Adobe Illustrator For Pattern Design and More: Turn Your Hand Sketches Into Illustrator Files | Danielle Broder | Skillshare

Adobe Illustrator For Pattern Design and More: Turn Your Hand Sketches Into Illustrator Files

Danielle Broder, Designer www.recoverie.com

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10 Lessons (45m)
    • 1. Welcome!

      0:57
    • 2. Part 1: Tools and Sketches

      0:36
    • 3. Part 2: Import Prep

      0:33
    • 4. Part 3: Illustrator Basics, Zoom, Pan, Arrows and Layers

      4:15
    • 5. Part 4: Using the Pencil Tool

      5:56
    • 6. Part 5: Reflecting and Shape Builder Tool

      8:20
    • 7. Part 6: Using the Pen Tool

      10:37
    • 8. Part 7: Using the Blob Brush

      5:16
    • 9. Part 8: Image Trace

      8:25
    • 10. Thanks for Watching!

      0:30

About This Class

Illustrator can be really intimidating.  If I had a nickel for every time I heard someone say, "Oh, I can't draw like that...I don't have a creative bone in my body", I WOULD HAVE A LOT OF NICKELS.

Most people learn Photoshop and leave it at that.  Illustrator scares most people because they believe that they have no artistic skill, but what they don’t realize is that you don’t need any type of formal artistic training to create beautiful work in this program.

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It's also not only for artists.  Anyone can have a simple idea their your head and bring it to life with a few clicks of a button.  You can use it to design a logo, edit images, overlay text, and you don't have to learn the entire program.  

It's an incredible tool to have at your disposal and I can't recommend learning it enough, no matter what field you're in.

I'm going to show you a few quick and dirty Illustrator tricks that will open you up to endless amounts of creative opportunities.  Even if you're not an artist! 

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In this class you will learn how to take simple, hand drawn sketches and import them into Illustrator for editing.  All you will need to complete this course is:

- a sketchbook, or some white paper

- pencil (optional)

- black pen (ballpoint or felt tipped)

- drawing tablet (optional)

- smartphone, camera, or scanner

- Adobe Illustrator

This class is ideal for aspiring textile or surface pattern designers, anyone wanting to take their designs to the next level, or anyone who wants to dip their toes into the digital design Kool-Aid.

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This class is geared towards textile design, however the skills taught in this course can be applied to many different outcomes.  For example:

- designing an invitation with custom artwork

- creating a hand drawn signature file for use in email, etc

- making custom images and text for blogs or social media use

Sky's the limit!  Grab your supplies and let's get rolling!

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Transcripts

1. Welcome!: Hay and Dayna of an illustrator and a text as amending him, make block printed fabrics for interest. Although my fabrics are handmade, you probably wouldn't guess that every pattern that I make goes to a digital process way before the kids fabric. I usually use a combination of hand sketches and adobe illustrator to create my patterns. Today I'm going to show you how to take your hand drawn sketches, import them into illustrator so that you can a full creative control over your design. 2. Part 1: Tools and Sketches: To get started on this project, you will need a sketchbook or white paper, black ballpoint or felt tip. Pen your smartphone camera on Adobe Illustrator. Also optional are pencil. If you don't initially want to start with, and maybe a drawing tablet this'll isn't necessary. But it's helpful in this kind of project. Once you have all your drawing supplies, spend some time sketching out around five simple drawings that you like to import when you're ready, Quick next video and we'll get started. 3. Part 2: Import Prep: Now you should have 1 to 5 sketched images that you'd like to turn into illustrator files. Choose your favorite than trace over in a black pen. Grab your smartphone or camera and snap a picture. Be sure to avoid shadows and take it in a bright light. Once you have your shot, it helps to bump up the brightness or contrast in an app like instagram or light room. If not, we can still make it work downloaded to your computer. Go to Illustrator File and open the image. Now we're all set. 4. Part 3: Illustrator Basics, Zoom, Pan, Arrows and Layers: All right. So first I'm gonna show you how to directly trace your images freehand onto the computer. I've already emailed myself my sketches and opened it up into illustrator. I want to start out by showing you a couple the tools and going over the layers panel because these things are going to be things that you're gonna be using very, very consistently throughout any kind of thing. An illustrator. They're just the very, very basics. So we're gonna start out over here in our toolbar. We're gonna grab our zoom tool. The shortcut for Zoom is the letters e on your keyboard taken. Either hit that or you can grab it right here. So now I have my magnifying glass and has a little plus sign in the center. So if I want to zoom in, I decide what I want to see closer. Maybe this area and I just click and I click again and I click again and I can go. Thank you. Going? If I want to back out and just hit option click again until I back out all the way. Another way to use this is to take my magnifying glass and to push down and two drag until I get a rectangular marquis and whatever will be inside of this marquee is actually gonna be what zooms. So I'm gonna release in this whole section that I had it within the rectangle is now zoomed in on. The next thing you're going to be using is the hand right here. It's next to the magnifying glass. The shortcut is h on your keyboard and you can see I have a little hand. And as I press down, I can kind of drag it from side to side, and that will move my drawing wherever I want it. So I went in the center cause I'm going to start drawing right about here on top of these lines and then I'll be ready to drop one other tool. I want to go over real quickly. I'm gonna click back to zoom tools and back out for you. I'm gonna go over the selection tool. That's right here. It's the Black Arrow shortcut is the on your keyboard. So when you click that and this essentially, just once you click on something, it's going to select. It can see it's highlighted in blue surrounded by anchor points. Basically, that just means this is what you're working on right now. If you click off it un select, sit. We're gonna get more into that later. If you click on it, you kind of move it around. You'll find out later that you can use these anchor points to transform things, but that's next. And the last thing I want to go over in this lesson is your layers panel. This is this one's a little bit tricky. This one took me a while to figure out, but, um, it's essentially the same in photo shop. Your Layers panel is right here on your toolbar. If it's not anywhere on your toolbar, you confined it up that window, go down to layers or hit F seven and then it'll pop right up. Right now, I am on the first and only layer, which is this photo. If I want to select it, I can go ahead and click on it with the selection tool. I can tell it's highlighted, or it's ah, selected because of the blue as well as that. There's a little blue button over here, and that shows that the layers selected if I want that layer to disappear. I can hit the eyeball and it's gone. If I wanted to show back up, I just hit it again. If I want that, uh, if I want this layer to not move it all while I'm drawing on top of it, which is something I do often, I'm gonna come over here and toggled the locks, which so I'm gonna click right next to the eyeball. And now, if I try and select this or move it, it's not going anywhere. So I'm gonna do that for now. And now I can see that I can now move this. So now that you know that stuff, we are ready to get into the drawing, so catch you back here in a little bit. 5. Part 4: Using the Pencil Tool: Okay, so now that we know our way around illustrator a bit, I can show you a couple more things, some new tools as well as our drawing tools. The first thing we're going to want to do is take our image, and we're gonna lock it. We don't want to move it anywhere. Now you're going to go over a couple of drying tools with this exercise. I like to use the pencil tool. And the reason being is that that is actually a great tool, uh, for keeping this kind of hands drawn sketch. Look, I find that the pencil right here is it's a little more smooth, and I definitely, like look like the jagged look. So, um, we have the pen, We have the pencil right here, and we also have the blob brush, and that's hiding under your paint brush tool. The blob brushes, um, essentially like a blobby brush. That instead of making lines, it makes a shape. We'll get into that a little bit more later. Right now, I'm going to focus on the pencil tool. All right, so I have my pencil tool selected shortcut for that is in first. I'm going to all out this fly out menu by going to this little arrow. So now I have all these tools at my ready if I need them, and I'm gonna go down here to my felon stroke area. Uh, this one square on top. This is the Phil stroke is on the bottom. Now, this red line through the stroke means that there's no stroke and the Phil is a white color . So if I'm drawing with white on white, especially is the fill color, you're not gonna see anything. So I definitely need to edit that. I'm going to first off click on the arrow to swap them cause I don't need a fill color right now. I just need the stroke because I'm working on the line. Double click on stroke, and I'm gonna pick something super obnoxious because, see, perfect. I'm gonna pick something super obnoxious so I can see what I'm doing now. I'm going to zoom in pretty close so I can see where I'm going and switch back to the end and start right on the line and press down with my cursor. Just start tracing the line as best I can. No worries if it's not perfect, all right, certainly click off with my VI. Now I can see that I have a line. I'm a little bit off here. It's not the biggest deal in the world, but it's kind of bugging me. So I'm going to use the directs electoral. This right here is your direct selection tool. The short cut is a you can see we'll go ahead and click that. I'm going to use this to edit just a part of the line rather than the entire thing. I'm going to drag over the area. I want to clean up with zooming event. You can see that it brought up a bunch of anchor points, and some of them are white. That is always my clue that I have used the direct selection tool and these parts are edible, so I'm going to take the anchor points and I can pull them where I want them. It gives you a lot of freedom and a lot of, uh, control. You can use these lovers at it the past, and I don't care if it's perfect, but that's a little bit better in the back up, and I think I do want it a little bit more smooth. So the next time I'm gonna show you is the smooth tool it's hidden under your pencil fly out menu. Grab that right here. And this was really simple. You just kind of drag it along in the general kind of direction of where you're working. And it will smooth out that area. So there's sharp lines will smooth them out and make him a little cleaner. Then you can just select up. Okay. Looks good to me. All right, so now I'm going to move on to these next little shapes right here. Grab my end, my pencil tool. Trace this guy. And as I come back to the original point where he started, you're going to see a little circle pop up. And the circle just means it's going to close that object and make it into a shape rather than a line. So this right here is a line, and this right here is a shape. We're going after shapes right now because they're much easier to fill. But I plan for this, and I know that I'm going to reflect this entire image later. And when I do that I'm going to turn this into a a shape. I just know that when I drew this, I was not gonna be able to draw perfectly on both science because I'm good, but I'm not that good. So following these lines, sir, Gone and down. I'm just going to do this really quickly because I can't see much right now, anyways, because it's kind of blurry with this, um, image in the back and what I'm done, I'm just gonna hide it so I can see everything much better. Make sure that circle is popping up. All right, I'm gonna go ahead and finish sketching this image and then meet me back in the next lesson and we will learn a couple more tools and how to reflect 6. Part 5: Reflecting and Shape Builder Tool: All right. So I have finished at my drawing. And the next thing I'm gonna do is I'm going to take my images of my sketches, and I'm going to move them out of the way so I can actually see what I'm doing. We're gonna hit the eyeball, get rid of that. I want a zoom an event and kind of check it out. I think that looks already good. I'm pretty happy with that. Um, I'm think I'm gonna ever in this piece, kind of hard to tell, but I think that's good for no. I can always go back and edit it. All right, So the next thing we're gonna do is we're gonna pull out our guides. Um, I know not all of you guys are doing something symmetrical, but this is how you do it if you ever need to. So the first thing we're gonna need to do is we're gonna actually need to pull out our rulers. We're gonna hit command are, and my rulers will pop up on the side bar and the top bar. So we have both of these and to actually grab our guide. I'm going to show you how to get it. So I have my zoom tool. I am going to float over to the side bar and it turns into the selection tool, which I don't think you can see right now. But it is the selection tool. I promise. I'm going to drag it out to where I want it, and then I'm going to release it. And now I have my guide. I have a straight line can also do this from the top. I don't need that right now, so I'm going to select It. Can have. Don't. Okay, so now this is great. But it's also going to be moving around a lot. And I want this guy to hold still while I'm working. So I'm gonna go up to view, come down, go to guides and then lock guides. This way, it won't be moving as I'm working. All right, now I'm going to group, grab everything, and I'm gonna scoot it over to the line. I want all the little lines in the center of my design to be touching the line. Maybe even overlapping slightly. Because what's gonna happen later as I reflect it first, I'm gonna group these actually, First I'm gonna group these. I'm gonna hit command G. And now everything will be grouped together in one big piece. I'm gonna scoop them a little closer. Like I said, I'm going to make sure they're just overlapping that line ever so slightly. Because when I reflect it, I want the pieces to actually touch. So I conjoined them. They're not touching. They will not join. So this is looking pretty good. The next thing I'm going to do is select the grouped objects, and I'm gonna one group them. So I'm gonna hit shift command G. Now they will all go back to being separate pieces and a zoom out of it. Now, we're gonna reflect the entire thing first. I'm going to select everything when they hit. Oh, on my keyboard. That is a shortcut for reflect. This is your reflect tool, and you can see that one side is the same as the other. Very good. So I'm gonna hit option, and then I'm going to click on any of these little anchor points in the center because that's where the reflection will begin from. That will be the center. So when hit option and then click anchor Point and it will bring up a little dialogue box. And it will give me the option of reflecting horizontally, vertically. We're at an angle. Um, you can come down here and preview it, and I'm gonna hit copy. Now I have two sides that are exactly the same and this is perfect, except that all these pieces on the sides these are all shapes, which is great. That's what we want. They're all full shapes. However, the ones in the center you can see that they're only half selecting because these are actually still lines. I need to connect the left side to the right side to actually make them shape so I can fill them and color them correctly. So you could do this like one way which is connecting and grouping both pieces and then just adding a fill color to it. But it ends up being kind of wonky in the end. And it's not best practice, so it really is good to do things correctly. Um, one great way to do this is by using the shape builder tool the shortcut shift em. And what you first need to do is you need to select both sides, both lines to connect them and a grapple for those. And then I'm gonna hit, shift em or go up to my shape builder tool in the toolbar. So I'm gonna select that, and now you can see that it's kind of covered by this, like, kind of shaded area. Um, but to actually use this, I'm going to click. I'm going to drag across both pieces of my line and release, and it looks like really nothing has happened except for this fake Phil. Um, But when I click off and click back on with my selection tool, this is actually a full shape now, and we're gonna test this out by adding a fill. And now we can see that it is in fact, a full creditable shape. We're gonna move on to these pieces right here. Hopes. Um, I'm going to grab both sides. Same things before shape. Builder, tool, shift em. Drag across release. Click off, Click back on and change the fell Perfect. And one more time Select shape builder, Tool, Click off, Select Again and hit the film. Great. So this looks really good. I'm going to try and make everything the same color. So I'm gonna select everything my selection tool, and I'm going to go hit the eye for eye dropper tool. That's right here on your toolbar. Now, whatever I click whatever color right click next is what everything that is selected will turn to that color. So if I want to go off to the side and click off into the white box, it's going to turn everything white, which is not what I want. So I'm gonna undo that now I'm going to click on the pink and turn everything pink. Great. So this looks great. And this is what I want except that it looks like I've lost these two little pieces on the sides and I want those to be Wait. So one way to do this is to select it, click off into the eyedropper tool and just grab the background color and click on it. And now we have the same colors. A background. Um, you could either repeat that over here, or you could do something a little different. Select it. Go to the default Phil and stroke hit that that will give you a white fill with a black stroke. You don't really want that black stroke, so let's hit none and click off. Now you have a fully edited custom image. You can use it for pattern making. You can change the colors, and basically, from here, the sky's the limit. 7. Part 6: Using the Pen Tool: Now we're gonna get started on learning the pen tool. This is similar to the pencil tool because it just creates a stroke rather than a shape. The first thing I'm going to do is I'm going to select my image. I'm going to lock it, so it's not gonna move. Then I'm gonna grab my pen tool. It's up here. The shortcut is P. We have a couple of different options. As you can see, we have the ad anchor point delete anchor point and anchor point. So I'm gonna grab the fly out menu, so I have it out and ready for me. Next. I'm going to grab a stroke color, grab something bright so I can see it. And I'm gonna be working on this area right now, so I want to zoom in on that. The first thing we're gonna dio grab our pen tool. I'm going to start at the very end of this line by placing a anchor point and releasing. You can see that I now have this line that is getting previewed, and this is actually showing me where the next line is. Where where the next line is going to go so I'm gonna put my next anchor point over here, but I'm not going to release. I'm gonna drag it now. I can kind of adjust it wherever I want it to go. I'm gonna just it just so it's slightly rounded as we go into this curve and I'm gonna release now what you want to get in. The habit of doing is I know you could just kind of keep going and going and going and going, But you're gonna find pretty soon probably around here somewhere that it likes this, Um, the line that's being previewed likes to push you in the same direction that you're moving . So it really wants me to go this way. If I want to go this way, it's gonna give me a hard time. So if I want to reset that anchor point so that I can draw wherever I want to without having a problem, I'm gonna go back to the anchor point. I just drew and I'm going to click on it. You see the little carrot that's popping up. That means you can click. So click. See, it's exactly what you don't want to do. Wait till the carrot pops up thing. Click. OK, so now it's letting me kind of. It's not pushing me to go anywhere. I can go anywhere I want. That's what we're looking for. So I'm gonna kind of work on the next section. This is, like, kind of one U shape and that looks pretty good to me. Something release. Okay, so it's pushing me to go to this way. I'm gonna go back, click on the anchor point. I kind of do the next section click back, kind of create that Arc release Click back. I like to work in smaller sections. Um, you can work a little more quickly and just kind of, you know, like, here's one And then you could do this more than one way I could I could come all the way over here. Let's see, I went a little too far. That's not gonna work. Command Z. I would normally break this up like maybe here, cause I I like to be pretty accurate, so I don't have to do a lot of editing later, But some people, I think, just kind of work a little more quickly. Let's see. So, like, they might do something like that and leave it like that and then go back with the smooth tool later and clean it all up and kind of adjust it. But I like to get it more accurate. So I don't think it takes that much more time to add one more or two more points so that I don't have to do more work later. So that's just my preference. I like to add extra anchor points, but, you know, choice is yours. So I just continue to kind of work around in U shaped sections. I'm going to finish up this sketch, and then when you guys come back, I'm going to teach you a couple little tricks here and there and how to smooth this all out and turn it into a full image. Okay, so now that we have our main drawing done, I'm gonna go show you how to go through and edit it with some of these little tools right here for someone. Select this. Um, you can see that we haven't add anchor point tools. Delete anger point tool and a little carrot shaped. The carrot basically takes your anchor points, and it changes it from a curved shape to a angled shape. Let me show you a little example of that. So let's say this area it's a little boring for me. So I want to add in one more little loop. I can easily do that by taking my add anchor point tool and adding a couple of little anchor points in here and using my direct selectable to move these where I want them. So this takes a little practice, but I will just usually add just a few points and then just kind of play with them. You can move the handles, so I'm just trying to round this out right now. Right now. This is looking kind of flat and weird, So I'm gonna move these angles a bit and turnem so it starts to slowly round out. And the good thing about this is that you also have your smooth tool. Smooth toll is a big help in these kind of situations. One of stone here. It's looking kind of weird right here, but let's see. Uh, Okay, that looks a little bit better. What? Little alien. All right, so now I'm just gonna smooth that guy out. It's gonna be all better. Almost Looks like it was there the whole time. So now I zoom out and they have another little loop. Great. So let's say Oh, my God, that was horrendous. What was I thinking? You can either undo, undo, undo Command Z, um, Or another option. Oops. Sorry. Directs alike. Go back in with your daily anchor point tool. And you can just delete some of these points. And it'll go right back to where it was. Smooth that out of it. Okay, so now you know how to use the plus and minus now to use the convert carrot. All you do is you just hover over one of the points and click on it so you can see that that curved line has now become an angle. So I could either play with that moving around, maybe want to accentuate that curve. And then whoa, You see where I'm getting, uh, create like a wave form? Or I could go back to the carrot and do this one as well. And now I have a flat edge, so you can see you can kind of go around and angle if I If that's a word uh, you're in design. Those were just some options. Now I'm going to reflect this entire thing, and I'm gonna show you how to fill it. Right now, I'm gonna grab a guide from a ruler. I'm going to let's grab the whole thing and make sure this is just slightly overlapping or touching the line. You just need to check out the top. Okay, so it looks like at the top, I have quite a bit of space between the gap. So I have quite a bit of space between the guide and my line. So I have two choices, probably more. I'm going to take my anchor point at the end, and I could move it over to the guide and leave it at that. But in this case, oops. I'm actually going to see That's why you like your guide. I'm actually going to keep working, so I'm going to take the pencil. I'm going to hover over the anchor point that I lasted, and it'll give you a little, um, hash mark. And the hash mark is just going to say, OK, I'm going to continue your drawing from here, so I'm gonna click on that and now it's just like I'm drawing again. Uhm, I'm going to click over here on the guy'd say, click twice. I'm going to click over here on the guide and drag it a bit and whatever That looks good. And I'm gonna click the to get off of there and a slightly move it a little bit further over. Okay, now I'm ready to reflect it. So how do we reflect we select it? Short cut. Oh, option and click on one of these center anchor points. We have two choices, quick. Okay. Uh, vertical preview copy. Great. Now I have two of the same design. These are two halves, and we need to connect them. So how do we do that? We select both. We grab our shape, older tool, drag through, selected again, and we can fill it. And now we have a Nickelodeon esque jack situation on our hands. It is completely vector rised. We can change the color. We can change the stroke. We can't printed out and put googly eyes on it. Whatever your heart desires. So that is how you use the pen tool 8. Part 7: Using the Blob Brush: Okay, so now you know how to use the pencil tool, the pen tool, and I'm going to give you 1/3 option of using the blob brush. The blob brush is a little bit different, as in that it is not creating a stroke. It's creating a shape when you work. This can either be a pain, or maybe you'll really love it. It's right here in your toolbar. The shortcut is shift B, and it's under your paint brush tool if you're looking for it. So I got that. Um, you can see that now. I have a fail color that is white, and I do not have a stroke color, but that's OK for this. I'm not going to be too concerned about stroke until I want to go, uh, change colors and things. I'm going to zoom in on here also. I'm gonna go hit my layers panel and make sure that this image is locked. I don't want it moving. Great. Okay, shift B, and you can see that I have this circle that's kind of under my paint brush tool, and that's just referring to the size of the stroke. That's going to happen as soon as I pushed down. I don't think that's gonna work for those very well. So I'm going to shrink that by using the keyboard shortcut of the brackets on my keyboard. So there's a left and right bracket on your keyboard, and the left one will reduce the size and the right one will increases. That's so I'm going to make a little smaller and I get it to where I want it. I believe it. Great. My fill color is white, and I'm just going to start by pushing down, dragging just like all the other tools continuing toe hold and nicked it. And you can see that it just kind of by default, smooth smoothed out of it, which is great, because that was a horrible line home. Now I'm going to select it with my selection tool, and you can see that it's actually a filled shape. There's a top, a top line and a bottom line. Um, these are things that you can actually adjust if you go into your pencil tool and grab your smooth tool. Well, that out you can smooth top as well as the bottom. This for me, is kind of a pain. I prefer to just do this with a line. And this is why One of the reasons why I don't use the blob Russian, which but this is okay. It's It is a great tool for certain things. So I'm going to leave that. And then I'm used to working with this as, ah, a stroke. And then this would be the fill rather than this be the film. So if I want it, you know, fill this in. I am not able to right now. So the way you can remedy that is to go over to the shape builder tool this right here, shift em. And I want to drag on through that. So that makes that a complete shape. Just like a regular shaped like as if I did it with the pen or the pencil tool. And this is the filled space. And then then there is no strokes. If I want to change the color, I can do that. If I want to add a stroke, it will just be Oops, totally normal. Normal for me, I guess. Um but this is what I prefer, how to This is how I prefer to do it so we can shift B and go back to the blob brush tool. And now you can see that the stroke is pink. You look over at the felon stroke, and it's drawing with stroke rather than the Phil. Now we connect that and again, the Phyllis here rather than here. I'm going to grab my shape. Older tool, drive through it. I can hit the eyedropper tool in it. This, uh, hit the shape and now it's exactly the same. Um, here's a neat little trick with it. Shift B. I'm going to first of all, not going on over here. I'm going to draw a single line and let's say okay, like, um, I'm gonna give you think. But I lifted up my my cursor. So now I'm going to just kind of put in the general direction of where I left off, put it close to that. I'm going to select it, and it all just kind of blob. Hence the word blob. Ah, blob together. So it became one entire shape. I didn't have to worry about connecting anchor points. It just put it next to it, and it just grabbed it so Now, that's one really nice thing about this brush again. I can take my shape, older tool, drag through, and I have a complete shape. 9. Part 8: Image Trace: So the last and final way that you can bring your sketches into illustrator is by using the image trace option. This is a great way for your computer to do a lot of the work that we just did for you. Um, I don't use it that much because I'm just used to the old way, and I'm strange, but this is this could be a major timesaver special with large projects, especially with big, big drawings. So the first thing you're going to do is you have your image ready to go. This is locked, so I need to unlock that. Look it by. Okay, I'm going to select it. And I have image trace in my toolbar over here. This shape right here, I can click on it. If you can't find it, you can go upto window and then hit image trace right here. All right. So I have a selected You have some little symbols here. You have a lot of options, and this is just kind of really overwhelming. But I wanted to show you a few things that you need to know. First. You want to turn this into a black and white vector. So here you have all these options. You have auto color, high color, low color, gray scale, black and white and outline. The easiest way to do this is go straight to back away. When I hit this, you can see that it basically just takes out all the great makes it black or white. And those are the only two options. Um, you can also zoom in a bit, so that went to black and white. You can also go to outline. This one will be a little bit different, so you can see that this looks like I drew it with the pencil tool. It's very rough. You can see where I kind of just drew this. Like, maybe things didn't quite connect. So it seems like there's gonna be a lot of extra work to do here. Um, so when you flip back to black and white, it's a Ziff. I drew it with the blob brush, so these are all filled. So this could be actually, this is probably more beneficial to me. It's less. It seems like it's gonna be less work in the long run, so I'm gonna stick with that another way. to get this is to go up to presets and go down to black and white logo will give you the same thing. But you can just play around with these toggles and things. But this is basically what you're after now. To kind of edit this, you can play with the threshold. The lower uh, you go, the less it's got less of the detail. It's going to pick up from your image from your original paper image so I can lower this, and then suddenly I'm losing a lot of my lines. But then it's it's cleaner, but I'm losing little pieces like this, so it depends on kind of how much work you want to do. If you'd rather have more, you rather have less for me. I'd rather have less detail and then added back in. But then, if I have too much, it gets really lines get really thick and gloppy. And then now I have hope Seat. Yeah, that's a situation. Um, for instance, we have, like, these extra pieces in here. I don't want to go back and delete. Definitely. It's just like a pain. So I'm going to just take out a little bit more. Okay, So you like that? That seems like a happy medium about me. I'm I'm happy with that. You can also go down into you. Also go down into advanced, and there's, like, way more options. And you can add more paths and take away path in the, you know, smooth things out. Make things sharper with corners, add more texture with noise. Play with the fills and strokes. But the only thing you really need to know in here is ignore white. Because although it looks like there is no background, there actually is a white background. And it's on a white art boards, you can tell. So I'm going to make this transparent by hitting Ignore white meat. Nothing visually changed, but that's a big one. And I'm going to get rid of this dialog box. Okay, so these are all vector images, and they're all still kind of stuck together. That was the problem. So I'm gonna make sure this is selected. I'm gonna go up to object. Expand. Okay. And now they've all kind of separated. However, they're still grouped, so I'm going to go back up to object. I'm group. Sometimes you have to do this more than once, depending on how you do it. Um, I could also hit control and click and hunger. All right, so now these are all separate images, which is exactly what I wanted. First thing first, I'm going to get rid of this situation, cause I'm not It's not actually part of the drawing is just my page and these little doo hickeys down here looks great. So now I have all these, you know, everything's done. I just need to kind of go back in and, um, add things and attract things and smooth things. So this is just a Ziff. I've done it with the blob brush. You can see that on this particular image. Right here. Um, my pen, you know, screwed up or when I was drawing it and I missed a little piece, so if I want it, it's still connected. But it's not how I want it. So I'm gonna select the piece. I'm gonna go back in and grab my blob brush. I'm gonna reduce use their bracket to reduce the size of my cursor bit. It's elected bracket bracket. Maybe that maybe that's it. Ok, I'm going to kind of start up in this line. It doesn't need to be perfect. And we're concerned about the outside of the line. I'm just gonna fill it anyways and then maybe select. So let's this piece and then smooth it. Okay? And now, to fill these, it's just a ziff. I was using the blonde brush just like before, So I select it, shift em or shape older tool drag through. And now it's perfect. Super smooth. You can't even tell that that was ever even apart. You can also go back up into these guys up here. I can select them, shift select shape of their tool. Teoh. You know, I can also go back in and reflect this like I did before. Grab my guide in my ruler. So, like this actually move my guide over, Go back in, grab gram. This edge, you know, over a little bit. And then just so it's slightly overlapping. So, like this reflect option Hit the anchor point Vertical. Okay, so like, to both shape builder tool, drive through. Now I have this so you can see that this is a really valuable tool. Um, this will save you a lot of time. If you have large projects, it will, you know, simplify what you've drawn, but you can always go back and edit things, and in the end, it's always good in my book. 10. Thanks for Watching!: