Create Wreaths & Other Floral Designs - An Illustrator for Lunch™ Class | Helen Bradley | Skillshare

Create Wreaths & Other Floral Designs - An Illustrator for Lunch™ Class

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

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6 Lessons (60m)
    • 1. Intro to Making Wreaths & Other Floral Designs in Illustrator - an Illustrator for Lunch™ class

    • 2. Create a Wreath

    • 3. Create a Heart Shape Design

    • 4. Create a Spray of Flowers

    • 5. Create a Rectangle Panel

    • 6. Project and Wrapup


About This Class

In this class, you will learn to make four different floral designs including two different wreath shapes in Illustrator. I have chosen each of these designs to showcase a range of different Illustrator techniques for placing and bending vector art, and for recoloring complex objects. I have used free downloadable art so you can follow along with me as I make these designs. In future, you can make your own floral elements to use but, for this class we'll use free art so we can focus on the work of putting these designs together. 

If you liked this class then you may enjoy these other classes of mine:

4 Illustrator Shading Techniques - An Illustrator for Lunch™ class - Simple Highlights & Shadows

5 Hexagon Patterns in Illustrator - an Illustrator for Lunch? course

Create Color Schemes in Illustrator for Using, Sharing & Selling - An Illustrator for Lunch? Class

Create Patterns in Adobe Capture for Illustrator & Photoshop

Create Wreaths & Other Floral Designs - An Illustrator for Lunch™ Class

Designing with Spirals - An Illustrator for Lunch™ Class

Doodle Flower Design & Pattern in Illustrator - An Illustrator for Lunch™ Class

Draw a Hot Air Balloon in Illustrator - Fun with 3D! 

Illustrator - Design in Black and White - Create Positive/negative images

Illustrator for Lunch? - 10 Interface and Setup tips too Speed your Workflow

Illustrator for Lunch™ - 10 in 10 - 10 Align tips in 10 minutes or less 

Illustrator for Lunch™ - 10 in 10 - 10 Type Tips in 10 minutes (or less) 

Illustrator for Lunch™ - 10 in 10 - Ten Top Illustrator Tips in 10 Minutes 

Illustrator for Lunch™ - 10 Layer Tips in 10 minutes

Illustrator for Lunch™ - 10 Pattern tips in 10 Minutes 

Illustrator for Lunch™ - 10 Pen tool and Path Tips in 10 Minutes or Less 

Illustrator for Lunch™ - 20 Appearance Panel Tips in 20 minutes or less

Illustrator for Lunch™ - 20 Color tips in 20 Minutes

Illustrator for Lunch™ - 20 Gradient tips in 20 minutes

Illustrator for Lunch™ - 20 Pathfinder, Crop and Cutout tips in 20 minutes or less

Illustrator for Lunch™ - 20 Recolor Artwork tips in (around) 20 minutes

Illustrator for Lunch™ - 20 Reflect and Rotate tips in 20 minutes or less

Illustrator for Lunch™ - 20 Things New Illustrator Users Need to Know

Illustrator for Lunch™ - 3D Extrusion Effects - Text, Shapes, 3D

Illustrator for Lunch™ - 3D Perspective Cube design and Bonus 3D star

Illustrator for Lunch™ - 4 Exotic Patterns - Quatrefoils, Moroccan Trellis, and Layered Diamond 

Illustrator for Lunch™ - 4 Handy Patterns - Diagonals, Plaid, Colorful Dots, Chevron

Illustrator for Lunch™ - 5 Cool Text Effects

Illustrator for Lunch™ - Abstract Ombre Background - Color Scheme, Blend, Transform 

Illustrator for Lunch™ - All you need to know about Brushes in Illustrator

Illustrator for Lunch™ - Backgrounds for your projects - Sunbursts, Halftone, Blends & Brushes 

Illustrator for Lunch™ - Banner and Award Badges - Appearance Panel, Masks, Warp 

Illustrator for Lunch™ - Blends and Gradients - Blends, Blend Modes, Gradients 

Illustrator for Lunch™ - Braids, Rick Rack and More

Illustrator for Lunch™ - Circle Based Patterns - Rotate, Blend, Multi-Color Dots

Illustrator for Lunch™ - Clipping Masks, Opacity Masks & Layer Masks

Illustrator for Lunch™ - Complex Block and Half Drop Repeat patterns

Illustrator for Lunch™ - Complex Rotated Repeating Patterns Made Easy - Using MadPattern templates 

Illustrator for Lunch™ - Create a Floral Alphabet character

Illustrator for Lunch™ - Create a Nighttime Cityscape Image

Illustrator for Lunch™ - Create a Plaid or Tartan Pattern

Illustrator for Lunch™ - Create a Range of Triangle Patterns

Illustrator for Lunch™ - Create a Retro Landscape Illustration

Illustrator for Lunch™ - Create a Textured Dot Pattern - Transform, Vector Texture, Patterns 

Illustrator for Lunch™ - Create a Wave Pattern 

Illustrator for Lunch™ - Create a Whimsical Tree

Illustrator for Lunch™ - Create an Ikat Inspired Pattern

Illustrator for Lunch™ - Create an Isometric Cube Pattern - Shape Builder, Align, Pattern Make

Illustrator for Lunch™ - Create Complex Art in the Appearance Panel

Illustrator for Lunch™ - Create Diamond, Harlequin and Argyle Patterns

Illustrator for Lunch™ - Create Guilloche Effects

Illustrator for Lunch™ - Create Hi-Tech HUD rings

Illustrator for Lunch™ - Create Perfectly Overlapped Rotated Shapes

Illustrator for Lunch™ - Create Seasonal Ornaments - Learn new skills while making seasonal art

Illustrator for Lunch™ - Create Stitches and Sewing Elements

Illustrator for Lunch™ - Create with bends and blends - techniques for icons, logos and more

Illustrator for Lunch™ - Creative Half tone Effects

Illustrator for Lunch™ - Custom Corner Tiles for Pattern Brushes

Illustrator for Lunch™ - Cute Furry Creatures

Illustrator for Lunch™ - Cutout Text Effects - Photos, Pathfinder & Text

Illustrator for Lunch™ - Designing with Symmetry

Illustrator for Lunch™ - Doodle-Style Heart - DIY Brushes and Nested Shapes

Illustrator for Lunch™ - Draw a Retro TV - Shapes, Texture & Sunburst

Illustrator for Lunch™ - Draw a Vintage Birdcage - Shapes, Transform, Texture

Illustrator for Lunch™ - Faux Tissue Paper Collage - Blending, Texture, Transparency 

Illustrator for Lunch™ - Flat and Dimensional drawing techniques

Illustrator for Lunch™ - Fun Effects with Graphic Styles - Appearances, Brushes, Styles 

Illustrator for Lunch™ - Fun with Scripts - Download, Install, Run

Illustrator for Lunch™ - Get Creative with Blends and Brushes

Illustrator for Lunch™ - Get Export File Sizes and Resolution Correct

Illustrator for Lunch™ - Going in Circles - Brushes, Blends & Transformations

Illustrator for Lunch™ - Gradient Background Effects - Find, Adapt, Create & Use

Illustrator for Lunch™ - Houndstooth & Rose - Vector Halftone Tracing & Houndstooth Pattern 

Illustrator for Lunch™ - Illustrating Cacti with Custom Made Brushes

Illustrator for Lunch™ - I'm Seeing Stars - Fill, Warp, Clip & Crop Shapes

Illustrator for Lunch™ - In the Frame - Shapes, Fills, Strokes & Color

Illustrator for Lunch™ - In the Kitchen - Cartoon Art with Live Paint 

Illustrator for Lunch™ - In Your Face - Pen Tool Practice 

Illustrator for Lunch™ - Layered Paper Style Collage - Gradients, Graphic Styles, Transform 

Illustrator for Lunch™ - Let's Go Steampunk! - Shapes, Rotation, Textures 

Illustrator for Lunch™ - Make a 2017 Calendar from Scratch - Grids, Layouts, Text, Patterns & More 

Illustrator for Lunch™ - Make a 3D Y Shape Pattern - from paper illustration to digital design

Illustrator for Lunch™ - Make a Lace Pattern Brush - Stroke, Blends, Pattern Tiles, Rotation 

Illustrator for Lunch™ - Make an Organic Spiral Pattern

Illustrator for Lunch™ - Make Art Brushes - Configure, Color & Scale

Illustrator for Lunch™ - Make Art Using Other People's Art 

Illustrator for Lunch™ - Make Custom Organic Patterns - Transform, Scissors, Align, Pattern Swatch 

Illustrator for Lunch™ - Make Retro Shapes - Pathfinder, Scripts, Rotation

Illustrator for Lunch™ - Make Scrapbook Papers to Sell - Patterns, File Formats, Marketing Materials 

Illustrator for Lunch™ - Make to Sell Printables - Stripes, Grid, Lines & Isometric Grid

Illustrator for Lunch™ - Mastering Live Trace - Turn Bitmaps to Vectors

Illustrator for Lunch™ - Meandering Hexagon Pattern

Illustrator for Lunch™ - More fun with Scripts - Text to code, more scripts, more fun (trees too!)

Illustrator for Lunch™ - Multi-Color Faux Pattern - Patterns, Transform, Expand 

Illustrator for Lunch™ - Neon Effect - Appearances, Graphic Styles, Fonts

Illustrator for Lunch™ - On (a pattern making) Safari - Repeating Patterns 

Illustrator for Lunch™ - One Design Concept - Many Variations 

Illustrator for Lunch™ - Pattern in a Pattern - Achieving the Impossible in Illustrator 

Illustrator for Lunch™ - Pattern in Pattern & Irregular Repeating Patterns

Illustrator for Lunch™ - Pattern Know-how - Install, Transform, Recolor

Illustrator for Lunch™ - Pattern of Lines and Dots

Illustrator for Lunch™ - Pop Art Style Star Pattern 

Illustrator for Lunch™ - Real Time Mandala Design

Illustrator for Lunch™ - Real Time Mirror Drawing - Symmetrical drawing

Illustrator for Lunch™ - Road Trip - Custom Brushes and Live Paint

Illustrator for Lunch™ - Roaming Square Pattern

Illustrator for Lunch™ - Seamless Repeating Texture Patterns

Illustrator for Lunch™ - Season's Greetings - Shapes, Brushes, Texture 

Illustrator for Lunch™ - Semi Transparent Flowers - Scatter Brushes, Opacity, Blend Modes 

Illustrator for Lunch™ - Sharing and archiving files - troubleshooting the pitfalls

Illustrator for Lunch™ - Sketchy Image Effect - Image Trace, Swatches, Sketchy Effect

Illustrator for Lunch™ - Something's Fishy - Appearance Panel Tips & Tricks 

Illustrator for Lunch™ - Stipple Texture Effect - Grain, Gradients, Blends 

Illustrator for Lunch™ - String Art Inspired Designs

Illustrator for Lunch™ - Stylish Doodles to Make and Sell

Illustrator for Lunch™ - Type on a Path - Type, Paths, Shapes

Illustrator for Lunch™ - Using & Troubleshooting Bounding Boxes

Illustrator for Lunch™ - Using Photoshop Objects in Illustrator - Images, Shapes, Patterns and more

Illustrator for Lunch™ - Vector Textures - Vectors, Clipping Masks, Pathfinder

Illustrator for Lunch™ - Warp Shapes & Text - Envelope Distort, Warp, Gradients 

Illustrator for Lunch™ - Watercolor Magic - Type, Downloaded Patterns & Brushes 

Illustrator for Lunch™ - Watercolor stripe seamless repeating pattern

Illustrator for Lunch™ - Whimsical diagonal line patterns

Illustrator for Lunch™ - Whimsical Scrapbook Paper Designs to Sell or Share

Illustrator for Lunch™ - Whimsical Text Effects

Illustrator for Lunch™ - Whimsical Textured Drawings Using Hand Drawn Brushes

Illustrator for Lunch™ - Zentangle® Inspired Pattern Brushes - Shapes, Effects, Brushes

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Pattern Design in Illustrator Masterclass

Piping Effect in Illustrator - An Illustrator for Lunch™ Class

Rainbow Gradient Shape & Text Effects in Illustrator - an Illustrator for Lunch™ class

Terrazzo Patterns Without Drawing a Shape! - An Illustrator for Lunch? Class



1. Intro to Making Wreaths & Other Floral Designs in Illustrator - an Illustrator for Lunch™ class: Hello and welcome to this class on making floral designs in Illustrator, My Name's Helen Bradley and I'm a school share talk teacher. I have over 200 courses on skill share and over 95,000 student enrollments in this class will look at a range of ways that you can use downloaded floral and leaf shapes to make completed designs. In Illustrator, you'll see how to make circular and heart shape Aries, a swash of florals and a rectangular design. Now each design features different techniques for assembling the loud. So along the way you'll learn valuable illustrator work flows as well as a handy tool for recovering complex art. Now we're using free vector floral elements for this class, but the designs could also be made using your own elements and then sold as ready to use designs. Once you've completed this course, you'll have enhanced your knowledge of working with illustrator. So without further ado, let's get started making floral designs in Illustrator 2. Create a Wreath: the first floral element that will create will be a brief. And so I have opened one off the image sets that I've downloaded. This one is from free pick, and I'll give you the download links so that you can follow along. Now, whenever you download art like this, the first thing you want to do is go in and work out where everything is that you want. So I'm gonna turn off this top most lab because that is this element down here. I don't need the background so I could turn off and even delayed it. Now, there's still some elements in here that I don't want someone open up the remaining liar here, which is the objects laugh. And down here the bottom of the objects, like appears to bay the text here. So I'm actually going to just drag that onto the trash can because that will allow Ming in to select the group and all that's left in the group. Others floral elements, salt, choose, edit and then copy. I'm going to create this in a brand new documents, all choose file and then new. Now I want to end up with a wreath that is basically square, but I also need some storage space for the elements that I'm bringing over. And so what I'm going to do is end up with the documents about 2000 by 2000. But I'm going to make it a little bit wider for now, so I'm going to make it 3200 by 2000 and click, create and then all choose, edit and paste on our paste in the objects that I copied from the other document. And I can enlarge them a little bit by holding the shift K and just dragging out to enlarge them because they're vector objects. Of course, they can be scaled without losing any quality. Now we're going to create a race which will be basically a circular objects on going to the Ellipse talk. I'll hold the shift K as I drag out a circle and just move it into position. This will give me a rough guide as to what my circular wreath shape is going to be like. It's God's gonna help me design it Now I want it to have a colored strike. Just any color will dough and just picking it up a little bit so that you can set. You're not going to actually continue to use this in the rate that salsa will be delayed ID later on and right now so that we can keep things nice and neat. I'm going to work on Lough one and just leave the objects on layer to I'm gonna try and be pretty careful as I work that the actual wreath is going to be built on lower ones so I could disguised layer to later on. So we're going to start with the greenery. That's a good base for a Wraith is to start with the underlying paces for Go over here and select this object. I'll choose edit, copy and then edit paste. Now it's being pasted into this other last. So with its select, I'm just going to drag it onto lower one so that we make sure that we're building this thing up on lower one. Just make life a little bit easier. So I'm going to move the greenery over to the edge off the lips, and then we're going to start rotating it around. And for this I'll select the shape I'll choose Effect distort and transform and then transform alto improve you on so I can see what I'm doing. And I'm thinking, probably I want about 10 or 11 of these leaves around. So let's just type 11 because that will give us 12 in title now. To get them to rotate around is a little bit off trial and error. But I really like this method because you don't have to commit to it until you've got it right. So what I'm going to do is start by increasing the horizontal and vertical movement, and they're going to ultimately bay the same amount. So I'm thinking I'll start with 250 for horizontal and vertical, and now I'll take the angle up. So I'm just going to start increasing the angle. And as I do that, you'll see that the shapes are all just rotating around, and so they're actually going to create, ultimately a circle. It's just that we might need to do a little bit of work with, um, you can change the rotation point and that will change the way it looks. And I've taken the rotation point here down to the middle bottom, and this is pretty much what I need for my wreath. It's just that it's not quite large enough. It's not quite filling up the shape, so I'm gonna take it up to maybe 2 17 to 70. Now it's pretty much a circle, and it's pretty much the same size as the circle that I drew as a guideline for my reef. It's just not quite in the right position. That's not a problem that's going to be easy to solve, so I'll click OK, and all I need to do is with this shape selected because this is a transform effect. It's just a shape that's got a transformation applied to it. I'm just going to move the shape down and across until the Lays are all over the edge off my design. And so that's a really good starting point for my wreath. I've got a nice even set off Greenlees going around the edge, and that's been created using that transform effect. Once you've got your green reim place, the next thing that you want to do is to add the big elements and so what we're going to do is use this flour are all toe option drag a duplicate of it away, Not only because I want to keep the original in case I want to do something with it later, but also because I'm about to take a hatchet to this flower. I don't want the grain lays. I really just want the flower here. So I'm going to select the object, and I'm going to theorize a tall and with the arrays, it'll Aiken just erase across the bottom off the flower here and that will just break it apart. Now, if I go into the group selection tall because this is in a group, I conceal ECT over the top part off the flower. Make sure that I've got all the elements and leave the lace behind. So I'm going to choose, edit and then cut. No, I didn't take quite all the pace is thought. I'm going to try that again. I'm gonna choose edit Kat and then our choose edit paste because I want to break these objects apart. But you'll see that they are now individual objects. They not grouped. And so before I do anything, it's really important that I group this or I'm going to lose control over this shape entirely. So choose the object group. I suggest that as you're working on these races, it's a really good idea to have your last palette open so you can see what's going on. It's just too risky otherwise. So Now I'm going to take this flat and rotate it. And basically, what I want is three flowers around this shape. I want one here, one here and one just over here. Three large flowers is a good way off, creating some balance in your race. Our numbers work better than even numbers and just spacing them sort of evenly around the edge, but not quite, will add a little bit of variety and visual interest. So this group up here is in the objects collection. We don't want it to be there, so I'm just going to drag it in tow, the liar that we're working on and here it is, here. Now I can make a duplicate of it old or option dragon into position and then place it here in this side of the Wraith. And I'm just going to rotate it a little bit and you could also recite it may be down just a little just to add a bit of variety. I'll also option drag 1/3 copy up here and rotated around. That would be possible. Also, to flip it horizontally or vertically with object, transform reflect and then choose either horizontal or vertical. And again, that will give a little being off interest through the Wraith. The next step is toe add some filler elements, and what I'm looking for here is some leaves that could go in between these other lace I'm going to select this group of lives are all toe option. Drag a duplicate away, and I'm going to then all toe option drag to place these lives in position now just going toe. Place it in the sort of gap here rotated a little bit into position, just using it as a filler and just ensuring that it goes in the right lower, which it isn't. So let me just drag it down into this layer. And, of course, you can also adjust its placement. I've got it on top of the green lace, which I think is a good spot for it. But if you wanted it underneath the green lays and you just drag it under the group here, which is the set of Rotated Lays. But as I said, I think it's better on top now that it's in this lower Aiken. Select it and old or option drag a duplicate away, and I'll just continue to do that to fill in some spaces. Now for this one, I might reflect it first. So let me just make another duplicate and reflect one of these because this will give me some leaf shapes that will go the opposite way and again, adding a little bit of variety while still maintaining some consistency off color and placement, but a little bit off variety in terms of the direction that's going in. Once I've created this one, I can also use it to take elsewhere in the design. I'm not gonna fill up all the guts because I got some other elements that I could use. And one of the elements I'm looking at is this one here. So again, I'll tow option, drag a duplicate away and going to make sure that it's now positioned in the lab that I'm working in and let's go and add it to the design. So I'm just making some duplicates off it as I go, and then I'll add it to the design. I'm just using it to fill up a few gaps. Now, if you want to take just part of this, you can, so we could take off the back bit and just remove it. So I'm going to select the object and go to the arrays a tool, and I'm just going toe erase out this area. Then I'll go to the group selection toll, and I'm going to select these objects and just removed, Um, so that leaves me with a shape that's smaller again and again. It's got that same look to the other elements in the design, but this one is just a little bit different. So let's select over it, and we'll place that in the design as well. I'm going to reflect this one horizontally so that it looks a little bit different to the other one Now. We could also use these flowers or these flowers that doesn't really matter. I'm thinking that I might do something with this set of flowers, so I'm just going to duplicate it. I'm going to zoom in so that I can see what I'm looking at here. I'm going to the group selection tool because they elements are all in a group. And what I want to do is to break some bits out. So what I'm gonna do a select over the stems here. What I'm trying to do is break this into just a set off flowers rather than anything that has stems in it. They were going to be nice little filler accents. So let's go score and select. Hm? Here they are in this top layer, but we want them in the lab that we're actually working on. So I just moved them into that liar. And now I'm just going to taik the three off hm and place them at intervals around the design and you could even break those up further into single elements that you place in various areas. Just be aware that things that are in sort of three's work better generally than things that are in twos, whether they be big or little, they're just going to be a bit more interesting if there are numbers rather than even numbers. So let's take this final set as a set of elements that we can use again, moving it into the group that we're working and with a liar that we're working in. Let's make a duplicate. Let's transformed this one with the reflection transformation so that it points in a different direction. Now, this is a pretty large object. I'm going to just scale it down a little bit to make it a bit smaller. I'm actually going to use it to replace some of these red lays. I think it's a little bit too much toe, have all of it, but I really like having some bursts of red color around here, so I think I'll take this set of lays out as well. I also have a very small element up here that I really like, which is just a single bud gonna add eat in a few places around the design. But I am also going to make a reflected version off it as well. So here I'm just reflecting it horizontally. I'm gonna make a copy, which will give me two shapes rather than one. And so I'm going to strategically place this into position in a few places around the design. Once you've got everything pretty much in position you can turn off the objects laugh and anything that shouldn't have been on there is gonna be immediately apparent. And there are these bits I haven't actually bought into the correct last. So let me just go and grab those. Make sure I've got them in the correct Lau. So I'm just checking with my I'm looking at the race here and saying, If anything changes when I turned the visibility off, this top objects like on or off. And the only thing that appears to May to be missing is the Ellipse. So that's the guided line we had for the design. I don't actually made that, so that's fine, that that's being turned off. Just making one final check. Looks like I can get rid of the objects. I don't need them any longer. Have a loose object over here that I'm going to delay it as well. So I now have my basic Wraith shape. At this point, I would just zoom in and just have a look around the Wraith and just make sure that the alignment of things is correct. So, for example, I might come to one of these objects. Perhaps this one here and just adjusted a little bit to tuck it in alongside the greenery. And so it looks like it's coming out of there rather than just sitting in mid air. And so you could come around here and just adjust these shapes, should you wish to do so. If you want to get access to the green elements, then they not accessible right now because they're still transformed objects. Or when we go to select this particular group, you'll say they're only one object is selectable because it's got that transform effect on it. Let's go the appearance panel. We turn the transform effect off. We lose all our green elements. Well, if you want access to those, you're going to need to select the green object that we rotated and then choose object, expand appearance. And that will create a group that is full off little objects. And every one of these is a leave. Once you've done that, you'll be able to get access to the individual leaf segments. I suggest you use the group selection tool because it's made to select objects that are inside group, so that's gon select this one. Here we can click here to select the entire object once we know which one it is, and then if we go to the selection talk, we can then manipulate it so you can actually kick this out off its exact alignment once you can find out where it is and actually move it into the position you want it in. So you want to progress through the wreath, having a look at all of these elements and just making sure they're in the correct position . This one here would probably look better if it was underneath the flower itself. So let's just find it here, and I'm going to move it underneath a flower. So let's just drag it away film until it's tucked underneath the flowers instead of being on top of the flower. So you can also adjust the layer placement of these objects and just make sure that they're sitting where you want them to sit inside the arrangement now I wanted initially toe have a 2000 by 2000 pixel document, but I needed a bit of extra space, so let's go to the art board here. I'm going to double click on it, and I'm just going to change the winds down to 2000 by 2000 and click OK, now I can grab my art and I'll do this by present control or command I and then just move it into position in the art board and we can finish this element off with some text. So for this, I'm going to type Happy Mother's Day, enlarge the font size so I can say what I'm doing here, and I'm going to select an appropriate phone to use. But this I think a script style fund would be a good choice. So I'm just going to see what I've got. I'm going to use this one for now, but you can obviously choose a nice script font or a nice font that will go with the design that you've created from your collection. Now this needs to be sainted, I think so. I'm going to tap on a line center, and I'm also going to close up the spacing between this Texas way too big. So I'm going to the characters panel and I'm going to adjust the leading, so it obviously needs to be much bigger than 72 but much less than the 300 it waas. So I'm just going to adjust it using shifting the up arrow. And I've dropped us down to about 240. But I think also my font size could be a bit largest. Like I'm going to take that out a little bit and maybe adjust the leading. Having done that now for the text color, I want to use a color from the art. So first of all, I'm going to the I drop it all. I'm just going to select a color to you. So I'm just pressing and holding the left mouse button at the same time as I'm looking at the selector over here just to see what color I've chosen. And I'm looking for something probably about that red. So, having created that read, I'm going to the swatches panel just going to click here on New Swatch and press enter, and that's just going to create that as a new swatch. So now I can come and select over my text, and I'm going to double click here, and I'm going to choose a color swatch, and it's going to bay at the end off this set of color. So this roll down, we're going to find our new color Swatch. Here it is here, then click. OK, now the beauty of creating this color swatch as a global colors. It is because it's got this little triangle on the bottom is, if I don't like its color, Aiken, just adjust it. So I'm going to double click on the global color swatch, and that will open the swatch options. And for this I want to darken it a little bit. So I'm going to select hue saturation brightness because that's a good way off adjusting the brightness or darkness. And you'll say that I had a turn preview on. I can preview what the color is going to look like because everything that uses this global color will be adjusted automatically and it's being adjusted, even though I don't have that text selected because the text was colored with that global color swatch color, Then I can watch it the changes to it in this dialogue without having to select it. And of course, anything else that was colored with that same color would also be adjusting at the same time. That's the bonus of using global colors. So there's the first of our floral designs created using our downloaded art 3. Create a Heart Shape Design: the next 40 element that we're going to create. We're going to use these floral elements, and again I'm going to give you the download link four days. But before we start, we're going to create a brand new document toe work in ultras file and new. And this is going to be a simple square document 2000 by 2000 pixels in size. Now for this, we're going to create a heart shape. So I'm going to the pen tal. But you could just Azazel use the pencil tool should you wish to do so. So I'm going to click and drag with the pen tal up towards the top, left off the document, going to click again about opposite where I started and I'm going to click just below where I started. Now this does not have to bay setting concrete. This is just a very simple heart, Schapelle. It's half of a heart shape from this going to sort of tweak the first half of it. By just adjusting the nodes on this shape, I'm going to select the entire shape. This is really important that you selected all with the selection talkers this next step is not gonna work perfectly. If you don't, then we'll choose object, transform and reflect. I'm going to reflect over the vertical, and I'm going to make a copy. Now, I've just seen that I've gotta fill on the shapes. I'm going to select both shapes and turn off the Phil. Now I can select just the shape that I created the second time dragged into position, holding the shift key as I dough and just making sure that this now creates a heart shape. Now, I'm not really happy with how fat the heart is. I think I want something that looks a bit more like this. Now, we're not going to do anything special with this, like try and join it up. All I'm looking for is a general guide as to what a heart looks like so that I can get my shapes into position as we work. So here in the last pallet, I'm actually just gonna lock down this layer so that it won't move. I'm gonna add a brand new Latin. We're gonna put out elements on this and for this we're going back to this design. I'm going to select this shape here now it's probably in a group, so let's just go and find it and we're going to copy it to come back to our document. I'm going to select Layer to I'm gonna choose, edit and then paste. Now I'm getting an error message here, going to click. No, and I'm going to the last pallet and click. Let's fly out menu and I'm going to disable. Paste remembers liars. The problem with what I was about to do was that the flower came from Liao. One in this document and when you have paced, remembers layers selected, then it wants to paces onto lower One in the new document, and we had locked lower one down and so it won't let you do it. So let's go back and select lad to and choose, edit and then paste it happily goes in position. So that's just a heads up. If you have that selection in your layers, palette paced, remember flat. Sometimes that's handy. Sometimes it's not. I'm going to take my shape, and I'm going to stop moving it into position and rotating it melt, just going to start with the pointy end of the flower at the bottom off the heart here, and I'll rotate it and drag it into position that I'm going to make a duplicate by Alton dragging on the shape and I'll put the 2nd 1 in. Now this one, I'll probably won't underneath the first, so I'm just going to drag it. So it's going to appear from underneath this leave gonna alter or option drag the next one . And this is where we're going to start running into problems because the flower is not going to bend well, it's not bent right now. It is going to bend in just a minute because we're going to make it bend. So I'm going to zoom into this area of the heart so I can see things clearly. I'm going to select the shape that I'm working with. I'm going to come over here to the puppet, walked all its sharing a toolbar position with the free transform, told you want the puppet warp tool, and when we select the puppet warp tool, you might already say a pin in place, and this is a pin that you can move. All rotate the shape using so the concept of the puppet warp tool is that it puts a sort of grid over things, and you get to put pins into the shapes and pins will either lock things down or they will serve as a position that you can move from, and the same pin does two different things, so it locks and it also moves. So, having put the Pini in, I'm going to now start moving this across. Go take this pin and move it into position, and I can come down here and put another pin into the shape, and that allows me to move this area into position. So by adding pins and then by moving based on the pin, you can bend this flower around the edge of the heart. Having done that, I'm going to move it below the other objects because I wanted to tuck in behind the other lives of the heart. So I'm going again. Toe hold the old or option K going to re select a sort of straight branch and alter option . Drag it away. And this one I'm also going to bend again using the puppet warp tool. So you want a position that sort of roughly way you want it. Then go to the public, walk tall and start putting in your pins. You don't have to get all the pins in to start off with. You can just bring the pins that you need when you need them. We need one final copy all toe option. Drag this away, rotated round, work out where it's going to go. And this is way too long, some extra going to cut it off. So let's just go to the knife tall, and I'm going to determine which, but I want. So I'm going to cut through here. So it with the knife tool, I'll just drag through. They knew. Can't get the knife tool to sort of snap or make it a straight line. It really is whatever you get, and so you just want to have a fairly steady hand while you're using it. Now I'm going to select these elements that were one side of the knife line and just delayed. Hm could use the group selection tool to select them. You can also use the last so it all. So now I've got a smaller pace off greenery, going to position at roughly where I want it to bay. So you mean go back through the puppet walk tall and start putting the pins in that I need and moving the shape using these pins so you'll put your pin down and then let go and then start moving with it. It's sort of a two step process, if you like. And remember that the same pin does two things that looks down an object that also acts as the rotation point for that object. If you add up in where you didn't mean to just press control or command Z and that will just Underwood. If you want a rotator shape, you can use this outer edge to rotate it. I think that's pretty good. I am just going to make sure that it is underneath all the previous shapes. I'll now make a selection over all of these objects because that's half of our heart, our choose object transform and then reflect. I'm going to reflect over the vertical, and I want a copy. So I want the original plus a copy, and I'm going to start moving this copy into position now before I let go this copy. I want it to be a little bit smaller, so I'm just going to drag in on it slightly and rotated a little bit. So don't want this to be a perfect heart. I'm going to lose one of these leaves in a minute, and I'm going to fall short in this area in a minute to So let's just click away from this right now. I think I can turn off the ladder that actually has the heart drawing on it. That's not going to be of much help. Now let's come in here and let's select over this set of Les Aves. I think I'm going to cut the end off the stem here, so I'll go to the knife tall and just be very careful that I'm only cutting through this one shape. Come back to the group selection tall and just select over the bit that I just cut off. Let's go back now and choose the puppet warp tool going to put a peanut the end here and just maneuver this life in to just finish the shave off nicely at the bottom. Now this leaf structure is above the leaf at the bottom. I think it was going to look much better if it's below it, so just drag it down in the last stack. I'm going to try and get this life to bend out. And I think this life belongs to this plant, which it does. So I'm going to select that pace of plant. I'm going to zoom in here. I'll go to the puppet warp tool. I'm going to click on this life to put a peen in and put a pin in here to stop this movement. And I put a pin in here to stop this moving and just try and drag this life around a little bit. Just so it creates an element at the bottom off the heart. So it's looking pretty good down the bottom, maybe a little bit of financing on this shape. That's behind everything. This one here and at the top here. I want to stop this sort of overlapping looks. I'm going to zoom in here and just sort out this problem. We will select this shape here and go for this large leaf lock down the bits. I don't want to move, which will allow me access to the life that I do want to move You know, I had thought to remove this extra life, but I think I'm actually going to use it. I'm just going to offset a little bit the leaf. I think I will get rid off is the one at the very back here. So let's go to this shape. It would behind me toe lock everything else down right now so that the knife tall is not going to attack anything except the shape that I want it to attack. Go to the knife tall. And I'm just going to run the knife through this here, go to the group selection tool and select over the elements that I just cut off and just removed. Um, so this is looking really good. So if I'm really placed with house looking, I'm just gonna unlock everything that I don't need to keep it locked down. We've got lots of other elements in this basic design that we can use to add a bit of interest. And it's time now to do just that. So I'm going to the group selection tool. I'm just gonna select in here to work out where this fly is in a copy. Go back to our design and edit paste or control or command Veii going to just resize this flower a little bit and start placing it in locations around the heart again will want to go for odd numbers, and you can also rotate it so that it doesn't look quite as structured. So it's not looking exactly the same in all the places that you're putting it. So I've got five of these flowers in position. That's a good number, and odd number always works much better. Most are going to use this shape here. Sorry. Let's just say if I can select I've got their copy it and paste it into this document. It's got too much of a stork on it. So again, I'm going to attack it with the knife tall and I'm just going toe. Take the bottom part of the stalk off. Go back with the group selection tall to select the bit that I want to remove. Besides it down just a little bit and place two or three of those around the basic heart shape. The last element I'm going to use is this one the ones that I'm avoiding, Ah, this one because it really is a different color green, and it just shows up on the heart, and it doesn't work with the other shapes. This one is a little bit too bushy, and so I'm just choosing this life because it seems to go pretty well with these color wise . It's a pretty good match for this life. I'm going to place it behind everything else. That's sort of coming from the back rather than from the front with elements that are behind other elements. You might find it easier to select it using the last pallet than try and select it with your mouths. It was just a nice little filler element that adds a little bit more depth into the design . So once you're happy with the heart shape that you've got, it's timeto add some text to it. I'm just going to use the word love here, so I'm going to type it with a leading capital letter. Let's just make it really big. I'm going to select a phoned and I'm using Alex Brush here as the phone. It's just a nice little phoned. It might be nicer. Some of the elements here, for example, these flowers came over the top off the word. And so what I would do is locate the word in the last pallet and dragon underneath those fly elements. Now, this flower might be nice if it went underneath. So I'm going to grab it and put it under the word love and hope that that doesn't upset too much of the rest of the design. So we're sort of waving it into the design a little bit. I'm going to sample a red color that I'm going to use for my texts. I'm just sampling it with the eyedropper. I'll add it to the swatches palette like we did last time. It's just added in as a new global swatch. Select the text and select. This is the Qala. Now for this word, I'm going to add a very slight shadow to it. I do that by selecting the text and choose effects style eyes and then drop shadow. So I've got a drop shadow That's black. That's fine. I've got it set to multiply, which is the ideal blend mode for a drop shadow. But I'm dropping the opacity. The default is about 75%. I've got an A passage of about 25%. The rest of the settings here are actually the default settings, and they seemed to work pretty well. So click OK, so there is our finished element this time we've created a heart shape. We drew the heart, and then we bent the laze around it, using that very handy puppet walk tall, which does a really good job of bending things when you don't have things that have been the right direction. 4. Create a Spray of Flowers: this next floral design is going to be a sort of spray of flowers, and we're going to use a slightly different technique to create this one. I'll choose file and then new, and I'm going to create a document which is 1920 by 10 80 in size. But yours could be any size as long as it's sort of this long rectangle. Now we're going to use this particular design setting again. I'm going to give you the link to download this. We're going to start with this object here, so I'm just clicking on it to selected all choose Edit copy will go back to the document, were working in and choose edit and then paste gonna rotate this around so that it is a little bit more sort of horizontal. And I'm going to use this as the main element of the design. So it's sort of marking out what half the design is going to look like, and I want to reflect it over here, but because ah, lot of these elements are also going to be reflected. It's going to be a lot easier if I actually get illustrated to do the grunt work for me from going to the last pallet, and what I'm going to do here is well, firstly, make this a bit larger so you can see what we're doing to start off with. And I'm going to select the last. So this is really important that you don't just select the group, that you actually selecting the lad because we're about to do a reflection on the Liar, so I'll choose. Then effect, distort and transform and then transform. I'm going to tone preview on so I can see what's happening and I'm going to make one copy. So that will be the original plus one copy and I'm gonna tap reflect X. Now that's giving me the reflection. But the two pieces are over the top of each other, and that's because of this selection here. So they're nine little boxes. I'm going to click the one in the middle on the right hand side, and this gives us our reflection. So now anything that we add in this liar that were working in on this side of the image is going to be reflected over the other side, so it just makes things a little bit easier to create. So let's go and get the next element which is going to pay this leaf. I'm going to copy it and come in here, make sure I'm in this ladder and I'm going to paste it in position. Now you'll say that it's pushing everything out of the way, but that's because it's in the wrong spot. So I'm just gonna move it out of the way. I just want this element here to be the right most pace. I don't want anything to come further over or a suit as I do that, I'm going to break the design. So just be aware off that. So I'm gonna just size this down a little size this one down a little bit and place it to fill in a little bit off this design. Now, I wanted to be underneath all dragon underneath the other objects so that the other object is more on top. I'm gonna make another couple of days, so old or option, drag a duplicate away. This one I'm going to transform. So I'll go to transform, reflect. I'm going to reflect it over the horizontal, and I'm gonna make a copy so that will give me tomb or shapes, each going in a different direction. This one I'm going to put up here so again, rotating it around, shrinking it a little bit, holding the shift. Kids I dough so that I don't distort it, just being careful to sort of tuck it underneath, an element that is on this previous set off lay so that all of these big lays are underneath the main leaf. But they're also joining it as if they could be realistically joined to it. Let's go and get this flower here and was going to paste it into position again. It's breaking the design. That's fine. We expected that to happen. If you get transformed boxes that are sort of off center like this, you can make them on centers so you can go to object, transform and then reset bounding box. And that just makes it up right so you can do that to any shape. Any time. I'm thinking, I've probably got a bit too much stem here, so let's just take the knife tool to it and just wipe off the bottom part of the stem. The next elements I want to be outside off this reflection. Now the entire layer is a reflected layer, so I'm going to add a new light to the document. Let's go back and get this flower. I'm going to copy it and paste it into this document, but making sure that it goes on to layer two. And of course, if you had that Paste remembers last option turned on. Then you wouldn't be able to do that and put it on this new lower by just pasting it. So that's an important setting to make sure it's disabled from going to place this flower in position. It's not going to be reflected because the only things that are reflected on this liar everything that's on a lie apart from that light won't be reflected. Let's go back and let's grab this life again, and I'm going to make a fan of sort of three of these legs, so I'm going to take this one and reflect it vertically and make a copy of it at the same time. So I've got sort of two and let's make 1/3 1 But let's heat that with the puppet warp tool . We just want to straighten it out a little bit now with the puppet walk tall on something that's got lines on it like this, the less number off pins you put and the less amount of work you do to it, the more realistic it's going to bay. If you try and put too many pins in and try and work it too much, you run the risk of it going really wobbly. And so you're going to lose Thean Fact. We grabbed all three of days, just resize them a little bit and place them at the back of the flower now at the moment there on top of the flower. But that's an easy solution. We're going to grab all three of them and moved them underneath the flower, and then I'll take a couple of days alter option, drag them away, rotate them, make them of its smaller and use them to finish off the design. So by utilizing the reflection tall in illustrated, we can easily create an element that has lots of reflected elements in it, but also make sure that some elements that we don't want to be reflected aren't reflected 5. Create a Rectangle Panel: the next element that we're going to create. It's going to look a little bit like the one you're seeing on the screen here. So we're going to start with a brand new document, one that is wider than it is tall. So I'm making mine 1920 by 10 80 I'll click create. I'm going to start by drawing my rectangles. I'm going to the rectangle tool. I'm gonna make sure it's white filled and that it has a black stroke for now, and I'll just drag out a rectangle on position it pretty much in the center of the screen. Now we're going to assemble this illustration so that most of our elements will be underneath this rectangle. Let's go to the floral elements set that I'm using. I'll give you the download link for this. I'm going to select all those pieces and copy and paste them into the document we're working in. Because these are vectors, Aiken just resize them down so that they're really small, and then I can make them larger later on. You will, however, want to make sure that you have the shift key selected when you're race sizing them because you don't want to skew them out of proportion. So I'm bringing out the main leaf element that I'm going to use. I'm going to stop placing it in position, so I want a couple of versions of this. I want one that's pointing in this direction one months pointing in the opposite direction . Salt use, object transform reflect going to transform it vertically and I'm gonna click copy. So I get the original and a duplicate. That's just going to give me a little bit more flexibility. And every time I need a new one of these are just all toe option drag a duplicate away. We've got a lot of filler elements that we can use, so you don't want to be filling up the outside too much. You just want toe. Add some elements just for variety, but allow yourself plenty of room to add additional elements in later on. I've got these elements spaced out from the moment I'm going to move the rectangle above everything, so the rectangle is going to bay at the very base off the document. It's down here, so I'll just grab it and move it up to the very top off this last. So it's above everything else so we can get an idea as to how everything is sort of placed at this point. I might want to move these around, but probably don't want to spend a lot of time on that right now until you got the other elements in place. Now the other sort of life element that I want to use is this one. So let's just resize it now. The transformed box on this is not square, so I'm just going to square it up with object transform Ray set bounding box and again, I'm going to make a duplicate off this That's going the opposite direction. We're going to flip it over the vertical click copy and, of course, option or all drag a duplicate away so that you can make one of these into multiples. Now, if you find like, I just did that, your rectangle moves. Just lock it down so that it can't move. If you want to make a duplicate of two shapes that once just hold the shift key as you select the 2nd 1 and then ultra option drag a full set of these away. So I've just placed, they sort of loosely in position. I'm going to be finessing that a little bit later once I've got some flowers in. So I for the flowers, I'm going to choose this flower, going to use it or just enlarge it a little bit on user in a couple of places up here and down at the very bottom off the illustration, and I'm going to need to flip it so that we're getting the pedals and the sort of statements of the flower pointing out we won't be able to say those this flat. True. I'm going to use again just moving it into position, just re sizing it if it needs it holding the shift key so that we constrain those proportions. Just spreading a few of these around the document this flat. I'm also going to use just in larger a little bit rotated and finally all use this flour in a couple of places around the corner. Now I'm thinking for the corner. I'm going to move these three flowers above everything else. So let's just go on like Kate this flower. I'm gonna move it above the rectangle. And so to with this one and with this one here in the bag now you don't have to do that. If you would prefer everything was behind the rectangle, then just don't move these above everything. I just think it looks more interesting for May toe have an element that's actually over the corner off the rectangle. Now, Once you've got your flowers in position, you can say what's happening with your sort of leaves, and then you can start moving them. For these, you're probably going to have to move them further out the new thought they would be because they're supposed to add some sort of visual interest. And when they too close to the rectangle, there just sort of losing out there. Not really as stunning or as visual is they should pay. You might find that you need some more flowers, and that's fine. Just fill in the gaps with some extra flowers. Consider the layering of your objects. You probably want these larger leaf elements to be behind the flowers, so just make sure that that's the case and if not, just move them into position. When you're happy with the results, you can get rid of the excess objects if you don't going to use them. So I'm just going to select and delayed. Hm. I also want to make sure that the outside border on this rectangle matches the elements that are in the floral display. And for that, I'm going to go in sample I quality years. So I want a sort of dark brown. So once I've got my dark brown, I'm going to add it to the swatches panel. Now I can go and select the rectangle again. Let's just unlock it so that we can select it. And then for its stroke color, we're going to use the color that we've just added to the swatches panel and I'll increase its weight a little bit if you haven't already done so I now would be a really good time to save this file, because what we're going to do next is look and see how we would recover this artwork, given that it's got a very fall or autumn feel to it. What if we wanted to give it a brighter almost Springfield? Well, the first thing I'm going to do is select three off these flowers. Three flowers that are all identical. So that I can re color it step by step. I'm going to choose view and I'm going to select hide ages because that way I can see my flowers as I'm working now. Typically, I would use the re color artwork tool for this, but there are lots of colors in this artwork, and there is an easier way to achieve a similar sort of result. So I'm going to edit and then edit colors, and I'm going to select adjust color balance. This gives May because I'm working in a Nagy Bay document. It gives me the red, green and blue channels I'm gonna turn preview on. Now. It's important to know the opposites of these colors, so if you're going to add red to a element, you're going to push in the red direction, and that adds red. But if you drag in the negative direction, then you're going to add the opposite of red, which is Cyan. And so you're going to get this sort of greeny. Look to your flowers for green, your gold in a positive direction toe. Add grain and you'll go in a negative direction toe. Add the opposite of grain, which is magenta and then with blow your go in one direction in a positive direction. Toe add blow, and the other direction is adding yellow because yellow is the opposite off blue. And so, knowing this, you can start tweaking your colors, and I want to get into a sort of pink magenta sort of look for this set of flowers. And so I'm looking at adding some red, adding some magenta, which is the opposite of green and also adding some yellow perhaps, or even some blue. I'm not too sure about what I'm going to do in the blue yellow probably add a bit of blow to get into sort of a little bit of purple. So once I'm happy with those last I'll click R K. And then also like the next set of flouts the flowers that are all the same sort of flour. If you're not sure that you've got all the flowers, you might want to hype in the last pallet and just double check. So let's choose edit, edit colors and then adjust color balance. You contest to say that you have got all the flowers by just taking one of these sliders really hard in one direction so you can do a quick visual check that, in fact, you have got all the flowers off a single time. Now let's go and just work on these. So I'm looking for a similar sort of color palette and just making sure that the flowers of ivory colored are sort of all in the same color palette. Once you finish with the flowers, you can go ahead and work on the green ray. Well, what was going to become granary in this instance? We do want to take the greenery towards green, and so I'm going to adjust the green slider in a positive direction. And if I want a bluey green, then I'm going to drag the red slider in a negative direction toe. Add science, and this is blue as well, so you can add blue by dragging the blue slider in a positive direction. You may need to experiment with these sliders. It might be counterintuitive to go in one direction or the other, particularly when you're trying to find a good place for Green Reef, because sometimes it's not totally obvious as to which direction you should be taking these colors using the edit colors. Dialogue is a really good way off changing the colors in a piece of art like this, where the artwork itself is really complex. Once you've done that, then you can have another look at the arrangement and just finesse that you can, of course, take a copy of any of these elements, and it's going to bay the recovered element and thoughts going to be easy to add it back into the illustration. When you finish doing your re coloring, you want to use file and then save, as so that you can save this as a different name document, because that will give you two different color versions off your piece of art. You'll also want to turn those edges back on, so make sure you come into view and choose show ages so that when you make selections in future, you actually going to be able to see those selections 6. Project and Wrapup: we've completed the video component of the class. So now it's over to you. Your class project will be to take one or more off these designs and reproduce it yourself . Now you can use the same elements as I used. All you can use other elements that you sourced online. If you're looking Vek, daisy is a really good place to start Once you've completed your piece of art posted as your class project. Now, as you're watching these videos, you will have seen a prompt which asked if you would recommend this class to others plays. If you enjoyed this class and learned from it, would you do two things for me? Firstly, answer Yes, that you do recommend the class and secondly, complete the on screen review. These reviews really help other students to say that this is a cost that they, too, might enjoy and learn from. If you see the follow link on the screen, that's because you aren't following me yet. So it click it to keep up to date with my new classes as they're released. As always, if you'd like to leave me a comment or a question place, does I? I raid and I respond to all of your comments and questions. And I look at and I respond toe all of your class projects. My name's Helen Bradley. Thank you so much for joining me here in this episode of illustrative for lunch. And I look forward to seeing you in upcoming class sewn.