Drawing Time: Illustrator Techniques | Will Focus | Skillshare

Drawing Time: Illustrator Techniques

Will Focus, Creative Director

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8 Lessons (1h 31m)
    • 1. Trailer

      3:28
    • 2. Livestream Lecture

      11:55
    • 3. Livestream Lecture

      6:21
    • 4. Livestream Lecture

      13:45
    • 5. Livestream Lecture

      13:29
    • 6. Livestream Lecture

      15:56
    • 7. Livestream Lecture

      16:19
    • 8. Livestream Lecture

      9:53

About This Class

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AI Comic Art will cover all concepts relative to the creation of initial art sketches to a final finished print/digital illustration ready for display.

We will discuss:

  1. Research
  2. Thumbs
  3. Rough Sketching
  4. Tightening a Sketch
  5. Inking
  6. Coloring
  7. Shading
  8. Highlighting
  9. Adding Elements
  10. Finishing Touches

If you're looking for something to capture the essence of comic art on the Adobe Illustrator platform, this is the class to see!

Materials and Supplies
Adobe Illustrator

Project Deliverables
By the closing of the class, students will have completed a full vector illustration that will be ready for both print and web use. Students should look to deliver their progressive steps of their piece in their project area so they can track their own progression!

Transcripts

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