Adobe Illustrator for Beginners | AMV Tales | Skillshare

Playback Speed


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

Adobe Illustrator for Beginners

teacher avatar AMV Tales

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

20 Lessons (5h 24m)
    • 1. The Complete Beginners Guide To Adobe Illustrator _ Tutorial Overview _ Breakdow

      1:39
    • 2. Interface Introduction to Adobe Illustrator Ep1 19 [Adobe Illustrator for Beginn

      14:17
    • 3. Panels & Workspaces in Adobe Illustrator Ep2 19 [Adobe Illustrator for Beginners

      9:03
    • 4. Artboards in Adobe Illustrator Ep3 19 [Adobe Illustrator for Beginners]

      9:29
    • 5. Vector basics Selection Direct selection tool more Ep4 19 [Adobe Illustrat

      17:03
    • 6. Fill Stroke effects in Adobe Illustrator Ep5 19 [Adobe Illustrator for Beginne

      10:41
    • 7. Using Colour Swatches Pantone's Gradients more Ep6 19 [Adobe Illustrator 2

      17:38
    • 8. 10 Handy Tips Things to know for beginners Ep7 19 [Adobe Illustrator for Begin

      11:46
    • 9. Creating shape vectors in Adobe Illustrator Ep8 19 [Adobe Illustrator for Beginn

      18:39
    • 10. Grouping Compounding vectors Using the shape builder tool Ep9 19 [Illustrato

      14:51
    • 11. Drawing with the Pen tool Pencil tool & Brush tool Ep10 19 [Adobe Illustrator f

      42:47
    • 12. The Blob brush tool & Eraser tool in Adobe Illustrator Ep11 19 [Adobe Illustrato

      7:54
    • 13. Type tools in Adobe Illustrator Ep12 19 [Adobe Illustrator for Beginners]

      12:37
    • 14. Setting up a document Placing in a drawing Sketch Ep13 19 [Adobe Illustrator

      8:46
    • 15. Image trace tool for sketches in Adobe Illustrator Ep14 19 [Adobe Illustrator fo

      12:11
    • 16. Tracing a hand drawn sketch & Converting to vector artwork Ep15 19 [Adobe Illust

      49:55
    • 17. Compounding vector shapes & strokes Pathfinder tool Ep16 19 [Adobe Illustrator

      11:15
    • 18. Colouring a vector drawing in Adobe Illustrator Ep17 19 [Adobe Illustrator for

      19:40
    • 19. Adding type to a poster design in Adobe Illustrator Ep18 19 [Adobe Illustrator f

      17:59
    • 20. Prepare and export ready for print in Adobe Illustrator Ep19 19 [Adobe Illustrat

      15:38
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

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

136

Students

--

Projects

About This Class

Welcome to the complete beginners guide to Adobe Illustrator.

On this course I will be introducing you to the program and covering some essential practise exercises.

Then I will be demonstrating how to create a small project in Adobe Illustrator from start to finish.

To help break down the process I have structured the course in 3 main sections:

SECTION 1 - INTRODUCTION

SECTION 2 - ESSENTIAL PRACTISE

SECTION 3 - TEST PROJECT

CHAPTER 1 - SETUP & LIVE TRACE
CHAPTER 2 - DRAWING
CHAPTER 3 - COLOURING & ADDING TYPE
CHAPTER 4 - FINISHING & EXPORTING FOR PRINT

Along the way we will be covering many topics, such as how to set up your document, understand how the program works, use text in Illustrator, prepare and import images into Illustrator and finally export your document ready for print.

Meet Your Teacher

Teacher Profile Image

AMV Tales

Teacher

Class Ratings

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

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

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

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

Transcripts

1. The Complete Beginners Guide To Adobe Illustrator _ Tutorial Overview _ Breakdow: Hello and welcome to the Complete Beginners Guide to Adobe Illustrator. This is a course created for beginners to Adobe Illustrator. The topics that are going to be covered in this course are the basics. So whether you have the most up to date version of illustrator or you're using an older version, you should be able to follow along just fine. For this course, I will be using Adobe Illustrator C. C. In this series, we will be starting from the very beginning on working our way across 19 episodes to learn all the basics and create an illustration project. To help break down the process. I have structure the course in three main sections, introduction essential practice and test project. In the introduction section, I will be introducing you to Illustrator on bringing you up to Speed with some of the things you need to be aware off before we continue on to the essential practice section in the essential practice section. We are going to look closely at some of the creative tools on principles in illustrator here you will have the opportunity to get hands on with the various worksheets I have designed UN prepared for you to practice with. When we get to the test Project section, we will be using all that we have learned in the essential practice section to create a project from scratch. After watching this series, you will be able to create your very own better artwork ready to print. Let's get into it on. We're going to begin with the first video in the course interface introduction to Adobe Illustrator, so I'll see you in the next video. 2. Interface Introduction to Adobe Illustrator Ep1 19 [Adobe Illustrator for Beginn: I'm welcome to this video tutorial in this video. We're going to take a look at the Adobe Illustrator interface. I'm going to show you around and introduce you to some of the things you need to be aware of. Now, I am currently using Illustrator CC for a Mac. If you're using an earlier version or windows, some things, maybe a little different in part. But in principle, it should be the same. If you have illustrator open and wish to follow along, you will need to first come up the window, scroll down to work space, then scroll down and select essentials. Then, to make sure you end up with the same set up you see here, we must again go to window workspace and then scroll down and select reset essentials. This will then set the interface to the essentials default layout. And you should have something that looks like this. What you will come to learn later on is that you can customize this layout. But what would help right now is for you to have the same layout so you can follow along with me. Now if for some reason you don't see the same as mine. Don't panic. It's no problem. Just follow along and you should be fine now, on a Mac by default, the application frame is switched off. Some of you may prefer to have this on, and some of you may like this off. So let me show you what this is. If I come to window and scroll down to application frame, we can see that there is no tick next to this as it's currently set off. If I click this, we can no see a solid gray background. This is the application frame. If I turn it off again Windows application frame, we can see the desktop. My personal preference is toe have the application frame on. So I'm not distracted by the desktop background. So this is Adobe Sisi on with CS six and see. See, we have this dark interface. If you're using an earlier version, you will be looking at the light interface. Now, if for whatever reason, you wish to toggle the interface color if you come to illustrator on the top bar and scroll down to preferences and select user interface, you can talk all the lightness and darkness here. I'm going to go with medium dark. So to begin, I'm going to open up a document to follow along. You can also open up this document. This could be found in the introduction folder in the project folder. Now you can download this folder for free. The download link is in the description. So I have my project folder here on the desktop. When you have the project folder, simply open it, then click on introduction interface introduction versions on Select the version of Illustrator you're using. In my case, it's CC on Opened the interface introduction fall. This file is going to help to demonstrate various functionality off the program, which we are going to be covering a little later on in this video. So, as you can see, this is a document and it contains for our poles with on object on each page. Also, we have some artwork elements in the paste board area. Okay, so let's take a closer look at the interface on the far left, we have this tall, slim panel. This is the tools panel and contains all the tools that can be used in illustrator. And as you can see, we have lots of icons activated toe. We simply click it or press one of the many shortcut buttons on the keyboard. We know which tool is active because it has a highlight square behind it on the tools panel on. Also, you will notice that the most cosa will change, indicating which to We have active in illustrator. We will be using many tools on most tools have their own unique mouse cosa. Now, if we look carefully, we can also see that some of the icons have little white arrows in the bottom right corner . If we click and hold on the icon, this will reveal more tools in that set. For example, if I click and hold on the pento weaken, see an extra three tools within that set. If I click on the shape to weaken, see a variety of shapes that could be created very easily on if we move our most closer over the tab on the right, we can expand the tools panel out, which could be very useful on to remove this weaken. Simply click the X in the top left corner. So keep in mind that some tools work in sets. Now, if we take a closer look at the bottom of this panel. We can see two overlapping squares. One appears to be a block, and one appears to be an outline of a square. Now, if you're new to illustrator, you may not be familiar with this. What this represents is the fill color on the stroke color often object on the canvas area . The top square is the fill on the background square is to stroke, so right now we can see that the fill color on the top is white and the stroke color is black. Now, if I come over to the canvas area and select an object to do this, I will first need to choose thes selection to. This, too, is located at the top of the Tools menu and is recognized as the Black Arrow. With this active, let's select this yellow circle here, then you can see that the fill color and stroke in the bottom of the Tools menu has changed . In accordance to the selected object, we can see the fill color is yellow on. The stroke is orange. This is important because it helps tell us that this object is just one object are not two separate objects. For example, with the object selected, I can click and move this around like so I'm just going to undo that on put it back in place on If I come over and select another object, we can see the fill color and stroke color will change again. Now, if you look closely just above the Phil and stroke color on the Tools panel, we have this little button here called Swap Phil and Stroke. And if I press this, it's going to swap the stroke and color fill, like so, so very easily. Weaken. Swap the fill color and stroke color. Now to the left of the swap Phil and Stroke, we have another little button on This is the default Phil and stroke. If I press this, it's going to set my fill and stroke squares to black and white. They'll keep in mind if you have an object selected on your canvas area. Like I have this circle selected. Your on Press it, you will see the object has changed. A black and white with a default stroke applied, so I'm going to undo this. Click off the object to de select and click on the default filling stroke button. And now we are back to the default Black and White Stroke and Phil. So as you can see, the Tools menu is currently into columns. If we look closely up to the top left of the tours panel, we can see these little arrows pointing left. If I come and click this once, we can change the panel to a single collar on. If we press this again, we can go back to the double column for the duration off this course. I'm going to click this and set my tools panel to a single row. Now, if we moved to the top of our window, we can see the standard A toolbar across the top. From here, we can access various properties and controls, but we are not going to touch on that too much right now. Just under the top tube are we have the control panel. Now, this control panel is really useful as this will display various properties off a particular to or object you have selected at any given time. So right now we can see some properties here. If I close the document, we can see that it all disappears. And that is because now we have nothing going on. If I open up the document again, Andi Aiken do this easily. By coming to file open recent and selecting the fall, we can see the control panel kick into action. You will soon realise that this is one of the most key panels in this program on As you use illustrator, you will be referring to this control panel a lot. So let's take a look at how it works. So right now, I don't have anything selected. I'm going to choose the selection tool from the top of the tools menu on Select an object on the canvas area. Let's select this blue circle here. Now you will see the control panel change in accordance to the object, just like earlier we can see at the bottom of the tools panel. The Phil and color stroke has changed, but also we can see this on the control panel. If we click down, we can access the swatches panel on change the color off the fill on the stroke very easily . Also, here we have the stroke property here. We can easily talk of the stroke size. And also I can adjust the variable with from a choice of options. If I come across, I can also change the brush definition on even toggle the A pass ity off this object. So I'm going to undo all this on this de selected object by clicking off it. This time, I'm going to select the text tool from the menu. This time in the control panel, we can see some new properties. We have properties for fund choice font style font size on some formatting options, all of which I can use when I add text to the campus area. So keep in mind as you use your tools to keep an eye on the control panel, as this is really useful moving over to the right hand side, we have another slim panel now, like the Tools panel over on the left, this contains an array off sub panels that are represented by these icons. What you will soon discover is that these panels, like the control panel, are essential in order to produce work in Adobe Illustrator in orderto have a swift workflow in this program. It will help to have a comfortable set up off these panels Now, Administrator, you can arrange these panels in various ways. I'll be demonstrating how to do this in the next episode. On Recommended an effective set up, though what you see here is a default set up. Now, as we click down the panels on each icon, we will begin to reveal the panels. For example, we have color swatches, brushes and stroke. No. These panels contain various tools and properties regarding objects on the canvas. Also, if you look carefully, these panels also include sub panels as tout. For example, on this stroke panel, we also have the Grady in panel on the Transparency Paddle. If we come down and click on the Layers panel, we can see that all our objects in the document are existing on one layer, and I could total the visibility off this. And if I click on the article tab, we can see that this document contains full art boards on. If I click once again on the icon in the panel, this will disappear, giving us full visibility off the canvas area. Now if I come to the very bottom of the window, we have this thin strip. This also contains some useful tools. If we look over on the far left, we have the magnification off document. We can use this to zoom in and out of a document. Like so to the right of this, we have the art board navigation. We can use this to quickly maneuver through the document to a particular off board. Or this will give you a clear indication of which are bored. You're on at any given time. So next I want to touch on document tabs. Now what? Our document tabs. Okay, so currently we have this document open on. If we look carefully in the top left corner just under the control panel, we have a tab that shows a document name. Now. Sometimes you may find yourself using multiple documents at any given time. For example, let's quickly create a new document. I'm going to come to file new on. Just click. OK, on. There it is on. Let's make one more and we have another. Now, look again closely at the top left. Just under the control panel. On this time we have three tabs. Now we can click these to navigate to other documents. If I click the far left tab, we are back to our first document on. If I quickly select an object on press command, see to copy, I can click on the third tab to go back to the new document and simply paste in the object into the canvas like so. So when we start to use multiple documents later on in the course, we will be using document tabs in this way. So I'm going to close these two dogs down by clicking the X on the far left of the tabs until I am back to my original document. The last thing I want to talk about here is the canvas area. When you create the document, you will have a white area which represents your our board size on a gray area around the campus. As you can see, we have four off boards sitting on the great area. The grey area here is called the Paste Board. We can put any artwork we want on this, which we don't want to include in our main composition. This is pretty handy if we want to keep bit of artwork on the side to use later In my example, we can see I have some vector artwork sitting in a paste board area here. So that's a brief overview of the Adobe Illustrator interface. In the next video, I will be taking a closer look at the work panels where I will be showing you how you can customize your panel layout to get a more comfortable workspace, so I'll see you in the next video. 3. Panels & Workspaces in Adobe Illustrator Ep2 19 [Adobe Illustrator for Beginners: Hello and welcome to this video tutorial in this video, we're going to take a closer look at work space panels in Adobe Illustrator. In the last episode, I gave an introduction to the Illustrator interface where I touched on the panels in this video. I'm going to show you how to customize the panel layout to create a more comfortable workspace. Later on, I will also be recommending my workspace that are use that I find really effective. So here we are, where we left off in the previous video. With this document open to begin. I just want to close this document as I don't want anything to distract us here. Okay, so over here on the right, we have a slim panel that contains an array of panels that are represented by these icons Onda. As stated in the previous video, these panels contained various tools and properties regarding objects on the document campus. And if we click thes, we can reveal the panels inside. What you will soon discover is that these panels, like the control panel, are essential in order to produce work in Adobe Illustrator in orderto have a swift workflow in this program. it will help to have a comfortable set up off these panels. Okay, so at the moment we are looking at the default set up for the essentials panel set up. Now, if we look at the top right of our interface just above the control panel weaken. See, we have the word essentials and next to this is a drop down icon. If we press this, we can see a list. Here we have layout painting typography on so on on As we start to selectees, we will notice the pan layer to change it. Now, this is illustrator attempting to create an ideal workspace for a given task. If you're using illustrator for just painting than by clicking on painting, illustrator will offer you an ideal panel set up for painting an illustrator. If you're using illustrator for just typography, then by clicking on typography, illustrator will offer you an ideal panel set up for typography in illustrator and so on. So I'm going to click back on essentials on We are back to the minimal panel on this side. Okay, so this time we're going to again come to the top right on click on essentials. But notice this time at the top, we have one called G D workspace. Well, if I click this watch what happens just like earlier the panels have changed, but this time they have changed to my personal set up. And as you can see, the panels are arranged slightly different to the other panel setups. In Adobe Illustrator, you can customize your panel set up and save them. The's panel setups are called workspaces on. Should someone else use a different workspace than you can always come back to your workspace in future. So this is my work space on This is what I find works really well for me. I actually use a lot of the tools in Illustrator, so I have arranged my panels in this way. I have arranged the panels in a column. They are clearly visible at all times on the various panels are arranged in accordance to their context. I have all my color pounds at the top. I have my layers are boards and links. Just under this I have my object effects panel just under this, then my Pathfinder and a line on my text panels at the bottom. Sonam going to show you how you can create a workspace just like this. So before we begin, I'm going to come back to the top off my workspace, set up and click on essentials. This is going to put us at the default set up. Okay, so what we're going to do is now click on a panel to reveal the contents on, Then carefully click and hold the panel tab name and drag it out. Like so what we just did there was separate the panel. So I'm going to carry on doing this, clicking and dragging out the panel tabs until I have no panels left on the right on there , all scattered like So now we can see they all exist in their own panels. What I'm about to do next is join these pounds together in a particular order, so I'm going to start with the layers panel. So let's find the layers panel on. Here it is. And next I'm going to find the article panel. Once I have found this, I'm going to click on the tab. Not the toolbar, but the tab. Make sure of this. Then I'm going to click and drag into the layers panel, like so on. What you're looking for is the blue line inside panel, a blue line around the inside, not on the top, but inside. On release, you will notice the tab is no placed into the layers. Panel on that is now, in essence, one panel group. Great. So I'm going to do this again. But this time I'm going to drag the Grady into tab into the swatches panel, drag the color tab into the panel and finish by dragging the color guide into the same paddle. If I put my mouse cursor over the bottom right of the panel, I can also click and drag out to expand this like so then I'm going to drag the brush is tab into the stroke tab, drag the appearance tab into this panel and finished by dragging the Transparency panel in as well on. Then simply click the X to close all other tabs. So now we are left with just three panel groups. So by clicking on the top bar of each panel group, I am able to drag these into the middle like so this time I'm going to click and hold on the top bar off the layer on art boards. Tab on, begin to move it around like so. But this time, move this just over the bottom off the panel group containing the color panels being the swatches panel grading panel and so on. What you're looking for is a blue line across the bottom. When you see this release, this will then snap that panel group to the bottom and there are no joined on. If I click and hold the top bar off the top panel group, you can see they move together. Excellent. And I'm going to do the same with the remaining panel group. Click and hold the top bar on Dragon over to the bottom of the layers panel group releasing on binding them together. So now I have a need little panel group. Next, I'm going to click and drag the top bar over to the top right hand side of the screen. Now, before we attempt to save this panel, we want to add some more panels to it that we're going to use. For example, let's come to the top main menu. Click window scroll down to Pathfinder. Watch should appear is a panel containing the Pathfinder panel. Just like earlier, I'm going to click on the tabs to drag out and separate them. In this case, I don't want the transform tab, so I'll drag this out and close it, just like earlier. I'm going to click and drag this to join the bottom off my other panels. Next, I will come back and click Window School down to type on select character. What should appear is a new panel containing the character and paragraph panels. Again, I'm going to click and drag this to join the bottom of my other panels before we finish. I'm going to come to window again on select links on Image Trace, and we should see these panels a pair next, Just like earlier, I'm going to click on the tabs to drag out and separate them and close the panels I don't want and then dragged the remaining panel tabs into the patent groups. I want it like so also, if you wish to customize the order in which your panels are arranged in each group, you can simply click and drag the tab to the left or the right. Like so once you are happy with your panel set up, Come to the top menu. Click window, scroll down to work space than come across. Scroll down and click on new workspace. Up will pop a window. I'm going to call this workspace tutorial, workspace and click. Ok, now, if we come to the top and click on the other workspaces, we can then come back again and activate the workspace we just created. Excellent. So that is how you can customize a workspace in Adobe Illustrator and save it. So now we have a nice work space. We are ready to move on in the next video. I'm going to be talking a little more about art boards How they work in Adobe Illustrator on why we will use them. So see you in the next video. 4. Artboards in Adobe Illustrator Ep3 19 [Adobe Illustrator for Beginners]: Hello and welcome to this video tutorial in this video, we are going to take a closer look at art boards in Adobe Illustrator. In the last episode, I demonstrated how to create a custom work space. If you have not seen that episode, the workspace is basically a panel set up here in Adobe Illustrator. For this tutorial, we will be using this workspace, and along the way we will be referencing the art board panel, which is situated here next to my layers panel. And if you can't see this, you can simply select the panel up here to reveal it. If you don't have the art board panel active, you can either skip to the previous video if you have not seen it or simply come up to the top menu, Select window on click Art Board toe. Activate your art board panel the fall along with this tutorial, you will need to open this document I have prepared especially for this tutorial. This could be found in the introduction folder in the project folder. Now you can download this project for their for free. The link is in the description. So with the Project folder open click introduction our boards versions on Select the version of Illustrator you're using. In my case, it's Sisi on Opened the art boats far on. You should have something that looks like this. Okay, So what are our boards in Adobe Illustrator? Well, to put it simply, they are canvases that make up a document. Adobe Illustrator allows you to create multiple art boards in a document. This is useful if you want to create small documents, spreads like a leaflet oil flyer or simply expand your workspace area to create various versions of your artwork. You could even use this method to create digital presentations. So here I have a document open, which is like a small leaflet on. We can see here that this consists are six portrait A for art board and as you can see, I have number, then uncovered them accordingly. Now, if we come over to our side panels and navigate to the art boards panel, you can see this panel contains a list. This list represents all the art boards contained in my current document. As you can see, I am currently zoomed out quite a bit so we can see the entire Document Art board. So if I choose a off board in the panel, let's say our boat six year come to the great area to the right and double click Weaken quickly navigate to that particular off board. If I double click on the art board name, however, this will enable you to rename the art board. For example, let's rename this art boat to orange six and click off. Okay, so I'm just going to zoom out a little so we can see all of them. Okay, so let's say we want to make some changes to the art board arrangement. Let's say we want to re order some of the art boards. For example, I'm going to select our boat four on the art board panel on at the bottom of the art board panel. We can see some buttons with the art board. Four selected. I'm going to press the move down back in a few times, notice how the art board moves down on the panel, but nothing really changes on the campus area. Well, this is because we now have to refresh the arrangement. We can do this by coming to the top right hand corner off the art board panel on Click on the Menu Icon, then click Rearrange our thought upward poppy window. For now, we are just going to click OK, and upon click, we will see the art board has Bean repositioned. If I want to move it back, I'll simply select the art board on the panel. But this time, click on the move up button. Once I'm happy, I'm going to again click on the off Food menu Panel Options Button Select, rearrange our boards and click OK on the page is back where it was to stop. Okay, so let's say we want to remove on art board. This could be done by selecting the art board on the or board panel. Let's say our board three simply come to the bottom of the heart board panel on click Delete. Now. Notice how the artwork still remains, so we are going to have to select the object on, then delete them, though now we have this space where the old off boat waas, just like earlier. If we come to the top right of the art board panel, click and select. Rearrange our board, then click OK, the document will brief, Fresh. Excellent. So what if we want to add some art boards? Well, to do this, we simply click a place on the airport panel where we want to add a new board. For example, I'm going to select our board for in the panel, then click the new art Board button on the bottom of the art board panel. Then I'm going to click on our board five on the panel on Click the Agnew Our Board again. But notice this time how the art boards are just added on the side. Well again, if I come to the top right off the art board panel and click the menu select rearrange taken K the document Refresh on. We can see the correct pagination. Nice. I'm just going to undo that as I don't want these pages Now. What if we want to add a new art board, but in a different size? Well, here we can use the art board tool. If we come to the menu on the far left on look towards the bottom. We have the awful too. If we click this, you will notice we go into a new mode where we can attempt to create a new our board. So to begin, we can either click and drag to create a custom art boat size. Or we can come up to the control panel on select from a list of presets on here. We have a lot to choose from. We have some paper sizes, some screen sizes on some more ball on Web screen sizes. But since this is a print document, let's go for a three on Upon Click. The previously drawn off board is changed to a three. Then I'm going to come up to the top and change the page. Orientation to landscape. Once I'm happy with this, I can press V toe. Activate the selection to on Click to jump back to the normal mode, but notice how it appears oddly placed well again. If I come to the top right off the board panel, click the menu. Select rearrange, click OK, the document will refresh on. We can see the correct layout. So what if we want to change the page orientation Often existing off boat. Well, To do this, we simply click on our board. Let's say number two with the art board selected. I will come to the top right of the art board panel. Click the menu button. This time I'm going to select our board options upon click, a different options window will appear. If you look closely, we can see an orientation option. Currently, we can see this is set to portrait. If I click onto landscape on click OK, you will now see the art port change from portrait toe landscape. By now, you should now know what you need to do next. We are going to need to refresh this layout. So again, if I come to the top right off the art board panel and click the menu, select rearrange, click. OK, the document we refresh but notice This time the artwork on the art boards have not moved with the pages. So in this instance, we're going to have to select the elements on the page on move them into the correct position. For now, I'm simply going to press undo to go back to my previous layout of sex our boat. So that's how we can rearrange. Remove our boards on, use the art board tool and change the orientation off existing oppose so Currently, my art boards are displayed in three columns here. Now What if I want to change this? Well, this could be done quite simply. If I come to the top right off the art boards panel and click the menu, select, Rearrange Up will pop the familiar options panel. If we look closely, we could see towards the top on option called Layout and a series of icons to the right of this. These icons represent different art board composition layers here in Illustrator. So currently we have our layout set to greed by row on with the columns. Sector three. Let's try changing this. Let's say five and press OK, now you can see the layout has changed if we come back to the rearrange menu like earlier, but this time, select the grid by column option on Enter four Rows and click OK. Again, the layout has changed. If we come back to the rearrange menu again this time, I'm going to select layout by column. Click OK, and you can see the change. I'm simply going to press undo a few times to go back to my previous layout, so that covers our boards in Adobe illustrator. In the next video, we will be learning about some vector basics on how we can begin to operate in Adobe Illustrator. So I'll see you in the next video. 5. Vector basics Selection Direct selection tool more Ep4 19 [Adobe Illustrat: welcome to this video tutorial in this tutorial, I'm going to talk about vector basics on how we could begin to operate in Adobe Illustrator . In this video, you will get a good understanding off the basics so we can move on later on. Start building our own creative elements. Now, we're going to be covering a lot in this video on in quite some depth. If you wish to skip ahead to any point in this video, you can do so. Quite simply. The topics covered in this video are listed in the description along with their times. So be sure to check that out to follow along with this to toil, you will need to open this document I have prepared especially for this tutorial. This could be found in the introduction folder in the project folder. Now you condone No, this project polar for free. The download link is in the description. Along the way, I will be mentioned in some useful shortcut keys, which you can find in the description. Andi, in the short cut key page in the project pdf, which can also download in the description. So with the Project folder, open click Introduction vector basics fusions on select the version of illustrator you're using. In my case, it's CC on open the effective basics. Fall on. You should have something that looks like this. So once you have opened this document, I want you to zoom into the top section of the first off the board. So the first object I want to talk about is this line stroke I have created earlier. Now it does not get any simpler than this. Every shape that is made in illustrator has a stroke outline. Next, we have a square shape on. As you can see, this is a complete stroke line that is joined around the outside. An illustrator, a stroke that is joined creates a filled within which we can see here in gray. So the first thing I want you to do is choose the selection tool. This is the top tool in the menu. Recognized as the Black Arrow, this tool is one of the most used tools in illustrator on the short cut key. For this is a be on the keyboard. So at any point, by pressing V, this will activate your selection toe. The selection tool is a basic tool which allows you to select objects on your canvas on, move them around and make simple modifications. So here we have our stroke on below are square with the selection tool. I want you to place your mouse cosa over the stroke on. Go ahead and click the shape upon. Click. You will now select that shape and should know. See a bounding box around the shape like so next I'm going to click onto the square shape on a new bounding box will appear around this shape in illustrator. Every object exists as an individual element on every element can be selected, edited and moved around individually. Illustrator does work in layers like in programmes such as photo shop, but in Illustrator, you can have multiple objects on a single layer. Now if we come over to our side panels and navigate to the layers panel, you can see this document contains two layers. We have the work area on the worksheet layer. If you cannot see this, come to window unclipped layer to bring up your layers panel. If I toggle the visibility off the work layer, we can see that three of the shapes disappear So we know that these three objects exist on a on the same layer. When using the selection tool When you select an object, you will always get a bounding box around it. This bounding box helps communicate to you which object is currently selected in your artwork on will also allow you to move the object around and make simple changes. The bounding box also communicates to you which lay the object is on. For example, as you can see, the bounding box on this shape is currently red. If we take a look in the layers panel, we can see that this shape is sitting on the layer called work area which is highlighted in red. If, for example, we select the shape on the worksheet layer, we will see the bounding box is blue because the layer is labeled blue in the latest power . Okay, so now we have the square selected. We could start to move this around. This could be done really easy by simply clicking and dragging it around like so. So any object at any time can be clicked and moved around in this way. Using the selection to an illustrator objects usually have either a stroke, a fill or both applied with our square selected. If we look closely at the bottom of our tools menu, we can see that the fill off this factor is a light gray on the stroke is black. Now, if we look carefully at the bounding box, you will see eight white squares around the shape. Now the squares allow us to make simple modifications to the shape size. For example, if you move your mouse cursor over each of these, you will notice your coaster change from the black arrow to a double ended arrow. This is illustrator asking you if you wish to make a change. For example, if I put my mouse on the far right box and click and hold, I can either make the shape wider or slimmer. The same applies to the top and bottom squares, and if you put your mouse over one of the corners, I will select the bottom right. I can increase or decrease the size like so I'm going to quickly and do that also, if you carefully position the most just a little away from one of the corners, you will notice the most closer change to a curved arrow. This is illustrated, giving you the option to click and rotate your shape easily so the bounding box can help you quickly change shape size on rotation of your object. Next, we're going to change this scale off this square object. So make sure you still have the square object selected. You will know you have this selected If you can see the outside bounding box Now you can do one of two things. Yet you can either select the scale tool from the menu or simply press the shortcut Key s on the keyboard. I'm going to go ahead and press s upon. Click. You will know. See your most cosa change from the black arrow to a cross hair. Now, what you could do here is simply click and drag anywhere on the campus area. On notice, we can begin to alter the size and shape of the object. As you click and drag, you will see an outline, continue to drag you a scale until you are happy. I'm going to create a tall, thin rectangle like so I'm going to press and do to get back to what I had previously. This time I'm going to use the scale to again, but do something a little different. So with the shape selected, I'll press s again toe activate my scale to and again I'm going to press and hold to begin to change the scale of my object. But this time I'm going to press and hold shift on the keyboard. Notice how as you press and hold shift on, move your mouse in and out You will retain the scale of your shape on easily scale up or down your object. So I'm going to go ahead and scale my shape down on release the mouse to commit to my new shape size. I'm just like that. We scale the object. Okay, so this time I'm going to rotate my square. So currently we still have the scale to active. Now I'm going to either select the rotate tool from the menu here, which is the Circle Arrow or I'm going to press the short get key are on the keyboard by pressing Are this is going to activate the rotate to and you should notice that the mouse closer remains the same. Cross head, just like the scale to, So be careful, right? The rotate tool works similar to the scale tool. With the rotate too active, we are going to click and move the mouse closer up and around in a general direction. We want the shape to turn it on again. You will see the outline of the shape as you turn upon release. Your shape will be rotated pretty cool. So I'm going to press undo to put it back to where it was previously. With Rotated toe still active, I'm going to click to start to rotate again. And as I rotate, I'm going to press and hold shift on the keyboard on. You'll then be able to snap, rotate the object like so in increments of 45 degrees. So that's how you can change the scale on rotates a vector shape in illustrator. Next, we are going to simply copy and paste this square. So by pressing the on the keyboard, we are going to activate our selection to on the mouse will change back to a black arrow. Then I'm going to select the square on press command, see to copy on then command V to paste on just like that we have created a new shape identical to the square. So now we can see two squares which are now to individual shapes because I just pasted in a new square. This one is currently selected, though if I wish to go back to the other square with the selection tool active, I will have to select it and then move it around like so if I wish. Okay, So if we take a look to the right, we have this little square outline. What we're going to do now is take the new square. We just paste it in and scale it down on rotate to match it. So using the techniques we just learned move the square over press are to rotate the square , using the rotator on hold, shift to snap, rotate, then press s toe. Activate the scale to on skill down again, holding shift to scale down on toggle until you have just the right size reposition on Once you have it roughly in place, we are ready to move on. Once you have successfully completed that exercise, come back to the square on the left on Select it with your selection tool on again we could see its bounding box with the white squares toe. Allow us to potentially move it or make changes. Now I want to introduce you to the direct selection tool. The direct selection to is the white arrow, which you can choose under the selection toe on the menu. Or, as I like to use the keyboard shortcut, which is a So by pressing a on the keyboard, I will activate the direct selection tool on my most coastal will change to a white arrow, but also noticed that the bounding box around the current selected shape disappears. If I press v again toe, activate the selection tool the bounding box will reappear on. If I press A to activate the direct election to again, the bounding box disappears. This is because we are now entering into a different mode, and now you can see four dark squares, one on each corner, off our square shape. Now these squares are not the same as the squares on the bounding box. These are anchor points that make up this square shape in Illustrator. Any objects that are created are made up off anchor points. This is the difference between photo shop, which is primarily pixel based on illustrator, which is primarily anchor based. Thes anchor points contain mathematical values, which work to create vector shapes. These parts could be used to create either simple lang strokes or complex vector shapes, which fill color on stroke of facts can be applied. The great thing about Vector artwork is that it can be shrunk to the size of a pinhead or blown up to the size of a building on still retain clarity on sharpness. I'm not become pixelated like what can happen with pixel based graphics, But here we are with this square vector object selected with the direct selection to Now I'm going to select the top anchor point with the direct Section two Upon Click. You have now isolated that particular anchor, which makes at that particular part off the vector path. Notice how the other anchor points on the vector path have no turn toe white. This is illustrator telling you that you only have this one anchor selected. So with this single anchor point selected, you can now move this around. So with the Derrick selection tool still active, you can click and drag the anchor point around like so to change the vector shape. You can even use the arrows on the keyboard to find Tune your ankle position. If you press and hold shift on the keyboard on Press the Arrow keys, you can move the anchors around in larger increments, so I'm going to undo that to get back to the original state. This time, with the direct selection to, I'm going to click and drag over just the top and far right corners upon release. You should know, see the top and far right anchor turned red on. The others remain white. This is because we have essentially just selected to anchor points on the vector outline. With the two anchor points selected, we can now move these around together to change the shape by clicking and dragging on just one of the ankle Pont's. So I'm going to click off the vector to de select. On this time, I'm going to select the bottom anchor point, then press and hold shift on the keyboard on, then select the far left corner anchor point on the top anchor point. So by holding shift, this will allow us to select particular anchor points with the selected. We can again movies around if we wish, though, if I want to de select a particular anchor point, simply press and hold shift on the keyboard. Andrea, click the anchor point on you will de select it and keep the other anchor points selected. So that's how you can use the direct selection toe to modify ankle point positioning on vector shapes with the direct selection tool, I'm going to come back to the line stroke above on Select the line. No, we can see that this stroke consists of just two anchor points. A start andan endpoint. If I click and drag on the end anchor point, I can change the direction and length of the stroke just like so excellent. So next I want to come down and draw your attention to the circle. With the direct selection tool, I want you to click and drag an area over the circle like so on. Release upon release, you will have now selected the anchor points that make up the circle on will now see some other lines coming out of the anchor points with dots on the end. These lines are called handles, so now you can see not only the anchor points, but the anchor handles. So we have already learned that vector polls are made of anchors. Now. Vector pounds that contain curves will also have Anka handle values. It's thes handles that carry the information, which determines the curve value on each anchor will only ever have two handles. For example, with the decks election, too, click the top anchor on the circle and we can see the handles on each site, with the direct selection too active, I'm going to move my mouse closer over one of the handle points aunt Click and drag down like so Now you can see that we have drastically altered the curves off the anchor. The handles can be pulled out further at any time. Toe. Alter the curve value like so once we're happy, we can click off the shape to de select, though if I want to add it. More coves on the shape. All I have to do is click on the path on. You will see the white anchor points, then select an anchor point. You wish to add it, and when the handles of pay we can click and drag like so So the selection tool is the Black Arrow and allows us to simply select, move and change the size of our factors On the keyboard. Shortcut blesses V on The direct selection tool is the White Arrow and allows us to select and added anchor points and handles on Novak DePaul's on for this. The shortcut key is a. You will soon discover that you will be using these two tools a lot to create and refine your vector artwork. So once you have had a little practice with both of selection on direct selection to, you are ready to move on to the next video. In the next video, I'm going to talk about Phil and stroke effects in Adobe Illustrator, So see you in the next video. 6. Fill Stroke effects in Adobe Illustrator Ep5 19 [Adobe Illustrator for Beginne: and welcome to this video tutorial. In this tutorial, I'm going to talk about Phil and stroke effects in Adobe Illustrator To follow along with this tutorial, you will need to open this document I have prepared especially for this tutorial. This could be found in the introduction folder in the project folder. Now you can download this project folder for free. The download link is in the description. So with the project full the open click introduction Fillon, stroke effects, fusions on select the version of Illustrator you're using. In my case, it's CC and opened the film and stroke effects fall and you should have something that looks like this. Now we're going to be covering a lot in this video and in quite some depth. If you wish to skip ahead to any point in the video or back, you can do so. Quite simply. The topics covered in this video are listed in the description along with their times, so be sure to check that out. So let's zoom in to take a closer look here you can see some Phil and stroke examples, which I have prepared to demonstrate some of the basics here. We have a vector with a fill in stroke, just a fill on just a stroke. Vector shapes in illustrator can have either a fill color or a stroke color or both. As a beginner, it helps to understand how this works so you can control your artwork. So our first example on the far left here is a vector example with both a stroke and fill color applied. If we select this factor with the selection tool on, look closely at the bottom of the Tools menu. We can see what supplied on weaken see the fill color. The top square is yellow on the stroke color. The outlines square behind is blue. We can also see the colors applied up here in the top control panel, along with the stroke size and profile on brush definition. If we continue to look closely at the colors, at the bottom of the menu panel, just above the colored squares is a button that looks like a double ended arrow. This is the swap Phil and Stroke Button. If we click this weaken, swap the colors like so sometimes you may accidentally change the stroke color with the intent on changing the film. So if this ever happens, you can simply press the swap button. So let's now move on to the next example. I'm going to select this factor with the selection tool. Once this is selected, look again at the bottom of the tools menu. This time we can see that only a Phil is applied and no stroke. Now we know this because the background stroke square has a red dash going through it. A red dash means transparency or no color applied on, just like earlier with the vector selected. If we click the swap Phil and Stroke Button, we have converted this factor. Object for me, Phil, to a stroke. I'm just going to click off. This shape as I wanted, demonstrates something real quick. So keep in mind that this factor was originally a solid yellow fill on. We just changed it to a stroke. So now this factor is just a stroke and has no fill color. Now watch this with my selection tool. I'm going to attempt to select my vector shape, so I'm going to move my most closer into the middle and click on. I'm clicking multiple times. Yet this shape is not selecting now. This is because there is nothing to select. The shape is empty. So remember, when you have a vector that is Justin Outline. You have to be careful to move your mouse co sir, over the actual stroke and then click to select the object like so. Or you could click on drag a selection over the shape, like so under a lease to select it selected. I'm going to swap that back to a fill by pressing the swap Phil and Stroke Button. So moving on to the next example. By now, you should already be familiar with a vector with just a stroke with a selection to I'm carefully going to select the stroke on in the Tools menu. We can confirm that this vector shape contains no Phil as the fill square is showing a red dash to modify the size of the stroke is quite simple. So we currently have this back to selected. If we look up on the control panel to the top left, we can see that the current stroke size is four points. If we press up or down on the toggle buttons, we can push the size up or down, like so all we can even type in our own value. We can also see the stroke value. If we look in the stroke panel, I'm going to come across and kick on my stroke panel, though if you cannot see yours, you can come to window school down on select the stroke panel. From there on at the top, we have our stroke wait, and here we can change this back to four points. Nice. So the Phil and Strokes wears in the Tools menu is something to really pay attention to. If you're a beginner, once you get your head around this, you will find using fill on stroke. Fact. Very easy. Next, we're going to move down and look at alignment off strokes. So we now know that every vector is created out off. Anchor points on defectors have coves than the anchors will also contain handles. So all the anchors on handles add up to create a path on outline of the vector. We have just looked at how a vector can have a fill or stroke applied in illustrator. You can also tweak the stroke to behave differently on an outline on That's what we are about to cover on here off. The examples of this en illustrate that the stroke can either lying to the center, often outline the inside of an outline or the outside of an outline. So with the direct selection to I'm going to draw on area over these three squares on release to reveal the anchor points. If we look closely, we can see that these three square examples are the exact same size. But if you notice very carefully, you can see their peer very slightly different in size. That's because each stroke is aligned differently. So let's take a closer look on the first square. Weaken seethe. Stroke is aligned to the center. We can see our vector outline running through the centre off the vector stroke. If we look over to the next square, we can see our vector outline is on the outside of the vector. Stroke on. This is because the stroke on this factor is a line on the inside. Now, if we look over to the last example this time we can see the outline of the factor is along the inside on. This is because the factor stroke is aligned to the outside, so I'm just going to select the first example with the selection to now to change the alignment off the stroke on a vector, you need to reveal your stroke panel. I'm going to come across and click on my stroke panel, though if you cannot see yours, you can come to window and scroll down and select stroke. Now, if we look carefully in the stroke panel, we can see some boxes on the bottom row. We have the align stroke options. As you can see, the align stroked to center button is currently clicked. If I come over to the next and click this, notice how my stroke now changes now it's aligned to the inside. I'll just click back again on the line center so you can see it changing. Then, if I come to the third button impressed this. My stroke is now aligned to the outside. Now notice how the stroke changes as we click on these buttons. So that is one to keep in mind for when you create your artwork as you can get various different outcomes with different stroke alignments. So in the stroke panel, you will also notice we have a corn option now. If we scroll down on our document, you will see another set of examples here. Now these examples are displaying the various stroke corner facts you can achieve in Illustrator. We have three options which we can choose from the stroke panel. You can use the default Mitter joint. You can use the round, joint or bevel joint toe. Activate thes simply click on your vector shape and click on one of the icons in the stroke panel to apply it. These can also be used to achieve different outcomes on your artwork should they benefit your design. Next, I want to demonstrate the dash feature in Illustrator. You can add a dash effects to your strokes, which can be customized quite extensively. As you can see here, I have two examples. If I select the first example with the selection tool, we can see the properties in the stroke panel. We can see the dash option is checked with the dash set to 12 points. Let's change this to six points and see what happens. As you can see by altering the dash value, we can increase or decrease. The dash is on our stroke. The next example, however, is a little different. Here we have the dash value set to zero, but this time with a gap or 15 points applied to the stroke. I have chosen the round cap on. This creates the effect of dots. Also, I have made sure to click the L Line dashes to corner ends button. This makes for a better looking dashed stroke, so be sure to play around with these options to see what effects you can get. Finally, we have the stroke end options. An illustrator. We can add a range of our heads two strokes. If I select the first line, we can see that this stroke has an arrowhead on the start point in the Strokes panel. We can swap this like so by clicking on the swap button and choose another are ahead for a wide range of options. If I select the last stroke, we can see that this has an arrowhead at both ends. You can also change the scale of the arrowhead by injury and custom values, so one hour ahead could be smaller than the other. So that is an overview off some Phil and stroke Facts in Adobe Illustrator Be sure to take a closer look at these options to bring yourself up to speed in the next video. We're going to move on the color. Well, will be demonstrating some interesting color facts on tools here in Adobe Illustrator. So see you in the next video. 7. Using Colour Swatches Pantone's Gradients more Ep6 19 [Adobe Illustrator 2: welcome to this video tutorial in this tutorial. I'm going to talk about color on demonstrate some color effects on tools In Adobe Illustrator, an illustrator, there are many ways to use color, and all really comes down to what exactly you're using color for. For example, if you're creating artwork for digital and Web, you will want to use RGB colors on. If you're creating artwork for print, you may wish to use C N Y que colors. In some cases, you may find yourself using a Pantone book to reference colors. Oy printer you wish to use will only require Pantone's in this video. I'm going to be covering swatches and Pantone's on discussing how you can customize on handle your colors for your specific task. Later, I will also be touching on Grady INTs and transparency to follow along with this tutorial, you only to open this document I have prepared especially for this tutorial. This can be found in the Introduction folder in the Project folder. Now you condone low this Project folder for free. The download link is in the description. So with the Project folder open click Introduction, Color of facts versions on select the version of Illustrator you're using. In my case, it's Sisi. On open the color effect. Fall on. You should have something that looks like this. Now along the way, I'm going to be referencing particular panel's here on the right. If you have been following this course from the start, you will be familiar with the way I have my panel structured here. In one of the early videos on this course, I demonstrated how to customise panels on create your own workspace. In my current work space, I have all my color panels up here on the top for ease of access. If you don't have this, you can either skip back to my panels and workspace video on, learn how to create this panel set up, or you can activate the panels as and when I mentioned them. Now we're going to be covering a lot in this video on in quite some depth. If you wish to skip ahead at any point in this video or back, you can do so. Quite simply. The topics covered in this video are listed in the description along with their times, so be sure to check that out so I'm going to begin by talking about some of the color panels and Adobe Illustrator we will be using in this tutorial to make this really clear. I'm just going to click on each tab on drag it out here so you can clearly see them. I recommend you do the same. So here we have of the swatches panel, the color panel, a Pantone panel. We have the greed in panel on the transparency panel. If you don't see these panels, you can access thes. If you come to window on, you can select them from here. Though, you will not be able to get this Pantone panel from the PAN list. I'll be talking about this a little later on. Okay, so first off, we have the swatches panel. Now, this is a handy panel where you can access some pre defined colors. If you're new to illustrator, your swatches panel will come with a bunch off pre defined swatches just like mine here. So here we mostly have some colors, but we also have some color facts to, such as greedy INTs and patent overlays. If you move your most costar all of your swatches you will see the name pop up. Now, if you double click on a swatch a pol pot, the options on this window will tell you more details about the color. In this instance, we have the color mode off, the documents said to RGB, so this watch is showing the color mode of RGB on here. We can see the values. At this point. It's important to mention that currently my document color mood is currently set. RGB. You can change your color mode by coming up to the top menu on selecting file scrolling down to document color mode on selecting C M y que or RGB from here, if you're doing work for whatever digital you will want to set to RTB on. If you're doing work for print, you'll want to sap is to seem like a If you change to, say, my K, you will notice when you double click on some of her swatches, it will display the C M y que values instead of RGB, so double clicking in the swatches panel will show you the values. However, with a swatch selected, you will also see the color in your tools menu. For example, I'm going to select a color from this watch panel on here. We can see it in our tools menu. Now, if you come to the square in the tools menu and double click this a color picker option will menu will appear. This will allow you to see the Web color of that's watch on here. You could continue to select a new color from the color spectrum here. Adding colors to the swatches panel is very easy. For example, let's just click a color here on the second art board Upon. Click, you will notice the color appear in the tools menu. If I want to say this color for later weaken, simply put almost costar over the color square. Click and drag into the swatches panel on release on. There is our new color swatch on the end There easy in the swatches panel. You can also create and store swatches you make yourself as color libraries. This makes it easy. If you're working on a particular project and wish to save your colors, you can also export the libraries to and share them with others. If you look closely, you can see I have some fold this year with some swatches I have prepared earlier on. I will be talking a little more about these later. So the swatches panel is a pretty handy panel on. You will be finding yourself using this a lot as you create your artwork. Next, we have the color panel. As you can see, here, we have a complete color spectrum on. If we move our most costar over this, we will see the cursor changed to a I drop. It'll on this will allow us to choose a color like so once we have the color in mind, we don't simply select it on, just like earlier. The color will appear in the tools menu on. If we like that color, we can simply drag it into a swatches panel. Next, we have a Pantone panel. This contains a library off solid coated Pantone's. Now this is not open by default. If you're new to illustrator, if you want this panel, you're going to have to open this separately. I'll be showing you a little later on how we could do this on how to incorporate these colors into our work. Next we have the color guide panel. Now this is a handy pan if you seek to discover alternative shades and tints off a particular color. For example, if I select a color in the swatches panel, notice how this color guide panel changes. The top bar features the color on show some alternative shades and tent on below other colors around the same tone. This could be pretty handy if you're looking to research various tones and shades of a particular color. Next, we have the Grady in panel. If I go ahead and click on Ingredient. If I click on a greed in object in my document, we can see this come to life. We are going to be using this a little later on and learn how we can use this great in Powell on. Finally, we have the transparency panel. It's in this panel that we can control. The transparency often object on our document area. So before we begin, I'm simply going to close the Pantone panel as I'm going to show you how to reactivate this later. Then click on ALS. The other panel tabs and dragged them into one panel group and reposition this along with my other panels here on the right, making sure to place it at the very top for quick access. Okay, so now you have been introduced to the panel's Let's take a look at some examples. So with the document open, let's turn to the first boat. So, as you can see here, I have some pre composed colors on the left. I have some digital colors on. On the right. I have some Pantone colors on. As you can see here, I have listed the Web and Pantone color references. Now, at first glance, they look identical. These colors on the left look exactly the same as the colors with right, but in actual fact, they are not the same. If we were to create a piece of artwork for print on the printer required Pantone only colors, then all the colors over here on the left would be unacceptable. Allow me to show you the difference. Now with the selection tool. First click on the top left digital color this red one year on. Look closely in the swatches panel. You can see we have this red swatch selected now. Select the red Pantone example to the right and notice how another swatches highlighted in this watch panel. Okay, so click back on the first example. Come to the Swatch panel and double click on it. We can see from this watch pop up option that this is a rgb color on. We can see the values click. OK, next, click back onto the Pantone color on in the swatches panel. Double click on that. Now, this time we have different values in this watch. Options pop up on. We can see that this is a pan Thant Pantone spot color. Once again, click. OK, so looking in the swatches panel weaken, See to color libraries. Now, at first glance, they appear to be the same. But in actual fact, they are different on We would use these colors in different instances. Notice the color library below Has these little white tabs with a spotted. This is illustrator communicating to us that these are Pantone. Colors are not different from the other swatches. So now we are on the subject of Pantone's. I'm going to show you how you can find the Pantone panel. Some of you may use Pantone books to discover and reference your colors. Once you know your Pantone number, you're going to need to source it in illustrator. So to do this, you need to come to your swatches panel on come to the top, right, and click on the little menu button on click. You will then need to come down to open Swatch Library. When you roll over this, you will then see a large list of color libraries. We are then going to come to color books and again we will see another list. On here. We can see a series of Pantone color books, so I'm going to go ahead and select the Pantone Solid Color book upon. Click. You will now see your new Pantone panel. If you know the number of your Pantone, you can simply click the number in the top to search for it. For example, I'm going to type in 802 on this will find the same green Pantone I have here. Excellent. So to discover many Pantone's on get access to other color books. You can use that technique. If you use Pantone's a lot, you can simply drag your Pantone panel into your panels to the right on. That will remain there for quick access in future Okay, so let's come over to the next our board An illustrator. You can also source colors from images. If you take any photos for your design research or find images on the Internet, you can simply place them into illustrator and use the eyedropper tool to pick out colors from the image. So here's an image I have for you to have a go with. Below. You can see some colors I have already picked out. So to do this, we first need to draw a shape on the document area. I have some shapes here I have created for you. You will need to first select a shape. So with the selection tool, I'm going to click on the first square shape on. If we look in the tools menu, we can see that this vector shape currently has a gray fill on no stroke. Don't we know this because the stroke color has a red dashed through it. Now come up in their menu on we're going to select the eyedropper tool. This is just around 2/3 of the way down here. Once you have this too active, you will notice the most cursor change. Toothy eyedropper. So now we are going to move our most costar over into the picture and choose a color we like. I'm just going to go ahead and click to select a color upon click, the gray box will change to a color that particular color that we just selected in image Pretty cool, right? So now I have a new colored square vector on the color is currently selected in the Tools menu. Now remember earlier with the swatches panel. If I like this color, all I have to do now is simply click on the square in the tools menu and drag across on Drop into my swatches panel on It's there for me to use again later. So I'm going to press V on the keyboard to select the selection tool on. Then I'm going to click on the next great box with the next great box ready, I'm going to come to the menu on again, set the eyedropper tool. This time I'm going to come over to the image instead of clicking. Once I'm going to click and drag over my image. Now, pay close attention to the color in the Tools menu as you move your mouse around. You will see the colors changing in the tools menu. This is Illustrator, given you a prompt toe. What color this is. This will make it easy for you to move around until you find a color you're interested in. So once I find a color I am happy with, I will release. Click on. I will make the selection on my square Factor will change Nice. So have a go at this and try and discover some new colors from the picture. Then once you are happy, move onto the next our boat page. So next we're going to talk about Grady. It's at this point. You will need to click on your greedy int panel. An illustrator. We can apply grade in defects. Two vectors. Here is one I have prepared earlier with the selection tool. I'm going to press V on the keyboard. I'm going to select my circle with the Grady int applied. Once this is selected, look in your grading panel on its here. We can see the details. We can see what colors make up the Grady int on the values off distribution. It's here where we can modify the Grady in. Now we're going to create our own grade in here on this empty circle to the right. So first we need to select the circle with our selection tool on an easy way to begin. This is to come to the swatches panel now illustrate that comes with a pre defined Grady int on. We're going to find it and click it like so So here we are with Grady Ent. Next, we'll want to reactivate our Grady and panel so we can see the properties next. If we come to the menu here we are about to use the Grady into on. We can see this just above the eye dropper to If we select this, we now have a great in bar on or shape. Now, this represents our greedy in effect, applied to our shape on. We're going to use this to adjust the Grady int. So now I'm going to start a click and drag over my shape and you will notice this will change the greed in direction on distribution. So once we're happy with ingredient, we can move our most closer closer on over the line on. Now we can see the colors that make up the great. Yet if you are not happy with the color, you can simply click and drag it off. If you want to alter the distribution of the color, you can pick on the click on the tab on Drag It along the bar like so if I double click on one of the color tabs are poor poppy color picker menu notice to the left. You can activate your swatches and choose a swatch from this. So I'm going to just alter my Grady int until I have something that looks like this. Now, if I look on the Grady in panel to my right, I can do a couple of things here if I want to, I can alter the type. I can change this from linear to radio, and if I come just down to the left here, I can click on the reverse button on that can reverse my Grady in like so So that's a little intro to the Greed Inter Fact. Now, finally, I'm going to talk about transparency on this is an effect you may wish to use for this. You will need your transparency panel open. So here we have two circles on, you can see they are overlapping in the middle. We have this effect because the top object is transparent, showing some of the circle below through it at any point. If you click on an object, you can see it's opacity in the transparency panel, and I have my panel open here with the selection to I'm going to select the first circle on the left on If we look in the transparency, pal, we could see the opacity of the circle is 50% if I want to totally opacity Aiken, simply type in the value or click the drop down menu to select the value from there. So I'm going to click this and select 80% like so next, I'm going to select the circle to the right on. We can see this is sector 20%. I'm going to go ahead and change this to 70% So that is how you can total opacity. Administrator. So that's an introduction to color in Adobe Illustrator. Be sure to get comfortable with the color panels as that will improve your workflow on assist you to use the right colors for the right task. In the next video I'm going to cover 10 details in Adobe Illustrator. But you should know on be up to speed with before starting a project The things I'm going to cover in the video are things that are going to improve your workflow on help you create your artwork. See you in the next video. 8. 10 Handy Tips Things to know for beginners Ep7 19 [Adobe Illustrator for Begin: welcome to this video tutorial in this video, I'm going to cover 10 handy tips in Adobe Illustrator that you should know on be up to speed with before started a project. The things I'm going to cover in the next few minutes off things that are going to improve your workflow on help you create your artwork to follow along with this tutorial, you will need to open this document I have prepared especially for this tutorial. This could be found in the introduction folder in the project folder. Now you can download this Project folder for free. The download link is in the description. So with the Project folder open click introduction Handy tips versions on Select the version of Illustrator you're using. In my case, it's Sisi on open the handy tips Fall on. You should have something that looks like this along the way. I will be mentioning some useful shortcut keys, which you can find in the description. Andi in the short cut key page in the project pdf, which you can also download in the description. We're going to be covering a lot in this video on in quite some depth. If you wish to skip ahead or back at any time. You can do so. Quite simply. The topics covered in this video are listed in the description, along with their times, so be sure to check that out. Okay, so let's get into it. Tip number one zooming So the first tip is zooming in and out. Getting a good grip of this tool can really help speed things up. The short cut key for the zoom tool is zed. Press the key on the keyboard, and you will notice the most change to a magnifying glass with a plus on it. This will allow us to click and zoom in like so to zoom out, simply press and hold Ault on the keyboard on notice. The plus change to a minus. Then simply kick again a few times to zoom out. With the zoom too active. You can click and drag to select an air. It is, um, into, so be sure to practice these resume techniques. Another handy short cut is command zero. This will snap the current canvas doc to your workspace area, so let's say we are zoomed in quite a lot on the campus area, pressing command zero, we'll zoom out to show the document fully on the page. Like so. Another handy zoom shortcut is command one. This will snap the current campus doc to 100%. So let's say we zoomed in quite a lot on the campus area. Pressing Commander one will zoom out to show the document are booed at 100%. Tip number two maneuvering. Another cool tip is to use the space bar, no matter what to you have active. If you press and hold the space bar, you will notice the cursor changed to a little hand symbol. With the space bar held down, I'm going to click and drag around the campus, maneuvering around my area like so I consume out and press the space bar to move around. Zoom back in. Hold this baseball to move around again. Like so. This is a really useful temper to maneuver around your artwork. Tip number three. Duplicating your vector objects. Let's say you have a vector object on your campus area like this square here. If I want to quickly duplicate this object, Aiken simply press and hold Ault on the keyboard. Click and drag the object across like so on upon release, a clone of that object will be made. I could do this several times until I have many squares on my campus area. Tip number four. Select multiple objects with the selection tool. Active Aiken. Drag an area over all the objects, like so on upon release, I will have all object selected. This will enable me to move them around as one, like so as a group, though, if for any reason, I want to select a couple. If I click off to de select them by holding shift on the keyboard, I can simply select multiple objects one at a time. If, for example, you want to de select one of the objects than with the shift still held down, you can simply click again on an object on this will de select the object, so by holding shift, you can select multiple objects on de select objects. Tip number five Aligning. If I want to align these objects, I could do so quite simply, with a selection tool active, I'm going to click and drag over all the squares to select it with them all selected. I'm going to come to the top control panel across the top off my interface on you should notice some alignment buttons here. If you don't see these buttons forever, reason you can come to window on open your align panel. I'm going to go ahead and click on the horizontal alignment center on Upon Click. You can see them all a line to the center like so now. As you can see, they are oddly spaced out if I want to align them with equal space. In between, I can simply click on the vertical distribute center button, and now they are perfectly spaced out. Excellent. So keep in mind, you can also align in other ways, using the other alignment off by cons tip number six rulers and guides. To demonstrate this, I'm going to come over to the next our board. Now. This is a function that can allow you to create margins in a document on accurately place and align your objects in relation to each other on your canvas area. Ah, useful shorted for this is command are on. As you can see, if you look around the edge off my document area, as I press command are repeatedly, you can see the rulers become visible on hide again. Okay, so I'm going to press this until I can see my rulers. Now I'm going to move my mouse over the vertical ruler and click and drag out and over to the right like so. And as you do this no disagree. Line appear. This is your new guide. You're about to drop onto the campus area, so I'm going to drag this over to the right and place it next to my circle. Like so on. Once I'm happy. I'm simply going to release on. My guide will be placed now if for some reason you do not see your guide, you compress command colon. This is the short cut to hide and reveal guides. Or you can simply come up to view, come down to guides on, then come across to show guides. Okay, so what if I want to edit these current guides, for example, I want to move this guy to the other side of the circle. Well, this is easy. All you have to do is select the guide with selection too. Though you must first make sure that you can edit guides If we come back to view and scroll down to guides. We have an option here called lock guides, toe edit guides. We need to make sure this is unchecked on. Then we can simply click a guide on the campus area on click and drag it around like so. Tip number seven small guides. Another thing to keep in mind is smart guides again. If we come to view and come down, we can see smart guides. This is pretty useful, so you will want this checked with smart guides. Active Activated illustrator would give you useful prompt. For example, if I select the current guide on drag in slightly to the middle off my circle here you will see its snap to the center of the circle. If I click and drag again, but this time to the outside of the circle, notice how it snaps to the outside of the circle. Smart guides also helps when position in objects in relation to each other. For example, if I take a square that I created earlier on attempt to move it around another object, you will see the greed smart guide. Help me a line to the top middle bottom off a neighboring object, so this could be pretty useful. So now I'm going to drag a few more guides into the campus area around my circle. And now I have very quickly and easily marked out the middle horizontal on middle vertical point off my circle. Now, remember, we're still using smart guides, so what I can do now is select the lips tool. If I move my most pointer to the top left of my guides, you will notice the most point of snap to the corner if I click and drag to draw an ellipse by holding shift. This was scale this nicely on. I can create a circle half the size of my outer circle. Now, if I select this new circle, I can easily click and drag this into the middle on notice how it snaps to the middle like so perfect tip number eight scale stroke and effects. Another thing to keep in mind when new to illustrator is the scale, stroke and effects feature, for example, I'm going to select my two circles here on I'm going to push up the stroke on them both like so then I'm going to select the scale tool from the menu on the left, and I'm going to make my circle smaller. Now. Notice that the stroke size is the same even when the circles smaller this time, let's make this circles larger on. We can see that the stroke size is still the same. If you're new to illustrator, chances are that this will happen when you attempt to scale objects up and down. But if you want to scale stroke and effects, you can do this simply by coming to the top menu and finding the preferences option on a Mac. We come to illustrator and click on Preferences. I'm going to click on General On Up will pop a menu. If you look closely about halfway down on the right hand side, you should see a check box with the title scale, strokes and effects. If we make sure this is checked and click OK when we select and skilled on our objects, so too will the effect apply to the vector such as the stroke. Excellent tip number nine, full screen and total panels. This is a really simple tip, but kind of useful if you want to remove all the interface panels and take a look at your artwork. Nice and clear on the screen First, if you press tab on the keyboard, this is going to remove all the panels in the interface on. If I pressed Hap again, this will bring them back. If I press F on the keyboard once, this will remove the panels from view on. If I press f again, this will go into full screen mode. Simple yet useful. Tip Number 10 Grids For the last tip, I'm going to show you grits. The shortcut to show your grades is command apostrophe. Or you could simply come to view and show grids. If you're creating an intricate piece of artwork on need to use a grid, you will find this useful. If you wish to customize your grid, you can come to preferences. Scroll down on select guides and grid on in the pop up menu. You can change the great properties such as the color style, grid line, quantity and subdivision. As you can see here, I have mindset for a grid line every 40 millimeters with a subdivision off five below this . You can also specify if you want your grids always set in the background. And if you want illustrated to show a pixel grid above 600% zoom with your grid open. You also have the ability to snap to grid. If I come to view and scroll down to snap to grid, then make sure this is checked. I'm going to come over to one of the squares I created earlier on Zoom in a little on. If I move this around, you can see the object snapping to the grid like so. And if I had enough of my grid or simply want to continue to create artwork without the grid again, I compressed command apostrophe to turn that off. So that's a few handy tips in Adobe Illustrator to help you with your work flow in the next video, we are going to move into the essential practice section off this course. In this video, we're going to be focusing on shape vectors. We are going to be using the shape to to create a range of vector shapes. See you in the next video 9. Creating shape vectors in Adobe Illustrator Ep8 19 [Adobe Illustrator for Beginn: Welcome to this project, editorial. So now we're getting into the essential practice section off this course in the previous seven episodes I introduced you to Illustrator on Showcased Some Handy Tips You should know . Now it's time to get hands on. In this video, we are going to be focusing on shape vectors. We are going to be using the shape to to create a range of vector shapes. Then in the next episode, look at how to manage these shapes vectors in groups on Look at how we can compound vector ships. Now the best way to learn is by watching and doing so to help you. I have created this worksheet to follow along. With this tutorial, you will need to open this document I have prepared especially for this tutorial. This could be found in the essential practice folder in the project folder. Now you can download this Project folder for free. The link is in the description. Also along the way, I will be mentioning some useful shortcut keys which you can find in the description on in the short cut key page in the project pdf, which you can also download in the description So with the project folder open click Essential Practice Shapes versions on Select the version of Illustrator you're Using. In my case, it's Sisi on Open the Shapes Fall on. You should have something that looks like this now. We're going to be covering a lot in this video on in quite some depth. If you wish to skip ahead at any point in the video or back, you can do so simply by looking in the description. The topics covered in this video are listed in the description along with their times, so be sure to check that out. Okay, so once you have this document open, let's get into it. So as we have already learned that Illustrator is a vector based program on, we use this program mainly to create and drove actor shapes. One of the handy tools we have an illustrator is the shape, too. This gives us a basis to build our vector artwork on Often it all starts from a simple shape, so if we come over to our menu on the left, we can see our shapes tool about seven icons down. If we click and hold on this, we can see an array of shapes on offer here. If you look closely, you can see this little arrow on the far right off this panel. If we place our most Cozaar over this on release, we can pop out a small panel that will reveal all the possible ships we can make. Now, this is going to be useful on. We're going to be using this panel a lot in this video. So as you can see in this worksheet, we have a lot of shapes on. This is a guide on. We are going to be creating the same shapes on top to practice. Okay, so now we're ready to start making some shapes. Let's zoom into the top row. So here we have full shapes. We have what appears to be a rectangle, a square, a diamond shape and a triangle on its side. Well, to make these shapes were going to use the rectangle tool. So come to the rectangle tool in the menu panel on its the icon on the far left on select it once a shape icon is pressed. Noticed how your most closer changes to a cross hair. This is going to make it easier for you to accurately place your new shape on the campus area. So I'm going to bring my most closer over to the rectangle shape to attempt to draw one. But you may notice. Like me, you get some green notifications as I place my most costar over the previously made shape. If this is not happening for you, don't worry. This is only because smart guides is switched on for this tutorial. I'm actually going to switch this off. So if I come to view and scroll down to smart guides, we concurrently see this is checked, so I'm going to go ahead and click this to turn it off. And now there is no smart guides. Great, So let's go ahead and place almost closer on the top. Left off the triangle shape and click and drag to draw a shape. As you click and drag, you will see an outline. This is illustrator showing you the shape which you are about to draw on. You can drag this in any direction to draw a rectangle shape, so using the worksheet as a guide, I'm going to drag my shape to create the first rectangle on upon release, we will have the vector shape with an outline on DSI, the anchor points that make up this vector upon release. You will also notice the mouse coaster remains across here. This is because we can now continue to draw another shape, though, if we wish to control our new shape, move around or rotate, for example, we compress be on the keyboard to activate the selection to upon pressing V, we can no see a different outline around our shape. This is the vector bounding box are not most closer changes to a black arrow. This will allow us to click and move the vector. Perhaps grab one of the squares on the bounding box, pull it in to change the shape on. Move the cursor over to the top, right corner on rotate. But we're not going to do that here, so I'm going to press and do to do that. Okay, so let's move on to the next shape. On this time, we have a square shape. So, like earlier, I'm going to come to the shape to a panel and click on the rectangle tool. Now there are two ways we can go about doing this. The first way is pretty easy with the rectangle to selected weaken. Simply click once on the canvas area on upward Papa Properties box. Now, if you need to create a square backed up to a specific size, you can enter the values here. So I'm going to enter in a width off 20 millimeters on the height off 20 millimeters and click OK on there is on U shape, so I'm going to delete this because I'm going to demonstrate a second way. So with the rectangle too active, I'm going to come over to my square shape and click to begin to draw. I'll put my most cursor in the top right on. Begin to click and drag Now. This time, instead of dragging my most cursor like in the previous example, I'm going to press and hold Shift on the keyboard on. This is going to scale my shape up like so pressing and holding shift is going to allow me to scale my shape up nice and easy so I can create a perfect square. Nice. Okay, so let's move on to the next shape. This time we have what looks like a diamond shape So I'm going to press be on the keyboard toe, activate my selection tool. And if we don't have our square, we've just made selected officially to select that Now in illustrator, we don't always have to make shapes from scratch using the shape too. We can use shapes We have already made weaken, duplicate them and make the modifications we want. You may find this a faster technique. So this time I'm not going to make a new shape. I'm simply going to copy and paste the square I just made. So with the square selected, I'm going to press command, see to copy on Command V to paste. And there is our new shape. I'm going to select it. A moving into position on all I'm going to do is simply rotate it So with the selection tool, if I place my mouse cursor over the edge, the most coastal were changed to a curved arrow that I'm going to press and drag around like so. If I press and hold shift on the keyboard, I will snap to 45 degree increments on this will make it easy to get an accurate rotation. So, upon release, I have the diamond shape and I'm going to use the arrow keys to finally place this on top of the worksheet. Nice. So moving on to the next shape here we have what appears to be a triangle on its side. Now we have just made what looks like a diamond shape. Now we're going to use this shape again, but make a slight adjustment to create on U shape. So, like earlier with our new shape selected, I'm going to copy and paste and place it into position like so Now we have not covered the pen to yet, but I want to show you one tool that is going to help us modify our shape very easily. So with our new shape selected were going to come over to the menu and click on hold on the pen to on. We want to select the delete anchor point to once we have this too active, we can now see the outline of our vector shape change. There's no long. This is no longer the bounding box. We can now see each anchor point that makes at the vector shape in red. What I'm going to do is come across on. Put my mouse cursor over the far left anchor point and click to remove the ACA point upon click, the point will be removed on. We have essentially created in new shape. This is no longer a square shape. It's now a triangle shape. Excellent. So that's our rectangle. Shapes covered. Let's move on to the next row and make some new shapes with the Ellipse, too. So again, like earlier, we're going to come to the shapes to a panel on this time. Click the ellipse shaped to, then come down to our circle shape on the worksheet and click and drag to draw a circle. Just like earlier, we can click and drag to create any sort of a lips shape. But if we press and hold shift on the keyboard, we can draw a perfect circle like so. Once you have drawn that shape, press V on the keyboard toe. Activate the selection tool on. Move this shape into position like so. Don't worry. If the shape is too big or too small, it's the next shape. Looks like a circle in half. So just like earlier, we're going to copy and paste our new shape and moved into position. And again, we're going to come to the pen to select the delete anchor point tool, Move the mouse over the far left anchor point and click to remove that particular anchor point, though, notice what happens this time. We still have curvature in the line on. We have some ankle point handles. To deal with this. We no need to use the direct selection to. So by pressing a on the keyboard, we can activate the direct selection toe. What I'm going to do next is click and drag the handle points and push them back into the anchor point like So I'm going to do this with both anchor point handles on. This will remove the curvature in that part of the line. Then I'm going to press V on the keyboard on. Now we have our bounding box around the shape, ready to move it around, so the next shape appears to be the same as what we just made, but rotated. So let's go ahead and do this. I'm going to copy and paste on. Place my shape into position. Move my mouse costar over the edge to show the curved arrows Click to rotate on hold, shift to snap, rotate move into place. On there it is simple onto the next shape. Now we have something a little different here. What we are going to do here is use a new tool called the Free Transform to. So To create this, we're first going to select a shape. We have already created the first half moon example using the selection to copy and paste it like so, then move into position with the shape selected, I'm going to come across to my tools menu and select the free transform Michael. This is about halfway done upon Click. You will now see the outline of the shape change and now we have thes circle points around by shape. Also, you will notice a new panel appear next to the tools menu. This is the free transform panel, and from here you can select a different transform mode. So I'm going to go ahead and click on the perspective, distort mode in the free transform option menu. Then I'm going to come across to my shape and click on the bottom left point and pull out like so and just like that, I have used the free transform toe to manipulate my vector shape to create a completely new shape. Excellent. So next we're going to move down on if we take a look at the worksheet weaken. See, we have some quite different shapes. Next, we're going to use the star tool. So if I come up to the shapes to a menu and select the star shape, let's come down and begin to draw first shape on. It helps to start with your cursor in the middle of the work, she example. So I'm going to click and drag on, Move the mouse around like so, and we can make a star shape at any angle. But on this occasion, I'm going to hold shift on the keyboard to create a nice shape, like on my work shape. So upon release, use the selection tool to move the shape into position if you need to. So the next shape appears to have a lot more points on the outside to create this shape again, we are going to use the star shape. So with the star shape, I'm going to click and drag out like so, but this time I'm going to press up on the keyboard by pressing up on the keyboard, you can add more points to the star shape on. If you press down, you could take them away. So from my original star shape, I'm going to press up on the keyboard seven times, and I will make a shape the same as on my worksheet upon release. Use the selection toe to move the shape into position on rotate if you need to. The next shape is again very different this time. We have a lot of points, but this, but they seem or shallow on the ages to create this shape again with a star to We're going to click and drag now. Notice how the shape is the same as we left. The last one illustrate to remember that. So we are going to click and drag out like so. But this time, instead of pressing up or down on the keyboard, we're going to press and hold on the command button for a Mac or control for PC. With command button held down, we're going to move on, drag the most closer in and out As we do this, we can change the depth of the points. We can make them really tall or really short. So I'm going to drag mine so they closely resemble my shape on the worksheet on Release My Mouse click on I'm going to reposition on re scale to position my shape neatly on the worksheet like so excellent. Okay, so let's create another star. Now. Notice how the star shape is the same as the star I created previously. Now this could be convenient in some cases, but not so much for others. Right now, I just want to go back to my original star shape, so I'm going to delete that new shape and use a simple technique. So with your star shaped tool selected this time, instead of clicking and dragging to create a shape, simply click once on the campus area, then up or pop a menu option. And as you can see, it has the values of the shape we just made. I'm going to change these settings here. Radius one means the outside circle, so I'll change this to 20 millimeters on radius to means the inside circle, so I'll change this to 10 millimeters. Then I will change my points to five. Click OK on. We have a star very similar to what we started with on. I'll just alter the size of that, using this election too excellent. So I'm going to use the free transform to again here by coming over to the tools menu. On selecting this again, my outline will change on. We have thes circle points on a free transform menu will pay. This time. I'm going to select the free transform mode from the free transform or panel on Click on my points until I have a shape that looks something like this. Next, we're going to move on to the polygon shapes. I'm going to select the polygon shaped to on click and drag out a polygon shape similar to my worksheet example and move that into position. Like so, the next shapes appeared to be a triangle to create. This is very simple again, with the poorly going to we're going to click and drag out on this time, press down three times on the keyboard, then press and hold shift to align it straight up, just like the worksheet example. Once I have created this, our press V to activate the selection tool on move this into place on resize accordingly, to fit on the worksheet. Next, I will again select the polygon to on begin to draw shape. But remember, Illustrated brings out the same shape. So this time I will press up on the keyboard two times on. We can see we have a new shape similar to the worksheet, a press and hold shift to align it straight up and place over the worksheet. Example. Next, I'm going to create another polygon. But this time, instead of clicking and dragging, I'm going to click. Once on in the menu panel pops up, I'm going to type a radius of 15 on Put in 10 sides like Okay, on there is on you custom shape. So by now you should have a clear understanding of how some of the shape tunes work. The shape tool offers you the ability to create simple shapes on by using the up and down buttons on the keyboard. On on the command for Mac on Control for PC, you can customize your shapes further, so finally we have the rounded rectangle shape on. This is very similar to the rectangle tool, but here we can talk of the corners to get more rounded shapes. So I'm going to select the rounded rectangle shape toe from the tools panel and click and drag a shape similar to the worksheet. And here we have a rectangle with some rounded corners. Next I'm going to draw another shape. But as I drag my shape to the similar size as my worksheet, I'm going to press and hold up on the keyboard to try and match the corners on my worksheet . This is going to pull in my corners. On Dhere, we have big round corners. Next, with the rounded rectangle tool, I'm simply going to click once on entering some custom values. I'm going to add a width off 65 millimeters height of seven millimeters on a corner radius off 35 millimeters. On there is a wide, slim rectangle shaped with rounded corners, so that is how we can use the shape tool in illustrator to create shaped vectors. The shape tool offers us five shapes to choose from, but as you can see, we can get a wide variety of shapes from them on, with the aid of the free transform to weaken further customize shapes. So this is really the basis of creating artwork in Illustrator. You start with some simple shapes on buildup is you go along. In this video, we looked at how we can create and manage shapes individually. In the next video, we're going to learn how we can use thes vector shapes in groups on Then learn how we can compound shaped to create more complex shape factors. So I'll see you in the next video. 10. Grouping Compounding vectors Using the shape builder tool Ep9 19 [Illustrato: welcome to this video tutorial. In the previous tutorial, we learned how to create individual vector shapes using the shape toe. In this video, we are going to be using some of those shapes on Learn how to create groups on Learn how we can take those groups on compound multiple vectors into new individual better shapes. Now, the best way to learn is by watching and do it. So to help you, I have created this worksheet to follow along. With this tutorial, you will need to open this document I have prepared especially for this tutorial. This could be found in the essential Practice folder in the project folder. Now you condone with this project phone for free. The link is in the description. Along the way, I will be mentioning some useful shortcut keys, which you can find in the description. Andi in the short cut key page in the project pdf, which you can also download description. So with the Project folder open click Essential Practice Group Factors versions on select the version of illustrator you're using. In my case, it's CC on open the group vector Fall on. You should have something that looks like this. Now we're going to be covering a lot in this video on in quite some depth. If you wish to skip ahead at any point in the video or back, you can simply look in the description on all the topics covered in this video are listed along with their times, so be sure to check that out. Okay, so once you have this document open, let's get into it. So here on the left, we have our shapes from the previous tutorial on on the right, we have our worksheet, which we're going to work to, so let's zoom into the top of the second are aboard to begin first, we need to create a little composition using some of the shapes from the first off boat. So by pressing and holding space ball, I can click and move over like so. First, I need the diamond shape factor. So I'm going to press V to activate the selection to on. Then I'm going to select it. Then I'm going to press and hold Ault on the keyboard and click and drag it over on. This is going to quickly duplicate the shape next time, need the square so I'm going to select the square factor, press and hold bolt on the keyboard and drag it over onto my worksheet. Next, I need the triangle on the side, so I'm going to select and duplicate this factor as well. And finally, I need the circle shape so I will select on Duplicate this and drag it over to my composition. So let's zoom into our new composition and quickly move them into position to reflect the worksheet. Now, as you can see, some of the factors are sitting on top of each other in illustrator like in photo shop. We can use layers on if we come to the right to see our work panels on Click on the Layers panel we could see we are currently working on the work area layer. If you can't see this panel, you can come to window, scroll down and click the Layers panel here. Now in Illustrator, we can create multiple factors on one layer on. It works in a hierarchy structure, so the first factor you create on a layer is simply at the bottom of the pile. Then the next vector created will be on top of that on the next factor created will be on top of that and so on and so on. Now you can control this structure on a range of factors. For example, let's bring the bottom vector to the top. To do this, you can click the bottom vector right click on D. This will bring up in menu list, then scroll down to arrange and select. Bring to front on Now that vector is on the top like so Now if we want to select this circle here and push into the back, we can do that by again. Right? Click in scrolling down to arrange and clicking Center back. Easy now, as this title here suggests, these are on group vectors Now What is this Meat? Well, this means I can select each vector shape individually, like so on. There is no current connection between them. However, If I click and drag using the selection tool over all the shapes like so and release, I will make a selection and now they're all selected. Now we can see a bounding box around all of the shapes. With these individual back to selected, we can actually make changes to them all in one go, for example, with them or selected, I can change the color off the fill by clicking on the fill in the menu, selecting a color on also clicking on the stroke color and changing that I will just click off to de select the shapes. So clicking and dragging with your selection tool over individual vector shapes can allow you to change multiple vector colors and effects. In one instance. By holding shift on the keyboard, I can select one shape, then another on this will select multiple shapes individually, where perhaps I can make a change to particular shapes. So again, I'm going to click off the D Select on this time, Click and drag to select them all. This will now allow us with the selection tool to click and move the selection around. We can rotate on. We can change the size, but we don't want to do that right now, so I will and do this. So now I have all the individual back to selected. I'm going to press and hold off on the keyboard and click and drag over to the right and I will quickly duplicate. The backed is like so So now we have two compositions. So with all of these vectors selected, I'm going to come to the menu at the bottom and click the default Fillon stroke button to reset these colors back to black and white. This time, with the vector selected, I'm going to come to object and select group. Or I could press command G on the keyboard. Now. Once I have done this, I'm going to click off the shapes to de Select. Now, if I move my most closer over any of these shapes and click, we will select all of them. That is because these vector shapes are now grouped together, so all of vector shapes to the left are individuals on. This composition to the right is grouped. This helps if you're creating a complex piece of artwork on movin vectors around a lot. You can group all objects together in this way, such as text objects, factor shapes and images. So now these vectors are grouped. All we have to do is select Just once on, we will select them all on. We can add effects like a color fill, unedited stroke very easily. Now it's important to note that even though these factors are now grouped, weaken still edit the vector shapes as individuals. For example, if I click on the group, we will select the group, though if I double click on one of the shapes in the group, we will click into that group on. I can isolate that part and click and move that part of the group around or even at new effects. Notice how all other objects on the campus area turn opaque on. We have this grey bar, the top showing us which level we are at within the group. Once I'm happy with my modification, I'm simply going to double click into the white canvas. Shape on with the selection toe. If I select the vector weaken, see, it's still part of a group. So I'm going to double click back onto the vector shape on. Put the shape back into its previous position Now, sometimes you may wish toe on group a group of actors if you want to separate them. To do this is quite simple. With your group selected come to object and select on Group Upon click, you will break the group up on Now they are treated as individual elements. But I want to keep this group, so I'm going to select all of them and come back to object and click group. Excellent. Okay, so that's how to create and manage a vector group. Next, I'm going to click on my back to Group Press and hold hold on the keyboard and dragged the group to duplicate it down. Like so under the title compound shape on. Just like earlier, I'm going to click on the default color and stroke to reset the vector colors. So as it currently stands, this group contains for individual vector shapes. Now we're going to compound these shapes together to create a single back to shape. To do this, we're going to use the power Find a to now I have mined the hand over to the right at the bottom of my screen. If you cannot see this panel simply come up to window, scroll down and select Pathfinder. If we look in the pile, find a panel, we conceive various shape modes and Power Finder's. What we're about to do is merge the four factors that created this group into a single shape. So with the group selected. I'm going to come over to the Pathfinder to on click the first icon to the left called Unite Aunt. Upon Click. You can no see that these shapes have become one. If we look closely, we can see the ankle Pontes on the vector outline that now makes up this new shape. So now we have this new shape. We can alter the effect on this as one, such as the stroke. We can push this up and turn the felt too transparent. It's important to mention that once you compound the vectors like this, you could no longer access the previous shapes as individuals. So be careful we're using this technique, so I'm going to select the shape with my selection tool and press and hold hold on Dragon over to the right to duplicate the shape looks. So this time I'm going to make this stroke transparent. Click on the fill color, come to the swatches panel and select ingredient. So sometimes you may need to create compound shapes in order to apply various effects. If I click on my top group and apply the same Grady int weaken, see, it's not the same as with the compound shape below. Here we get a nice grading across the entire shape. So next we're going to look at the shape builder to now this shape builder to work similar to the Paul Finder to with the shape of the tool, you can mooch, cut and slice shapes with more control to create more interesting outcomes. So first we're going to come up and select our ungroomed back. Those with selection to I'm going to click and drag an area to select them all. Click and hold Ault on the keyboard on drag them down and then my shape builder to a header . Next, I'm going to come over to the menu and select the shape Go the two, which is just under the free transform, too. Now, with the shape Bill Little activated, I'm going to come over to the group Factors on move the Mouse Coast over the shapes. So this selection of vectors contains four individual vector shapes on they are overlapping each other as we move the mouse cursor over the selected factors with the shape builder, Tool illustrator will highlight all the various shapes within the group. We couldn't see the areas that overlap on the areas that do know. So let's say we want to move just the diamond shape with the triangle below. With shape a little, you can click and drag over the two shapes and you can see they know become compounded. Let's say we want to cut out the top part of the circle as they overlap here. Well, with the shape builder tool we could click on that area on. It will cut it away with the selection to, I can now click that shape and move it to the side. So here we have not only cut that shape away, but created in new shape here, too. So now I have a bunch of new factor shapes. I can move them around on, space them out like so unchanged them individually. Pretty cool. So next I'm going to select my compound shape. I created earlier, impressive whole bolt to click and drag to duplicated below and click on the default colorful button. This time we're going to come to our first our board on holding shift, select the circle the star on the polygon, shape our press and hold Ault and drag them across to duplicate them on with them or selected. I'm going to scale them down like so, Holy shift. Unchanged the colorful toe black. Then I'm going to select each shape and move them over to my back to shape like so, but notice how they are behind the larger shape. So now I'm going to click on the big shape, right click, scroll down to arrange and send to back on. Now we can see our new black shapes on top. I'm quickly going to scale up my star like so. So now we have our vector with smaller overlapping shape factors. Next, I'm going to make a selection over this new composition with my selection tool. I'm going to click and drag over them now. I could group thes if I want to, as demonstrated earlier, but I have a different plan for this. With the vector selected, I'm going to press and hold Ault on the keyboard and click and drag across on down like so to make a quick duplication. Now we're going to do something a little different. What we're about to do is cut the black vector shapes out of the larger factor below to make a new shape. So with them all selected were going to come again to the Pathfinder panel. On this time, we're going to come to the fourth. I got across and click on the exclude button upon Click. You will now see that the individual vectors become a compounded into one vector. If I removed the stroke on, apply the same grading as before. We can see we have the transparent shapes in Vector. Now, if we want to modify these holes in our shape, we will need to use the direct selection toe. For example, let's zoom right into the shape all press a on the keyboard toe, activate the direct selection to on, then click on this shape. Now we now we can see the red anchor points that make up the shape. Now it's a case of simply selecting one of the anchor points on moving it around, though if I want to move the entire hole around, I will first need to select the anchor point, then hold shift and select the rest of the anchor points to move them around, using the arrow keys. Simple. So zooming out with the selection tool I'm going to click on duplicate this shape across pressing alters I drag on, simply swap the Phil and stroke color on push up the stroke on. We can see how the Grady Int also applies to our stroke on the new compact shape. So that is how we can arrange your vectors. Group of actors compound individual factors into single factors and cut ships out of actors . It all comes down to what artistic effect you are trying to achieve in your artwork. On what until what extent you wish to organize your vectors. Group in vectors can simply help with your workflow, though compound in vectors can help achieve a particular aesthetic for your artwork. In the next video, we're going to learn how to draw in Illustrator on Learn How to effectively use the Pento, the brush to on the pencil to see you in the next video. 11. Drawing with the Pen tool Pencil tool & Brush tool Ep10 19 [Adobe Illustrator f: welcome to this video tutorial in this video, we're going to be focusing on drawing in Adobe Illustrator, an illustrator. There are a range of tools to help you draw. It really comes down to what you are trying to draw because some tools are better equipped for various situations. So in this video, we are going to be covering the drawing tools and along the way I'll be demonstrating some techniques so you can get a good understanding of the possibilities you have in this program on what tools you may want to use for any given task. Now, the best way to learn is by watching on doing so to help you practice with the drawing tools. I have created this worksheet. We are going to be using this worksheet to trace some shapes I have prepared earlier. By the end of this video, you will have a good understanding of how to use the drawing tools which you can use to produce your work. So to follow along with this tutorial, you will need to open this document. This could be found in the essentials practice folder in the project folder. Now you condone low this project folder for free. The download link is in the description. So with the Project folder open click Essential practice drawing versions and select the version of Illustrator you're Using. In my case, it's Sisi on Open the Drawing. Fall on. You should have something that looks like this along the way. I will be mentioning some useful shortcut keys, which you can find in the description on in the short cut key page in the project pdf, which you can also download in the description. Now we're going to be covering a lot in this video on in quite some depth. If you wish to skip ahead at any point in the video or back, you can do so quite simply, the topics covered in this video on listed in the description along with their times, so be sure to check that out. Okay, so once you have this document open, let's get into it. So I want to draw your attention to the first page on. If you zoom in here, you can see we have four shaped objects, thes air, some of the shapes that we are going to be creating later on. But before we do that we are just going to take a closer look, so the first thing I want you to do is activate the direct selection to you can do this by pressing a on the keyboard and you will notice your most closer changed to a white arrow. Then I want you to click and drag an area over the full shapes. Like so upon release, we can now see the vector outlines on the anchor points and handles that make up shape. Next, I want you to press said on the keyboard and zoom in like so on the first shape. So here we have a simple stroke. This was created using the pen tal on. We can see it consists of five anchor points. Next we have a blob shape. This shape was created using the pen to weaken. See, here we have a very precise placement of anchor points along the vector outline. This factor shape does not have any hard corners on. If we look closely, we can see how the handles behave to create the codes. We can see that on some of the rounder crews, we have longer handles. If we come down to the next factor shape. We have a letter or vector. This was also created using the Pento. Notice how the anchor points on the curves opposition to create this shape. Notice how the anchor points have been positioned to create these subtle curves. Now the last shape is a little different from the others. Looking at this example, we can see a lot more anchor points. This example was created using their pencil to what you will learn later is that the pencil tool draws freely, so Illustrated generates more complex anchor points to create the vector light. Also, we have a different stroke applied, which gives it that illustrated. Look, we will be looking how to achieve this a little later on in this tutorial. Okay, so now we are familiar with vector pods, anchor points and handles. Let's start to draw some shapes, so let's come down to the second art board and start at the top. The 1st 2 we are going to use is the Pento. Now the Pentagon is probably one of the most popular drawing tools in Illustrator. You can find the pento over in the menu about five icons down. You will also notice a little white arrow in the bottom, right corner off the pento. If we click and hold on the pento button, you will see a box expands to reveal the series of pen tools. Now we're going to use all of these petals in this tutorial. So to make it easy, I'm going to move my most closer over the little arrow to the right. On upon release, we will snap off an independent pento or panel. We are going to be referring to this as we go along. Okay, so at any point, we can activate the pencil by simply pressing P on the keyboard. When the pentacle is active, you will notice the mouse cursor change shape on. We have this little fountain pen. This means we are ready to begin to draw. So let's start with the first example here and let's begin to click some points down along the worksheet. So in the simple a sense, we use the pen tour to click on drop down points. As we click on Drop Down these points, we begin to draw a line, so I'm just going to drop five points here along my first work seat shape on we have just created a simple line stroke. Now, at any point, look carefully in the Tools menu at the Color Square at the bottom notice. On this occasion, we have a transparent fill color on. We know this because there is a red dash through it and a black stroke. If I press the swap Phil button, you will see the effect that has on the shape. So I will press us again to go back to my original state now by default. When you use the pen tool, the fill color is normally set to transparent on the stroke. Color is black, but sometimes this may not be the case. For example, if you have bean drawing shapes and changing colors, your stroke and Phil will not be set to the default. I am just going to delete the line. I just made change the fill color to red and change the stroke color to yellow. If I press p toe, activate my pentacle on, draw my line again. We can see here that when we draw the stroke of Phil and stroke, color is applied. So you have to be careful when using Pento in Illustrator, you need to pay attention to your color fill and stroke colors. So I'm going to set this back to default. I could do this easy by coming over to the menu, clicking on the default Phil and stroke button that is going to change my colors back to black on white. Then I'm going to select my fill square on Just click the transparent red dash button below Like so on. Now my stroke is back to just a stroke, Phil. Excellent. Now, if I press be on the keyboard toe, activate the selection tool. We can now see the vector bounding box around it on. We can use this bounding box to move the stroke around, rotate or quickly change the size like so I'm just going to end. Do that on move onto the next shape. So by pressing P, I'm going to activate my pen tool again on this time. Draw a different shape, and I'm going to start from the top here. So the pen tool allows us to click on drop points freely on the campus area. And I'm just going to press on, do here, though. If you're looking to draw a straight line however, with the pento active. If we press and holds shift on the keyboard, I can move my most closer above on. When I click, a straight line will be drawn. I'll just do that. This could be done to the left, to the right top or bottom like so. This can also be done to create a perfect line in 45 degrees to, for example, if I press and hold shift again on come over. But this time in a slight diagonal and click, this will create a line to 45 degrees. So I'm going to continue to draw my shape here, pressing and holding shift to create a diagonal line up across and to the left on up once again. So before we finish our shape, I just want the press V to activate the selection tool on again. We can see the bounding box around it. This time I'm going to click off to de select my object. So as you can see, this is currently a line stroke, just like my first example to the left. But now I want to create the full ship, so I'm going to press P on the keyboard toe. Activate the pen, Tal. Then move my most closer just over the end of the stroke. Like so. As you do this, you will notice the mouse cursor change. Onda, we get a little line up here. This is illustrator asking us, Do we want to click that part of the line? So upon click, we have collect that part of the line on. We are now ready to continue to draw and expand that line so I could continue to draw the stroke in any direction. So But on this occasion, I'm not going to do that. Going to do the following with my pen to I'm carefully going to place my most closer over the starting point of my line on As I do this, you will notice the mouse cursor change with a little zero shape. Now this is illustrator asking us, Do we want to connect this line together? So I'm going to go ahead and click now. This is no longer stroke when you join your stroke line in this way, you create a back to shape. So we drop down some points to create a stroke on. By joining the stroke, we created a shape. Excellent. But what if, for example, we draw shape, but then choose That ended the shape further well, to make some basic changes. By pressing a on the keyboard, we can activate the dark selection tool. This will allow us to select ankle points on the line on if I want to. I can move an anchor point to change the shape block. So So what if I want to add to the shape, perhaps create a new corner point while using the Pento, we can add more points to the vector line, so let's take a look at this. If we come back to the pen to menu, the next tool along is called the ad anchor point to on here we can see a little plus symbol next to it. Now, if we select this, we will notice are most pointer remains the same. But now we have a little plus symbol next to it. So with this ad anchor point tool selected, we can carefully come over to the line, place your most coast over the line and remember, we need to have the line selected before we add a point. If you place the cursor over the selected line just right and click. You will add a new anchor point to the line, like so we can no see the anchor point sitting on the line Now if I want to, I can use the arrow keys on the keyboard to move this around like so or if I want to have more control. I compress a on the keyboard to activate the derrick selection to click on the anchor point on, move into a new position. So that is how you can add anchor points to a vector line. Next, I want to remove an anchor point. So if I come up to the pen to menu Tab this time, I'm going to select the delete anchor point to then you will see a little minus symbol on the cursor. So with the D League anchor point to selected, I'm going to choose an anchor point on my line on carefully put my cursor over it and click once. If you successfully put your most coaster over the anchor and click, you will notice the anchor point is removed on the stroke. On shape changes like so so that's how you can create and modify basic shapes using the pentacle on direct selection tool. In the next example, we're going to look at how to create curves using the pen to. So here we have a shape which we are going to attempt to trace now. Since this is our first attempt, I have placed some of these guides here to help you. Now the trick to efficient tracing is to try and use the least amount of anchor points as you can. When tracing the shape, you will have to use some judgment and try to anticipate where you're going to need anchor points to create an accurate cove. Now I have thes guide share to help us as an example. But if you were tracing your own drawing, you will not have thes. For this example, I'm going to demonstrate to techniques. You can use the click and drag technique on the click and convert technique, so see which one you like. The first technique I'm going to demonstrate is the click and drag technique, so I'm going to press P toe, activate my pen tal, come to my first point and click and drag like so, upon dragging, I will create some anchor handles. In this instance, I'm going to press and hold shift to get the handles nice and straight along my worksheet example. Then I'm going to come to the next point on my line and click and drag out again. Like so. And in doing so, I'm not just dropping down a point like in the previous examples, but by clicking and dragon. I am creating a curve in my life. Now I'm going to drag this out. But don't worry if it's not the same as the example below. Yet then, upon clicking and dragging on the next point, you will see the vector outlined. Create a curve, which we can pull out and try to match the worksheet. So I'm going to continue to use this technique to go around my shape until I come around on joint. Now this does take a little practice, so if you are new to this, it may be a little difficult at first. So right now that's pretty close to my work, she example, but not perfect. What I'm going to do now is use the direct selection toe toe, edit the handles on the ACA points toe edit the curve on my line by selecting an anchor point. We can now see the handles these little red lines here with the direct selection tool. I'm going to click on these handle points on tweak them to change my outlined stroke to match my worksheet. Example below. It is important to mention that as you tweak your curves, try and keep the two handles a straight in relation to each other as you can. This way, you will get a smoother outcome. If I reveal these examples here, this is really what you want to try and achieve. So after a lot of tweaking, you should end up with a shape like this that should hopefully match your worksheet. Now, if I press A to pull up the direct selection tool on click and drag an area over my shape, we can see the handles that make up the shape that's looking pretty good. So be sure to practice the click and drag technique I find. Using the click and drag technique is good for some situations. They're not so good for others. I find this technique requires lots of anticipation and skill. I find it works for more experienced illustrators who have a good feel for the pen tool. So I'm going to select the shape with the selection tool on Delete it, because I want to show you the next technique, the click and convert technique. Now I use this technique personally. I often find I lack control when using the click and drag technique, especially for big, complex and intra crit trace situations. If you're a beginner to illustrator, you may find this technique a little easier, so I'm going to press P on the keyboard toe. Activate the pen tool on. I'm going to start to trace my shape by placing down anchor points along my worksheet back . So again, remember to try and use the least amount of anchor points as you can. When tracing a shape you will have to use some judgment on. Try to anticipate where you are going to need anchor points to create an accurate curve, so I'm going to continue to click around my shape. Placing down anchor points are press and hold space bar and click to mover on my canvas on add points until I come around and connect my stroke to make a solid shape. So right now that's look, that's looking nothing like my work, she example. But it's at this point I want to introduce you to the last pento on this is the convert anchor point to. So if we come up to the Pento menu, like earlier this time, we're going to select the fourth I gone along on this one looks a little different when we select this are most coastal change to an upside down V shape. So with this tool selected were going to come down to our shape we just created. Now, using this tool, we're going to add curves to the line. To do this, we're going to move the most closer over the ACA point and click and drag out like so, as we click and drag out, we will pull out Anchor Point handles. So this time, instead of clicking and dragging to pull up handles, I'm using the Convert anchor point toe to create these manually. It's important to mention if you press and hold shift on the keyboard, we can pull the handles out in increments of 45 degrees, which can be quite useful. So upon release, we have added curves to that line, and we can see the handles that determine the curve. Now, with the convert anchor point or still active, we can click on a Anka handle on. Move that around to further customize the curve. Associate it to that handle, though on release you will notice the other handle disappears. If we want to edit the other handle, we simply press a on the keyboard toe. Activate the derrick selection to click on the anchor point on both Anchor Point handles will be revealed on I can go Ahead and added Both handles like So we can use this technique to get some really slim and pointy curve shapes. However, I don't like that at all. That does not resemble my work, she example. So by pressing shift see on the keyboard, I will reactivate my convert Anchor point. Oh, now I'm going to simply click on the anchor point on notice how the curve data will be reset. So this time with the convert ankle Pontell, I'm going to click and carefully drag outs and ankle points like so but this time drag along the line to attempt to copy the shape below. So I'm just going to drag out a little on on release. I'm going to pull out the handle on the far right. Like so. So now we have a nice curve here. Then I'm going to move on to the next anchor point, along with the Convert anchor Point tool. I'm going to carefully click and drag out some anchor point handles, though this time drag in the direction in parallel with my work. She example. Keep in mind not to try and get the exact curve with one anchor point. Don't pull out the handles too far. Each anchor point works in harmony with the next, so just give you a stroke, a little curve on. When you add curve to the next anchor point, you can complete the curve. So remember to do this in nice and simple steps. Once again, I will release on Twitter Handle like so. But here we can see this curve is not really matching. So by pressing a on the keyboard to activate the direct election toe click on the anchor point on. Now we can see all the anchor point handles involved. To make this cove on, we can click on tweak accordingly. Until we get a curve the same as the worksheet on, we can see that curb is looking pretty good. So using these simple principles, I'm going to move around the rest of my shape using the convert ankle Pontell to drag out handles ons. Use the direct selection toe to further tweak those handles to get nice, accurate and smooth curves in the vector stroke line. Now, this does take a little practice, but when you get to grips with this, you will be able to create any shape you want pretty comfortably as mentioned earlier. Try and keep the two handles a straight in relation to each other as you can. This way, you will get a smoother outcome. And again, if I were If I reveal these examples here, really what, you want to try and achieve our uncle points and nice and straight. So I'm just going to finish off the shape here. Notice how at first I only drag out the handles a little bit at first, then come back after to make this small tweaks. It seems to work really well like that on lastly, here on these two anchor points soon you should end up with something that looks like this . Now, if I press A to pull up the direct selection tool and click and drag an area over my shape , we can see the handles that make up the shape, and that's looking pretty good. So the click and convert technique is a more simple approach and gives more initial control on works best in riel complex situations. So experiment with both the click and drag and click and convert technique as you create your artwork. In future, you will find both techniques useful. So once you're comfortable with making curves with a pen tal, let's move on to the next shape. So here I have another example for you to try. Hopefully, you should be nice and warmed up from the last examples for this example. I'm going to use the click and convert technique, so I'm going to press P to activate the pentacle on, begin to drop anchor points around my shape on when I income two straight lines. I'm going to press and hold, shift and click to draw straight lines, and soon we should end up with something like this. But notice up here in the top left. We don't have a straight line now. Here's a quick tip to rectify this, so I'll press a ticket the direction selection tool on click and drag over my to anchor points and upon release, this will select them both. Now up in the control panel, I'm going to select the line button horizontal align center on the to anchor points will now become aligned with each other to form a perfect straight line in the middle on. Then I'm going to use the arrow keys to move them into position like so simple. So once I have my first outright, I'm going to begin to add curves using my convert anchor 0.2. So I'll press shift seat. Activate my convert anchor point tool on begin to pull up anchor handles on here. I'm going to start on hold shift as I do this to get nice straight handles, and I'm going to continue around pulling out handles on tweaking them, making sure to keep my handles nice and straight in relation to each other to get a nice, smooth curve again. Keep in mind, don't pull out the handle points too far. Each anchor point works in harmony with the next to just give your handles a little curve. We don't need to get an exact trees at first. When you add codes to the next anchor, you can complete the cove. Keep it nice and simple. If you have to tweak some of the handles with the dark selection tool, and soon you will end up with something that looks like this. If I make a selection with the direction action tool and zoom in, we can see how the handles work in relation to some of the tight corners Here. In some cases, the handles go in in line with the stroke. You will discover all this as you practice and get a feel for the pento. So we're going to finish this shape off by creating the inside shape with the pen tal. I'm going to drop down points, then use the convert anchor point of the ad curves and edit the handles with the direct selection tool. And soon I will have something that looks like this. So once you were happy with that shape, let's move on to the next shape. If we come across, we can see we have a rather different example. Now we're going to step things up a little here. We're going to draw this simple a graphic. So this time we have no guides on we're going toe. Add a new effect to a stroke. So for this example, we can use both the click and drag on the click and convert technique, whichever you prefer. So let's begin with the pen tal. First, I'm going to click the drop a point at the beginning of this line on, then drag up like so to pull out some handles. Notice. I'm keeping the handles in line with the worksheet stroke. Then I'm going to come to the end of the stroke and click and hold to drop another anchor point. You will see the line begin to curve, but not enough. So I'm going to drag down like so. To match. The cove noticed the handles coming out to on. I'm keeping them in line with stroke upon release. We have our new line, and if I'm not entirely happy, I can use the direct selection toe to tweet the handles. If I delete the line and used the click convert technique with the pen Tal. I will simply drop a point on the start of the line on one on the end press shift, see to pull up the convert anchor point to on simply, click and drag on the first point to pull up handles, then click and drag on the last point to pull out handles on at the curve. Tweet the handles on. We have a nice result, so I'm going to continue to create the lines below. Then I'm going to create a code along the first eyelash. Once I'm happy. Press V to activate the selection tool Press Command, see to copy and command be the paste Ill now have the same line on top of the next eyelash on paste again to place one last line on the third eyelash like so. And soon you will have something that looks like this. So both techniques, very simple. Once you have created your parts, you may need to use the Derrick selection toe to click and tweak your handles. We want to try and get the lines through the middle like so. Once you have your lines like mine, come to the center of the eye and focus on the white shape here. Next, we're going to create this shape. So zoom in and I'm going to press P to activate the mental on dropped a point on each corner. I'm going to press shift, see to pull up my convert anchor point to. Then I'm going to pull out some handles to correct a slight curve on the inside. But notice how I push the curve on the other side to Well, don't worry about this too much right now. Focus on the inside part on. Once you have a little curve with the convert anchor point all grab the top anchor point on the other side on drag it back into the anchor point. This will remove the curve where we don't want it. Next, I'm going to use the same technique but on the bottom. Then I will use the direct selection tool to simply toggle the handles to get a nice second cove. Once I'm happy, I will move to the outside press a. Activate the direct selection to click the line on press shift, see to activate the convert ankle Ponto and click and drag on the points to pull out handles on begin toe. Add a CO to the outside of my shape, then drag in the top handle back into the anchor point. Like so on. Notice how this keeps the top line nice and strict and keeps the curve on the line. We want Do this process again on the bottom, then press a and tweak my handles accordingly. And there we have that shape covered. Now, if we click on the shape we just made on, look in the tools menu at the bottom, we can see this shape has a stroke with a transparent Phil. Next, I'm going to create the able section on. We need the shape to be a solid white shape. So before we create the able section, we need to change this or we are going to lose our stroke on top of the black. So with the new shape selected, I'm going to come over and click the default felon. Stroke on upon Click, This shape will now have a white fill on a black stroke. Nice. So now for the Bible section, though this time we're not going to use the pen tool, we are just going to quickly draw and lips shape So next I'm just going to click on the Ellipse to come over and draw a shape and press and hold shift to get a nice, even circle like so and try and created the same size as the work she example on Upon release, we will place the circle. At the moment. This is white with a black stroke. I don't want this, so I'm going to come to the tools menu on at the bottom. Click on the swap color. Fill on stroke. This will put the black on the inside. Then I'm going to click on the stroke color and then click on the transparent icon, the red dash icon below to remove the stroke color. Now I can not see the white shape anymore, so I'm going to right click on the circle, come down to arrange and click center back on upon Click, the circle would be placed behind everything on. We can now see our white shape. Next, I'm going to click on the circle with the selection tool Press Command, see to copy on then command V to paste on with the new circle, come over to the Tools menu on down to the colors. I'm going to click on the default color feel button. This will set it to white with a black stroke. I'm going to click on stroke color and then click on transparent icon below on. This will remove the stroke. Now I'm happy with my white shape. I'm going to press s on the keyboard to activate the scale to then press and hold, shift and click and drag to scale the circle down like so. And soon you should end up with something that looks like this. Next, I want to place the circle on top into the center of the black circle. I can do this simply by selecting the black circle with the selection to hold on shift and select a white circle with them both selected. I'm going to come up to the control panel and click on the horizontal line center button that will align them both to the center and then click the vertical aligned to. Then I'm going to move the eye into position like so you should have something that looks like this, and that's looking pretty cool, though The strokes that make up this example look pretty simple. They currently have the default stroke path effect applied. When using the pen tal by default, it will use the simple stroke. Once we have our stroke, we can apply different stroke effects. So next I'm going to use the selection to to select the top stroke. Then, by pressing and holding shift, I'm going to click on the next two strokes below. So with all the strokes selected, I'm going to come to the control panel at the top of the workspace and next to our stroke. Wait, we have a variable width profile. If I click down on this, we can choose from a number of profiles on. We can see these air going to alter the dynamic off our stroke parts. So in this instance, I'm going to select the first width profile. Now, if I click off my selection to de select, we can see that we now have an interesting stroke effect applied. We can see that the start and end points seem to taper off in both ends, giving us a more calligraphic style. So with the strokes still selected, I'm going to push up the stroke. Wait, let's let's say push this up to six on That's looking a little more interesting with the selection tool. I'm going to select the first eyelash press and hold shift to select the last two. This time, I'm going to apply a different profile. So with the strokes selected, I'm going to come back to the control panel, click down on the variable width profile menu and select the width profile full on. Push up the stroke. Wait on. We have a nice eyelash effect now. It's important to mention at this stage that when using variable profiles, you need to pay attention to the start and the end point of your stroke. For example, if I click to select just one of my eyelashes if we come to the Strokes panel and expand the panel fully, if you cannot see this than just click on the up and down arrows on the tab on the stroke tab to expand it down at the bottom is the profile we have set to the stroke. Now, notice to the right of this is a little button. This is the flip a long button on. If we press this, we can flip the effect. This is very useful if you accidentally draw your stroke differently to mine and your end point and start points are in the wrong place, so keep that in mind. Okay, so that's an introduction to the pen tal, which works best to create vector shapes on modifying existing factor shapes. The next two we're going to look at is the pencil to the pencil. Tool is a useful tool to create Freehand strokes on more organic, less uniform shapes in the pen tal. For this, we need to come to our next rope. So if we come over to the main menu, we confined the pencil to about nine icons down. If we click and hold on the pencil to weaken, see the pencil tool is part of a series. If we place on most costar over the arrow on the right on release weaken, snap off the pencil to a panel like so. So the pencil tool consists of three tools. We have the pencil tal, the smooth tool on the path, a raise at all. So let's begin here by selecting the pencil tool. Or we can use the keyboard shortcut end on the keyboard so the pencil tool is used to draw Freehand strokes on is good to achieve in your free hand illustrated effect. When the pencil tool is activated, you will notice the most closer change to what looks like a pencil. So let's come over and start on the first worksheet. Example. So with the pencil toe, I'm going to attempt to trace this half circle shape here. Now I'm using a mouse, so I'm not going to draw the smoothest of lines. This tool would probably be best when used with a pen tablet. You will get a much smoother outcome initially. So upon release Weaken CR stroke. Now because the pencil to it is free hand, you usually get a more complex vector stroke with more anchor points along. Now. If it first, you know, entirely happy with your path, we can continue to use the pencil tool to attempt to refine the line. If we draw on top of the path, we can continually add to it. We can draw on top to create the whole stroke or simply draw on part of the stroke to refine just a particular part were not happy with until we get an outcome we are happy with for the next example, we're going to try and draw a complete circle shape. So I'm going to draw around the circle on the worksheet, like so on upon release, we will have a stroke line, but notice how it does not connect if we look closely. We didn't see the start on end anchor point. If we draw again on top of the stroke line over that particular part, we can connect the stroke line like so on. If we want to continue to refine the stroke, Weaken do so by drawing again on top. Now, as we can see, the stroke is still not that smooth on, like our previous example contains a lot of anchor points. So next we're going to use the smooth tool. So if we zoom in and come over to the pencil to a panel, I'm going to select the smooth, too. So with this move tool, I'm going to draw on top of my stroke outline. But remember, before using this move tool, the line must be first active. So after a combination of refining the stroke line with a pencil tool on smoothing the stroke with smooth tool, we can get an outcome similar to the worksheet. So with the techniques we have just learned, try and trace this next shape and see how close you can get to it. Soon you will have something that looks like this. So once you are happy with that exercise, let's come across to the next example Here. I want to demonstrate an occasion. The pencil tool. Maybe best appropriate. So here is an example of a rose illustration that was created using the pencil to now You may have administration. You scan in or want the trace. I have an example here. So using the pencil to I'm going to trace my sketch like so clicking on drawing lines over my row sketch now because this is quite an illustrative effect. We don't have to be to specific. Soon you will end up with something that looks like this. So now we have many stroke lines that create a simple illustration. If at any point you wish to refine airline, press a tow, activate the direct election toe, select the stroke, then press end for the pencil tool on draw on top to refine. So with the selection tool, I'm going to draw an area over my illustration. Like so on that will select all the strip lights. I'm going to press command, see to copy on then command V to Paste, then move my new example across. Now, when using the pencil tool by default, it will use the simple stroke, which is very similar to the pen tal. Once we have our stroke, we can apply different stroke effects. Earlier, when we created the ice sample, we applied some variable profiles. Let's look how this will look with a similar stroke effect. So with all the strokes elected, I'm going to come to the control panel at the top of our workspace on next to our stroke. Wait, we have a variable with profile menu. If I click to drop this down, we can choose from a number of profiles on. We can see these are goingto alter the dynamic of our stroke parts. So in this instance, I'm going to select the first with profile. Now, if I click off my selection to de select, we can see that we now have an interesting stroke effect applied. We can see the start and end points seemed to taper off on both ends, given us in more calligraphic periods. Next, I'm going to press V toe, activate the selection tool, then press and hold shift and select some of stroke lines. Then come on, push the weight of the stroke on there, we have an interesting effect. So that's a brief demonstration of the pencil to a useful tool to create Freehand strokes on more organic, less uniform shapes, which we can add various stroke effects, too. The last two we're going to look at is the brush to now. The brush tool can be found in the menu just above the pencil to before we attempt to use the brush tool. We should first open the Brushes panel. I have my Brushes panel here on the right, but if you cannot see this, come up to window and select brushes from there, depending on what version of illustrated you're using, this may be a little different for you, but essentially, if we look in the Brushes panel, we can see a free brush presets at the top. We have some stroke definitions on below. We have some texture and pattern definitions. Now, one of the main differences between the brush to on the pencil tool is that you cannot create factor shapes. Using the brush to like you can use in the pencil to the brush to is simply used to create brush strokes. Unlike the pen and pencil tool, the brush tool is dependent on the brushes panel. When you draw. Using the pen and pencil tool, we create vector stroke lines and shapes based on the default vector Paul's. When using the brush to, we use the brush effects from the Brushes panel. So let's come to the first example. I'm going to press it be to activate the brush tool on over in the brushes panel. I'm going to select the basic brush definition on begin to draw like So. Now what you will notice with the brush tool is that when you create a brushstroke, you don't see the vector outline. The brush stroke is simply placed Also, if I'm not happy with that initial line, I cannot draw back over it like I could with the pencil to. It just creates another brush stroke. So I'm going to end. Do that to finish off my first example. Until I have something that looks like this. If I press V. I can select each individual brushstroke on. Apply all the selection tool functionality. If I want to tweak the line, such as the weight, I can do so by coming to the stroke option on pushing the stroke. Wait up or down like so. If I want to edit the stroke path, we can use the direct selection to click on the anchor point on Tweak the anchor point 12. The Blob brush tool & Eraser tool in Adobe Illustrator Ep11 19 [Adobe Illustrato: So I welcome to this video tutorial. In the previous episode, we looked at how to draw in Illustrator using the pen, pencil and brush to. In this video, we're going to be taking a look at the blob brush to on the A razor to now the blob brush to allows us to draw similar to the brush to by drawing freehand strokes. Though unlike the brush to the block, Tool does not work along a vector path. The blob to essentially creates and builds vector shapes theories. It'll works to remove parts of a vector shape. Follow along with this tutorial on practice these tools you only toe open this document I have prepared especially for this tutorial. This could be found in the essential Practice folder in the Project folder. You can download this Project folder for free. The download link is in the description. Along the way, I will be mentioning some useful shortcut keys, which you can find in the description on in the short cut key page in the project pdf, which you can also download in the description. So with the Project folder open, click Essential Practice Blob brush versions on select the version of Illustrator you're using. In my case, it's Sisi on Open the Blob brush. Fall on. You should have something that looks like this. Now we're going to be covering a lot in this video on in quite some depth. If you wish to skip ahead at any point in the video or back, you could do so. Quite simply. The topics covered in this video are listed in the description along with their times, so be sure to check that out. So once you have this document open, let's get into it. So once you have your document open, we're going to begin by selecting the blob brush toe from the menu. This tool can be found under the pencil toe, or you can use the shortcut shift. Be on the keyboard with the blob brush too active. You will now see the most cosa changed to what appears to be a brush on a circle. The circle represents your stroke size. Now we can talk about the size of the stroke by using the keyboard shortcuts. Now I'm simply going to draw a scribble on the campus like so on upon release. We have our scribble now If I press V toe, activate the selection tool and click on the scribble. We know this immediately that this is now a vector shape as we can see a vector outline on the anchor points that create the vector. Unlike the pen, pencil and brush toe that creates strokes along a vector path, the blob to creates a vector shapes. Next, I'm going to press shift, be toe, activate my blob brush to again. But this time I'm going to draw a line through the middle off my scribble. Then I'm going to press V to activate the selection tool and again select the scribble notice this time how the line I just created on top of this cripple has been merged into the first initial composition, so we could use the blob toe to build vector shapes and continue to draw on top toe. Add to them with this vector shape, weaken treated as such, such as adding stroke and colorful effects. So again, I'm going to press shift, be toe, activate my blood brush toe. But before I begin, I'm going to click the default color film and stroke to reset my colors. I'm going to draw a scribble like so. Then I'm going to select a new color from my swatches panel, making sure it's not the same black color. Let's go for an orange, and I need to make sure my stroke color is now orange in the tools menu on. I'm going to draw another scribble on top like so. Then I'm going to choose another color from this watches on, draw another scribble and another until I have something that looks like this. This time, if I press V to activate the selection tool and click on the color factors, we can now see that there are, in fact, individual objects. So earlier, we learned that the blob brush toe control on merge vector shapes, but it's only by color. If you use the blob brush tool to draw on, use the same color to draw on top. Only then will it moved together. If you use different colors, they don't mooch. It's a Ziff. The colors distinguish them as individual elements, so keep that in mind. Next, we're going to take a look at the arrays. It'll now the arrays. It'll could be found in the menu under the broad brush tool or you can use the shortcut shift e With the a razor toe active, you will see the cursor changed to a circle, indicating the area, which you will remove on weaken talk of the size off this easily, using the keyboard shortcuts Now the race. It'll could be used to delete parts of in vector shape or smooth a surface of a vector. Outline theories. It'll could be very useful along with the blob brush tool, so I have to factor shapes here, a stroke on a solid Phil with the selection tool. I'm going to select the first factor. Then I'm going to press shift E to activate the eraser tool. I'm going to push up my A razor area like so. Place my a razor toe over the vector outlined on Simply click once. Now you can see that the area has been removed from my vector shape on the vector outlined off my shape has been redefined. Notice If I try and click on any other vector shape, nothing works. If you select a particular factor, shape theories. It'll will only be applied to your selection. If I press V and select the next vector, press shift e talking my brush size. I can remove parts of the next example like so easy Now the a race. It'll could be very useful along with the blob brush to Let's have a look at the next examples. Here I have a blob shape on a rose illustration from the previous video. For this example, I'm going to attempt to color in this blob shape on the rose using the blob brush to then use theories. It'll to redefine if we look in the layers panel over here on the right. If you could not see your layers panel, then you can come up and click on window on selected. From there, we can see this document consists off three layers the top layer the strokes on top layer on. If I talk the visibility off this layer, we can see the strokes that make up these examples. Sit on this layer. This layer is also locked so we don't accidentally edit or move are examples The layer beneath this is the add color layer on. This is the layer we're going to use the blob brush to on now I have prepared the layers in this way as to keep the black strokes on top of our color, which we are about to add. So by pressing I on the keyboard, I'm going to use the eyedropper tool to select the green from my sample. Here, press shift. Be to activate the blob brush toe on, begin to draw where I would like to place a color. Like so upon release. We will now have the blob of color, but now we can see some color outside the outline. So I'm going to make sure the vector shape is selected. Press shift E and carefully removed the parts I don't want like so until I have something that looks like this. So on the next example, I'm going to use a combination off the blob brush to on the eraser tool toe. Add some color on highlights, selecting some pre chosen colors on the right. On. Hopefully, that should demonstrate how easy it can be to create unique vector shapes and add color on effects to your artwork. So that's an introduction to the blob brush to on the A razor to in the next video, we will be taken. A look at text in Adobe Illustrator on some of the tools on effects that can be used. See you in the next video 13. Type tools in Adobe Illustrator Ep12 19 [Adobe Illustrator for Beginners]: welcome to this video tutorial in this video. We're going to be focusing on type in Adobe Illustrator now. You would find it pretty tedious and difficult to create broaches, magazines, newspapers or books in this program. But Illustrator does offer a range of tools to be creative with type, which you may find useful for logo's T shirt designs, posters or book covers. In this to toil. We're going to be looking at the type tools on offer on how we might use them. Now the best way to learn is by watching and doing so to help you. I have created this worksheet to fall along with this tutorial. You will need to open this document I have prepared especially for this tutorial. You will also need to download and install the fund code. These files could be found in the essential Practice folder in the project folder. Now you can download this Project folder on the front for free. The download links are in the description. Also along the way, I will be mentioning some useful shortcut keys, which you can find in the description on. In the short could keep age in the project. PdF, which you can also download in the description. So with the Project folder open, click Essential practice text versions on Select the version of Illustrator you're Using. In my case, it's Sisi on Open the text. Fall on. You should have something that looks like this now We're going to be covering a lot in this video on in quite some depth. If you wish to skip ahead at any point in the video or back, you can do so. Quite simply. The topics covered in this video are listed in the description along with their times, so be sure to check that out. So once you have your document open, let's get into it and we're going to start at the top off the first art board. Now you can find the type toe over the menu about six icons down. You will also notice a little white arrow in the bottom right corner of the type tool. If we click and hold on the type to a button, you will see a box expand to reveal a series of type tools. Now we're going to be using all of these titles in this tutorial, so to make it easy I'm going to move my mouse cursor over the little arrow on the right. On upon release, we will snap often independent type toe panel. Now, we're going to be referring to this panel off the course of this tutorial. Also, it will help the have your character panel open. I have mine. Open here. Ready, though. If you cannot see yours, come up to Window, scroll down to type and select your character panel from here. So we're going to begin by either selecting the type tool, the first tour in the type to a panel or Presti on the keyboard to the short cut. No, we have the type to active. We can see the most closer has changed to this new type prompt icon. So I'm going to click just once upon. Click, we can now see a text prompt waiting for us to begin to type. Now we have activated a type object. We can no see up in the control panel. A series of text formatting options. So before I begin to type, I'm going to change my font. I could do this by either coming to the top control panel clicking on the drop down on my character option and choosing from here. Or if I know the name of the front, I can click into the character title area on type the name. I know the fund I want to use, so I will begin to take this in. I'm going to type in. Code on up will come a selection close to that on, I'll select code Bold. Next, I'm going to change the font size. I'm going to type in 75 into the size on press enter, you should know. See your text prompt increase, too. This will give you a rough idea of how big your text is going to be when you type. So once I'm happy with the font and size. I'll just type in text format like So once I'm happy with that, I'll just come over to the menu and click the selection to Now we can see a bounding box around my text object. This will allow me to move my text element around, change the shape and scale on rotate. If I wish, I'll just undo that. So, with the selection tool, if I double click onto my text element, I will click into the text and activate the type two. Here. We can select part of the text element on make formatting changes such as Change the color , change the front well, the tracking. We could make these changes either up in the control panel or in the character panel. We can also experiment with other effects with the text selected. If we take a look in the tools menu at the bottom weaken, currently, see that there is a black fill applied. If I press swap Phil, we can apply a stroke on talk of the stroke size. Then click on the color fill and choose a packing from the swatches panel to de select my text element. I'm going to choose the selection tool in the menu and click off so we can use these formatting techniques when we are creating headers or local type. So what if, for example, you're dealing with more than just a header, perhaps and paragraph text? So if we scroll up here, I have some Philip text, which I'm about to use, so I will just quickly copy all of this, so I'm going to press T to activate the title. But this time instead of clicking once I'm going to click and drag an area out like so upon release, we have now created a text area. If I press command V to paste, the text I just copied will be pasted into the new text area box. If I choose the selection tool from the menu, I could move my text box around on talk of the size of the box like so? No, If we look closely, we can see this little red box in the bottom right off the type of box area. Well, this is illustrator telling us that there is more text in this box that can be shown now if I press a on the keyboard to activate the direct selection tool, click on this little red icon on move my most closer over to the side. The most crucible change on Now Illustrator is asking me to draw in new type area so I'll go ahead and click and drag on upon release in New Box is created on the rest of the type from the first box will flow into this new box on. We can see these boxes are now linked. If I press V. I can move the box around and change the shape back so and if I double click into the box, I can make selections and edit the text formatting like previously demonstrated so we can use tight boxes if we're dealing with large amounts of paragraph text, perhaps for leaflets or flyers. Next, we're going to look at text as outlines. So here I have a text element I have prepared earlier on. If we select the object with the selection tool on DoubleClick, weaken see, it's just a normal text composition. Now. There are a lot of formatting, color and stroke effect that you can apply the type. But sometimes there may be other effects you wish to create that cannot be applied to the type objects things such as applying brushstroke effects. Sharing the document artwork with others who do not have the same font is you apply ingredients. What we're going to do next is turn this text object into outlines. To do this, we need to de select the text object by choosing the selection toe in the menu. Once the object is selected with the selection tool, we can right click on the object then scroll down to create outlines upon Click. The text has now being converted into vector shapes, though you must remember once you convert text into outlines, there is no longer anyway toe edit this text, so you must be happy with your composition first. Once the text is outlines, you can start to treat it as a doctor. Shape on add various color and stroke effects. You would otherwise not be able to apply so we can use these formatting techniques when we create headers or logo type. The next type two we're going to look at is a fairly recent to introduce the illustrator. If you're using an earlier version off illustrator, you may not be able to use this one. This is called the Touch Type tool. This tool allows us to make quite drastic modifications to live text, which we can edit. For example. I have a type element here on. We're going to apply some touch type effect to this so we can either come up to the type tools panel and click the far right icon or we compress shift T on the keyboard. Now we can see our most closer change accordingly, so let's come over to one of the letters that makes up this text object here. If I click on one of the letters, we can isolate that letter on No, we have a bounding box around it with circles. Now each one of these circles allows us to make a particular change, such as location, size and scale on position. Once I have made a modification I'm happy with, I can click off to de select, then select another character makes some food the modifications on de select by clicking off. So, as you can see, we can make some quite big changes to a text object. Now, if I press t to activate the type tool on click Back on, we can see the text is still creditable. Should we wish to change anything? So if we come on to the next page, we will begin to see some off the more playful type tools in Illustrator. If we come to the Type Tools panel and select the vertical type tool, this can allow us to create type vertically pretty cool now. Earlier, we learned how we can create type boxes by clicking and dragging with the type tool If, however, you have a vector shape, you can paste text into vector shapes. For example, I have to factor shapes here on just up to the right. I have some filler text. I'm just going to select all of this type. Unprecedented Nancy to copy. Then I'm going to come to the type panel on Select the area. Type two with the area. Talk to a sect It I'm going to select the stroke on my first factor Upon Click, the vector shape will know become a type area box on defy press command V to paste are paste in my copy inside like so. So just like earlier, we have more text in the box that can be shown if I want to extend my type area into the next factor shape. I first need to select my current type area with the selection tool. Press A to activate the direct selection tool, click on the red icon. Move my most cosa carefully over to the stroke off the next shape on Upon click, the text will flow into the next vector shape. Excellent. Next we're going to look at text on a coupe. An illustrator. You can create a stroke path using the pen tool or pencil tool on running text along it. Here I have a vector stroke path that has been created earlier, using the pen tool. If if we come to the type tools panel and select the type on a path to weaken, come over and click a starting point on the stroke like so, if I begin to type, we can see the type run along the path. Now I'm going to choose the selection tool from the Tools menu to de select the type on. If we look closely at the selecting type object, we have a thin line in the middle. If we place our most costar over this, we will see a little most Cosa prompt. This means we can click this and drag it down on this will flip the text to run on the other side of the path. I'll just click this again and drag it up back on top. We could also use the type on path tool to set type along the outside of a vector shape if we take the type a long path to again. But this time, click on the stroke of this circle. We can place text along the outside of stroke if I choose the selection tool in the tools menu to de select the type I can come on. Set the text along the inside by clicking the thin line handle. Like so So that covers some of the type tools in Adobe Illustrator, which you may find useful for your artwork. In the next video, we will be moving on from the essentials Practice stage on begin to create our project. Next, we will be learning how to set up in new document ready for our project. So see you in the next video. 14. Setting up a document Placing in a drawing Sketch Ep13 19 [Adobe Illustrator: welcome to this video tutorial. So now we're getting into the project section off this course. In the previous 12 episodes I introduced you to Illustrator, showcased some handy tips on We practiced some essential tools and techniques In this video . We're going to begin our project by setting up a document in Illustrator for our poster and T shirt design. Then we will be placing in a previously scan, drawing on arranging the layers in such a way to prepare us to begin tracing it. I will be talking you through some of the details you need to consider. As we set up a new document later in this project, we are going to convert this scan drawing into vector artwork by using the drawing tools in illustrator. Once converted into vector artwork, we will be able to apply effect to it in future. So currently I have this document open. This is an example of what we're going to prepare in this video. This image has been placed in on if you look carefully in the layers panel, we can see the structure has been arranged to create an ideal set up for us toe start tracing the follow along. With this tutorial, you will need this image to place into a document. This can be found in the Project folder. If you would like to see this document I have open on, take a closer look. This can also be found in the Project folder. You can download the project folder for free. The download link is in the description. So I'm just going to close this document because now we are going to set up our new document to create a new document. We need to come to file new now. Each time we create a new document in Illustrator, we will see this properties window up here before we create a new document. We need to specify a number of criteria in order to create the right document for work. So we're going to create a poster and T shirt design here in Adobe Illustrator on this artwork is going to be printed, so we need to create a document for print starting from the top. Here we have the name. So on this occasion, I'm going to call this skull artwork. Next, we have a profile tap. So this is currently set to custom though. If we click the tab option, we can choose from a list off presets. Here we have print Web devices, video and film on basic RGB. Choosing one of these presets will help us set up the right document settings. For example, if I click Web, we can choose from a number of standard website. Canvas size is on notice. The units have been set two pixels. If I click on video and film, we have an array of canvas sizes for various video formats. Now we're going to be making artwork for print. So on this occasion we are going to choose print from the presets. Now we can specify the number off our boards. I'm going to set this to To because I know eventually I'm going to create two pieces of artwork in this document. As soon as we specify more than one off board, a number of options will become available just to the right here. I can specify the arrangement of my art boards. In my new document, we can arrange greed by row grid by column arranged by row or arranged by column. No matter what you choose, at this point, you can always change this again later. I want my art boards to be side by side. So on this occasion I'm going to choose grid by rope. I'm going to put my spacing up to 10 millimeters between my art boards and said the column to To next we can choose our size, so I set my profile to print. So now I can choose from a set of print formats. I'm going to go ahead and choose a three on notice. Now the units have been set two millimeters. This could be changed by clicking on the tab, but since this document is for print, I'm going to keep this set two millimeters. I want my document artwork to be portrait, so I will make sure my orientation is set to portrait. Now. My document will be sent to the printers upon completion, so I'm going to add some bleed. The lead is normally specified by your printer. In my experience, it's between three and five millimeters for those who may not be familiar with bleed when we come to export our artwork. Later to give to the printers, the artwork will have a number of Marx and guides to help the printer correctly trim the poster artwork. If we create a for Billy document, the bleed will allow for an element of over trimming, so I'll push my bleed up to five millimeters. We also have a little tab here called Advanced. If I click this, this will reveal some other options. We can see the color mode is set to see him like a That's good as we're going to be working with CM colors for print. The raster effect. We can leave at 300 dp I This would guarantee any artwork we rest arise will retain high quality on. We will leave preview mode set to default. So once I'm happy with the document set up, I'll click. OK, so upon Click Illustrator will create the new document for us And here we have our to our board. If we look closely, we can see red lines around the outside off our art boards. This is the bleed marcher. So now I'm happy with my document. It's time to bring in my drawing. What I'm going to do now is place an image into my document. To do this, I'm going to come to file Andi place here. I'm going to navigate to the Project folder. This image could be found in the test project folder set up assets on I'll select the scan Skull J peg on click place. Now, Illustrator will ask where you want to place your image. I'm just going to click. Once on there is my image right now. It appears to be quite small. So with the selection tool, I'm going to click and drag on the bottom right square off the bounding box, holding shift to scale up. Like so until I'm happy. So now we have an image inside. Illustrator, if we come across to our links panel here on the right, if you cannot see your links panel comforter, window, scroll down and select links in my links panel. I have a new item. This represents my image here. You will be able to see all the images in your illustrated document in this links panel. This makes it really easy to re link images update images on navigate to images in the document. Okay, so this is a drawing I have prepared earlier, which I am now going to trace in illustrator. Though at the moment the illustration is too dark. This is going to make it difficult to trace. So I'm now going to prepare the layers and treat the image. So first I'm going to select my image, and I'm going to come over to the transparency panel. If you cannot see your transparency panel, come to window, scroll down and select transparency. So I'm going to set my transparency to 20%. Now we can see the image is faded. Now this is going to help because as we start to draw on top using the drawing tools a little later, we won't clash with the drawing. Excellent. So once or sketches faded, I'm going to come to the layers panel. I'm going to double click on the layer name and rename this to drawing guide. If we look closely, we can see an eye symbol to the left. To the right of this is an empty space. If we click this, we will see a lock icon up here. This means I will not be ableto accidentally select or alter this layer in any way. Next, I'm going to come to the top right click the Menu Icon and Select Creek New layer. I'm going to call this layer Trace layer on cake. OK, so this will be the layer we begin to trace are scanned drawing image. This is now a good set up. The background images locked on were now free to start tracing the scan drawing on top. So to finish off, I'm going to save this document. I'm going to come to file safe and save my document to the desktop and simply save as skull sketch. Make sure you save your documents somewhere safe, as we will be using this document in the next video. So that is how you can set a big document for print on imported, drawing into illustrator and create the right set up to begin tracing. Now, before we begin to trace the image using the drawing tools, I want to demonstrate an alternative. There is a way in Illustrator Too quickly convert Ayhan drawing into a vector graphic. In the next video, I'll be showcasing a particular tool called the Image Trace tool known and early versions of Illustrator as they live trades too. I will also be discussing why you may or may not choose to use the image trace to over the tracing technique using the drawing tools. So I'll see you in the next video 15. Image trace tool for sketches in Adobe Illustrator Ep14 19 [Adobe Illustrator fo: welcome to this video tutorial. In this video, I will be showcasing a particular tool called the Image Trace Tool, known in earlier versions Off Illustrator as the Live Trees Tour. We will be taking a look at this tool how it works on. Later on, I'll be discussing its pros and cons on why we may or may not want to use it to follow along. With this tutorial, you will need to open this document. This could be found in the Test Project folder in the Project folder. You can download this project folder for free. The Donald Link is in description. So with the Project folder Open Click Test Project set up image trace versions on Sacked, the version of Illustrator you're using. In my case, it's Sisi on Open the Image trace file on. You should have something that looks like this. Now we're going to be covering various topics in this tutorial. If you wish to skip ahead to any point in the video or back, you can do so. Quite simply. The topics covered in this video are listed in the description along with their times, so be sure to check that out so Let's get into it. In the last video, we looked at how to set up a document on place a bit map pixel based image. Intar composition ready to trace in this video. I'm going to use this document example to demonstrate on introduce you to the image trace talk. If you have this document open, you too can follow along and have a go yourself. So what is the image Trace tool? Well, the image trace tool is a way to very quickly convert bit. Map, pixel based images, pictures and photos into vector artwork. If you haven't image selected on your canvas area, you can find the image trace tool button up in the control panel. As you can see, I have a button here called Image Trace. In most recent versions of Illustrator, this tool has been changed. This tool is formally called the Live Trees Tool. If you're using an earlier version, you may have to follow along using the life trace tool. They pretty much work in the same way, though in recent versions of Illustrator, the tool itself has Bean slightly changed. You can still find it up in the control panel as the life trace button. So why use this to? Well, the image trees tool is very popular with artist's and illustrator's who was to turn their paper drawings or reference photo images into a vector artwork, which they can refine and apply color effects, too. In my case, I have a hand drawn sketcher, which I want to convert into vector artwork, potentially adding lots of color on experimenting with some effect, we can use the image trace tool to quickly convert the sketch into a vector. Now the great thing about vector artwork is that it can be shrunk to the size of a pinhead or blown up to the size of a building on Still retain. Clarity and sharpness are not become pixelated like what can happen with pixel based graphics. So if we look at the first art board, this is a drawing I have prepared earlier. It's been scanned and placed into my document. At the moment, this is a bit mapped image. This is a pixel based image. If we selected image with the selection tool, we can see a bounding box around it, and if we zoom in close, we can see the paper texture on the drawing in more detail. So if we come on to the next art board, we have another example here, though this time with the selection tool. If I select this image, we can see it is indeed a factor shape. And if we zoom in here, we can see all the anchor points that make up the artwork. This example here was created from our pixel based image here to the left, using the image trees tool. If I come across to the next two examples weaken, see, we have some other color effect. When you convert your hand drawing sketch or image into a vector using the image trades tool you will find you can apply color very easily. If I come over to the right here, we can see this image has a stroke effect applied to it. If I select this example on, look at the color arrangement in the Tools menu, we can see it simply has a stroke with a grade in color applied. If I click on the swap Phil and Stroke Button, we can see this is simply the vector off our hand drawn sketch with a color grade inter plied so upon using the image trace tool, you can quickly apply effects to your drawings that would otherwise take you a long time. So how do we use the image trace tool? So I'm going to toggle of his ability off the example there. So we are not distracted by this on to use the image trace tow N C C. You will need to have your image trace panel open, and I'm just going to drag it out So we can clearly see this. If you cannot see yours, come upto window, scroll down and select image treats. If you're using an early version of illustrator, don't worry about this for now. So first, come over and select the blue example on Delete it. Come to the left and select our pixel based image Press command CD copy and command V to paste on. Drag our copy image over to the right. Our board Once we're happy with the positioning off the image, make sure the images selected with the selection tool on has the bounding box around it. Now we need to come up to the control panel and look for the image trades to a button. It should be towards the middle of the control panel, so I'm going to go ahead and click the image trace to a button. Once upon click, you will see illustrator begin to process the image on. Suddenly, the image appears to have Bean converted, though it's not done quite yet. Next, we need to totally bunch of properties to get the effect we want on this is done in the image trace to a panel here. If you're using the live trees tool, you will find the tools in the top control panel. So if we look in the image trace to a panel here we have a number of options to choose from . Starting from the top, we have a series of buttons here we have auto color, Hi color, lo color, great scale black and white on outline. These are a few presets that, upon click, will apply an effect to our live trees image. Now it's important to mention that the image trace tool can take a lot of processing time. The bigger your pixel image, the longer it will take to apply the effect. We have a really simple example here. It's just a black and white sketch. So I'm going to go ahead and click on the black and white button, and that's going to optimize the settings for a black and white image. Now, if we want to, we can click on the preset tab and select from a range of other color options, though we are just going to keep it set a black and white. On this occasion, we're going to keep view said to tracing result on mode to black and white. Next, we have the threshold. Now, this is probably one of the main properties you want to pay attention to, as this can alter the effect entirely for earlier versions of Illustrator. This could be found in the control panel next to the life trace button. So with the image selected, I'm going to toggle the threshold down to 50 on. We can see the amount of black used decreases, but quite subtly if we decrease threshold down to, say 25 weaken. See, this time the amount of black decreases significantly. If we put the threshold up to say 169 we can increase the depth of the black, and if we push the threshold up 2 to 44 We can see a significant increase in the black, so you can total the threshold to get in effect you're happy with On this occasion. I'm going to go with around 200. That's looking quite bold. There on the Image trace panel. We also have an advanced option on. If I click this, we can also toggle Paul's corners and noise. Now these toggle subtle details of the vector, for example, we can push the Pollitz up. I'm bring the polyps down. Weaken total this To further refine the appearance off our image, Trace, I'm going to place my parts to 80% on Just toggle away the advanced option for now. So now we have a good image Trace example on that's looking pretty close to my original scant drawing. So now I'm ready to move on. Notice how our current selection has a bounding box still around the image. Well, this is because we now have to expand the artwork. So once you have toggled your image, trace properties on your happy Next, we are going to come up and click on the expand button. This button could be found in the control panel where the image trace button waas upon click. We have no essentially expanded the vector artwork, and now we can see or the vector anchor points that make up the vector artwork. So now this image is no longer a pixel image. It is now vector artwork on weaken, expand and shrink. This as much as we like, we will not lose any quality. So I'm going to click off for a second to de select and then click back on, though notice now it's all selected. What we have here is a black and white Vatican position that is currently grouped. When you expand your image, trace the artwork is always grouped. If we right click and select ungroomed click off the D Select on, then select the white area just next to the black, you will see we have now made a selection of a vector containing the white space around our drawing. So now all the shapes that make up this black and white tactical position of being separated Onda we can change the color of this, for example, are selected green from up in the swatches panel. Easy, though I don't want this back to shape so I'll simply delete it. So now, with the selection tool, we can click around our new vector artwork and select the various vector shapes that make up this composition. And if you want to with the various white shapes inside our black outline weaken, select them on, add color easy. So I'll just undo that to get back to my black and white image. So if it's that easy to convert a sketch into vector artwork, then why spend a lot of time tracing a sketch using the pen tools? Well, it all really comes down to what effect you want to achieve in your artwork. Here is a document I have prepared as an example you can also find there, said the project folder. So yes, it is very quick to use the image trace tool on. Yes, it does take a long time to treat a sketch using the drawing tools, but as you can see here, the comparison says it all. If you want an organic Han drone appearance, then definitely go with the image trace tool, though if you want an outcome like the one you see here on the right, you will have to spend a little more time tracing using the drawing tools. When you trace a sketches in the drawing tools, you will get a much cleaner, graphic and stylized outcome. As you can see here, this is an example I traced using the drawing tools. Andi. I have also taken the artwork further by adding in some details around the eyes on on the decoration. So that's a brief introduction on how you can use the image trace tool to quickly convert your sketch Inter vector artwork. In the next video, we're going to use the drawing tools in Adobe Illustrator to trace a drawing. We are going to be using the pen tool, the brush tool, the blob brush tool on the arrays, a tool to comfort this drawing into vector artwork. See you in the next video. 16. Tracing a hand drawn sketch & Converting to vector artwork Ep15 19 [Adobe Illust: welcome to this video tutorial in this video. We're going to use the drawing tools in Adobe Illustrator to trace a drawing. We are going to be using the pen tal the brush tool, the blob brush tool on the arrays. It'll to convert this drawing. You see here on the left, into vector artwork we see here on the right. By the end of this tutorial, you will be very familiar with the drawing tools and equipped with the knowledge to create your own artwork. I will also be sharing some of my tips and tricks. This is Episode 15 On this course earlier in Episode 10 we looked at the drawing tools in some depth. We will also be going into some depth here. But if you're new to illustrator on new to this course, I recommend you watch that video first. This video will give you a nice foundation of skills for you to take on this more complex project and you can find the link in the description. So to the left on the first art board, here is a hand drawing which I have prepared earlier, scanned and placed into illustrator to the right on The Second Art Board is a finished traced example. This is what we are going to create in this video. If we zoom in and kick around with the selection tool, we can see the many strokes that make up this composition. If we continue to look, we can see more strokes have interesting taper effect at the end. To achieve this, I had to create a custom brush using this shape. I'll also be showing you how you can create custom brushes. Later in this video. If I reveal the original hand drawing behind, we can see it does not match up entirely. We will be using the hand drone sketch only as a reference on. Along the way, we will make various modifications to enhance the overall composition. If you would like to take a closer look at this example, this could be found in the tracing drawing folder in the Project folder. You can download this project follow for free the download link in the description. So, in a previous video, we learned how to set up a document and place in our scan sketch ready to trace. Now we're going to refer back to that document on. Make it start to trace are scanned image if you are following along from a previous video. Great. Open up that document. Now, though, if you're new to this course, you will need to open up. This document on this could be found in the drawing folder in the Project folder. You can don't know this Project folder for free. The Donald Link is in the description. So with the Project folder open click Test project drawing trace drawing versions on Select the version of Illustrator you're using. In my case, it's Sisi on Open the skull sketch far, and you should have something that looks like this. Now we're going to be covering a lot in this video on in quite some depth. If you wish to skip ahead to any point in the video or back, you can do so. Quite simply. The topics covered in this video are listed in the description along with their times, so be sure to check that out along the way. I will also be mentioning some useful shortcut keys, which you can find in the description on in the short cut page in their project. Pdf, which you can download in the description. So let's get into it. So here we are with our document bay to trace. If we look in the layers panel quickly, we can see that the scan drawing is currently on the drawing guide. Layer on this is locked. We're now going to start to draw on the trace layer. First, I'm going to come over to my menu and cake and hold on the pen. Tool on. We should see the tools expand. Then I'm going to move my most closer over the arrow on the far right. And release on this is going to snap the pen tool menu out like so. We are going to be referring to this a lot in this tutorial. So I'm going to press command are toe. Activate my rulers panel on. I'm going to click in the side margin and drag out a guide and place this in the middle of my sketch reference. If you don't see your guide, you compress command Colon on. This will toggle the visibility of your guides. So I'm going to begin to trace my sketch by starting from the outside in. I'm going to create the outline on work to fill in the details later. Now I'm not going to trace around this outline completely. As we can see, it's the same on both sides. So to speed this up, I'm going to use a little trick. I'm going to draw half of the shape and then copy and paste it to connect on the other side . So I'm going to zoom in and start from the top. Okay, so I'm going to press P on the keyboard to activate my pen tool that I'm going to look very carefully in the tools menu and make sure I only have a stroke color applied. I can currently see I have a white Phil and Black stroke applied, so I'm going to select the fill color and click on the red dash to set this to none. I want to begin by using the click convert technique. I'm going to drop an anchor point roughly about 10 pixels to the left of the center line on begin to drop points along the outline of my sketch, anticipating where I'm going to need curves. I will press and hold space ball to move around my camera's area and continue to drop anchor points until I get to the bottom. On drop. The last anchor points again around 10 pixels to the left of the center line. So once I'm happy with that, I'm going to come up to the pen to a panel on Select the Anchor Point Tool. Then I'm going to start from the top on begin to add curves to my line. So with the anchor point to, I'm going to click and drag out to the right on my top ankle popped holding shift to get nice straight handles. I'm not going to drag out too far, just enough to give my line some initial curve. Then I'll come to the next anchor points and again click and drag out some handles on. Add a nice curve like so. Then I'll come to the next anchor point on, drag out some handles, but on this occasion, or press A to activate the direct election tool to click and drag on the handles to further refine the curve toe. Match this sketch by pressing shift. See, we can activate the anchor, point to on move onto the next anchor points or pull out a little on each anchor point on, Then click on the handles to expand that part of the curve a little more and use a direct selection tool to refine my coz until I have something that looks like this. So now I have successfully on quickly created an outline over the right side of my sketch by pressing V. I will then select my stroke, and now we will have a bounding box around. With the stroke selected, I'm going to come to the bottom of the Tools menu panel and click the swap Phil and Stroker on. Now we have a fill shape. Then I'm going to press command, see to copy on Command V to Paste with my pasted shape. I'm going to come up to object. Transform on, reflect, I'll be sure toe flip vertical on at 90 degrees and click OK. Once flipped. I'm carefully going to slide the two factor ships side by side, so there are slightly overlapping with the selection tool. I'm going to select the left side press and hold shift and select the right side. No, I have them both selected. I'm going to come over to the Pathfinder panel and click the United Button upon. Click. This will bind these two factors into one on. Now, if I come to the bottom of the Tools menu and again click this swap Phil and color button, we will now have a nice outline off the sketch. Next, I'm going to come up to the control panel on push the stroke up to seven points to give my strokes emboldens. At this point, I'm going to suddenly change the size of my outline. It's a better match. My sketch reference. I'm going to click on the middle left square on the bone inbox on drag in a little like so . So once I'm happy with my outline. I'm going to start on some of the details inside. So next I'm going to create the cheekbone stroke. This will be done the same weight as the outline our press p to activate the pentacle on drop some points along the sketch like so notice that the stroke applied will be the same as we just apply to outline. So we currently have the seven point stroke, and I'm just going to push this down to five points in the control panel. So it's not so big. We can compare it to the sketch better. Then I'll press shift. See on the keyboard to use the ankle punk tool to pull out anchor handles on the anchor points on used. The direct selection tool to refine the anchor handles notice here on the cheekbone. I have curved my line into the outline stroke to give a nice, seamless appearance. So next I'm going to drop some handles for the top of the cheek boat. I'll drop down some anchor points and used the anchor point tool to pull out handles on ad curve to my line and then used the direct selection to to refine my handle curves on reposition anchor points if necessary. And that's looking pretty good. So if I come to the bottom to the chin area, we can see we have thes half circles here. Our press P. To activate the pen tool, drop an anchor point at the start on one at the end, make sure that the anchor point is dropped on the black stroke. Then our press shift see and used the anchor point tool to click and drag out handles on the first a little, Then click and drag on the second on. We have a nice cove. So I'm going to use the same technique on the Insight jaw, then move up to the cheekbone and used the same technique to draw two stroke lines. I know we should have something that looks like this. So next I'm going to create the flower petals that are coming off the circles to do. This is quite simple. I'm going to press P to activate the pen tool on, begin to drop down some anchor points. So I'm going to create what looks like triangles emerging from this circle. So next I'm going to press a tow, activate the dark selection tool on just click and reposition my anchor points so the triangles look a little bit more. Even then, I'm going to press shift, see toe, activate the anchor point tool on. I'm simply going to click and drag on the top points off each triangle toe. Add a nice around curve to each until I have something that looks like this right now. It's not looking too great, still a little rough, so I'm going to press a on the keyboard to access the derrick selection tool on I'm going to click on various anchor points to move them again on click on handles to refine the curves. And I'll do this until I get something that looks like this on. I'm a lot more happy with it, so that's looking better Next if we look inside the paddles, weaken. See, we have these little line details to create these real quick. We're going to use a pencil to. From here on in, we are going to use the pencil tools a lot, so I'm going to come over to the Tools menu and click and hold on the pencil tool until the tool menu expands. I'm going to move my mouse cursor over the arrow on the right and release that snap out the pencil to a panel on. I'll put this under my pen tool panel, so I press end on the keyboard and quickly draw in those strokes into each petal look. So So next we're going to move up to the flower section on the top of the skull. First, I'm going to create the two inside strokes by using the pen tool. Then, using the anchor tool toe, add coves and use the direct selection tool to refine, just like we did earlier. Once I'm happy with those, I'm going to use the pencil tool to create the paddles here. So I press end to activate the pencil to and click on Draw the first Patil. If I'm not happy with any part of its line, I can click on Draw back on top of this to refine until I'm happy. Then I'll draw on top with smooth tool to get a really nice, smooth line, and that's looking nice and smooth. I'll use the same technique on the other battles until I have something that looks like this. So we also have some line details inside the paddles. So again, with the pencil to, I'm going to draw lines over the sketch on use this smooth tool to refine and smooth strokes. So next we can see some leaves coming out to draw these. I will again use the pen to I'll press P dropping anchor point at the start on anchor on the point and an anchor on the petal stroke on then press shift, see toe, activate the anchor, point to and click and drag out some handles on the point drug one of the handles in, like So then press A to use their Derek selection tool to re select the anchor point on Dr the Other Handle Over, like so simple. So, using that technique, I'll create the other petals like So until I have something that looks like this now, next, we're going to move into the ice section to start this off. I'm going to use the Ellipse tool to draw the circle in the center. Then I'm going to press P toe. Activate the pen tool on just like earlier, I'm going to drop down some anchor points on Make a sort of star shape over the petals, placing one anchor point on the tape on one on the base of Circle until I make my way around and join on the other side. Then I'm going to use the anchor point. It'll to click and pull out handles on each petal tip. This is going to add coves to each petal. Then I'll click and drag out handles on the anchor points closer to the Ellipse base on. Once I have added curves to my petals, I'll use the direct selection tool to reposition anchor points on tweak curve handles to refine my petals. Soon I'll end up with something like this. Next, I'm going to use the pencil tool to draw the stroke lines on the inside of my power shapes , using the smooth tool to draw on top and smooth stroke lines as I go along. Now, originally on my sketch, I drew the flower I section coming out of the eyeholes. Now I want to change this so they are inside the eye holes. So with the selection tool, I'm going to click and drag over all the I factor strokes to select them all with them all selected. I'm going to press s toe activity scale to And then I'm going to click and drag inwards holding shift to scale down nicely like so. Next I'm going to draw the outside of the eye hole. So pressing p to activate the pento, I'm going to drop down anchor points along the sketch, then press shift, see to activate the anchor tool. Andi, click and drag on each point to drag out handles on tweet the handles using the direct selection tool. Soon I would have something that looks like this next I'm just going to reposition resize on fit the flower section more comfortably inside the eye hole like So. So next I'm going to create I paddles around the outside off the I hope Now we don't have thes as a reference on the sketch when drawing the sketch. I did not plan for this, so I'm going to have to make this up. So with the pen tool, I'm going to click on drop down anchor points along the I hold stroke like so one on the stroke line on one above, creating these triangles around the eye hole like so soon I will end up with something that looks like this. Then I'm going to use the direct selection tool to click and reposition some of the anchor points until all the triangles are more or less. Even once I'm happy with my triangles, I'm going to select the line with the direct selection tool press shift, see toe, activate the anchor point to and go around the tip off each triangle and click and drag out handles toe add curves to each pattern, like so if when I pull out anger handles, I'm not entirely happy with the ankle position. I confined choon the position by pressing the arrow keys to move. The anchor points around very subtly. Soon I will have something that looks like this. So now we can see we have these very pointed strokes inside, pointing out over the eye whole outline. To rectify this, we can zoom right in with the petal line selected. We can use the anchor point to to click and drag a little on each point toe. Add small curves to remove the harsh point, so I'll continue to move around my paddle strokes until all the harsh points are neutralized. So now I'm going to use the direct selection tool to further click on various anchor points on handles on Find June the positioning on Kurds off my petal strokes until I am happy. If I think the eye on a whole is now looking to big with the selection tool, I can make a selection over the entire. I place my mouse cursor over the bottom right holder and click and drag in holding shift to scale down the I section slightly. So next I'm going to draw the circles above on below the eye so with the Ellipse tool. I'm going to draw a circle shape. Then I'm going to press and hold Ault on the keyboard and carefully click on drag on the Ellipse stroke to the right over this sketch to place a new one and again and again until I have five new ellipses in place over my eye. Then our press ault and click on the stroke and drag five new lips is under the eye, so that's the ice action complete. Next, I'm going to move up and create some of the small details on the head section. Thes drop like shapes to create the first shape. I'm going to use the pen tal first. I'm going to drop an anchor at the start off the drop on one at the end. Then I'm going to drop another point to connect at the first point. Now, at the moment it looks like just a straight line, though if I press shift, see toe, activate the anchor point tool. I'm going to click and drag out two handles like So, with the anchor tool still active, I'm going to grab one handle and drag it over, like so to create the curve on one side, then our press A to activate the direct selection to take on the anchor point to reveal both handles on drag. The other handle to create the curve on the top. So our press pressed shift see again toe, activate the anchor point to on click and drag on the top anchor to drag out, handles drug one toe at the cove. Then use the direct selection tool to collect the anchor point and drag the next handle to create the cove. After a little tweaking, I will have a shape I need. So next I'm going to create this drop shape again, dropping anchor points with the pen tal and using the anchor point. It'll to drag out handles and create curves in the line. Soon I'll have a shaped like this. No, the shape above is pretty much the same. So with the selection tool, I'm going to select the drop shape I just made on press command. See, to copy and command V to paste with the new shape, I'm going to move it up, rotate on, change the size like so So now we have created most of the details on the right side of the face. What I'm about to do now is duplicate these details onto the left side. I can do this pretty easily by making a selection over the entire composition on selecting everything. If I press and hold shift on, select the outline. I will de select the outline and keep everything else selected. So with all the elements selected, I'm going to press command, see, to copy and command V to paste with the new elements, I'm going to move them over to the left, then come up to object, transform, reflect and click. Ok, then I will move the elements into place by dragon then and using the arrow keys to find place there. So that's looking pretty good. On the best part about it is that we have saved some time not having to draw these elements twice. So now we're starting to make some progress here. Next, we're going to create the teeth, so I'm going to start from the middle and work my way across over to the right. What I'm about to do here is create the lines that make up the teeth on the right hand side on, then replicate them over to the left to get nice, even strokes. So with the pen tal, I'm going to drop down anchor points where I believe the points on the line need to be to create curves. Later on, I'll use the sketch below. As a reference, I'll create the first line in the middle. Once the line is complete, I'm going to use the anchor point tool to add the curves. First are selected line with the direct selection tool press shift see on stopped from the second anchor point from the middle. So I'll click and drag up to pull out some handles and create the curve to the left, then select the far right handle on drug down like so to create the curve towards the next anchor point. Now I'm going to skip the next anchor point on, move over and click and drag out the anchor point handles and click and drag the handle up to create the curve to the left, then select the far right handle on drug down like so to create a curve towards the next Uncle Point. I'll drive the next anchor point out and pull the handle up just to finish off the line on , I'll end up with something that looks like this. Then, using the direct selection tool are click the line on fine tune. The positioning off the anchor points on the handles now notice the stroke below is pretty much the same, so I'll press V to select the stroke on. I will copy and paste my stroke and move it into place the line below. This is also the same. So again, a paste on move into position, but this time using the direct selection tool to increase the coop a little on the stroke. So next I'm going to create the teeth stroke lines above, but this time adding the curve downwards instead of upwards. So I'll drop down some anchors with the pen tool, then use the anchor point to to click and drag the handles down to create the initial curve to the left on, Then click and drag the right handle up to match the curve on the other side. I'll skip the next anchor point and click the other anchor point on, dragged down again to create the correct curve to the left and select the right handle on drag up to create the correct cove on the right. So soon I will have my new stroke, and then I'll tweak this using the direct selection tool. The stroke above is the same as this one. Swell copy and paste this and plated above, but this time used the derrick selection tool to slightly exaggerate the curve like so easy . So next I'm going to create the vertical lines off the teeth. So with the pen tal, I'm going to click on the point off the top line on simply, click on the middle line on drag out to create the curve, matching the sketch. Then I'll just press P again on the keyboard to move onto the next vertical line. I will click once, then move down and click on the middle line on drag to create the cove Press P to move onto the next line, click the top stroke and then click the middle line on drag to create the curve. I repeat this technique until I have completed the lines, Then I'll create the lines below. So now we have the lines that make up the horizontal and vertical part of the right side of the teeth. Now I'm going to select all of the's strokes with the selection tool. I'm going to copy and paste thes, move them over to the left, come up to object, transform on, reflect click OK online strokes up accordingly to meet in the middle. Now we can see that these lines do not meet the jaw line of the left side of the skull. So now I'm going to have to select all the teeth lines and simply drag left on the middle pointer on the bounding box to stretch the Holte section across until they meet the jaw line on the left. Now, if I zoom in on look at the lines as they overlap, this does not look too good, so I'm now going to connect these lines together. So with the direct selection to I'm going to click the endpoints off the top lines on, move them away from each other, but only slightly. Then our press p toe. Activate the pen tool are carefully move my most pointer over the end of the left line until I see the most coast indicate that it's found the end anchor point off the line on the most Cosa will show a little dash, so I'll click to activate the stroke line, then our move across to the right stroke and carefully move my mouse cursor over the end point of the line. Soon the mouse cursor will change, indicating that I have found the end anchor point off the line. On the most Cosa will show a little circle. Then I'm going to click to connect the lines together. So this line is now joined. But here we have to anchor points that is making the point and look pretty strange. So with the direct selection tool, I'm going to grab one of the anchor points on drag directly into the next one on. That should needn't up the curve point like so if I click and drag with the direct selection tool over this area, I can select them both and move them into the final position. So I'm going to repeat this technique, total the other lines until they're all connected, and I have something that looks like this next. I'm going to finish this section off by using the pen to to click and drag a line down the middle of the teeth so next, I'm going to draw the halt section to make this easy. I'm going to draw 1/2 on, then copy it and join it on the other side. So with the pencil, I'm going to drop my first anchor point down, then drop another on the curve on one of the bottom. I'll press shift, see to activate the anchor point tal. Ah, click and drag up on my first point to pull out some handles, but only slightly. Then I will release to drag out the handle to increase the initial curve. Then I'll move on to the next anchor point, drag out some handles to complete the first curve release and click and drag the next point to exaggerate the curve below. Then I'll click and drag out the bottom points and add the final cove. So now I have half off the heart shape. I'm going to come to the bottom of the Tools menu and click the swap Fillon Stroke button on. This will change the stroke into a film. Next, I'm going to copy and paste the shape. Move it slightly to the left. Come to object, transform, reflect and click. OK. Next. I'm really carefully going to police the first half next to the second half, and they may have to zoom in to do this. If you notice the endpoints, do not meet up, then use the direct selection tool to click the anchors and move them together. Once I'm happy that my heart shaped connects, I'll use thesis election to to select them both. Then I'll come down to the Pathfinder to and click the Unite Button. No, the heart shape is one. If I know, come to the bottom of the Tools menu and click the swap Phil and Stroke Button. We can apply the stroke to the heart. So now I'm happy with my heart shape. I'm going to copy and paste this heart and place it on top of the other heart shapes on my sketch. Now, if you're not sure the heart shapes on the forehead section are line, we can select them both. Come up to the control panel and click the vertical aligned center button on. This will align them perfectly, so I'll move down and paste another heart shape on the chain lock. So next I'm going to come back to the forehead on draw the cross section. I could do this with the pen tool again, though. This time as I click, I'm going to press and hold shift on the keyboard on. This is going to ensure I draw straight lines once I have finished the cross. If I'm not happy with it, I'll use the direct selection tool and click and drag over the bottom row off anchor points . I'll use the arrow keys to move these down slightly and come up to the control panel and click the vertical aligned center button. This will align them perfectly. I'll do the same for the top row. Then I'll click and drag over the anchors that make up the vertical lines on the left. This time, I'll click the horizontal line center button on. This will align the anchor points perfectly vertical. Then I'll click and drag over the anchors that make up the vertical lines. On the right, click the horizontal align center button on. This will align the anchor points perfectly vertical, so now we have a nicely proportioned cross. This time, I'll select the cross and heart back to below and click the horizontal align center button . This will align them both together perfectly on. Then I'll use the arrow keys to find position than both, Like so next I'm going to select a circle from the ice action on copy and pasted above the cross to match this sketch. I'll press s on scale up like so pressing and holding shift. Next, I'm going to move down to create the no section I'm going to use the same technique I used for the head on the heart shape. I'm going to draw the first half and then copy and paste them to connect, so I'll begin at the top. I'll drop an anchor point at the top, then another slightly down the curve on more until I get to the bottom. Next our press shift. See toe. Activate the anchor point tool and click and drag on each anchor to pull out handles on add codes. So now I have half of the no shape. I'm going to come to the bottom of the Tools menu and click the swap Fillon Stroke button on. This will change the shape to a Phil. Next, I'm going to copy and paste the shape. Move it slightly to the left. Come toe object transform, reflect and click. OK, next. I'm really carefully going to place the first half right next to the second half, and I may have to zoom in to do this. If you notice the endpoints, do not make up the news. The direct selection tool to click the anchors on, Move them together. Once I'm happy that my no shape connects, I'll use the selection tool. Select them both. Then I'll come down to my Pathfinder panel and click the United Button. Now the no shape is one. If I know, come to the bottom of the Tools menu and click this swap Phil and Stroke Button. We can apply the stroke to the nose. Now, if we look closely at the sketch below, we can see there is a section inside the nose, which is similar to the outside of the nose. With the selection tool, I'm going to copy the no section I just created and copy and paste. I will position the no section on top like so, then used the left middle point on the bounding box to push in, like so. Then I will click on the right middle bounding box square on Dragon again until the no section is really slim and roughly matches the sketch. I'm going to use a direct selection tool toe. Alter the anchor, positioning on curves off the stroke until it matches the sketch more accurately. Soon I'll have something that looks like this. So next I'll come to the details under the heart section with the pen tool. I'll drop down some anchor points, like so, creating a triangle shape with the direct selection tool. I'll select the bottom to anchor points, come up to the control panel and click the vertical align center button. This will align them perfectly, Then our press shift. See toe, activate the anchor point to and click and drag the top left anchor point down holding shift to get nice. Strick handles, creating the nice curve downwards, then click and drag on the anchor to the right of this and click up to create the curve down like so Now on the first curve to the bottom left are click and drag out the handles. In doing so, it not only creates the cove I want below, but creates a weird curve to the left. I do not want so I'll continue to create a slight curve on the bottom, Then click and drag the far left handle into the anchor point on that will remove that curve. I do know what I'll come over to the next anchor, unused the same technique. Once I have created the initial shape, I will use the direct selection tool to click on the line and fine tune the handles to get the accurate shape I want. Once I'm happy with shape, I will copy and paste the shape below on press s to scale the shape down but only slightly paced again on place below. I'm press s to scale it down until I have something that looks like this next I want to select all three of these new shapes, come up to control panel and click the horizontal a linebacking. This will align them perfectly vertical on simply position onto into place in line with a heart shape above. So now what's left is the top flower section on top of the head. I'll create the three curved strokes using the pen tal dropping anchor points at the start on endpoints, then using the anchor point tool to click and drag out handles on add curves to the line, then using the direct selection tool to refine my handles on anchor points. Until I'm happy for the paddles, I'm going to use the same technique as earlier. I'll use the pen tool to click and drop down anchor points making triangle shapes. Then I'll use the anchor point tool to click and drag out handles on the tip off each triangle toe. Add a curve to the tips. If I get the harsh, curved tips inside, Al Zoom in and used the anchor point tool to click and drag on the inside anchors just slightly to neutralize the point. Lastly, I'm going to use the pencil tool to draw a little strokes inside the battles on that completes the initial trace in stage off the sketch. At this point, weaken. Toggle the visibility off the drawing guide layer as we no longer require this, and now we can see the drawing is looking quite interesting. So at this point, I'm going to take some time to straighten up on organized my artwork here. Currently, I can see I have a lot of various stroke sizes, so first I'm going to press a veto. Activate the selection tool A make a selection over the entire artwork Up in the control panel. I'm going to change the stroke size to fall on press. Enter now. All strokes are the same size. Now, the center line guide we created earlier is now not particularly accurate. So I'm going to come to view, scroll down to guides and make sure lock guides is unchecked. I'm going to click the outline of my skull artwork and now we can see the bounding box on. I'm going to click on the guide and move this over the middle point. Now we know that guide is over the middle part off the outline stroke. So taking a look around the artwork, I can see that some elements do not sit nicely in the middle. So now I'm going to select various parts such as the nose, heart and cross section A. Move them into place, aligning them to the center guide using the outer keys. I will also select the top flower section, being careful not to select the guide. A move that into the center. No, the artwork is more balanced now. I'm just going to make some subtle tweaks to the chin bone sections with the direct selection tool. I'm going to click and drag over this detail here on, then use the arrow keys to pull this more into the center and extend it like, so I'll do the same to the right side on. Perhaps I'll click the anchor points on the eyebrows and bring them into. So now my illustration is looking pretty cool. So now it's time to start adding more details to my drawing. I'm going to start by coming over to the right cheekbone area. Next, I'm going to use the blow brush tool to add some shadow effects to the cheek boat. So I'm going to press shift, be to activate the blob brush to, then using the arrow keys to toggle the brush size. I am freely going to draw a shadow effect just above the cheekbone until I have something that looks like this with the selection tool and then going to select my new blob shape. Then I'm going to press shift e toe, activate the razor tool on carefully remove the area I do not want if by any chance, I remove too much. Aiken, simply press shift. Be to activate the blob brush tool on fill this back in. So soon I will end up with something that looks like this. Now, if you're not happy with the cove on the inside of your shadow, you can select the shadow blob with the selection tool and then use this smooth tool from the pencil panel to draw over your coat and smooth out look. So So, once I'm happy with my top shadow. I'm going to move down and create the shadow effect under the cheekbone. So using the same technique is before using the blob brush tool, I'm going to draw on area. Then I'll use the selection tool to select the blob vector and use the arrays. It'll to remove that part. I do not want using the blob brush to to fill in any part I need and then use the smooth tool to smooth over the curve. And soon I will have something that looks like this. So next I'm going to adds more details to this cheek bone section. I'm going to select the Ellipse tool on draw. Smaller lips above the cheekbone shadow are make sure their lips is a solid fill, with no stroke in the tools menu. Another copy and paste is above on place on. Keep pasting until I have a nice composition off them like so By holding shift, I'm going to select each black circle on, then come to the control panel unclipped the vertical distribution center button. This will ensure they are evenly spaced out. So next I'm going to move down to the bottom cheek shadow on paste, another black circle on place under the shadow. Like so then our press and hold Ault on the keyboard and click and drag a circle down like so. Then again and again until I had a few black circles again, I'll select them all on Click the vertical distribution center button up in the control panel. This will ensure they are evenly spaced out, so I'm going to paste a new circle. But this time, place this one in line with the circles under my eye on the inside, and I'll paste another on place this in line with the circle on top. But on the outside, just the answer. Extra detail. So once I'm happy with the detail on the shadow of facts on the right hand side, our press and hold shift on. I'm carefully going to select the new Vector artwork and copy and paste it and drag it over to the left hand side. I'll come toe object, transform on select, reflect click OK on position using the arrow keys, and that's looking pretty cool, though I may have to find position some elements that don't sit right initially. If I look at the chin area, I feel that this could benefit from more detail. So I'm going to click a drop shape from the forehead section on copy and paste it on. Placed it down on the chin, though I'll use the rotation tool on the scale to to reposition it like so. Also, our add another stroke here on the chin, detailed. Once I'm happy with the new details, I'll select in both and copy and paste them over to the left. With them selected. I'll come toe object, transform and select reflect click OK on position using the arrow keys. So the last detail we're going to add to our vector artwork is the key hole in the heart. So while zooming to the heart section on, Draw a circle with your lips, too. On. Make sure the shape is set to a color fill on, not a stroke down in the tools menu. Then I'll use the pen tool to drop down some anchor points to make the bottom section on. Talk of the size and position in until I have something that looks like this so that completes the drawing off our artwork on. We're almost done with this. Now we need to tweak some other small details. First, we're going to focus on the stroke weights. At the moment, all the strokes are the same weight. Next, I'm going to tweak the weight off some of the strokes on some of the details to make the image look more interesting. So with the selection tool, I'm first going to select the outline of the stroke on push the stroke up to seven points. Then I'm going to press and hold shift and select all the outlines. Circle strokes, the flower petal strokes on the top and bottom mouth strokes the cheekbones, actions on all the hearts and set the stroke to five holding shift. I'm going to select all the inside circle strokes on all the inside leaf strokes on set those two size three. Lastly, holding shift on the keyboard. I'm going to select all the other details, such as The drops on the Cross on set th 17. Compounding vector shapes & strokes Pathfinder tool Ep16 19 [Adobe Illustrator: welcome to this video tutorial. In the previous episode, I demonstrated how you can use the drawing tools to trace a scanned in sketch and compose a vector trace. In this video, I'm going to demonstrate how you can take your vector drawing on compound it into a single flat vector. So here I have opened an example document. Now, at first glance, they look identical, but they are indeed very different over to the left. Here is the drawing re created in the previous tutorial. If I press Avi to activate my selection tool on, start clicking around on my drawing, we can see that this composition contains all the individual vector strokes on shapes that make up the vector artwork. Now, if I come over to the right here and select artwork, we can see that this is one solid flat vector. Now, this factor object has been compounded from the example to the left. If you would like to take a closer look at this example, this could be found in the compound in Doctors Folder in the Project folder on You can download this project fuller for free. That Donald Link is in the description so What does compounding object mean in illustrator ? Well, it's a compound. A vector object in Illustrator is to merge and flatten a number off individual factors into a single factor. Some back to compositions such as the example here to the left might know only consist off solid vector shapes but also vector strokes. So why compound a factor like this? Well, there are some good reasons why you may want to compound vectors by compounding solid factor shapes. Together with stroke factors, we can create a flat single factor on this would help make your project more streamline. With the single vector, we can apply a series of effect. We might not be able to apply to the composition with individual vectors and strokes. For example, we could click the swap filling stroke button to create an interesting outline effect to that stroke effect. We could apply dashed lines, or we could apply a texture brush from the Brushes panel. Now those are just some examples. Now, the main reason why we are going to compound are factor is to help us add color to the artwork. Later, we are going to use the compounded shape factor as a stencil. So how can we compound multiple vector shapes on strokes into a single flat vector? So to demonstrate this, I'm going to carry on from where we left off in the previous video where we traced the sketch on developed our vector composition. If you're following along from the previous video, great. Open that document now. So if you're new to this course, you will need to open this document. This can be found in the drawing folder in the project folder You condone? No, this project folder for free. The Donald Link is in the description. So with the project full open click test project drawing compounding vectors versions on Select the version of Illustrator you're using. In my case, it's Sisi on open the skull drawing Fall on. You should have something that looks like this. So here we are. With the drawing on the first off board, we're going to begin by selecting the entire composition with a selection to with it all selected. I'm going to press command, see to copy on Command V to Paste with my new artwork, I'm going to place this over on to the next art board. An important thing to keep in mind. If you ever plan on compound in your back, there's always keep a backup off your original composition. So I'm going to keep my original drawing composition on the first our board. And now proceed with my new version on my second our board. Great. So, no, you're ready to compound the artwork. So with our new artwork selected, I'm going to come upto object. Scroll down and click. Expand appearance. Now, what that will do is expand all the brush strokes in the composition. All the strokes with a brush effects applied will now be expanded into vector shapes. Next, we're going to have to come again to object, though this time we're going to select Expand. Now, when we click this, we're going to get a menu up here. This menu box is asking us what we would like to expand on this occasion. We want to expand everything so we are going to make sure Phil and Stroke is selected and press OK. Now, if we zoom in, we can see that all of actor strokes that previously made this composition have been changed into back to shapes and we can see here if we look carefully that many of these new vector shapes are overlapping each other great. So the next step is to come to the Paul Finder to I have mine here to the right, though if you cannot see yours, you can come up to the top menu, click window, scroll down and activate it here. So I'm going to go ahead and click the first shape mode tool called Unite Upon Click. We can now see if we zoom in that all the individual vector shapes that were previously overlapping each other have now Bean merged together as one. Now, before we are done, we need to come over to the Pathfinder tour one small on click the top right hand menu, scroll down and click make compound shape. Once this is clicked, we will then see a button become available in the Pathfinder panel called Expand. Finally, we need to click this on the poem Click. We have successfully compounded what was previously a complex composition off factor ships and strokes into a single flat factor. Excellent. So that's how you can compound factors in Adobe Illustrator. First, you need to select the vectors you wish to compound together on by trigger in the expand options, you can flatten them into single vectors. So in the next video, we are going to begin to color our vector artwork. Now, at the moment, this compound vector is hollow. We have just spent the previous videos focus in on getting our sketch from paper on into illustrator by using the drawing to us to trace it. This vector we have just compounded is simply a black vector with lots of shapes cut out. So how are we going toe add color to this vector artwork. Well, now I want to show you a handy tip I use I am now going to use this compounded back to object as a stencil. I'm going to use this factor shape to create some new vector shapes which we will apply color too. So to do this, I'm first going to create a new art. Bored, I'm going to come over to the R board panel and click the add our board button. Then I'm going to click on the right off board menu button, click, arrange art boards and click OK, and now I have a new art board below luck So So I'm going to come to my new off board on. I'm going to come over to the menu on Select the rectangle shape, too. On my new art boat, I'm going to draw a shape, like so roughly the size of the page on. For the sake of this tutorial, I'm going to color the shape in yellow, though at this point, it does not matter what color you choose to use. Cool. Next. I'm going to come back to my compounded shape that I just created. I'm going to select it and press command, See the copy. Then I'm going to come down to my new art board and press command V to paste analogous position my pasted vector on top of my yellow block. Then I'm going to paste one small. But this time I'm going to place my new version over in the pace board. You will see why I need to do this shortly. So, with my selection tool, I'm going to click and drag over my yellow shape on Skull Vector like so on upon release. I now have both the yellow background shape on my skull. Artwork selected. Then I'm going to come up to the control panel and click the horizontal line center button . Then I'm going to click on the vertical align center button. Now, this is very important because this is going to ensure that the skull artwork is perfectly placed in the centre off my yellow block. Excellent. Now we are ready to cut the shape out. So with the object still selected, I'm going to come over to the Pathfinder panel. This time I'm going to click the fourth icon from the left called Exclude. So upon, click, we will know. See that the skull vector shape that was on top of the yellow block has bean cut out off the block behind. So now we have essentially inverted the factor off the skull Artwork to the right year. Great. You will notice the color change to Black as it incorporated the color from the vector on top. So I'm going to change this back to yellow, like before. So now with the selection tool, I'm going to select the new cutout block on the original Vector example to the right by pressing and holding shift. Then, just like earlier, I'm going to come up the tro panel and click the horizontal align center button. Then I'm going to click on the vertical align center button on. Just like that, we have placed their black vector artwork on top perfectly on. I'll just move this back onto the art board like so and click off. Now, if I click back onto the yellow area, we can see that this is all selected now. This is because upon excluding the artwork, it remains grouped. What I'm going to do now is simply right. Click on the younger block on Select on Group. Then I'm going to click off the D Select. Now, with the selection tool, I'm going to click back onto the yellow shape on Upon Click. I am now able to select each and every individual shape within my skull. Artwork just like that. Nice. Now I do not need the outside area, so I click on Delete this like so, So compounding the original vector drawing composition has proved very useful in this situation. Now I have my outline off the skull artwork in black, which is a flat single vector, and inside. I now have all the shapes between the skull artwork, which I can select as individual actors on begin to apply color. So the finish off. I'm going to see the document. I'm going to come to file, save and save my documents to the desktop and simply save as skull compound. Make sure you save this document somewhere safe, as we will be using this document in the next video. So that covers compounding vector shapes in Adobe Illustrator. In the next video, we will be progressing with our project on adding CM Wake A and Pantone Colors to ask our artwork. See you in the next video. 18. Colouring a vector drawing in Adobe Illustrator Ep17 19 [Adobe Illustrator for: welcome to this video tutorial. In the previous episode, we looked at how to take a vector drawing consistent off various individual better shapes and strokes on compound it into a single flat vector. We then use that vector as a stencil to cut out all the essential parts that we're going to add color to. In this video, we're going to carry on from where we left off in the previous video on add color to our vector drawing. Now for this project, we are creating artwork for both a printed poster and a T shirt. In this video, we're going to deal with C M Y que colors and Pantone colors on. Look at the approach for both the poster design and the T shirt design. What you will soon discover is that there are various technicalities we need to keep in mind to provide the right artwork for the printers. So here is where we left off in the previous video with our skull compound file open. Here we have our skull artwork that appears to be filled with yellow. If we activate the selection tool, we can actually click on all the individual yellow parts that make up this artwork also. Now I have some color samples here on the left and on the right on the left. Here, I have some color I have prepared and source earlier. We have some great effects and some solid color samples. Over on the right is some Pantone color references I have found which I would like to include in my T shirt design. So if you're following along from the previous video, great. Make sure you have your document open on. If you want to use the colors that I have here, you can open the color source file from the coloring folder. However, if you're new to this course, you will need to open up this document. This could be found in the coloring folder in the Project folder. You can download this project fallen for free. The link in the description. So with the project phone, open click test project coloring coloring versions and click the version of illustrated you're using. In my case, it's Sisi on open the skull compound file on. You should have something that looks like this. Now, there are many ways in which I can color my skull design here are some examples I have prepared earlier when experimenting and toying with ideas on which color combination I would like to use in my final design. If you would like to take a closer look at this example, this can also be found in the coloring folder in the Project folder. So for my poster design, I'm going to use this color combination on for my T shirt design. I'm going to use this color combination, which, as you can see, has them or simple color scheme, so back to my document were going to make a start. So now it's really a case of selecting each individual yellow part of the skull artwork and changing it to a new color. So with a selection tool, I'm going to click the biggest part in the middle of the skull. And once I have this part of the skull selected, I could simply come over to the swatches panel and pick a color. Or I could come to the bottom of the Tools menu and double click on the fill color and select a color from the color spectrum. But on this instance, I'm going to use one of the colors I have here on the left by pressing I on the keyboard, I'm going to activate the eyedropper, too. This tool is going to allow me to pick one of thes covers from the side very easily. All I have to do is click on one on seethe of active shape change color. I have some greedy and effects or some solid color effects for this part of my vector artwork. I want to go with the white to Grey Grated Effect. So upon click, we have activated the Grady it, But at the moment we can see the Grady int is flowing from the left to the right. So now, with of actor shape still selected, I'm going to come over to the Grady into in the menu or simply press G on the keyboard Upon Click, we can now see a line appear on the vectors shape. This is an indication off the Grady int flow. With the grade into active, I'm going to click and drag a new direction for the Grady int, and I'm looking to get the great to start from the bottom and spread up to the white. If I then click on the line. I can control the distribution of the Grady. It like so so that's working just fine. Next, I'm going to press veto, activate the selection to on, then click the bottom part of the jaw. Then I'm going to press I again to activate the eyedropper tool and again select the gray Grady int. Then press G to activate the greeting tool and click and drag to get the gray flowing from the top down. I can then press V to activate the selection tool and click off to de select, and that's looking pretty cool. So if I zoom in here next, I want to kind of the petals on the flower design. Now remember, these are individual actor shapes. So with the selection tool, I'm going to select the first Patil, then press and hold shift to select other Patil shapes, like so with them all selected on, then going to press I on click on the Pink color to the left, then press the to activate the selection tool on click Off to de Select and take a look. So that's looking pretty cool. Using the same technique, I'm going to select some more of the pack ALS pressing and holding shift to select multiple shapes on add the pink color. So now it's just a simple case off taking the time to go around the rest of my artwork, selecting each piece individually or selecting multiple shapes on adding color, using the sample colors to the left. Soon I will end up with something that looks like this, so that's looking pretty colorful. Now I'm almost done here on the skull. The last thing I want the color in is the petal shapes around the eyes. Now what I want to do with these petals is applying a Grady INT that flows across the mall . So let's take a look. So I'm going to zoom in on the eye here on pressing and holding shift. I am carefully going to select each petal until I have, um, all selected with them all selected. I'm going to press command G to group these together. This means that I won't have to select them all individually again, as this could be quite time consuming. So then I'm going to press I and select the grade. In effect, I wish to apply to the petals now notice when I choose the Grady int. It applies the great in effect to each petal. Well, I do not want this. I want to pass the Grady and over all the petals as a whole. So next I will press G to activate the grading tool. Then I'm going to click and drag from the top down, like so on. Notice how the Grady it now flows over all the paddles. Pretty cool. So, using the same technique, I'm going to select all the paddles on the left hand side, group them by pressing command G and apply the grid into fact and used agreed into to reapply the greedy inflow. Now, you might not get the exact grade and flow on the neighboring example, So I'm going to use the selection tool to select both Pakal examples on Ben again. Use the grading tool on them both to get the same grade, in effect on each of them, like so easy. So that completes the coloring off the skull artwork. But now I want to add a background. So with the rectangle shape to I'm going to draw a rectangle on the canvas to the shape I desire. Like so I'm going to make it. So we have a nice white margin. I run the outside. Then I'm going to press I to select a color from my sample to the left. Now, because this is the most recently created object on the same layer, it is set on top of my artwork. So I'm going to select my new shape, right click scroll down to arrange on centre back. Nice. So now my skull is looking pretty big on on my campus area. So now I'm going to make a selection over the skull. Like so. Notice how the background shape is also selected. Well, I'm going to press and hold shift. Click the background area once to de select that. So now I have just my skull artwork selected. I'm going to press command G to group this. So now it's really easy to select. This artwork is a hole in future. So with the whole artwork selected, I'm going to press s on the keyboard on holding shift. I'm going to click and drag inwards, scale the skull artwork down, and that's looking pretty cool. So now I want to create a white stroke. I run the outside of my skull to do this. It's going to be really handy if I have a shape, the same shape as my skull. Well, if we come back to the original drawing artwork, that's exactly what we have. So I'm going to select the outside stroke copy and pasted on top of my new artwork. We can see it's currently stroke. If I click the Swap Phil button on the Tools menu, we are now going to have a solid skull shape. So now I'm going to use the scale tool to resize the vector to roughly the same size as my skull artwork. Now I'm going to change the color of both of Phil and Stroke toe White in the Tools menu. And then I'm going to start to push up the stroke size on, then come to the stroke panel and set the stroke align to outline. So I push my stroke up to about 26. Then I'm going to press and hold shift on the keyboard and select the yellow background with them both selected. I'm going to right click on Scroll down to a rage on Click Center back, and now we have the background. Yellow, Andi Bold white stroke around our skull Artwork. Excellent. Now I want to add some more visual elements to my poster design. I'm now going to add in a rose graphic, so I'm going to come up to file, scroll down to place, and I'm going to navigate to an image in the project folder. I'm going to come to test project coloring coloring assets on select the Rose J peg and click. OK, now the mouth crucible change and ask where you want to place the image. Now be sure to click into your pope paste board area and not on top of your composition. I'm going to click on now. My images placed into the pace board area away from my artwork. If you have downloaded the project folder, you will be able to do this too. So here we have the rose pixel image, which I have found previously. Now I'm going to turn this into a factor which I can work with. So with the image selected, I'm going to use the image trace tool. If you're using an older version of illustrator, this will be the life trades too. So I'm going to click the Image Trace tool and then click expand. Then I'm going to right click and select Ungh Group and click off the D Select. Then I'm going to click back onto the white part of the back ter on press delete. So we have just converted the rose from a pixel image into a vector graphic, which I can start to work with. Excellent. Now notice. If I select part of the Rose, we can see it all individual sections. So I'm going to make a selection over all the parts and press command G to group these together. This is going to make it easier to work with. Now it's grouped. I'm going to introduce it into my composition on using the mission tools on the scale tool . I'm going to re size and position like so. So I'm going to press I on the keyboard to activate the eyedropper tool on then select ingredient effect I want from the left and here we have the great int apply to each section like so Now remember, on the I section off the skull, how we apply the grade into the entire group. Well, on this occasion, I want to keep the grade in effect. Applied to each segment, though, I want the Grady INTs to be in the other direction. So currently this little rose composition is grouped. If I click the Rose with the selection to, it will select the group, though, if I press A to activate the direct selection to weaken, click on each part of the group like so. So with the individual parts selected with the direct selection to on then going to press G on the keyboard toe, activate the Grady in tool. I'm going to make sure that the fill color is selected in the Tools menu and then click to change the flow of the Grady int. And I want the grading to be dark on the outside and fade into a lighter color on the inside. So with the direct selection to, I'm going to select each individual part off the rose on alter the greed inflow until I have something like this. Now I want to put this rows behind the artwork to make it look like it's emerging from behind the thick white stroke around the skull artwork. So with the selection tool, I'm going to select the rose composition on the yellow background by holding shift on the keyboard, right click scroll down to arrange and click center back. And there it is. So now I want the same rose on the other side but pointing the other way. So I'll select the Rose Press and hold Ault and drag across to duplicate like so. Then I'll come upto object transform, reflect Click OK, and there it is. So now it's a case of positioning the two roses until I'm happy with the overall composition. To make sure its precise, I can select both the roses on, come to the top in the control panel and click the vertical aligned center button on that will align them perfectly, so that completes the artwork coloring on composition for my poster design. Next, we're going to move into the T shirt design over here on the right, so to begin, I am literally going to select all the artwork I have just created by clicking and dragging over everything. Then I'm going to press and hold Ault on click and drag the entire composition over on to the next art board. Upon release, we have a copy of the artwork. Okay, so the skull is still grouped, so I'm going to move this down a little. Select the white shape behind on press delete. Go to move the scar, work back up, click the roses and drag them out. So now I'm going to apply some new colors to this artwork. This T shirt design is going to be printed using Pantone colors as requested by the printer . As you can see here to the right, I have a selection off Pantone colors with their reference numbers. Now, if you two have Pantone references from Pantone Books you wish to include in your artwork, this is how to incorporate them. So I'm going to come over to the swatches panel and click on the top right menu button from the drop down. I'm going to come to the bottom and move my mouse over open Swatch library. Then you will see another menu, a pair that I'm going to roll my mouse over color books on. Then another list will appear on here. We have the library off many color books, including a series of Pantone books. Now I am looking for solid coated Pantone colors, so I'll click, the solid coated book on up will pop a new tab full of Pantone solid coated colors. Great. So now I'm going to search for my Pantone colors by typing in the number in the search box above. So I'm going to start with my T shirt color. So that's 219 and there it is. Now I want to keep a hold of this Pantone as I'll be using it a lot, so I'll click and drag this watch into my swatches panel like So nice. So I'll search for my next color 7744 on dragging into my swatches panel. Using this technique, I'll soon have all four colors in my swatches panel ready to use. Excellent. So now I have my pants on colors in my swatches panel. I'm ready to apply these colors to the artwork, so I'm going to select the background yellow, then come across on select the magenta pants on color. Then I'm going to select my skull artwork, which is currently grouped. Now notice down in the Tools menu. We have a question mark over the Phil. This is because we have multiple vectors selected with multiple colors with its all selected. I'm going to come over to the swatches panel and select the greenish yellow Pantone color on the whole. Artwork will change. Then I'm going to right click on on group the artwork with the selection tool. I'm carefully going to select the outline part of the artwork, then come into the swatches panel on Select the dark gray color on. Just like that, we have removed all the colors from the previous example on. We have the skull artwork into Pantone colors. Then I'm going to click the two roses, come to the swatches panel and select the greenish yellow Pantone. So now I'm going to proceed to color in the various details in the skull artwork. I'm going to select the parts of my vector artwork. I want to change and then use the Pantone's watches in the swatches panel, and soon I will have something that looks like this Now. I must mention at this point that currently we have the background on various elements of the artwork filled with the T shirt color panto at the moment, this is just for design and layout purposes. Remember, this will be printed onto a T shirt, and it will be the T shirt that creates this magenta part of the color in artwork. So this will be removed. Late Rock. We will be covering this in the exporting our video in Dujour. Now, this time I'm going to do something different with my roses. So I'm going to press a on the keyboard and click it part of the Rose by holding shift. Aiken, select more parts of the Rose with my selection. I'm going to come over to the swatches panel on Select the Yellow Pantone look. So then I'm going to click off the D Select on Press V to activate the selection to re select the Rose to select it as a group. Then I'm going to come to the Tools menu and select the stroke color, Then come over to the swatches panel un. Apply the black Pantone. I'm going to push up the stroke weight and change the stroke. Align to outside. I'll push up the weight to around six points, and that's looking pretty cool. I'm going to reposition on rotate until I'm happy. I'm going to select the other rose and delete it on, then copy and paste my new rose reflect the artwork and reposition like so then I'll select both roses and come up to the control panel and click the vertical align center button. This will align them perfectly like so on. That completes the coloring of the T shirt design. So now I have my posted his own to the left with C M y que color swatches on grade into facts on my T shirt designed to the right in strictly Pantone colors. So the finish off I'm going to save the document. I'm going to come to file, save on, save my document to the desktop and save it as skull color. Make sure you save your documents somewhere safe, as we will be using this document in the next video. So that covers color in vectors on using Pantone color books to source Pantone references to incorporate them into artwork. In the next video, we will be finalizing our poster and T shirt designs by adding type. See you in the next video 19. Adding type to a poster design in Adobe Illustrator Ep18 19 [Adobe Illustrator f: so I'm walking to this video tutorial. In the previous episode, we looked at how to add color to our vector artwork. In this video, we are going to carry on from where we left off in the previous episode and continue to add some type elements to our poster and T shirt design. So here I have opened the skull color document, which we created in the last episode. Now, if we take a look at the finished art book here, we can see a different type layout for each design. This is what we're going to develop in this tutorial on. Along the way, we will be using various tools and techniques. Okay, so I'm going to come back to my current document and make a start if you're following along from the previous video. Great. Make sure you have your document open, though. If you're new to this course, you will need to open up this document. This could be found in the adding type folder in the Project folder. You can download this project folder for free. The download link is in the description. So with the Project folder open click cast project coloring adding type versions and select the version of Illustrator you're Using. In my case, it's Sisi on open the skull color file usually have something that looks like this now for this to toil, you are also going to need to install the fonts. These funds can be downloaded absolutely free from default dot com, and you can find the links to these phones in the description. So once you have your document open and you have downloaded and installed the phones, let's make a start on. I'm going to start here on the left on my poster design. So at the moment my artwork is positioned in the middle of my canvas. I'm going to need to make room for my type here. So with the selection to, I'm going to make a selection over everything on the canvas to select it on holding shift, I'm going to click on the background, yellow to the Select the background. Now I'm going to press command G to group this skull artwork together on. I'm going to move the artwork up on out of the way to create some space for my type below, so I'm going to come across to the menu and select the type two or simply press t on the keyboard toe. Activate the type tool on, then come to my post area and click once. Now I'm going to proceed to type the first line of my type. And I want this in capitals. I'm going to impress the caps lock key on the keyboard. Now, in my instance, the type looks pretty small and currently the font is not what I want. So first, I'm going to choose my selection tool from the menu. Then I'm going to select the type object press s toe, activate the scale to don't go to scale this up. So then, with the selection to I'm going to double click back into the type on, then press command A to select all of the type. Now I'm going to come up to the control panel on now. I can see some type options here. First, I'm going to click into the font name box on begin to type the name off the front I want, so I'll go ahead and type white on here. We have found a result called white vinegar regular. So I'm going to select this on the type of change toe our new type face, so I'll choose the selection tool again from the menu on Move my type into the middle. Like so on. If I feel that this type is too big or small, I'll click on one of the corner squares on the bounding box. Hold shift on drag in or out until I'm happy with the type size. I'm going to make sure this type is black. So with the types elected, I'm going to make sure the color Phil is selected in the Tools menu on our click on a Blacks watch in the swatches panel. Nice now with the type object selected, I'm going to press command, see to copy and then command V to Paste with my new type object. I'm going to move this down just under my top type object. Just like earlier, I'm going to double click on the type, then select all with the mouse on. Begin typing in the next line with the mouse Aiken. Select all the type and come back up to the control panel and click into the font box to choose another front. In this instance, I'm going to go with the Dead Saloon and there is the front. I'll click this and it's changed. So next I'm going to choose the selection tool in the menu. On this time, I'm going to freely change the font size by placing my mouse cursor over the bottom right corner of the bounding box on my mom's Pointed will change to a double arrow on as I click and drag around like so I will have the flexibility to change the shape and size of my type . So I'm going to drag this across to match the width of the text above, tweaking accordingly until I'm happy. So like earlier, I'm going to copy and paste this type object on plate at the bottom. But this time I'm going to make it a little smaller on type. In the next line, I'm going to double click into the type and select it all. Come up to the control panel and change the font. The next front is called n you on again. I'll choose the selection to make the type a little smaller Now for this type composition, I want to incorporate the same rose artwork used above as a way to frame the bottom type object. So with the selection tool. As I attempt to select the rose from the artwork above, I will select the entire skull composition. This is because it's grouped. Remember, we group this composition earlier. If I double click on the skull artwork, I can click into the group and click on the Rose Element. So with that selected, I'm going to press command, see to copy and then click in the Pace board area a few times to come out of the group. Then I'm going to come toe edit and select paced in front. This will guarantee that the new Rose artwork will be placed on top of everything, and I'm going to move this down now. We're currently focusing on the type composition on DNA. What color right now. So with the row selected, going to press I to activate the eyedropper tool on, I'm going to select the black in the type on the roles will turn black. So with the selection tool, I'm going to select the rose and scale down the size by clicking and dragging on one of the corner squares on the bounding box while holding shift and then I may rotated just slightly until I get something like this and I'll move it just under the type above on Align It. So once I am or less happy with my Rose, I'm going to select it, press and hold Ault and click and drag it over to the right to duplicate it like so. Then I'm going to come to object. Transform on, reflect. Click OK on. Now we have two roses. Great. At this point, I may need to tweak the size of my type in order to fit it between the roses with some space for the type to breathe. And that's looking pretty cool. So now I'm going to click on both roses and the type by pressing and holding shift and then come up to the control panel and click the vertical align to on that will align these objects perfectly together. So now I'm going to finish off the composition off my type by adding a stroke above and below. So I'm going to come over to the line tool in the menu with the line tool selected, I'm going to click on the left, rose a drag over to the right like So while doing this, I'm going to press and hold shift to get a nice straight line unreleased over on the opposite Rose. If you do not see a stroke line, come up to the control panel on, make sure to set the stroke to size one above. Then I'm going to come down and draw another stroke. But this time from right the right side to the left holding shift to draw a straight line again. So now I have two strokes, the top drawn from left to right on the bottom, drawn from right to left. Now this is going to make sense in just a second with the selection to, I'm going to carefully select both strokes by pressing holding shift on the keyboard. Then I'm going to come over to the brushes panel on the right. If you do not see your brushes panel, you can come up to a window and select brushes from there, and then I'm going to select the charcoal feather brush on. Now I have applied the texture effect to the stroke line. Now, if I click off, we can see that the top stroke effect tapers off to the right on the bottom to the left. This is because this start on end point of the strokes are both different. That's why we started the top stroke from left to right on the bottom stroke from right to left. This is the effect I wanted to achieve. So now it's just a case off tinkering with my type composition until I get something I am happy with. If I feel the overall composition is too big or too small, I could make a selection over the entire comp on pressing hold shift to de select the background yellow, then press s to activate the scale to and click and drag in or out holding shift to total the scale of the type composition until I get something I am happy with. Next, I can click on the skull artwork above on. Move that down on in the center. Soon I will have something that looks like this. So now I'm happy with my type on my artwork composition to finish off my poster. I'm know, going toe. Add some color to the type. So with the selection tool, I'm going to click on the second line in my type. When the types elected. I'm going to press I on the keyboard to activate the eyedropper tool on with the eyedropper tool. I can no select a color I like from my artwork above. I think I'm going to go with a purple color from one of the heart here. I'm just like that. I have changed the color. Next, I'm going to select the bottom line of my type on Press I on this time select a blue from the artwork. Then, with the selection tool, I'm going to select both roses by holding shift on Press I and choose a red from the artwork. Finally, I'm going to select both the strokes, press I and select the dark green. But notice upon click, they have disappeared. This is because we just applied a fill color of green. These are strokes are not fill color objects. Now I have to come into the tools menu and kick the swap Phil and stroke color button on. This will change the fill color to the stroke color on that will correct the strokes and make them dark green, so that completes the type. So to finish the poster, I'm going to select the whole type composition and press and hold shift to de select the yellow background. And I'm going to press command G to group this together. Next, I'm going to select the type group, press and hold shift and select the yellow background. And then the scholars were group above, come up to the control panel and click the horizontal line center button on Know the poster is nicely aligned down the center. Perfect on that completes the type on the poster section. So next I'm going to create the type composition for the T shirt design. So this time, instead of starting from scratch, I'm going to work with the composition I have already created for the poster. So I'm going to start by clicking and dragging over my skull artwork on. I'm going to press and hold shift to D like the background and press command G to group the skull artwork on. I'll move it up like so to create some space for my type. Next, I'm going to come over to the poster type composition selected with the selection Tool Press and hold Ault on drag it over to the right to make a duplicate next I'm going to right click on the composition and select on group, then click off to the select. Then I'm going to select the roses on the strokes by pressing holding shift with a more selected I'm just going to press delete. Next, I'm going to press and hold, shift and select the three remaining type objects. Then press. I activate the eyedropper on Select the dark color from the notion to make my type black. So now I'm going to do something a little different with this composition. What I'm about to do here is use the touch type tool to drastically alter the size off some of the letters in my type. Now, if you're using an earlier version of Illustrator, you may not be able to perform the following task. I'm about to use the touch type tool, which is a new feature in Illustrator, So first I'm going to click on the bottom type line on Dragon below, Out of the way, then I'm going to select the second line. Then I'm going to come over to the type tool on select the touch Type two Upon Click we can now see the most. Cosa has changed, so I'm going to begin by clicking on the first letter Upon Click, we will now see a bounding box around just that particular letter. I'm carefully going to click and drag on the top right hand box on click and drag up and out like so, making the letter much bigger than the neighboring letters. Once I'm happy with size, I'm going to click and drag it down so the top of the letter is aligned with the cap height off the other letters, and that's looking pretty cool. Next I'm going to press command are toe activate my rulers on the side of my document area . Then I'm going to come to the top and click in the ruler area and drag a guide down on release along the top of the cap height off the letters. Then I'm going to drag another guide from the top and place this at the baseline off the biggest letter. If you cannot see your guides, press Command Cola, this will toggle the visibility off your guides. So now I have a nice guy to create the next letter. So with the touch type two active, I'm going to click on the last letter in the line on Just like earlier. Click and drag the top right corner up and out to expand the size of the letter. Then I'm going to drag down, like so to match my first letter. I'm going to use the guides as a measure. If the letter is too big or too small, I'm going to tweak accordingly until I have something that looks like this. Now I'm happy with my type. I'm going to press command Colon to toggle away my guides. So now I have this interesting looking type composition that I have just created. Using the touch Type two on I have effectively created some space between the first and last character in my line with the selection tool. I'm going to select this type object and move it into place on talk of the size until it matches the with off the type object above. Then I'm going to select the bottom line on move this into position to attempt to fill the space I have just created. If it does not fit immediately, then select the type of the selection tool and click and drag the bottom right point on the bounding box to expand and alter the size until you get a comfortable fit. Soon you will have something that looks like this. Now all that's left me to do is add color. Now, if you have been following along with the course, you will know that all the colors in the top artwork or Pantone's we are going to use these Pantone's to color this type so we know it's going to be compatible for the printer. So I'm going to use the selection toe to select my middle type line. Then I will press I to activate the eyedropper tool. Then I'm going to select the darker shade of yellow from the skull. Artwork on That will change the type, though. For this design, I want the first and last letter to be embroidered yellow shade just to make things a little more interesting. So with the selection tool, I'm going to double click into the type and select just the first letter. Then I'll come over to the eyedropper tool in the Tools menu on select the brighter yellow from their teeth like so. Then I'll choose the type to again from the menu and select the last letter she was the eyedropper tool on again. Select a bright yellow sample. Then I'll choose the selection tool on Click off the D Select on there. I have customized the colors off my type on that finishes the type composition for my T shirt design to finish off. I'm going to make a selection over my type, like so press and hold shift on click on the background to de select it. Then I'll press Command G to group my type composition by pressing and holding shift. I'll select my skull artwork above, which is also grouped on. Then the background. I'm gonna come up to the control panel on Select the Horizontal Aligned Center button. This will align all the elements to the center. Then I'll click on the skull group on. Move this up and down until I have the completed T shirt design I am happy with, and that completes the production off my artwork for both the poster on the T shirt design . Now I am finished. I'm going to come to file save on save my document to the desktop and save as skull final composition. Make sure you save your documents somewhere safe, as we will be using this document in the next video. So that covers how toe added type to your artwork in Illustrator on used the tools to make some creative modifications. Now creating and building your artwork complete your design is one thing, though. Making sure the printer receives your artwork to print it exactly to your design is another before he said, my artwork to print, there are a few things I need to prepare review on. Be certain or correct before sending the artwork to print in the next video, we are going to prepare this artwork for print. See you in the next video. 20. Prepare and export ready for print in Adobe Illustrator Ep19 19 [Adobe Illustrat: welcome to this video tutorial. In the previous video, we finalized our poster and T shirt design by adding type in this video, we are now going to prepare the artwork for print. Getting your art were complete to a design is one thing, though Making sure the printer receives your artwork to print it exactly to your design is another. Before I send my artwork to print, there are a few things I need to prepare review on be served, not correct before sending the artwork off to be printed. So here we are, where we left off in the previous episode on here I have this skull final composition document open. I have the final designs on our boat three and fall on the development vector assets above on art Board one on too if you're following along from the previous video. Great. Make sure you have your document. Open on ready, though. If you're new to this coast on wish to follow along, you will need toe Open up this document. This could be found in the export folder in the Project folder. You can download this project Fuller for free. The document link is description. So with the Project folder Open Click Test Project Export Exporting Versions on Select the version of Illustrator your Jozic. In my case, it's Sisi on open the skull. Final composition document on. You should have something that looks like this. Now, if you're new to this course, chances are you will not have the fonts installed. These phones can be downloaded absolutely free. From the font dot com on. Do you confined the lengths to these funds in the description? So now we should all have our document open like this. Now, before we prepare the artwork to export, I'm just going to cover what we're going to build up to. So here are two pdf documents I have exported earlier To the left is the poster design and to the right is the T shirt design on. I'm currently looking at this in Adobe Acrobat Reader. So what is a pdf? Well, for those of you that are not familiar with the pdf format, pdf stands for portable document format. P d EFS could be exported from most word processing, desktop publishing and creative programs. Pdf is a universal far format that can be opened on all computers that have a basic pdf viewer installed. I am using Acrobat Pro, which comes as part of the creative cloud. Though you can download a simple PdF, you aversion for free. A Pdf document contained a large amount of pages in the form of a leaflet, presentation or magazine. Pdf documents are falls that are well received by printers in order to print a document to specifications. When it comes to printing your work. Most printers require you to include Marks and Bly's, which helped the printer accurately print and trim your work to spec. These two PDS were exported individually from the main document we have been developing over the previous episodes. So if we look carefully at the first pdf on the left, we can see that this is just one page on. We can see a number of Marx and guides around the outside now. These are bleed and crop marks that the printer is going to use to correctly trim the artwork. Also, we have some color squares to help the printer collaborate the colors accurately with their printers. All these marks and guides have been generated upon exporting the artwork from the illustrated document on. We will be taking a look at how to do this very shortly. Over on the right, we have the T shirt artwork. Pdf. Now this is a little different from the poster example. This artwork is going to be printed onto a T shirt so we can see here that the artwork is set on a white background on some of the color in the skull. Artwork is also white. This is where the color of the T shirt is going to come through. On fill these areas notice on this example. We do not have any marks and bleeds well. This design is not going to be printed on paper. This will be coming transfer that will be heat pressed onto a T shirt so we do not need the marks and bleeds here. So now I'm going to come back into the final artwork document to which I'll soon demonstrate how to export the artwork. Though before I begin exporting, I want to review my document and adjust the structure so it's ready to export. I'm going to follow a simple checklist and after this I should be confident my artwork is ready to export. Ready for print So first on my checklist is document bleed. So first of all, I can see I have my red bleed margins around the outside of my canvas Art boards. Normally, if my artwork is full bleed, I would have to make sure my artwork expands to meet the edges off these bleed lines, though on this occasion I want a nice white margin around my background yellow Now. These margins were created at the very start when the document was set up. Currently, these margins are set to five millimeters, though if for any reason your printer tells you you need a different bleed value, let's say 10. Well, you can simply come up to the top menu Click file, scroll down to document set up on You can see your bleed values here. Let's say I change these 2 10 and click OK, The margin values will change, but on this occasion you can see there now all all the lapping Well, now it's a case of coming over to the art board panel. Clicking on the top right menu selecting rearrange art board. Click OK on that should space er boards appropriately, so I'm just going to undo that for now and go back to five millimeter bleed. Next on my checklist is layers on artwork organization. Up until now, creating this poster anti Shia designed has been a creative process on. We have not been worrying too much about the organization, though once we have finished the design, we should take some time to organize the artwork, especially if your document contains multiple designs like minders. Currently, we have both a poster on the T shirt artwork on a single layer. This is OK but will prove a little problematic later, which you will soon see. What I'm going to do here is simply place each design on its own layer, so I'm going to rename the current layer. All the artwork is on from coloring to post a design. I'm going to press command l to create a new layer on. I'm going to rename this layer to T shirt design. Then I'm going to use the selection tool to select the entire T shirt artwork on press Command X to cut, Then click onto the new T shirt design layer and press command shift B to paste in place. Excellent. So now my two designs are nicely organized on two separate layers. Next on my checklist is type elements. Now we have some type elements in our designs. What we need to do here is make a decision how we're going to manage the type elements On this occasion. I want my entire artwork to be a flat back to shape, so I'm going to select each type element in my design. And I may have to unde group some of the compositions to select the text objects individually like so once I have them all selected, I'm going to right click and select create outlines upon click. What were previously type objects have now been converted into vector shapes and can no longer be edited with the type tool. Thes are no vector shapes, much like the rest of the artwork. Now you don't have to do this, though. It's just something I like to do to complete my artwork. Next on my checklist is colors. Now I have two designs here that are destined to be printed on two different types of material. The poster will be printed on paper on the T shirt design will be printed onto a magenta colored T shirt. Currently, I have the magenta color in my T shirt artwork for preview purposes. Now I need to remove all of this color. I could do this really easy by first selecting the background solid color, deleting it. Next. I need to get rid of all the magenta color in the artwork itself. We couldn't see that is a lot, and it's going to be a little time when seamen picking it all out and deleting it. A quick way is to use the magic wand the tool. So I'm going to come over to the menu and select the magic, warned the tool. And then I'm going to click a magenta color part of my artwork. Upon click, all the magenta has been selected in my artwork. Now I'm just going to press delete on that will quickly remove all that color from the design. Easy. Finally, I need to check to make sure all my colors of correct so I don't get any feedback from the printers telling me that my colors are incorrect and need changing. Now. My poster designed to the left. It's fine. This is going to be printed with a C. M. Y. que printer as long as it's looking how I want it on screen. I should expect the result I want after printing, though, I need to pay particular attention to the T shirt design. Unlike the poster, the color here needs to be Pantone colors. So before sending off the print, I have to make sure these are all correct. So again, I can use the magic one to hear. If I press, why on the keyboard, I can activate the magic 12 So with this tool, I'm going to click on the yellowish green color and hopefully all off the color elements I want in that color should be selected in my artwork. This will indicate they're all the same color. If not, then I will have to reevaluate the color off the vectors to make sure they are all correct . If I look closely in my swatches panel, I can see the correct. Pantone's watch is highlighted. If I double click on the Pantone Swatch, I couldn't see the values and confirmed it to be a Pantone color, so I'll continue to click on all other colors within my artwork and use the same technique checking in the swatches panel to make sure the correct Pantone color is applied. So once I have gone through my checklist and I'm happy, everything is correct. I can no proceed to export. My P D efs rarely descend over to the printer. Now I could send the PdF as one document consisting of both the poster anti Sha artwork, though, since the designs contained separate color types, I'm going to make it simple and create two documents, so I'm going to start with the poster design now. Also, keep in mind that this document contains full art boards on my final designs are placed on our boards three and four. So I'm going to come to file and save As Upon Click, we'll get the save to menu that will ask us where we want to save the far so I'll go ahead and type in a document name. I'll call this poster design now. Since we are in Illustrator by default, the default format is going to be set to AI, and you can see this at the bottom off the save as window. What we're going to do here is toggle the file format, so I'll click the options button on here. We can see a range of options here. I'm going to choose pdf upon. Click. We can see some new options become available below. Now remember, the document is made of four. Are bodes well here. I only want to export the poster, so I'm going to click on range on type in three as that's the art board my poster is on. So then I'm going to click. Save now up should pop a new PdF Settings menu Here we are going to configure some of the pdf options. So from the top, I'm going to click on the pdf presets on select high quality. This is going to guarantee my artwork is exported to a maximum quality coming down on the options. I'm going to make sure view pdf after saving is checked, this will open the pdf upon export to which we can take a look at our exported file very quickly. Now, on the left hand side, we have a list of other criteria. I'm going to click on marks and bleeds here. I can set what Marx and bleeds are generated on my pdf. No, I'm just going to click on all printer marks on bleeds. Andi, all the boxes would be ticked. You can also uncheck these individually if you don't want to. For example, if you don't want to include the color bars, you can simply click it to talk about off and back on again. Next on bleeds. I'm going to make sure that use document bleeds at things is checked as we have already set up our bleed margins in our document to five millimeters. If you ever find yourself exporting artwork and you have not set up your bleed margins beforehand, simply type in a value here. Once I'm happy, I will press save. PdF on then up should pop your new pdf on We can see the marks and bleeds have been included. This document is now ready to go over to the printers. Excellent. So, back in the document this time, I'm going to export off the T shirt design. So just like earlier, I'm going to come to file save as Upon Click, we will get this save menu that will ask us where we want to save the file as usual. So I'll go ahead and type in a document name. I'll call this T shirt design. Then I'll come to the bottom and total of format from a I to Pdf This time I will type four into range being the art board in my document with the T shirt design on I'll Click. Save on Up will pop the PDF Properties window. I will choose high quality from the adobe. Pdf preset. This time, however, I'll click on the marks and bleeds on. Make sure that no marks and guides are selected. Then I'll click. Save pdf on There is my T shirt design ready to go over to the printers to be pressed onto the magenta colored T shirt. Excellent. So that covers how to export a PdF in Adobe Illustrator on That completes the Beginner's Guide to Adobe Illustrator. Well, I hope you enjoy this video course. If you're not familiar with, illustrate that before this cause I hope I have helped you get up to speed with some of the basics here in Illustrator toe help you create your own artwork in future. If you like the course, please subscribe to the channel. There will be lots more content like this in future, so don't miss out on that. If you like the course, go ahead and click the like button on my Facebook page and even add me as a friend. Be sure to share this course with your friends who also may be interested in learning Illustrator. If you wish to hear about more up and coming video tutorials on general creative news and updates, you can follow me on Twitter and, of course, check out and subscribe for free to taste. Itunes dot com website. Well, that's it for another video brought to you by TC Shoots. Don't come have fun, guys, and I'll see you next time.