Master Vector Illustration: Learn to Draw Anything | Jonathan Nawrocki | Skillshare

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Master Vector Illustration: Learn to Draw Anything

teacher avatar Jonathan Nawrocki, Designer+Illustrator

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

8 Lessons (1h 30m)
    • 1. Overview

    • 2. Selecting a Reference Image

    • 3. Creating Custom Illustrator brushes

    • 4. Tracing Images

    • 5. Coloring The Illustration

    • 6. Creating Shadows And Accessories

    • 7. Course Review

    • 8. Bonus Section

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About This Class

Super charge and transform your imagination with an in-depth illustration class like no other from design and illustration veteran Jonathan Nawrocki!

Jonathan is a small youtuber helping people learn graphic design and find the fun in illustration. Now, he shares his own creative process in never-before-seen detail, distilling his favorite tips, tricks, and techniques into an exciting masterclass for artists of all levels.

Working with Adobe Illustrator, you’ll learn the basics of vector illustration, while having a blast drawing your very own character. This is a very great class for beginners or even a seasoned designer Jonathan's step-by-step process empowers you to take risks, explore your style, and trust that you’ll improve every time you try. 

Think of each hands-on lesson as a mini bootcamp for an essential skill, including:

  • Brainstorming fun ideas ignite your imagination even when you feel uninspired
  • Vector Drawing to allow for easy editing and adjusting no matter how un-experienced you are
  • Inking for depth and dimension while leaving room for happy accidents
  • Using color to add intensity, evoke emotion, and play with lighting 
  • Creating custom brushes
  • Keyboard short cuts for easy work-flow

Plus, see how Jonathan tackles his illustrations step by step in his own style.

By the end, you’ll arrive at an illustration that feels fun, imaginative, and unique to you—and you’ll have skills to get there again and again! 


Get personalized project feedback from Jonathan. We're excited to share that Jonathan will be selecting projects from the class to feature and critique in a bonus lesson launching in the coming weeks. All you need to do is share your project by January 11th, 2022 for consideration. Click on the Projects & Resources tab (desktop only) to submit your project!

This class is appropriate for aspiring and experienced artists alike. Follow along in your medium of choice, on paper or digitally. Even if you're working with different tools, Jonathan's tips and techniques will still apply to your process.

Class Projects 02

Meet Your Teacher

Teacher Profile Image

Jonathan Nawrocki



Hello, I'm Jonathan. I'm a designer and illustrator living in the Midwest!

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1. Overview: Great. Hi everyone. Welcome to today's course. My name's Jonathan or AKI and Adobe Creative Cloud veteran. And I'm going to be your teacher today. I'm super happy to have you guys here today. We're going to learn so much about Adobe Illustrator, and we're going to learn how to create custom brushes. We're going to lay in color blocks. We're going to create highlights and shadows, and I'm going to show you how to do that all today. And Adobe Illustrator, don't worry if you've never use Adobe Illustrator in your life. This is going to be super beginner friendly, but also going to be really great for people who've been around Adobe Illustrator. We're gonna go over some really awesome keyboard shortcuts to make this super easy and increase our efficiency and the creating of this illustration. Also, we're going to create a really cool kind of custom look and graphic that you could use on t-shirts or posters. Any kind of product that you would want to possibly print off or create for a product or for yourself to enjoy. Hey, this isn't going to be a lot of fun and you guys are going to learn so much from this. You'll have so much to take away from this course alone without further ado. Let's go ahead and get started. 2. Selecting a Reference Image: Welcome back guys. So the first thing I'd like you guys to do before we get started is to go ahead and search for a mascot that you're going to use for your illustration. So what I thought was really interesting was giving some sort of animal like a really interesting human feature like wearing a top hat and iPad and also smoking a cigar cigarette. So, you know, you can find different funny ITA ideas on Google. One idea might be like a panda. You could search for any kind of animal that has a animal on it. And you can also add different items to the graphic. It could be the eyeglasses or a scarf. You can get as creative as you want. So like a funny, could be kinda funny like a bear or something. I find that the images that have like a straight on headshot are going to be the easiest for the illustrations. That way. You can keep everything kinda symmetrical and simple. Whereas if you're doing like a three-quarter view, you might need a little bit more skill. But as far as for a beginner goes, the easiest is just going to be like a head, head on face forward shot like this. Events, you know, maybe hid the animals doing some sort of funny facial gesture or, you know, like maybe he's got a yeah, maybe has like a fish or a salmon and his mouth. But see another one. Just giving the mascot or dog some sort of like funny human aspect like this dog has a hoodie ion. And so like stuff like that, you know, giving it some sort of human element will also make your illustration really funny or interesting, or just give it personality. 3. Creating Custom Illustrator brushes: Welcome back. Let's go ahead and get started. Open Adobe little shooter click file and create a new document any size you like. I'm using a square and go ahead and click Create. First thing we're gonna do is create a custom brush. You can find the brushes panel by going up to window up the top-left and, or clicking b. This is going to give us the brushes panel. So if you look over here on the right, we have a small brush panel and we're going to actually create a new brush. And we're going to do that today. And it's going to give us a very custom brush stroke that we can use to create our illustration today. So you can see a little plus sign on the brushes panel. So these are all the different brushes. We're going to click create a new brush right there. And we're gonna do a calligraphy brush and click. Okay? Now we don't really need to touch any of this here. You can name your brush. You can also change different things that the brush can do in this panel. But for today we're just going to name that and then click, Okay. So if you do this and the brush doesn't have anything to base it off of. So we need to create lips. That's gonna give us a custom brush. So if you click L, it will be the shortcut from the ellipse. And we're just going to create a kind of oval shape, if you will, and give it a black background or fill. And then once we have that selected, you can either drag and drop it into the brushes panel or click the Plus brush or the plus sign at the bottom there. So now we can, you can see that there's an actual shape in there that we can name it. Whereas before we didn't have that in there. So now the brush is based off this new shape. No need to touch any of these other settings, we'll just click. Okay. So now you can see that we have a really nice natural looking brush. So the shorter strokes, they look more like the original shape that made it from. And the longer the strokes are, the longer the kind of thin out as far as brushstrokes. So remember that you can also use the tablet and a pen if you have one of those. But today's video is going to be just using a mouse and pen. But you can see, you can already start to create really nice different shapes forums with this brush. The length gives it a little bit more of a marker, a permanent marker, and look that you can really create some really nice-looking line work. So for this example we will, you can see like this, regular brushes just doesn't have any form to a, It's just very circular. So we're going to create a thicker brush. Now, we're going to do the same thing. Click L for the ellipse tool and then make a black background. Actually move for this one and we will use a thinner and we're going to make a thin one. And then all you have to do is drag and drop the thin circle into this layer panel or I'm sorry, brush panel. And that's gonna give us, then do the same thing. You click. Okay. But we're going to create what's going to be a very thinner, much more thin line. This is great for creating a little bit more detailed, little bit more detail with our illustration. So this is a really simple process. If you want to create a fat brush or a really thin brush, you can create the ellipse, small or big, and give it a background. And you can do this for different colors to it doesn't have to be black, but it creates a line. And once you've created that, obviously you just dry it. You just drag that shape into the brushes panel here. And click. Okay, and it's going to create a new brush. So now we have different thicknesses of custom brushes that you can use. And this is great because we can get really thin, nice curvy lines or really thick mines. And so this is going to give us really awesome line work that's going to make your illustration really pop. So here I am. The source image of a chat. And he already had already asked the top hat and also the monocle and a bow tie. So if you wanted to find the source image, already, saw these human elements to them. That is fine too. So what I'm doing here is creating a bunch of layers here, any, but you're going to want to take that image. And you can click him up to File and Open. And then you can find the file that way or you can just drag and drop your image that you see from Google. And what you wanna do is go up to the Layers panel up here. Again, if you can't find any of these small windows, you can always go up to Window on the top left. You can find the window or the setting in this window setting. So what I did was create a new layer. And you can see a new layer. You can create a new layer here at the bottom corner of the layers panel and rename the background. And you can change the opacity of this pretty easily by going to Properties and clicking capacity and training and down. What's great about this is you can still kinda a, C, E. You can see the image, or we're going to draw over kind of tracing it. So the next layer we're creating your linework layer. So this is going to be the line work that we create for this illustration. And also it's gonna give us a lot more control over our illustration. So we can then reader easily add our color blocking and our highlights and shadows. So we're going to do for this example is start to trace out the line work that's most prominent in your image. And for this example, I am just trying to figure out how I want this had to look. You really want your, you really want your illustration to tell a story. You kinda wanna create character if you will. That's great, interesting. Or maybe you think maybe this person has, this little character hasn't whole story about him That's just make mix your illustration much more dynamic. If they'd like to have a personality in different story about them. But you can also click, you are, once you've made a line. You can also click control C and control V to copy and paste that line if you wanted to duplicate a line that you've already created. Or you can click that line while holding Alt on PC, and then drag and drop like all R naught equal to all, and click the line and then drag and drop it and duplicate it that way if you don't copy, that's also another great shortcut is by Clinton align holding 0 and then dropping it. Now I will duplicate that. So just in general, any dark areas are going to be perceived as either really dark shadows or they're going to push that area of the illustration back so it's, there's light. That means that there's light shining on it and it's protruding from the subject. And then if there's anything that's black, that usually means it's in the shadow and it's going to be perceived as pushed farther back. Trauma subject. So just keep that in mind as you're drawing your illustration. Again, we can make the illustration pop so much just with shadows and highlights is really going to make your illustration pop and give it a really cool dynamic look. And you can already see that you can start to get some really cool work with this brush. 4. Tracing Images: Awesome, So we're going to continue to create our line work on our illustration here. This is going to be the first round. Obviously this is going to be on its own layer so we can manipulate it and keep it nice and organized. And then we can later laid out on our colors and highlights, shadows. So we just want to continue to lay down our line work and you can create different strokes, different patterns to give it a kind of texture. And they can be as thick or as thin as you want. Just remember that it's easier if the lines are little bit sicker because when we go to lay down the first color, blocks of color, you won't have to be as precise when we're laying those down because there will be some some thick lines that you can hide the color behind because we're going to create a, another set or another layer. And that layer of color will actually be underneath the strokes black. So here we are. You can, just, like I said before, we have thicker and thin lines that we can use to create different textures. In this case, we're creating some kind of hair. In general and illustration. You want to follow the form. The stroke should come follow the form, the illustration. So the cat is kinda rounded here and kind of N1 to accentuate that form. And again, if you didn't know, you need to click the specific brush, the thin or thick brush here in the panel, and begin using the brush. And that way you can, you can choose whatever brush you wish to use. Knickers in. Here, I'm just going in and kinda creating some different areas of the illustration that I want to be very prominent with our brush. So you could also do this with using highlights or using different shading highlights or shadows to create those. But in this case, this is very much a heavy line work driven illustration. So we're going to actually use the linework to accentuate some of the characteristics of our illustration. So this cutie, actually in real life there is no line around its nodes. Nor as are many lines year. Because of three-dimensional boat. In this illustration, we're using line to depict and show that that part of the form is there. And so you can really get some beautiful lines that are really smooth and fluid. In your illustration, as you can see, it kinda takes a few times to get a nice and smooth line. But here I'm just dragging and dropping a few dots here to give the illusion of the whiskers. And later on, we will go over how to create the whiskers and who probably put those on its own layer. So I'm just going in and kinda you can, if you really want to. It might help if you just pretty much outline or trace your illustration with this, with this thicker, thicker brush. Depending on different areas, you may want to use a little bit thinner brush to give it a little bit of variation, variation in line work. And it can really show a lot. And it can communicate a lot of different surfaces. Just love the brush that we've created here and I use it for a lot of my illustrations. So I'm just kind of going in and creating some more features to the cat. And you can see I've created a little bit of a thicker line to give an illusion of an eyelash. To remember, we want to keep this all on one layer. So we have the background layer of the image. We're using. And then on top of that we have the line work that we're creating, the green line work with. So I'm creating the molecule, molecule. Molecule. That's right. Because he's a cool cat. But actually it's not a monocle. We're doing an iPad because I thought it was cooler. Kind of make some MOOC and keys a bad key. And so had to actually look up what an eye patch looks like just to make sure that I'm depicting it right. And so you may have glasses on your illustration. You may have no, You could depict like a black eye or you could depict maybe he has like an old pipe, tobacco pipe or something, or maybe he has really giant eye. It's really just up to you. But adding these tiny little details in your illustration will really make the illustration more dynamic. So for the sake, we've done a pretty quick render of this cat. And you can spend as long as you want on this illustration. The more details you have. Uf, medicine, dynamic and cool and B. So you notice I kind of moved the line work. You can actually, by clicking the direct select tool in your, in your Adobe Illustrator. The short-term short cut for this selection tool is v. So you'd switch over from the brush tool to v. And you can actually just click your line and box will show up. Then you can just move that or stretch it. Clicking on one of those corners of the box. So you can distort any of the brush strokes that you make by using the direct selection tool, which is V, as a shortcut. But also you can turn on and off the layers that you have, which is really great for looking to see in manipulating different parts of your illustration. So in the Layers panel, There's actually each layer has a little eye icon on it that you can click on, that it'll give you that turn on and off the background layer or the highlights later linework layer. And this is really gives you a lot of control to see in right now. We just have that background layer turned off. And we're kind of just, your illustration doesn't have to be exactly as the, your, your source image is. You can kind of make it your own on, and I encourage you to because it will give your illustration on much more dynamic and interesting look. If you kinda make it your own and create your own style to it or adding elements. It's going to make it a lot more interesting. So we're just referring back to the illustration that I had created originally an hour, just recreating that so you can always look at that for inspiration. The human is driving a little bit detail. I need to make to detail a little bit smaller. So I'm using a smaller brush. So a lot of times I'd kinda jump around on my illustrations, working on different parts of the illustration. You can also evaluate these are colic folds or wrinkles. You can add great details that way too and connected. You can really push these illustrations far with detail. Like I said for this example, we've really made it much more simple. But Mark, you could spend hours and hours and on creating detail in your illustration. And it's definitely going to bring your illustrations to life. 5. Coloring The Illustration: Okay, So you guys are doing pretty great here. I want to go over a couple of new tools that we're going to be using. And it's going to be another brush called the blob brush. And we can color these artworks with a couple of different, couple different ways. We can either use a brush, which we would ask to have to create an if we're going to use the custom brushes that we made, we're going to create a brush with the same colors. A black brush. It would have to be like, say you like whatever color, orange or red or blue, we have to create that ellipse, brush with that color. In this case, we're not gonna do that. We're going to be using the blob brush, which is really great tool. The shortcut for the blob brush Shift B, if you're on PC. And you can pick whatever color that you want to use here on the left bar. And you're going to want to create a new layer as well. You can create a new layer by clicking that far-right icon on the layers panel. And that is going to begin to lay underneath the colored line work that we started in the beginning. Also. If you wanted to erase anything you want, you have to do is click V or use the Selection tool that top lip and click the line. Or Ortho was a color that you ought to, your race. Can do that by clicking, clicking Shift E. And that will bring up, bring up the eraser tool. And then you square it and add any area. Another thing you can do with this blob brush or the eraser tool. If you wanted to get really detail in the Iraq War I, in the blob brush drawing or coloring, you can click Control right bracket or less bronchi to create a frame size. So if you hold Shift, I'm sorry, if you will control or command, if you're on a Mac, you can click Control. And then also right-click e, right bracket, keyword, button or left bracket to increase the size of the brush. Or decreases as the brush if you keep clicking goes. To also make the brush really small and small detailed areas. And that's really helpful, comes kind of cut in between this area because I'm going to color nodes ink. So I don't want to get that area. So Control or Command, right bracket key or less very key to make it small. Arch. So we're just color. This is one of my favorite arts. Sign from creating shadows and highlights. You can really get some really cool. It's just really cool to see the illustration start to come together here. This part. So again, you can click there on the left, the two boxes. You can click, double-click that, and then we'll bring up color box and you can pick a different color you want to. You can also use the AI tool. And if you just click shortcut, I see you have your source image that you just want to sample a color from the image. Tool and sample color scrubs. And then when you go over or when you click on the color, color square root here, let's just say f, the blob brush. And you go to your image. You can sample a color from the image and then use the eyedropper tool. And so I'm here. No ink. Work. Your sample. And like I said, you want to make sure that it's underneath layer. Another thing you can do, if you wanted to, if you're on the same layer. And so we'd have that great or that gray color. What you can do is you can click the gray layer to that first color that you lay down. And if you click Control Shift left bracket, that will send the color or behind whatever it is. So the way that I was able to get that. Section pink nose was by sending to pull up the gradient layer. So you can click that gray layer, whatever, color it. And then you can click Control Shift, left bracket key. And that will actually send it to the back. You can also right-click. And once you right-click on the image or color that you want to send to the back. You can click our range and then send it back. You can also bring it to front as well. You don't want to do that, but you can keep it very simple and just create a new layer for each color or highlight that you're laying down on. And this will keep everything super simple for you all to do. Push things back, front. But sometimes I do that if it's just a quick little tank here. But probably the best way to do it honestly, is just to create a new layer for each color that you want to use. And that way you can visually see what's on top of what's behind the wood. And this will create a really nice static, a really organized files. So you can see that I've just started to fill in illustration different areas here. We will create an illustration here, some different colors and highlights. You start to see I left the, I kinda cert, secrete little bit to mention in our illustration. So one thing you can do, like I said, is to create a new layer, to create shadows or highlights. And you can use the blob brush, where you can use another one of our custom brushes that we need. And you can also turn up or down the opacity or just use a lighter color. But a lot of times I just change the opacity of the color, the usage. So again, I use the blob brush. And if you click over on the right panel where it says properties Gu will over Properties panel. And you can actually change your attitude, appearance to capacity at more upset to 50 wherever you like. And it's, it's not a good window. And you can also go to Properties and tall order. And you can create transparency for the shadows, which is a lot of times what I do. One thing about the blob brush though is it doesn't, it's not the same, doesn't have the same stroke as saying one of the brushes that we created. But you can create a new layer with that merge. And you can create a new layer for shadows. And you can just change the opacity of that layer. And that will get a little bit shadow effect. So again, if you miss that, create a new layer for shadows. Now put all your shadows in the custom brushes if you want to use custom brush strokes. And once you've put all your shadows in like, like, like we're doing now. You can just go up to that layer, make sure you're selecting that layer and then go up to Properties and change eaten they appear. That way you can see the black line work consultants and sudden. 6. Creating Shadows And Accessories : Welcome back, guys. So we are in the process of adding in our shadows and our highlights. We're going to dive a little bit deeper into this. Again, we want to keep on each, each highlight or shadow on another layer. And you might keep everything underneath the lines. But we want to create a layer on top of the already present colors. So what we can do is, we're gonna do here is actually create a shadow over the entire face of this guys, of this, of this guy. So as you're creating the same as mine, you can start to create the shadows either the blob brush, which is what I'm using right now, again into our other layer. So what we're gonna do is we're going to create a pretty dramatic shadow here. For sure the school have some shadow. It's really up to you. There's a shadow underneath the rim of this pan. And also because the gears we want to give the illusion that they're being pushed back. So we're using the blob brush tool to continue to fill in different areas. And I'm just referring back to our original illustration. And if you do decide and using a blob brush tool, if you do decide to your create or use one of the other pressures that we created in the beginning. You will have to do a little extra step in order to make that make that work. One of the things that you can do is click the stroke. Where you can do is actually select all the groups that you created. And you can do that by over in the Layers panel, There's like a circle. Each layer has a little circle on the right, and if you click that, it will select everything inside that layer. Once you've done that though, you can actually right-click anywhere on the suit moves. Lines are selected and you can actually, I'm sorry, not I right-click. You will actually go up to Edit. And what you're going to do, Object. Expand your book to object. Once you have all those lines, like to click, Expand. And what that does is it just turns all of your lines into actual shapes. So once you've done that, it will turn them on to shape. You have the set of lines who have sheeps. And so what you can do from there is, you know, so you have overlapping lines. You just want them all to be one. You can actually just go in and actually you can merge them together. And so if you have all those selected, you can go over. What you can do is you can, once you have the line selected and they are expanded, can actually click and your Properties panel and go down to Pathfinder. And you'll see two squares kind of overlapping. That's how you merge two shapes together. So one thing that happens when you're dealing with transparencies, with the strokes that you're using. The main kind of create some weird overlapping ions because they are transparent. But what you can do is use the Pathfinder tool to merge them together and create one. And once you selected them, all, the selected, all the lines are expanded. You can go up to properties and click down where the path says Pathfinder and there's two squares you can click that, merge them together. So you can do the same thing through different different areas. What I've done is just created another brush with a darker orange. So you can do that with any color. And that will give the illusion that there is some sort of shadow. So you can see over in my brushes panel, there is a darker burnt orange. And that is where we're using two shadows. And you can do that with any color. So you can see it's a lot different than the blob brush. So you can either create shadows with the blob brush or your customers. And of course, you can still use the eraser tool on any of these brushes. So again, the eraser shortcut Control E to make sure that you are selecting. You select one, and then line or shape color that you want to erase before you can erase. So shift to your incident and it works just like a regular merge. And again, if you want to change the size of the brush or the eraser, you can hold Control Shift left bracket key to make it smaller and more. Control shift right bracket here. So you can see right here I'm kinda riots in trouble or I need to make sure that the shadow is laying underneath that black line. So sometimes I will create a connect sicker black line and some urea. And to make sure that it's covered up. The color box. In this case, I just created underneath there. And once you add these shadows, really does make there are a lot more dynamic. And it looks like we're just gonna go ahead and create another, another brush. Like I said, it's up to you. You want to do? We wanted to simply use the blob. From the highlights. You will need to do well, and you can use the blob brush or some q. In this case, I created another brush for the highlights. And I'm just using a white brush in this case. Creating a white Olympics. Creating an inverse. Now knew that. And so you can just kind of play around with it doesn't have to be exactly like the image. So from here we can just create a new layer and create the whiskers. So you can just take my smaller brush and just start to make these dots. And you kinda want to make them in the shape of the forearm, which is kind of this rounded little muzzle of the cat. And, and this one, i'm, I'm not exactly doing that through this example. I'm just kinda making the dots there. But if you look at the example, the kinda of round around the kind of noaa around the shape of the farm to kinda give it the illusion that it is sort of three-dimensional. These whiskers, I definitely needed to use a thinner brush. To create these whiskers. I put them on a layer of their own. And then come on. I'll make smooth and quick motions with your mouse to create those really nice smooth whiskers. And you can also copy in a slopes and duplicate them so you don't have to make them all by hand. You can just copy and paste. That means if you get a couple of one, a couple of them that you really like, you can change the size of them, bigger and smaller and varied in size. You can do that. So you can make maybe three or four whiskers that you really like and then just duplicate those. One of the techniques I use. A tool, there is a feature that is called reflect, transform and reflect. So what you can do when you're in heroin, you get a couple of these whiskers I like. So you want to select like two or three or even one of them if you wanted to. You just select both of them. And you can hold if you're going to select them individually. Click one, click, Shift and select more than one object. You can click right-click. Well first you can copy them. Control C, Control V, and you'll create another. Then from there you can right-click and click Transform and then go over to reflect. And then they can either reflect horizontally or vertically. And then you don't have to actually draw all these. Our objects. Control. Group the objects together. And like I said, if you, if you click the object and you can control, that allows you to transform. So as long as you're selecting you click Control T. You can change the size of it that way as well. Some courageous making these kinda bushy in my own words. And the whisker aren't growing out there to make it look real. And certainly kinda give the impression of a mustache. This is kinda cool. Kind of goes along with the cat. And I'm going to line them up. Maybe he's an older man. Much up to you. I think. It's up to you, to your tutor. Think I named this cat Sampson, Samson. Bad kitty. You can kinda tell a story with your illustration. And if you wanted to do put an eye patch to, I mean, you can always copy each element that you do and just do that transform select. But if she didn't want to, he wanted to create an AI apache, an easy way to not have to draw another. I've been at machos actually harder than you would think. Here. I'm just drawing the cigarette, which is one of the live brushes here. Just kinda giving us some learn by making strokes nice, angled, kind of given a feeling that is kind of ground, can do a lot with line. Didn't really make something two-dimensional and three-dimensional just with a line of own league, convey a lot of information. The directions of the line since wrapping around the form. In this case it's more like a cylinder type form. And what I'm gonna do is I'm just going to use a really small blob brush here, different red, reds and yellows and oranges. Turn, I give an illusion that it's lit. And we couldn't. And here too, if you want it to be pretty easy, I think we need to do that. So I'm putting all this all on one layer if you wanted to. You could put it on different layers, but honestly with just a few different layers here, on the same putting it all on the same layer. We're going to be okay as long as you understand how to control pushing the different colors forward, back on each other. And so I'm just going to try and create the effect that there is some sort of, like you said, the center pro here is that research will that work really good on, on your brush, pens or anything that you're illustrating. And I'm just trying to round it off. There, you can probably remove some of these black stroke shear so you can see a little bit more of the color, whether you are, can add different accessories. There are two illustration. And so we can keep this white here because there's nothing behind her back on. We're gonna give it a white fill and send that to the back. So if you just click it and click Control Shift and left bracket, send it to the back. I'm just going to group this all together. We can make it a little bit smaller than smoking cigarettes. And so if you just click all those, that group and you click Control T, you can scale it up. If you click, once you've done that, you will shift. It will maintain the aspect ratio. So we'll, we'll get all distorted while you're transforming the size. So if you hold Control while you're sizing it, maintain its reach and all distorted. So remember that when you're resizing different illustrator and stuffs, accessories or you can add to kind of give it more personality. I think the stronger and the composition will be happier you eat with the outcome of what we're gonna do here is actually just add a little bit of a shadow cigarette. So I'm just thinking like a light gray with the blob brush tool and drawing and where I want the shadow to be. And send it to the back. So you can take that, send it to the back and then send the white behind that nice little shadow there and just change the opacity there so it's not so harsh. And again, if you don't remember how to send things backward, you can always just use a layer, create a new layer, and put it behind our underneath that layer. Or I can said Control Shift, left bracket, left bracket key will send it to the back of that. And vice versa. Control Shift right bracket will send it to the front. And also that little thing that just click there on the right. That is a way to select everything in that layer all at once. So if you ever wanted to select all the objects in that layer, you can just click that right circle on the right of the layer and it will select everything for you. 7. Course Review: Alright, so we are getting near the end here. Of course. There's two more pieces I'd like you guys. And this is just how to illustrate this skateboard or another, so that you can add to your illustration. It's falling the same premises what we've been doing. But I figured it's a good review to add over what we've already learned and a good way to just kind of refreshed and make sure that you guys took away all the scores. So we're just gonna go ahead and start with that. I'm dark black brush creating a new layer. To start this, I'm really just going to be recreating to report here. So we start off with the outline of everything, kinda seeing things as well on this example. And you really just want the basic outline. You are subject. In this case, it's going to be the trucks, skateboard. And in this example I'm going to make it much more simple than the original illustration because I spent a ton of time individually drawing out each, each item. But here are the few, couple more shortcuts to help you increase your efficiency. And thus design. For, for these, I just copied and pasted the first truck. That's the middle piece of that skateboard there. And if you click Control T while you're selecting your item, you can actually rotate it as well as making art or scholar. And that's just what we've done here. So I'll reuse the skateboard wheel here. If you just hold Control C, control V, paste it, and then you'll have another there. So there's some good review. What we've learned in this course. I'm just going to go ahead and start laying in color for skateboard or were you I would probably just to make it easy to make another layer for the color blocking the color or the color right over the soft because it's going to be sent to the back of this layer and make it a skateboard. And like I said, Control Shift, bracket key will make the brush smaller or Control Shift right? Bracket. Scholar. I'm sorry. It's not controlled. Shoot, just right bracket. Larger left brackets. When you have the blob brush, you're just going to click the left bracket to until you get to the desired size. And I'm just going to no control shift. It's just when you have the blob brush right bracket will make it larger. We're just going to fill this in and just send it to the back. And just Control Shift left bracket key to send it behind items. Or again, you can just create another layer, put it underneath that layer. And we do that quite a bit. And then we're going to paint over on the color. If you right-click the area to the left side there, it will pull up the option to click a regular brush for loop. So yeah, we're just painting. And what we're gonna do is just click each one of the real colors. And we will click Control Shift left bracket key and send it all the way to the back butt. And then I took the purple color and should do that to the back as well. Another thing I want to show you guys here is you can actually. By clicking, the direct selection tool will allow you to click on the path that you just created. And you can actually edit the end of the path. With each one of those anchor points allows you to kind of be more flexible and edit. Your past as well. Can also use a directional arrow keys to move it left or right or up and down. And I'm just going to add in some little details here. You can see in the original illustration, I really put a lot more work and details. And it can also add these little kinda scratch marks if you wanted to kinda give you a little bit more character to the I'm just kind of trying out these scratch marks here. And I added them on the original board, but I think I might just sleep on how to sequence the eye and just grab the brush again and create these scratch marks. And it couldn't be anything whether you're doing the same illustration or your own. Adding these little details in your illustrations, really going to make it sound a lot more dynamic. It's going to make it a lot more detail. If that's the look you're going for, you could go through super simple illustration, spoke. Use illustration. This illustration style is kind of a esophagus. And I like the rough, sketchy skateboard graphic, illustration style, kind of cartoon. If you will. Just have a lot of fun with, it, doesn't have to be perfect. You can kinda go outside the lines of the black and give it its own little style too. So it's kinda why I like it doesn't have to be perfect. Just super fun. It's sketchy. And when we are working to take some time off to play a little bit in Illustrator. You know, it's kinda nice and just have fun. And don't worry about whether it's symmetric or groups. Maybe it's kinda nice to just be able to play around and make something that you're proud of it. Most agreed about working in Illustrator too, is that it gives you the ability to scale the graphic as little or as large as possible without losing any resolution. That's really the difference between sotto. That's one of the differences between Photoshop and Illustrator. In Illustrator is a vector-based program. Photoshop is a bitmap, the program. So differences between those is illustrator uses complex computer, computerized, like to form, form. Graphics, if you will. Versus photoshop uses pixels and still pixels, but Illustrator allows you to scale infinitely without losing resolution is kind of a complex thing. Just know that you can infinitely scale a vector graphic is large or small as you want without losing resolution versus Photoshop, you'd have to have a really high resolution image to make sure that you don't quality. So that's really cool. So you'd be able to use these, can export them as like a PNG or JPEG, or really high resolution printing. And to create like some t-shirt designs, sticker, graph, posters, whatever you want to do. They'll be great for that. And so some scratches to make the scape word count look like it's been abused a little bit. And you can also create some different shadow on here if you look at the original shadows. And when I always recommend for any kind of shadows, we can just copy the original color and then move the color marker over towards a more darker hue of that color. And that's going to give a really nice shadow. So what I did here is just using the blob color tool to kinda create a sketchy looking at the board. It's kind of being shown where it's been scratched up and maybe the inside of the scope or this kind of exposed here. I really just moved the stretch marks and put those on top of where I colored it in there. Super simple way again, you could create an odd layer as well. If you notice, you notice throughout this the brushes, there are actually a line versus a sheet and read about them. When you're using it automatically as a sheep, a line. Does that make sense? So if you wanted to create the same effect with the brush tool, you wouldn't actually like we did earlier, we would actually have to go up to object and expand the lines. And then as you're selecting all of the lines, you'd have to go over to Properties panel and go down to appearance and your transform arm to the Pathfinder and click those two squares. I kind of emerged the lines and graphic singular, and that would create all one. Module 1 we learned in the course and also movement moreover across work. And so I'm just kind of mess around with this is probably a little bit too uniform for the rest of this because everything else is very drawn looking. And so really just trying to create like a it's like a sticker, if you will, on skateboard. But I guess I think it's a little too uniform. It kinda just make like an abstract shape with the pen tool here, which is really great, great little tool. To make kinda abstract, cheaper and cheaper for that matter. You actually set it using a brush tool. You can use the pen tool to create to create tubes. So you can actually make a path or a shape with the pen tool. And then you could go over to the brushes panel and select, while you're selecting whatever you just drew more, you could actually select one of the brushes that you've made. And also it would turn into sheep without actually using the brush tool. Just kinda cool. And three, when you do that, you're more comfortable using N2. To illustrate. Although I kind of like using the, using the brush because it's much more Enron and feeling. What if you wanted something that was less hand-drawn anymore? It's kind of more supersymmetric. You might use to create that effect. I think since I didn't create a new layer, anything, I'm just going to create a new layer. Then sometimes I'll do that. Sometimes they are just super organized and simple to you. So generally when you're, when you are creating the shadows, you do want to think about having a light on light source. So whenever the light sources coming in from above or from rewrite top right corner or top left corner. It couldn't be coming from the bottom. Let's do rake one or bottom can be bottom-line. It generally I just use colleague the over or above above the head lights worse. So generally, any light that And down, you know, anything below are underneath these trucks or I need to skip weren't would more than likely have a shadow underneath them. Then you can kind of be, it doesn't have to be perfect. There might be some random shadows casting races. It's kinda up to you, but be consistent with whatever you wherever your light sources be consistent with that and stick to that. So if there's light coming in from the right side, all the shadows should be on the left side of the illustration. If you just randomly, throughout your illustration, It's not exactly going to look right, it might be okay, but generally you just want to keep those consistent throughout. I think you will be really happy with it. It doesn't have to be perfect, but who saw them? I'm super excited to see what you guys end up designing. Yeah, Here I'm just really just going in with them. Blocked very loosely. Drawing accounts, maybe a darker shadow escape route there. And then sending the line above two. Just like that gives it a cool effect, kind of like the Simpsons or something that counteracts symptoms. I'm super excited to see what you guys a different kind of characters that you guys create. What you guys do and see if you guys either mimic the style, kinda establish or if you kind of go off on your own style because this is like very much a rough and sketchy kinda style. And so you can do whatever style of illustration you want. But I find this to be the most fun and relaxing and also satisfying release for me right now. Who versus doing something very structured. In the lines? To me, this is just a lot of fun. It's a great way to kinda kick back. Drinking cup of coffee in the morning. Do some illustrations, you know, Saturday morning or late it later in the evening after working with communities or do something kind of fun part or illustration to swallow things as something that you just do for fun. It can be a job, but for me, I really just do it for fun and do it. It's one of those things that just, it's very relaxing. And there's no goal for variance kind of put also, you know, it's not very serious thing in this kind of play around. In your guises case, learn how to use Illustrator to create some really cool graphics. I'm excited to see you guys make, and I hope you guys have enjoyed this course and got a lot out of it. If you guys have any questions at all. Go ahead and post some here in the announcements or comment section there. And be sure to be really responsive to that any time someone has any questions or anything like that. I'm always here answering questions. I love interacting with you guys, and I appreciate you guys taking the course. So feel free to ask if you have any questions at all and definitely post your, your end product even if it's even it's not the best or you're not proud of it. And you're not, I can leave provide a little bit of feedback and help you out and if you need it. So that pretty much wraps up this one. So that's how you kind of read. And it was basically an overview of what we've already done. But you can go ahead and draw new elements to make your graphic stand out. 8. Bonus Section: Well, hey, congratulations guys, you made it this far. You are super close to completing this course. And I'm super excited, super happy to have spent the time with you guys, enjoyed this course. And we're gonna go ahead and just kind of a bonus here. I'm going to show you one in a kind of bonus section here for doing a nice image trace. Say you wanted to add, you wanted to turn an image back to your SWOT format. What we're gonna do is I actually added a couple of cool escape word logos to this graphic. We can do is just go ahead and click grid and find a couple images if you wanted to. Kinda creating a graphic, illustrating it. Certainly not going to be the same illustration style. But what you're going to do is you're going to save an image off of Google and then bring it into Illustrator. We can do from there, let's go up to Object and top-left corner. Make sure you're selecting your image. Go to Object, and then go to image trace. Once you've clicked image trace, it shouldn't bring up a window for the image trace panel. If it doesn't, then go over to the race, I had to include properties and then go down to image trace. This shouldn't show a default section there. And there's a little box that says Open Image Trace panel that where you can see all the image trace options. And we want to do, for this example, we're gonna go to advanced. So you can click the drop-down for advance and go down to Options. We can click Ignore White. And what that does is it's going to remove all the way from the image. And remember this is actually going to returning the graphic in from an image into vector graphic, which is really cool. All these different settings will adjust the complexity of the image trace. And this is really great if you have a really complex image that you're tracing and the computer knows what to do. You can kind of give it more or less information. You can make it black and white. You can make any color in this example, I'm making it color by, let's just say if you were like adding, for example, like a shovel to your graphic, you could image shovel into your graphic and you can kind of make it look similar. When I name it. In the image trace panel. At the bottom, there's a preview button. You can see what it looks like previewed. Unclick the Preview button. Once you're done and click traits will just does it, completes the trees and completes the turning them vector into ni are trying to image into vector. From there, we can add it into your graphic and the whole image will be a vector graphic. And I'm just moving the arm around and moved on me here. But what I'm gonna do is actually create like a chain for bad cat here. And we're going to move a little bit, make it a little bit of new homes. The Image Trace makes sense because it's super handy when we want to make something Vector Graphics Control T. And then sciences thing down. It looks pretty good. I'm just gonna kinda, kinda illustrate a nice little chain here. Also, if you have any issues after you click Image, trace, what you can do is go and select the graphic and go up to Object and click Expand Appearance. We did that form. This will turn it on to shoot just to make sure. And also separate each one end and then two more things. Elements in the graphics. You can change or change the color or get rid of any of the elements and it will pretty much turn every element and graphic. And she saw, you can change color. When should we do end up playing around with this a little bit to remove the letters. So play around with it, have loops on. This is a good way to, if you, if you wanted to add some glasses or different to your graphic, about actually having to illustrate it. Although you kinda do sacrifice a little bit of style. Because it's the computer generating graphic, not count takes a little bit of fun. But for a song like this, I think I'm gonna do it. And just because it's like a logo and it might not look as cool if I try and keep the logo. Mean it may could definitely make it happen. Here, I'm just drawing some circles to kinda symbolize the shape of the chains. And we're going to change them to know what's there. We are going to select this to make it the same and also change. So I'm gonna expand panels. I can move things behind or like this right here that you're seeing this isolation mode. So if you just double-click or quadruple, then object, it will still give you the ability to edit that object. Which is kinda cool when you have a ton of layers and you just want to isolate one saying and change the color of the stroke or anything like that. And you can add a background color here or an image. For your graphic. Stroke here. We're going to do is write that you might be kinda cool right around with us back around to different looks bus was most contrast. Again, just like the black here. Super dark sequence to kind of see. What we're gonna do is actually create an outline. Kinda like a sticker outline will really make the graph look like a sticker. Which is really kinda cool. I kind of like this MOOC. I actually have a store where you can buy the sticker if you wanted to. I think it's a sticker and also I think I put it on a couple of t-shirts. So if you really like the look of this, I do have a story in this graphic as a sticker and t-shirt, maybe pretty, um, but yeah, that is also something if you were interested in doing is designing your own peril or graphics or posters. They offer a lot of different, lot of different options to put your art on almost anything and sell it. So you're free to 3 to do that. So what I'm doing here is using that blob tool again and treating an outline for like almost like what would be like a die cut for a seeker. And I just think it adds a little bit of the graphic and it separates the gravity, creates a little bit more contrast from the background. And it definitely does the group that illusion or idea that it's a sticker, which is pretty cool. And I really just move this over the top and then I send it to back. And you'll see that just a second here. Which really makes it look cool. Also, if you're trying to do something with the brush, you're trying to just like something you need to use the Direct Select tool and the selection tool to move it. So Control Shift left bracket and put it at the bottom. Sticker part to golf or whiskers decided I didn't like it. Didn't look great. Next probably has to happen if you actually did not think it looks better than playing around. And since we were able to remove these different grassroots or pieces of the illustration. And that's really nice. Object Expand. Really comes in handy. The image trees, SWOT. See you. I hope you guys really enjoyed this. I had a lot of fun teaching you guys. And I'm super excited to see what you guys have. Have created glia and the discussion section of class. And yeah, Let me know if you have any questions. Super excited. Thanks a lot guys for making it this far and spending the time with me. And I'm looking forward to more classes. Similar. Also, if you have any, any ideas for classes or any things that you're interested in learning or next class. That's it. Congratulations. You have completed this restriction course.