Illustrator for Lunch™ - Create Hi-Tech HUD rings | Helen Bradley | Skillshare

Illustrator for Lunch™ - Create Hi-Tech HUD rings

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

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
13 Lessons (59m)
    • 1. Illustrator for Lunch™ - Create Hi Tech HUD rings - Introduction

      1:29
    • 2. Illustrator for Lunch™ - Pt 1 - Start the Design

      3:24
    • 3. Illustrator for Lunch™ - Pt 2 - Create Evenly Spaced Objects

      2:14
    • 4. Illustrator for Lunch™ - Pt 3 - Evenly Spaced Objects Another Method

      4:35
    • 5. Illustrator for Lunch™ - Pt 4 - Add More Elements

      4:35
    • 6. Illustrator for Lunch™ - Pt 5 - Apply the Brush

      3:11
    • 7. Illustrator for Lunch™ - Pt 6 - Begin to Put the Image Together

      8:16
    • 8. Illustrator for Lunch™ - Pt 7 - Flare Pattern Brush

      4:58
    • 9. Illustrator for Lunch™ - Pt 8 - Another Handy Brush

      4:37
    • 10. Illustrator for Lunch™ - Pt 9 - Gradient and Pattern Texture

      6:08
    • 11. Illustrator for Lunch™ - Pt 10 - Glowing Text

      4:04
    • 12. Illustrator for Lunch™ - Pt 11 - Blend Effect and Wrap Up

      4:53
    • 13. Bonus Extra Embellishments

      6:19

About This Class

Illustrator for Lunch™ is a series of short video courses you can study in bite size pieces such as at lunchtime. In this course you'll learn to create Hi-Tech style HUD (Heads up Display) Rings. Making these designs and the hi-tech background elements encompasses a range of Illustrator tools and techniques which you will find are useful additions to your Illustrator skill set. You will learn to make and customize pattern brushes, create repeating elements, gradients, blends, warped blends, patterns and much more. This class is jam packed with learning and, the HUD rings are a lot of fun to make too.  

More in this series:

4 Illustrator Shading Techniques - An Illustrator for Lunch™ class - Simple Highlights & Shadows

5 Hexagon Patterns in Illustrator - an Illustrator for Lunch? course

Create Color Schemes in Illustrator for Using, Sharing & Selling - An Illustrator for Lunch? Class

Create Patterns in Adobe Capture for Illustrator & Photoshop

Create Wreaths & Other Floral Designs - An Illustrator for Lunch™ Class

Designing with Spirals - An Illustrator for Lunch™ Class

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

Draw a Hot Air Balloon in Illustrator - Fun with 3D! 

Illustrator - Design in Black and White - Create Positive/negative images

Illustrator for Lunch? - 10 Interface and Setup tips too Speed your Workflow

Illustrator for Lunch™ - 10 in 10 - 10 Align tips in 10 minutes or less 

Illustrator for Lunch™ - 10 in 10 - 10 Type Tips in 10 minutes (or less) 

Illustrator for Lunch™ - 10 in 10 - Ten Top Illustrator Tips in 10 Minutes 

Illustrator for Lunch™ - 10 Layer Tips in 10 minutes

Illustrator for Lunch™ - 10 Pattern tips in 10 Minutes 

Illustrator for Lunch™ - 10 Pen tool and Path Tips in 10 Minutes or Less 

Illustrator for Lunch™ - 20 Appearance Panel Tips in 20 minutes or less

Illustrator for Lunch™ - 20 Color tips in 20 Minutes

Illustrator for Lunch™ - 20 Gradient tips in 20 minutes

Illustrator for Lunch™ - 20 Pathfinder, Crop and Cutout tips in 20 minutes or less

Illustrator for Lunch™ - 20 Recolor Artwork tips in (around) 20 minutes

Illustrator for Lunch™ - 20 Reflect and Rotate tips in 20 minutes or less

Illustrator for Lunch™ - 20 Things New Illustrator Users Need to Know

Illustrator for Lunch™ - 3D Extrusion Effects - Text, Shapes, 3D

Illustrator for Lunch™ - 3D Perspective Cube design and Bonus 3D star

Illustrator for Lunch™ - 4 Exotic Patterns - Quatrefoils, Moroccan Trellis, and Layered Diamond 

Illustrator for Lunch™ - 4 Handy Patterns - Diagonals, Plaid, Colorful Dots, Chevron

Illustrator for Lunch™ - 5 Cool Text Effects

Illustrator for Lunch™ - Abstract Ombre Background - Color Scheme, Blend, Transform 

Illustrator for Lunch™ - All you need to know about Brushes in Illustrator

Illustrator for Lunch™ - Backgrounds for your projects - Sunbursts, Halftone, Blends & Brushes 

Illustrator for Lunch™ - Banner and Award Badges - Appearance Panel, Masks, Warp 

Illustrator for Lunch™ - Blends and Gradients - Blends, Blend Modes, Gradients 

Illustrator for Lunch™ - Braids, Rick Rack and More

Illustrator for Lunch™ - Circle Based Patterns - Rotate, Blend, Multi-Color Dots

Illustrator for Lunch™ - Clipping Masks, Opacity Masks & Layer Masks

Illustrator for Lunch™ - Complex Block and Half Drop Repeat patterns

Illustrator for Lunch™ - Complex Rotated Repeating Patterns Made Easy - Using MadPattern templates 

Illustrator for Lunch™ - Create a Floral Alphabet character

Illustrator for Lunch™ - Create a Nighttime Cityscape Image

Illustrator for Lunch™ - Create a Plaid or Tartan Pattern

Illustrator for Lunch™ - Create a Range of Triangle Patterns

Illustrator for Lunch™ - Create a Retro Landscape Illustration

Illustrator for Lunch™ - Create a Textured Dot Pattern - Transform, Vector Texture, Patterns 

Illustrator for Lunch™ - Create a Wave Pattern 

Illustrator for Lunch™ - Create a Whimsical Tree

Illustrator for Lunch™ - Create an Ikat Inspired Pattern

Illustrator for Lunch™ - Create an Isometric Cube Pattern - Shape Builder, Align, Pattern Make

Illustrator for Lunch™ - Create Complex Art in the Appearance Panel

Illustrator for Lunch™ - Create Diamond, Harlequin and Argyle Patterns

Illustrator for Lunch™ - Create Guilloche Effects

Illustrator for Lunch™ - Create Hi-Tech HUD rings

Illustrator for Lunch™ - Create Perfectly Overlapped Rotated Shapes

Illustrator for Lunch™ - Create Seasonal Ornaments - Learn new skills while making seasonal art

Illustrator for Lunch™ - Create Stitches and Sewing Elements

Illustrator for Lunch™ - Create with bends and blends - techniques for icons, logos and more

Illustrator for Lunch™ - Creative Half tone Effects

Illustrator for Lunch™ - Custom Corner Tiles for Pattern Brushes

Illustrator for Lunch™ - Cute Furry Creatures

Illustrator for Lunch™ - Cutout Text Effects - Photos, Pathfinder & Text

Illustrator for Lunch™ - Designing with Symmetry

Illustrator for Lunch™ - Doodle-Style Heart - DIY Brushes and Nested Shapes

Illustrator for Lunch™ - Draw a Retro TV - Shapes, Texture & Sunburst

Illustrator for Lunch™ - Draw a Vintage Birdcage - Shapes, Transform, Texture

Illustrator for Lunch™ - Faux Tissue Paper Collage - Blending, Texture, Transparency 

Illustrator for Lunch™ - Flat and Dimensional drawing techniques

Illustrator for Lunch™ - Fun Effects with Graphic Styles - Appearances, Brushes, Styles 

Illustrator for Lunch™ - Fun with Scripts - Download, Install, Run

Illustrator for Lunch™ - Get Creative with Blends and Brushes

Illustrator for Lunch™ - Get Export File Sizes and Resolution Correct

Illustrator for Lunch™ - Going in Circles - Brushes, Blends & Transformations

Illustrator for Lunch™ - Gradient Background Effects - Find, Adapt, Create & Use

Illustrator for Lunch™ - Houndstooth & Rose - Vector Halftone Tracing & Houndstooth Pattern 

Illustrator for Lunch™ - Illustrating Cacti with Custom Made Brushes

Illustrator for Lunch™ - I'm Seeing Stars - Fill, Warp, Clip & Crop Shapes

Illustrator for Lunch™ - In the Frame - Shapes, Fills, Strokes & Color

Illustrator for Lunch™ - In the Kitchen - Cartoon Art with Live Paint 

Illustrator for Lunch™ - In Your Face - Pen Tool Practice 

Illustrator for Lunch™ - Layered Paper Style Collage - Gradients, Graphic Styles, Transform 

Illustrator for Lunch™ - Let's Go Steampunk! - Shapes, Rotation, Textures 

Illustrator for Lunch™ - Make a 2017 Calendar from Scratch - Grids, Layouts, Text, Patterns & More 

Illustrator for Lunch™ - Make a 3D Y Shape Pattern - from paper illustration to digital design

Illustrator for Lunch™ - Make a Lace Pattern Brush - Stroke, Blends, Pattern Tiles, Rotation 

Illustrator for Lunch™ - Make an Organic Spiral Pattern

Illustrator for Lunch™ - Make Art Brushes - Configure, Color & Scale

Illustrator for Lunch™ - Make Art Using Other People's Art 

Illustrator for Lunch™ - Make Custom Organic Patterns - Transform, Scissors, Align, Pattern Swatch 

Illustrator for Lunch™ - Make Retro Shapes - Pathfinder, Scripts, Rotation

Illustrator for Lunch™ - Make Scrapbook Papers to Sell - Patterns, File Formats, Marketing Materials 

Illustrator for Lunch™ - Make to Sell Printables - Stripes, Grid, Lines & Isometric Grid

Illustrator for Lunch™ - Mastering Live Trace - Turn Bitmaps to Vectors

Illustrator for Lunch™ - Meandering Hexagon Pattern

Illustrator for Lunch™ - More fun with Scripts - Text to code, more scripts, more fun (trees too!)

Illustrator for Lunch™ - Multi-Color Faux Pattern - Patterns, Transform, Expand 

Illustrator for Lunch™ - Neon Effect - Appearances, Graphic Styles, Fonts

Illustrator for Lunch™ - On (a pattern making) Safari - Repeating Patterns 

Illustrator for Lunch™ - One Design Concept - Many Variations 

Illustrator for Lunch™ - Pattern in a Pattern - Achieving the Impossible in Illustrator 

Illustrator for Lunch™ - Pattern in Pattern & Irregular Repeating Patterns

Illustrator for Lunch™ - Pattern Know-how - Install, Transform, Recolor

Illustrator for Lunch™ - Pattern of Lines and Dots

Illustrator for Lunch™ - Pop Art Style Star Pattern 

Illustrator for Lunch™ - Real Time Mandala Design

Illustrator for Lunch™ - Real Time Mirror Drawing - Symmetrical drawing

Illustrator for Lunch™ - Road Trip - Custom Brushes and Live Paint

Illustrator for Lunch™ - Roaming Square Pattern

Illustrator for Lunch™ - Seamless Repeating Texture Patterns

Illustrator for Lunch™ - Season's Greetings - Shapes, Brushes, Texture 

Illustrator for Lunch™ - Semi Transparent Flowers - Scatter Brushes, Opacity, Blend Modes 

Illustrator for Lunch™ - Sharing and archiving files - troubleshooting the pitfalls

Illustrator for Lunch™ - Sketchy Image Effect - Image Trace, Swatches, Sketchy Effect

Illustrator for Lunch™ - Something's Fishy - Appearance Panel Tips & Tricks 

Illustrator for Lunch™ - Stipple Texture Effect - Grain, Gradients, Blends 

Illustrator for Lunch™ - String Art Inspired Designs

Illustrator for Lunch™ - Stylish Doodles to Make and Sell

Illustrator for Lunch™ - Type on a Path - Type, Paths, Shapes

Illustrator for Lunch™ - Using & Troubleshooting Bounding Boxes

Illustrator for Lunch™ - Using Photoshop Objects in Illustrator - Images, Shapes, Patterns and more

Illustrator for Lunch™ - Vector Textures - Vectors, Clipping Masks, Pathfinder

Illustrator for Lunch™ - Warp Shapes & Text - Envelope Distort, Warp, Gradients 

Illustrator for Lunch™ - Watercolor Magic - Type, Downloaded Patterns & Brushes 

Illustrator for Lunch™ - Watercolor stripe seamless repeating pattern

Illustrator for Lunch™ - Whimsical diagonal line patterns

Illustrator for Lunch™ - Whimsical Scrapbook Paper Designs to Sell or Share

Illustrator for Lunch™ - Whimsical Text Effects

Illustrator for Lunch™ - Whimsical Textured Drawings Using Hand Drawn Brushes

Illustrator for Lunch™ - Zentangle® Inspired Pattern Brushes - Shapes, Effects, Brushes

Make Ditsy Patterns in Illustrator

Pattern Design in Illustrator Masterclass

Piping Effect in Illustrator - An Illustrator for Lunch™ Class

Rainbow Gradient Shape & Text Effects in Illustrator - an Illustrator for Lunch™ class

Terrazzo Patterns Without Drawing a Shape! - An Illustrator for Lunch? Class

 

 

Transcripts

1. Illustrator for Lunch™ - Create Hi Tech HUD rings - Introduction: Hello, I'm Helen Bradley. Welcome to this episode. Off illustrative lunch Create high tech HUD rings. Illustrated for lunch is a Siris of illustrator classes, each of which teaches a small range of illustrated techniques. You'll get plenty of opportunity to practice you on your skills in your class project. Now, today we're creating high tech HUD rings. This is sort of rings that you might see in a heads up display, which is why they called HUD rings in creating the HUD rings. I'm going to show you how to make brushes that you can use for the rings. You're also going to see some tips and tricks for spacing objects out within a finite area and also how to create some really interesting effects that I think that you're going to really, really like, and that have plenty of application in other projects as well. Now, as you're watching these videos, you're going to see a prompt, which asks you if you would recommend this class toe. Others plays. If you're enjoying the class and learning from it, would you do two things for me? Firstly, answer yes to the fact that you would recommend the class and secondly, right. Just a few words about why you're enjoying the class. These recommendations help other students to say that this is a class that they, too, might enjoy and learn from. Now, if you'd like to leave me a comment or a question, place dough. I raid and respond to all of your comments and questions, and I look at and respond to all of your class projects. So if you already now, let's get started making HUD rings in Illustrator. 2. Illustrator for Lunch™ - Pt 1 - Start the Design: to get started with our hard rings going to need a new documents and it's going to create a document 1920 by 10 80 pixels, which is an HD image size RGB kala mode. If you're working with earlier versions of illustrated, that's what your dialogue would look like. Rgb Calamos gonna be pretty important for those rings because of some of the effects that we're creating. Now I want some guides. I'm gonna choose view rulers and then show rollers going to drag in a guided to this position 500 here and I can double check it by clicking on this reference point here and just making sure that that rates 500. If it doesn't, I'm going to make it raid 500. I'm going to bring in another guide at 1300 again. I'm going to make sure that it raids 1300 now guides in illustrator are just objects. I'm gonna open the last pallet here and I'm going toe lock down these two guides so that they can't move. Now let's go and create a rectangle as a starting shapes. I'm gonna click the rectangle tall. I'm going to give it a fill but no stroke, and I'm going to take it from one guide to the AL. That's going to be a very narrow rectangles. Let's assume in here we can double check that. It stretches all away by clicking on the rectangle with this selection tall and just checking that it's left. Most reference point is at 500 when I click, the right most reference point eats at 1300. So it's sized perfectly while I'm here. I'm just going to drag a few copies of this out of the way so that I've got them in a minute and I don't have to recreate them each time. It's just like this one and make it a bit skinny. Oh, now I'm gonna add some filled rectangles here, so I'm just going to start drawing some rectangles off varying sizes now, not too fussed about spacing or size, because I'm trying to make this interesting. So I'm just going to go all the way across here, just creating some just by clicking and dragging. What I do need to make sure is that if I've got a rectangle here sitting on this edge that I don't have one sitting on this edge because otherwise they're going to be joined together later on. Whatever is on this age is gonna wrap around and join up here. So you have to be continually looking at both ages of your document and just making sure that everything's balanced and things are not going to end up attached to each other, that you don't want to be attached to each other. So I'm going to select over all off the shapes. I'm going to the align panel and make sure that I show the options and choose a line to selection. I'm just going to click here on vertical Aligned Top because that aligns the tops off all of the shapes. And now I'm just gonna move thumb up so that they're just over the top off the line that I created a minute ago. And let's go and select everything here and we can just make a single shape out of that by opening up the Pathfinder pellet and clicking Unite. You don't see any of these pallets you can choose, we know and then Pathfinder just to show it. So I've got a couple of starting shapes here, and we're going on in the next video, we're going to look at some of the options we have for creating evenly spaced shapes all the way across between these roller lines. 3. Illustrator for Lunch™ - Pt 2 - Create Evenly Spaced Objects: Let's now have a look at a way off creating evenly spaced objects all the way across from one of these roller lines to the other. There a couple of ways to do it. I'm going to show you both going to start with the Ellipse tool. I'm just going to drag out a circle here, and I'm gonna make sure to filled circle with no strike. I'm just going to a place that in position, so that intersects with the roller line. If I'm unsure, I can come up here and just click one of these left most reference points and just check that the X value is 500. So it's lined up perfectly to our guide. No, I think I want toe shrink it down a little bit. So I'm just going to do that. Before I start now, we'll do a distorting transform. So with the shape selected, I'll choose effect distorting, transform and then transform. I'm going to turn a preview on on. I want 40 copies or 40 of these circles, which means I need 39 plus the original. Now, if I divide 40 into 800 which is the distance between these two lines. It goes 20 times. Something's going to type 20 pixels in here on. That's going to create a row of these dots that goes from one off the roller lines to the other. By just up this to 40 you can say that the last one here is sitting exactly in the same position as the 1st 1 So there's air going to line up perfectly as our patent brush, but I only need 39 so I'm just going to click. OK, now they're all attached to this one shape here, so I'm just going to move it down a little bit. Actually, I think I'll take it all the way. The top for now. At this point, I can expand it with object. Expand appearance. I'm going to choose object on group until on Group is no longer an option. And then I'm just going to select group. So there's air now grouped into a single group for all of these particular circular objects . So that's one way off, creating a series of objects that spans the full width off what's going to bay our patent brush. But it doesn't have to be done mathematically, so let's have a look now and see how we would do that in a non mathematical way, 4. Illustrator for Lunch™ - Pt 3 - Evenly Spaced Objects Another Method: The second option for doing the spacing effect is one that is not reliant on any mathematics. So, first of all, I'm going to make a small rectangle here. I'm going to zoom in a little bit closer, and I'm going to make two additional copies of it by holding the altar option K. As I drag two copies away, I want to make sure that they are aligned the top here and that their horizontal centers are evenly distributed. Having done that, I'm going to group these with Object Group. Now I'm going to create a space on my spacer is going to be a rectangle that has a stroke. But no Phil, and we can even give it a colored stark if we like. And so I'm just going to drag out a rectangle that will bay my Spicer So the spice between these sets of objects is going to be a little bit more than this. But I'm just using this as a buffer, going to select over all of the shapes and choose object group. So now I have these three shapes grouped, and then that group grouped in with this one. So they're all going to travel together, going to line them up so that their edge here is right on the guide. So again, I'm just going toe check that it's not quite right, so I'm just going to make sure it's perfect. Now I'm going to zoom out because I need to be able to say the full distance between these two guides going to select this shape and effect distorting transform and then transform will turn to preview on. I'm going to set my copies to to just to start off with, and we'll start moving them horizontally. We just want to work out what spacing I'm going to look for, and what I want is for the edge off this red shape. Massara spaces shape to be just about over the next group off three objects and having a chief that understand, start increasing the number of copies. Until I get this, I don't want to go over the edge here. I want to bay within these boundaries and I'll click OK, now I'm going to expand this shape, self selected and shoes object, expand appearance and then the last palette. You'll find that we have a Siri's off groups here and we're going to bust lays out of the groups at one level. So choose object on group. And now I've got a group that is the set of three. And this spacer is in there as well. Well, I'm going to go one further soul choose object on group. But I do want to keep my set of three shapes as a group. That's really important. And I havent day selected everything. Everything is still selected at this point. Now I'm gonna click away from it and I'm going to take this shape here. Just this one shape at the end and I'm going to move it across. So it is perfectly lined up here with this guide. So here, I'm just going to check its right most point and it should be at 1300. Now I'm going to select everything in this line. I'm going to the align panel. I'm going to make sure that in the options here it's set to align to selection and now I'm going to click here on horizontal distribute center. And what that does is it takes each of these objects this group this shape here, this group, this shape here and it makes sure that there's an even space between all of them all the way across the document. And that's going to Maine that there's going to be perfectly spaced when we come to create our brush from them. But we don't need these red shapes anymore because they were only there as a spacer, so I'm going to select one of them, but I need to select all of them to delete them. So all true, select same Phil and Stroke and that select all of the shapes that has the same Fillon stroke in other words, all of our spaces, and I'll just press delayed. Now I have groups of groups, and I'm just going to select all of them and just put them in a single group. So now they're spacing is going to be constrained. They're not going to move, and I can move them around into a different position. But they're not going to change in position relative to each other, and that means that they're going to be perfectly spiced for my brush. I'm going to bring this shape up here now and size it down a little bit, and now I can grab my group and just move it a bit closer 5. Illustrator for Lunch™ - Pt 4 - Add More Elements: one of the other elements that looks pretty good in these brushes is a shape that has pacers cut out of it. So what I'm gonna do is go and make a Siri's off small rectangles here, So I'm going to make sure that again, they're lined up perfectly. So this one is lined up. I'm going to use effect distorting transform and then transform. Now with this one, I want 20 of these across. So that means 19 copies, plus my original. If I divide 20 into 800 which is the space between these two guides, they go in 40 times. I'm gonna move this 40 pixels across, and this is nicely spaced out. If you want to test it, just take it up one more and you should find that this extra shape is just the other side off. This guide should be buttered up against it. We don't need that. Some just going to stop at 19 and click. OK, I'm going to expand this and on Gory put until and group is no longer an option. Next up, I'm going to borrow a copy of this line, so I'm gonna all to drag a copy of this line and because it was created earlier, it's right at the very bottom end off the last pallet. It's gonna size and up. I'm going to move it. So it's just over these other shapes. And then I'm going to select all off these shapes and from the par find a dialogue here. I'm going to click minus front because that will subtract all of these front shapes from the back one. And now I have these sort of teeth here, so I'm just going to shrink down the size here and use this element in my design. Another shape that looks really good is a sort of elongated ellipse, citing them could go to the Ellipse tall and drag out an elongated shape, because this will be pulled more towards being a circle when it appears on the outside of the pattern brush shortly. So let's just put that into position. I think I want mine to bay a little bit smaller and a little bit skinnier here, checking how far it needs to go. Probably about eight pixels will be perfect if I'm using eight pixels of movement. If I divide eight into 800 which is the space between these two lines. Then I would get 100. So if I make 99 copies as it's going to scratch perfectly between these two guides and I'll click OK again, I'm going to expand this on group it until on group is no longer an option and then just group it just to make sure that my last pallet is doing really, really need. Now. The last few elements I'm going to create a going to Bassem incomplete lines. So I'm going to create some very thin lines here, select um, and make duplicates off them. And they're going to be on a evenly spaced and unevenly lined up a swell just so I can be sure. I'm going to make sure that they're all exactly the same height. So I'm going to use 2.5 pixels for the height, and that will allow me to create some additional shapes, or at least check the shapes to make sure that every single one of them is the same height I'm able to select on them and just all toe option drag a duplicate away. To make this smaller, you might find that it's easier to actually type of value in here than it is to try and drag on these to make them smaller. If you do that, make sure that this icon here is unlocked because you want to keep the depth of 2.5 pixels . But you may want to change the length off the line. And so what I would do here is to go and create a few of these interesting arrangements of lines here just to finish off the shape. Now, once I've done that will come back in the next video and we'll get working on creating the pattern brush for our hovering. 6. Illustrator for Lunch™ - Pt 5 - Apply the Brush: We're pretty much ready now to go ahead and to create a patent brush. I'm just going to move this lost shape into position and just make it a little bit narrower than it is. I'll do one final check to make sure that everything is nicely lined up on this edge, and if it's not, I'm going to make sure that it is lined up correctly. Everything looks pretty good here. So also liked over all of these shapes, and we're going to the brushes palette. Click the fly out menu, choose new brush and then choose Patton Brush. And okay, now you don't need the corner tiles on this. So if you're working in an earlier version of illustrated that doesn't provide automatic corner tiles, that's just fine. You're not going to be using thumb anyway. The thing we are going to change here is we want to change the colorization method to tints , and we'll click. OK, I'm going to test this brush out at this point by creating an ellipse. What? I'm gonna hold the shift kids. I do so that it's constrained to a perfect circle. I'm going to apply the color to the stroke and have no Phil on this shape. I'll click once in my brush. And this is the hot ring that we've created using this basic design as a patent brush. But this can be altered with the circle selected. I can go to the options of selected object here. Turn preview on and I can reduce the size off the brush. And when I choose to do this, you'll find that the entire pattern becomes so much smaller and you may find that more interesting. You can also use the flip across option here, and if you click, flip across. What happens is that what was on the outside is now on the inside. So you'll say that these lines are here now on the outside and they Stotts are on the inside. If I flip it, then the opposite is going to happen. These dash lines are on the inside and the dots on the outside, but that also means that you've got sort of two brushes for the price of one. So I'm just gonna leave this one as it is and click OK, I'll choose Edit, copy, edit, paste in place, and I'm going to make the second copy smaller than the first by holding the shift and old case as I drag in on the handles to create a smaller internal shape. Now, if I click on this and flip it across, I'm going to get a totally inverted brush on the second shape. And so we've got a really complex design created from just a simple design on what we've done is just flipped it on the 2nd 1 So at this point, you might want to go ahead and create one or two off these sets of brushes just so that you've got a bit of variety to choose from. We're going to come back in the next video and say some ideas for putting these together and also learn how to make a really interesting sort of circular shape that I know that you're going to really like 7. Illustrator for Lunch™ - Pt 6 - Begin to Put the Image Together: I've gone ahead and create a second set of objects to use as a patent brush. In this case, I interspersed some filled dots with some hollow ones, and I also used some dots here, along with some rectangles that have a stroke and no Phil. And everything is stretched and lined up to these two guides with one exception, and I just want to show you the problem here. I have a rectangle here that has no Phil, but it has a stroke. The problem is that the stroke is appearing over this line. If I want to tuck this into the area inside these two guides, I'm going to need to select the shape and go to stroke and make sure that the stroke is on the inside of the shape and not the outside of the shape on. That will ensure that it's going to but up to this line really nicely. And because all of these other shapes were created using copies of the original shape, I'm going to just make sure that all of those have their stroke on the inside as well. So they're all going to look the same. Well, that will be a little hard to tell on these small shapes. If they're not correct because they're so small in the arrangement. You do want to make sure that they are just sitting on this line and that strikes are not over the line. So I'll select over this set of objects and make a second patent brush. I'll choose new brush pattern brush. OK, I don't want the corner tasks. We're not using them anyway. But I do want to the colorization method to be tense and I'll click OK, and let's see how this one looks as a patent brush drawing a circle, and I'm going to apply my brush to it. I'm going to click here on options of selected object and let's just reduce the size of it . So this is one instance of the brush, but let's have a look and see how it looks when it's flipped across. Well, it's a totally different brush. It's just really interesting how different a brush you can get in this instance by just flipping it across the lines. They've got two very, very different effects here, and you just need to flip it to get the one that you want Now, at this point, I may not want to assemble my final image in this particular document, but I certainly do want to save these brushes. So what I'm going to do is I'm going to select all unused brushes here and with them selected underst going to drag them onto the trash can. Now I'm going to save this brush sets. I'm going to choose Save Brush Library and I'm going to call these HUD rings and I'll click CIW. That ensures that these brushes are now going to be saved where I can get access to them in future to use in any document at all. So we're going to go ahead now and create a document that we can use these shapes in salt choose file and then new. I'm going to create the same size document as I was working on before again rgb Callum owed on going toe. Add a rectangle that is the size off this document. It's going to be filled with black, and it's gonna have no struck at all from the Align panel options. I'm going to make sure that I'm aligned toe art board this time so that I consented this shape on the art bored. I'm going to the last palate, and I want to lock down the background so that I can't get to it, so that will stop it from moving unexpectedly. Now we can go and get our brushes. I'm gonna open the brush panel. You'll see that the brushes are not in this panel because they're not automatically loaded by illustrates. I'll click of fly out menu, open brush library user defined, and I'm going to select the HUD rings brushes. And now I can grab both these brushes and just drag them into the brush panel. And I can just close down the HUD rings panel. Clay don't need that any longer. Now let's go and create a circle for our first Hud ring. Now I'm going to give it a stroke and no Phil, but the strike I want to be white. And then, from the brush panel, I'm going to click on one of my HUD ring brushes because we set the brush coloring method to teens. The brush is now being colored the color off the stroke so I can click here, and I can resize it if I want to. I can also flip it across so it really depends what I want the look of my brush to bay. I'm going to duplicate this with edit copy, edit paste in place. I'm going to race eyes, this holding shift and Ault And for this one, I'm going to flip the brush next up. I want to put a shape in the middle here, so I'm going to go and make a second outboard just to allow me to create that shape. I was going to drag out a second outboard. It doesn't need to be a particularly big on this outboard. I'm going to put a ellipse, so I'm just gonna drag out a sort of reasonable size ellipse, and I'm going to give it a black fill and north strike next up, I'm going to use a tool to sort of wrinkle the edge of it. But I'm not going to use the wrinkle. Told this time I'm going to use the crystallized toll so it with the crystallized tool selected, will just double click on the tool to say what the options are. So I've got a width and a height of 100 angle of zero intensity of 50% complexity one and detail to and we've got brush size shown. That's just a set of default settings. So what you're going to do with this brush is you're going to sit inside this shape and you're just going to pull over the edge. And as you pull over the edge, interesting things happen so you can pull more or less, and you can re pull something. If it doesn't go far enough the first time you can pull it again. If you don't like the result, then you can just press control or command Z to undo it. So were you looking for is something that is an interesting shape, but not something to complex, because you're gonna have to take this shape with your design. So I've got a reasonable looking shape here. I'm just going to select it, and what I'm going to do before I do anything more is just simplified a little bit to get rid of some of the points that I don't need. So it with its elected I'll choose object path and then simplify and illustrator will tell me how many points there were will in the original, there was 361 points. But I can get it down to 334. And if I decrease my curve precision, I can get it down a little bit lower. So just removing some of the complexity for this shape and its complexity that I don't really need because this is just a sort of organic shape. So I'm just gonna wind it down a little bit and click, OK, now I want to put a circle in the middle off this shape. It will help me if I change. They fill color just temporarily. I'm just going to do it as a pink. I'm going to go and drag out a circle and place it in the middle of this shape. Now I'm moving it as I'm drawing it by holding down the spice box that lets me move the shape as I'm drawing it. So basically what I want is for this pink shape to be inside the black one, because the next step is to cut the pink shape out of the black one. So I'm just going to select over everything, go to the Pathfinder palette, and I'm going to click minus front because what that will do is take the pink shape out of the black one. So we just end up with a hole in the middle of our shape, and now we can go and fill it with some color, and we can bring it into design. 8. Illustrator for Lunch™ - Pt 7 - Flare Pattern Brush: now, in the last video, we created this interesting little element for the middle off our hub ring. But we could also created as a patent brush, and that might give us a little bit more flexibility. So I'm just going to show you how you do that as a patent brush. I'm going to select a black fill here and no stroke. I'm going to drag out a nice large rectangle on going to the crystallized toll, and I'm gonna pull up the top edges off this rectangle. I don't want to pull into the shapes. I might just have things that are sort of sticking out of it. I'm going to drag out another rectangle, but let's just change the color so that you can see what's happening a little bit more easily. And what I want to do is work out how much off this shape I'm going to leave behind. So that's gonna move this up, and that's pretty much what I want for my brush. So I'll select the wrinkled edge shape plus my rectangle, go to the Pathfinder and click Miners Front. That gives me this bit left. If I try to make a pattern brush out of this, though it's not going to line up properly at either end because these two are not going to join together around a circle. So to solve that problem, I'm going to zoom into this end of the brush, and what I can do is I can cut it off here so it's gonna cut this pace off my brush, select both paces and click miners front. Now, if that happens to you, just undo it. Choose, edit, undo or press control the And now, instead of choosing minus front because obviously that's destroying my entire shape. We can select trim on that will trim that end off. So I'm going to double click on this shape here and remove it, and you can say that the end has been trimmed or press escape. Let's go and have a look at this end again. I'm going to draw a rectangle over a pace that I can easily get rid off. So I'm just gonna carve it out through here, select both shapes and try minus front again, and that's failed. So I'm just going to undo that and I'll click trim and I'm going to get rid off this shape here and press the Skype. Now I want this to wrap around and create a really nice patent brush, and right now, this end and this end a different in size. So what I'm going to do is divide this into paces. I'm just going to go and make a line segment till just run through the middle off my shape . Here, I'll select all of these paces and click Divide and that's divided this into two paces. I'll choose object on group. So now I have a left pace and a right pace, and I've got a few extra bits that are sort of being left behind. I'm just going to get rid of those. They would have been ones that were causing trouble with my minus front bit. So now I've got my left and right, right, And I've just reversed them. So I bought one pace over here in one piece over here. I'm going to maneuver them so that they stick together and I'm going to start reshaping this on won't have to reshape it very much. All I have to do is just pull this shape down so that it sort of blends in here. You don't want to spend too much time on this, but you will want to make sure that you've got a sort of even blending between these two shapes, which we've got now. It's really a seamless blend. Now select over both of these shapes with the selection tool and click the United Command to create a single line back again now because I cut the shape in half and reverse the pieces. This piece and this piece are going to match perfectly because they came from each other. They were split at that point in the first place. So now let's select that and make our patent brush out of it. New brush, Patton brush OK, again, We don't need a corner tile. Don't worry if you haven't got one, we do want to be able to recover the soul, choose tents and click. OK, let's try this out on a circle and we're expecting this to join up perfectly so that we won't be able to say where the same is. And we have a perfect brush here. You can't see where the joint is, and you shouldn't be able to, but because this is a pattern brush. We have one thing that we can do with this that we couldn't do with the previous one, and that is that We can flip it across so we can have this sort of Wigley shape on the inside or on the outside. And so you may want to spend that little bit of extra time creating a pattern brush here rather than just a circle, so that you can actually do something with it. And of course, what you want to do is to make sure that you save this pattern brushes we did earlier so that you always have that available to 9. Illustrator for Lunch™ - Pt 8 - Another Handy Brush: there's another brush that's quite handy for these hard ring effects. I'm going to show you how to create it. I'm going to the rectangle tool. I have a black stroke selected. I'm going to create a rectangle that is 150 pixels by 150 pixel sorts of square. I'm going to make two copies off this. I'm gonna all drag two copies away, going to select over all of these. I'm going to the align panel. I'm going to make sure that I have the option selected. So right now, mine are visible. But if it says show options here you'll click on that. I'm going to choose a line to key objects that will allow me to adjust the spacing. I'm gonna put 50 pixels of spacing in between age of these shapes, some typing 50 in here. And then we'll click here on horizontal distribute space on that just adds 50 pixels of space. So have a shape that's 150 pixels of 50 pixel gap. Another 1 50 51 50 And what I want to do is I want evenly spaced days. So what I want is a shape. That is the sum total of all of these bits, plus an extra one of these 50. So what I need is essentially this amount of space three times and that amount of space is 200 pixels. So I want 600 pixels. So I'm going to make a rectangle that is 600 pixels wide and that's going to give me perfect spacing. The height doesn't really matter. I'm just going to make it 50 pixels. That'll be perfect and click. OK, and now I'm just going to position it over my shapes and it's going to be the bounding box for my patent brush. So with it selected, I need to choose object, arrange center back because they know Phil No historic rectangle bounding box for a patent brush must be behind everything. And again, I'm going to make it. No film, no stroke. Now, if you are curious about bounding boxes and patent brushes and if this is a little bit strange to you, then I have a class on bounding boxes and patent brushes that's going to explain everything . And so I'm gonna put a link to that in the class project area for you. We're going to new brush. Will click New brush Patton Brush, Click R Ky. I don't want the corner. I just want the edge bits here. And I wanted to be tense and I'll click. OK, so at this point, you might be a bit curious. About what exactly sort of a patent brush are we going to get out of this? It looks like it's going to be a string of boxes. Well, it's not. It's a really interesting brush, So let's go to the Ellipse tool and drag out and a lips. Let's give it a start color. So let's just settle for black right now. And let's go and apply our patent brush to this object. And what we get is a Siri's off squares. But because they're a pattern brush and because they're applied to a circle, they've actually found out so that they look like these sorts of arcs off a circle. And if I click the strike, wait, I'm going to get less off them. And that's really what I want. I want less off them, and a slightly thicker strikes are going to want three. So this is perfect. I'm going to expand this because right now this is a brush applied to a shapes. I'll choose object, expand appearance. And now I'm gonna go on, grab this and let's take this to our drawings. So press control X Command X on the Mac to cut it and then all press control or command they to move it into position while it's selected. I'm just going to make the stroke color white, and I'm gonna increase the strike. This is no longer a pattern brush so I can increase the strike without changing the number of segments. Is going to make this a bit larger. And let's position it pretty much in the center off our circle. And if the strike white is too much, I can just day Chris my stroke. Wait. If you don't want all of these shapes, you can go into the last pallet here. Open up this group and you'll see that every one of these shapes is just a path here. So you can just delayed the one that you don't warned. I've got this past selected. I'll just press backspace to get rid of it. But now I have two off the shapes surrounding my HUD ring. 10. Illustrator for Lunch™ - Pt 9 - Gradient and Pattern Texture: At this point, you're just going to be looking at finishing touches for your design, and there are any number of things that you could do. I'm going to show you some of the possibilities in this video, So I'm going to start with an ellipse. I'm going to drag out holding the shift K I fairly decent size ellipse. I'm gonna hold the space buyers, I just moving into position. So it's pretty much centered over the top off this object. Now I'm going to fill it with I Grady int here. I'm just using a Grady INT that is shipped with Illustrator. It's a grating called summer, but you could use any Grady int that you like. If you need more Grade Ian's, click this Watch libraries menu and go to Grady INTs, and then you can see Ah, whole heap of great it's that you could use. Now, with my shape still selected, you can see it's above everything, so I'm going to drag it down to sit just above the black filled rectangle. The black filled rectangle is providing the background here to my art boards. I want this just above it, gonna open up the great impanel. I'm gonna work on this great end. So it first of all, I'm going to this end of the grade in, and I want it to be zero opacity at that end, which is going to block it out. So it's just tapering off really nicely going to double click on this in because I want to choose a different color for it. You got a couple of ways of selecting color here. I'm just going to select this sort of blue color. I want to add another stop in here for my Grady in. So I'm just going to click here underneath the Grady in bar and I'll double click on that, someone to make sure that I have a color selector that I like some going for this sort of orange blue look. So with this selected this great and stop, you can see that it's going to be given on opacity, which is gonna be somewhere between 100 0 because that's what this grading slide is working in on. But I wanted to be a little less transparent, so I'm going to take it up to 50. Let's just check this one yet this is 100%. So this is now 50 because I put it in there. But you can put whatever value you like and this is zero. So there's no grading at all, no color at the very edge off this shape. And now you can sort of manipulate these stop marks to work out exactly where you want the transition to take place. So if you want a bit more blue, you can do that. If you don't want it quite so opaque, then you can come in here and dial down a type ass iti a little bit. I also want to add in a sort of pattern behind this. I'm gonna show you a pattern that I created in my goulash class. And if you want to see how to create some of these patterns, you can go to that class. But I'm just going to quickly do a pattern here. So I'm gonna draw out a line and I'm going to give that a black strike Ultras effect distorting, transform zigzag. I wanted to be a smooth and I want this and and this end to bei either both above the line or both below the line, but not one h. So this is looking good now you can make it a little bit steeper if I want. Oh, and I'll click. OK, all ault drag a duplicate of this line, and if I add the shift K, it's going to be placed immediately below the original. I'll select over both of this and make a blend from them. Object blend Bank. Now my blend looks pretty good. Yours may not look this good depending on how you have your settings set up. So what I suggest you do is double click the blend tool, go for specified steps, then just adjust the number of steps until you have something that you like or click. OK, now, at this point, I want to select over this shape and I want to raid off its dimensions, and they are really, really big confusing numbers. So what I'm going to do is make them less confusing, and I'm just gonna make them round number. So this is 450 this was 305 change, so I'm just gonna make it 300. So this selection here is 450 by three hundreds. I'm gonna make a rectangle that is the same size for 50 by 300. This is going to bathe the bounding box for my pattern. If you're unsure, resto y patents need bounding boxes again. Ever got a class on bounding boxes? And that's in the class project area? Probably wanna have a look at that. So then select over both the shapes, and I'm going to make sure that they are centered. So I'm going to align to selection and just hit the vertical and horizontal center options . This rectangle is at the front of everything right now, and it has a stroke, none of which it should have. So I'm going to select just the rectangle and going to give it no stroke. I'm going to drag it below the blend. That's important, because otherwise this is not going to work as a pattern on what My pattern to bay a sort of light of color. So while I'm here, let's go and grab this blend and let's make it a lighter sort of neutral gray color. Well, I think probably something like this, So now I'll grab the blend and then I feel no struck rectangle and with the selection tool going to drag these into the swatches panel to make a pattern off them. Now I can just duplicate my rectangle here. So let's go and get this black filled rectangle and make a duplicate over because it's exactly right size, Unlock it, target it, go and select its fill and fill it with my new pattern. Now that's a little bit intense, but it's going to be a Z to resolve because I'm going to the appearance panel and with they fill selected Aiken, just dial down the opacity of the fill so I can just blended in to the black lab under name that just gives us a little bit of texture through the design, and if I don't want that to move, I can lock that down as well. 11. Illustrator for Lunch™ - Pt 10 - Glowing Text: the next finishing touch I'm going to add to this design is some text, and we're going to do that on a path, so I'm gonna select the Ellipse tall. It's got a black stroke, but no, Phil, I'll hold the shift K as I drag out an ellipse I'm gonna position at using they spy spot to move the shape as on drawing it. I don't want it to bay very big. I wanted to be just outside these largest shapes in my design right now. So now I'm going to the type tool. But if you're working with illustrators, say, say any of the saysi versions, you may want to check this setting. First. I'll choose edit preferences and then type on a Mac that would be illustrator preferences type. And you want to make sure that this film new type objects with placeholder text option is disabled. Otherwise, someplace hold the Texas going to be automatically inserted in your document, and that is just really annoying. So disable that and click OK. Now we'll go to the type on a path tool and will hover over the path, and when I do, you'll see that they fill and stroke invert, and we're now in type mode. So if you want to choose a color for your type at this point, you can do so I'm going to select the same below colors I'm using in the centre off the document. And now I'm just gonna talk garbage and having tight garbage. I wanted to be unrecognizable garbage, So I'm going to select over air. I'm going to probably increase my font size just a little bit. So I'm going to take it up to about 14. And now you want to select a sort of garbage front to you. So what I'm gonna do is just roll up to the top of my fault list and have a look through and say that kind of fund I could use well, bizarre I could use because it seems to be just sort of mathematical symbols. I could also use bookshelf symbol cause again, that sort of mathematical gonna actually select that. But you can have a look through your font list, and you'll probably find fonts that are just sort of numbers or mathematical symbols or something that has the suggestion of bangs. Sort of interesting, but totally illegible. So you're not even inclined to try and work out what it is? So I've got that bookshelf symbol selected here. Now what I want to do is give this a sort of glow on. What I found with Illustrator is that some of the glows don't work quite the way you expect them to us. I'm gonna show you a trick with this. I'm selecting the object that is the text on a path and I'm going to choose effect stylized outer glow Because this allows me to add a glow to my text. I'm going to make up my glow color somewhat similar to the text color. Just a bit lighter going to set it to screen. I'm gonna turn preview on and you'll see that you may say the slightest hint off a glow, but not very much at all. Make it about three pixels blur, and I'll click. OK, and what I'm gonna do is I'm immediately going to go and do the same thing again. Effect style, eyes, afterglow, and I'm going to apply a new effect. And I'm gonna turn preview on and you start to see your glory. Now this is way too much of a glow, of course, but it does allow us to see a realistic glows. I'm going to take it down to about 10% and their wind down the blur to about two pixels, and I'll click OK, and so that's given May some type with a sort of glow effect. But I did find that having to apply the glow twice gives me a much better result than even implying a glow at a very, very high level once. So just offer that to you. Glows twice rather than just once seemed to work. Ah, hole up better. 12. Illustrator for Lunch™ - Pt 11 - Blend Effect and Wrap Up: another way to add some visual interest. The background behind this shape is to use a blend. Before I do that, I'm gonna lock everything down. Not the liar itself, but just everything that's on allow going to the pencil, Tal. I'm going to set no, feel it all. And for my strike, I'm going to choose a color. So I'm just going toe use the light blue that we've been using. First of all, I'm just going to draw out a pencil line. Then I'm going to change color, and I'm going to use the sort of orange that we've been using also. And with this I'm going to draw a line that intersects the one already have created. And then finally, I'll choose another color and make sure going to use a sort of yellow here, and I'm going to draw 1/3 line. The pencil tool settings I've got are fairly smooth, so I've got this accurate to smooth selector pretty hard towards the smooth in so that my lines are getting smooth as I draw them. You may want to do that with your tool as well. Now I'm going to select over these three lines because I've locked everything else down there. The only things I can select. I'm going to the blend tall, going to click on H of they three lines in turn, and that creates a interesting blend. Now you can take it as it is, or you can go and adjust it. What I'm going to do is double click the blend tool click on preview, and I'm going to go to specified steps, and it's going to reduce the number of steps a little bit. I don't want it to be quite as intense as it is another click. OK, now this has a selection box around it, so if I want to rotate it, I can do so by selecting it and just rotating this blend. And I can also size it up a little bit larger if I want to. You can also war put this object, so with it selected, you could choose object enveloped the store to make with mesh, For example, I'll use a four by four mesh and click OK and then with the mesh, I can go and select individual mesh points, and I can warp the shape underneath. That allows me to do things such as? Sort of just rearranging the shape if I want to in making it thinner in some places thicker in others. So there's lots of things that you can do with this sort of blend. Once you've made it was gonna bring mine across the document a little bit, and when I'm happy, I can just click away from it. Now, this envelope distort here is in my last panel. The envelope distort has the blend inside it. So what I'm gonna do is I'm gonna move it down over the top off the great infield shapes. I'm just going to take it down here just on top of my great aunt filled shape. But that is behind the actual HUD ring. So the colors are behind the hard ring, and if I lock it down, it's not going to flick it every time I go somewhere near it. So from here, I'm gonna leave it to you. There are, like, a zillion things that you can do with the shapes. I just want to throw some ideas at you of the sorts of things that you can do to create an interesting background for your hard ring. You could, of course, add some additional hud rings if you wanted to, You could add glows to your hard ring, all sorts of things. I'm sure that you're gonna have enormous fun with these. I'm sure that you're going to come up with some really amazing designs to is I'm really looking forward to seeing those. Your class project is, of course, to go and create a hard Ringo and create some interesting designs and create some interesting and fun things of backgrounds. I'm gonna give you some links to other classes that have they sort of background effects in the glass a fix for you so that you can be familiar with those if you want to learn a bit more about them. Also got a class on text on a path which you might want to look at to post an image of your completed project in the class project area. I hope that you've enjoyed this class and even won't lots and lots of things about illustrator that you didn't already know. As you're watching this class, you will have been asked if you would recommend it to others. Please, if you are enjoying and learning from the class do two things for me, firstly, say yes that you would recommend it to others. And secondly, right? Just a few words about why you enjoy the class. These recommendations have other students to say that it's the class that they, too, might enjoy and learn from. If you like to leave me a comment or a question, please do so I read and respond to all of your comments and questions. I look out and respond toe all of your class projects. My name's Helen Bradley. Thank you so much for joining me for this episode of illustrative for lunch, create high tech HUD rings. I look forward to seeing you in an upcoming episode of Illustrative for Lunch, Sloan. 13. Bonus Extra Embellishments: in this video. I'm going to spade up what I'm doing and just go through a few extra additions to this project. I'm going to add some glows to some of the shapes here in the hard ring. I'm going to add another blend. I'm going to make a scatter brush and use that to add some little stars to the background. And I'm also going to go ahead and add a grade into the background instead off the black. So I'm going to speed up the video. I'm not going to talk as I go through this, but I'm going to just add these additional elements, and I just thought that you might like to see it as it's being done.