Illustrator for Lunch™ - Sketchy Image Effect - Image Trace, Swatches, Sketchy Effect | Helen Bradley | Skillshare

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

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

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4 Lessons (21m)
    • 1. Illustrator for Lunch™ - Sketchy image effect - Intro

      1:09
    • 2. Illustrator for Lunch™ - Sketchy image effect - Part 1

      4:42
    • 3. Illustrator for Lunch™ - Sketchy image effect - Part 2

      5:50
    • 4. Illustrator for Lunch™ - Sketchy image effect - Part 3

      9:28

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 turn a photo into a sketchy vector image in Illustrator. You will learn to make swatches, trace images and apply a sketchy effect (and much much more!). Here is the before and after image:

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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™ - Sketchy image effect - Intro: Hello, I'm Helen Bradley. Welcome to this episode of Illustrator for Lunch create a sketchy image effect. Illustrator for Lunch is a series of Illustrator classes, each of which teaches a small range of Illustrator techniques. You'll get plenty of opportunity to practice your new skills in the project you'll create. Today, we're going from a photo to a sketchy image effect in Illustrator. Along the way you're going to learn heaps about Illustrator. I learned a lot in trying to make this video, and make the effect really efficient to create. I'm sure that you are going to learn heaps too. As you're working through these videos, you may see a prompt which lets you recommend this class to others. When you do see it, if you're enjoying the class, please do two things for me; give it a thumbs up, and write just a few words about why you're enjoying the class. These recommendations get my classes in front of more people who just like you want to learn more about Illustrator. If you'd like to leave a comment, please do so. I read and respond to all of your comments and your questions, and I look at all your class projects. Now if you're ready, let's get started creating a sketchy image effect from a photo in Illustrator. 2. Illustrator for Lunch™ - Sketchy image effect - Part 1: For this project, we need to start with a photograph. So I found a really good photograph to use at unspliced.com. For the photograph, you probably want something with has some fairly simple lines in it, but I'm going to give you the download link for this image. Just click on the download button. Now, I've already done that, so let's get rid of that, and I'm going to create a new document. I don't know how big that image was, but I'm going to start with an image that's 2,000 by 1,000 pixels in size that's going to handle a landscape image quite well, RGB color mode, and I'll click ''Okay''. Next we need to go and get the image. We're going to do that by choosing file and then place. I'm going to select the image I've chosen to use, and down here, it's important that you disabled the word link. So you want to actually embed this in the image. So I'm going to click place. Now you get to drag out the image, and you can see we did pretty well with our file size. We don't need this image to be as detailed as it is and it's just going to stop your machine if it is. So let's start by rationalizing this object. Rasterize, and we're going to choose RGB, we're going to choose a resolution of screen, and we're going to make sure that we have no anti-aliasing at all. We don't have spot colors anyway, so you can just delete that click ''Okay''. That just simplifies the image. We need it to be gray scale, so we are going to choose edit and then edit colors and then convert to gray scale. This is just converted to a gray scale image. Next up, we need to simplify it even further, and for this we're going to use a filter. I'm going to choose effect and then effect gallery. I'm using the cut-out filter you can see that it's already being applied to this image. The cut-out filter simplifies the image, and so what we're looking for is some interesting colors, and interesting shapes in the image. There you can set the number of levels here, and I want quite a bit of light in this image. So I'm thinking that that's probably going to be a better setting at four than it is at five or six. They're getting a little bit detailed and perhaps not quite as light as I want them to be. Edge simplicity is just going to be the simplicity or otherwise of the edges. You can take it from ridiculous to sensible or some way in between. So I am going for an edge simplicity of about five, and then edge fidelity is going to give you a lot more detail. Probably, don't want that, I'm really going to back off edge fidelity pretty much all away. All you're looking for at this stage is some nice shapes and something that's vaguely recognizable as a car and maybe a building behind it in this image. So that's really all you're looking for. On second thoughts, I think I'm just going to take my edge fidelity up a little bit. I would like to see a bit around the front of the car. So I'm just going to click ''Okay''. Now I have my image simplified quite a bit, and I want to go and trace it. The problem is, that even though we've only got a few colors in this image, if we go ahead and trace this right now, Illustrator, even if we ask it only to choose like four or five shades of gray, it's going to go off on its own. It's just going to create something like about 200 shades of gray. So it's going to be a total nightmare. Before we do this, what we need to do is to create a color palette. I'm going to the swatches panel which is just [inaudible] , so let's go and get my swatches panel. I'm going to make a set of gray scale swatches. I'm going to click here on new color group, and then I'm going to add a color. So I'm going to go here and just create my white first of all. I'm going to drag white into here. Now I'm going to go and create something that is more like about 15 percent gray, and I'm going to place it next to white. Let's go for something here that is more like about 60 here, drop it in, let's go down here, looking at this let's make it 30 percent brightness which is about 70 percent gray. We've got four colors so far, and now let's hit for almost black but not quiet. Let's call that black even though it's not quite black. So we've got five colors here. This is critical these are the five colors that we're going to get out of this image. So now that we've got our swatch ready, and we've got our image ready. In the next video, we're going to go ahead and do the trace. 3. Illustrator for Lunch™ - Sketchy image effect - Part 2: To try see image you'll need to make sure that the image itself is selected. So I selected up here on the toolbar you have the image trace option. If you don't have that you can go to object and just choose image trace make. But I'm just going to click on the "Image Trace" button here. The first trace is always going to look absolutely horrible and that's fine. What you need to do is to grab this dialogue here, the image trace panel. We're going to turn off preview and we're going to make sure that advanced is opened up here. You want to see the advanced. We're turning off preview because otherwise the Illustrator is just going to continually traces while we're making our settings, and we don't want to do it until we're ready. I'm going to select color from the mode even though I'm working in a grayscale image. From palette, I want to select Document Library, and then from colors, I'm going to select the color palette that I created. Now what we're doing here is we're saying to Illustrator, we know that you've got your own opinion as to what colors should be used in this image, but we want you to use the colors that we prescribe. This will limit Illustrator to using only these colors. If we don't do that, it's going to throw hundreds of shades of gray at this even if we only asked for a handful. I don't know why it happens, but that's what does, and this is how we're going to solve it. Now, with paths and corners, we're going to drag each of those across to this side and the noise goes in the opposite direction. Typically, these two slides is going the same direction and this one goes in the complete opposite direction, for the settings that we want to use. If you set this too high you would set this one low, but that's going to give you a more detailed scan. We want simplicity today. I'm going to click "Preview", and now Illustrator can go ahead and do the scan. Here is the scan, and Illustrator so used another colors that we asked it to use. Now at this point, if you want to, you could test out some different settings here. Just say if adding a bit to the paths or removing a bit from the paths will give you a better effect. One I'm a little bit concerned about is the front end of this car. I would like it to be a little bit more defined, which seems to require me to have passed set a little bit higher and perhaps even corners. That's not really helping. But I might increase paths a little bit and see if that's going to help just a little bit around the front of the car. You can just experiment with that. Once you're happy with what you've got, you can close the dialog and then you're going to click "Expand". That expands these traced shapes into actual shapes, and now we have a series of vector objects. We just need to ungroup them because they're all in one big group. Let's click "Ungroup", and if we go to the layers panel, we've got one layer with lots and lots of shapes on it. What we need to do is to break these out. I'm going to start first of all by adding a layer and this is going to be light. These are the lightest objects that are going on to this layer here. I'm going to just click "Away", so I don't want anything selected at this stage. I'm going to click on something that is really really light, a shape. I'm going to choose "Select", "Same", "Fill Color", and everything that is white is now selected and you can say throughout this layer, there are lots of little pieces that are sort of light color. To move them up onto this light layer using the lab panel here is a total nightmare. There's a much quicker and easier way of doing it. What you do is you click on the layer you want them moved onto, there's still selected here, and you choose "Object", "Arrange", "Send to Current Layer", and because that was the targeted layer, now all layers light objects are on that targeted layer. You can turn it off or on as you wish. Let's go and create a new layer for the light grays. Going back to our main image, select something that is a light gray. Select "Same, "Fill Color". Target the lab we want to move them to, "Object", "Arrange", "Send to Current Layer". I'm going to do that until I finish with all the colors in this image. If you get a little bit confused, you can always just turn off the visibility of the two layers you created, and that makes it clear the colors that you still have to work with. What I'm now left with is I've got a layer here that has light paces on it. I'm just going to actually call this white because they are going to be the lightest paces in the image and this is now our image, and we've broken it up into five layers, which correspond to the five shades of gray that we applied earlier. Now, at this stage, if you're not really happy with the shade of gray, you can do something with it. I'm going to go to these light grays. I've selected this layer and that selects absolutely everything that is on this layer. Now I could come in here and I could just adjust this color if I wanted to, and click "Okay", and then everything that was colored that shade of gray, has been lightened a bit because I made the color a bit lighter. You do have quite a bit of flexibility here in adjusting the image at this point. Now we've got an image traced down to the few colors that we want to work with, now we're ready to go ahead and to create the sketchy look for it. 4. Illustrator for Lunch™ - Sketchy image effect - Part 3: At this point, before I go and create my sketchy look, I'm going to the last panel and I'm thinking if at any stage I wanted these shapes filled with these colors to help with my image, I don't want to lose them. So what I'm going to do is I'm going to select all of these layers. I'm going to drop them on the new icon and that creates two sets of layers, so they're both identical. I'm going to add another layer just in above the second set, and I'm going to move all these duplicate layers into that layer. What I've got is layer 13, which I'm actually going to call master color, because that is all the color filled shapes. I've got the black, mid gray, light gray, light, and white, and it's a duplicate set. What I'm going to do is turn them off, lock them down and just close up that layer. We're going to work on this top layer but what we've effectively done is saved a copy of this image just in case we want to borrow pieces of it back later on. Probably won't in this video, but I just want you to be aware that it's going to be really difficult to unscramble what we're about to do next. If you think there's any chance you may want those layers intact, do this before you take the next step. Let's start with the light gray because this is going to be really highly visible. I've got the layer selected, which means that changes I'm making now are affecting everything that's on this layer, all these light gray shapes. That's why we took the trouble of breaking these out to different layers, just makes life a lot easier. We're going to choose Effect, Stylize, Scribble. The scribble settings I'm going to use something like this. I'm going to do it at 30 degrees, so it's going to be going at this angle. You can see the previous setting here. Path overlap is how far it is inside or outside the path. Now, I don't want it to be outside the path at all. If anything, I might want it to be a little bit inside. So you could play with those values. But I'm actually going to set mine to zero. But just be aware that you could also get some good mileage from a minus setting here. Variation is, am I allowed to send just a few lines outside the path? Well, the answer to that is no. So we don't want to send anything really out of the path, maybe a really small value, but I think it's better without. Stroke width is how wide is this stroke. This is a fairly light color, so I'm actually going to bring this down to maybe 0.75 of a pixel or you could even put 0.5 of a pixel. You just need to type that in there. Curviness is how curved are the lines. So if we wind it up to really curvy, they're like squiggly lines. I don't want any curviness on this at all so I'm doing zero. Variation is how much variation can I have in saying I didn't want curviness, but now I do want a bit. Well, you can increase the variation to get a little bit of curviness, but not a lot. So I'm going to wind that up to about 15 percent. Biasing is how tight or how lose are these lines. You can make them really lose or you can make them really tight, and you can take them down to small amounts of a pixel. So I'm going to go for about, let's try 0.5 of a pixel. That's a good spaced line here. You can try out different values here. But just be aware that you can go really small and you probably don't want to be anything much more than about one or two pixels of spacing and variation, you could just do a small amount of variation. I've done five pixels of variation, that's variation on the spacing. So having done that, I'm just going to click "Okay". Now these values are sticky. So that means that the next shape that we go and fill, when we asked for scribble, we're going to get those same default options. So let's go to the mid gray. Click on it, Effect, Stylize, Scribble. Here are the same settings we used before. At this point because we're working with a slightly darker line, we may want to increase our stroke width. I've got my spacing at 0.5. I think that's probably pretty good. In fact, I'm pretty happy with this right now. So I'm going to click "Okay" on that. Next, I'm going to select the black or the darkest areas and choose Effect, Stylize and then Scribble. I'm going to use the same setting as I used before, but I am noticing that there's not a lot of difference between the areas I'm coloring in this time and the ones I colored in last time. Well, we can solve that in a different way. So I'm just going to click "Okay". I'm going to take this black copy layer and I'm going to drag it onto the New Layer icon. So I've got two copies of this layer, and so now I've got a darker version of what was underneath, just simply because I put two layers on top of each other. But what I can do with this top-most layer is make my lines go the other way so I can get a cross hatched pattern. I'm going through the topmost layer and I'm selecting it and going to the appearance panel. Because what I need to do is I need to access the existing scribble. If I just go and choose Effect and try and add Scribble to this, it's going to add another scribble on top of this one. It's going to scribble a scribble, which is going to stop your machine and cause all sorts of strain and stress. What you need to do is you need to go to the existing scribble effect, double-click it, and that opens up this dialogue. So now what we're doing is we're changing the top version and we're just going to wind this around so that it comes from a different direction. Now we're getting a cross hatch look. At this point, if you wanted to reduce your stroke width a little bit, you could, so you get a slightly lighter, darker effect if you like, and click "Okay". Now, I started with the light gray ones. If you have a look in here, the light grays have got a scribble effect associated with them. The lights don't. When I select this, you can see in the appearance panel, they don't yet have a scribble associated with them and we're not seeing one on the screen. Let's go to our light copy and apply a scribble effect to this. Now, I'm going back to my 30 degree. I'm pretty happy with all these settings except that I can't see anything because the color's not right. So I'm going to click "Okay". I'm just going to double-click on the color, which is now going to let me add a little bit of color to the lines that I'm making. So I don't want them to be terribly colored, just looking at this here and click "Okay". That adds a little bit of color into those shaded areas. This is a scribble image. It's being created from a photograph, but it's been made out of scribbled lines. Now you can go and fine tune this anyway you like. You may want to use crosshatching throughout, you may want to go and adjust your scribble effect. To do so, just display your layers panel, select on the layer that contains the items that you want to adjust, and then if you open up the appearance panel, you can get to the scribble that has been applied to those objects. Remember also that you've got this filled color layer behind everything. If you were to take this layer and if you were to adjust down its opacity quite low, you could get a little bit of additional color behind the scribble effect. That's another potential effect that you could create is to bring back some of the original color from the image below. Of course, if you want a little more detail, you could also, when tracing your image, use more than just the five colors that we used. But there's the effect that we came here to create. Your project for this class will be to go and get an image. You can use this one or you can use any image of your choice. Create a new document in Illustrator, place this image into your document, rasterize it, turn it into grayscale, go and run the cut-out filter on it, create a color scheme of shades of gray that you want to trace to, and then go ahead and do your trace, split all of the different shades of gray into different layers and then apply your scribble effect to them. Post your finished image in the class project area. I hope that you've enjoyed this class and you've learnt lots about tracing images, making color schemes, and applying effects to images in Illustrator. As you're working through those videos, you will assign a prompt which lets you recommend this class to others. Please, if you're enjoying the class, do two things for me. Give it a thumbs up and write just in a few words, why you enjoy the class. These recommendations will help other Skillshare students to find my classes so that they too can learn more about Illustrator. If you'd like to leave a comment, please do so. I read and respond to all your comments and questions. I look at and respond to all of your class projects. My name is Helen Bradley. Thank you so much for joining me for this episode of Illustrator for Lunch, create a sketchy image effect. I'll look forward to seeing you in an upcoming episode of Illustrator for Lunch soon.