Illustration, Inspiration & Creativity : Illustration for Personal Projects | Nash Vail | Skillshare

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Illustration, Inspiration & Creativity : Illustration for Personal Projects

teacher avatar Nash Vail, I write and draw and design and code.

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

13 Lessons (2h 40m)
    • 1. Introduction

      3:05
    • 2. The Project

      3:19
    • 3. Self-Censorship

      10:00
    • 4. Adventure Mode

      8:40
    • 5. All about Style

      8:25
    • 6. [Illustration] Beginning Process

      13:26
    • 7. [Illustration] Picking Colours

      10:21
    • 8. [Illustration] Finishing The Big Six

      12:23
    • 9. [Illustration] Adding Face & Cannon Balls

      22:01
    • 10. [Illustration] Drawing Hands

      27:10
    • 11. [Illustration] Finishing Cannons and adding Flourishes

      27:36
    • 12. [Illustration] Final Touches & Export

      4:18
    • 13. Conclusion & Some Books

      8:52
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About This Class

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In this class, you will learn how to draw illustrations in a certain style using Adobe Illustrator and Adobe Photoshop. 

Okay, a little correction.

In the second half of this class, you will learn how to draw illustrations in a certain style using Adobe Illustrator and Adobe Photoshop, while also learning nifty Illustrator and Photoshop techniques/shortcuts along the way.

I have made this class not only to teach you certain tools, techniques, and processes but as something that would have been of tremendous help to me when I was starting out. 

In the first half of the class (Chapter 1 through 5) I discuss:

  1. My favorite illustrators and their illustration styles.
  2. How I got the idea to work on the project that I am working on.
  3. How I understand illustration and art.
  4. Dealing with self-censorship.
  5. Paintings of my favorite painters.
  6. Some of my favorite books (I discuss this in the conclusion chapter, which technically doesn't fall under "first half" :P)
  7. How to discover your own illustration style.

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I hope you learn a ton from the two hours that we spend together. :)

Meet Your Teacher

Teacher Profile Image

Nash Vail

I write and draw and design and code.

Teacher

Hello, I'm Nash. I am a Developer, Designer and I absolutely love teaching. I have been a professional in this field for over 6 years. I have gotten chance to work with some great companies and equally awesome open source organizations including the jQuery foundation. I am the co-founder and head of design @ Devfolio

I am a huge proponent of sharing knowledge and I try to do that through my blog and other sites like Smashing Magazine where I have a few articles up. Here in Skillshare, my goal is to share the same knowledge through videos.

If you found what I taught valuable, give me a follow, tweet to me, I am always up for a great conversation. Happy Learning!

See full profile

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Transcripts

1. Introduction: All things interesting follow the age-old pattern of sending an expectation and then a betrayal of that expectation. When you drop a ball, the ball drops when you strike a match state or the matchbox, the matchstick lights up when you put a pencil sharpener and rotated the pencil sharpeners, that's reality. But when there was a twisting that reality, that's when something appears to us. Just like in these illustrations by Craig freeze year, in which reality bends itself in ways we couldn't have anticipated. The first time I came across creates works was in this little book called a 100 illustrators published by passion. And ever since I've been a huge admirer of his work, I think there is so much we can learn from the Wiki draws and from the way he thinks one another reason why I find myself pull towards Craig's works is because they remind me of the work. So one of my favorite painters, Rene Magritte. And just for the record, I have no credible source to back if Renee is one of the influences of Craig's or not. You may have not heard of Rene Magritte, but there's a high chance that you have come across this painting of his titled, this is not a pipe, doors wider one. A YouTuber has a great analysis of this painting. I'll leave a link in the description if you'd like to check it out. But out of all his works, my absolute favorite as this. And there are other great paintings that we did which Ben reality in very interesting ways. Okay, now, with all of this, did I inspiring idea in your head, an idea for an illustration? I doubt it. I mean, I've been only talking for like what, two minutes, but wait, there is more to discuss. There is more illustration to discuss. There are more illustrators to discuss. There is more art to discuss, there is more ways of thinking to discuss. And we also have just because the project that we'll be doing in this class. But before I get around doing that, I should introduce myself. Hello, I'm dash, and this is my first ever online class on illustration and design. I'd been professionally involved in the field of graphic design, product design, and illustration for about three years now. And this course, I want to share everything that I've learned in my journey so far, the tools and techniques, the inspirations that different illustrators that I admire, the different courses that I've taken, the different books that I've read, and the different ways of thinking that I've discovered for every you aren't in your creative journey. I believe the only grow by sharing their experiences and, and said, this one is mine. Every resource, every artist, every illustration, every course, every book that I have discussed or mentioned in this video and in all the videos to come, there will be present in the resources for this class. Thanks for taking my course and I really hope that you continue beyond this introduction video. And I'll see you in the next video. We will discuss the project that I, that we will be doing together in this class. 2. The Project: Okay, so there's this project that I'm working on. And the project is a book which I'm writing and illustrating the book, It's right over here by the way. And I'm telling you about it because the project that we'll be working on in this class is related to that book. But before I get into the details of the project that we're doing together, linked together in this class, I'm going to tell you why I specifically chose to write and illustrate a book. A while ago, I came across the creative peptide podcast hosted by Andy J. Pizza, a fellow Illustrator. I absolutely love and adore his word came in style. But apart from the creative peptide podcast AND has this little ebook called the creative career path Handbook. And there is a part of the book that really spoke to me is the part of the book where Andy says to give yourself your dream assignment before your dream client or dream opportunity does. And writing and illustrating book is one of my green project so I can work on it. I can't get the satisfaction of finishing yet, put it out into the world independently. And maybe, possibly as a side effect coming to the radar of my dream opportunities, right? And that is the reason why I'm writing and illustrating a book. Besides the fact that I really enjoy writing and illustrating, I have linked Andy's book, the creative career path handbook, and the resources. You can read the entire thing. It's pretty short, by the way, just a few pages and you can read the entire thing if you're MR. Now, coming back to the project that we will be doing together in this course, the project that really working on is called illustrating chapter here or art, specifically Chapter 6. And the name of the chapter is counting cannons. Each chapter in my book has this large introductory hero are, and that also includes the chapter number in it. And this is what I call chapter hero of art. This is for Chapter 0, this is for chapter one, chapter two, chapter three. This is what Chapter 4, and really working together on the hero art of Chapter 6, you have two options here. Either use the chapter number as six and the name of the chapter as counting cannons, or pick a random chapter number for yourself and an imaginary chapter name for yourself and illustrate the hero aren't around that. In any case, whatever you design, whatever you illustrate, it will be considered a valid submission to Skillshare. There'll be using pencils, will be using paper, will be using Adobe Photoshop. We will be using Adobe Illustrator and we'll be drawing together. It'll be. And talking about drawing and sketching. There is something very important about those two acts downs inside of the main. Something very important that I want to share, and I'll be doing that in the next video. The video right after this. That video is one of my favorite one in the entire course. And also in that video, you'll find that setting that's a little different than this, but don't panic, it'll still be me. So yeah. So I come wait for you to watch the next video. So I'll just go out of the frame and I'll see you in the next video. And actually that video was shot a couple of months ago. So you'll see that my face is a little different and setting is different or whatever. 3. Self-Censorship: Let's do it. All right, Okay. Okay, so now before we can flip that are pencils. We can take our stack or from white brand new plane papers and start drawing. There is something important that we need to discuss. Now, I'm going to be very clear from the beginning that what I'm going to do or what I'm going to say now is not an attempt to try and quantify art, to judge how good or how profound artists. It is barely an attempt to try and understand it. It's an attempt to maybe see things that are invisible to her untrained eyes. When you have a finished piece sitting in front of you, whether drawn by you are drawn by anyone else, it broadly has two parts. The only two parts you should care about what is drawn and how it's drawn. Now we coming back to these two parts over and over again in the course of this course. So make sure to drill it into your heads. Now if we back up a bit, and instead of a finished piece, if you have a blank paper in front of you or blank computer screen in front of you. There's again going to be two parts of the act of drawing that you're going to be doing. What you're going to draw, and how you're going to draw it. This second part, that how you're going to draw part involves techniques, processes, Tools, softwares, computer programs, et cetera, et cetera. This is the part which can be mastered over years of practice. It's a skill and it's doable, but anyone at all like how to draw human and not to me, or how to use Adobe Photoshop or how to use Adobe Illustrator. This part in volts, tools that are dynamic, they evolve over time, new features are added, all the ones that are kicked out, you know the drill, we will talk about this part of the HUB. You're going to draw part of an egg come to the part of the courts where I talk about illustration style. This class though, this video is concerned with the first part, what you're going to draw once you draw as something that makes you unique, this is the part that pulls you out of the crowd and colors you in your own unique color. In contrast with how you draw, which is basically a skill that can be learned over time and over repeated practice. What you draw belongs to just you. It cannot be taught, it cannot be bought, it cannot be stolen. It's a part of your very being. Now I know how pretty the sounds, but you know, sometimes truth and profound knowledge comes wrapped and Preakness, which we're going to do about it. Now, to a little bit more preaching. Live and live and just keep living, whether by your choice or not buy your choice, you're going to have experiences, good, bad, joy, full dreadful, the whole lot and cylinder. It will be impossible to not have those experiences reflect into creative work you do. We, as humans, are just a thin membrane separating our experiences and our emotions from the rest of the world. And when we sit down to do art and we sit down to paint, or we sit down to draw our sit down to write or play an instrument, it becomes impossible to hold off. All of that's inside of us. This is the very reason why the same biblical scenes, the same biblical stories depicted by different artists, have a very unique take by each of them. For example, in Bible, there's a story about Judith and Holofernes is, Judith is from the town called MF Julio Hall. The furnace is a savage invading general that wants to capture through this town. Now, an attempt to do this whole effort is cuts off the town's water supply. 34 days later, when the town is ready to give up, Judith, pious widow from the talent, arrives at Hofer and his camp one night in an attempt to resist the invasion. And later that night, she ends up killing all the firmness and fun. It's the town. Now, there was a little detail about Judith killing hollow furnace, which basically involves Judith decapitating Holofernes messages just promoting the head from the body now, okay, that's, that's, that's an important detail actually. And now I'm a little video going over the different depictions of this fairy story, the different depiction of this very seen by different artists over time. And I want you to notice how the same scene is depicted differently by different artists. Now, like I said, since the C involves the capitation and there'll be some parts of the art that I'll have to blurred, but you can always find the links to the full Wikipedia page of the art in the resources. Okay, so the first depiction of this biblical scene is a Botticelli titled Judith with the head of haul furnace. Botticelli is a man or a male artist and he draws a female's perspective. He draws a female story to that story. Look at Judith, all graceful and beautiful, like women are classically painted in those days. Now, coming to the second depiction by Caravaggio in this painting titled Judith beheading Holofernes. I love Caravaggio. I love the story of his life. I love the ways in which he uses light in his paintings, but still in this painting of is. Which you can see the full uncensored version on Wikipedia. The link is in the resource and you did as graceful and delicately, very delicately doing the delicate enough to be considered a little odd if you ask me, the third painting is by Artemisia Gentileschi, a woman, a female artist. This is the painting titled Judith slang whole furnace. And you look at her version of the painting there you can see the anger, the vengeance, the actual gross snus that's involved in the deed. Artemisia, in this painting of hers, actually painted her face as Judith and the face of Augustine autopsy on how a furnace August and a Tuskegee was a contemporary painter from the days of Artemisia, who later went on to assault artemisia in a way that changed the course of her life. So you can imagine the anger that's channeled into this painting, the experience that's channel into this painting, all of this, just to say that you have your very own perspective that gets to an edge. Each one of us has our very own perspectives. And having one perspective and not another doesn't make one good or bad. It's just makes each one of us very unique. And I'm telling you this because sometimes we tend to deny our uniqueness, even when I knew all of these tanks about uniqueness and perspective and unique perspective and whatnot. There was always this friction when I was drawing. There was not a smooth flow of uninterrupted ideas for my head edge of the paper. Often there'll be images in my head at classify asked to absurd or two weird or what the hell is that? Therefore, even when the image was in my head, it never made it to the paper and thus never to the final Illustrated piece. This is something that called self-censorship. For me, the moment I realized the level of self-censorship I was putting my creativity through was within watched this movie called Spirited Away by Studio Ghibli, spirited away, I saw creativity rating three. There was a person with eight hands. There was a ghost that could change shapes. There was a big, big, big baby. There was a woman with the biggest knows it could turn into a corrode. There was a lamp, like a Pixar lamp. Everything just felt so new and so fresh if but like the artist didn't resign the thoughts that came into their heads as to absurd or something that no one would like. But they don't their thoughts didn't question where they came from, then question why they existed and just went all the way with it. Watching data absolutely freed me from my censorship in a way, I drew a guy wrapped around the number one with a monster floating in the background. I was joining a telescope and I figured, hey, what the hell, let's make an, I pop out of the telescope. I don't care. I doubt I would've been able to follow through with such ideas before watching Spirited Away. I hope you've already had that kind of a breakout moment where you can see your self-censorship right in the face. If it has not happened already, then I hope will happen soon. I hope it happens when you come across a piece. It looks secure. Work in a museum or in a movie that you want, or in a different street in a different country, or by launching an online course. Whenever it happens, it's important that you notice or self-censorship and then let it go. At last, I'd like to talk about this letter by a girl named Lisa, fluid, years old, lease out lows horses. As he makes it very clear in the letter. At the end of the letter she writes, I want to be famous for drawing horses someday. This letter is from 1994. This is Lisa Hannah wall today, the lead artist of the critically acclaimed show BoJack Horseman. Don't let your self-censorship get to you. Draw whatever comes into your head. It belongs to you and you owe it to be born into, brought into this world. And now that you're all loosened up, we can take our pencils and take our papers and stop drawing. And just for the record, it's very difficult to say self-censorship a given again, it's called censorship self that I have just so many times, I have just messed it so many takes. I'll see you in the next video. 4. Adventure Mode: Shared shrieking noise is really hey, I'm on my list of things that I hate. Chair creaking noises and noises of vehicles are driving outside. Yeah. Would you gonna do about it? Nothing will change scenery, but it's still me. And as promised, we're going to talk about sketching in this video. Over the years, I have found myself using different tools for sketching, diaries, pencil and paper, of course, node bugs. And recently Alice has started using an iPad. Sketching is something that is totally tool agnostic. Everyone. And I mean, even the cavemen had, and everyone has access to something to draw with and some material to draw on. And having one tool and not another tool doesn't make your sketch any special because in the end, it's just a sketch. It's an exploration of an idea. But why even sketch y is catching important? You see, I've observed that for me and for most people I know who do interesting creative work, making things falls into two categories. Like one of my favorite YouTuber, IQ, Serbia puts it, adventure mode and tidying up mode. Adventure modes is when you're just playing around and you don't care what you make. And in my experience, this is when the unusual ideas, a ton up, the ones to actually go somewhere sketching for me is adventure maps, because when you're sketching you don't for it, you should not worry about the rules are what people are going to think of mountain of work. Because, because the sketch is something that's just between you and the paper. And the paper is a great keeper secrets, if you don't have like what's in front of you, you can always toss it in the trash or if you pleased, even legally Burnett, now to show you that this is something that I preach and not performed, I'll take you through some of my sketches and the final pieces that they lead up to, again, illustrating the point that you should start out loose and open to ideas. Let's count list, Let's look at some stuff. Alright, so I've got all my stack of sketches here. And we're gonna go over them one by one. And we'll also look at the final product that they lead up to it. So let's start with stickers. Look at this trigger, a colon, is this, this, this sucker, okay, this is a sticker. Then I've also actually stopped the sharpener and no longer used that much. So there's this digger n is start out with a simple sketch that was run under our range right here. And then there was a, there was a couple of explanations. I lost a bunch of sketches, but very, very, very luckily, I've got this, which is the file on and look how club foot flex. And it's actually the exact replica. So I arrived at this particular sticker file. Now let's look at a couple of more sneakers. And I think these stickers are really cool. We can this and look at this, and look at this, and look at this. And now let's look at how they started. So this hardcore up with some very initial, very rough sketches like this. You see this one right here. This, they are going to actually playing a virtual reality game right here, k, This is directly inspired by this. And even before these cancers, there is something very simple, like this simple line are linked to. The idea came in and I draw, and I drew with a simple ball pen. And then this led to further explorations like these right over here. And then eventually we ended up with these super cute, super nice stickers. Create a nice, okay, let's move on to another set of stickers. No, I don't currently physically have these takers in hand, but I do have pictures of them. So this is a Frida Kahlo sticker. This camps then the shoals sketch. And on your right you'll see the final state chromatid led up to, and this is a analog list. But this actually started off with this catch riches that I copied from Google and then, which eventually and develop into this and this finally turn into the ELO listed are pretty nice. Now right here is a sketch for any user interface. So it's just no stickers. You can sketch an event, anything at all, even a book or an outgoing for an article. So this is a sketch for a user interface that eventually led to this user interface getting create it. And it started off here. Pretty cool. And this is a very low fiddled the initial sketch of a woman's poster that actually turn into the main illustration for this website right here. It started out with this. Now talking about sketches of our chapter here aren't, this is a very ugly initial sketch of Chapter 0 on your left. And here's the final version of Chapter Zero on your right, there is a direct resemblance, but this one doesn't really look as pretty as the one on the right. And this chapter 0. And this is a scans for chapter one. As you can see, there's a lot going on here and a lot is also changed like the person's face here doesn't match what is in the final version, but it's still, there's a scarf, an idea. The resemblance as still there. This is the sketch for Chapter 1. And these are a couple of explorations for the. Sketch of Chapter Two is it gives you some things comes up or action going on here. But I decided to go with something like this. Very illegible. You don't, you don't have to be a really good drawer to draw sketches. So as you can clearly see, this is the beginning, and then it was Polish along the way and we ended up something looking like what is on your right. Similarly, for, similarly for Chapter 3, we've got a couple of explorations like this. I really don't understand what's going on here. And there's this. And then there is something like this going on. And for Chapter 3 finally decided to go with something like this. And you say, someone's between the sketch and the final one which you see on your right. Now here are a couple of explorations for Chapter 6. Then I tried to find some sketches. For example, I'm trying to use the sexes cavity to put in the canon and play with something around that. And you can see here is six, as in the friend view and the canon again, it's going through it. And you say there's another exploration of the guides directly looking into, into the canon. So these are a couple of explanations and hearing this time I'll also got an iPad, which when I started using first catching. You can see here, here's one of the sketches with a sakes is lying flat on the ground. And there's a cannon looking thing here with the phase and the guys writing something on the wall. I like this, but I did not like it too much in this. This can eventually lead to this cancer being made with China liked. And this is the sketch down Luke that we will be developing further and tracing and Adobe Illustrator and then finally using it in Adobe Photoshop. So this is the sketch that you will be downloading from the resources and using it if you choose to do so. Remember that it very, very, very rarely happens that your first sketch or your first draft will turn out to be perfect. The universe just is not designed that way. It takes a couple of goes. It takes me days and I think it's very normal to get stuck and I get stuck and I have to take a break and then lead the idea begun my subconscious, we're a bit before I can finally try again and hope to arrive at something that I like. When you get stuck, just pick up your paper, pick your tools and start sketching. Don't sketch with a golden mind. Just draw your stream of consciousness and hope that the muse will visit you and guide your hand to a skeleton of an idea and your free sketches you'll find right then or much later seeds of new ideas. Take a break, relax, and then try again. For now, the project that we're concerned with in this class, this is something that I've arrived, add up to a couple of tries and this is something that I find that like, I hope that if you're following along, you have a sketch to, or you'll get to work after this video and then have a sketch. Or you can download this get from the resource as a use that the next step from here is to import this catch into Adobe Illustrator or in tweets it, Wie tweets it. I'll tell you in the next video. 5. All about Style: With this sketch, this one right over here. We are done with the war to draw part of the process. And now what's left to talk about is how you draw or as it is put in the illustration industry, it's time to talk about illustration style. Now to reiterate on what I said earlier, how you draw as opposed to what you draw involves tools, techniques and processes. And these tools, techniques and processes have a huge effect on the final outcome, on the final illustration, you could just use analog tools and your illustration will look one way, or you could just use digital tools in your illustration will end up looking another way. Or you could use a mix of digital and analog tools going to have a completely different style of illustration. What I have observed from the illustrators whose works I have studied is that they have a comfortable instead of tools, techniques, and processes that they have grown comfortable into. And that is why there are illustrations look a certain way and have a signature style and with a process that we will follow for our project, you will notice how certain small changes here and there in the process can lead to a difference. Illustration style. But before we get into all of that, following our process and everything, I wanted to discuss some of my favorite illustrators and your illustration style. But if you're at so far in the class and you really can't wait, can get your hands dirty and story illustrating, you can directly jump to the next video and we'll start with Adobe Illustrator in the next video. But you know what, I wouldn't mind you hanging around a bit and just chat with me about different illustration styles. Are you going to the next video or are you stay? If you're a stain? Let's start with Roman Marie love. Roman-style is deceptively simple. Maybe that's why it's been copied so much. There's a clear use of ink and analog tools. But to me what sets his illustration apart are these Inc. Mark Stroman has three classes on Skillshare and I'm of course taken all three of them and that is how I know that these ink marks appear simple, but take a lot of effort to get right and even more a fruit to get right in one single stroke, his style has enticed me to the bitter end and of course I have tried imitating it. That is why I got this pen and ink that I still use sometimes in some of my illustrations. For example, in this illustration, the marks and the white elements are done entirely in a recolored in Photoshop using the techniques that I learned from Roman or from Romans classes on Skillshare is what I mean, not personally. Of course, the links to all of the Romans classes as President and the resources. Or you could just search on Skillshare and find Roman mark it up and find all of his classmates. Urban Murdoch is also behind all the illustrations that you see on notions website. Notion, by the way, is an amazing tool for organization. If you haven't heard of notion and you should definitely give it a shot. And all this entire class was planned and written on Notion. By the way, when it comes to tools for Roman style is analog heavy on the completely opposite end of that spectrum are another two of my favorite illustrators, Olympians any Ollie and Malika papa. Both of these illustrators style are completely vector. This fight of that similarity, it's very easy to tell apart illustrations done by Olympia and illustrations done by Malika. Olympiad. Illustrations involve geometry, shapes and patterns where as Molokai uses organic forms of humans, hairs, leaves, et cetera. According to Malika herself, her favorite subject to draw our women. And it's a pleasure to look at her illustrations of the female form and lucky for us, Olympia has a class on Skillshare that I've linked in the resources. And Molly cause one of my favorite talks of Malika is also linked in the resources, so be sure to check it out. Now talking about illustrators who actively share their learning and process online, we have tom froze. Thomas illustration style maintains a unique balance between being completely vector and being completely analog. The outlines you see are sharp as if they are vector shapes, but inside the texture, the colors, the lines, marks are all done in ink. How do I know that? Because Tom has a bunch of classes on Skillshare and I have taken all of them and they are also linked in the resource stands where he describes his process to name a few from possible hundreds, other illustrators whose tile that I really like and that gripped me are gingerly in Mathias and Olson. Abby law saying and Andy J. Pizza. At this point, I think if you're not already aware of what illustration style is, I bet, you know now, do have a bird's-eye definition of what an illustration style is. Of course, there are tiny nuances, but broadly and illustration style is a combination of tools, techniques, and processes used in drawing an artwork. When we look at illustration style in terms of a combination of tools, techniques, and processes. It is not something esoteric and only available to a few, it to something that is available to all of us in abundance. They illustrators would have a unique style. It's not that they are not allowed to or incapable of choosing a different set of tools, techniques and processes, and drawing in a completely different style. The styles that they have arrived at, I've understood involve tools that they enjoy using processes that don't tire them and the techniques that they have personally discovered or learned from someone or somewhere and then build upon it. I have understood that style. It's something very personal. It's your own journey to undertake. It's up to you can do a bunch of words and make this discovery for yourself. Surprisingly, a quote by Kurt Vonnegut fits perfectly in the context of illustration. And the card goes something like this. Everyone wants to know the way, but there is no single way. There is only discovering your own and that entails imitating paths. Others have trend, taking advice and exploring what works best for you. I used to think having a single illustration style is limiting, but now I believe that having a style is important. One, of course, because it makes your work recognizable as yours. And second is because having an illustration style means essentially automating the, how you draw part of the process. And remember the real Jews, the real meaning is in water you draw. So when you have the how part essentially automated, you can put more thought and more of you into what actually matters, into something that cannot be stolen or replicate it. And that was all about style. That is all I wanted to talk about. I hope I communicated enough. And now you understand and now you should be pumped. If you're not used to be pumped. That we're going to start illustrating in the next video. So I'll see you then. Good bye. Well, this laptop is expensive, but it's thin and has a very bad thermal arrangement, and it's makes it so much noise. It's like a helicopter for ants. 6. [Illustration] Beginning Process: Okay, So we're ready to jump into Adobe Illustrator. The goal here is to trace the sketch, of course, not in its original form, but making improvements along the way like for example, the hand here is not very visible, as you can see in the perspective of six is not correct and the circles here are not perfect. Circles will fix all of that. All right, we'll polish all of it as we go. I don't think that I've mentioned, but I'm not very great at drawing though. Tools like Adobe Illustrator held me and I'm pretty sure many others and producing something that's polished way beyond or natural talent. If you're a season Adobe Illustrator user falling along, feel free to trace it and make fixes on your own. I will start by breaking the sketch right over here into different parts. And this tracing each part one by one. If there is any nifty Illustrator technique that I'm using, I'll be sure to describe it to you and the boring parts, I will just speak over them. Okay, so now in Adobe Illustrator, let's start by clicking on Create New. We'll start with a new document. The size does not matter right now. So whatever you have here doesn't matter. Just make sure that the unit is in pixels and we'll change the name of this later while we are saving. So hit Create, and now we are inside the file. Now, the thing here to notice is that in my final, the way my Illustrator looks might be a little different from how your slugs, right? Because inside Illustrator, if you go into preferences and user interface, you can adjust some things. All right, you can adjust how the UI works. You know the color. I like to go with the darkest one. But the one important thing, you know, you can choose whatever you want from here doesn't really matter your personal preference. But what matters is that in Canvas color, you choose white by default it is this, which is, you just see this white art board here and the rest is dark. But what I want, choose white and click. Okay, the utility of it will be clear in a while. Okay, now what I wanted to do is I want to drag the sketch in here so I can just click and drag and drop. And yeah, there you go. There is the sketch. And the sketch is dropped into this layer here, which we'll call SK VTC Edit Sketch, great, and just position it wherever you want. It doesn't really matter where you position. And that's the reason why we have this whole white canvas to play around with. Because while tracing There's a lot of experimentation and a lot of changes. So we want things to happen around here and then bring it back into a proper sized art board. Okay, great. So make sure that this layer is named sketch and then create a new layer. And in the new error, I'll start out by tracing out the six here. Okay, so I'm gonna go ahead and call this layer the numbers sakes, great. And the next thing I'll click on here on this little circle beside the B-side, this sketch layer right over there. So it looks like everything in it. And right now it's just this administrates is selected this image, and I'll go ahead and decrease its opacity to sunlight. I don't know right around 28 or something. You know, you can adjust it accordingly, whatever UI. So yeah, I like it. I think I can draw over it. And then I'm going to go ahead and lock the sketch layer and come to the layer, the number six. And while we are added, and I'm gonna go ahead and press Command S, call it Chapter 6, art and click Save. All right, great. You can save it wherever you want. The location doesn't really matter. Okay, now we are all ready to start tracing over sex. The way we are going to get around this is by first bringing up the type tool by clicking on the T right here in the toolbar or pressing T and clicking anywhere on the canvas can analyze, just type the number six, alright. And then I'm just going to hold Shift and stretch it out, make it big enough. Okay, Looks good. And the next thing that I'm going to do is I want to choose a bold font, a bold typeface, so that, you know, it doesn't look so skinny. The six doesn't look so skinny. So I already have a typeface in mind, which is GT America. And I want to go with GT America. Let's just select a gamer again. I'm going to select the weight from over here and I want to go with GT America bold. Now, GDM okra is a paid font. I have bought it and its toll on my system. You might not have GT America, but the choice of typeface doesn't matter. You can pick anything that's installed on your computer. All you have to do is make sure that it's bold and it matches this weight of the text right over here. Just looks like this x that I have on my screen. It doesn't really matter what typeface to use. Okay, So with that, with that, with that, I can go ahead and stretch it down a little bit as well. And it's my habit to always, you know, Option drag and create copies as I'm, as I'm making changes so that if I mess up some American go back and pick up and then again start again. So yeah, that's what I did. I selected the number six, I hold Option and Shift. And drag it out a copy like that. And I'm going to work with this one here and leave this one alone. Okay? So with this selected, go to Effect, 3D, Extrude and Bevel. Alright, now inside this window, inside this dialog, you can click on Preview to make sure that you can see the changes that you're making. So you can drag this q around. And the number six, the object that you have selected will respond to the drag just like that. Okay? And since this six is black, we cannot see the, all the signs so Fed. So before I can go ahead and apply some changes in this mode, All right, over here, I'll just go ahead and make this sakes lighter gray so that we can see all the sides again with the lighter gray sorry, with a lighter gray color blind and go to Effect 3D, Extrude and Bevel. And let's start making some changes right over here. Okay, so let's first go with this axes and let's say I just wanted to be around 30 or 28. All right, Some like this, a little bit slit to the front. And for the y axes I want it to be minus 16 degrees. All right, so it looks like that. And then for the x, I wanted to put the z or whatever axis as I want it to be five degrees. So of course I've played around with this. That's why I rem, remember these values. But all in all, it's just trial and error and seeing what looks better. And in my case, I found these values for degrees. They, they, they sued that. I like the way that tilt is present in the number six. Okay. The last thing that I wanna do is I want to increase the extrude depth or something around 200. So I'm just gonna go ahead and drag it and something around 220. Okay, that looks good. That looks alright. And then what I'm gonna do is go ahead and press Okay, All right, great, So this is how it looks and I can drag and make it bigger and look at it. Yeah. Looks looks looks kinda cool. All right. The next step again, like I said, it's my habit of Option dragging it out so that I can go back. I mentioned that a habit again, but yeah, that's what I did. And right here, once I have this sakes ready, I can go into Object and Expand Appearance so that because right now this text is still editable. I can write 7, 8, 9, and you can see it's still changes. But what I want is just the object, not an editable text. So I'll select this, go to object and expand appearance. Now, these things are just vector shapes and I'll go inside this, you can double-click and go into isolation mode. And I'll make sure that there are not these small, you know, that the shape is not made up of these small little shapes, but rather an entire solid shape. So the front face 06 is actually something that is just one single object in one single shape. So that's great. I'll leave it there and just so that I don't mess with it, I will press the shortcut. It's a very important shortcut. And Adobe Illustrator, I loved the shirt. Get it makes life super easy is Command 3. I'll just hide it for now so I don't mess around with it. Okay. This one right over here is also a single shape. So I'm going to go ahead and press Command 3 and hide it. Now this shape right over here is made up of multiple shapes. So I'm gonna go ahead and select all of them and go into pathfinder right over here. If you, if you don't see any of the tools in your and your toolbar in the UI. You can always go into Window and pick up things from here. So right now I'm in pathfinder. So in Pathfinder I'll just go into ender shape mode and click on Unite so that it becomes a single object like that. And that's since I'm done with it, I'm going to press Command 3 and get rid of it. And that's why we're going to do to all of these. Just go ahead and unite this. Rest command 3, unite this and press Command 3. All right, now all of these are made us MetaBot single shapes, but I, but I've hit all of them to bring everything back. All you do is press Option Command 3, and there you go, It's all back now it really doesn't matter what number of anchor points there are present in it. Because generally it's a good idea to have vector shapes with fewer anchor points. But since in the illustration would be raster, we don't really do care about the anchor points and all at this moment. So okay, this is number 6, middle of solid shapes. I'm going to go ahead and drag it over here. And let's see how it fits. Okay, it fits quite well. It fits quite well. And the reason why you can see the sketch layer underneath is because this layer right here, the number six, has a blending mode of multiply because it's multiplying, That's why you can see things behind it. Okay, the next step now is to move to Adobe Photoshop. And now you will see how there'll be how I am using Adobe Photoshop and Adobe Illustrator in tandem to create style of illustration. Now I'm inside Photoshop and what I'm gonna do is I'm going to create a new document. And here the size matters. So make sure the unit is pixels and I want the width and height, 2048 by 2048, and I want the resolution to be quite high. So I'm gonna go ahead and give it a resolution of 600 pixels per inch. Okay, with that done, the background color is white, it's cool. Everything is fine over here. And I'm gonna go ahead and hit Create. All right, the next thing that I wanted to do is I want to drag this sketch, the sketch that you can download in the resource has into the documents. So just go ahead and drag it here and you know what, I'm going to hold Option and Shift and make it a little bigger so that it looks all right. I'm just I'm just gonna go ahead and adjust the positions a little bit using the arrow keys and just reduce the size a little bit. Okay, that looks white, it looks OK. And click on the tick icon, which I just clicked to make sure that the transformations are applied. And the next thing again I'm going to do is decrease its opacity to something around 20 percent. All right, and then I'm gonna go ahead and lock this layer. Then I'm gonna go ahead and create a new layer right over here. And now you'll see the magic. So I'll go into Adobe Illustrator and make sure that I'm on the number six layer. And since all of this has grouped, I can press shift command G to ungroup everything. So then I can drag a single shape out. So you have to press Command Shift G a couple times because the way Expand Appearance work there could be multiple groups. But once that is done, you'll be able to drag these shapes around individually. Okay, so I'm gonna go ahead and start with this. So select the shape, press Command C. Great, Then go to Photoshop. And what I want you to do is with a new layer, select it. First of all, press Command G to create a group. Then with the group selected press Command V. And then this little window will open up. And in this, you want to select Path, and then you want to click OK. And once you do that, you see this little thing here. A vector mask is applied to this group, okay, Now, if you select this group, zoom out a bit, press Command T. You will be able to see the path that you just paste it from Adobe Illustrator. Now, you can resize it, you can transform it. If I hold Option and Shift and drag it down like this, I can make sure that it is at a correct position. So yeah. So there it is gray and once you have it there, you can go ahead and click over here on this icon. Then the transformation is applied. Now you can see the six and the Vector Mask icon right over here. I'm gonna go ahead and rename this group to 6 front face. All right, and now whatever I do inside this layer, since it's nested inside this group, only, the contents of this layer will only be visible through this mask. And now here's what I mean. I'm going to go ahead and select any brush right now. It doesn't really matter. We'll go over brushes and colors in the next video. But right now, I'll select any brush in any color and I'll, I'll, I'll start painting in that. And I'm painting on this layer and you can see that it's very chaotic. But all I can see the number six, alright, and now the next step is to one-by-one, bring all these little shapes into Photoshop and start painting them. But before we can start painting and stuff, we need to know what colors we'll be using and how I got those colors. So that's what we'll be doing in the next video. I'll see you then. 7. [Illustration] Picking Colours: Okay, So now you are aware of the process trays, the paths in Adobe Illustrator, because it's very much easier to do so in Illustrator than Photoshop. In Photoshop, you can pick up the pen tool and start drawing, but you don't get the ease of effects like 3D and rotating and Bevel, et cetera, the everything that we did with six. And also, I find that the pen tool is much easier to use and play around with in Illustrator. So yeah, so the process is to trace the paths and it'll be Illustrator and then import them into it. Photoshop and start painting on inside them like this. All right, so here's my path that we imported in the last video. Again, you can do one path at a time. One path of time like I'm doing here, or what you can do is trace the entire illustration and ones and then start bringing in paths into Adobe Photoshop. But in both the cases, what's common is coloring or painting. And coloring and painting requires colors. Now I'm pretty sure you have read and watched and learned a lot about color theory already. And there's a certain extent to which that knowledge is helpful, of course. But I don't want to make this video the a 100th color three of video you will watch, but rather share some practical techniques for choosing and playing around with colors, alright? And the resources, you will find this swatch right over here. And it will also find a screenshot of the swatch as it looks and then import it into Adobe Photoshop. Now to import this swatch into Photoshop, all you need to do is make sure that swatches as visible. And to make sure that is visible, you need to click on Windows and make sure our swatches, It's collected. Then over here, under swatches, you can click on this little hamburger menu right over here, and then click on import swatches. And once you click on that, a window will open and you can go ahead and choose a swatch from variable. You have downloaded it into your computer. Once we import, this little group will be added into your swatches. It's called Kandinsky several circles. I'll tell you in a bit where that name comes from. And it, just with that, with all of this important you are set. But if you want to know how I made this watch and I chose the colors, keep watching. There's a category of visual art called abstract visual art. And Wassily Kandinsky is one of my favorite abstract painters. And this right here is as painting called several circles. And if you know the name from the group, from the swatches, this is what it means, Kandinsky several circles. All right. This is where the name actually comes from. Yeah. So this is his painting. This is called several circles and my swatch, the color swatch for all the illustrations that you have seen for every chapter is built from this painting. Okay, Now, the deal with abstract art is that since real world objects are not a part of abstract paintings, the paintings rely a lot on color and composition to get the message through. You can look at other abstract painters like Piet Mondrian and his paintings which look like this. These are called Mondrian's themselves. You can look at paintings by Willem de Kooning and his paintings are also very abstract and very good. You can look at the paintings, very simple painting. So from Mark Rothko and his paintings, our very simple, these are basically just two colors for the most part like this one right over here. You can also look at paintings of Lee Krasner. I'll write it over here her paintings and you can look at several other, if you Google abstract art or abstract painters, you can read more about them in their work and looking at the colors. I like the colors that muscularly Kaminsky used in several circles. And the harmony fit quite well with what I had in my head. So I took a screenshot of this and brought it into Photoshop. So if you are, if you've come across a painting that you like, all you need to do is on Mac, I can press Control Command Shift 4, and then just drag this out and take a screenshot of a fit and holding that chart get wanted does is it copies the screenshot into Clipboard, which means I can paste it anywhere. If you're on Windows or any other operating system, you can take a screenshot and save it and then imported later into Adobe Photoshop. And since I have used that chart going on Mac, I can go ahead and and into Photoshop and click on File New. And once this window opens up, it already knows that there is something in my clipboard and suggests a sign. So yeah, I'm going to choose this size, hit Create, and then I'm going to press Command V to paste this right over here. Now in the layers, now this file is a totally temporary so dawned fear mangling it. If you if you run into something that he doesn't like after making the changes, you're going to lose, delete everything and take a screenshot. All right, so once you have this screenshot and place, the thing that I like to do is first of all, uh, just a few things. So Command B, if you press Command B, the color balance window opens up. And this, I can drag these things around and see if I like the color. And so if you drag this around, I didn't get to green, I don't want to measure it and I like the blue. So I can go ahead and decrease the yellow and make something like this. Alright, so that's it. That's something that I like. The next shortcut is Command U, and it opens up hue and saturation panel. Tank and it just thinks like this and also change things and play around with the colors like this. So yeah, I'm just gonna make it a little bit lighter. And then let's see if we can move the hue to a lot of blue. So blue doesn't work, but a little bit does. And I can go ahead and decrease the saturation a bit and increase the blue a little bit again. Okay, That looks okay. And then another, another shortcut is Command M, which opens up the curves panel in which you can again adjust and look at what do you like to do, something that I like. And then I'm going to click Okay, now, with all the changes that I've made, this painting, the color of this painting right over here doesn't exactly match it, but it has the same harmony. It has the same amount of colors. This, for example, this color blue, is presented in a good amount of metal here as compared to yellow. And that's what this here. So overall the composition of the color hasn't changed. The colors there Hugh have shifted a little. And once I arrive at something that I like, I can go ahead and start creating swatches for a med. And to do that, the thing that I could do is create a new layer and press I to get the eyedropper tool. And then I can go ahead and click on the blue, let's say right over here. And when I click on it, it is added as the foreground color. And once it's added, I can go into the swatches panel. Okay, and then I'm going to go ahead and create, click on this folder icon right here. This will create a new group. So since I'm just testing things and showing and demonstrating it to you, I'm just going to call it a temp group. Alright. Let's call it temp color group. Okay? That looks okay. And once I'm inside the 10 colored group, what I can do, and remember that I have this colored picked from the swatches, sorry, from this painting and it is in the foreground color. Click on this icon right over here and the shows up. So I can save this color as let's say 10 blue. So I'm gonna go ahead and call this temp blue one. Okay, That's it. There's a terribly one. Now what I also like to do is create two different shades of the color that I use. So if you go into this convincingly several circles, you'll see that I have these several different things. So there's blue 0, blue one, blue two. So there are different shapes of this. And to create different shades of each color, it all you need to do is this. You can go, I'll just go ahead and hide this. Okay. Hide this painting for a bit. And then I'm gonna go ahead and put the color blue selected from the swatch, this 10 Blu-ray to 3D or progressive be and select a nice little brush or any brush at all. And okay. Hold on. Just decrease. Okay. I think my computer is behaving, misbehaving. So I'm gonna go ahead and decrease the size and choose Android over here. Okay, This has something and this is the blue that I selected. Then the next thing that I can do is double-click on this, the foreground color and this window opens up in this, if I wanted to create a lighter shade, what I do is I go into the B, which stands for brightness, and increase it a little bit. Okay? And you can see the difference that occurs between in between the new and the current selected. Once I have it, I can also use my master, drag it around, you know, if I like it, I'm going to press okay. And then just paint right beside it so I can see, okay, That looks okay. And next, what I wanna do is I want to create a lighter shade, still lighter than the previous one so I can go ahead and drag it up. I'm going to see the brightness increasing click Okay, and then just paint again. And once I have this, right, so this is terribly one. So I can go ahead and click on this, and then click on the new swatch and I can call it 10 blue too, okay, which means it's a lighter shade. Then I can click on this again, the third one. And then I can click on this icon again and call it temp blue three. Just like that, I have three different shades of this. And I like having this because I can use one, has one of the shapes as a base. So just use this as a base and then I can use the darker one as the shadow. All right, so I can use a dark color of the shadow and I can use the lighter one as the highlight. So I have all these three colors, and right now they're painted using my mouse and I'm using a very strong brush. So you cannot really see how they are mixing together, how they mix together to create a nice little 3D feeling. But yeah, that's a technique that we use. And in the next video you'll see the brushes that I use and the tools that I use to pain and that's bad. This manual, the one by F. So in this video, all I wanted to show is how I pick colors and how, how I add them into swatches. And just like we created this temp color group, little temporary sweat swatch here. I use the same techniques do clique could create all these colors over here. So once I'm done with that, I can go ahead and delete this temp color group. I don't need it anymore. Okay. And yeah, we're done. That's it for this video. In the next video, I'll talk about the brushes and I'll talk about the tools that I'm using for this illustration. So I'll see you there. 8. [Illustration] Finishing The Big Six: Now that the colors if out of the way and we've already discussed about are the palette came from and the colors that we're going to use. And hopefully you have the swatches from the resource is added to your Photoshop. And you also have this little sketch or your sketch added to a layer inside Photoshop. So the next thing that we need to talk about, which is going to make up the minor style element of the illustration that you'll be making is the brush is. Okay, and I am using a graphics tablet with pressure sensitivity to color. So for example, if I pick a color and I start coloring, you can see that the opacity and the weight in the mix has changes with the amount of pressure that applies. I'll choose a darker color in, and you can see the difference that happens, right? So this is blue. I think this is really 0. So this is blue 0 that I'm coloring it with. And I'm gonna go ahead and choose a lighter shade of blue one and we're going to color over it. So you can see that since I'm using a pressure sensitive graphics tablet to color how the color is mixing in like this. And also the brushes that I'm using for this illustration is the Kyle's watercolor pencil and different brushes. Now these brushes might be available inside your Photoshop or you'll have to download them from the intranet. And one thing that you should remember that it doesn't have to be this exact set of brushes. Don't have these brush. I implore you to try everything out that is available into Photoshop, into your Photoshop that you haven't, it's tall and see that what works for you and what you like doing this will give you your illustration, its own twist. So take the brushes that I'm using, not as set in stone, but something that you can change in. Feel free to use the ones that line. And if you don't have a graphics tablet, you can also use your mouse to color. And it ends with this style of illustration that we're going with and the process we're following. It would be possible because remember that this layer is inside a group that has a vector mask applied on it. So whatever color you do with your mouse, It's woman to have these little details of pressure or whatnot. So let me just get my mouse right now. Okay. Let me just get it in mind. Mass and lyse. I'm using my mass through color. And you can see there is a subtle difference from whatever the graphics tablet, but it's still doable. And because of the vector math that's applied, everything turns out to be imperfect shape. So you can use your mouse to, to paint. And the next thing that I want to mention is that if you don't want to use graphics tablet or imagined by, but you can also just select the layer and press the shortcut option, delete on the Mac, or I don't remember the shortcut for Windows, but I'll mention it on the screen right over here. You can use the shortcut option, Delete to color the layer, and it will be only visible through the vector mask. And you can go ahead and do that. As far as I'm concerned, I'll be using my graphics tablet and the brushes that I showed to you before to financial illustration. And I will repeat what I said again, that the brushes are not set in stone. The colors are not set in stone. At the tools are not set in stone. You can explore, use whatever you like and move forward with it and finish illustration. Okay, so let's go ahead and finish illustrating 6 first of all, so I'm gonna go ahead and drag my swatches panel on the left because I needed there. Then I'm gonna go ahead and get rid of, first of all, the layers, all the things that I did in this file to illustrate to you, explain things to you. And then I'm gonna go ahead and make sure all I have is this group with vector mask applied and a layer that's nested inside of it. I'm going to go ahead and select the largest brush that I have, watercolor brush. You can choose whatever brush you want. And I've chosen the paint, the color of the paint, which is blue one. And then again, I'm gonna go ahead and start painting. So make sure that appropriately or select it and start coloring on top of it. And you can see that at places I'm not applying much pressure to keep the, keep the watercolor texture intact. This is, this keeps the, a little bit of personality, the illustration, and a little bit of a hand-drawn feel. Let's keep doing it. Let's keep coloring a bit more and just making the code a bit thick here. Now we'll collect six group for now and using the same techniques mentioned in the previous video, I'll bring in another vector mask. I'll pick up the top face of sakes and repeat the process again. Going to position it and resize it properly after bringing it into Photoshop. So you can always press Control or Command T that will show up that control handles and I'll go ahead and resize it. The pollution that top face above the front face of six, just like that. You know, you can always come back and do this later to the positioning, but it's good to get as much right as you can into fruits try and once you are happy with it, just click on the tag. Then we can start to paint it. And I will use a darker shade of blue for the top face. I'll use blue 0 and I'll just start painting in this layer. And just like that. Now it can happen that you might notice some gaps to rectify that you can click on the Mask and press Command plus T to add just a dimensions bit. I'm going to go ahead and scale the top face down a little bit. Like so just so that it fits properly over the front face. Yeah. And that looks good. I'm going to go ahead and click on the tick, and we are done. I'm gonna go ahead and select both of the phases and scale them down a bit and position them over the stakes that is in this catch. All right. And yeah, that looks good. I'll go ahead and give the layer or proper name. You can give whatever name feels right to you. And I'm going to go ahead and click on the mask in the Layers panel and make a few adjustments with the mask selected. You can press a and it will show all the anchor points that make up the entire mask. And now I can go ahead and select a couple of anchor points and adjusted properly. This is just for a minor details. And as you can notice that this path had a lot of anchor points and we will take care of that in the next path that we bring to have to make sure that it has fewer anchor points. And it looks good now even with the sketch hit. And I've also move the top layer, top phase beneath frown face. And now I'll go ahead and grab this path to make sure that this path has fewer anchor points, I'll go into object and then path and then click on Simplify. It automatically decreases the number of anchor points, but you can slide the slider to the left and degrees the number of anchor points further as long as the shape stays intact, then again, follow the same process and bring the path into Photoshop just like that. And I will position it properly and make sure that when you're bringing in it's a vector mask and you're pasting it over a group, just adjusting the position and size a little bit as much as you can. And once you're happy with where it is, press Enter or click on the tag. Now I'm going to go ahead and start painting inside this mask and the color I'm using is blue 0. Also this face needs to go behind the frame face, so I'll drag it down and reposition it in the layers panel. Now I will bring another path from Illustrator into Photoshop. And before bringing the path, I'll make sure that I decrease in number of anchor points that it is made above. Click on Simplify again, and as you can see now it's just made us six anchor points are then a million. Let's bring this back into Photoshop now and position it nicely. I'll create a new group and do the same exact process again, paste it, create a vector mask and just go ahead and position it properly as much as I can. I'll fill it up with blue 0 again and drag it down. And for this unit behind the front face, I'll select the path by clicking here and then press Command T to bring up the transform controls and resize it a little bit. Just like that. I can also press eight to reveal the anchor points that it is made up of and make small adjustments to close the gap. Yeah, that looks better. You see that gap will be fixed at using anchor points. Everything looks okay, but there's a slight bit of gap here. So let's go ahead and fix that by moving the anchor point a little bit to the left and another one there. And yeah, looks good, great. Now the six looks complete, right? Just need to add a coat of paint on the front face to make it a little less transparent like that. I'll tweak this curved path a little bit because I see a little bit of gap and now that's covered E and a. Good. All right, now let's add some details to this face right over here. I've called the layer that's been colored in base. All right, and now what I will do is I will create a new layer on top of base and call it shadow. I'll choose blue 0 from the palette. And then I'll go ahead and double-click on the foreground color and I will make a darker shade of it ad hoc. And it's okay to do that. And now I'll go ahead and add a little bit of shadow behind there, just like that. And now it just gives a little bit of 3D effect and I'll do the same. I'll create a new layer called shadow over the base layer for this little face. And then I'll color over it and you can see that I can hide the base layer and you can see the shadow layer and now are six looks complete with this illustration style. As me just add a little bit of more details here. And we'll be good to go. And now let's do a recap. I've blown up the layer thumbnail sizes here by right-clicking on the Layers panel and choosing large thumbnail. So there's a few things that I want to go over quickly and make sure that you understand. The first one is the anchor points on these paths. Now I know that previously I told you that anchor points in a matter for us because we are using raster and that's true. It doesn't because in the end when you export this, it'll be harassed for PNG and not some AI or SVG file that they anchor points will increase in size. It won't matter, but it was an oversight to think that we don't need to decrease the number of anchor points and Illustrator. Because as we saw that if we brought it in and if we wanted to make adjustment, this path right over here has a ton of anchor points and it's not good. We'll leave this here for now. It doesn't really matter, but what I wanna do is make sure that, you know, the next pass, that you bring in half fewer number of anchor points. And I already showed you the process to a decrease in number of anchor points and Illustrator is by selecting a path, then going to object path and clicking on Simplify. And it'll automatically keep the, say, keep the shape as it is and remove a bunch of anchor points. So that is great, isn't it? Okay, That's With that out of the way. The next thing that I want you to understand is that often what will happen is that when you're new to Photoshop or if you are new to Photoshop, you won't know how to adjust where to click. Should I click here? I click on this link or should I click on this icon? You just know when I say select a path, you click on this whole square root over here. And then, you know, you can press a on your keyboard to bring up the direct selection tool so that you can adjust the anchor points one by one. Or if you want to adjust the entire shape, you can press Command T to bring up the transform controls. So that is another thing that I want to make sure that you understand, okay, now with those two out of the way, the third thing that I want you to understand is our process of naming this layer, the original color that is on it as base, and then the layer above it is shadows with a little bit of darker shade. And with a darker shade. What do we did was we chose blue 0 because, because it's the darkest shade that we have in our palette. Then I double-click on the foreground color right over here, and then drag this down a little bit and create it a slightly darker shade and use that to paint the shadow. Instead of creating a brand new shade and just adding it to the palate and all of that, you are allowed to create some shapes ad hoc. It's allowed and this, alright, and that's what we did here. And the last thing again that I wanted to go over was that you understand the concept of masks. For example, They, all these groups have vector mask masks. It's very funny to say masks and vector masks. Apple I do them. So that whatever is beneath it, inside this group is only visible through this shape right over here and nowhere else. So that is the last thing that I wanted to make clear, and we will continue with the illustration in the next video. Thank you for following along so far, and I'll see you soon. Bye. 9. [Illustration] Adding Face & Cannon Balls: At this point in the class, you know the process, you know the colors, and you know what we're illustrating. So from here on out, it will mostly be autopilot OF MY tracing things here, creating vector shapes and illustrator, and then bringing them into Photoshop and coloring them. If you understand the process and you want to continue on your own, you can, of course do that. The only things out, it'll be a little tricky to two traits and illustrator would be this hand right over here and this hand right over here. There's a trick to do that and that I've learned that I'll share with you when I come to that part. But before coming to the hands, I want I'm going to trace these counting bolts here. Then I also want a cannibal here, which I did in drawing this sketch, but I want to kinda animal here, the cannonball over here. It's just going to be a circle. So yes, we're gonna go ahead and create a new layer. Press L to get the circle tool in Illustrator or you can enter Ellipse Tool. You can click here to hold shift and drag out a circle. I think it will be this big. This will be okay. I guess I'm gonna go ahead and bring it into Photoshop. I have actually grouped the six into a single group so that they know and all the different faces are inside the group. So that's a good organization of the layers. Okay, Let's do the same process and bring this in. I've also had blown up the layer thumbnail is again, there'll be more visible. Let's keep it like that. So I'm gonna go ahead and press Command V, bringing the path like that. Now that I've brought it in, I've got the path in, as you can see, it's right over here. I'm gonna go ahead and just name this layer flying cannonball and where I need to start coloring. So first of all, renamed that layer as base. Alright, so rename the layer as base. And I'm going to write both of these. I'm going to go ahead and increase the opacity to a 100. Again, I'm going to hide both of these and then focus just over. And I'm gonna go ahead and make sure that I have. If you press B on your keyboard, you'll get the brush tool. Make sure the brush tool is selected. And then what I'll do is I'm just gonna go ahead and grab my brush. Okay, great. I'm gonna go ahead and click here. And for the base, and you know what, I'm going to choose this color, dark too, okay, I'm going to choose start to, then start coloring. Alright, so this is the base, so I'm just gonna go ahead and color the base simply EMBASE. We don't do a lot of 3D. We just again to do as much as we can, okay? And then I'm going to create a new layer, call it shadows. I'm going to go ahead and pick a dark one for this. So a darker shade. Okay. So let me explain what I've done so far. So first of all, I start coloring it and I gave it a different, you know, there's a base, there is highlights, shadows, there's blue highlights. Let me come to that. But first of all, I'm going to go ahead and height six. You know, you can focus just on this. Now, remember that these layers are just guidelines. It's not that, okay. Base should have just one single color and highlight should have one single color and shadows should have just darker color in there. It's not lying that, you know, it's not like that when you look at something, if you are making an illustration that is close to reality of how 3D objects behave in reality, you don't have just one through three solid colors. It will be, it would have been different if, if we were making illustration that was more cartoonish and that was away from the 3D reality. That would've been a whole different process and a whole different illustration style, but that was the style that we are going with. You know, there can be colors that are created ad hoc shapes that are created an ad hog. And for example, in the shadows layer, if I hide everything in the shadows layer, there are a couple of colors, two or three dark colors that I've created with, let's say the dark one base. I double-clicked on that, on the foreground color and chose a different shade and then started coloring. And the same thing with highlights and the same thing with base. So these are basically just, you know, guidelines. These layers are guidelines that you have to call her. And then over all of these layers, I have another layer called blue highlights that is around it. That is Altera, just reflect the surrounding color. Since cannonballs or metal, they reflect the surrounding color. And that is why when you put it in the context with six, it has a little bit of blue highlight around the edges. And because it said 3D scene, I have also created a new layer. On top of the base of the six has friend phase called shadow. And I've created a subtle shadow of this cannonball flying away over sake. So you can see it's right over there, and this is how it would work. So I hope that you're understanding the process, how we're working. That is cold. And for now I'm going to go ahead and hide that. Six. All right, I'm gonna go ahead and create a new layer. And it's not important, it is to create a new layer. We're just going to go ahead and select the flying cannonball and then press Command J or right-click and choose Duplicate if it's present, don't duplicate group is present. You can click there or you can press the shortcut Command J to create a copy of it. And now I can drag the group around. So make sure that when the group is selected, either copy or whatever. Often what happens is that in Photoshop you have auto select, select it all just like layer. So when I click and drag, I'm actually going to go, I actually go ahead and drag a layer instead of the whole group, but that's not a problem. We'll select the group and press Command T to bring up the transform controls. Then I'm gonna go ahead and drag this down here. And I'm also going to hold Shift and resize it this much so that I can fit it properly. And now you know, you're pretty much know what I'm going to do is I'm going to go ahead and make copies of this and fill in this entire stack. Alright, so I've put everything together, you position them into a stack ball to that looked like a stack of cannonballs. And I'm also grouped all the all of these cannonballs together. It's, it's okay, it's a good idea to always keep your layers organized and also renamed all the eyeballs for Baldwin bowl tube, all three boll 4, et cetera. And also another thing that I added into this group, or this group is this little layer called shadow details, so that these adds a little bit of depth to the entire stack. So you can say right now it is not visible, but as soon as I make it visible, you can see it just adds a little bit of detail to it, which is great. And that's what I have. Dead end. If your computer is for, for any reason, if your computer is not able to handle all these layers, you can always merge this entire group of balls by right-clicking on the group and choosing merge. If I can see that called merge group or you can press the shortcut Command E on Mac and Control E on Windows to convert this to a single layer. But I'm going to leave it there. It doesn't really matter if you converted to merge it or not. It's just going to be there either way. And now let's make the big six visible and let's see how it looks with that and with the six visible, we can also go ahead and try to position and properly with the group selected, we can press Command T and move it around. We can also scale it up a little so that it goes there. Okay, that looks all right. And now what I'm going to do is I'm going to go inside big six, go into the front face, into shadow and add a little bit of shadow here on the front face. And we'll press B to get the brush tool. And I'll choose blue 0. And you know what? I'll create a new layer of shadow. I'll call it channel too. Doesn't really matter. Like I said, it's all guidelines. You don't It's all guidelines and it's just organization to serve you. It doesn't matter if you create another shadow layer, you know, all fine. If you see illustrations in art, the reverse engineer them, you can see a lot of things that's ad an ad hoc and removed and I think you get the point. So I've created this new layer and I'm gonna go ahead and add a little bit of shadow on the front face so that it looks that so that it adds a little bit of depth. And I can decrease the brush shot size by pressing the square bracket buttons. And I'll go ahead and make it darker here and lighter here. I'm going to decrease the overall opacity of the shadow, but just to make it look like as close to real as possible. So yeah, so it's fades away a little as it goes here. And now I'll go ahead and decrease the opacity of this layer. So I can do that. So that looks like a little darker on the bottom so that it looks like they are in the 3D space. I'll also hide the sketch. Often forget to hide the sketch so I don't get the entire context. I'll decrease the opacity a bit more. Not a lot more than just a bit more. Okay. Yeah. Around 33 percent. Around 33 percent seem okay. All right. So yeah, we've got so far. So far, so good. Let's go back to into Illustrator and check what we're going to do next. So, so far we've got the cannonball, we've got the six we've got these cannonballs on the, on the ground. We didn't need to create any path for this since we just duplicated it. And now let's go ahead and get started with the face. Will trace the face in Illustrator and bring it, bring it into Photoshop and start coloring. So we're going to create a new layer over here on top of it and call it, let's just call it Face, very self-explanatory. So the face is including the hair and the eyes is going to be basically ellipses. So if you've been paying attention so far, you know the shortcut for an ellipse or sorry, calling Illustrator, it's L. I'm going to press L and drag out a circle. It doesn't need to be a perfect circle. I will just manipulated a little bit. And you know what I'm gonna do? I'm just going to press a to enter into direct selection tool so that I can select each anchor point. I'm going to select these anchor points on the side and move them up a little like that. And then we'll select this anchor point here and move them down a little. I'm not doing this using my arrow keys. If you don't know how mature and you know, this is a face, I'm also going to go ahead and squash it a little like that. And let's see if it fits also, I'm going to go ahead and get rid of the fill. Hey editor Nash here. And I forgot that I said, clear the fail and didn't really explain what it means. So any shape in be Illustrator is made up of two parts. The fill, because the color inside and the stroke, which is the outline. Right now the fill is white as you can see here. I can change the filters on the light gray, so it'll look like this. And when I say to remove a fill from an object or from a shape, all you can do is with this selected. If you look to your left, you will see this, this square root over here shows fill and this one right over here shows stroke. So when your fill is on the top, what you can do is press the forward slash button and it will remove the fill just like that. And this is what removing phile means. Okay, let's keep it there. This seems nice. Okay, Number two, the next thing also, I forgot to sketch an ear in, so we'll have to do that too. Good reminder, money to get the eyes it and sorry, it's basically just two big circles. I like eyes big illustrations, at least for this particular project. I don't know why, but it looks nice. So I'm gonna go ahead and press two eyes here. Now we need to get the hair done. So what I'm going to do is I'm going to go in and select and drag and push these assigned so that they don't come in the middle. I'm going to press L again, and let's drag out two shapes, two ellipses for hair, and half of it is going to hide behind the face anyway. So this is something that I can do. Then I can Option drag, create a copy, just rotate it, resize it a little. Press it here, sorry, position and here. Anyhow. Yeah, that looks fine. That looks okay. That looks something that can work. And what I wanted to do is I want to combine these two paths for the hair. So to do that again, make sure that Pathfinder is visible from your Window. Pathfinder. Go ahead and unite the shapes. So then you get something like this. Send this becomes our hair. And now let's start by bringing in this face into Adobe Photoshop. And before we forget about the ear, let's go ahead and add that, that you're in on the right side of the face. And I'll just drag these eyes to the ride for a little bit. And you see the point of having this entire canvas is that we can just play around in it and not be bounded by some art for it. Okay? So let's go here again, this is going to be an ellipse. So let's draw an ellipse this big. And let's just rotate it and position it near here. In the, in the human anatomy, the ear goes, I guess, and the line of the eye. But I'm not really a great student of human anatomy or drawing for that matter, like I have explained. Well, I feel like I've told many times in the class already, but anyway, Let's try to do our best here. And I'm gonna go ahead and drag the golden press a and select this anchor point and just bring it down a little bit so that it looks okay. And let's, let's see. I'll just go ahead and again, just pull it a little bit to the rind is trying to make, you know, just just turn and make it look proper. Okay. And yeah, that looks okay. I also need to rotate it a little bit, like so. Okay, and now I'm gonna go ahead select both of these and union the shapes so that they look. Okay, they look okay. We'll add more details in Photoshop later. So let's go ahead and pull this and put this path into Adobe Photoshop. Now before I do that, there's some things that I want to meet you aware of. So let's go ahead and follow the same process of bringing in the path. So right now it's had a stroke, remember? So the shape just had a stroke in Illustrator. So I'm going to press Command C, go into Photoshop, create a new layer, group it by pressing Command D on Mac or Control Z on Windows. And on this, with this group selected, I'm gonna go ahead and press Command V to paste. And I'm going to go ahead and select Path and press. Okay, now you see the issue that happens here is that it doesn't create a path that is this big. The path right now you see is just this narrow line. And you can also see it in the, in the, in the layers panel that it is not like this flying cannonball path which is filled by a white fill and this shape, but it is basically a very narrow path. That's what I'm talking about. And if you run into this, Here's have to fix it. So I'm gonna go ahead and put, delete this first of all. So I'll select the path and press Delete. Okay, there you go. That's got. Now when I come back here into, into Illustrator, the first thing that I wanted you to do, if you run into this problem is go into stroke and choose this one right over here. It says Align Stroke in the center. Okay? And now if I go ahead and press Command C, go into group and press Command V as a path. You will see that this is now imported as a complete path and not as a narrow little line that runs around the path. I hope that makes sense to you. Okay, now did this path in, I'm gonna go ahead and press Command T and resize it and position it over the face. Okay, This looks good. This has a path over here that is great. Now let's rename this layer to face. All right, let's create a new layer and bring the I lift and I write in. So I'm gonna go ahead and ungroup this process. Okay, so let me go back into Illustrator and bring in the eyes. Also, make sure that the stroke is aligned in the middle. You could either to bring the path correctly, have the stroke align into metal or have no stroke and the path filled with some color like we had with the phases of six. All right, so let's go ahead and start bringing this in. So Command C. Let's bring the Heron. So I'll just go ahead and make sure that the hair, it goes below the face. So that's there. Let's start with coloring the face. Okay, So this is my swatches panel. And for the phase we'll choose any of these colors and their skin, one's skin 0 or skin too. I will pick up skin 0 for the base. I'll pick skin one as the base, skin 0 as highlight and skin tones and shadows. So let's pick skin one and start painting. So I'll go here, press B to bring up the brush tool and then start coloring it in. Very, very rare is my face okay, here it is. So I'll just add a little bit of this to it. Okay, looks good. Then let's create a new layer and call it shadows. I'll pick skin too for that. And let's start adding some channels. Right? Next thing that I wanna do is add some highlights. So I'll create a new layer. Call it light. Alright, then I'll pick up skin 0 for highlights and you can just add some highlights from over here, like so. Okay, good. And now let's come to the hair. All right, there is the hair and I'm going to choose dark for the hair. So choose dark Presby and start coloring in like so. Again, just fill the base in. Great, Nice, nice, nice. We'll add a few more details later, but if required, but for now, let's go ahead and start painting in the eye. So I'm gonna go ahead and make sure that I select white. So double-click on the foreground color and drag this circle over to the left to get wide. Press B on your keyboard to grab the brush tool. And let's start painting in the eye. And later we will just duplicate this. I left to be on the, to be the I, right. Okay, so we can just duplicate this particular drawing. So this i with a wide use, if you're using a pressure sensitive graphics tablet and a brush, just make sure that, oops, just make sure that you are giving it some personality and some nuances. And also what you can do now is choose a slightly lighter shade, a wide, or just drag it a little bit down to get somewhere there and then start doing this. Okay, So this will add some sort of three-dimensionality to the eye, right? So this is something that you can do and this is how it'll look. And I think that looks pretty good. And also to reflect the shadow from the eye, you can go into face and go into shadows, choose skin too, and add a little bit of shadow for the eye as if it's outside the scholars some. So you can, you know, you can do something like this. So that'll be cool. And now let's go into, I left and makes sure that when you press V on your keyboard to get the selection tool and make sure that auto select group is selected. And then you can click on here to select I left hold option and drag a copy out like that. Okay, So that we have two eyes. And then I'm gonna go ahead and position it here. Okay, that looks good. I'm gonna go ahead and name this I right. All right. And let's just add a little bit, a little bit of white on IRI because this is fading in or you know what? I can just erase the entire thing and do that again if I wish to, but I don't think that will be necessary. I'll just go ahead and add a little bit of code. A pain here. I'm going to press I to get the eyedropper tool and choose a dark shade and just, just do this. I think this will need a little darker shades and sits. There you go. I'll just make it a little bit darker. And let's go ahead and just do that. Add a little bit of three-dimensionality to it. Okay, How about that? That looks great, That looks right. And also, you know what if you wanted these eyes to be reflective? I'm gonna go ahead and go into I lift, create a new layer and call it blue reflections. Let's say if that's what we can do. So if we want to if you wanted to make it look glassy, you can do that. All right, In my pencil just rolled away. All right, so I can select blue one and add a little bit of highlights here. Like so, because it's so close to that six as blue. And I will decrease the past day later. But let's just add a little bit, see how it looks, okay? All right. Okay, let's go ahead and decrease its opacity. We can I think we can keep it not a problem. It's very subtle. So yes, so far in this video, we have created this much Ve, created a lot of things and the video that follows this video right after this, we will go ahead and create the t-shirt, the hands and the lighters, etc. All right, that's what we will do. But so far we've learned a lot and now this video stressed out a little long, but I wanted to explain all the little details and I know that Photoshop and Illustrator or complex tools. So if anywhere in the entire process you feel stuck or you didn't understand anything, how a tool works. You can always leave a comment in the discussions and I'll jump in and help you out, and I'll see you in the next video. 10. [Illustration] Drawing Hands: All right, so this is where we left off in the last video. We did the six, the cannonballs and the face. And I'm also arranged everything back to their positions in the face layer in Adobe Illustrator. And now it's time to go on to the T-shirt and this hand. So we'll start with this t-shirt. And so far we've been using solid shapes as an women picking the shape tool from here to draw all sorts of ellipses and the circles and stuff. But right now, this teacher is not just a normal, solid shape. So for the t-shirt, really use the pen tool again, click here to get the pen tool or press P on your keyboard to someone, the pen tool, I'll create a new layer and call it T-Shirt. Oops, yeah, okay, Who just double-click on the layer name. I'm going to call it a t-shirt and press Enter. I'll height the face layer and let's get to drawing it. Okay, so drawing with pen tool is pretty simple. You find a point, you click there, and then it follows you around. The blue line follows you around wherever you want to end it. You just click there and drag it to curve it. So I would like to, I'd like it to be curved this way. And once you let go, you see this curve, the blue line like a wire following you around, which is good, but right now we want a sharp turn towards this side. So I'll hold Option and click on the anchor point. And on Windows you can hold Alt and click on the anchor point in the given via IV loosened up it says sharp turn now. So I'll go ahead and place another anchor point here, hold and drag. And if you're not happy with the place where you position your anchor point, you can hold space to move it around like this. And this is a feature of an Adobe Illustrator that I love a lot, that you can change the decision of where you place your anchor point. So yeah, let's let go of space and I'll move it there like this. Okay, that looks cool. Then I will go ahead and extend this, this path to over here. And of course we wanted this path to end over here and not go all the way here. And to do that, you can press the plus button or right-click and choose Add Anchor point and click here to add an anchor point. And then you delete the last anchor point by their dragging, selecting or deselecting it. And now you know you have shorten it. That looks good. And now we want to continue this path ahead, okay, to do that, you press V again, you hover over the anchor point and if you see a forward slash icon, it means we're continuing a path. So let's click on it, Let's bring it to here. And this path, this part of the t-shirt will, for the most part be hidden. So it doesn't really matter if you draw it or not. If you're a perfectionist and if you want to draw it, of course go ahead and draw it for it. In my case, I'm just going to speed it up and not draw it. It won't really matter. So again, I'm going to go ahead and do this. Click there, like they're in, you know, have a nice, nice shape. The shape should work. The only thing that I wanna do now is just go ahead and smooth and this bit a little bit by body pressing a to get the direct selection tool and just adjusting the handles little so this looks more rounded. And if it still doesn't, you can always use a smooth tool from over here and just trace over in the path. And if you don't get it right in the first try and just press Command Z to go back again. So I'm just gonna do this a couple times till I get it right. Okay. All right. I'm just trying to draw over it. Okay. That's how, you know, this looks good. So let's go ahead and bring this path into Adobe Photoshop. All right, but the path, and I'm going to name this path, this group T-shirt. Oops, not T-Shirt, t but t shirt. And I'm going to name this layer base. Well, what happened? Okay. I think Photoshop crashed. Yes, I'm back again and I did a lot of fiddling around. Do you see why Photoshop crash? Of course, it must have not happened to you if you're following along, I just reset my workspace from here to chose a different workspace and it started working again. So that is why you see these colors and brushes and layers dot that the Photoshop layout is different. That's the reason. But anyway, we are, we're back at our drawing good brother t-shirt path and we have named layer base and we're ready to start painting. But the first thing we're gonna do is hide the sketch. And then I'm gonna go ahead and choose my brush, press B to get the brush tool and then choose the brush that you want. And for the t-shirt, I will choose yellow too. And I'm gonna go ahead and start painting the t-shirt in. All right. It's quite big right now, the brush. So I'll just decrease the size by pressing the square brackets, buttons on the keyboard, and just paint all over this. And I'll just keep alive hand and add a little bit of texture so that it absolutely bit of texture, but also not solely little that the pressure is so small that it becomes absolutely transparent. And we're going to add some shadows and highlights too. But yeah, that's pretty, That's pretty much it. That's really where the teacher, but the thing about the teacher that it goes flay behind, if even behind big sake. So that's where it is visible. And now with the patient and place, we're gonna go ahead and create a new layer, call it shadows. Okay? And we're gonna go ahead and choose yellow three for shadows. And then I'm gonna go ahead and start just adding a little bit of shadows also on. This is something that I use a lot actually is hold our press R and then you can rotate the canvas in Photoshop. And then to go back to rushing to the painting, the brush really press B. And then you're back at it again. So it just changes the orientation of the canvas. And once you're done, once you're done with the rotation, you can always press R and rotate it. And then you can press escape to go back to the normal orientations without his status. Something that is really cool. So I'll add just a little bit of shadow and it will fade out as it goes outside and a little bit darker near the six. Alright, so that is there. And the village had more shadows later when we add the hand here. But right now, yes. Okay, And I'm gonna go ahead and degrees of opacity a little bit. And yeah, we've dropped we just brought the t-shirt in. Okay, that looks good. So I'm just going to zoom out and it's okay. That looks great. All right. And also, you know, what, I can do just a little bit, it's not needed, but we'll add a little bit at. Nice effect is to add a little bit yellow Guo near this Six is for and face. Well, let's see how that looks. I'll create a new layer and call it yellow glow. I need to finish this video in a short amount of time, but I keep getting the details. I know. Forgive me. So and the yellow ego, I'll press be rotated a little and let's see if we can add a little bit of yellow over here and the stakes unless see how that looks. So I'll just, I'll decrease the basket of a leader or as, as you know. But for right now, I'm just going to undo this and I'll evidence so far using the same brush, switching brushes at all. I'll do I'll do use a different brush for a little bit later. But right now let's just go with this and see how it looks. Okay, Let's go ahead and decrease the opacity way down so that it's just very subtle, very subtle. You see how subtle lattice, they see how subtle lattice. And that's enough, That's enough. Okay, good. Number two, we're going to we're ready to do as trace and bring in hands. So I'll hide the t-shirt layer bringing make the sketch layer visible once again. And let's start with this hand, this Fahrenheit, your hand right here is a little muddled up. There is no clear definition, but we'll get to it. Let's create a new layer. Call it hand top. Let's get started. And now, before I go ahead and show how to draw the hand, I want to mention that this is a technique that I learned from Motion Markus. So this is his class signs of character animation that I took awhile ago. And the process that describes to draw hand is what I'm using right here. And it's pretty cool. I think you should have, I'll look at it. So to draw hand, imagine this hand right over here just going behind seq says curve. And then on the top of six, all right? And just hold your right hand in front of you and imagine it going like this. So I mean, above the six has carved. So your thumb will be on this side, on the right side. And your pinky finger will be on over here on the left, right. So just hold your hand like this. You just look at it in, you get the idea. Now to start drawing the hand, Let's first of all grab the Ellipse Tool, and I'll just make an ellipse, a circle like this. And the first thing that I want to do is make sure that it doesn't have any stroke. So this outline you say is the stroke. I hope you know that already. If you didn't know, I'm you know, and the white color on the inside is what is filled. So this is what over here. This is the fill and a stroke. And for this particular shape, we don't want any storage, so you can click on it and then click here and the stock has gone. And I want any, any gray color. It doesn't matter, just any gray color so that the circle is visible. And now what I'm going to do is I'm going to go into the Pen tool, going to add anchor point, click over here and on this side and just drag this down. So now look at, it looks a little bit like a hand without fingers and the palm of the hand. And I'm drawing the right-hand here, so you understand that? So it looks like a hand without a finger and I'll make slight little adjustments to make it look more like that. And I have, I've pressed a and have the direct selection tool selected, which means I can select individual anchor points and move them around like this. I'm just going to go ahead and adjust this a little bit. And this is not like perfect follow along as I do this step, do step 1, 2, 3, and you'll have a hand Enter. It's more like, you know, you just tanks on the way and figure it out yourself. It's just a more of a guideline than on an exact algorithms are drawing hand. So now what you're seeing is as I'm adjusting the anchor point, I am snapping into these blue lines. And that is because I have, if you go to View, I have smart guides turned on, so I'll turn it off for now because I just want that these movements to be smooth and I want to draw just the hand and also squash it a little like this. You know, from the science I've held option and then squashed it on Mac or you can hold Alt on Windows. And then so that it resizes from both the science and that's what I have done. I'll move this a little bit. I'm just adjusting things now. And after it a little adjustment, I'll get back to you. All right, This looks like a proper poem, even cartoonish, but this resembles upon, and now it's time to draw fingers. So just hold your right hand in front of you and you'll see that you've got a thumb and forefinger. Now, often it's not required in an illustration to just resemble reality. We had big eyes over here like this. There isn't a reality. So if you want to draw just like three or 22 fingers will seem weird. But if you want to draw three or just four fingers, it's fine. It's not a big deal. But I will try to draw, of course five and to draw the fingers, we will use the pen tool. So right-click over here, choose the Pen tool. And we want a stroke of any gray doesn't matter and we want no fill. So I'll go ahead and remove fell. All right, so now I can draw lines like bees. Okay, so let's start drawing the lines. Let's just draw the lines. All I'll do is I'll click here, hold Shift while moving the mouse so that it draws a straight line. Then I'll click to draw the knuckle joints, right? Like that or what you know, just click, click and drag a little and let shift go and you do that so that you know, the fingers have a national curve when you, when your hand is at rest. So that's what I'm trying to do. And you just go ahead and click here. And this is one finger and you can adjust the curve if you wanted to, but doesn't really matter, will be, will be just playing around with this a lot. And now I'll select this, go to stroke and make sure that the cap is rounded. And then I'm going to click over here and just press up and down arrows on my keyboard to make it look like, you know, just blow it up, fingers up and width. Okay. And then I can do is just go ahead and make copies of this, make four copies of this and adjust them individually later. So I'll just move it around here, then hold Option and drag it out like so. And then I'm going to make 1, 2, 3. So these are five fingers and they're overlapping each other. So for now I'm just going to go ahead and give them different shades of colors so that they're easily, you know, they can be easily distinguished. So that's what I'm doing here. Just giving them different colors. So it doesn't matter really in the end, turn all of this into a solid shape or whatever. But right now it just matters that they looked at for him. And now what I'm going to do is just this needs to be a little bit spread out. So I can spread this out, select everything, and then go ahead and click on the alignment tool. Oops. And I will make sure that the alignment aligned to selection, selected and then select, distribute like this so that it distributes properly. So that's great. And just look at your finger in it, just the fingers sizes. So this is our pinky fingers, so I will just make it smaller. So it's like the anchor point at the top and move it down like this and let me go ahead and adjust all the other fingers. And I didn't notice that I created five fingers here. So there's a thumb that will go here. So we just need four fingers here. And I can also on the run, adjust the size of this. You can do that. The size is just starting to play around with things as you said, C perfect for yourself. So this needs a little bit of adjustment. I don't know why I cannot drag it. Yep, I can now, So yeah. Yeah. That looks like skin and I can just move this up a little. And now let's draw the foam again, the same exact procedure. Pick up the pen tool, make sure that stroke is active and no fill. So when you see over here that this little box, which is not filled, which is just a hollow in the middle represents stroke and this represents fill. So right now if I draw something, it'll have a fill of this color but no stroke, but I can press Shift X and I'll have a stroke and no fill. That's one shortcut for you to remember. It's a useful shortcut. So I'm gonna go ahead and move this a little bit towards the inside. That's like so. And let's go ahead Presby, and make sure again that I have the stroke selected and let's just go ahead and draw a foam. And the foam will, of course, have more stroke width. For example, this has 15, so I'll give it a 15, but it will be more than that, let's say 17. And it's got to be a little fake, you know, and make sure that they have this rounded caps. So I've given a depth, I'll go ahead and change the color to a little darker so that they are so easily visible. And now let me go ahead and adjust the thumb alone. So I made a couple more adjustments and this looks a little wide on the button. So what I can do is I've selected this shape. I'll go here and click over here, then pick up this right over here, this perspective distort, and then it gets selected and just wash it a little. Now it looks better. Press V again to get out. And yeah, that's why we have so far. So what I'm gonna do is I'm just going to move it aside. And I was told him multiple times what they do is always create a copy of things so that I always have a backup. Now, I have this, I'm going to select all of this press Command G to group them so that I can apply transformations to the entire shape. I'm going to go ahead and object transform, and I'm going into reflect because it's coming from the back so it will be reflected horizontally, like so. Okay. And then what I can move it like this or you know what? I'm just going to drag it over here and see how it looks. So, you know, it's coming from the back, so it will be a little bit, let's make it a little bit larger. And while I'm scaling, you can see that these lines, these fingers are staying the same stroke and you can fix that by selecting this. Or even if you're not selected, you can go into the transform and make sure that scale, strokes and effects. So it's, it's ticked so that when you scale it, it scales like so. Okay. So you know what, I'm just going to get moved here like that. So that looks like it's coming from the behind of sixes curve. And right over here we can adjust how the fingers are in worse shape the fingers will be. So I can select each finger like so and change their position. So let me go ahead and do that. And if a particular finger is like stacked behind, you can either change their position by dragging or use command and square brackets to change their stacking order so that they're in the top or the bottom, whatever. Let's get back to it. Now. At this point, it looks super stupid right now, but trust me, we're going to work it out. So I've made a couple of adjustments are also once you've grouped these all Leonhard parts of the fingers and the palm of the hand. You can double-click and go into isolation. Minus for that, you only mess with everything that's inside. And sometimes while adjusting these little, these fingers, I accidentally selected this palm shouldn't want. And what very important in shortcut in Adobe Illustrator is to lock individual elements using Command 2 or on Windows Control 2. If I'm right, just cross-check and ones. And once I've logged it, then I can only play around with these and not accidentally touch that. And once I'm ready to play around with this palm, I can press on the Mac command, option 2, unlock it, and then I can start playing around with it. Another important thing is pressing command 3 to hide something and then pressing Option Command 3 to bring him back. We didn't need it right now, but if you're looking to learn cool shortcuts, this is it. Okay now I'm gonna go ahead and drag a copy of it out. And then I'm gonna go ahead and play around with this. The first thing that I want to do is I'm going to select all the fingers like that. And I'm gonna go ahead and do Object path or a path. And I'm going to choose Outline Stroke so that these are no longer Bezier paths but failed shapes. And the next thing that I wanted to do is to unite all of them. So I'll select everything, go into pathfinder, you're in the trach and unite them like this. Okay? Now the only thing left is to make a few adjustments here and there with this particular shape. And it looks weird right now. But in Photoshop will add details. We add a little bit and a little bit of shadings and fingers and thumbs and all that she has and it'll look awesome. So let's go ahead and fixed, apply a final few fixes. And let's see if we can just polish it a little bit more. If you have any unnecessary anchor points, you can go into Object Path and remove anchor point to remove it without affecting the shape so much. And when I have some like this, I think I'm pretty happy with this. The only thing that I wanna do is rounded it a little bit so I can select this anchor point in the circle. You see, you can pull this circle and just to round it, but I don't think I would like to round it so much because the thumb kind has a sharp joined, but anyway, let's darken it a little bit, just a little bit so that it looks natural. Okay, I think I am good. I'll select this. Yeah, It also has very few anchor points, so that's not a worry, but I think this anchor point is unnecessary. So let's try object, bath. Remove anchor point. Oh no, it messes the whole thing up. Let's try with this object, BAP, removing your point E. Yeah, Yeah. Okay. Yeah, this looks good. Let's go ahead and bring this into Adobe Photoshop. And now let's start painting. And now the first thing that I want to make sure to mention is that you don't have to use this skin colors. I've just picked it up from the painting, like I told you, anything close to it. You can use whatever color you want, red, blue, purple, whatever you want. But as far as I'm concerned, I'll use these. So for the base, for the base, I'll use can one press V to get the brush tool and let's start coloring in. And yeah, just, just a little quote of paint. Nothing too crazy. All right, and the next thing that I'm going to do is create a new layer. You know the drill I'm going to call it goes, okay. And I'm going to go ahead and choose a darker tone, let's say skin to and start adding the shadows and fewer places. Okay, So right now that took some work and this hand is not perfectly colored right now though I think the shape works. But you know what? I'm going to leave it here because this will need some 3D details from the outlines and stuff. And also these looks like stubs right now, like cut off fingers are amputated one so we're going to fix that. Okay. If we're going to fix that later, this is all I can do right now or we can do right now if you're following along. And also I'm gonna go ahead and go into a big six, go to the top phase and give this phase right over here and give it a little bit of shadow. So for that again, I'm going to choose the darkest shade of blue. And since it's already colored in this darker shade, I'm just going to create a darker shade and ad hoc and press B, and then just go ahead and paint a little bit of shadows for that looks three-dimensional. Answer a little bit of three-dimensionality. So yeah, there we go. Okay, not bad. All right, okay, So far, so good. The next thing that we are going to do is to bring in this hand, the lighter hand. So let me go ahead and make everything visible or not everything. It's just that just a sketch. So, so using the technique that I showed you, you can go ahead and create this shape from the hand and make sure to make the left-hand using the technique and the lighter. So those are both things that you can trace and bring into Photoshop. So let's do that. And directly, I'm not going to do that in front of you because it's the same technique and it's just filling up time with no real thing that I can teach there. So, you know, take it as a challenge and I'll see you on the other side. Okay, so I'm done with a few things here. Number 1, I've got this hand. I drew this handy using the same exact techniques. All right. And you know what, there's, there's this little neat thing that I want to show you that maybe you're not aware of this. Hannah has a sharp edge here because so that this lighter it can fit and this slider is just shapes, rectangles and rounded rectangles, and you can trace it on yourself, whatever kinda lighter and flame you want. And anyway, in the final resources that you download from the class, from the resources of this class, you will have the AI file in. If you're feeling lazy to trace, you can just pick up the shapes from there anyway. So I wanted to show you this technique to do this, to make a sharp cut. It's interesting and I use it in many different illustrations. So maybe it'll be helpful for you to, so to make a sharp cut or any shape cut, you drop, you pick up that shape. For example, I'll pick up a rectangle over here and then I can adjust its shape using anchor points like this. All right, and then what I can do is I can summon the shape builder tool or from here, from the toolbar or press Shift plus Amhara and before something that's Shape Builder Tool, make sure that the shapes that you want to use, our selected like this, get the shape builder tool and right now I want to minus it or subtract things. So I'll hold Option on Mac and see when I hold option, the plus sign changes to minus, then I can just click and drag like this. And then I can make a shortcut. And then if I want to adjust it further, I can do that. This is just a basic example of what you can do with the shape builder tool. The shape builder tool itself is very powerful. So explore that if you have not yet, Okay, then what I did again was combined United everything using the Pathfinder by pressing United, you know how to do that. Then I also did the same with this lighter shape over here, which is now in different parts. But you can select all of the, all of this, everything that you want and then press on this and then you'll have this shape that you can lead or bring into Photoshop, and that's what I have done. So right now you can see that I have lined her hand over here and inside lighter hand, I've got I've got the same exact layers in the same exact order, base shadows and highlights. Again, these are just guidelines like I've mentioned before. So that's what I've done. And also you'll notice that this thumb right over here has a bright highlight because of the flame, right? And i've, I've added this highlight using any of these round brushes. They're pick this or you can pick this and add a little bit, you know, highlight here. And I've also used the same brush to add a little bit of highlight on 66 front face because of the flame. So if I go into Big Six, Six es, fur and face, you can see that there is a glow from flame. And I've added the singular go from flame in the person's face two. So that makes sense now way. So that because a flame is here, it will emit light in all directions. And also over the flame, I've got this little thing called flame glow, right? There is flame and there is flame glow. And when glow is just white color painted around using this particular brush and the opacity is decreased to 60% or that it adds a little bit of glow around the flame like that. It also has a little bit of yellow. So you'll get the idea to make the flame and to get the colors right. I use this image from Google to as a frame of reference. I paste it in here and just pick color using the, using the eyedropper tool and just painted things around. So you can do that, you can bring in references and you can do that. So, so far we have this. And the next thing that we want to do is to bring in the canon, which is in the sketch right over here. I'll hide everything and which is in the sketch right over here. And we need to bring in this. Can we just basically just shapes, all right, so you can use, you can create a new layer, Let's call it cannon. It'll have more than one shapes, of course. So you can use Presby, get the pen tool and start tracing and bring it shape by shape. You don't need to bring this entire thing as one shape, but shape by shape. So that's what I'm going to do next is just trace the entire canon. And if you're following along, you can do the same, trace it and come back in the next video. Or also if you are tracing it on your own and you want to reference again, you can go into the Adobe Illustrator file provided in the resources and use that as a reference. So I'll see you in the next video where we will finish this illustration. And then after that, we'll just have one more class to go, which is conclusion and goodbye. So I'll see you in the next video. 11. [Illustration] Finishing Cannons and adding Flourishes: Okay, welcome to the penultimate video of this class. And we've been spending the last few hours of our last few videos where it can on this illustration. And this is where I am with illustration right now. And I have traced the canon like so. And I have not drawn the parts that will be invisible. And I know that I know about the Steve Jobs story. Very, you know, you still put care into the things that are not visible. But this is for a class and I don't want to extend time, you know, unnecessarily. So if you want to do it, of course do it. So this is the canon and this is the candidate. You seen the sketch that I have traced right over here. And I've also went ahead and painted it in Photoshop and there are parts of it that I wanted to go over before. These parts look quite bland right now and I'll be working on those, but this Canon over here is pretty much shaded and paint it and I want to talk about it. But before I do any of that, I'm going to share a secret technique that I use to draw. Because if I cannot draw, draw something from memory, what I usually do is trace it, you know, taken a message to decrease, decrease its opacity and just trace over it. But often what happens is that images in the right angle that you want is not easy to find. So here's what I do. Often. What I would do, I'd go to Sketchfab.com slash search. And right here I'd find a number of 3D models for anything. For example, if I search canon and this is where I got that cannon, you know, that you've seen the sketch from and that was some time ago, so it might not appear in the search result. But let's say you search canon a Nino you like, okay, let's go with this canon. You click on it, and a 3D model is loaded. And now this 3D model is for 3D artists and game developers to use in there projects. And you can buy and use them in there. But for us, for us illustrators, It's pretty nice that you can move it in any angle. Then take a screenshot of this and just trace over it. And is that teaching is that, I don't know. I don't know. Maybe, but, you know, it works. And this is something that I really like doing. For example, this has a canon that I really like. So you can maybe use this in your, in your drawing. And it also gives really nice render of the, how the light is falling and how it's behaving. So that's cool. Yeah, that's all I wanted to talk about with this. So that's what I have done. And that's how I sketch this. I didn't draw it from memory, and then I just traced over it with Adobe Illustrator using different shapes and circles and the Pen tool, you know, you can just use the pen tool and use the shape that you've drawn as clay to just change its shape or whatnot. Okay, So let's go back to Photoshop and talk about the things that I wanted to talk about. And if you have the Photoshop file open that you've downloaded from the resources, you can also just peek into the Photoshop file as I'm explaining the layers here. But anyway, let's get started now this is the whole canon group that I brought in. And you can also see that the six looks a little weird right now because I added some shadows on the six is front face to accommodate that there is a cannon right in front of it, just like that. So that is why you see these shadows over here. And by now at this point you already understand how to add shadows and why they are bare. So let's go inside canon. And inside canon, that thing that we're concerned with to begin with is Canon nozzle right over here. And the rest of these are just shapes that I've been brought into to make this holder over here. These are just simple vector shapes filled with the colors greenish one and greenish too. And I'm very aware that these might not be green, but I'm a little colorblind, so forgive me for naming the colors wrong. But again, coming back to Canada nozzle. So inside kinda nozzle, There's a bunch of layers. Of course, from the beginning of our lessons together, I've been focusing a lot on organizing the layers, but overall, just having Organization adds a little bit of constraint. You have to be more discipline, alright? And that's what I have been showing to you the entire, entire course until now where we have been building this illustration. But we know what happens often is when you are in the flow, when you're building some things, adding details, coloring things, you add a bunch of these layers, right? Layer 7, layer 66, and et cetera. So that's why these are there, but they have certain method to them. There is a method to this madness. I'm let me get to that. The first thing that I want to go over or reiterative I've mentioned earlier is that you can have vector masks inside a vector masks. So this canon nozzle group has this vector mask applied to it. And then we have another group with another vector mask applied to it, which makes up the circular holes you see in front of the nozzle. I'm not really sure this is called the canon nozzle, but this is what I'm calling the nozzle. And this has a right over here. This, I'll call this part of the holder and this part of the nozzle. And these are the holes. So you have these holes have Vector Mask, your color vector max applying to them, and they're nested inside this and there is no limit. You can create a new layer here and then group it and apply vector mask on it. It wouldn't be an issue. So the thing is you can nest victory masks and that's what I've done with these hole and whole front. So let's hide all of them and start at the very bottom. I've given the base color to the canon nozzle as dark for because it is it is a slightly lighter in shape, then. All the other black elements that's around all their own dark elements that surround. And it also gives it a little bit rusty field. Then we have the similar shadows that we have used earlier with the same technique, I've used darker shades of dark, dark here as you can see from the color palette. And then we have the blue highlight. It's important to add the contexts that an object isn't if you're going for that illustration style and because of the big six in the background and has blue highlight, then we have the glow from the flame at it over here. So organized till now. But then we have layer 62, et cetera. And these come from here. I googled image of accounting as, as, as you can see, it's reflects that because it's cylindrical, it reflects the light in a certain way. And that's what I have done here. I have used these layers to add those, that little bit of reflection. And here's how to do that. I'll go ahead and hide these layers before I start demonstrating and I'll create a new layer. This is layer 68, and I'll group it and call it temp so that I remember, I remember to delete this later. Okay, so let's get started. Now. I'll press R and rotate this a little bit. And you know, when you have an object in a context of surrounded by a few objects, you can always press I to get the eyedropper tool and pick the color. And then let's press B. What I'm going to do is just this, just do this, alright? Alright, just like that. And then what I'm going to do is press E to get the eraser and I'm going to select HOD round and then I'll just delete it from the top and make sure that when you are using the razor, the opacity set to a 100 percent so that it makes a sharp cut. And then I'll just make a sharp cut like so. Okay. All right. Okay. And then I'll press B again, grab a darker color, Let's say dark one, and start painting at the bottom. So in order to create a little bit of that kind of reflection that you saw with the image that I showed you in this canon. And that's what I have done with these layers over here. As you can see, right? There are more, actually, There are more defined because I spend a lot of time doing that, but overall, that is what you do. And then again, you can see these layers out of a little bit of, because these cannon, if you'll see in the image, if you follow the real-life image, they are dark around the borders. So that's what I've done with this. And I've also added a little bit of blueness because of the sakes again. And then there's a reflection from the holder. Notice right over here, since it's a metal, it will reflect some of that color and that's what I have done. And now these holes that I'm going to show you have something important, something interesting. So if I turn this on, you can see that it has these weird color, but it will be hidden when I make this visible. So to make, to give these highlights so that it appeared 3D. It is again, very simple. We'll use the same old technique that we used below with those sort of highlights. So all you do for the highlight and make sure that you're following the same light pattern because the light is over here and it hits the Azure, we're here it is, it has more light. So I'm going to decrease the brush size using the square error k square bracket keys. And then I'm going to just go ahead and I'll, just to demonstrate to you, I'll pick yellow one and then start coloring over here. And I'll make sure that the opacity is set to 100 percent again. And when I start coloring, just to say again, give me sake and I should be inside this hole. All right, I shouldn't be inside here. And I'll create a new layer. And I will do this. All right, it's symbol. Then again press E to get the eraser tool, decrease the size and just make it smaller like that. And that adds a little bit of a highlight, but there's no reason for this highlight to be here. So I'll press Delete, and that's what I have done with colored underneath this whole, alright, I'll write it over here. And then I've just erased things from, from the surroundings. And that's why you see it over here. Now inside this whole front and a whole, you'll see base and REM highlight and dream highlight outer. I'm calling these rim highlights. So that's why you'll see there. And then I've added a code of blueness around it. I just selected the brush that I'm using. I picked blue one and then I decrease the opacity from over here and then just give it a code of pain so that it fits in the context. So that's all for nozzle. That's what all I have done. And now let's get to the holder. Like I mentioned before, the holder is basically just made it. I made ADA shapes for our from Adobe Illustrator and then painted in the same fashion as we have painted things before. The normal things with base in shadow. All right, that's it. And the first thing that I'm noticing right now is that this particular piece of wood down here is not right. I mean, it's probably should extend to here. So let's go ahead and do that. So press V on your keyboard to get the selection tool. And from here, from auto select, you can have either layer or group selected for this particular task. Doesn't really matter, but you know what, I'll go with the group so that it directly targets the group that it's selected. Okay. So it targets hearing group. But I didn't really want that, so I'll change that to layer. Click on it again. And then this is the group that I wanted to target. But anyway, we've got there anyhow, Photoshop, let us do that, but select the Path, the Vector Mask Path, press a to get the direct selection tool. And let's just go ahead and click on this and just pull it until here. Okay. All right. And yeah, that looks better, but I mean, we need to probably just send it. The angle can be a little bit more steep, like so. Okay, That looks okay. And the other thing that we want to do is this path right over here, trial lost touch with this band. So again, click on it, click on this path of breaths a. I'll select the anchor point and just see them move in here. So this style of illustration, I think, is a grade amalgamation of vector and raster. Because we are manipulating vector shapes and painting in a raster array. As far as the colors of this is concerned, I've used greenish one and greenish too, which I know are not great names again. But you can pick the color here. And I've created a bunch of shapes here. Ad hoc as an app, just selected the color, double-clicked on the foreground color and adjusted the circle a little bit in the vicinity of the original shape to get kinda lighter or darker shade. So that's what I've done. But once I'm inside a just to extend this base, I'll press I to get the eyedropper tool to pick the color by clicking press B again, just fill the rest of the shape like this. And now I'm going to go ahead and do the same exact old timey above base. We'll go ahead and add this layer called shadows. I'll press B, get the darker shade, make it a little bit more dark, like so. And then just paint it. Okay, now there are a couple other things that I want to try. First of all, that this looks very two-dimensional. So I wanted to add a little bit out a dark rectangle here. And the last thing that I wanna do with this holder is to bring in the wheel. So I'll just go ahead and do that. And these are all the shapes that you will find in your Illustrator document in the resources. So you can do that too. All right, Let's get back to it. There are a couple of things that I've done. Of course, both the wheels and I just brought one wheel and then I duplicated it and brought it to the front. And I know that the color or the wheels is yellow, which not everybody would like, but I think it fits in my entire illustration style because my style is more of a cartoonish 3D shape, so it fits in that matter. And also it doesn't look like an actual cannons or not that violin, which I really like. And the next thing that I've also done here is brought in this little part from Adobe Illustrator and painted and dark. But the dark greenish colors for that it looks three-dimensional. And right now you see in my Illustrator then I might have explained this earlier, but all these colors are just to differentiate each little shape from each other. There is no any connection between the reality or the color that I'm using and Adobe Photoshop. One another thing that I want to bring in from Photoshop, sorry, from Illustrator or from the sketch, is this little bit a bolt here. All right, and so to do that, I can do is press L on my keyboard to get the ellipse tool. I'm just going to draw it over here, okay? Like that so that it fits the perspective. That's why it's a little bit squashed. I'll make a copy of it. I'll press a good the direct selection tool and get rid of this. Over here. I'll press M, get the rectangle tool and then I'll just stretch and draw a rectangle like so. Okay? And then I'll select both the shapes of course, and go into Pathfinder and unite them so that they become a single chain eigenstate get behind them. And it'll look three-dimensional and are first of all, that's a little bit. Depth is a little bit too much. So I'll select both of these anchor points and use arrow keys on my keyboard to move them back like that. And then I can just place it over this. And now I'll bring both of these shapes in Photoshop. This layer bold, and I'll just go ahead and pick one for the color and go Erin and peanut. Like so just fill it up real nice. And then let's bring the back part of this bold. I've called this layer bolt back and I'll pick blue 0 and just paint it and then make the alignment once I have painted it. Now one thing to notice here, when important thing to notice here is that how much contrast these and soil just like boda, boda the groups and then group them together and just call it bolt so that they can be moved around individually. So I can just press V on my keyboard and just press Command T again, displaying the group and adjusted to the proper position. Okay? So this little thing, this little thing has a lot of contrast, which means when your eye looks at this particular picture, it will go to this part. And as I'll explain in the next video in which I'll be talking about the books that I've read. So this is a concept from one of the books which explains how our eyes goes directly to the place with most contrast in a painting, in a picture or an illustration. And right now it just ties, it brings your eye together into this entire picture. And then again, you can add a lot more details. For example, the canon I traced again, add a metal. Metal coating over here and you know all the little details you can add bolds, two wheels. It's your own playground and you can do what ever you want to do. Okay. And now that our layers are very well organized, everything is proper. I have also locked a couple of layers just so that I don't mess with them while I am working on other layers. So the next thing that I wanna do is add a little bit of flourishes around this. And this is also a part of someone's, you can say. This could also make up someone's illustration style because this in itself, this, this illustration, only the eyeballs or sorry, the pupils are missing here. It's an illustration style in itself, okay, And I want to show you, and then there are illustrator about home I haven't talked about and she is just sting us static. I hope I'm pronouncing correctly and inner illustrations so you will see a lot of flourishes. I'm not really sure if I should call them flourishes, but these particular lines and patterns that are around here in our illustration. And if you remove those lines, it will take something, something very important away from the illustration. So that's what we're going to do. And this is where I got the inspiration to add such patterns and lines in these illustrations that I'm building from just seeing a static. So up next, we're going to do that. So before we get into all of that, I'll, I'll select everything that I made so far. First command G and call it art. Okay, then I'm gonna go ahead create a new layer and I'll call it lines. All right, and then I'm gonna go ahead and switch to this pencil, which is Kyle's ultimate charcoal pencil. You can choose what pencil or whatever brush you want, and it'll add your own style to it. I'll select blue 0 from over here. And you know what? I'll actually select a darker shade of blue because I already have things painted in Louisiana, so it wouldn't really be visible when I draw over them like this. And I've been using this color called 0 F117 to it, slightly darker than this, which is just, I made my moving the circle down a bit. And I'm gonna go ahead and create a new layer, okay? And I'm going to call it lines fill. You'll know why in a second then with that layer selected and with this color, the darker shade of blue in foreground, I'm going to play up. I'm going to press option Delete on Mac to paint this entire canvas this color. Then I'm going to hold Option and hovered between these two layers. You can hold Alt on Windows, I suppose. And then I'm gonna go ahead and click. And now what happens is that if I take my brush, the pencil brush and start drawing, you can see and make sure that the lines layer is selected. You can see that it paints in that colour. But in case I want to change the color and just try out different things, I can go into the layer. I have selected a yellow at press option Delete again and it'll change the lines of the color, the color of the lines, how many ever lines for there. So that's really gives you a little bit of room for experimentation, which is really great. So I'm gonna go ahead and go back into Lines, press eraser and get the razor and clear everything up. And I'm going to go ahead and pick my charcoal pencil, makes sure that he now at site is 20 inlet. Start doing some funky things. All right, So here we are with the illustration. I've added a bunch of details as you can clearly see, if I hide this detail group, it's back to what it was before. So let's turn it on. Let's turn the detail on and let's start going through everything that I've done. One, my one, it's not much, it's really just small. The first step is nailed fields, these white colors. You can see that I've used to fill the nails. This is the layered Neo fails. It's just using this pencil brush or whatever brush that I use for it or you used for the Outline, you can use the same brush to paint them, nails width, and if I hide it, you know, it's just a simple thing. And the next thing is a dark blue lines is the thing that I left you with right before the previous time-lapse. And you can see that I have added a little bit of outlines here and there on the illustration. It's part of my style. This is something that I do with these illustrations. You can, you can outline the entire thing if you wish to or not now growing at all, or just, you know, and use it to add expression on the face. You can do that. And this is what I have done. I've made sure to not add too much aligns, but only where it's needed. For example, if I have added a lot of detail here, I've also made sure to add a lot of detail here to keep it balanced. If there's not a lot of detail here, I have not added at a lot of detail here too. So you know, to keep your illustration balanced. And when it comes to the expression on the face, I've tried to give it a little cautious expression. You can always change the way the eyebrows are drawn or the face looks, the mouth looks to give it a different kind of expression, that is something that you can do. And up next we have the yellow lines, which I'll be adding something here because there is a sort of a wire that borns or a string that Burnside don't know exactly what to call it, but I'll be adding that in a second. But I've also added a yellow lines because there's a lot of yellow in the illustration on this side. So I have added a little bit on the over here and also a single line over here just to balance the illustration as best as I could and with bat, the next thing that we'll ask thing that I've added, which I showed you something inspired by Justin nostalgic are these little flourishes or these little shapes around the illustration. I also use these to actually balance the illustration a little bit as much balance that I can add them it gives this part of the illustration has a lot of things happening and this doesn't. So I added a couple of shapes, more shapes here to balance that illustration and something that you can see, you can use the same exact technique that I showed you with these ones to create a clipping mask and draw these lines. You can use the same technique to create this layer over here. And why I advise you to do that is because it makes it really easy to change the color of the layer and see what works and what not, what doesn't. And anyway, the single difference that you can see right here is this layer. It doesn't have this little thin strip at the bottom. All right, and that's because, and you know what the technique that I'm going to show you now use that The forget about the previous technique that I showed you, which is to fill the entire canvas and then create a clipping mask. Because for this to test whether how a color looks, what do you have to do is you have to pick a color. Click on this layer, press option, Delete, and then you can see the change. But with this layer you can directly click and see it live. And how to do that is very simple. So I'll just do demonstrate to you. I'll create a new layer. And then I'll put the two new layers and the top layer selected. I'm gonna go here and click on Solid Color. And now I can pick any color I want. And then I can again hold Option or Alt on Windows and create a clipping mask. Now I can start drawing on it. And then this means because I created this new layer using the solid color from over here. That is why this has this little option here and it shows the color changes live. So if that's something that you would want to do, do that. Okay. That's all with the detail on. I'm going to just keep it here and lock this entire group. Now let's come back to here. Now you look at these hand. It looks a little weird, doesn't it? And now if I click on it, you can see that what I have done is change its blending mode to Luminosity. This is something that I do. This is something that I have done with all my illustrations. For example, if I bring up the illustration for Chapter 1, you can see that these hands, the way these hands blend in with the number 1 is because they have the added option of blending mode luminosity, and that is something that I do. You are, you are free to do it or not, but I just wanted to share. It just adds a little bit of personality to the illustration. Okay, with that, the next thing that I wanted to talk about, which again, I'll have to bring the illustration in the context that, that these chapter illustrations live in for me is this background, this dark background, and not y. So what I've done is just created a new layer with that color so that it is visible on that background. And then I added this background. I saw that it looks a little better when added this glow layer over here, which is basically this soft round pressure Pasiphae brush with a large size that I can increase using this, then I decrease its opacity from over here to something like Edin and 27 or whatever. And then just click once to add this glow over here and it looks brilliant with the goal then without the globe. Now as a final touch, I'll go into art. This group, go near, go to the canon group, create a new layer and drag this layer over here. Then I just want to add the Ken's string or I believe it's called the fuse. So I'll just choose this color called hard round pressure size, sorry, this brush called hadron pressure size. And the color that I'll choose is blue three. And I'll just rotate my canvas and draw something like this. I want its end to be near from rare this but to color the yellow blasts start. So yeah. So I'm just gonna go ahead and just do that. Whatever looks a little better. Okay. You see it takes a couple of goes to get up particular stroke, right. So yeah, I'll leave it there for now. And now what I'm going to do is just press Command T and just move it to the center there. And the next thing that I can do is just reading the layer 2 can fuse. Okay, let's add a little bit of dimension to it. I'll Command click or Control click on Window so that only this shape is selected. I'll pick up a darker blue and using soft round pressure opacity, just add a little bit of shadow over here. Okay, And just, just a little bit more, and I'll add a little bit of yellow here at the top. Looks okay, like that. Press Command D to deselect the selection and I'll just zoom out, you know what? I don't think I will add the yellow, so let me just get rid of the yellow and there you go. Now, that's the foods and V have with this finished our illustration. Okay, and in the next part, what I want to do is just add the final touches, just a little bit of brightness contrast and a noise and export it and show you how I use it. The next video will be a really short one. This one was a really long one, but I really wanted to show you every step of the process. Okay. That said and you know what, just gonna be honest with you. I did it in front of you, so it's not quite right, but I'll use the same process and just make it better in a bit. Okay? And I'll see you in the next video. Until then. Goodbye. 12. [Illustration] Final Touches & Export: Okay, So let's add the finishing touches to our illustration and export it. So here's what I do for the final touches. The first thing is that we don't need this background layer is just for the context. It doesn't really need to go into export. What I'll do is I select all the important parts, press Command G, and group them together into one group and call the group everything. The next thing that I'm going to do is create a new layer, alright? And then I'm going to go ahead and fill that with black. And since we have time in this video, there is something that I want to show you. Something a little, a little trick. For example, whenever you pick a color in Photoshop, it gets added to either the foreground color or the background color like this. And when you want to go back to the default black and white color, all you do is press D on your keyboard and you've got this. And if you want to switch the foreground and the background color, you can just press X on your keyboard and do that for now we need the black color in the foreground with this layer selected, I'm going to press option Delete to fill this entire layer with black. Then I'm going to hold Option and hover between these two layers, click it and add a clipping mask. And number two, what I'm going to do is go to filter and make sure that this black layer is selected. Go to noise and click on Add Noise, and there is no math to it. Just select whatever feels right to you. And now darker or lighter, okay, This feels right to me. I'm going to click Okay, and I'm going to set the blending mode to multiply. And then I'm going to set the opacity to something very low, like around 4%. And this adds a little bit of texture to the illustration. And you can play around with the capacity, but make sure to keep it around four or five, less than 7%. And I'm going to go ahead and call this layer noise. The next thing that I'm going to do is with everything layer selected, click over here and click on brightness and contrast. This way I can adjust to the overall layer. And because we created, we had already created a clipping mask. This brightness and contrast layer only affect this group. And you can see this icon here which suggests that this is a clipping mask. And before I adjust the brightness and contrast, and I wanted to make the background visible so that I can see everything in the context. So I'll increase the brightness a little. And for the contrast, I can decrease the contrast, but I want a little bit of contrast, okay? So just adjusting things around whatever feels right. Okay. This feels good. I'm going to close this. Zoom out a little. Yep, everything looks okay. Now I'll hide the background again. I'll select everything like this. Press Command G and call this final number 2 number. I don't know, this is not the second step of course. Number n. What I'm going to do is right-click on it and click on Quick Export as PNG. And then I can just go ahead and save it wherever I want. You can call it define a load PNG or whatever. Just click Save and you'll be done. Once I have saved that illustration, then the next thing that I want to do is the next thing that I do is bring it into Figma, which is what I use for user-interface design and illustration course has ended a couple of seconds ago, nom just showing you how I use it. And Figma is a great design tool that is used for user-interface design. If you are a Figma user, I just want to plug in my little class on Skillshare, which is mastering Figma, the magic of why the layout. So if you are Figma user, be sure to take it out. So I use it here, right here in my design. This is the design for the book that I'm writing and I'm designing that I explained to you in the project lesson of this class. And then I put it here and I can see how it fits in the context. And later when I get to it, I'll put it over here for example, this is chapter one, and this is Chapter six of my book, which is currently not published, but when it goes live, it will be over here and the URL of my book, I have not announced that yet at the time of recording is loving hyphen recursion dot co. So if you're into programming and recursion, you can check that out too. So that was all. I hope you'll learn a bunch of techniques about Illustrator and Photoshop and a bad illustration industry and a bad illustration in general in this class. In the next video, we'll conclude everything. I'll talk about some of my books that I read. And that has helped me in becoming a better illustrator. And yeah, that's it. I'll see you in the next video. 13. Conclusion & Some Books: To be completely honest, I never really thought that I would actually finished this class. It actually took quite some time to get to this point, as you can tell by my beard coming and going and then being over agreement again, I should find a so on. I should find us alone, but it's hard to get an appointment now that, you know, with all the pandemic thing going on. But anyway, let's get back to business and let's continue with the actual meat of the video. I just want to leave you in this class with one word. And I hope you remember that word because that word, the usage of that word has Plato, according to Google's Ngram Viewer, and its usage will probably decline more in the coming years and slowly it will just vanish. From the vocabulary. The bird is a Fortunato, which means a person who is very fond of something. It's correct definition on Google is a person who is very knowledgeable and enthusiastic about an activity, subject or past-time. To me, being an efficient auto means caring about your craft, carrying enough to know it's histories, it's heroes, and to also know your continent prairies. And to realize that what you can do to push not just your craft, but the craft as a whole forward into the world. This means researching, reading books, and doing so not only in the hopes of learning something that could last you a better job or fish would have better check. But doing so just for the sake of the craft. All of this, when combined with her consistent practice, can result in production of some really, really remarkable pieces of work as an attempt to become an illustration of Fitch and auto myself. I've got the books that I've really enjoyed going through and I'd like to share them with you. And the links to all of these books will also be pressed into resources. Okay, let's start with a picture. This how pictures work by Molly Bang. This is a book about composition, about where to place things in your illustration or whatever picture that you're, that you're making. It's a very short book. You can go through the entire book in less than 30 minutes. And to show you an example, for example, look at this one right over here. And this will make sense because I have referenced this particular thing that I learned from this book in the illustration in this chapter, we make the bolts on the candidate holder. But look at this face right over here. It's free and your eye can grow forever at once. But then as you put a smallest shape and the picture, it captures your eye and green set inside the illustration, open free space, floating anywhere. And this brings your eye back. And there are many such small little composition knowledge in this book that will be really helpful to you in your illustrations that you're going to make King's book number two, universal principles of design. This is not a recommendation. I only encode that this book. As a reminder, this book is filled with rules and jargons to the brain. And I think it's much better to first work and then realize certain patterns yourself. And then read the roles somewhere here and then realize, Oh yeah, I've been using this all along. Then to just pick up books like these with principles and rules early in your journey and then just go around puking jargon all over it. Since very annoying. Safe books like bees for later in your journey, not a recommendation. The next book is 100 illustrators that I got from Denver Art Museum, if I believe it's also available online in and I'll put a link to it. If you only go to Pinterest or dribble or Google images. If you do that to find inspiration for your work, you'll only be able to create things as good as your contemporaries. So it's also very important to look at history, look at how we reached this point and derived inspirations from here to create something new. So not only don't only look at contemporary work, but also pull inspiration from history. And this is an advice from where Coahuila, Marco, a great designer and he has an amazing class on Skillshare cold. I don't remember the name exactly, but I'll be sure to leave us. And the resource has a brilliant class. So this is what this book is for, referencing history, 100% recommended. Up next is the New Yorker cartoon collection. I have this longstanding obsession with trying to draw and illustrations that have some natural width imbued in them. And you know, this, this is just as it is a great reference if you're trying to draw something that has humor and width and height and also the minimal ink illustrations in New Yorker cartoons is great. I really love this tile. Anyway, you know, a cartoon book. All the ways upon to recur and talking about minimal ink illustrations of God. This book called buddha by some tests we've got was how intense that guy is a master and inking. And I didn't buy this book to read a story or through read the comic. I bought this book solely to reference is his inking style, whatever illustration style that you are interested in trying to masters and get their books, study the style. And I remember this because the project, that book project that I discussed that I'm working on, I initially used these ink illustrations in those. I'll be sure to put a video. You're comparing the two styles, the one that I ended up using and the one that I tried with this ink illustration, you should afford everything that you find interesting. For example, Facebook right over here. It's called, it's called The Art of Spirited Away. And you know, how much I love spirited away, right? I talked about it in the third chapter. Whenever I find something interesting, I go deep in it. Just, you know, just keep it at around for, as a reminder. Also of self-censorship and also the kind of work that I someday aspire to create. Hoard everything interesting. That's actually hi Iago me as Socrates, quote from some documentary, I don't really remember, but he's right. Howard everything interesting. And like I mentioned earlier about referencing history, this book called graphic style is a great book. It's, it's actually quite dense. Mit comes to texts and I try and reading through it, but I couldn't. But mostly this book also has old illustrations and old graphic design from Switzerland and different parts of Europe and the world to reference and to just keep in touch with the history of design and illustration and the final book that I really like. And I use this a lot. It's a thin book. It's called Googlers anonymous epic coloring book. Now this book, it has illustrations, just black and white illustrations. None of these apps colors, all of these are done by, each of the illustration is done by a different illustrator. And it's a great way to just Blick hat how, how one illustrator draws human the head of how another withdraws and what difference there is. And also, this book is a great practice material. For example, it can scan a page and then pull it into Photoshop, remove the whites and just try coloring it into your own style and with your own pic of colors. And so that is why I really like this bug. And then remember that all of these books are part of my journey. These are born out of things that I like. Now. This ties that I like and the movies that I've watched and the things that I bought the movie mars for whatever you call it. So these collections of books represent, this collection of book represents my Azure into your journey could be totally different, but it's very important that you at least attempt and becoming an aficionados, at least attempt at trying to know the history of your craft and caring about your craft. And with that, I'd like to just plug in my social media. If you want to reach out to me, talk to me, I'm on Twitter at Nashville. You can tweet to me or send me a DM if you want to discuss something that's interesting. If you found yourself stuck somewhere in the course, there is a discussion tab right over here in Skillshare. Well, jump in and help you out. And with that, you know, keep an eye on my Skillshare. I plan to upload. And After Effects class, which I think is going to be pretty amazing soon. So if you wanted to know when that happens, be sure to follow me on Skillshare. And if you like this entire class, if you learn something, you learn something neat, something that you found helpful, please leave a review. It will really mean a lot to me. And with that, I'll see you soon. I'll see you in the next class. And I hope you will be there. Good-bye.