2. Livestream Lecture: - Oh, - hello, - everybody. - Tonight we're actually going to be focusing on the thumbnail aspect of our illustration. - I know that in the classroom discussion a lot of you asking questions regarding a thumbnail - , - some of you already familiar with it, - and some may not be. - But whenever you're developing, - the thumbnail is really gonna be a really quick, - superfast sketch that's just generally going to give you an idea of the layout. - One understanding of the positioning, - opposing of your character, - whatever the case may be. - So we're gonna look into today or some of the different examples of some nails just so you - get an idea of that, - and then we're going to cross over to, - ah, - Titan sketch. - So if you want to go to Google, - anyone go to the and it just happened. - When a tight you type in a thumbnail sketch, - you'll see that a bunch of different schedules will come up and you'll notice that the very - sloppily drawn. - But that's the whole concept. - They're not supposed to be tight. - They're not supposed to actually represent anything. - Come on, - creep. - Just generally, - a brainstorm of ideas for your posing in positioning. - So let's take a look at some sketched some nails. - We gotta find some good. - Morningstar's is not all the ones that you find will be the best, - but let's take a look at this one. - Give it a second to clear up now. - Clearly, - this person is actually developing something revolving around a cat and whatever the cat is - doing poses and whatever. - But you'll notice that there really, - really rough sketches. - You'll also notice the fact that there several of them they are. - There's no rhyme or reason to them, - just other than showing the poses in the positioning of the cat, - maybe expressing emotion with what the cat is doing at the same time. - Clearly, - these poses are the cat. - Licking itself is a little high, - but you got other poses with cats and laying down Cat's looking up. - These are just examples of some fun nails and what they would look like. - Uh, - let's look at some more thumbnails. - Let's take a look at this and this image. - You'll actually see that they have an animal, - which looks and appears to be maybe a lying in female line or panther something to that - effect. - But they have three different poses that they're considering for use in this image. - And, - uh, - that's generally what you want to do. - I'm looking to have you guys develop maybe five from Neil sketches anywhere between five. - Not to exceed 10 5 in 10 sketches. - Um, - just to give you an idea of different poses that you could develop, - get your brain flowing that way you're not stuck or limited to a certain amount of pictures - . - Certain amount opposes. - You can always go back and forth. - It will also help you think more creatively as to whether or not the images you're gonna - have or more dynamic. - Um, - so it's fairly simple in our actual livestream Today is gonna be very short, - just like our previous office hours. - And that's simply because there's not a lot to cover in. - The thumbnail section is pretty pretty easy. - Um, - he is better set of thumbnails that more based on gestural in figure drawing, - but these air giving you some action poses. - And as you can see me, - look at these, - there are a total of about 13 poses, - each one whether they be male or female. - You don't notice that they expressed some different type of pose some different type of - angle the way they are approaching the camera. - But it's something interesting you want to think of. - Each of these is filling up your actual art board area, - so you take one single polls. - Think of it as filling your art board area and think of a unique way, - so that is engaging. - You don't want to have something that's plain and just sitting there, - because then it's not interesting. - No matter how great a job you actually been on the illustration, - it doesn't pop off your page. - It doesn't look interesting. - So you want to think of something that's gonna actually grab the person toe? - I You can also use photo references if you want to look for a unique images are things that - represent a dynamic polls, - Right? - Let's look at, - uh, - a tightened sketch, - something that looks a little more refined because that's gonna be a next step in the - process. - Once you've developed a much thumbnails, - you're going to sift through your thumbnails and figure out which one want to tighten up a - little bit more. - So let's actually we're gonna do is we're gonna go into our classroom area. - You're in a classroom. - You'll notice that I gave you a few examples of sketches and illustrations that had unique - layouts and placement. - Uh, - one excellent artist. - And this isn't for vector artwork. - This is just in general. - You don't have to focus on the fact that it's vector at this point. - It's more so the posing and how everything is oriented our germ. - If you haven't heard of them, - you will take the time to get to see his artwork. - It's amazing. - Um, - his four shortening is positioning, - exposing his coloring. - Everything is very, - very nicely detailed and is set up in an intriguing way. - If you look at the picture that I'm hovering over right now is a very, - very first picture. - You'll notice that this is actually the tightened up line work for the image that's on the - right. - Eventually, - this is going to be the first stage that we get to. - Once you are done with your thumbnails, - your thumbnails ago, - you then be fined into something that looks hopefully as sharp as this. - That's our goal. - Of course it's going to take patients and your dedication in the illustration itself, - but this is where we want to go next, - something to that effect in the and finally finishing with a colored version, - which is like met off the right. - And, - of course, - you can choose anything that is a portrait face, - full body pose. - It's completely up to you whatever you feel comfortable with. - But let's also look at some other Titans sketches. - Notice how in these sketches, - the mind work is much more street clean, - nor in a lot of sketchy lines all over the place. - You get a real idea of figure in the form how everything is supposed to line out in the - final piece. - Now these are typically done in pencil. - Or if you're somebody who works in photo shop, - you'll draw on that program and you'll imported whatever floats your boat is this. - You need to tighten up your sketch after the thumbnail process, - so you only pick one and then you tighten it up. - This is an example of one. - Let's take a look at something else. - Here's another example of a tightened up sketch. - The main thing you want to pay attention to was how nice and neat the actual line work of - the sketch is. - Once you start to tighten it up. - This is still a little rough, - but is more of a Titan version because you can see the lines and contours of the body that - need to go into the actual illustration. - Um, - that's a look a little further. - Here's an example of somebody took Leinart that you can see by the name rough non in order - , - and they've developed it into a tighter sketch on one side, - and you could tell they're going to develop it into a tighter sketch on the actual right - side of the image. - But, - uh, - this is actually a sketchbook pro. - If you're not familiar with that program, - a lot of people actually use this. - Uh, - they're doing technical Jones, - not all the time, - but some people use it for that. - You'll see a lot of people draw concept cars and sneakers and things in that over him. - But this one, - they're actually drawing a female. - You can see that it's tightened up a little bit, - so you get an understanding of the polls in positioning. - This even could find one warm. - Give us a better idea. - Here's another one, - and in this you can actually see all three characters. - We got Harley Quinn on the left, - Catwoman in the middle, - boys and I have you on the right. - But you can see there poses Harley Quinn. - She's got her arm wrapped around Catwoman, - and she's holding a gun out. - Catwoman is holding a whip in the middle of what's ahead, - and poison ivy is smelling the roses or flower. - But it gives you an exact idea of how this art work is fulsome. - Look the shape, - form positioning of the bodies overall way out so that when you do finalize and you start - to think your artwork, - everything falls into place. - You don't want to. - Still second guess once you get to that point, - so it's fairly simple procedure. - Here's another one. - You'll notice they're all relatively type. - So what you should do is take your time, - figure out some poses some concepts. - If you're interested in learning more about posing an interesting posing, - I'd say Take a look at Bern Hogarth U R E h o g a r T h for whom the i l p you and you can - look up there books in the way they set up their drawings and how they like to have things - look dynamic when they're actually illustrating. - It actually works really well. - And it always I don't think I've seen one instance of either their drawings. - Where isn't that dynamic were filled with the action, - or at least engaging whether it be something as simple as a facial shot of somebody. - So take a time. - Make sure you sketch out these thumbnails by 11 o'clock. - 11 30 tonight should be a few that you post in the classroom and I'll be checking - everything out and then give you guys feedback on that. - So get started, - and I hope you have fun. - Don't forget also in the classroom. - To submit your projects, - you have to start your project on the left hand side of the skill share class. - Once you start your project, - you to start submitting any information, - whether it is written or image related thumbnails, - anything that you want to submit with regards to your project so that we could take a - little you get proper feedback. - Okay, - so that's the end of tonight's broadcast, - and I will see that some 3. Livestream Lecture: - So this week for this particular lecture, - we're actually gonna focus on refining your idea. - Thebe past couple of classes, - we were going through the process of developing from nail sketches and figuring out which - idea you were going to refine. - So what we're gonna do is I'm gonna take a look at what it is that I'm going so far and, - uh, - well base everything that we do off of this process. - Eso We're going to my project, - which my project is based off of ghost writer. - So as you'll see, - I'm developing a project solely so. - The purpose of depicting ghostwriter from Marvel Comics in a vector format. - Uh, - I developed a thumbnails. - Really, - really rough. - You'll notice in here from the A 1234 567 and eight. - And these are all very, - very rough sketches. - These were done just replacement purposes, - like we discussed to see where I was going to lay everything out and give a general idea of - what it was supposed to look at look like in the actual illustration. - What I chose to do was to go with number five, - which is the top left of the right column so I'm sorry. - Talk right in the right column. - It looks like those writers in a side profile, - and he's holding his fists out. - Um, - essentially, - what you want to do is you want to take the sketch. - You want a line that sketch in as detailed as you possibly can at this point, - Because moving forward, - we're gonna import this into Illustrator, - and then we're gonna actually think the illustration itself. - So what I did was I took this sketch and then I further developed it, - which will see below. - So as you see, - if you look at this sketch right here, - this is the refined version of our number five from Nail, - which we had a top. - Now, - you may or may not add certain things at this point, - but this is gives the pretty much general end or complete look that I want when I bring it - into illustrator, - in order for me to think this sketch. - So one of the major things you are gonna want to do if you're not fully finished with your - character at this point, - is you're gonna want to figure out what kind of details that you're gonna add to your - illustration. - Which ones unnecessary? - Which ones aren't? - And if there is any relevant reference information, - Google's and ultimate source that you didn't go to the look up information on whether your - character is a monster tow truck driver. - It doesn't matter who they are. - It could be anybody. - But you can find reference images to get the depiction down property. - So one of the, - uh, - things I've been doing is I've been scrolling through Google images and just saving a - general look at anything I can come up with for results of ghostwriter, - you near some pretty cool things here, - we'll see that, - uh, - the most prominent aspects of him are, - of course, - the flames. - The skull had spikes and the chain, - and if you choose to to pick the bike than the bike, - the bike is actually there as well. - But I chose the side profile without the chain. - So is mainly the flames, - the skull and his spikes, - both when his fists in on his shoulders. - Um, - you can sift through hundreds, - literally hundreds of photos in order to find the content that you need. - So if you need to find out little intricacies about the actual character various things - that you're doing. - It doesn't matter what it is. - If you google it, - you'll be able to find reference material for it, - and that's what you're gonna use me. - You're developing your character. - You're also gonna want to start to figure out where you're lighting. - Source is gonna come from now on mine. - It's very sporadic simply because he's on fire, - so doesn't make it easy for the lighting source. - When your characters on fire, - it actually allows a pretty good amount of freedom for you to actually place shadows and - highlights where you want. - Because there's no way you can accurately just say where all the lighting is coming on. - Just a heads up for anybody who was actually ah in the class and they're developing their - character and their project. - When you're in the classroom, - you'll notice on the left hand side it will have an option to start your project. - You want to click that? - It'll be on the left hand side right now. - You'll see my some nail that I'm using for my project cover, - and once you've set it up, - you can click update that will bring you into the actual project area. - and you'll notice if you want to share the images that you have, - don't go to the first portion that says Change photo because that's just your cover photo - would you want to do is you want to go down into the right of the text box area where - you're in putting your information being noticed that on the menu bar there's a button. - It's a upload photos. - So you would quick that you notice that the drop down box is going to appear that allows - you to select the images that you want once you selected it. - It'll then show up and appear in the box. - You can save your project very simple, - but again, - you want to take your concept from the thumbnail. - You want to refine your sketch so that you're prepared to import it into illustrators, - so take your time, - figure out the details. - If you want to submit something, - you want to get feedback on it to a free to start a discussion topic and or direct me to - your portfolio or your project that you're basing your character off and that's pretty much - all we have to this week. - If you guys have any questions, - I'll be here 4. Livestream Lecture: - ask us thinking today, - and, - um, - in our discussion today, - it's just gonna be really, - really quick. - It's not that difficult to actually Inc a piece, - but would you want to make sure you do? - Is that in ink in your outlining your piece? - So that way you have a solid foundation for the rest of your illustration. - So they're a bunch of tools that you'll notice in adobe Illustrator that you can actually - utilize. - Ah, - you have your pen tool. - You have your blob brush tool. - You have irregular brush tool. - You have pencil tool. - Um, - what will focus on are the black brush really quick and the pen tool will start off with a - pencil. - Then we'll move to the blob brush tool. - So you're gonna go over to your tools panel. - You're gonna select the PIN icon. - You can actually select that with the letter P in your tool panel. - And when you hit the letter P, - when you keep where you'll notice that it will change to a fountain pen look and what you - can do is once you've made sure your colors are set up, - pens actually work on strokes, - so you just want to make sure you have a stroke that's already set up the pen tool. - If you were to click and you have your strokes that up, - let's say right now are Stroke is black. - We're gonna click one point when they're going to actually click another point, - and we'll notice that we get this line that actually shows up. - And if we go to our selection, - tool will notice that it's just a everything black line that's here. - Now let's say we wanna be foot the size of our line. - We can go to our window and then we can go down the stroke and then this panel will - actually pop up in your window that you see here and you can change the weight of that - stroke. - Increase, - decrease. - You can also change how your endpoints on that stroke look right now we have a but cap, - but we also have the option of a round hat or projecting cat. - Now, - if we click it, - you'll notice that the edge of the cap actually changes. - But around Ben, - we also have this cap, - which projects beyond the end of our words. - So they're the one that meets the end. - Protrudes beyond it. - And then we have the round diversion. - Same thing happens with corners. - If we were to Ah, - make this line into a corner, - see how it still has a sharp edge. - So the miter join shows that it keeps a sharp edge on the corner. - But the end point still is around because that's we have selected. - But if we change that, - it'll change the end point and we're protruded. - We also have the option. - Let's leave this here. - If we were to change, - we can change it to around join, - which then changes are intermediate points to round it points. - We also have the ability to change it to a bevel joint. - Which Bev als the outer edge. - Okay, - so those air just the quick actions for the pencil you also have down here you have a - profile option where you can click that you can change the with profile of your actual - strokes. - So if we were to click one and you fool around with these, - click One and you'll notice that this has one point that's really thin 11 on the left side - and then really handling right side. - The same goes for the opposite end of the line. - Basically, - it stretches the same profile out along your stroke, - and it will do that for any particular one that you select. - It will alter the shape according to that profile that you've selected. - So let's increase this just so we could see it a little bit better. - Um, - you have a ton of actions that you fool around here. - You can also change the line to a dash line. - You could specify the size of the dashes and the size of the gap there in between. - And if you want to alter it, - you can add more variation and me to meet here. - So that's how you work. - Uh, - with a pencil. - You also have the option. - Let's change this back to a uniform line. - There is a with tool in the tools panel. - You shift in W or you can just click it. - And then there you can click on any point in that line, - you can change the with of that specific point. - It's actually a feature that only recently, - I believe, - as of CS five and six actually came to play. - But you don't have that option. - One of the things you can do is you can build your own with profile. - Um, - it's it's it's fairly simple to do, - Um, - but we won't get into that because right now we're just talking about basic thinking - process. - Um, - the other options you have are with your brush tool, - so your paint brush tool is with the letter B. - But the majority of people who use the brush use the blob brush to simply because of the - options that should have with my brush tool. - So we're gonna click this. - We're just going to draw out on our screen. - You'll notice when you do that, - you get a squiggly line. - You can actually change the settings by double clicking when your blob brush tool, - which just for the shortcut option, - is shift to be. - But double click when you brought Blob Brush Tool and you'll notice that you get lob fresh - tool options so we're not gonna again go into all of these. - But if you can fool around with the settings, - you'll notice the changes that she'll get smoothness of self explanatory. - Fidelity is referring to how accurately it's gonna follow your line, - how many points it's actually gonna place on that line. - So that way it's more accurate what you're doing. - That's why this is in the tolerances menu. - Then you can change and shift the size of your brush. - You'll notice that the, - uh, - numbers increase or decrease. - You can change the angle and you'll notice in the default options. - You'll notice that this compass, - which is the Russia, - will actually shift. - When you change this angle, - the roundness you can change from completely around them or over less in shape. - So as you increase in decrease that you'll notice that it flexes. - And it reflects that in the rush options window Now in the middle. - You have options here that are on Lee President. - If you have a tablet that you can use that will reflect these, - uh, - some of them are by pressure, - which is, - of course, - sensitive to a pen tablet till fixed. - You just play with these. - If you have a pen tablet and you'll notice that depending upon which one you select, - it will adjust according to that, - actual selection so fixed doesn't adjust till depends on how you're tilting your pen. - Pressure is how strong sensitivity setting. - Um, - so, - depending on how much you paid for your actual tablet, - you'll notice that some of them are more sensitive than others now. - Variation. - Let's look at insides because you'll notice it will change in this window. - You can actually change the size that's affected as you're using the brush, - because you can change the variation of something really, - really large where your first item. - You'll look in the window really small. - This is your your general size, - and then this is the increased size, - depending upon how strong. - Since we have pressure selected, - how strong you're applying pressure on the actual tablet itself. - If it's fixed, - it won't do anything. - You can also select random, - and it will just randomly do it as you're actually brushing on. - So we're gonna leave it fix. - We're gonna click, - OK, - and you'll notice that the sides is now different because of what we selected previously. - Now you'll notice that this immediately comes off as a fill stroke, - despite us having our stroke selected, - it's always have so stroke, - so you can always go in, - and you can also at it over these like if you were to brush over it, - it would then join those two paths now in your brush options. - You also have the actions emerge on Lee with the selected and to keep the selective. - Basically emerging. - Onley will allow you to merge. - If these were all selected in the background, - he would brush over them. - It would merge with each of them. - If you would have voted, - keep selected. - That means the only one that would remain the same. - It's a selected option. - These are options that you have, - and then, - if they're turned off, - it'll just work independently. - Click OK, - and those are your options. - Just so you see with the main tools that everybody used. - So there's a blob brush with shift and be on your keyboard. - There's pencil with P on your keyboard, - and that'll allow you to Ah, - basically you straight lines and busier curves. - Um, - just also something I didn't cover really quick. - When you're clicking with the pen tool, - that's, - Ah, - change that to a stroke. - Increase it so you can see it. - It uses just straight lines how you gain a curve with the pencil. - If you click a point and you drag it and these air gonna actually be your endpoints. - Okay, - now what we call these air handles, - and this is an anchor point. - So the point where the line stops is an anchor point, - but the big bars that hang off of it or called handles. - So when you're using these, - you can actually then go and using a selection tool, - you can use Thea Letter A on your keyboard. - Or you can use the Convert Anchor Point tool, - which is, - if you click and hold down. - You'll find these tools underneath the pencil, - and you can adjust the direction By grabbing these handles. - You just simply click on the edge of that handle. - Or, - if you wanted to drag out of completely no. - One, - you click on that point and you drag it out. - And then there you go. - You can also change the direction of the next point. - If there was one here by clicking this handle and shifting it in another direction so the - next point would actually jut out from this point diagonally up. - When you were to click in your pen tool box, - you were to hold down. - You noticed that these options come out. - You know these options are your pencil at Anchor Point, - Delete Anchor Point and convert anchor point. - Now, - remember, - I told you these little points. - These little squares are anchor points. - They are the positions where your line actually changes. - It's direction, - and if you want to add more, - you can hit the plus symbol on your keyboard. - Or you can go into the pen auctions and select Add anchor point and you can click anywhere - on your line and it will add anchor points. - That's a straight section. - It'll just add the point that if it's curve, - it will add the point with handles because it needs those to stay along the line of the - curve, - Okay, - and then you can adjust those points in between. - Let's say we were to change to our convert Anchor Point tool, - which is a shift see, - and then you were too quick a handle. - You can actually drag and change that. - And then the correspondent handle will actually change, - according so you'll notice how the line alters itself. - Now let's say you wanted to remove that anchor point. - You can either click the minus, - but no, - you keep work, - but you click. - Delete anchor point tool and you click an anchor point, - and it will delete that anchor point according. - And then the handle will just adjust according to what the next point is. - So you can delayed endpoints as well. - And then if you wanted to, - you can actually close this shape and you can click from one open end point to another, - and now you have a close shape and you can actually change the stroke option. - You wanted to make it a sale, - and now you haven't felt all right. - So that's how we work with the pen tool. - The anchor points in the convert anchor point tool. - Um, - it's fairly simple. - Nothing difficult about it. - So you can do that really, - really, - really, - really easy. - Just make sure that, - uh, - you're following these techniques. - Okay, - so, - uh, - that is everything I love you guys Learn something from this and had it makes it simpler - when you're developing your line art and we will soon get into discussing colors and - shading. - And that night, - All right, - take it easy. 5. Livestream Lecture: - Okay, - everybody, - everybody, - Everybody Tonight we're talking about coloring in illustrator, - and we've pretty much run over the thumbnails than the sketching that we went into thinking - . - Hopefully, - at this point, - we've already developed the in free illustration. - So what we're gonna do tonight, - it's talk about calorie. - Um, - I have posted some information in the actual discussion area of our class, - which would show everybody how to utilize different tools for inking, - which were the ah, - pencil blob brush, - which is primarily used for a lot of artists. - And, - um, - you could have used that to develop your inking process. - And at this point, - like I said, - you should be done with your thinking process. - And tonight we're supposed to around 11. - 30 in which isn't about 3.5 hours, - uh, - share our progress and what we've been doing. - So what we're gonna look at again is coloring. - Now, - coloring is very, - very simple. - There several ways you can do it, - but it's actually really, - really simple to start the color and process. - So what we're gonna do is we're gonna open up our illustration. - Hopefully, - you already have yours open, - and you should have the layer which we spoke of previously, - which was the in clear now for me. - I like to do the Inca layer on top, - and I like to place all subsequent layers underneath that So, - uh, - our color layer that we would develop would go underneath. - If you look in your layers panel, - you can actually create in the layer, - double click on the layer color and then dragged that layer underneath your in clear that - when you have a color layer Now there are again several ways to do this. - One of the things you want to consider is what colors you want to use for your illustration - . - Now, - for many people, - they're either gonna work in RGB as there color system or they're gonna use C M Y que. - I typically work and see him like a for everything. - That's just how I am because I like to be prepared, - just in case I might print something. - Unless, - of course, - it's something that requires spot coloring, - which outpost information on spot colors in the group, - as well as global process colors, - which makes it easier to change your colors when that time comes down to it. - If you don't like the colors you've already chosen. - So if you don't already have your slash panel up, - you want to go to window and swatches. - And when you select this watches panel like this is gonna come up process watches, - which will allow you to actually drag your colors into this watch funeral. - Let's say you have a magenta If you're using C M I K. - Color here, - you can click that color and drag it into the SWAT funeral. - In a little appear there, - you know remaining your swatches, - and when you save your project, - it will always be there. - You bring it back up. - Another action is you're gonna actually change this watches or Addis watched by clicking - the noose watch button that's in the, - uh, - lower right hand corner of this watch panel. - As you'll see, - there's a window that comes up in this window will show you the same thing for color values - that you could see in your color picker on right hand side. - Now you can change the color mode from RGB grayscale, - whose saturation and brightness seem like a lab color and Web safe RGB. - But what were probably really will work in you seem like a So I'm going to change mind. - You seem like a Is this easier? - Color value wise because they're in increments of percentage up to 100 as opposed to RGB, - which is 2 55 for each color. - Um, - you can always change your swatch name if you're gonna be specific. - Like we can name this one. - I don't know. - Super magenta. - Don't judge me. - All right, - then we have different color types of that process color, - and we have spot color. - But like I said, - we're not gonna go into that. - We're gonna just leave it as process color right here. - You'll notice there's a check box underneath which has global. - This box itself allows you and I'll show you when it's been shut. - What happens? - Let's create one without the global box check that you want to click. - OK, - a matter of fact will use the color a little bit. - So it's not the same as the magenta we already dragged in. - We'll click. - OK, - You'll notice that it now appears in your swatches panel. - Now let's go back in and create another swatch. - Same color. - Change the motor C n y que en. - But we're gonna click Gold Global this time. - So when you click that and we click, - OK, - you'll notice that the swatch comes up in the lower right hand corner of it looks like it's - tapered off. - And the reason being is because any global swatch is gonna be represented by this, - Um, - and you'll notice that up here in your actual actual color. - Glad you don't notice to see him like a values anymore, - you'll see the RGB or whatever the case may be. - Their color values will be underneath, - and it will be a slider that changes from full saturation to know saturation for that - specific color. - All right, - now, - the good thing about global swatches is that if you change the color, - let's say we go to our blob brush to that shifting be So let's say we paint a color on our - board right now. - If we were to select this color and we were to apply the Global Swatch any time we want to - change any item that has that color value weaken, - double click on that swatch rain. - This watches pain will open again. - Quick preview, - and as you adjust, - you'll notice that the color of that swatch adjust and that will be applicable for any - other color that you've associated with. - That's watch. - Okay, - so that's one of the benefits of global process covers. - Now, - if we were to apply the regular one, - if we were to double click on it, - preview and change, - we can do it that way because it selected. - But if it's not selected and we double click on it and we preview and we change nothing was - gonna happen to that particular swatch or that set of colored. - Okay, - it'll just change this watches color in your color panel or you just watch panel. - But it won't actually change the item that was on your board. - If you play around with it, - you'll get used to it. - It's fairly easy to remember, - uh, - nothing too strenuous. - So we're gonna get rid of these swatches you can always selecting. - Hold down the shift key as you're selecting you click the trashing, - and I come on your swatches panel and you delete it. - Now there again are various ways to call in your piece, - so one way we're going to talk about which is a long way. - Let's very accurate is to retrace with the pencil, - and I'm just gonna go over quickly, - very inaccurately. - But just to show you. - And as you see, - because it's underneath the A Claire that and then act as a color air. - Now, - another option is to use the blob brush like you just saw. - That's, - uh, - double clicking here. - Double click on the actual brush itself, - and the tool panel will bring up the options like we spoke before. - Then we won't go into those options. - But I posted the information for those in the class, - wanted to know more, - so you should be fairly aware of what it can do. - And then you can painter colors underneath using the blob brush. - It's not gonna be as accurate, - but it will get the job done, - and then you can actually shift E or select in your tool handle the eraser tool. - Yes, - you want to. - Actually, - that's, - uh, - change the size of this brush. - You can double click it, - just like he did the block brush to bring up its options panel and change the size of the - brush so you can see it on screen. - But then you can actually erase portions that you may have overdrawn we painted over and - then in a race is very simple. - Um, - then there's another team which we'll just show quickly, - and I'll do that by creating another piece. - So I'm gonna create another our board. - Nothing fancy something simple. - And I'm going to draw out a rectangle, - and what I'm gonna do is take the stroke off. - In one way, - you can eliminate the stroke when a piece is just hitting the slash button or the fill that - gets rid of it. - You can switch between stroke and fill by hitting the, - uh, - X button to flip flop. - Which one is actually selected and you can actually switch There is by hitting shift in X - uh, - the same tone. - Now what we're gonna do is we're gonna change the film color. - That's it really changed it to science. - Now we wanted to. - We can live paint the actual color selection in if they chose you. - In live painting. - Well, - you have to do a select que when your keyboard for you go to the lab paint bucket tool, - and then when you click in the object, - it will Then what? - You didn't see it do anything just then, - but it will fill that actual objects. - So let's say we want to change the object to 100% yellow. - We would then click inside it, - and it's going to change it to yellow now. - The benefit of doing that is, - if you have all your line work, - we're gonna close this out. - If you have all your line work done, - you'll notice that you can easily just click in. - You'll notice that the colors and fill in exactly how they're supposed to like. - Let's take a look at this. - Lame does. - This was already set up. - You'll notice that it highlights the sections that you can actually fill in with color. - So if I wanted to change the color here is just one click. - Do you want to be careful? - Because sometimes they're places you're gonna want to be different colors. - You're not gonna want to cover that. - So you how Spike ended up getting coveted yellow. - But good thing is, - we can always go back, - so I'm gonna take this all off, - and that is another way to actually cover your piece. - Those in the main ways that you want to do it and that she already created a close shape in - which it would be on your in clear and then you could select whatever color you want to - fill. - The only problem is, - once you've done that, - it combines your stroke with that fill color. - I like to keep this strokes in separate from the fill, - so that way it makes it easier to manipulate one. - You don't have to go into your your appearance panel and change the actual appearance of - some of the items like individually, - such as your stroke, - and then you're still and whether the mood is gonna be multiply, - etcetera, - etcetera, - whatever. - But we want to make sure that you keep them separate. - I never recommend that way unless you're building your item up piece by piece, - broken into parts, - which typically takes way longer than necessary. - So again you have the blob brush tool. - If you want to pay and everything on which you can use with the eraser tool, - you could change their options and lottery to get the actual painting itself more accurate - . - You can use the pen tool, - which is pretty long and time consuming. - If you're gonna do it that way and you have to adjust anchor points and handles in order to - get it to fit. - Precisely. - You can do the lad paint tool. - If you've already outlined your illustration and painted properly in that way, - it makes it that much simpler. - And the other option would be to use regular fills that already show associated with the - actual ekes itself or your line work. - Uh, - I recommend live painting. - Or if you're really, - really good with the blob Russian, - I'd say Use that as well. - So, - uh, - I'm gonna be posting up more information in the actual class. - Right? - So that way, - you guys can Seymour coloring options and how it works more in depth split. - That'll just give you a general layout of how things go and how you can work with color in - Illustrator and I will speak to you guys. - Um 6. Livestream Lecture: - Okay, - everybody, - today we're gonna discuss Shading and Adobe Illustrator. - We've already went over the inking and we discussed setting of your colors. - And now today we're gonna actually discuss the shading of your piece their various ways. - You can actually shaved your piece. - Uh, - you just have to choose which one is the best for you. - Um, - let's see in one second here, - you take this out of here, - right? - So what we're gonna do is we're gonna look at some basic types of shading. - So we're gonna do is we're gonna use this box in illustrator are bored with, - just create a rectangular shape, - and we're going to change the color of that shape. - Let's say we make it 100% side in, - and that'll be our field color. - We don't need a stroke so we can take the stroke off. - Now, - what we'll do is well, - look at various ways. - You can add shading and ah, - matter of fact, - you know, - it wasn't this a circle, - so that way it's easier. - So majority of the time when you're looking for your shading, - you want toe, - uh, - equally be looking for your lighting. - So you're gonna want to figure out which side of your subject where your artwork it is - going to be hitting or hit my light. - So that way you know where the darker areas of the actual subject is going to be. - On first way to start is, - let's say we want to add a light source. - That's maybe, - let's see, - been a Let's say, - our light source is coming from this direction. - Bear with me one second. - Sorry. - So let's say this is the direction of our light source. - So we're gonna just so naturally, - if this is the direction of our right sores, - we know that the shadow is gonna be on the opposite side. - So let's but this So we're gonna have to properly shave the bottom left hand portion of - this. - Now they're different ways. - You can do this depending on the style that you're going for. - You can do flat shapes and used transparencies. - You can use meshes. - You gonna use other colors depending upon which you're actually developing for So we're - gonna look into ah, - two different types. - Actually, - we're looking to three. - We'll look into meshes. - Radiance and flat colors will start with flat coaches first, - so generally what you want to do and what I practice is I will create another layer. - As you willing, - your are peace and this layer will go directly above your color layer. - But underneath you're in clear in your name that shadow and what we can do is we can just - to start off let's like black and white in our, - uh, - color picker. - So take the highlighted object off. - You can hit D to go to your default colors and you want to make sure your fill is black - just for this experiment. - So you're gonna hit the shift expletive button toe, - actually shift between the foreground and background colors. - They're gonna hit the X button again to bring that forward. - So where your your stroke is, - and then you'll hit the slash button to remove this robe, - and you could grab your pencil or any other tool you want. - I could be the blob brush whatever tool you're gonna use and just make some kind of - reference to the shaded area. - So we're gonna cover the left hand side of the ball, - and for now, - I'm just gonna is a Pathfinder tool to actually clip out that area So now we have a dark in - the area when that side of well, - but realistically a shadow is never gonna be that harsh because it was utterly ridiculous. - So what you're gonna do is we're gonna go, - you transparency. - Now you can change the blending mold to darken or multiply. - I typically use multiply to get the darkest of the darks from whatever color it is that - you're using to actually shave your piece. - And then you can change your transparency levels. - I say we go to like 30%. - You notice the actual look has now changed and it looks slightly more realistic. - You could always change this any different, - Pacey. - Ah, - 2010. - Whatever. - Whatever you feel is suitable for however harsh your shadow is gonna be No, - let's take this back is bringing back to 100% now, - using the same shape, - we'll discuss radiance. - Uh, - first, - we'll start with a radiant mesh. - So it's actually what ingredient mesh is a their points that you place within a shape or an - area, - and each spot just like an anchor point. - Each one of these points is a designated color. - In it, - transitions toe all the other points around it. - So just as a simple example, - if I were to hit the U button on the keyboard that brings up your Mestel or if you look - over in your panel, - it almost looks like a leaf. - It has a line in the middle, - another line on the side and several little lines extending from it. - Uh, - you can click now. - You'll see the tool. - It looks like an arrow with a little grid behind it. - In the plus signs so you can click within that dark area, - you notice that it places a great there. - Now with that point plays, - you can actually manipulate the opacity of the other points that are in this shape, - so I typically just so I don't select anything else outside of it. - I'll double click on that shape so isolated. - And now that we're in isolation mode, - you can use your last ultimo with the letter Q. - On your keyboard, - you can select the individual points that you're gonna manipulate. - Now I'm selecting the first set of point because I want this to fade into from light to - dark from my shadow. - So I want this age of the peace is to actually be lighter, - then the furthers over the edge furthest from the actual light source. - So once I've selected him, - I'm gonna go to the transparency panel. - Click the OK city, - and I can reduce this to any amount I want. - Typically, - I'll go to zero and you'll see how the actual shading now has a great nation to it. - And then you can select any other intermediate points. - You can change their places as well in the transparency panel, - if you want to make it more believable and make it a smooth transition just so that the - shading is a little bit better. - And then you can hit the state button or double click to get out of isolation moment. - And if you want to go any further, - you can also select the object again to renew your transparency. - You know, - you could still reduce the actual or pacey of it. - So then make it even smoother with your great. - So that's how you use radiant mesh. - Now the other option is actually using radiant. - The radiant itself isn't as controlled as a radiant mesh, - but it does allow for some of their transition from light to dark, - then just using a solid shape. - So you select your object just like we did before. - And if you don't have any of these panels up again, - you go window. - You select whichever panel it is, - that's what to pull up. - We're gonna pull up radiant. - And when it's in your panel, - you look over to the right and you select linear. - Now you'll notice there's radio, - and there's a linear which were pretty much self explanatory. - If you fool around with them, - you'll notice the difference between the two. - Uh, - then here's a line. - Radio is a circle, - and you can adjust each once you've already set it up. - So what we're gonna do is win the slag linear. - Once you selected that, - you see how it changes. - But right now it's not actually changing from dark to light in the direction we want to go - . - It's it's almost going from top to bottom, - and if you have the G button on your keyboard, - it will tell you where is properly going. - But because this is so long, - it's giving you too much dark to the left and not enough on the right hand side. - So what we want to do is we wanna shrink this so you can grab the end. - You can pull it back. - You'll notice how that switches, - and then you can adjust the angle to the angle of light source. - The only problem now is that it's in reverse. - If your radiant is in reverse, - its simple solution. - Go to your radiant panel. - You'll notice there's a reverse radiant button. - And if you don't have CS six, - you may not have to worry about this stroke option because it wasn't here prior to CS six. - So you just have your fill option and you go down to the radiant switch. - Click it and then it will switch it over. - And now, - in your radiant panel, - you'll notice these air the colors that you have within your Swatch area that shows which - radiant color it's transitioning from into. - You can always change these any color that you want, - so what we'll do is we'll double click and will change this color from a black, - maybe a darker boom. - One thing you can do is you can click your swatches panel. - You go there and click. - You go back here, - you can select your color mode in your power. - And I like to change mine to see him like a you already know this, - so we'll change the color to a darker science. - So we'll move this back a little bit, - and then we'll click out of it. - And now that's the color that's in our transition. - Now we can also change the opacity into these colors. - So that way he doesn't have to transition to a solid color. - So once you select whatever color Swatch isn't your radiant panting, - you can then click the OK city tab. - You could change that number. - You see how it completely does away with the white. - That was once there. - So it makes it more seamless into the color of the shape that you're using now, - because this is a smear. - Oh, - that's the illusion that we're trying to give. - Instead of just a flat circle, - we can change our radiate radio, - and what you'll notice is that when we do that, - we hit the G button. - We can actually center this to our circle, - change the length of the actual Brady. - Hi. - Just gonna adjust it a bit. - Yeah, - as we do it. - This will notice that it gives slightly lighter areas inside the sharper edge of the shadow - . - You can reverse that. - You'll notice the difference is globally, - but you'll also notice it in your fill area. - In the actual grading itself. - In the radiant panel, - you can always shift the actual sliders. - If you want to show that it's a different appearance of your lights and darks, - you can play around with this. - You'll see that there will be different effects, - depending on which way you're actually pushing their colors. - But that's the way that you manipulated using Brady's. - And again, - my favorites are either flat colors or radiant meshes. - I don't really use radiance that often unless I'm using them in slight areas where you - can't see where the beginning and the ends of the actual Grady's are. - Now, - if you don't want to cut a shape out, - you can actually use. - If you're using radiant meshing, - can you use the actual shape itself to create your highlight in your shadow? - We're not gonna do the highlights this session, - but we'll talk about the great and messages using it on the shape. - So again you bring up your radiant mesh tool with the letter you or you click in the to our - panel, - you get the Mestel, - and when you click when you're object, - you noticed it creates another anchor point that she can use or mesh for me in order to - manipulate the color of that specific point. - So you click that for me and in your color picker, - you can change the color that you want to apply to that point. - That's why was any other points that made me along the mesh queens in your shape So you can - select the shapes, - How many points we can change those colors to be darker, - and then you'll notice that now the light source is coming from this direction, - and this looks more like a three D shape. - Now, - you just got to utilize these tools whenever you're developing shadows for your piece. - Always make sure that when you are developing it, - you have your think layer on top with your shadow there underneath, - and we'll have had your color layer that we actually developed the last lecture so above - that color, - where is where you're gonna place the shadows and then you're gonna place your highlights. - Next week you will get into that later. - So this will be the end of our shadow discussion. - And if you check in the classroom, - I'll be posting up more information and links to, - ah, - various shading techniques and I'll speak to you guys. 7. Livestream Lecture: - All right. - Hello, - everybody. - Uh, - tonight we're gonna be discussing lighting. - Uh, - we just finished discussing the shading techniques in our previous lecture. - This time we're actually going to go into lighting. - If you paid attention to the shading lighting, - there's gonna be nothing for you because it's essentially the same exact thing, - except for a couple of variations and some of the things that you do. - So if you remember the last time we discussed, - we put a a a circle in your actual art board so we can open up new piece, - just a new art board, - and we can create a circle when that actual board so we're gonna do is we're gonna hit l. - That's a short cut for your circle and then drag one out and we're gonna change this one - similar to the other circle that we had were actually going to change that to science. - Just so it's easier to see on screen and let's create making a little bit smaller. - I'm gonna create text just to show where the, - uh, - light sources it's this way. - We're going to create a narrow just to showcase where the light sources hitting. - All right, - so if this is our shape and this is our light source coming in this direction, - um, - let's make the light source an axle. - Get all right. - So this is our light source, - and it's hitting our object. - We know that this portion of the object is actually what's gonna be lit. - And the portion on the opposite side is where the shadow is gonna hit. - Now, - The last time we spoke, - we just discussed where the light source was gonna be and the resulting shadow from the - light source which hit this side of the object. - All right, - so what we're gonna do now is gonna place a reflecting way when this actual object itself - in the area where the right sources city. - So again, - there are solid shapes that you can use and will create a solid shape. - Just cover that in of the actual objects and again in your pathfinder to you're gonna want - to be able to use that to make sure the shapes intersect properly. - So you can go to window Pathfinder if it's not already up. - And when it comes up and look like this, - You see, - you have various shape mode right now, - we only want to include the shape that's in between these two. - So that way hits only on this age with the light sources. - So we're gonna go into the Intersect option. - Click that and now we have just This area is a shape that's flush to the right side, - up the right side of the object. - So we're gonna change that to a lighter color blue. - Now, - this is just using a solid shape. - And no Brady is there no meshes? - You notice you do that. - Now you have a lighter side to the object. - That's one way of doing it. - That's the flat way of doing it. - You can also change your blending mode on the actual shape that's acting as the light in - your object to overlay. - Let's see if we change this to white instead of blue. - Another color. - It's actually not doing much on that one. - Um, - that's changed the color of the shape. - See what happens. - Okay. - Do you notice there's a very, - very anal zooming very, - very light light source on this side. - If you change it over there, - you can always change it to other mullets like soft light, - which will actually lesson sometimes this time. - So if lightning's big, - so a brighter color, - as opposed to a lesser color if you go to a light and you'll notice that it goes completely - white. - Um, - same thing with screen, - but you men change your pacey of it lower. - You'll start to take one values of color underneath. - Say to now, - if we wanted to change this, - we wanted to make it a mesh again. - Using the letter You on your keyboard, - you click it. - You're going to notice that the grid appears with a little arrow plus nine. - Again, - this is indicated by the It almost looks like a leaf icon on your tool section, - so would you want to do? - Is you take that? - Let's change this up a city back to 100 change the metal to normal, - and we're going to click on the inside somewhere. - That looks like it's about midway between heightened with of the actual shape that you have - and notice that it creates several points that are connected to the point that you just - made. - Each one of these individual points at this point can actually be manipulated and enduring - , - so you'll notice that let's see, - uh, - if one second we can decrease the opacity, - let's change that. - To matter of fact, - what we'll do is we'll select the entire shape, - get are direct selection tool. - We'll click that point in the middle with the shift key held down. - So that way it doesn't de select everything else. - And then we'll reduce the apace city of all the other point status around. - So we'll change that zero. - And now you see, - there is a different lighting source, - but it's more flush this time. - It actually fades in from the outside. - Now, - if you want to get more control over it, - you can go back in tow like that point with direct selection tool. - You can actually choose your Pacey of that to lower to, - like 40 and you'll see that it smooths out. - It's not as hard do you want to raise that back up? - That's a two 80% and then maybe grab this and change the blend mode. - You can change it to overlay you. - It'll be a very, - very light color. - It's very difficult to see, - but it's here, - miss trying to change it. - What? - Use the motor soft right as you can see it brightened up just a little bit. - So that's how you do it with radiant mesh. - So and then the other after just do you just did, - is to develop it as a great it. - And of course, - if you don't have your radiant panel out the window but radiant, - the ingredient panel will come out. - You'll notice it over on the right hand side. - This is what it looks like. - You can change your radiant go to linear or radio, - just like you did with your shadows previously, - and then you can use the evils that are actually in the radiant panel to shift your great - aunt. - You can use the toggle button to reverse your radio so that you have dark tonight like two - dark whatever colors that you're actually using and again in the radiant panel, - you can change those colors that you're using here. - What I like to do is if I'm working in a whether I'm working my shadows or working in - lighting, - uh, - my rights, - I will change the color to whatever color I'm working for. - So if I am using it for lighting and highlights and I want to use it as a white color sort - . - I'll still change into both covers being light because it makes it a smoother transition - between the two. - And then you can actually change the opacity of one of the SWAT scholars that you have in - the panel, - and you can change that a little later. - Zero. - You notice how it saves me better now. - This color was actually black. - Let's change its black. - You'll notice that it won't shift as cleanly. - It's slightly darker. - Well, - that is now you can eliminate that by going into your transparency panel, - and that's, - uh, - collapse. - This is that we can see. - All right, - you noticed that in your let me know. - If you go to screen, - it will remove those blacks out anyway. - And then you came. - Of course, - Go back to your radiant panel and you can shift how far in and you want that transparent - black to be or white whatever you've chosen. - You noticed that his shifts according to where you're bringing the swatch, - and in between, - you notice that you can also change the distance between the transition and colors for your - radiant in between the two colors or the two swatches and this goes for however many colors - you actually put up there. - You can actually change in transition. - The amount that it blends in between for each one. - Well, - you have to do is you quick on an area of the slider and another SWAT will come up. - And if you want to get rid of one, - you click. - That's watching you drag it down and it goes away. - So we're gonna drag this bet. - You can be more precise, - and you can actually change the location of that middle. - Uh, - radiant rings by typing in the location area specific numbers. - So we're gonna leave it at 50 so that way instead smack in the middle. - And that's how you would actually do this with a brainy too. - Now, - if you wanted to actually manipulate it Freehand without actually going through the numbers - that are in the panel, - you could get the G button on your keyboard and that will actually select. - I need to go back. - That'll actually select your radiant adjuster from your to four. - So you'll notice that this the grating tool is Gonu keyword and it looks like a radiant - rectangle. - And then you can adjust how far the actual Grady. - Those you can adjust slider information between you can rotate it. - That's change of direction angle and again, - if you wanted to, - you can also uses to rate. - Now, - one other thing we can do, - we're gonna delete this. - We can copy the shape that's already there. - Let's make this Scient again Copy paste it on time. - And if we wanted to. - This is just to keep the shape we had already there on the board. - We can just go with a radio shape for a radiant. - The only problem with this is you have to do a little bit of adjusting to get it where - you're gonna want it to be. - And we can make this. - Actors are light in your shading source. - So if we want the light to hit from this angle right now, - we can change our screen mode or are transparency mood? - We're going to change that. - Lighten. - We're gonna be producing a paint city, - maybe a 30% the slightly lighter. - What you doing? - You can start to it just where this actually comes in. - So let's say we want to what was out a bit more. - We're gonna actually want this up to 80 then it's news. - No word back to normal, - so it's easier for you to see you notice. - As you shift in full. - It changes the range. - If we were to go back, - we can actually pull this outward in one direction for the other. - In depending upon how you actually pull this out, - what's gonna vary and what it appears to be is lighting or being licked your actual Ivette - . - So no machines, - angles shift and pull. - It really needed to be. - To that way, - it's more accurate with your writing source, - and then you can increase the size and just supporting, - So that's another way to do it with just the radiant tool. - Um, - I prefer to do it a different way, - but that is an option that you can do it. - I like using mesh tool, - but you can utilize that way. - And, - uh, - then if you're using the other lesson that we had the other day, - Uh, - that's taste in front are other shape. - You can actually create a shadow. - Let's say we just use the grating Mestel and change this to white. - Click here, - using the button on your keyboard or the mesh tool, - your actual toolbar. - And then we're gonna change this. - The black we're gonna reduce the up. - A city of that 1 may be the 40%. - We're gonna change lending mold of this entire thing to multiply. - And then we can have that blend and b are shaded source when this side of the object so now - has more dimension, - and that's working with just the great and tool and then the Brady it meshed. - So you have options. - You can use it together using individually, - however, - you want to use them. - But this is what you should do. - Figure out where your light source is hitting. - Figure out what kind of tool you're gonna use. - Radiant, - radiant mess, - solid color. - Play around with the blend mode. - You can also play around with actual. - That's, - uh, - remove this for a second. - You can actually play around with the type of colors you want to be highlighted. - So let's look at the color we have currently. - Um, - White is our source. - Let's throw out then and change its yellow since this is currently the light source, - and then you can see how it blends in the same way you can add our shadow back if we want. - We can change the shadow to any color one if we wanted to be, - that's the darker purple, - and that will take one hints of that purple. - So you have options again. - Figure out what it is that you're going to do with your writing source, - where it's gonna hit from coverage you want to use. - I was gonna affect the overall angles of your piece. - That's the most important part the actual angles of where the light sources hitting. - If you're gonna have folds and your character is, - you're gonna wanna make sure that the lighting actually hits and bends according to those - photos. - So just be sure that all of these things are the things that you are making sure coming for - us in your piece at the end of the day. - So if you have any questions, - we'll have everything up for you shortly. - And, - uh, - you can check the discussion area for any more information. - I'll try and post the lighting tutorials. - And if we have questions for tomorrow, - feel free to ask them in discussion area. - There won't be a livestream lecture that Okay, - So before deciding you guys 8. Livestream Lecture: - Okay, - everybody, - today we're discussing exporting artwork in Illustrator We pretty much went over everything - from shadows, - highlights, - coloring, - thinking everything you can think of to actually set up the artwork itself. - So this one is gonna be really, - really quick. - Well, - we have to do is learn how toe export artwork. - So what we're gonna do is win and build up our file just to show the steps we've already - taken. - The first thing we start with is our Inc. - Which I'll actually make 100%. - So that way we can all see it. - Then, - after we developed our Inc, - we went to our color earlier. - And then once we did our color air, - we started to work on our shading. - And then, - from a shading, - we worked on our highlights. - And then from there, - what we could do is we can add any extra items that we wanted to our peace and our mine in - particular for a ghost writer. - I had to add the flames in a little bit of the background and for me, - I actually removed my in clear on this particular one. - So I don't have one attached to it. - It was more so for me to set the illustration up. - So the first thing you see is that I developed flames for the actual skull shape, - some that are in the front and some that are behind to enhance it. - In addition to that, - I also added various color spots on the clothing to show the lighting that's actually - affecting, - how the clothing it's. - And then to add contrast, - I choose the background color too dark so that we couldn't see what it looks like. - Now if you're situs, - which is what today said it's supposed to be about, - you have the option of saving for Web where you have the option of saving for print. - Now, - if you're gonna say for Web, - the best way to save is to if you're on Windows Control shift in s or if you're on a Mac - communal shift in S, - and that will actually bring up your safer Web options window, - and in this window you can select whether or not you're gonna save at a certain resolution - , - because you can change the with in height as well as the percentage. - Typically, - Web development is already set as 72 in terms of your your resolution for your pixels per - inch TV. - I, - uh So when you export, - that is already Weber ready? - Uh, - typically means safer print. - It's gonna be a higher PP I or d p I depending upon what you're referring to. - Um, - but when we look at is in this box, - you'll notice that as a drop down where you can select just J bags in ping formats now the - only 24 imagine, - really, - When you're doing something of this quality, - you're gonna select R J Peg or Ping format Ping 24. - Specifically, - uh, - you do that you can then select the equality of a J. - Paige through various presets that air here, - where you can actually use the slider and change the quality here. - And when you do that, - you'll notice that in the window it will actually change a little bit. - Yes, - if we consume in a little bit on this, - you notice the quality changes depending upon the quality slider itself. - So if we bring it back up to 100 you notice that clears up and they can also change the - overall size. - Let's say we want to change this to 1000 for the lift, - you notice that it changes the height accordingly, - and then it will render appearance of probably takes a few seconds. - And then once it does in a preview in this actual window at the new size that she just said - . - So you noticed that it's larger and there is no quality loss. - We'll zoom back out. - It's 100% so these will be the dimensions once you export and the same thing goes for - paying. - But Ping is set so that you can get rid of the actual background itself. - If I didn't have a background here and that's a I just turned off that layer that I turned - on, - it would allow me to place this on any color background or in any situation it would - actually show through against the background, - which majority of you are already familiar with. - And then you click save, - and then you save it in the location that you want to save your file, - and that's how you export for what? - And for print, - you can either do one of two things, - depending upon what type of file you're saving. - If you're saving for a pdf, - you can control shift Esser commune shift s and you slide down in your format box to pdf, - you click save and you give it a second and the PdF settings will actually pop up. - And in here you can actually click. - The PdF preset button is always a preset that says high quality Click that. - And if you want to maintain your editing abilities in this particular PdF to reopen an - illustrator, - you keep this box checked or you can uncheck it and it will remove those editing abilities - and then you click. - Save PdF, - and it'll save accordingly. - The other options all right to go to file and they go to export. - And when you do this, - you have the option of saving is a J peg or paying. - We will do J pick for this one you notice underneath. - You have a use art boards box. - If you don't use the art boards, - what it does is it will save any part of the image that actually has artwork on it so it - will exceed beyond your art board bounds. - But if you want to constrain it, - what's when the actual our board itself? - Then you click this and I always click this. - And if you have more than one art board, - that's when you have to worry about the range, - because then you could select which are or do you want to save? - Or if you want to save a succession of art boards, - it'll save it that way. - But for now, - you can click all and when you click export, - you'll be presented with another option box where you can choose your color mode RGB or - seem like for Prince. - She wants you, - Mike A. - And you can change the actual quality same way we did in our Web save options. - And we could change that from anywhere from 0 to 10 for equality. - And of course, - the lower the quality, - the smaller the file size and the higher the quality, - the larger the small size and then under here in resolution, - you have three presets you have screen, - which is 72 pp. - I medium 150 p. - P. - I and hi, - which is three 100 peopie. - I I change mine other and I always select 450 pp. - I That's just for me. - Personally, - you don't have to. - 300 is actually perfectly fine for anything that you're doing. - But I always sat mine to this. - And once you click OK, - it will actually export INGE APEC format now for paying. - Same thing applies. - You go to file export usual our board. - Select the Ping. - It's the first option, - so it should already be selected. - It's like export. - You present it with keeping options box, - which is very similar, - except there's no slider for this, - and you can select between the preset resolutions or you can choose your own resolution and - then you can choose are optimized type. - Optimize these various anti alias ING options same thing as you can do in any other, - and then in the background color, - you can choose to have it as a white background. - If you zoom in here, - you can see how this area, - right above and below the background change spite. - But other allows you to actually pick in the color slider with various colors, - and then it'll set it according to that. - Or you can do transparent, - which is the whole purpose of the thing. - So that way the background isn't president and then you click OK and it ranges out just - like the Jake Brake does so again, - Control, - shift in ass or command. - All shift s brings you to the Web. - Save options. - Command shift s or control shift s will bring you to the same as command and you can save - under PDF or any other file format to export. - And if you go to file in export, - you can save for print for J peg in ping options. - Uh, - will be posting information in the actual classroom discussion so that you have those same - save options listed out as well as any other effects of things. - You may want to add just a little tidbits at this point because we went through the basic - structure of go doing your registration. - So take a look in classroom, - give yourself some time and make sure that you take the next couple of days to actually - refine your piece and make sure it's at the point that you want. - You can go over any of the inking shadows, - lighting colors, - manipulate anything you need at this point just to make it hit how you'd like it to, - and I will talk to you guys on