Illustrator for Lunch™ - In Your Face - Pen Tool Practice | Helen Bradley | Skillshare

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

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

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7 Lessons (37m)
    • 1. Illustrator for Lunch™ - In Your Face - Intro

      0:53
    • 2. Illustrator for Lunch™ - In Your Face - Part 1

      6:31
    • 3. Illustrator for Lunch™ - In Your Face - Part 2

      4:57
    • 4. Illustrator for Lunch™ - In Your Face - Part 3

      5:29
    • 5. Illustrator for Lunch™ - In Your Face - Part 4

      6:02
    • 6. Illustrator for Lunch™ - In Your Face - Part 5

      4:08
    • 7. Illustrator for Lunch™ - In Your Face - Part 6

      8:54

About This Class

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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 get plenty of practice with the pen tool and the Pathfinder in drawing this portrait. It's also very easy to do even if you can't draw - I promise that we'll do it slowly and that you will make a great illustration.

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™ - In Your Face - Intro: Hello, I'm Helen Bradley, and welcome to this episode of Illustrator for lunch in your face. Illustrator for lunch is a series of short Illustrator courses, each one of them teaching something different about Illustrator. They've been designed to be short enough for you to do in a small period of time, such as over lunchtime. In this particular course, we are going to be creating this flat portrait icon in Illustrator. Now, it does involve drawing with the Pen tool. But even if you haven't done a lot of work with the Pen tool, I still think that you're going to find it easy enough to create this portrait. If you don't think you can draw that's fine too. Because it's really easy to do, and I think you're going to be surprised at the professionalism of the results that you can achieve. So let's get started on our flat portrait icon. 2. Illustrator for Lunch™ - In Your Face - Part 1: To create our flat portrait icon, I'm going to start by creating a brand new document and I'm going to make mine square. It's going to be 700 pixels by 700 pixels, and RGB and click ''OK''. We're going to start with the portrait, neck and body. We're going to use the pen tool to do this. I'm going to click on the pen tool. Now the amount of drawing that we're going to do with the pen tool here is not going to be a significant amount. If you're a little bit worried about using the pen tool, you still should be okay. With the pen tool selected, I'm just going to make sure that I have a black stroke here, but no fill at this stage so that I can see as I'm drawing. I'm going to start by clicking and dragging down because I want to create the neck part. We're actually going to drag down at a slight angle here. Then I'm going to swing across here to create the shoulder. I'm going to click and drag out in this direction, pulling a little bit to make the curve at the base as the neck. I'm going to come out here and create the shoulder. Just click here. Click over here again, if I hold the Shift key as I do this, I'm going to constrain this to a straight line. I'm moving a little beyond the edge of the neck here because I want to come up here and finish the neck. Again with the Shift key selected, I'm going to click here once and then click again on the beginning point. This is the shape that I have for my neck and shoulder, and it's half of a neck and shoulder. The rest of it it's going to be over here. But before we do that, let's go and create some clothes for our model. I'm going to select this shape and let's just give it a skin color before we begin. Now skin colors are generally in the orange range, so I'm just going to select an orange here and make it the fill color. Now, obviously it's way too orange, so I'm going to double-click on this and just pull down to try and get a better skin color. That's a pretty good start there. Now we're going to create some clothes. I'm going to zoom in a little bit because having created the shoulder, I want to make the clothes fit nicely across the shoulder area. Again, I'm going to use the pen tool and we're going to give our model a singlet. I'm going to come up here, across here, and then down here. That's the basic shape I'm going to create. Now since I've already got the next shape, I can go a lot bigger on my clothing and just crop it in a minute. Don't feel like you have to get the clothing to start or end in any particular place. I'm going to start over here, but I'm first of all going to change the color that I'm working with. Just so I'll be able to see the clothes as I draw them. I'm going to start here and I'm just going to drag while I'm clicking and dragging in a horizontal direction, then I'm going to pull up here to the shoulder part of the singlet and I want to go just a little bit beyond the neck. I'm just going to go just a little bit above. I'm just pulling this up to make a nice little curve in here. Now this fill is going to appear underneath in a minute because that's where it needs to be. If this is a bit confusing to you, just come across and switch the stroke and fill for now, and that will make things easier. Now I want to finish the top of the singlet here so I need to move this handle here. I'm going to hold down the Alt key, Option on the Mac and just swing this handle around so that we're headed off in this direction now. Go back to the pen tool, click on that anchor point, and then just click and drag here to create the top part of the singlet. I just want a slight dip here. Now I need to bring this line around a little bit, so I need to adjust this handle again, I'm going to hold the Alt or Option key and just swing this handle down in the direction I'm headed off in, which is about this direction here. Actually, I think I made to bring it in a little bit further. I'm just going and selecting the Alt key again as I drag that handle into position. Now this is looking like a nice curve for the edge of my singlet. I'm just going to click here and I'm just going to finish off by just clicking and clicking to make the clothing shape. If I invert the colors here so that I have no stroke but I have a green fill, you can see what the clothing is going to look like. I'm pretty happy with that except obviously it's a little bit bigger than the body part that I have. Well, I'm going to press Control or Command 0 to go back to seeing my image at full size. What I want to do at this stage is to make a duplicate of this neck. I'm going to hold the Alt or Option key as I drag a duplicate away from the original and then just let go. I've got a piece of neck there and I'm going to use this piece of neck to cut this shirt out. The place that I want is not quite where these two shapes overlap because there's actually little place out here that I want as well. I can't just use intersect, what I'm going to need to do is to divide this all up and then put it back together again with the places that I want. I'm going to the pathfinder and I'm going to select this option here, and it's called divide. I'll click on it once and then I'll choose object and group. What that does is it creates this all as a series of little pieces. Now there are two pieces in here, there's this shoulder, this neck, and this excess piece of clothing. Well, we don't need these pieces any longer, so I'm just going to select and delete them. But they're actually a couple of pieces in here and we do want them, but we want them to be one shape. With them both selected, I'm just going to click ''Unite''. Now we can bring the body back and put it underneath the clothing. We're going to align these two up at their bases, and on the right-hand side, horizontal align right, and vertical align bottom. Now we're ready go ahead and create the next half of our body. 3. Illustrator for Lunch™ - In Your Face - Part 2: Let's go ahead and make the other half of the body here. I'm just going to zoom in a little bit, so a little bit closer to where we're working. I'm going to select the Selection tool and drag over and select both these pieces, the body and the clothing. Then I'll choose Object Transform, Reflect. I have preview turned on here and I want to reflect over the vertical, so I have vertical selected and I want to make a copy, so I'm going to select Copy. Now, I have two pieces of body and two shirts. I'm just going to pull these apart and just position them so that they're side by side. It doesn't matter if they overlap a bit, that's fine too, you just want to make sure that they are completely joined. Now, let's go into the last panel because we need to isolate the pieces that we're working on. I need to select the two green pieces, in other words, her clothing. I'm going to click on one and Control or Command, click on the other, that selects both the pieces. I'm going to the Pathfinder and I'm going to click ''Unite''. Now we have a single piece of clothing. I'm going to select over the two body pieces and do the same thing. Now in the last palette, we'll have one body piece and one piece of clothing. At this stage, if you wanted to change the color of the clothing, you could. Now we're ready to create the face, and the face is going to be a large oval. I'm going to click on the Ellipse tool and drag out a large oval, and just drop it in position. I'm going to press Control or Command 0. I've just discovered that this is going to be way too big, so I'm just going to shrink it down a little bit. You want these sorts of proportions. Grab the direct selection tool and click on the bottommost point here on the face and just pull it down a little bit, you want to make sure that you just have the point selected. You're making a chin. Then at the top here you may want to flatten this one a little bit just to make the top of the head and then just move it back into position. What I want to do next is to add a little bit of shadow under the chin so that we can actually see the chin line. For this, I'm going to need the face and I'm going to need the body. I'm going to click and then shift click on the face and the body, and I'm going to hold the Alt option key down as I drag a duplicate of it away. I want these two shapes here. I'm going to select both of them, and I want to subtract the face from the neck line because I know that the face is in front of the neck line because that's the way it was created, the order in which it was created. I'm going to the Pathfinder, and I'm going to select Minus Front. Now I have the neck line where it appears underneath the face here. I need a second copy of this, so I'm just going to Alt drag and duplicate away. I've got two copies of the neck line. I'm just going to position this on top and just stretch it out so that these points are situated outside the neckline, so that the one in front is wider than the one at the back. Let's just zoom in and make sure that we've got everything right here. You can see that this point and this point are just outside the neckline. When I cut this into pieces, I'm going to have a single piece up the top there. Lets just zoom out a little bit. It might be easy to see if we just re-color one of these pieces, let's just re-color it for now. You can see that this red is way outside the line of this pink. When I grab these two shapes and when I subtract the front from the back using Minus Front, I'm going to be left with three pieces. My neck piece here, and these two pieces. Well, I don't need either of these pieces, so I'm just going to select and delete them. Then because I'm in isolation mode, I'm going to press "Escape" to go back into regular mode, press "Control" or "Command" 0, and then go and get my neck piece and put it in position down here. It should be exactly the same size as the original neck since it was cut out of the original neck. To make it into a shadow, we just need to change the color of the fill. I'm double-clicking on the color, and I'm just going to make it a slightly darker shade of the skin color. Now you can see that this curved shadow that we've created is actually making the chin more apparent. 4. Illustrator for Lunch™ - In Your Face - Part 3: Next, play onto the eyes. I'm going to zoom in a little bit, and we'll get started on the eyes. You might find it easier to build the eyes in a separate area. You can do something like just drag out a rectangle that you can build them on. You could do it on skin color, or you could do it on any color that you like. Let's zoom in a little bit further into here. We're going to create our eye from an Ellipse. So I'm going to select the "Ellipse Tool", and I'm just going to drag out a long ellipse. With it selected, I'm going to change its fill color to white. This is going to be the white of the eye. Now I'm going to the Direct Selection Tool. I'm going to click on each end of the eye in turn and then just drag these handles inwards to make something that's a little bit more of an arm and shape than an oval. Click again on this point, just drag the handles in. You can also tip the eye again by selecting the "Selection Tool" and selecting the eye and then just rotate it slightly. We're going to add the pupil next and that's going to be a black circle. We'll choose the "Ellipse Tool" and hold "Shift" as you drag out a circle. Now your circle can be all over the eye. It can be inside the eye or can be overlapping the eye. I'm going make mine look something like this, and I'm going to fill it with black. Now you can move it into position once it's been created. You'll also want to highlight so, again, go back to the "Ellipse Tool" and just drag out a small circle for a highlight in the eye, and you'll want to fill that with white. If you've got part of your pupil outside the top part of your eye, just make sure that the little glint here, the little white area is within the area that this white of the eye is so that you're going to see it in a minute. What we need to do next is to remove this space of the eye. We're going to select this shape and make a duplicate of it. We'll choose "Edit", "Copy", "Edit", "Paste in Place". Then we'll select the pupil and this front shape. Click on the pupil, "Shift", click on the front shape. What we want to do now is we want this space in here, which is where these two shapes overlap. We don't want this space, and we don't need this outside space because we've got a spare version of it already. We just want the overlap and when we want the overlap, we go to the "Pathfinder Tool" and choose "Intersect". That gives us a piece here that is the pupil shape. We just need to re-color it because it took on the color of the white of the eye. Let's go and make it black. In the last panel, you'll see that there's also a white glint here. The white glint for her eye has disappeared because it's beneath this black object. All we need to do is to grab it and then just place it above the pupil of the eye. It comes back into position, and we can see it. If you wish to at this point, you could add a line around the eye. So you could click here on the "Stroke" and add a black stroke to the eye. This is a solid line stroke, and it's one point in white. But you could also change the width profile for this line into something else. So you could click on any of these widths profiles to add a slightly uneven line around the eye. It's really up to you which one you choose. I'm going to choose this particular width profile. Now I am going to press "Control or Command Zero", so I can go back to seeing what my eye looks like in relation to my face. Well, I no longer need this piece of skin or this background that I was using so I'll delete it. I'm going to select over the eye, and I'm going to choose "Object", "Group" because that groups always objects into a single object that I can now move and size as a single group. Well, obviously, my eye is way too big so I'm going to hold the "Shift key" as I just scale it down in size. Now I am going to place it in position. It's still too big so I'm just going to shrink it again holding the "Shift key" as I do it so it's shrunk in proportion. Now your eyes can go wherever you like. You can put them a little higher up or you can put them lower. It doesn't really matter because this is a more sort of cartoon style face. You can be a little bit easy with your proportions. You don't have to use the typical proportions for eyes and faces. Now that we have one eye in position, I'm going to hold the "Alt key" as I drag a second eye away. I'm going to put it on about the same angle, but I'm just going to need to twist this so that it's pointing down like the other eye was. Now that we've done that, we're ready to complete the rest of the face. 5. Illustrator for Lunch™ - In Your Face - Part 4: The nose is pretty easy because it's just going to be two small circles. Grab the Ellipse tool, hold the Shift key down as you drag out a small circle. I'm going to double-click on the color here and just make it a little bit of a darker version of the skin tone. Then having created one nostril, I'm going to click on the "Selection" tool and Alt drag a second nostril just alongside it. I want these two to be lined up nicely, so I'm going to select them. I'm just going to make sure that their vertical centers are correct and I'm going to group them with Object Group. This is going to mean that they'll travel together. So if I move one, both will move. It also means that if I select this group and then Shift click on the face and then click on the face again so that the face has this big blue line around it, and if I click the horizontal aligned center option, then the nose will be aligned centrally within the face, but the face won't move. That's pretty important since I had the face in a pretty good position before I started. I'm just going to click away from this. If I want to move the nose down at this point, I'm just going to hold the Shift key as I drag it down because that will constrain the movement to directly a vertical line. I'm going to create the mouth, and I'm going to do that out to one side. I just find it a little easier to draw my mouth without trying to relate it to the size of the face. Going to select the Pen tool. I'm going to just use a stroke color. I'm going to make the stroke red so that it looks a bit like lips. This is a fairly easy thing to do with the Pen tool. You're just going to click and drag in upwards direction because we're going to create the lip from the center out. So I'm going to then click and drag here to make a little bow line and then out here to the end of the lip. I just clicked at that point rather than clicking and dragging. I'm going to come back in here and click and drag. Now, I'm just going to control click away from the lip because this is not a bad lip shape. It's pretty good. It's just half of the lips that I made. Let's just zoom in here and have a look at it. I'm just thinking that one of these points could be adjusted a little bit. I think this one is just not quite smooth enough. So before I create the lip by joining the two pieces together, just going to smooth that out to make sure it looks the way it should. Now, I'm going to select the lip and choose Object, Transform, Reflect. I have Preview turned on. I'm reflecting over the vertical and I need a copy, so I'm going to click "Copy." Now, I have two lips. You can just move them into position so that they overlap. I'm going to select both shapes. I'm going to come here to the Pathfinder and just select "Unite" because that will create one shape from the two of them and now, I can invert my colors. I'm going to zoom out a little bit so I can see my model's face clearly. Hold the Space Bar down as I move the image into position so I can see everything I'm working on and then just move the mouth into position. Now, it's too big but it's easy enough to re-size. When I re-size it, I want to hold the Shift key so that I scale it in proportions. I'm going to select the mouth, Shift-click on the face, and then just click on the face again and click the center option to make sure that the mouth is centered in the face. To create the ears, were just going to, again, go to the Pen tool and this is a very simple process. I'm just going to flip my colors around. Right now, I am going to have bright red ears, but I'll fix that in a minute. We're going to start by clicking just inside the face near the eye. I'm going to drag upwards. Then I'm going to click and drag downwards here, follow the face down to here, and click and drag upwards just to make this ear shape. I'm going back to my starting point. I'm going to flip my fill and stroke color so that I have a red fill but no stroke. I'm going to click on the Eye Dropper tool and just click on the face so that I'm making my ear the exact same color as my face. I'm just going to move it into position and if necessary, I'm just going to rotate it a little bit. Now, you may find that you don't actually need the ear at all, but it's easier to put that in now and then cover it up with hair than try to add any later on if you have a gap that needs to be filled. I'm going to select this ear and choose Object, Transform, Reflect. Again, I want to reflect over the vertical and I want a copy, so I want a second ear. I want it in position over here. Check it against the face. Select the ear, Shift-click on the other ear, Shift-click on the face, and then click here on the Pathfinder and choose Unite and that will unite the ears and the face. What it's done though is, it put the united object above the lips and eyes. So we just need to grab it and just drag it down so that we can now see the eyes and the lips and the nose in position. The next step is to add some hair. 6. Illustrator for Lunch™ - In Your Face - Part 5: When you come to create the hair, it's best to start with a stroke color and no fill, and to make the story something like the color of the hair that you want to work with, so I'm just going to create brown at this stage, and I'm going for the pen tool. I'm just going to start by drawing in the hair, so I'm going to start over here and hitting this downwards direction. When it come over here to where I want the hair to start falling just in front of the ear, so I'm going to click and drag, and I'm going to come down here, click and drag. I want this to be a blunt cut of hair so I'm going to click here and start dragging upwards. We're going to click and drag and then come back to my starting point. When you're creating the hair, be aware that you'll want to make it larger than a scout because hair add some bulk to the scalp. I'm going to come in here now with the direct selection tool and just work a little bit on the hair just to curve it and just make it a little bit smoother. Particularly, around here and here, I want to make it a little bit sharper. Now, it looks like this point doesn't have two handles so I'm going to select it and click here to give it two handles. Now, I can smooth a little bit because it's got a second handle. I'm going to click my hair to select it, and now I'm going to flip the fill and stroke color so that we can get an idea as to what the hair is looking like. I've got half the hair at this stage, now I'm going to do the other half, so I'm going to come here and I'm just going to continue to draw down here so I'm going to click and drag within the existing hair line. I'm going to click and drag and finish off by clicking over my starting point. You can move the hair by just selecting it with the direct selection tool and then move it. You can also shrink it in size by just grabbing the sizing handle at the edge here and just shrinking it. Now, I'm pretty happy with my hair, but I am going to need to fill in the hair behind her head, so I'm going to do that. This time, I'm going to select a completely different color here, pink, so that I can see where I'm working. I'm going to go and get the pen tool, and I want to fill in this area here so I'm just going to click and drag to create the hair line that is going to go behind her head. This is going to be the area that I'm going to fill with her hair color, so I'm going to click on the fill color and go and select the same hair color. This piece of hair needs to be moved behind her face, so let's go to the last palette and this is the hair here. I'm just going to drag it down the list of objects, and you'll say that the further down the list of objects, the more it gets placed behind things, and so I want to take it all the way to the very back because I need to place it behind her shoulders so that its just sitting along the edge of her shoulders. If you need to at this point, you can just come in here and finesse the edges here by selecting on the shape and then just making adjustments to the points that are controlling it. When you're happy with the hair, you're ready to progress to the next step. 7. Illustrator for Lunch™ - In Your Face - Part 6: We're ready now to finish off our portrait. What I'm going to do is to show you an optional step, which is to add a little bit of shading to the face. To do that, start by selecting the selection tool and select over the entire face, choose Edit, Copy and then Edit, Paste. It's important that you choose Edit, Paste not Edit, Paste in Place because you want it to be offset. You want to drag it and just put it off to one side. With all of these objects already selected because they've been duplicated, go to the Pathfinder and click Unite. That makes a single shape that is the shape of your portrait. I'm going to click here on the eye-dropper tool. I'm just going to click here on the next shadow, so that this shape's created the color of the neck shadow. Now I'm going to move the illustrations, so I can see everything clearly and I do this by holding the Space bar as I just move the illustration. Now, I'm going back to the selection tool. I'm just going to drag the shape that I created over the top of my portrait, and just line it up in position there. I'm going to click on the Appearance panel because I want to adjust the opacity of this down a little bit. I want to take it down, so I can actually see the face through the shape that I created. But we still get a sense of this bang, some shadow. The next thing to do, is to create a shape that we're actually going to cut from this shape. Now, I want my shading to be on this side of the face, so I'm going to create a shape over here that I'm going to cut away from it. I'm going to the Pen Tool and I'm going to start well outside of this shape, I'm just going to create an organic shape. I'm going to come through here because I'm interested in following the potential line of the nose, if she actually had more of a nose than she does right now. I'm going to come through the lips here. I'm going to come all the way down the body, and I'm going to come out here. I've made an entire shape that I'm now going to cut away from the shape that I created, that is the size of the face. These two shapes are on the very top of my illustrations. I now have them both selected. What I'm going to do, is minus the front face, so I'm going to the Pathfinder and I'm going to click on Minus Front. What that gives me, is this organic shaded shape on the other side of her face. I'm going to select this shape and I'm going back to the Appearance panel, I'm going to click on Opacity. I want to set this to Multiply blend mode because that gives me overall darkening. But I'm going to adjust the opacity right down. I just want the hint of shading here. I'm going to click away from it when I'm done. Now that's an optional step. If you don't like the shading, don't use it, that's fine. Now I am going to zoom out a little bit. I'm going to create a circle because we're going to crop her to a circle. I'll click on the Ellipse tool and I'm going to drag out a circle. When I'm still drawing the circle, I'm going to hold the Space bar, so I can move it into position, so I can just test it and make sure it's going to be big enough and not too big. I think that's a pretty good shape. Once I'm done with drawing my circle, I'm going to let go the left mouse button, then let go the Space-bar and the Shift key. I'm going to flip this stroke in fill colors, so that I can see my shape here, and I'm going to duplicate it. I'm again going to choose, Edit, Copy, Edit, Paste and Place. At the very top of my Layers palette, I have two circles. Here they are, one circle and a second one. Now the second one, I'm actually going to hide and I'm going to lock it for now because I don't want it to be selectable, but I'm going to select everything else. I'm going to click on the selector for the entire layer here. Then because my circle is the topmost object, I'm going to choose Object, Clipping Mask, Make. That clips my girl or my face to that circle. Now if we go back to the last panel and unlock this object and click its eyeball, we'll find that we actually have a second circle shape here. We've actually got a circle that is providing a frame to our face. I'm going to click on that and I'm going to choose a color for it. I'm going to make it a dark green, since she's wearing green. Well, actually not quite that dark. I'm going to make it a little bit wider. To add a scalloped edge to it, I'm going to select the circle and I am going to choose Stroke. I'm going to click Round Cap, Dashed Line. I'm going to set the dashed line to a zero dash and a gap of something like 14 points, and then I'm going to increase my line weight accordingly. I want to make my line weight and my gap the exact same value, so here I'm using 14 and 14. I'm only looking at the outside edge because the inside part of these dots is going to disappear in a minute. Once I've finished with the Stroke, I'm going back to the Appearance panel for this selected shape and I'm going to fill it with white. I have green dots and a white fill. I want my dots to be turned into a scalloped edge and I do that by clicking on the Stroke here and just dragging it below the fill. That gives me my scalloped edge. Now let's go back to the last pallet. The shape on the top is this shape here. If we pick it up and drag it behind the portrait, it's going to frame the portrait. There's our completed portrait, except I just realized, that I didn't give her any eyebrows. So let's deal with that before we go. I'm just going to select over her face here and the eyebrows are going to be done using the Pen Tool. I'm just going to click and drag, and then come out to the edge of the eye and click and drag. I am going to press the Control key to stop drawing. Because the last thing I drew had this edge on it, so too to her eyebrows, but that's easily resolved. I'm just going to click on the eyebrow and press the letter D because that sets it back to the default colors and removes any special effects. I'm going to take away the fill and just leave the stroke. I'm going to change the stroke color to brown. I'm going to increase the stroke weight a little bit, and then use one of these profiles to make a nicer-looking eyebrow. Well, this is a pretty good profile, but it's going the wrong way. I'm going to click on the Pen Tool, and then just click on the end of the line here, and then Control click away from it. What that does is to simply flip the line, so that the profile goes the other direction. Let's just select the eyebrow, choose Object, Transform, Reflect. We're going to reflect over the vertical, click Copy. I'm going to drag the second eyebrow away from the first. I'm going to line it up in position. Now, right now the eyebrow is not tucked under the hair, so we're going to have to tuck it under their hair. I'm going to grab it and I'm going to open up my clipping path. I'm just going to take it down, so it becomes part of the clipping path. I'm going to make sure that when I position it, I position it underneath the hair in the clipping mask. So you can see now that it's hiding behind the hair and it's not in front of it. Let's see the final result. This is our portrait created using the Pen Tool and some simple shapes in Illustrator. I'm Helen Bradley. Thank you for joining me for this episode of Illustrator for Lunch: In Your Face. I hope that you've enjoyed this course. Please, if you did enjoy it, give it a thumbs up, so other people can see that it is a course worth doing. Look out for more of my Illustrator for Lunch courses. I'll look forward to seeing you in another course at another time.