode, which is Command Y on a Mac or Control Y on a PC. But actually what I want to do is there's a little trick with the whale. I'm going to lock them so it doesn't move. But also, if I hold command and click on, just tunes into outlines, you can turn it off by command clicking it as well. I'm working on the gradient layer and I can see the outlines at least. Now, why do I do this? Is because when I stopped using the gradient tool, let's grab him here. When I say gradient tool, I mean gradient mesh tool is when I start clicking in, say here, it's more consistent lines up here. Let's say I've got this one and I can grab my direct selection tool and I can stop bending this around to fit the forms and the shapes of what I need. What I might do is spin him around. My ellipse is maybe a bit big for what I need. You're getting the idea. If you need more points, and slowly but surely, remember, the least amount of points becomes a lot easier. I'm going to follow that line along at another one, Y arrow and I'm going to stop bending this around. I don't even know what I'm doing. I'm just following some curves. I'm going to cross my fingers as this thing's going to look half to someone unfinished. I'm going to add another one there. Y arrow, which is the A key. This guy here had to be made to make this thing consistent. But what you can do is you can grab them and drag them up. Make sure these guys don't overlap. I should spin edges to make it look really cool. I'm happy with what we're doing. This guy here, was he doing? He's got some where you can drag them off. So it doesn't influenced as much by he's going to be up here. You are going to come up. I think points are going to come out here like get on with it then. I'm getting on with a promise. What I'm going to do now is I'm going to click on maybe this guy, maybe holding Shift, grab this guy as well. This guy's got three of them selected. I'm going to go to my properties panel and I go to my fill. I'm going to use some of that gradient. That's the way to do a gradient mesh. Yes, I could have just turned with a radio, just to maybe a linear gradient. Let's go further, and couldn't have done that with a radio or linear, maybe it could. When it gets down to things like this guy pulls him in hand when it starts doing some cool pushing around all of these things. It's that really tricky gradient and that you can see it's really sharp over here it's that's getting quite fairy over here. Just because the distances between these anchor points are quite big. Well, what do we do now is you spend a bit longer doing it than I did. I'm going to grab this guy and we're going go to our last panel. We're going to hold the command key to turn that back on. What we want to do is they need to be on the same layer now because you want to turn them into a clipping mask. Do they need to be on the same layer? That's a good point. So it's almost the whales in front. I'm pretty sure might be shift click this guy and hit Command 7. It didn't work. So Command 7 is the shortcut for clipping mask. If you wanted the long way and there is clipping mask is not very alone, was a button. Or if you're in an older version of Illustrator objects, clipping mask make. Either way, that's what I'm trying to do. It's easier to do this gradient mesh inside a simple circle than it is to try and do on top of the actual shape. How good is this? This is pretty bad. My color seems like a good idea. Be caught out live and direct because you're watching me. Now one more thing we might do before we go is often people want to do a gradient mesh that looks like, they think they need a gradient mesh when they don't. Let me show you another way that I often do things. So I'm going to grab my pin tool and draw I'm going to turn the smart guides off. Come on you. Because what I want to do is I want to create a shape up here. Got it my head. Let's make it a reality. So you want to like a jelly button kind of thing. Instead I'll try to do that with a gradient map, it's easier often just to give it the right color. I'm going to click down here and I'm going to say I want you to be white and then just use a blur. I'm going to go effect. I'm going to go turn to blur and use gaussian blur total, cheap trick to preview on. You can see what it's going to do. The same thing that we maybe would have been able to do down there. But given the blur light and below the opacity a little bit, I wanted this effect. I'm going to do one last little shape. What I'll do is I'll duplicate him. You my friend, I'm going to trim off with a circle to get a bit of a layer thing going to outline mode, just so I can grant you, select both of them. I'm going to go out to outline mode because it's confusing. I'm going to use my shape, build a tool, Shift him. I'm going to delete these kids. I just wanted this chunk. What I might do is tuned down the blur of this. So we've got something that's going to in effect applied. You'd need to go to the either the appearance panel which is under window or in my case, I can see here. I'm going to turn this way down. Now I've got this joule effect here with the top part is their different blur levels. You get what I mean? I mean, I would hoping that was going to look better. But hopefully you understand it and technique, gradient meshes can be tricky. Sometimes it is easier just to make things like that, and just blow them out. One last thing before we go is often gradients, especially gradient meshes and stuff in illustrator it hasn't really like Victor look that. Maybe isn't as popular at the moment, cooler trick is you can select all of this stuff and add a cool effect here, under affect. Cool. I'm trying to redeem myself. That's a really good look, somewhat better Effect. Go to Artistic. It's not under the Artistic, it's under the texture, got a grain. I had one part of it selected. What part that I haven't? Did I have all selected? It's actually just picked whatever the top piece was and you see what it's doing. Zoomed in a little bit. It's adding this like film grain texture stuff to it. You can decide on the intensity in texture. It doesn't mean way with the edges though, and I'll show you how to get around that. But let me pick one pace even though it has done it to all of them. Can you see? Forget the edges, but it adds a nicer affixed to these guys. To get round that pixelation of the edges I'm going to undo that and it's easier to do this and grab a rectangle tool. Draw this over the top and you apply it to this basically into a layer mode. I'm going to apply the exact same one, apply grain. This is, this point would be here for you if you haven't done it before. This is like repeat the thing I just did. So apply it to this. Then under here, under opacity, so it's just to multiply, does the same effect is similar to the background as well, which maybe not what you want, but it differently fixes up these edges. What I might do is adjusted a bit more under my parents penalty, I click on grain and contrast, I'm going to go up, maybe intensity. Let's go up. Click "Okay." It's a bit of how I redeemed myself. Probably not. But you might create a friend again and make it look better than me. You've got the techniques, that is going to be, it's, I'll see you in the very next video where I will do something that looks nicer, I promise. 19. How to make long shadows in Adobe Illustrator CC: Hey there, it's shadow time. We are going to do three shadows. We're going to do lame drop shadows, we are going to do flat shadows and then we are going to do some fady shadows over technical names. Let's go and learn how to do those now in Adobe Illustrator. You can use obviously any object if you want to play along, open up Shadows.ai from the exercise files. There's three shadows. There is this just typical drop shadow. I'll select that at all over here under effects and this one under stylize, this one called drop shadow. If you're using an older version of Illustrator, it's under affix stylize. Preview on and you get amazing drop shadow, it's not amazing. Often I tend to write down when I'm using it, something really small and low just give it a bit of depth. Lets say we want a long shadow, and we'll just do a long hard shadow, and then will do a soft shadow. I'm going to make a duplicate down here so I can come back to him. What I'd like to do, is I'm going to pick up a background color. I'm going to use the eyedropper tool and pick the background so we'll use the same color and I got to fill in, just darken it down a bit. You can see I'm using the HSB, I find them easy to use. It's going to make it a little darker. The next thing we're going to do, is we're going to move it down a little bit. We're going to go object transform each, this means I can move it down one pixel across one pixel. This means it's going to go to the right and down. You can go negative one and negative up and it will go up and lift. Do that, click on ''Copy'' and it just made one. We've got two versions of it. Now, I'm in wire frame mode, Command y on a Mac, Control Y on a PC. I'm going to go back out Command Y and there's going to repeat that. The shortcut is Command D, the long way somewhere. There it is. Transform again. Just do that thing I just did again and you can see I just snip it out. Now you'll see that there's a little bit of an edge on it, If you wanted it to be listed, there's just no way real around other than drawing it to get [inaudible] Now, what you can do is we did type transform H and we did one point, you can do 0.1. The trouble is it's going to take a while because I'll show what it means. Command D is the repeat, remember controlled in a PC. I'm holding the key down and it's even taking a while. I'll get the ends of the speed it up. Didn't take that long but long enough. That's our shadow. I'm going to grab this. I'll show you how to fix it up, but this is basically what we do. You do them in small increments if you've got the time and you're not worried and you're more worried about the age. I'm probably worried about it enough to maybe turn it down to half a point. Next thing we want to do, is probably trim it along because at the moment it's if I got to Command Y, it's a bit of a miss in terms of its factor. What I'll do, is I'll grab this, undo him, you go back to where you were. To join this all up, we've been using the shape builder tool throughout this course. If you click on the Shape builder to now, it's going to have a seizure. It just doesn't like so many shapes. We're going to use the more traditional path finder. You can't see it over here. I've got it selected all of this with my black arrow, you go to Window pathfinder and you click on this first option, unite and it's still going to take a while. Know as long as pathfinder, and if you've got more, say you've done 0.1, to get it really nice and smooth on the edge is going to take forever, go get a coffee. Let's speed this up. Barely need to speed that up. Other thing I might do is, I'm going to grab this, grab a rectangle tool to drag it out. It matches the pasteboard. Because this is all united it, now I can work with my shape builder tool, shift in remember. I'm going to delete that chunk and just make it look a little nicer. I drew a bad rectangle but you get the idea. I sent him to the back. That's one way with the hard shadow. Let's do a soft shadow. We're going to look at blending Modes and we're going to just touch on blending modes. We're going to look at blending modes in its full entirety in a section in this course. But for the moment, let's do it for the shadow. I'm going to make a copy of this guy down at the bottom here. Copy even, holding and dragging it. There's a couple of things I need to do, is I need to change the color of both of these and then group them before I start moving on. First of all, I want to grab my algebra tool, pick the background color, and I want it to be a slightly darker vision. I'm going to now hold down my alt key on a PC or Mac and drag the second vision of coat. But I want him to actually be the exact background color. It's going to really fade out with a paucity that doesn't work, we need to just match the background color. Next step, is about other than the right colors, but they need to be group's. They are all separate. I need to go you, my friend, is a group. Command G on a Mac or Control G on a PC to group them. The other thing is, is that this guy needs to be at the front because it's going to be hitting backwards. At the moment, he's the second guy that got made, so he's at the front and it looks bit weird. You my friend, trends arrange bring to front. They are grouped, they're the right colors and in the right order, now we just blame them. It's on the object, we've got to blend and we say make. By default you get one guy in the middle, we need to increase that blend. We're going to go to object, blend and we're going to go to Blending Options. Here, we're going to go to specific steps. How many steps in between? At the moment we've got one and the higher it is, the nicer the edge, but the most stressed out your computer's going to be. Play around this. It really will depend on your up board size and how far apart things are. Turn on preview and let's test 100. You can see it's quite jagged-y at the age like we did here. How high? 300 is looking pretty smooth. Let's click ''Okay.'' Next click off in the background and there's our shadow. Let's add this guy back on come back buddy, into the front, that's it. A couple of things you might want to do is the moment, this is like an act of blending mode, which means I can do things like this. I can double-click it to go inside then isolation mode, [inaudible] one guy at the bottom and I can just move it around depending on how I want this thing to look. To get back out, I just double-click the background. Next thing I might do, is I might want to expand it because this is like an active effect. I can go to object, go to expand and to say, well object blend, sorry, and say expand and it just turns it into all those shapes. We can't smash it down like we did this other one because they're all different transparencies, it's a little bit problematic that way. Let's say I want to trim it now. You could do it, trim it with a using blending modes or expanding like we did here. I'm going to click ''Preview'' and grab preview. I'm just going to hold Command 7 on the Mac, Control 7 on the PC and just send it to the back. There we go, case will trimmed up a nice avidity exported for whales stuff. Any way, let's move on to the next videos. That's it for shadows. 20. How to blend images with the background colors in Adobe Illustrator Blend Modes: Hi there, in this video we're going to crop a bike inside a giant letter R. But really we want to look at the color blending, we can see how the image is blending with the background with offset a little bit looks cool. Let's learn how to do that now using blending modes in Illustrator. All right, first up, open up the file called blending modes, you don't have to just an orange box, you can draw your own. It doesn't quite work as well with solid black or a solid white color, blending modes interact with them differently from colors, okay? What I first want to do is my giant letter with the image inside. It's easy to do rights, so I'm going to grab my type tool, type R I'm using Museo San's rounded, I love it such a cool font. Whenever you're doing font sizes as well, if you want to go so big, hold on shift and hold down the EPO key on PC or the option key on a Mac go real big with the font. Rather than using the option over here, takes too long. Next thing I want to do is I want to bring in my image and resize my R command Shift P is place, or control shift P on a PC. Pick any of the bike images, click Place and click and drag it so it's bigger than the letter R since we covering it up. Then you need to send it to the back, right-click and arrange center back. Select both of them and hit Command seven or controls seven on a PC, that makes a clipping mask. That's the basics. Now we are going to play with the way it blends with the backgrounds, with it selected. I'm going to go over here to opacity and this is the option here. Where it says normal, try darken, try multiply. Actually what I'll do is I'll move this over so you can zoom in when we do our edits so that you can that easier what color. It will depend if you've got like green in the background, this one will do the exact same. If you've got a different image, it might look different, so don't count on these 100 percent what they're going to do, its all but of experimentation. Now I quite like to overlay, multiply that column. Don't be afraid to use combinations. Let's say we want to use overlay, but also multiply. I'm going to make a duplicate of this. Wiggly, it still works, right? But with it over here, it's not interacting with the orange background, so it's still overlay. Anyway, this guy here, I'm going to change back to multiply, don't be afraid to play with the opacity as well. If you feel like it's a bit strong, you can just drag the opacity as well and you can lay them on top of each other. You guys laying on top, they got a cambodio. Don't be afraid to offset them as well. You might do some sort of cool like, misprints and miss-registration. 3Dish, I don't know. Anyway that is playing with blending Modes. We've done it with images, but you can do it with just colored text and you'll get different effects. This is where I set our class exercise. What I'd like you to do is, I want you to create your own giant letter with image. You can use any of the other images from the exercise files. There's a few other bikes in there, but you