Illustrator 101 – Learn the Foundations | Peter Bone | Skillshare

Illustrator 101 – Learn the Foundations

Peter Bone, Designer, Author, Teacher

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21 Lessons (1h 51m)
    • 1. About Illustrator 101

      0:54
    • 2. Illustrator in Context

      3:30
    • 3. Before you start

      4:10
    • 4. Basic Banner

      5:27
    • 5. Camera Icon

      3:42
    • 6. Map Marker

      4:38
    • 7. Device Icons

      7:40
    • 8. Ocean Hotels Logo

      12:05
    • 9. Ocean Hotels Milan Pattern

      4:13
    • 10. Ocean Hotel Rabat Pattern

      6:22
    • 11. Ocean Hotels Banner

      8:00
    • 12. Visit Cuba Banner

      7:18
    • 13. Ocean Hotels "Hello" icon

      3:13
    • 14. Visit Cuba Logo

      3:45
    • 15. Temperature graph

      4:46
    • 16. Basic Map

      8:59
    • 17. Layered Map

      5:19
    • 18. Che trace

      4:22
    • 19. Save for print

      8:38
    • 20. Save for web

      3:51
    • 21. Goodbye

      0:17

About This Class

Adobe Illustrator is the tool to use if you want to create simple, clean graphics such as icons, logos, charts or maps, whether for use in print, online or within apps. But this complex program, a key tool of graphic designers, has a reputation of being difficult to learn, especially for those without a design background or experience in related programs such as InDesign or Photoshop.

If you’re a beginner, My Illustrator 101 course will give you the foundation and confidence you need. You'll learn quickly, creating a variety of increasingly complex graphics such as banners, logos and charts, that each build on skills you’ve already learned. To finish, you'll learn how to save a graphic so that you can use it either in a printed document or on a website. By the end of the course you’ll have learned the necessary skills to create your own create simple, beautiful vector graphics.

Transcripts

1. About Illustrator 101: Adobe illustrator is the tool to use if you want to create simple, clean graphics such as icons, logos, charts or maps where the fuse in print online or within APS. But this complex program a key tool, a graphic designers has a reputation of being difficult to learn. This is particularly case for people without a design, background or experience in related programs such as Adobe in design or photo shop. If you're a beginner, my illustrator, one or one course will give you the foundation on confidence you need to use Illustrator. You'll learn quickly, creating a variety of increasingly complex graphics such as banners, logos and charts that each build on skills you've already learned. And to finish, you learn how to save a graphic so that you can use it either in a printed document or on a website. By the end, of course, you have learned the necessary skills to create your own simple, beautiful vector. Graphics 2. Illustrator in Context: before we start using Illustrator. It's helpful, I think, to get a sense of how it's used and in what context. So here is a brochure put together an in design and in the front cover. You can see there's lots of photographic images, but there's one image that looks quite different from that. That's the image that's done in Illustrator the Visit Cuba logo. Before we look at that, let's take a look at how the other images are made. So they're all photographic images, and the likelihood is they would have gone through Adobe Photo Shop. So let's take a quick like a photo shop. This is one of the images from that cover notice, as I zoom into it that even though it's an image of a motorbike and sidecar, as I get closer and closer in my just zoom in so there's a bit more detail here. You'll notice that in reality, what makes this image up, or a whole bunch of squares that you might want no called pixels. So when you take a photograph with digital camera, or whether you scan in ah, negative or or even a print, essentially what either the scallop does, or what the digital camera does is break their image down into found millions of individual squares that can all have their own color. Technically, this kind of image that's made of pixels is known as a bit map image. So it's perfect for when you've got a photograph of anything or anybody and you want to capture that detail, those subtle shifts between of tone and color and someone. So that's where Photoshopped fits in factor in design for a second. Because in design is the program in which you put all those elements together. So you got the individual photographs you got. Individual logo is you got individual text in in design. You'll pull it all together and designed them. So what about this logo here? Let's have a look administrator. So here there's no pixels at all. This is not a bit a bit Map graphic is a vector graphic, and it's made up of anchor points. So here this is a with the same red color, all the same red color here, there's no there's no shift. There's no subtlety, so it's perfect for something like an icon or a logo that requires to be simple, perfect for branding. So that's another example. The kind of thing that illustrated Do Well, there's a logo down there, a simple battle like this again. The uncle points make up the individual blocks of color. So in Designer Courses toe program that used to bring all this stuff together on it's used for print in terms of the Web, just like a couple of things here. So because I come from England were quite obsessed with with weather. So here's the BBC website, and I would suggest that all these little logos here would be created in Illustrator All these here to another BBC site logo. All these little things here. So if you're looking to create these simple kind of graphics, Icahn's logos, that kind of thing, that illustrator is the way to go now I should just say if he used photo shop, I'm not suggesting that you can't these photo shopped to create these kind of things you can but illustrate is specifically for creating these kind of things. So it's well worth you spending the time toe get tonight 3. Before you start: I've recorded this course in June 2015. I'm using the latest version of Illustrator, which is C. C. So you can use that version where you can use any previous version. I would recommend using work from CS four onwards, as the features have changed quite a little bit since then. They'll be at the occasional feature that you won't be a see if you if you haven't got the latest version. But by and large, you'll get through it absolutely fine. If you haven't got version of Illustrator, it all, you can get free trial from Adobe, even notice here. I've got their page open. It's a little bit hard to see, but there it's just free trial, so that's entirely possible. You get a 30 day free trial, so that's something you might want to consider if you want access to that. So I'm using the Mac version. The PC version is almost the same. There's only one thing that we're going to cover in the course, which is different, which is the keyboard shortcuts so occasionally appears and keyboard shortcuts like, for example, on the Mac command zero on a PC that will be control zero. Other than that, there's nothing else that you need to be concerned with in terms of work spaces. This is the essentials workspace. Just reset it. Thistles. Basically what you'll see if you're using CC and I've recorded it using this so it shouldn't any different whether you're on a Mac or a PC does one thing that you will need if you are gonna take the course and sort of participate fully that this is an example of a logo that will create and this uses a particular fund. So I decided to use a few funds on the course. Uh, you can get you can download. You don't need to pay for them. Three. The 1st 2 you can get from front squirrel on the 1st 1 is called Pacific. Oh, so you can taken out of that one. So you could down a that for free. 2nd 1 is called open to again. You can download that and use that for free. The 3rd 1 it comes from a great country called lost type. Now, technically, you can get this for free. You can see here is his personal use. Pay what you want. I would recommend that you do pay something for the front designer. So over. Technically, they're all free. Ideally, give a donation to James Edmonson. So you will need those to participate fully. Of course, you can use your your own front if you wish. So that I think just to say before we get started is will be going through a variety of exercises like these. And you can see here got them all in one page. So you've basically got two options. You can either create several documents, one after the other a bit like this, where you just got the one document with what you're gonna create inside it. Or you can create one with lots. So just show you briefly how you do both of those things and you can decide how you're going to do that as you go. So you to file new to credit document. So if you want multiple outboards, actually, let's just start from scratch. That's how it would normally come up with with one our board and you can change the size if you wish, but it really doesn't matter. So you press OK and there would be your you'll sink your regular docking with a single art board, as it's called our boarders a bit like a page, and then when you're ready to save it, you would just choose file and save. The other option is to create a new document and to choose a number of our board so you can see I've typed in here 20 again, the page size a four, and then when you press OK, you get a variety of these to work from. So once you've discovered how to zoom in and zoom out, you better navigate those easily. So there's your two options. Either create a Siris of individual documents or one big document. The choice is up to you. And let me say, finally, that this course is designed to be viewed in order. So I realize that some of the exercises will be less of interest in others. But each of them may well contain a step that is referred to later, so you'll get the most from the course. If you start at the beginning, when work all the way through to the end in order 4. Basic Banner: in an attempt to make this course more realistic throughout it. You're going to be creating different graphics for two different organizations. But I should mention they're both completely fictitious. One is a new organization called Visit Cuba. On the other one is an organization called Ocean Hotels. So the first graphic you gonna create is for visit Cuba To create this banner shape, I'm going to use direct angle to which is this one. You might find it hidden under the ellipse toe and then click and drag on the out port and then I can keep dragging. But the moment I let go, my mouse, that's when the shape is defined. So you can see here. We've got a shape which is white in the middle and a sort of black lying around the edge known as a stroke. So one way you can change those properties, stick up here. So when I click on here, I can change fill color. I'm gonna change it from white to this dark red color here and then stroke, which is currently black, took on here and change it toe the stroke color called none, which effectively removes the stroke. Okay, So that's the rectangle shape. And now I want to add Ah, a couple anchor points. Tell you what I mean by ankle points. So this shape here has got an ankle point there and here and here. Then one there says thes two that we're concerned about because if we look at our shape here, there's only four anchor points, one on every corner. So with the shape selected and by that I mean that I've clicked on the shape so that I can see it's selected. I can see the anchor points here. I'm gonna go object puff and add like a points. And as you might have seen, that adds, like a point here. I'm one on here. And part of the easiest way to adjust the shape is to select just the one anger point. I'm not just gonna zoom in so you can see what's happening here. The Dark blue tells me that selected whereas thes white ones are not selected so that selected on I'm simply going to use the left arrow key on my keyboard. So I just moved in 10 times. So do the same thing with one of the left, so select the anchor point and then use the right arrow key this time 10 times. And there's the basic Spanish writer to introduce the type. I'm simply gonna select the type tool and click once on the screen, away from the banner firstly, type. So let's just have a look at this by going back to the selection tool and if I zoom in here , but you should hopefully see that there's one uncle point here and that the type is a line to the middle. Now that cannot be a line to the left or to the right of the anchor point off to the center , and that's what I want. Then I'm gonna change the character. So 1,000,000 pros the default. But the funk I want to use for Visit keepers branding is called Pacific. Oh, so with that highlighted, I can just start typing that word. So Pacific. Oh, and there it is, and then the size of the fund is 12. By default. Just try 18 Say, looks like it might work pretty well, so to move that I just need to get rid of the character panel there on a started drug, it more or less in place, so you can have a seat. Decide whether you want that bigger or smaller or whatever you like. If you wanted it larger, you just get back to character panel. Increase the size either in terms of lining it up the East. Way to do that is to select both objects. So this one on this one and the easiest way to do that is to have nothing selected, then click and drag through both objects. So they're both selected now, as I can see by the anchor points and someone and then this A series of buttons up here that'll a tow line things in different ways. So that one would give me a horizontal center alignment and that would give me a vertical center alignment. So those are the two buttons. I'm gonna press that one on a that one. So mathematically they are aligned. Personally, I think that text could come down a little bit. So again, I'm gonna just select it with selection tool on this time, I'm just gonna nudge that apple down with my up or down. All right. So finally, to trade the color from black to white again, that's the fill color. So that's over here. Changing from black toe white 5. Camera Icon: the simple camera icon is simply created using four shapes this circle, this circle, this rectangle on this rectangle with round corners. So the way I'm gonna create this is firstly, by using the rectangle tool, which again may be hidden under the lip store, click and drag toe define the shape. In my case, the red fill color I was using previously is retained. If, for that isn't the case for you, then you'll need to change the Phil and possibly the stroke using these buttons up here. So the rounded rectangle pined great just by using a regular rectangle and then two round it Because I'm using one of Sisi versions of Illustrator. I've got this shape option here, so click on that word and I can use these up or down arrows to adjust the corner radius. If you haven't got this version of Illustrator, don't worry about it. For now, just use a regular rectangle and I'll show you how to use a rounded rectangles in a subsequent movie. So once you created a shape, you can, of course, move it a put down. And if you got access to this shape panel and you can make shape more or less round it. Okay, so that's the 1st 2 things. And then the circles use the ellipse till click and drag. And as I drag, I'm holding down the shift key to keep it perfectly circular. If I don't do that, then it will end up being on over. So make it circular and then to change the fill color. I just use this area up here to make that white, and then the final piece that's off the lens of the camera. It's simply a another circle on drawing from the middle here, and that is when I draw it, actually much he drawing, kind of from the bottom left. But that's where on the center, though. So if I hold on the key and they was made to drag out whilst I'm drawing, so that's the key to draw outwards from the centre on. Also the shift key that keeps it perfectly circular. So I'm gonna draw that roughly the size of the red one that's underneath on. I want to fill that to be read and then the stroke. I'm gonna make white, and as I make the stroke thicker, notice how it grows out from the edge of the shape where the, uh, with the anchor points are it goes inwards and outwards. Actually, I wanted to just go outwards, and to do that, I need to go to the stroke Powell. And one way to do that is to click on the stroke button there. And we've got three options here where you can align the stroke in different ways. So I want this button on the right that allows me to align it to the outside of the shape. Now that I can continue adjusting the weight here so plenty to play with their so you can keep selecting your objects, you can move them around. It tells a re sizing. Them will do a bit more of that in subsequent films that just ah, just try playing that See, we end up with 6. Map Marker: The next thing I'm gonna create is a simple marker, this map for a map of keeper. So, uh, I'm gonna create the map later, but the marker I'm gonna create now, so I'm gonna just move that going. Just select that and press the delete key to get rid of that. Select that moving out the way a little bit. So just to recap before going any further, everything of credit so far has been things like rectangles and their anchor points are simple That just corner points like this straight lines. Where is clearly what's going on now is gonna be a bit more complicated. So let's take a look at that. So start by simply creating a circle. So hold down the shift key to make it circular and, uh, then create another circle in the middle science line up the curse in the center. Hold on the or key. Start dragging out with the shift key. Get more. That's the shape getting Morris the ship. I want that. So I'm gonna change the fill color. I'm gonna do it this way by clicking on the Phil box, make sure that's on the front, and then the color panel opens like and click on white If he using a much older version of illustrator the color panel wide open and you can open up swatches instead in you the White Swatch season, the direct selection to gonna click on the edge of the shape here to see the anchor points . And you can see that unlike that anchor points we're looking at a second ago, these are more complicated. So these have got things called handles on them, which acts a little bit like magnets. So if I just move that in, you'll see that without the handle, you get effect. If I moved both of these handles in, you end up getting pure straight lines. So I'm gonna just go back but doing edit, undo a couple of times. So that's what the handles do. But nevertheless, system made up of four anchor points on I got drunk the bottom one down, making sure I keep it lined up with the center of the circle. You can see that the smart guys to help me do that, it's gonna let go. I've got this sort of rough shape by one, but not the, um, that much more subtle. Curve the bottom. So if I click on that anchor point now, I could do that. But moving those handles in but doesn't a much more straightforward way of doing it these days, which is, if you just select the anchor point, use this still here called the Anchor Point Tool hidden under the pen tal. In some previous versions, it's known as the Convert Uncle Point Toe. If you click on that, it removes both handles. So in older versions of illustrator, where you don't have the option about to show you, you got the option of dragging that like that, and it gives you a more subtle curve. But it still isn't quite as good as what I'm about to show you. So I'm gonna just undo that and instead got back to the direct Selection two. And notice this time little dot She tried that. This is only in C. C. He tried that. It allows you toe round the corner just of this anchor point. You can see you go love control in that if I was him back out again. But in Command Zero and D Select, you can see I've got pretty much what I want. But I could click carefully on the edge again for Tony to select both as anchor points. And I could drag that further apple further down. Steger. That's how you can make a marker for a map. The map use or area, of course, was the same color as this. So to finish this off, you'd need toe change this stroke color. So I'm doing it the old fashioned way here, bringing the stroke color to the front. And of course, I'd apply White. But you won't see that on the on this background. So if I was to apply black instead, I'm give it the appropriate strike. Wait, That's how you do the finish marker for the mouth. 7. Device Icons: the three icons are treated simply using rectangles and circles. So, firstly, this one create this rectangle. I'll give it a blue Phil. Actually, no. I'm gonna give it a black fill. Come back to doing that colors shortly. So in the shape it'll pop up there, we can increase the corner radius. So it's a feature found in C C a second. I'll show you another way of rounding corner. That's a white film. Not gonna zoom in so you can see. But clearly what's going on? Just using assume tool to do this and then back to my ellipse toe of my lips tour. I want the center of my circle to be lined up to the center of the object of just drawn, and you can probably see the green Line connecting the two indicates that's gonna happen. So click to start drawing held down the key and the shift key so I could drag out a circle from the center. Now, with with small objects like this is gonna be quite hard to see what they actually look like. So a good trick is to go to the selection tool and then de select so that looks all right, but if I wanted to Nagy it, I probably just select it. Just use the up or down arise. Okay, so the same thing is going on underneath, but here you can see there's a white object over the top of that again, that is around it. Rectangle. So going to show you another way of doing a rounded rectangle, which is this goes way back toe earlier versions of Illustrator. So there's a a dedicated tool called a rounded rectangle tool. And if you'd like keyboard shortcuts, you'll like this. If you don't, I suspect you might not like it that much so noticed as I'm drawing it, I can see the roundness of the rectangle. And if I keep my mouse down, if a press the left arrow, it goes completely square the writer and makes it completely round or the up or down arrows Just make it a little bit rounder. Now I'm used to doing this, So this is my kind of tool of choice s. So I think it's better in that you can see what you're doing whilst you're creating it, but it's not quite so good in that if you change your mind later. It's harder. So this is no ideal. But certainly for those of you without the CC version of illustrator, this is a pretty good way of doing it. So there's my shape of the bottom and then again around a rectangle I'm gonna do use that to sort of bite this area out of the middle here. So I'm gonna drawers off somewhere down here with the dorky down or draw from the center and the other Ah, short could I want you to notice the space bar that allows you to move the shape whilst you're drawing it. So when I dragged my mouth notice, I'm dragging to shape rather than making it larger or smaller if I wanted to. And if I had 1/3 hand, I could use the up or down arrow was at this point, that's fine. But if I wanted to change that, I need to take my finger off one of the keys and adjust. But I won't do that just like other mouse keeping the other keys down and then change the color toe white and back to the selection tool de select. So I use the zoom till toe zoom in in the view menu. If you choose fit Art board and window that is your quick way back out again. Additionally, you might notice that it has a keyboard. Shortcuts on the Mac. That's command zero. Sometimes nine of apple zero out on the PC that would be controlled. Zero. You've also got command or control plus and minus. So this is a great keyboard shortcut to this one I'm gonna use from now on. So if you see me doing this, if I say I'm gonna zoom in and you see this happening, I'm doing command or control, plus command control minus and then command control zero shows the whole thing. So I'm sure you can figure out from what I've just done that these are very, very similar. So let's just draw this one on the right to easily rounded rectangle to all this time. So get the shape more or less right, Something like last on. Then if I want more rounded nous compress the up arrow down or I for less, give it the black fill color. I use the straight rectangle tool, the kind of inside shape you can see. I'm using the smart guides to line up to something have already done, which seem makes it a bit quicker for me on, obviously for you, which I'm sure you're pretty appreciating. And in the circle, you feel lips to again. I'm lying up with center, which, assuming for you using this to so again the lips tool line up with center Hold on the okay and the shift key, pull it out like that And finally at the top, I've got another circle sort of somewhere up here. And then we've got another rounded rectangle again. Something like that. So again, the small shapes, it's quite hard toe. See exactly what they looked like. He might want to adjust them so you can adjust them with these handles. So that's how that works. So I'm gonna do come on, zero to look at the whole thing. Okay, So if I want to start moving these around, let's suppose I wanted to move this one as I drag. I'm just moving the individual objects. I'm not moving the whole iPhone in this case. So to do that, you'd want a group on object together. So with your selection to make sure nothing selected. Click and drag away around several objects, then do Object Group. If I do that to my two separate objects like that, then they are groups. If I move thumb, the whole thing moves. And if he wanted to, then start to play around with a relative scale. If you click on a corner handle, keep the shift key down, then you're dragging the whole group, so you don't necessarily need to create that many little icons in order to create quite a few different possibilities. The case of that see aforementioned around a rectangle tool, the rectangle tool making Use the spice ball whilst during and grouping by doing object group. 8. Ocean Hotels Logo: So this the logo for Ocean Hotels, which we're gonna create on now here we're talking about the technical aspects of creating a logo rather than the whole idea of branding something from a concept and so on. So that's not something we got time to get into. But given that this is what we're going to create, this is how we do it. So start with a rectangle says, You know, you can click and drag to draw. Ah rectangle. You can hold down the shift key to make a square, but sometimes it's better toe to use numbers. So if you simply press once with any of the shape tools, it gives you a dialog box in which you can specify the actual size. So I'm gonna specify 50 by 50 millimeters on you can see that gives me a square. That's the kind of science I want to work with, So in terms of the colors, it doesn't want to have a stroke, so I'll turn that off. It does the filled well, when you're creating a logo, certainly a professional logo that you're gonna be creating either for yourself or for somebody else. A good tip is to use a Pantone book because what a Pantone book is, it's a printed sample of what these things will actually look like when they're printed under certain conditions. And that's typically logos are used in print is also a swell as online. You're gonna need to be sure of that before you go too far down the line. So I'll show you talk more about Pantone Books Onda Pantone colors later. But just to show you briefly now, if you wanted toe access a Pantone color, you go to the swatches panel onto the pop up menu. Choose opens, watch library, color books on here, the Pantone books. So a to the end of the course, I'll get into more specifics about that kind of stuff. So for now, that's where they are. So for this particular logo, I'm not gonna is a Pantone color. So this, uh, branding is designed to work with the course. I also do within design. So what I wanted to do was to make sure that the branding for this company, and also for the other companies used colors that you haven't in designed by default. So I'm using the blue color that comes within design. And so I've got the numbers for those once I numbers, what I mean is when you create a new swatch. But she did by pressing this button here, top right of the swatches panel, it could be either in RGB we'll see him like a There are others. But these air generally what you would do so for something that's going to be used in print , you certainly want to see him like a as these are the inks that he used when you're printing something commercially and so seem like a refers to the percentage of those particular ink So cyan, magenta, yellow and clay for black. So I know that the blue color that we have an in design is 100% science type. The other numbers in 82% magenta, 18% yellow and 4% black. So that gives me a new swatch, which you can see here. So there's my feel color. So if the circles again, I'm gonna click once I'm gonna type a number in. So I'm thinking that if the size of that square was 50 I'm thinking roughly about 40 by 40 . So make sure that selected and I'm going to remove the Phil, Bring a stroke to the front, use a white stroke Boston thick. Have them move that into position. So that looks okay. Maybe it's a tiny bit big. So to make that smaller click on the handle, hold down the shift key as I go. Oops, No, Whilst that's more or less the size I want. I want to know the exact size because I want to line up the other circles with that. The only way to get that working perfectly is to get exactly half that size. So I'm gonna go to the transform panel, which you should see appear if you don't, you find it under window and transform. So that, sir, 36.254 millimeters, which is fine. But it's not easy to Harv, So I'm gonna make that I think, let's say 30 to yet 32 millimeters by 32. That's a bit small. Okay, let's stick with 36 became so this circle is 36 by 36 millimeters. Therefore, I want one that is also half of that. So if you're able to do the math in your head, you would simply divert you top that in. But just to show another trick. If you type in 36 and then to ford slash to when you then click here, you can see it's Haft it. So it's calculated it for me. So that's readies. So that's my other circle. I was just drag it on this so you can see it. Okay, so that that's fine. Now I want to line up with Cirque with the other one, so this we're gonna baby it patient. I'm gonna just try dragging. And what I'm looking for is is that let me zoom in and it hopefully so you can see a bit more clearly. I want you to see how I dragged it. Is it gonna work for me again? It's saying that's lined up in the center. Now it's not. Show me a with the ah kind of visual guide I was hoping for, But I'm hoping when you do that, you'll see more of them. No, I'm not gonna dwell too much right now on getting it absolutely accurate, because there's a more reliable way I'll show you in a subsequent video. But for now, you just have to trust me. That is accurate, and I'll show you how I can tell it in a second. But let's just do the same thing here. Some holy down, the okay to make a copy. Onda and the smart guys tell me that that's intersecting in the middle. So I'm pretty confident that his lineup accurately, obviously, for something like a logo that's gonna be used, large size, small size, these things do need to be absolutely accurate. So the question is, how do we know if it is or not? And the answer is in the view menu. There's something called outline mode and it outlined my would you just see the kind of bare bones with shapes? But I'm hoping that you can see from that that these are absolutely lined up, so you would tell if they were just a tiny bit out. So that's view. You can either have preview mode. That's a default. We just slipped into outline mode. Okay, so that's coming together now. Obviously, we might want to be ableto move thes circles together, So what I'd like to do is to be able to group all those together. So if I click carefully on the shape hold down the shift key. I'm clicking right in the middle of where the strokes are notice. That's the way you can select something that hasn't got a fill. So with all the shape selected, I'll choose object and group. And then I can much more easily Graham that moved up or down or whatever. On also, what I might do here is select both shapes and aligned them se centrally there vertically. I'm quite decided exactly how it's gonna work until I got the text here. Okay, so we've got the rectangle and we got circles now in terms of the type when a type text and select it now in terms of the choice of type face I've gone for one called Edmund stands on I've gone for that for two reasons or 31 that I think it looks good. Secondly, it's available. Um, I should say it's available free. I would encourage you to pay the, uh, the guy who's created it and their details on how you can download the front and and pay for it a two beginning of the course. But and stylistically, the reason I've chosen Is that the around? Oh, works with E O for Ocean Hotel. So the shapes quite similar. So because I've installed it, I can tartlet in. So that is Edmunds Sands that we go on, I'm gonna go for the bold one. So now it's the case of getting the size right. So in a press, the up arrow, get it more or less right? You can see one of the considerations Here is the spacing, the letters, actually. What on there? Let me just change the color. It's a white, the name using the pirates and not imposition. You can see that comparing my one with the other one. This has got more space between the letters. This one had less. I've got a satchel quite like the one that we're looking at now. But the way I did the previous one, it's a character attributes you might have come across called tracking. Sorry, that one. Trucking. And if I press the down arrow, you can see the letters become closer together. If I press the up arrow that become further apart so you can do as you wish there. So that's tracking, and that's obviously gonna work. Hand in hand with the font size. So we're gonna just continue to sort of nudge that around a little bit, trying to get the space at the bottom pretty much the same as the space on the right hand side on the left hand side. So to make that easier, I'm gonna make that centrally aligned It looks about right. But that means of course, I'm gonna need to move this up, which again, I'm gonna just much up with the arrow case. So that's too bad. I think maybe I'm gonna have to make this a bit closer to the edge, which then means I want to make that up it wider so I can adjust either the font size. Well, the trucking goodbye. 9. Ocean Hotels Milan Pattern: What you can see here is one of a number of adverts for ocean hotels advertising their different hotels around the world. So you can see we got the Milan advert. You know this whilst this has been put together Illustrator, that likely it is, it will actually put together in design. So in in design you bring in the background, you bring in the logo and you put the taipan. This has been done in Illustrator on DA, but as you already know how to create the logo, you already know how to work with type. It's the background here that we're interested in. So before I leave this finished one. What I want you to notice is that this object here is essentially filled with a pattern. You can see this watch. There is the pattern that's different from anything you've seen before. So this is how you credit pattern. So this is, ah, simple pattern. But it's made of a hexagon. And the way you get the hex again is through the polygon tool. If you click ones, it will specify a number beside you want. So six is what we want that comes up by the fault. I'm guessing that about 20 millimeters is roughly what we want. It's actually maybe a little large. So let's just go back to the selection tool, make it a little bit smaller, keeping the shift key down as I grabbed hold of the corner, handle it smaller still. Okay, so I'm gonna change the stroke to none on the color. Gonna do something slightly different here. I'm gonna use the color of the ocean hotels branding, but I want to find a color that goes with it. And to do that, I'm gonna use the color died. So it's this panel here, And what this does is it refers to what it called the base cut. That's your selective color. And it will show you different colors that work with it according to different medical harmony rules. It's a complementary colors, for example, and now just colors, um, shades, tints, all sorts. So I think that one of these analogous ones is gonna work quite well. So I'm gonna go for I think this one here on you can see it gives me all these colors to work with, which great problem is. I want to keep those Teoh to better work without swatches. So the button I'm gonna just zoom in on for you. Is this one here? Okay, so when I click that button, those watches appear. That's a little group. Okay, Site. That's the color I'm gonna go for, I think. Yeah, that's gonna work. And to turn it into a pattern, you simply this you go object. Patton might get. So this is since CS six, you've had this option comes up. This would still work in previous versions, but it can be a bit more work to actually create the pattern and get it off. Setting on the subsequent exercise will do is a bit more taking more in that direction. But this is sincere. Six. It's been far more straightforward, so I'm gonna just get rid of this dialog box on DA. It's fairly easy to work out. You can just try different ways of the old tile a pattern and you can see I just gotta change it to brick by row on. That's essentially what I want. So when you try this, you can try the different options. But for me, that's exactly what I want. So I'm now gonna press this button here. Done. And there's my new patent created over here. So now I don't need this anymore. I mean, if I was doing this for real, I might want to keep that. So maybe I create a spare copy with this original still wear. But for now, I'm gonna get rid of that. Because, as you know, the finished object here is to create a rectangle that covers the whole art board that is filled with that pattern. So when I choose a Patton, they re all the cotton goes in there on that is the basis of the work. 10. Ocean Hotel Rabat Pattern: While the background of this effort could be a pattern, it's a little bit more complicated, as you'll see when I select the various elements. So these are individual hexagons that been lined up. So let's take a look at how to do that. So I'll crater hexagon this time I'm gonna do it in a more interesting way, I thing which is to click and drag Get the rough size. By the way, if you want to add an extra side, press the up arrow. If you want to reduce the side, press the down arrow. But I want six science. That's about right. What you do need to do that is mature. You press the shift key as you let go the mouse to make the base of the hexagon flat. Otherwise, you haven't really quite a job to get it flat afterwards. So leaving the shift key down that got the mouse. This is filling with the previous swatch, which is the patterns watch. So what I'm gonna do instead is go back to one of these colors here. Now notice as I move this round, we got these familiar handles. This is the default view in illustrator, and it's about the bounding box. So if you look in the view menu, it will say hide bounding box. So what I'm gonna do is do that. This is moving away from the default, so notice that now, when I select, I don't get those handles, if it might be slightly if you to see if I get for this color. So these handles around the edge of disappeared now, which means it's quite difficult to resize an object. But it does make it easier. Teoh a line an object, so I'll show you what I mean. So if you hold on the or key with the selection tool, you can click and drag to move an object. If you trying to line it up now it sometimes it will work quite easy like this with the smart guides. The trouble with the smart guys, though, is that when you got lots of things on a page, it starts to get more complicated. So to show you a better way, much going to switch the smart guides off. You don't need to do that, but hopefully will help you understand it. So if I turn the smart kids off now. It doesn't appear to be giving me any help at all in terms of lining things up, which means that you'll have to learn another way of doing it, which is you. Pick the shape up from the actual anchor point, and you can see you on the actual anchor point because you get a little White Square next to it. So with that, that's the first thing you need. And secondly, you drag onto another war. Another anchor point is on. The curse will turn white. That tells you that for sure, it's lined up. And if you want to check out in outline mode, you'll see that Yep, absolutely. It's lined up. So let me do that. Cover more times. You hold down the or key to make a copy, you pick the shape up from an anchor point, you'd line up to another anchor point, so pick it up from an uncle point with White Square hopes. Try again, line up to another anchor point if you wanted to. Him quicker. You can pick it up from the anchor point to start with and then do that kind of in one maze . So so you can see I've got different colors there so I could continue building this. I'm so again pick it up from, like, a point. Hold on the okay. It's not that so that works great. And really, at this point, I hope you're realizing what a great creative tool Illustrated can be. You can really think of an idea and play with it. It could be accurate, a swell as creating a lot the same time. So that's that's one approach you can use on. Uh, if you look at the finish one you can see it's kind of similar of left some gaps here. So maybe let's actually let's do that. Let's move. That went out the way that one over here somewhere, it's the color. Maybe just got out. Be very careful when you pick them up. Should be okay. What you could also do is drag around several them at the same time and again hold down the okay and drag, and then you can see I need to position them, but notice there still selected. So if I pick up just one of them, line that one up. Then again, all of the other ones will line up accordingly, So that sort of precision convert pretty well. So one of the thing to say is that there will inevitably be shapes that appear off the edge like that. And, uh, you don't worry about that because if you bring that into in design, the our work effectively effectively will be cropped off the edge of the art board. So that went appear and it went print. So you needn't worry about that. If you're doing it in, Illustrator, uh, you can export to a pdf and again you can you can choose the same thing. There's a technique we're not gonna look at called a clipping mask, which you can get rid of things if you wanted to sort of not visually see that as you're working. But I don't suggest it's a crucial thing for you to know right now. So make make sure that the art board that you choose is the right size, and you should be OK. 11. Ocean Hotels Banner: this advert for ocean have tells features a more complex banner as you can see five different elements here, some on top of other elements. It's also a skewed effect, So there's a couple of things to look out. So two great that as previously crater rectangle at some anchor points. Now that's fine. We want these ones, but actually we don't want these ones. So the tool I'm gonna use here underneath the Penta we've got delete anchor points and that will delete those two and then with the direct selection tool, select a middle anchor point and go inwards. So last time I was just going. 123456789 10 etcetera. But quick away. If you select a longer point, hold down the shift key. When you do a narrow, it does 10 at a time. Okay, so another trick if you hold on the key and drag to make a copy if you then go object, transform, transform again or come on D. It repeats the last transformation. So if I do come on day more times, I end up with five different shapes, which is what I want. So those five there. 12345 Now this middle one needs to be a bit larger. No. In the previous video, I turned off the bounding box. I want to get that back on again. So we'll do that. Make that a pit to order like that. I just moved these. I don't know. Okay, No, For two of these, we live off the one side, so let's just check finish one U. S. So those two gonna have a lighter color, say the sign and kind of like that. And as you can see, they are sort of shared down diagonally. So the way to that if you select in both, grab the sheer tool. So this is normally hidden underneath the scale tool and click and drag just a tiny little bit to direct them around. So that's those now, these are gonna be shared the other way. But a good tip here, if you're gonna work with type on the balance, you pretty want to share the type is Well, so So here's my text. Just select that and make it scented. Just stop of it. And then I got a all to drag to make a copy and again select them both sent to them. What drag to like? Another copy selecting both. Centralize. All right, so now using my title industry at a text when I said no put. Okay, so here we have three kind of sets of, um of a ballot Anson text. Each one needs to be grouped. So object group a short cut. Come on, G. So? So that those two I'm gonna do, come on g to group those like these two command g to group those What I often do. If I'm doing something like this, I'm not quite sure how it's gonna work. I'll often hold down the or key and make a copy off the edge. Just so I got some to come back to. Just trying to drag it too far too quickly. Didn't like that. Okay, so there's Miss Bear. Okay, So now I can select all three of these is the sheer toe. And this time, go the other way and you'll notice how the text is shared along with the sort of ribbons. Another looks terrible. So I'm gonna just undo that with command said And try that one more time less is more, I suspect. Okay, It's probably gonna be too bad. So now I want to move these elements across. Now, this is where I'm finding the bounding boxes bit. Ah, annoying for me. So I'm gonna turn that off, line that up like that and you'll notice that appears automatically behind the other one. And that's simply because of the order in which they were created. Supposing it ended up in the front, then you would choose object arrange sent back in the same thing here. I'm not one up. Okay, so that's kind of getting there, but really, I want to move these around a little bit on. Uh I think the way I'm gonna do that is with my direct selection to. So if I click on here, I can move thes one at a time ship. It'll lineup the uncle points bearing in mind there behind, so that one is a bit more tricky. So I'm gonna need to go into outline mode, pick up the uncle point and just make sure that it doesn't overlap too much. In fact, not all so I'm gonna repeat that here, and I'll sort of pop in and out of preview mode. Justo, check that. I'm on the right lines. Very good. Click on the edge of shape, Line up. So this one's a bit more complicated because it's kind of near there. So if you zoom in a little bit, I think on this occasion it's just this point that needs to move slightly. So I think reporting okay with that. So back into preview mode, Yeah. I don't think we're pretty much OK. All right, So if having done that, I decide that I don't like it, I could obviously select probably these easing actually to go back and have another go with these. But one middle road you've got is if you select all those anchor points that select the ones at the front and the back, you can use the up or down arrows to move the objects, so that could work quite well as well. 12. Visit Cuba Banner: dis graphic for Visit Cuba, which might end up on the fly or end up on a Web banner, doesn't feature anything that you couldn't currently dio. You can see there's three different bits of type. There have all got this central alignment, which means it's nice and easy to line up. Ever think so? For example, if they were slightly off centered, that will be selected and with a line button pressed, everything lines up. So we look a slightly more complicated way, our lining something else up in a second. But before that, you might remember that we've looked at trucking, which is what gives the more distant appearance of those letters, which could make it appear more easy to grasp from a distance. So if you're looking at a large type from a distance that can help where the fat was zero, it's not quite so kind of impressive from a long distance away. So I think it was 80. I'll just put that back toe. What that waas Now this funny here turning is similar, and it's worth pointing out here because in this particular typeface, whilst at small sizes that that gap wouldn't be particularly noticeable, but this large size it really is. So I want to bring the letter of the A V in the back towards the capitalist. So within this body here, I will bring that back. I'm afraid you can't quite see. What I'm doing is I'm doing it. But if I stop, you'll see it is better. Just scroll the screen down a bit. You can't really see this a bit more. Clinic. Gradually the text faster. Look a bit better. Okay, Okay. So next up, another thing we might want to do to draw attention to this Texas bottom it to make it look like it belongs more with the rest if the graphic is to create a line of some kind. So this is still here with the line tow line segment too. Do a short line. I gotta keep the shift key down whilst I'm drawing it. Just write that subtle length. Now, lines don't have filled. They just have strokes so I can change the stroke. But bringing that to the front, changing the color here, which I might was to be like that. Alternatively, I could have gone up here, but look up here as well to change the strike. Wait, I don't have a closer look at this, so I'm going to zoom in using command. Plus, Okay. Sorry that Linus. Sort of. All right, but let's see what else we could do with it. If we go to the actual stroke panel, you'll notice if you press this play button here, it opens up lots of more options. And it's these arrowheads I wanna take a look at so you can see there's an air ahead. The trip with the arrow heads of the scale is so large that he might have trouble getting those toe work. So something like that might work. Um, personally, I think that's a bit too much, so I will remove that. So one option will be to put the same thing on the other side. Let's try, uh, maybe this one. And this time I'm going to reduce the scale very quickly just by typing. That's, like 20%. And maybe reducing that white a little bit. That should probably be more like 40 or 50%. So something like that might work. Personally, I think maybe just too simple lines together might work better, so actually I come back on to remove air ahead, make the line just one point and then much it up a little bit with my up arrow key on my keyboard. Make a copy. So I'm gonna do that by holding on the or key and dragging down a little way, keeping my finger on the shift key as well to line up. So something like that, I think, Mike, you know, kind of grab TV is attention a little bit. So now I've got these two. I want to make them work together, so I would select them both by dragging through them than using object group. Okay, so now I can just gonna reposition them a little bit. I think that's what I want. So see, if you're doing this, you might want to spend a bit more time trying out some different options, getting exactly what you want. So that's one. But I wanted to show you. But the other thing is, how do I now get a copy? The other side, that's exactly the same distance from here. And the way you do it is to use a more advanced feature. Now, um, this tool here is noticeably reflect toe and it reflects objects. What I want to do is reflect it around the central point of Thea of this graphic. Now, to see whether central point is I'm gonna go into outline mode and what I'm looking for is the X there, See, just underneath the ire of Havana, that is the central point of that piece of text and have that lines up with everything else . That's the middle. So I can only see that outline mode. Now if I hold down the old key and click once on the X, then what I'm gonna do is old reflect. But I'll reflect around that point and you can see that in the preview that comes up. And if this doesn't come up for, you need to make sure that switched on. You can see it's offering me. Okay, So reflect around there, that's what I want. I don't oppress okay, cause that would just move it. But if I press copy when that's done, I just do that one more time. So just delete that one. So the group is selected, we're going to outline most. Make sure I'm using the reflective locate the center Oh, click and then with previous switched onto a copy of a vertical reflection. So let's go back to preview mode, See? Not a pit. Now, that's maybe not perfect. But I hope you get the idea that those lines in combination with a trucking kind of just give a bit more prominence to that so helps compete with a very large save. Remember that the S we we tweaked a little bit by using cunning. 13. Ocean Hotels "Hello" icon: to create this icon for the Ocean Hotels website in the first sees that rounded rectangle toe pressing it down all right to make shake less around it. And then I'm gonna use the pen toe to create this whole shape here. So click once, twice. I'm using the smart guys tow Line them up. Now, this is currently what's known as an open path and that there are three anchor points that but they don't close at the end. So it's like a line rather than a filled object. So I need to click one more time here to close that up so that we get to separate paths. Now, what's their separate? Aiken, of course. Move them around. And of course, I can select the both and I can change the fill color. So the strict Cullerton None on the fill color to the ocean hotels, corporate blue color. Okay, so that's fine. Elikann, continue toe. Move those around. The probably gonna have is with the for just three men on this one here. This one. This stroke needs to go all the way around the edge of one object. If there were two separate objects than you'd have a stroke here. He'll be really obvious that that's how we've done it. So what I'm gonna do instead is actually select both of those objects and tournament a one object on the one going to do that is we're going to the window menu and choosing Pathfinder. So the window menu is where all of the panels live. On the panels that we've used so far are all in the ever on the right hand side of the screen. But this one isn't with Pathfinder. You can. You got different buttons, toe add shapes together in different ways, so have them together. Subtracting them on the one I'm gonna is here. It's just the one top left could unite. So look carefully at the anchor points here and noticed that when I pressed the button, these ones disappear. This is now one shape. So now I can close a Pathfinder panel and I can make a copy. This one. I'm gonna rotate it around reflected rounds. I'm gonna use the reflective just double click on the reflector. And that's kind of what I want, actually, So I'm gonna just press copy and you can see I've now got two separate shapes, but they don't remotely stand out from each other. And that's where of course, the stroke is gonna come in. So but bringing the stroke to the front, making it white and appropriately heavy, I can end up with something that will do the job. So I might need to continue playing without maybe changing the size and someone. But you get the idea that we might end up with something like this. So we've done that by using the pen tal to create, to try and get a shape. By using the Pathfinder panel to combine the shapes on, they reflect all again just to make a quick reflection. 14. Visit Cuba Logo: when I was creating the Visit Cuba logo. I wanted toe in call for a couple of elements from the Cuban flag. So namely the triangle and star. So here's how I went about doing the triangle. I used the polygon to click and drag, so that's gonna give me six sides. So keep the mouse down. Press the down arrow to get three sides that hold down the shift key to get the base flat. It is good to start from a somewhere, you know. It's absolutely right. And then, to rotate it round, I would double click on the rotate tool so I could do it numerically. So I've done this before, so I know the the values involved. But if if you weren't sure, you can see that with this selected, you compress the down arrow and you can go around gradually, or if you want to go around it faster, you can hold down the shift key, and when you click the area, you can go up or down. You can see when I get 150 degrees going that way or for went toe 30 degrees going the other way. I'd get the result that I want, so that's absolutely straight. So that's good. So press OK? And then, in terms of the star, you might have noticed to startle here, So that's similar. When you click and drag, it gets you a star of a certain number of points on. You can make them the points more or less. We just count. One of the both of them will distribute five Beautiful. That looks pretty good so I can drag that more or less into place like that. Change the fill color white. It's look all right, right? But I think that's close enough for now. So, uh, now this is why it's now. There's something I just wanted to see here when if this was to go on a colored background see logo's often would. So let's put this on a colored background. Do you arrange center back so as it is currently, that would still appear white. And that's probably what you want. Um, but having said that, you might decide. No, actually, I want this to be see through, okay, so let's let's work with that. The way you do that, which is part Finder, select both the triangle and the star, and we do's minus front that takes away what's in front from what's behind. So when I press that de select, you'll notice that the shape is still there. But it's like a cut outs that's a cut through. Also, tell it in that is a compound path, which you might notice there in the corner. Now that that's what we have selected. Okay, so I can get rid of the rectangle, But in terms of the text. So the front used here is Pacific. Oh, but they tracking is round about zero. Sure what the font size needs to be. We'll find out in a minute. Let's look okay, so that's kind of getting there, okay? 15. Temperature graph: this chart of temperatures in Havana is an example of the kind of graft the illustrator can create very easily. This is how you do it. You choose the appropriate graph tool. So depending on the kind of data you've got, so this would be the one I'm gonna choose Click and drag to define the shape that you want the final graph to be. When you let go, the mouse of data window appears in which you can type the data. So if you've seen a spreadsheet like Excel before, you recognize that you could put different data and different cells. So, for example, January we're going here, and then the temperature in her violent January, I'm reliably informed, is 70 degrees in February. It's something to on. March is 73 so you could continue applying all those bits of data and eventually Thea graph would be complete. So if I just press this little button here applies the data and you can see we've got January, February March, clearly we need the whole data in there. What I'm not gonna do is get rid of what I just typed in, so I can just paste the whole lot of data in because that's the other thing you can do is if you've got the data. If you copy it from exile or or from another spreadsheet that separates the data appropriately, you can simply paste it. So I've got that in my computer's memory. I'm gonna just do command V to Paste. And then when I pressed supply, you can see there's a slight problem with that. One happens sometimes when you paste. For some reason, it's put those letters at the end there, so just get rid of those. And first the tick mark again, and that's working great. So now, to customize the graph. So in terms of the character I'm using, a been to, which I have mentioned already is part of the visit key but branding. So I could change the font size with weight or whatever, but that looks like it's gonna work pretty well. What I want to do that is notice. Here it says degrees Fahrenheit. I want that to say that up here. I also want to just get rid of these little markers here. So firstly, to get the degrees Fahrenheit in a minute, I'm gonna type of value into the suffix, but you can only type certain characters. So there's some obscure characters that you can get if you go to the cliffs area of the type venue she's used in design. You you have seen this before? I suspect so. I've done this before, so I found this character here, so I scrolled down to find it. That's the one I want. And if I double click on that, it appears in my on my type there, and it's really small there. But hopefully you can see that I've got that selected. So when I select it and copy it control, Come on, See, Appear to use that in a minute. All right, so with my selection tool, I'll select a graph, go to object graph and type on. Then there's not that much you can do with Grafton Illustrator, I have to say, if you're usedto other programs, they pretty got MAWR capabilities in terms of making graphs look pretty. But what illustrated does that most those other programs don't do is enable you to say them in a format that can be used in print. So I would suggest that most of the magazines and newspapers that you that you know that have graphs them. They will have been created in Illustrator. Okay, so let's go toe the value access this is that the access on the left? And currently there's no suffix. So this is the value. Got something that might be after the the numbers there. So I'm gonna paste command control V, that little degrees symbol and then an F because this is in measuring and degrees Fahrenheit. That's the first thing today on. Then I will press OK, and you can see that that's worked very nicely to get rid of these little markers here. Again, I'll select a graph go object graph type and go this time to the category axis and change the length of the tick marks to none. 16. Basic Map: The simplistic Cuba map that you've seen is more complicated to create than anything else you've seen so far, partly because it requires tracing. And I wanted to show you the website that I got the map from This is called open street map and they do an open sourced map that you can use without copyright restrictions. So I encourage you to use their maps if you're planning Toe Trace and I think so in illustrator ah Christian new document, which I'm gonna use a four. I'm gonna use landscape because the shape of the map and then a new command for you file place. So bring in this image and she's place it touches it to my cursor in older versions of illustrated. It might not do this particular bit. It might just come in at the actual size. It was created, uh, in my case, I can bring in so pretty much filled the page. If in your case is brought in and it's too large, you can scale it using into the methods you know about scaling. So a new panel for you is now the layers panel. Everything we've done so far, we haven't had to use layers, and for much of the work that you do, I would doubt that you would need to use them. If you're familiar with photo shop, you'll know that layers are a very, very big part of that program. Now in Illustrator. Yes, of course you can use later on. I think this is perfect for for layers when you've got lots of different things over the top of the other. So a lot of illustrations you might do. We use this technique as well. So what? We're drawing a map. Think more broadly about how you might use layers and how you might use the pencil tool that were about to use to create the kind of art that you want to create. So far, we just got the one layer. That's what we've worked on so far. Everything else that we've done. So what I want to do now it's turn this layer into what's known as a template layer, and I can do that simply by double clicking away from the name over here somewhere, and it allows me to change the name of layer. So I'm gonna just call this original map when I pressed template. It allows me to dim the images to make them a little bit easier to distinguish from what you're drawing. Actually, this maps quite dim to start with. So I'm not gonna Dimmitt. But it will be locked, and it won't print, which is really useful for what we might do with it later. So there's my original map, and now I'm gonna critic new layer, but going to the top right corner of the last panel, choosing new layer. Then I'm gonna name this Kiva outline. The color it's often is light red on. This is the kind of the anchor points. Now, as later on, I'm gonna be coloring this red. That's maybe not the best idea. It's could have something that clashes and, ideally, something that clashes with everything else. So I would go for I think maybe black might look quite well. Okay, so I'm on the right layer. You might find it slightly hard to see it, but it's ah highlighted. Ah, dark, lighter gray than the other one said, That's what we're working on. So I'm now going to use the pencil tool to draw the outline. And for most discourse, I've just been using the track pad on my laptop. But that's not really that useful for what I'm about to do, which is drawing FREEHAND. So I'm gonna swap to a mouse if you've got a pen on the tablet. A sort of wacom tablet type thing that's absolutely ideal for this, But I'm gonna be using mouse. So there's the pencil. I don't want to have a filled, so I'm gonna bring that to the front, make it none, and then the color of the stroke. I'm gonna go with red. Just clashes nicely with everything else I can see. Then simply, I'm gonna click on, start drawing. No, you might notice immediately that I'm not doing this completely accurately, and that's kind of half the point. Really, this is The idea here is to create a simplistic version, so that is entirely part of the style off. See, if we wanted it to be really, really accurate, then we need to spend a lot more time in it. Then I'm about to do now and possibly even use other tools. But in terms of what we're doing now, you can see the line that I've drawn. It's currently an open path. You can see both ends. What? I want you to focus on here. I'll zoom in so you can see it. ATF loops. Is that currently my pencil has got an asterisk next to it. That means that if I was to start again during another bet, I would draw a separate path, not connect to the previous one, which is not what I want. So I'm gonna undo that by doing command said and noticed that when my curse that goes next toe where the line ended, there's a little diagonal symbol. And that means that when I draw from there, it will join on so magazine back out again and continue drawing. So this is a really nice feature because it means that you don't have to do this all at once. It means you could make a mistake like that. You can come back and read role. So what I'd like to do is take your time, try and trace a map that you want to trace on. Uh, I'm gonna just introduce you to a short cut. I should is gonna make it easier for you if you hold down the space bar temporarily you get fan tool, which means that you can nudge the map along and then come back. So I just do a little bit more of this for you. But I'm not gonna make you watch me do the whole thing. So I'm gonna just do a little bit like that, stop a little bit more, and then stop. I'm doing that so that it's easier to go back. If I make a mistake, I could leave all this bit here. Sorry about all the people that live on that little strip of land, but really, for our basic graphic, it's more detail than we need. Okay, so I'm gonna kick going on this and I'll see what I'm done. So I've nearly got to the end here on at the end. I will try and join these two, but kind of going a little bit further over. I don't think that quite work got just under. What you're looking for is a little circle. But that that tells you that the two are joined. I can adjust the amount a little bit. Come on, minus a couple of times. So let's take a look at the whole thing. so the layers Now we have to We have the original map, which I'm gonna hide by clicking Where the I would normally be like that. That's a no. My outline currently is red with a red stroke with no Phil, which is actually the opposite of what I want. So neat trick here is to press on the swap filling stroke button. That's what's the two over and then with my selection tool de select. And you can see, I've got actually a far more accurate map than the one that you've been seeing so far. But you can still see it's nothing like it. Accurate is the original. So maybe just to compare what I've got here with this one with all those anchor points compared with this one got far fewer if you felt that your map was maybe a bit, um, to detail to be flows a graphic. One option that you've got is object path. You can simplify ribs in a fight room that up almost 100%. Turn the preview one you can see. As I tracked this down, it's removing them a ranking points, so we end up with something simpler but possibly more useful as a graphic for just undo by doing Come on said, You can see that's more realistic. Personally, I prefer the simplest kind of that. 17. Layered Map: In the previous exercise, we traced a map. Quite a simple one. This is a more complex one. I have zoomed in just onto the the sort of western end of Cuba. I want you to look at the layers panel and noticed that several different layers. So in the map you previously drawn, there was just the original map player and then the outline. But now you can see this one for C Region's main road that May wrote in towns. So I'm gonna zoom back out again so they can see what happens. I turned them on or off. So in fact, I'm gonna click on the top one, drag away down to turn them all off, and you can see there's that section of the original map. The sea will cover the whole thing, so that's not very helpful at the moment. So come back to that one outline I've kept filled in but chose the color in the regions. If I just turn this off, you can see we have traced them from men Rose towns. Okay, so this isn't not finished by any means, but I want you to get a sense of how more complex map might come together. So, really, it's a case of building on what you've already done. So you already have your to layers. You then do several new layers with each one you'd name appropriately and ideally lock the previous one. So once he'd finished the Cuba outline layer, I just pretend you're starting from here so you'd lock that layer and then maybe hide it. And then so the let's look at the main road because that's pretty similar to what you've really done. So that would be using the pencil tool on tracing. And then once that's done, look that and then the town's well, you know about text. So these are several different for just select. Um, you'll see several different type objects. So I created one, got it right, and then Ault dragged and then just change the text with the title. So that's how I did that. And then the regions. That's something we haven't seen yet, which is just get rid of the other ones. Maybe put the outline on so you can see more clearly. Hopefully, the dashed lines here. These are ordinary strokes, but with the stroke panel open, you can see that I've turned that dashed line button on, and then you can control the dash on the gap between the dashes. So by playing around with those values kitten nice and small, you get that Working a tip for you, actually, to get it to look better is if you put your cursor inside one of those values and then you the are pero or the down arrow on your keyboard. You can control that and really see what you're doing. So you can do that with the gap or the dash, or indeed, the stroke weight. And in fact, with pretty much any dialogue box and illustrator and in design and Photoshopped, you could do the same thing when you've got numbers, put your cursor in, then using up or down errors. So bring all those things together you'll end up with I, uh, you know, that something that will start to build up. So again this isn't finished by any means, but it gives you a sense of of how useful the layers can be. One more thing on that, which is a reason why you might keep them on different layers, is partly so you can hide them, partly sake. Unlock them. But also, let's say, for example, the main roads. I've decided that I don't like the color of them, and I want to change the color of the roads if I make sure that all the other layers are locked. Okay, so the Maine ridge is currently not locked. These are are all locked that I could do at it. Select. Sorry, select all. And the only things that would be selected would be the roads on that layer. So then I could quite easily play around with the colors to see if I can get something that works better. Okay, so maybe the same thing would apply to the town's If I thought okay, Wouldn't know Got brown Road. I want to change that kind of the type. I could lock the roads, unlock the town's again, select Oh, and then I could play with the well, you may do that. That puts a color around the year on the stroke, which I really didn't want bring the filled to the front. So trust in different colors. Or indeed, in this case, because all the typeface of the same, I could try a different type face or a different weight of typeface. So layers, as you could see, give you the opportunity to experiment quite a bit. And I really, really useful when you're working on something much more complicated. But remember, for simplest stuff, it's maybe a few too many complications to make it straight for two years. 18. Che trace: From what you've learned about using the pencil tool and about using layers, placing images in and tracing over them, you probably quite able toe create this icon of Che Guevara. So what you could do that? Another option that people use quite a lot is toe. Have Illustrator automatically traced certain artwork for them, so we'll take a look at that, So but he's fine in place. Bring in this image, touched my cursor, size it up so you could see this is a photograph. It's got different tones, not many because it's a photograph of a mural that was on a wall. But nevertheless, it's a quite simple image, and that's the kind of thing that this particular technique works quite well with. So to make this technique work, you select your image and up here, you'll notice. Is his image trace? In previous versions of Illustrated, it would've said live trace. So either way you press the button and then fighting back out. You can see it's done, you know, a bad result. It's sort of all right. Ah, a little bit square here. So we're gonna tied it up a little bit and to do that there's a tiny button here which I would recommend. This keeps you the panel gives you the options to play with, so press that. So I'm gonna zoom in just a touch so you can hopefully see the see what I'm doing. So there's different presets on the one. We're gonna use this silhouette because this is essentially a silhouette and you could see the first result. It's really know that it's completely and utterly black. The way we're gonna tweak that is with the threshold. That threshold effectively describes what will be black on what will be white because we are in black and white mode. So if we tweet this down a little bit on with the previous switched on, we gradually get a better and better result. Go too far and you end up with not that much at all. So it's about getting the balance right, so this is a simple example, but it's something that Illustrated will do well. It's simply taking the essential details of a silhouette. Andi, it's not so. You can't do other things with this, but it often gives you a quick way of getting an idea together. My recommendation, though is that you try and avoid using it as the whole process, rather user as a step in the process. Otherwise, you're giving away a lot of your creativity and just allowing illustrated Do something for you. But nevertheless, for the right kind of work it it could be a very, very effective tool. So once more that was doing file place, bringing in a suitable image and then pressing the image trace or life trace button and then working with the options. Okay, so we're nearly there. However, of course, I'd like really to now change the color of this to make it the the corporate color that visit Cuba is using. And to do that, you would press this button called Expand says the first time we've seen this. But sometimes when you have, when using slightly more complex features of illustrator, almost things that are sort of like programs inside a program, you might need to expand them to get access to the actual anchor points. Notice that I can't select anchor point at the moment. One of the reasons for that is that image trace would allow me to go back so I could go back to this panel and tweak it some more. When I press expand, that's no longer possible. So that's what I'm gonna do now. And as you can see, I've now got access to these paths. So I'm gonna change the color to the appropriate one. And there we go. 19. Save for print: This is an in design document and you can see the marker on the map of being used here. If I screw it up to the cover, you can see the logo being used here. So I show you this because when you're creating a logo orographic to be used in in design, in one sense, it doesn't really matter how large you make the document that you put it in because when you bring it into in design, in design will only recognize the actual artwork there. So, for example, if I was to create my map on a very large a four sized sheet like this, it simply doesn't matter. I wouldn't recommend the necessarily. But it really doesn't matter if you bring it into in design because in designers say, Well, just recognize around the edges here and because illustrator work vector graphics, these parts and ankle points that we've been using it simply it's capable so it could make it bigger or smaller with no loss in quality. So when you're saving something for print, we just do that now. First thing to make sure is that it's in C n y que mode, so it should say that, and there's nothing really too much to worry about. You simply save as and give it a name. So that's a map on your left. Just the former here is Illustrated II. I'm people who are old school a bit like May, with typically safe things as an E. P s. I think for the reason that going back a few years when Quark Xpress ruled before in design claim along, you need to save graphics from illustrated. The E. P. S is these days, I don't think it matters one way or the other, so I wouldn't really recommend DPS is necessarily so for something like a map. I would be fine with that. But if you did want to change it toe ups, you can do that down here. So let's go with the Illustrated. I'm afraid you can't quite see the save button that's just hitting off the edge of the screen here, but that's what that's what I'm gonna press and then we get some options here, and the most important one is the version. So I'm using CC. So that's the version is going to save it in. That doesn't matter unless you have a colleague say, Who's gone earlier version of Illustrator that. So let's say your colleague had CS five. You could say that in CS five, and if you were to do that, it would give you a warning. In my experience, it's It's rarely a problem unless you're using absolutely cutting edge features that are only available in the later version. So them that's that's an option if you need to. But you would then just press OK. Vaca its safety for logo It's likely that you might want to create a spot color version on a process version on also one that's gonna be usable online. So let's look at spot colors first, so a spot color you would use when you're printing literally one or two colors. So, for example, on a business card. Whereas most things these days printed in C. N y que, which means it's uses those four rings before process ings cyan, magenta, yellow and black. If you're simply need to use one or two colors for something like a business card and could be much cheaper to use a spot color equally if you're doing something like a screen print for a T shirt where the colors are defined by the actually use rather than mixing up inks together on the press again. That's an example of a spot color. So, typically, if I create a logo for a client, I'll create a spot color for that for the aforementioned use on a process color version, also known as C N y que for use in magazines and brochures and anything that prince using four color. So this is where you're like that He's a Pantone color, as they are described briefly. Area Panton book shows you what an equal looked like printed in different situations, so different kinds of paper and different processes, so spot colors or process colors. So let's take a quick look at that. So in the swatches panel in the drop down menu, you choose opens watch library color books. So if the color book that you've got IHSAA, let's say, um, solid coated, so solid Coated is started his Pantone's word for spot color just to make it even more confusing. So if you've looked through your Pantone book and you found the color that you want of the spot color, you choose that book again. Don't make this particularly easy because then you just get lots of colors. He can't see the names off. So if you go to the drop down menu and choose one of these list views, I'm gonna have a large list for you, so completely see a bit more easily and you can scroll down till you find your color. It's also possible to type a number in here, but I'm gonna just just imagine that reflects Blue is the color that we decided we wanted for ocean hotels having looked at the color and seeing what it looks like and the difference watches. So if I drag that in here that I can close that down now, I just want to make this look a little bit larger for you. She looks not gonna help. Let's do it this way. I want you to notice that this docked on the corner tells you that it's spot color, So that's absolutely what we want here. I just need to make sure I'm using it, so make sure that blue is selected and cheese. Obviously it looks different because I've chosen a different color, but that's how you do it So that is how you apply a spot color. So what I would then did is the same size, and I would say something like Ocean Health tells logo spot. So my client knows that's the spot color, and I would typically saving logo as an E p s rather than illustrator. That's partly just because I've always done it, but it's e p s is are usable in all sorts of programs. So I'd probably suggest you use GPS for a logo. So I'd say that on what I then do is convert that spot color to see him like a and save a seem like a version. So So I would do that is firstly, just save a copy. Do you save us? Just change the name. So I call this Sam. Why kind and save have already saved it and obviously haven't changed a color yet. So to change the color, I double click on the swatch, change it firstly from book color to see him like a and then change the type from spot color to process color and then press OK, And now if you look, you'll see the spot has disappeared. So this is telling me this is no longer I spot color. So now, of course, saved that once more. So now I've got two different versions I've got to see. And why K one? And if I just open the spot version, you can see the spot version has got the spot color. To see him like I won has the process color? The other thing I might do and I should have done before. Saving these is convert any text outlines. So by default the text you've seen, you would just see one uncle point on the Texas attached to that. You can see here. I've done this previously. This text is now outlined, which means that it doesn't require a font to define it, which means I can happily send it to somebody, and they can use it without requiring the fund. And it also means the logo is a little bit harder to tweak and harder to copy and so on. So if you have some text that you want to outline it, you'd select it and in the type menu, choose, create outlines, which is here. It's great out because I haven't gotten a text selected 20. Save for web: to create a version This logo that would be suitable toe work online. You would choose file safe for Web attempts. The far format you most likely used PNG, like GIF before it. Both of these file formats limit the file side by restricting the number of colors that he used and as the kind of artwork you'd likely be creating Illustrator has few colors to start with. Then it's gonna work very well. The other thing you need to be aware of is the size. So you would talk to your Web designer and they might tell you Okay, we need this logo to be, let's say, 100 pixels by 100 or if you're doing it yourself, you knew the size you are aiming for. You type that size in here. So let's say it was gonna be 100 500. If you're a preview, set this up in chrome. There we go. So that shows me the size that would work out. So that's one way of doing it. I want to go through this. I'll just say cancel. The other option is to save even Xvg. No, what I'm gonna do. She that here So This is something that we created earlier, and I've put it on a much larger page. I should say that if you know you're gonna be creating lots of graphics or at similar size , so lots of different icons. One good idea is when you create a new document and you would choose Web or devices either way. And if you know, let's say you were creating lots of icons, all 100 by 100. If you try that in here, you could create several art boards. So let's say it doesn't outboards, and then you can create them all the same time all the same size. And then you could actually export them all at the same time as PNG's, so that that can work quite well. But let's supposing you've got something have already created and you want to turn this into could be a PNG or in SVG as we're about to talk about. A nice trick is if you use the art portal, which you can use to resize art boards that works quite well manually, but you can also, from the presets pop up here. Shoes fit, artwork, bounds, and, as you can see that automatically changes the art board size to accommodate just the graphic that is there. So from there, you could save as a PNG, as we've just talked about, we could also do. And this is a much more recent development is safe as and from the format cheese svg. So just call this se Hello, SVG. So I'm just gonna press, OK? Actually, no. I'm gonna preview it now. Notice Here. This is much, much larger. This is S P G's connect stands for scalable vector graphic. Where is the PNG on J? Pegs and gifts are all bit mapped Graphics They're made of pixels. This is a vector graphic and it's capable. So watch what happens as I make the browser smaller. Of course, the graphic gets smaller. So if you're thinking about designing a logo to be or in I Kant abused in multiple different sizes, iPhones, ipads screens and so on than SPG is the way that people are starting toe work. So that's definitely wanted to look more into if you planted that kind of work 21. Goodbye: thanks for working through my illustrator. One or one calls I have to leave enjoyed it, and that's given you the skills, inspiration and confidence to begin working with Adobe Illustrator, Look out for a forthcoming illustrated to a one course to help you take your skills to the next level.