Doodle Flower Design & Pattern in Illustrator - An Illustrator for Lunch™ Class | Helen Bradley | Skillshare

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

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

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10 Lessons (52m)
    • 1. Introduction to Doodle Flower Designs & Patterns in Illustrator - an Illustrator for Lunch™ class

      0:55
    • 2. Pt 1 The Inspiration

      1:27
    • 3. Pt 2 Create the Rotation and Roughen Effects

      9:30
    • 4. Pt 3 Create the Organic look

      5:57
    • 5. Pt 4 Quickly Align the Tips A workflow

      1:27
    • 6. Pt 5 Create the middle of the flower

      5:57
    • 7. Pt 6 Add the pencil drawn middle

      4:31
    • 8. Pt 7 Make the repeating Pattern

      10:46
    • 9. Project and Wrapup

      1:39
    • 10. Illustrator How I Set Up My Screen

      10:15

About This Class

In this class, you will learn how to take a hand drawn doodle and recreate it in Illustrator. In the process you will learn some Illustrator tools and techniques that turn a regular shape into something that looks hand drawn and irregular. You will also learn some workflow decisions that will help you ensure that you perform tasks in an order that will ensure success later on when you go to make the design into a pattern.

This class will extend your Illustrator skills with tools and techniques you can use every day. 

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

Make Ditsy Patterns in Illustrator

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

 

Transcripts

1. Introduction to Doodle Flower Designs & Patterns in Illustrator - an Illustrator for Lunch™ class: Hello and welcome to make a doodle flower Design and patents in Illustrator, My Name's Helen Bradley and I'm a skill share top teacher. I have over 200 courses here on skill share and over 90,000 student enrollments in this class all step you through creating a floral design and illustrated based on a drawing that's doing the rounds on Pinterest. I'll explain the thought processes for converting this hand drawn design inter vector art, all done with minimal actual illustrator work. Basically, this design is built from one line and one blob drawn using the blob brush I chose. This design is the class topic because there are so many learning opportunities in it, which will build your illustrator skills. So without further ado, let's get started turning this design into a vector design and pattern in Illustrator 2. Pt 1 The Inspiration: Before we start this class, I want to show you the inspiration for the element that we're going to draw. And this is from one of my Pinterest boards. It's a link to an image on Flicka, but it's also here in an instagram post. So I think that the image itself has been kicking around for a while, and various people have just reproduced it. Now we're not going to do it in pen and paper. We're going to take it toe illustrator quite often when I'm looking through my Pinterest board for something to draw on the weekend because I just want to do something relaxing. I'll actually take another look at what I found and think about other ways off using it. And this weekend I came across this and I saw it and thought, You know what? We could do that in Illustrator. So the challenge is how do we reproduce this in illustrator effectively? Obviously we don't want to draw all of these lines, but also instead of just drawing a single flower, how can we make sure that we could turn that single flower into a Samos repeating pattern? And that's what we're going to do so. Typically, it will take me two or three interational off drawing object like this to get out all the kinks so that we can actually end up with something that we can use. So let's go ahead and say how I solve the problem of nor on the drawing this image in illustrator without doing a whole lot of work but also doing it in such a way that we can create a patent for a much. 3. Pt 2 Create the Rotation and Roughen Effects: to create a design. We're going to start with a brand new document. I'm gonna create a square documents a little easier to work with a square document. Minds gonna be 1200 pixels by 1200 pixels and I am working in RGB color mode. If you want to check in this click advanced options make sure that you select rgb color click create. Now we're going to use the pen tool. But seriously, if you can click a mouse, you can do this. So I click on the Penta. We're gonna make sure that we have no Phil, It'll that's really important because that's gonna mess things up later on if you have a fill. So I just had to have a black stroke. I'm gonna click, sort of approximately in the center of the document. I have my smart guides turned on so I can say the center of the document. I'm just going to click once to start my line. Now I've got the rubber band selected here, but it doesn't matter if you don't see it. We're just going to click a second time to create a straight line. And about that length is pretty good still have the curse are attached to my top most anchor point. So to stop that happening, I'll just press escape and that finishes off the line. So we have a single line. I'm going to zoom into the top of it because we're going to attach something through the top. Off this line, we'll use the blob brush, which shares a toolbar position with the paintbrush told. Just click on the broad brush tool to select it. You'll have it set to stroke, but as soon as you start drawing with it, you'll say that switches to fill. It does that for a really good reason because the blob brush actually creates filled shapes , and that's why we're using it now. My blood brush is a really good size. Yours may not be if it isn't double click on the blob brush to get access to its tool options. You can adjust its size here, but you can also adjust its size using the exact same keyboard shortcuts as you would use in a photo shop. And that is the open and close where brackets are the close square bracket. Mexican bigger. The open square bracket makes it get smaller. I find that a really handy short cut to learn. So I'm gonna straw a sort of teardrop shape at the top here and still got my finger on the mouth. I'm just going to fill it in, so it's sort of almost like a match head, if you like. Now we're just soon back out. So we've got our starting point. I think that the top is a little bit big, so let me just zoom in, select this top shape and just size it down a little bit. I'm going to use shift and alter on the pace. Say that just sizes it in proportion and from the middle. That would be shift option on a Mac. Quite liking the look of this. I think my stem is a little bit. It's too small. So I'm going to increase the stroke White. I'm gonna increase it to two, but you could make up 1.5 if you prefer. Now we're going to group this together using Object group. And the reason why we're going to do that is that the next step is to rotate this around to create a circle of these. If you don't group them together, they won't travel as a sort of single object, and it's going to be a disaster. So we're grouping for a really good raisin. Let's just bring up the last pallet because we're going to need to keep an eye on what's happening here as we go. So let me just make my last pallet thumbnails pretty big. Go to group and it's got to objects in it. So we're going to select over this group. And as I said, we're going to rotate it around to create our sort of floral shape. Or a circular shape will do that with the transformer effects, will choose effect and then distort and transform and then transform. We'll turn preview on, and we're going to transform it around this bottom point here, not the middle, which is what it said to at the moment, because that would just rotate it around the central point. We want to rotate it around this bottom edge and for this will select the middle bottom one off. There's nine little boxes, and that sets the rotation point to immediately at the bottom off this shape. Now we need a number of copies. I want 120 in total. So that means I need 100 and 19 copies and one original. I need to rotate them evenly. And if you're not happy with doing math at this stage, this is what you'll do. Firstly, you'll come in and type 360 cause that's the number of degrees in a circle. Then you'll topped the division sign, which is this forward slash And then we've got 119 copies, plus one original. So it's 120. So I'll just type 120 hit the tab. Cake and illustrate is going, Oh, you want to do three degrees so it will be evenly spread if you do three degrees. Now, I'm looking at this and thinking that top is way too big. But that doesn't matter. At this stage. We just want the transformation, so just click. OK, you'll say over here that we still only have a group and our two paths. We don't have 120 shapes ever looking the appearance panel for this group, you will say that there is a transform here, and it's just an effect, and it's just applied to the shape it can be removed at any time. What that allows us to do is before we actually expand. It is to do something with this endpoint, which is still too big. So I'm selecting it. I'm using the last pallet just to make that a little bit easier. And again, I'm going to use shift and all. That would be shift option on the Mac just to make it a little bit smaller, and I can move it a little bit into position. And let's test that. I think it's looking a bit better if you think it's not right yet. Go back in, choose your selection tool. Make sure you click on the path in the last pallet cause that shows you which of these knobs at the end, if you like, is the one that's actually going to do something. If you select it, let's just make it a bit smaller. Moving into position. Check the result. I'm happy with that now, so we have a group with a transform effect applied to it. What we're going to do is expand this out because we need our 120 shapes, So we'll choose object and then expand appearance. Now, if we check the last pallet, what we've got is a group, and inside that is ah, whole Siri's off groups. Now, we don't want to expand it any further because we still need their sticks to behave a single object. So the stick and the knob on the end have to behave as a single object or the whole thing's gonna break apart. But we do one toe on guard, But so I'm going to select this group. I'm just gonna choose object on group and just do that once. So here in the last pallet, I've got 120 groups. Each one of those is one stick for this project, keeping track of what's going on in the last pallet, and the order is going to be critical. And I'm going to show you why in just a minute. So let's get back to this shape. We're going to select over everything and so that selecting all of the groups we need to make it a little bit more uneven, cause right now it's very even the image that we saw earlier with very uneven the tool that we're going to use to do that is this transformed? Also would goto object and then transform and transform age? Now, this was a dialogue that I never used for years. I used illustrator and never touched this dialogue, and then I started working with it, and I found so many opportunities to use it. So I'm really glad that this particular technique uses this dialogue, and we're going to learn a little bit about it as we do. So I'm going to click on preview so that we can see what's happening. I'm going to scale these shape, so I'm going to make them a little bit smaller, so I'm going to choose 70%. You can see that the result is that every single one of these shapes is now 70% of the original size. But I want this to beat sort of more random Well, this dialogue has a feature for random, so let's just click random and what that does is it says to illustrate, and we want you to take every one of these groups and we want you to size at between 70% and 100% of what it wants and do that on a random basis. You choose which one is going to be 70 and which one's going to 100 which one's gonna be 80 and 90 and 95 75 but scale them equally so each of them is going to be scaled either 70% horizontal and vertical or 100% horizontal and vertical, 85% horizontal and vertical. So there's going to be kept in the same proportion. That's pretty important. But you can say that we're getting something more like the flower that we were looking at creating now. The other thing that's a problem about this is that they are very evenly spiced around there, Spice three to graze every single one of them. Well, if you were hand drawing this, that wouldn't be the case because you wouldn't be that accurate. We wouldn't want to be that accurate because part of the charm of this is its inaccuracy. So let's go to the angle and let's start adjusting that, and I'm going to adjust that to three degrees. What that does is it's rotating each one of these shapes somewhere between zero and three degrees, some value in their at random. And so we're getting some shapes of going closer to each other and some of further apart. Again, it's giving it that sort of more hand drawn. Look, I'm happy with that. I'll click. OK, now you can probably say the issue that we have and that is that the center of this is sort of all broken up. So what we're going to do in the next video is stick it all back together again. 4. Pt 3 Create the Organic look: The next step in this project is to put the middle of the flower back again. We've got some uneven length objects here, and the reason for that is that we use that transform command. But the flower that we were basing this illustration on had a sort of more solid center. So the next step is to put the center back together again. For this, we're going to use the lasso tool. It's up here. It's not a tall that you'll use very often, but works particularly well in this instance. But what we want to do is to just select the anchor points in the very middle off this shape. So I'm just going to draw a shape around here, making sure that inside that shape, our all the end anchor points off these shapes here. And you can say that they're all selected their old colored blow because this lad is blue colored and the ones at the end are not selected. So it next thing we need to do is to just put these all in the exact same position, and you can do this one of two ways you can use the align options so you could come up here and choose horizontal line center and then vertical align center. And because we've got a illustration that was pretty much based on the center of the document, this is work just perfectly. But let me just under that because there's another tool that you can use and that is on the object menu. So goto object and will go to path and will go to average. And what this allows us to do is tow average the location here. We're going to choose both because we want these anchor points to be lined up to each other . So we want to average the position off them both horizontally and vertically, so just click OK, and that ends up with the exact same effect. So now we've got a flower with a solid middle, and all of the ends of the flower are in this position. Now the next step is to rough in it. And I promised you that I would show you some reasoning behind the order here. And so I have a second version of the flower, and what I did earlier was I just copied the one that we were working on But before I stuck the middle together, I roughened it, and that's the feature that we're going to use is Rough Inning. Now this is going to file. And for this reason, when I go to the last total and try to lasso the centers here, you'll say that because these lines have been roughened, they actually have multiple points along the line. So it's not possible to very easily select just the meat points. And worse than that is, if you select just the midpoint of one of these shapes and try and adjust it, let's see what happens. We're going to go and just select the midpoint off this shape, and we're trying to align it. Well, this is gonna happen now. That won't happen when you've got a single line. So let's just go and make a line and it only has two points. So if we select this point and they do something with it, the whole line goes not just the bottom bit, so we don't end up with this happening. We end up with the line, actually bang repositioned or the anchor point being reposition. But the line still maintains its integrity, and that's going to be the same for this grouped object, provided it's still a strike line. As soon as you roughing it, all bets are off. So now that we've got outlines looking perfect, it's time to do the rough in effect. And for this will choose the selection tool we're gonna select over all of these objects and too rough on them will choose effect and then distort and transform and roughen. This is a really good feature for adding a little bit of sort of an organic feel to things because it does just what it says it does in Ruffins. Um, let's turn preview on and try not to freak out because obviously this is way too much off a rough ning effect. It's not what we came here for. We're gonna choose smooth, because if we were drawing this, we would probably quit creating smooth lines. They just wouldn't be perfectly straight. We're going to reduce the date. I'll I'm going to take it down, toe one inch tab away and see what the result is. Well, that's a whole lot better. What I'm going to do next is to change the size and from 5% I'm gonna bring it down, toe one and tab away. And this is a pretty good result. I just think it's not enough rough inning. So I'm gonna drop this back upto 1.5 and you can just type in 1.5 and get something between one and 2% by manually entering it. I'm happy with that. I'll click. OK, so now we have something a whole lot more like the flower shape that we were looking at creating. If you want to be a perfectionist, you might have a look at a couple of these and say that the end has moved a little bit. You may want to adjust that, and I'll show you in just a second how to do it. But we do need to have a look at these groups right now. Let's have a look at this group. Let's have a look at the appearance panel, and here you'll see that this group has got a rough in effect, applied to it. In fact, every single one of these groups has a rough in effect, Applied took well. We need to expand that. So let's select over everything. Let's choose object and expand appearance. And what that does is it bakes in the effects. So we've now got a group that has this little path attached to it as well as the wiggly line path. Now, the fact that they're inside groups is a little bit inconvenient. But you know what? I don't want to have to expand 120 of those individually. So we're going to Leith, um, as my ah, And the reason for this is let me just show you what happens if I tried one group them object on group? Well, immediately, they're broken out off the little groups that they're in. And so we've ended up with individual objects, Probably not something that we want to have happen. But it does show us that I'm groping works at the top level, not at the bottom level. So it's gonna be sort of from the top down. We're going toe ungroomed things. I don't want them to be ungroomed. So let's just choose edit under and live from the way that they were 5. Pt 4 Quickly Align the Tips A workflow: Justin aside. If you do decide that some of these need to be aligned a little bit better, there is a really quick way off doing it using Justice group selection tools. So you select the group selection tool, click on the shape and then just use the keyboard arrows to nudge it into position. You usually only have the nudge it in one direction. So you just pressing and are okay just to move it so you don't have to go back between the group selection tall and the selection tool. You can just do it all from the group selection tool and just nudge these into position. So it is really a very quick process to just realign they. Should you wish to do that? You don't want to align them perfectly, because the whole idea of this was to have an organic look to it. But you may want to make sure that the little ends are actually attached to the sticks, and you won't have to do this to all of them. You'll just need to do it to a few to move the art board. Just hold down the space bar, and that turns it into a hand tool so you can still stay with this group selection tool, but just used the handle to move the art board around. As soon as you let go the space bar, you're returning to the group selection tall, so they're all stuck back really nicely. Let's just zoom out and say the effect. So next up, we're going to create the circles for the middle of the flower. 6. Pt 5 Create the middle of the flower: The next thing we need to do is to create the center of the circle, and for this I'm going to create a stroked Ellipse. So I'm going to make it a black strike. I'm going to turn off the Phil. I'm going to make the stroke with just 0.5 cause I wanted to be pretty skinny as if we had drawn this. And let's go to the Ellipse tall and just drag out on her lips. And I'm not doing this over the top of the flower because there's too much going on that we really need to look at as we do it. So I've got a circle. I'm going to apply a rough in effect to it with effect, distort and transform and then roughen, obviously, that the faults are going to be too much from going toe. Set it to smooth, just going to adjust the size to about 2% and see what that does. It's pretty good. I think maybe just a little bit less on the per inches and maybe a little bit less on the size, maybe 1.5%. I'm happy with that. I'll click OK, so this could be something that we have drawn. I want to make a whole series of They saw it with its electoral choose effect is daughter and transform and then transform. We're going to turn on preview will make, say, 29 copies so that we have 30 in total gonna rotate these around a little bit so that they create something that is a little bit more organic. So I'm thinking maybe one degree, I'll click. OK, so now we have a sort of solid looking object, but it's made up of 30 smaller objects, but the problem is that this is not broken out yet. It's just a single object with the effects applied to it, You can say here it's on the lips and it's got a Roughan and a transform applied to it. Well, let's break it out with object expanded parents, so that's going to break it out at the level. That then gives us a Siri's off groups that have objects in them. So let's just fun group. It will choose object on group and an object on group again, so we've got a Siri's off compound path. Each one of them has this effect applied to it, so you can see that there is no stroke any longer. It's just to fill. So have expanded out. Not only the rough in effect, but also the transform effects. We've got heaps and heaps of compound parts. Well, we want this to be a little bit more erratic, so I let selected again. Choose object. Transforming will go back to our transform age. So it back in this dialogue, we know what we need to do to make things look a little bit uneven. We're going to adjust the scale of it. We're going to turn it on to random so that we've got a random effect. I think the scale is probably a bit much. So let's make it 85 85 we might increase the rotation as well. And all we're looking at is getting a sort of effective. If we had drawn this with a whole Hape off circles on reflection, I think I'm gonna make this a bit smaller, so I'll just click. OK, so now we've got something that looks like it's been sketched, so let's just go back to selecting over this. Let's break it out off any further groups were just into compound parts and let's group it again. So I just got this one object that this this circular shape now in the original, this had a white Phil. The problem we're gonna have is right now is actually filling it with white. So this is what we're going to do it. This is a technique which is really handy to understand. And what is going to allow you to do is to create an outline around a complex shape. So let's go make a duplicate off this. Now we know inside this group Ah, lots and lots off compound parts. So I'm gonna select the group and we're going to merge everything together. Just go here to unite in the Pathfinder palette, so that gives us one single compound path because it's got lots of little holes in it where these sort of see through areas are as if we had sketched it. Well, we want to break that out. So here's the trick. You're going to relates this compound. Posso, with this shape selected, will choose object, compound path and release, and it fills in everything. So now we've got a shape that is exactly the same shape as this'll, Onley. It's black, so it's also made up of lots of little pieces. You can see here in the last panel that there's lots of about two paces here. Well, let's go back to our path. Final it, stick them all back together again. So here is a single shape. What looks like we missed a few. So let's go and grab the rest. So here is our single shape. It's the exact shape off this on the outside. And so if we fill it with white and put it behind, we're going to get a perfect white area. So let's just select it. Let's fill it with white. Well, actually, let's fill it with Red for now so that we can see it a little more easily. Let's select over both of these. This is a group, the object, and this is just a single object and we're going to align them to each other. Now the color is on top, so I'm just gonna move it behind. So this gives us the effect off a hand drawn line with some paper color, if you like behind it, let's go and grab these two objects, I'm going to group them cause it's going to make it easier to move them into position and just put them in the center off the flower. I think they're pretty good size. I'm pretty happy with the size, maybe a little bit smaller. If it needs to be a little bit smaller selected and make it a bit smaller, it's a group. It's all going to travel together. Of course, now we can make this paper white, so let's go back and select this path. Double click on the color, make it out white and click OK, and so now we have the beginnings off the middle of the flowers. Still got something else to put in there? But we've got the starting point, and it's re sizable, very easily re sizable. If we think it's too big 7. Pt 6 Add the pencil drawn middle: The final element we're going to create for this shape is the center off the circle here, and what it is is a Siri's off pell gray lines. They look almost like pencil lines just around the inside edge off this circle. So let's go on, create them, will go to the Ellipse told, Just drag out on the lips. And we're going to do this pretty much the same way as we did the outside flower. So we're going to give it a stroke. But no, Phil, we're going to add a like gray for this, a sort of pencil color. I'm thinking this will probably do, and again, I want it to be fairly thin, so I'm going to make it in this time. I'll use 0.75 off a pixel so it will go and rough on this with effect distorting transform . And then we'll choose roughen all years. About 2% here and nine per inch. I'll click OK, we're going to rotate this to create a few of these will choose effect, distort and transform and then transform. We're going to transform it around the center. Point will turn preview on Let's do say, 40 this time. And let's just right tight them slightly because that will ensure that we actually get our 40 elements. Let me just show you something here. I'm going to do it in rotation. Angle of zero. So we've got 40 of these. Purportedly are click. Okay, lets go and expand their salt. Choose object expand appearance. Now you would expect to get 40 off those or 41 because you've got the original plus the 40 copies and you're not getting us. You're just getting a single one. There's no effect associated with this line. It's all been expanded, but it's just expanded down toe one. And the reason for this is that all those shots were on top of each other and illustrator rates that as you probably having made a mistake, you didn't really want 41 of those. You just really want one, because you didn't move them in any way, shape or form. Let me just undo that. Will go back to this shape, will go back to the transformation. And this time we're going to actually put an angle of rotation on this. And when we do that, illustrated guys, are you so you really do know what you're doing because you've actually created some additional shapes here. So I just be warned that if things look like they haven't changed in your image when you expand it, that will be the exactly the case. It won't have created the shapes that you wanted. So we just rotating it a little bit just so we can force Illustrated to give us the shapes that we asked for. Now, when we go and expand it with object, expand appearance, we're going to hear you'll say that we actually have those shapes that we asked for. So we've got lots and lots to shapes. Let's just ungroomed them for a minute. But they're still selected. Let's on group them again. Okay, so I've got the individual parts. We want to create this sort of element that has a little more dimension to it. So let's choose object, transform and transform. Each got preview turned on, and we've got the same settings as last time. I'm gonna bring them down perhaps even a little bit more this time, and I'll just click OK, and this is a sort of pale grey, almost as if it's been drawn with a pencil. Let's select those and group thumb. I just want them to travel as a single object. Let's place him in the middle, off the shape. They need to be smaller. But let's soon in and do just that holding shift and all that would be shift and option on a Mac just sought Skylink out from the middle. And because I want this to bay behind the original shape, I'm going to place it inside this group. So let's just go on, grab this group, place it inside the group, which is the black and the white. Let's open up that group and let's sandwich it in between. So this is the black outside edge here. This is the white background. You can actually see it here because it's white, but it is the white background. If we just select that, you'll say that it is that selection that we're making. And so if we want the greater be tucked in behind the black, but in front of the white, we need to place it in position. They're gonna leave these in their groups. That makes more sense than ungroomed ping them. So this is basically are finished flower shape. Now. I designed this for two reasons, not only to create it as a flower shape, but I've designed it in such a way that we can actually make a pattern out of it. And we're going to look at that in the next video. 8. Pt 7 Make the repeating Pattern: now we're ready to create this as a pattern, but I've made another document that I just want to use to explain a couple of things to you . So this is the exact same flat as I created here. I've just copied and pasted it, but I've done something through this flower. What I have done is I've taken all of these stems and I've expanded them. So instead of them being a line here with a blob on the end, it's no longer a line. It's actually a filled shape. So if I go in here with the group selection told, just click on this line, you'll see it's a filled shape. Now this is what you don't want, and I want to explain why. So it let's just select this and let's make a duplicate of it now when we create a patent, what I want to do is to have some small flowers on some larger ones. So let's select this one and let's go and skylight down. And this is the problem that I foresaw. And this is the problem that in the design that we've made, I've avoided, like, let's just zoom in here, you'll see over here that these lines are thinner than these because we scaled this shape back in size. Then they lines themselves because they aren't lines. They're actually filled shapes. They scaled down, and you can't stop that from happening. As soon as you make something a filled shape, you can't stop it from becoming smaller when you make the flower smaller. So if we were to look at this drawing and say that somebody had drawn this with a pin, for example, a 0.5 micron pin well, when they came to draw this one, the Penn Line should be the same with and here they not. And so, if you were to at any stage, expand these lines so that they become filled shapes rather than lines. When you scale it down in size, you're going to get a smaller line. And it's going to be relatively obvious that that stage that that's what you've done, that you've done this digitally because things are not scaling correctly now in designing this project, I've been really careful that at no point did we expand these lines. So if we go with the group selection tall and just click on one of these lines, you'll say It's got a stroke and it's got a through pixel stroke. And so what we're going to look out for as we scale these down is that we still end up with a two pixel struck. So let's make a Jupiter cut. Does selecting an old or option dragging a copy of it away? Now we need to go and check a illustrator setting, so I'm choosing, edit and then preferences on a Mac. You'll use illustrator and then preferences and you'll go to general. And this is the setting that you want tohave, disabled scale, strokes and effects. Now we're going to enable it. That's not the way it should be just because I want to show you what's gonna happen. If you're scaling strikes and effects and effectively, you're going to get the exact same thing happening when we scale down this flower, as we saw on the other one. The lines are going to get Tina, and that's not what you want to happen. So we're going to turn off that setting, so when you turn off scale strikes and effects, then the stroke isn't going to change with. Even though you're making the shape smaller, so I'm going to select it and mike the shapes, Moola. And now, when we lined these two up next to each other and so mean, we're going to say that we've got something that could conceivably have been drawn because the lines of the same weight in the smaller flat as well as in the larger flour And so that was part off the design process was thinking about how we could make this realistically into a repeating pattern, given that we wanted to make it look as if it had been hand drawn. Now, at this point, what I would do is obviously grab everything and make them into a group. So I'm gonna choose object and then group so that this flower is a group Spain resized. I'm going to rotate it because rotating it around is going to break the look off, this one being a smaller version off this. So we got the spikes in a different rotation, and so the two flowers look a little bit different now. You could if you wanted to come in and remove a few of those elements. If you thought that this was true tight. I'm not going to bother doing it, but it would be easy enough to do. It's just quickly look at how you might do that. You're going to zoom in so you can see what's going on. You'll go to the group selection tool. You'll select the line, delayed it and then click on the blob and delayed that. As I said, I'm not going to bother with it because I think it looks just fine. But if you're a little bit concerned, you could remove some of those elements. So let's see now how we go about making this into a repeating pattern. What I'm going to start by doing is turning off the art board. So I'm gonna go to view, going to choose hide art boards. So that's going to just make everything white. We're just going to make the pattern making process just a little bit easier. I'm going to assume out a little bit so I can see more off the document. I'll select my two shapes and I'll choose object pattern make. I'll click OK, if I say this dialogue and let's go and get the patent options dialog now at the moment. What we've got is just a pattern with two elements in it. I want to use more than two elements. So what I want to do is I want to size the pattern outline a little bit bigger. So I've got these two elements here. The width and height. They're linked. That's fine, because they just want to make them bigger. Right now, I'm just going to stop increasing them, and I'm thinking I'll make this sort of like a square. So let's actually just type in these values. I'm gonna unlinked them now, just going to make it 1300 in 1300. So now we've got through elements in our pattern, but tile is much, much bigger instead of grid. I'm also going to change the style off tile that I'm working with. I'm going to choose Brick by column, so that offsets everything nicely. It's amore, interesting sort of design. Now I haven't grouped this flower together. Let me just do that, select over this flat and choose object group. So now I should have both flowers as groups thinking this one isn't so. Let's go on, make that a group a swell. Now they're both grouped. So I'm gonna put this one up here, and I'm gonna old drag a duplicate of it away and all Place this one up here and all Alter option, drag a duplicate away. And let's do that again. Now we have some elements that we can use for a Patton, and it'll be just a case of placing days in position so that we get our painting. Patton, I'm thinking I need another smaller flower, So I'm going to ultra eruption, drag another flower away. And I'm gonna make this one a bit smaller still, and I could probably enlarge this one a little bit, So I'm getting a little bit of variety in size off my flowers, and that would be consistent with doing a hand drawing. You're not going to draw the exact same size flower every time. And so we're going to get a more organic look to our pattern by doing that, going to just enlarge this one a little bit toy because we've made that setting choice that we've asked not to scale strokes and effects. Each one of these enlarging and shrinking the flowers is going to result in a flower that is drawn with the exact same thickness off lines as the original. So we're not going to get any variety in our line way, which is exactly what we didn't want to have happen. Now, if you're stuck with not being able to select the flower like I can't select this one here , that's because it's elsewhere in the pattern. This is the one that's actually controlling that element there. So if I want to move this one, I'm going to move this one. So just be aware that some of these around the edge won't be selectable because they've been controlled by other flowers in the pattern. And because this is a brick by column, you're going to have this unusual arrangement. Where is this one? And this one are the exact same flowers. So you move this one and you're going to affect this one as well. She just might need to hunt around toe, work out which one is controlling the Patton right now. I've opted to say three by three off my pattern. It doesn't matter what you select in here, so you can choose any sating so that you can say more or less off the elements in your design. This is just a way of previewing. Your design has no effect on the final pattern. And if you don't want to say this blue tile edge, if you want to have to say things more clearly, still you can turn off the tile edge you can. Also, whilst you're in this pattern design mode, you can zoom so you can certainly zoom out and in to take a really good look at your pattern. Now I'm really happy with this. I like the way it looks. I'm going back to show my tile edge because that's the tile that we're going to be creating . When I'm done, I'll just click done. I'm going to be left with just my true flowers. Let's go and ratio the art boys. I'm going to choose show outboards. Here are my flowers. I'm just going to tuck them over the edge so I don't need them right now. Let's zoom in and create a rectangle that is the size of the art board. My art board is 1200 by 1200. Well, just square this up on the dartboard. Cogat the Phil and let's fill it with a Patton. Now we can scale a patent by choosing object transform. Scale will make sure to disable transform objects. We don't want to transform the rectangle. We just want to transform the pattern, going to bring it down to, say 40% so we can get a good look at our Patton. So there's the process of turning the hand drawn design that we saw earlier into a digital design, so we've actually created it as a vector object. And then we've been able to take that single design and make it into a Samos repeating pattern in illustrator. 9. Project and Wrapup: We've now finished the video learning part off this course, and I really hope that you've enjoyed seeing the workflow of working from a hand drawn image to illustrator and seeing how you can use the illustrator tools and techniques that you have at hand to create things like ah, hand drawn looking illustrator and one that you could also create a Samos repeating pattern from us we've done here. Now your project for this class is going to bay to create this object yourself going make this floral element and do it in such a way that you can use a single version off it copied a few times to create a Samos repeating Patton. Post an image off your pattern as your final class project. If you don't make the pattern, then just show a completed image off the floral design itself. I hope that you've enjoyed this course. I hope that you've learned heaps about illustrator. If you did enjoy the course, when you see the prompt to recommend the class to others, would you please complete that process? This really helps other students to say that this is a class that day to might enjoy end learn from now. If you say the follow link on the screen, click it to follow me and you'll be notified when new classes are released. As always, if you have a question, plays ask that question because I'm only to happy to help you particular if you run into difficulties or if you have general Illustrated questions until next time. My name's Helen Bradley and thank you so much for joining me for this episode of Illustrator for Lunch Now before, too, saying you in an upcoming class soon. 10. Illustrator How I Set Up My Screen: Hello and welcome to this video tutorial today. I'll show you how I set up my screen in case you want to set up your screen in a similar way. This is the screen loud that I use for illustrative for lunch classes at skill share, as well as for my YouTube videos. So over here is my toolbar and you'll says, I've got a double row. We're gonna look at that in a minute. I've gotta control bar across the top here, and that destroys the basic options. And sometimes when you got a tool selected, this will change. And so that's really handy tohave. And of course, I've got this narrow royal off icons down the side off the screen, and I took a screenshot off them here, and so I've expanded them, so it's a little bit easier to say what they are, and we're going to reassemble that if you like. So to start off with, I'm going up here to my illustrated for lunch workspace, which is the one I'm using. That's what it looks like. I'm going to essential, so that's going to zero everything out and let's see how we would build up a new illustrator for lunch workspace. So the first thing we need is the toolbar. So I'm going to a window and then tool bars now there to their basic and advanced. And I use advance. I'm gonna tap on advanced, and you'll say that we get a double row off tools here. Now you can control that, using this little fly out this little double Chevron thing. And so what I'm going to do is break it out so that it is a double space tool, because I just find that a whole lot easier to use. And so I'm gonna position that just right in underneath the control box or where the control, But it's going to be when we go and get it. Okay, The control buyers also in the Windows menu, Let's go and click on control. And in that instance, we don't have a choice. Its either turned on or turned off. So I'm just gonna nudge my tool by back into position. They just make sure that it's nice and snug where it is. So now let's have a look at the panel over the side here because it's not looking the way we want it to look, I don't want properties at all, So I'm going to grab that panel. I'm going to click. It's little clothes I Consulate's closed up and put away. I need to split library and blast. You'll see that Laz appears down the bottom here and libraries is up here and there in separate groups. And what I'm gonna do is drag lives out off the way. And that's just now a single little box. I'm gonna grab libraries, and I'm going to put it above layers. So what I'm trying to do is position it so it is above last so you can see that there's that last tab and I'm getting that big blue mark. Well, I'm just going to let go when I get to that position and seemed like I was a bit spectacularly unsuccessful. With that, let's try that again. So now when we close up this dialog, you'll see we got libraries at the top and layers both in separate groups, and that's exactly what we want things to look like. They're going to start building this up, but above libraries is swatches, brushes and symbols. So let's go and get one of them will gets watchers, and you'll say, That's watches, Brushes and symbols are all in a little group altogether. And so that means that when we close them up, they're all going to bay in order in this little group that matches exactly what it's supposed to look like over here. So I'm gonna grab them by their little top by and place them above libraries. So I've got the first set and we've got that little separator bar. Now we need to go on, get stroke, Grady and and Transparency. So let's go on, get stroke. And it brings transparency with it, but not great. It I need to sandwich grading in the middle of these two. So let's go on, get great end. And sometimes things like radiant might come with others in the same stack, and you just want the one that you want. So here it's not come with any others in the stacks. I'm just gonna grab it in position that here just in between, or try and drop it in between stroke and transparency. Well, I didn't get it in between, but I did get it in the same group. So now I could just move it over. So it's stroke. Grady and Transparency matches the order here. Strike Grady in transparency or close them up. Just drag them out. You can say the words are matching exactly what we're trying to build. Grab it and put it in position here. So we've got libraries now. We need to get graphic styles, and it's in a group or by itself. That's fine. So it let's just stretch it out and let's go and drop it into position. It goes after libraries, so let's just put it after libraries. Just checking out separators are there. Then transform a line and Pathfinder transform their all in a group together. They're all in the right order. That's to shrink Tha Marple. It's grabbed, Um, and they're going in after graphic style. So again, looking for that little blue bar to be in position and just drop them in. Check that it all worked, which it did. Outboards is next. Now our boards comes with asset export, and I'm not going to use outside export. I don't use that, so I'm going to drag it away from our boards and just close it down. Now we've got our boards or by itself. It's in a group or by itself. That's exactly where it should bay. It needs to go in after Pathfinders, so that's just pop it into position. Next thing is color guide. Now it comes with color. We don't want color, so we're just going to drag color away and close it up. His color guide. We're just going to drop it into position under art boards and above. Liars From God Color Guide Last We only need appearance and color. What we doing? Any color? I didn't look far enough ahead, but let's go and get appearance first. Now here. We've got a slight problem in that appearance and graphic styles are together and we want to split them. So what I'm going to do is just leave graphic styles behind. I'm gonna drag appearance away and then close up graphic styles because it was already in the list and in the position that I wanted it in. Let's close up appearance and it's going in off the lives. Don't pop that into position now. As you might expect, we're probably gonna have a few problems when we go in select color because it was in a toolbar with something else. Let's go toe window and then color. I don't know. It's coming in by itself, so that's perfect. It's gonna grab it and just move it into a position underneath appearance. So right now this arrangement looks exactly like my arrangement. That's how I have things organized. I like to use just the icons themselves. I just drag this over until it snaps in as a row of icons. If you want to say the words, that's possible to just drag it out a little bit, it doesn't have to come all the way out. Just see enough of the words that helps you understand which of the icons your selecting, but just set it up the way you want it to look. You know, I don't need that any longer. Let's just close that and let's enlarge the screen so I can just check that This looks all right on a full screen and it doesn't so let's just put everything into position that's sitting up there nicely. Consider it snapped into position. They'll it's gone. Grab this one and let's let's make sure we get the whole thing and take it with us over here because it's so narrow. I'm having a bit of trouble dragging it with me. It's going to be easier to take it with words and just snap it into position. They just make short snapping properly, which it's north. Now it's napping, so you want to look for that blue area that's going to tell you way that you've got a snap , right or not. And now, once it snapped, I can make it just the role of icons. Or if I want words, I could just drag it out to be words. So now I've got a full screen cause that's what I use all the time is full screen, So I'm really happy with the way everything is looking. The only problem is that I'm like about 20 seconds away from demolishing it. As soon as I do something, chances are what I typically do is grab my last pallet moving somewhere and then close it and that's going to lose all this lout. So what will want to do at the point of which we've got the screen organized the way we want it to look is going save it, So let's go down, he to essentials. Drop this down and go to new workspace. And what that does is it's going to save this workspace that we've got as a brand new workspace. So I'm calling this Helen's neat and tidy screen. I'll click. OK, now that's safe. So let's go back to essentials. Well, essentials looks exactly the same. Reason for that is because we've mixed up essentials. We've destroyed essentials. If you want essentials back the way it waas go to essentials and choose reset essentials, and this is the essentials play out that we built hours from. So let's go now in select Helen's neat and tidy screen. And when I select that, you'll say that it goes back to this nice, neat and tidy arrangement that we had. Now, if I go and grab the last pallet and do what I do all the time and just drag it out of the way, then I've destroyed this loud, and if I close it from here, you'll sets no longer where it should be over here. If I want to get back to my Helen's neat and tidy screen, the way I just planned it toe look, I'll select here and choose Reset and you'll say here that Lasses popped back into position . So if you want your screen to look like mine, particularly when you're doing my classes, say, on school share or trying to follow me on YouTube, that's the way my screen is set up and so you can set up your screen to match. So I hope this video has been of help to you in understanding how I set up my screen so that you can set up yours to suit yourself or to mirror mine, if that makes more sense to you.