Pathfinder: Design A Patch! | Jon Brommet | Skillshare

Pathfinder: Design A Patch!

Jon Brommet, Graphic Designer

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7 Lessons (48m)
    • 1. Introduction

    • 2. Each Tool Explained

    • 3. Vectorizing Night Owl Patch Part 1

    • 4. Vectorizing Night Owl Patch Part 2

    • 5. Baseball Owl - Sketch To Vector

    • 6. Thank You!

    • 7. A Message From Future Jon


About This Class

The pathfinder panel contains some of the most important tools in Adobe Illustrator. They will allow you to quickly manipulate shapes, in order to get precise vector lines or curves, without the hassle! Although this class is stand-alone, it could also be considered part 2 to my last class The Pen Tool. Knowing how to use the pen tool, shapes, and the pathfinder panel will allow you to create essentially anything in Adobe Illustrator with ease.

In this class I will show you how to use each tool in the Pathfinder panel. Using those tools along with shapes are extremely easy to use and understand, so this class will be a breeze.

The project for this class is to create your own custom patch. Thanks to my good friends at Apple Metal3 lucky winners will receive 30 Patches with their design! You just have to cover shipping. So even if you are an expert at using the Pathfinder tools, feel free to enter the contest with your patch design anyway!

Enroll today! And don't forget to check out my other great classes as well!


1. Introduction: Hi, I'm Jon Brommet. Now, welcome to Pathfinder, my new Skillshare class. This class isn't about a popular SUV in the North America, it's actually about the Pathfinder of panel in Adobe Illustrator. In my last class, the Pen tool, I told you that it was the most important tool in Adobe Illustrator. Well, just behind that is Pathfinder. With Pathfinder and combining them using shapes, you can make precise vector curves or lines much faster and they'll be way more accurate. It's just a good way to save a lot of time. In this class, I'm going to be having you create your own custom patch, and of course, I've got a contest. The good people at Apple Metal are back to sponsor this contest, and three lucky winners will be producing their own custom patches with their design. Of course, if you're actually watching this class, soon after it was released, you can still take part of my last class, also sponsored by Apple Metal, and you have a chance of winning 50 pins with your design on it. That contest ends January 14th. So make sure you check that one out too. All right. I really hope you check out of the class. I think that it's going to be a great learning experience for most of you. Even if you know how to use the Pathfinder tool, you may want to enter it just so that you can take the contests. Again, it's pretty unbeatable. Thanks so much and we'll see you in the next video. 2. Each Tool Explained: Hello and welcome to the class. Of course we're really going over pathfinder and shapes, so without any further ado, we're just going to get right into it. I've drawn this little chart which you can just download the PDF in the project description, and it should be pretty easy if you just print it out, at least where you're quickly learning the pathfinder tool, and it's just a nice little quick way to understand what each tool does, and how it will be useful to you when you're using your designs and trying to make your shapes. What I've also added here as you can see is four shapes, those are all underneath this little toolbar. We'll go over to the rectangle tool, if you click and hold, it pops out this little menu with different options. If you click this little arrow over here, it'll actually just expand it, it'll be its own little panel over to the side. You can see here that the very first one is the rectangle tool, then you have the rounded rectangle tool, the ellipse tool, the polygon tool, star tool, and lastly the flare tool. We're not going to talk about the flare tool in this class because it's literally adding a flare to your work, and in my opinion, it's almost really out of place in this panel. It doesn't really make sense. It's not a shape so I'm not sure why they put it there. We're also not going to talk too much about the rounded rectangle tool, and the only reason for that is in newer versions of Adobe Illustrator, I find that tool pointless. I'll show you what I mean. I'm hitting Z on my keyboard and I'm just going to click and drag to zoom in on this rectangle that I've already drawn. Now using my normal selection tool, I'm going to switch over to my direct selection tool, so this is an R1 right here, it's V on your keyboard, or we can go to the direct, which is A on your keyboard. Make sure you know the quick keys, I talked about that in my last class but they'll save you a lot of time and they're easier moving forward. With the new error versions of Adobe Illustrator, if you go over to these dots in the corner, you can simply click and drag in, and you can change the angle of the curve just that easily. Ever since that was introduced, it makes the rounded rectangle tool pointless in my opinion. Basically we're just going to use those four basic shapes. It's going to be rare that uses star, but if you use it, that's fine, if you use the same idea with the polygon tool, the rectangle tool, and the ellipse tool however, you'll probably be using constantly. I don't think there's a time when I'm drawing anything in Illustrator where I'm not actually using at least one of these two tools and the pen tool. Of course, if you're not familiar with the pen tool, make sure you check out my last class as it's like I said in the intro, this is considered a part 2 to the class. It's definitely stand alone as well but if you want to learn the pen tool and pathfinder, you'll be able to do anything you need to when it comes to illustrating in Adobe Illustrator. We're just going to get into the tools. To make sure that you have the pathfinder panel open you just want to go to window at the top of your screen and go down to pathfinder and make sure there's a little check there, it's also got a little shortcut. But just make sure there's check there and mine is already open which is right here. What I've done is for each one I have labeled it, I just wanted to make it nice and clean and easy for you to understand. I've drawn the same two circles with a red and a black fill and I've duplicated them all. Now we'll go over the basic tools which are in the pathfinder panel. Again I'm using Z on my keyboard and we're just going to zoom in on unite. Of course I've got the example here below but I'm going to actually show you just basically what happens and explain it in a little further detail. If we move this red circle over you can see there's a full black circle underneath it. If I select both shapes and I go over to the first and the top left corner of the panel, it is unite and I will click that, and you can see what it does is actually combining both shapes into one, and it is taking the foreground color that was on the red circle because it was in the front. If I go into my wire frame that's command y or control on a PC you can see there's just one shape, there's no more line here, like if I zoom over you can see that's what it look like before, so that's what the Unite panel does. Pretty straightforward, but some of these will be obvious just by the names and some of them are a little less obvious. Minus front it's one of the ones that's fairly obvious, it's going to take whatever shape is in the front, it's going to minus it from the back and you'd be left with the back. That's right here, I've done them all and pretty much in order. You can see that that's what happens of minus front. Again, in our wire frame you can see that you are left with only that one shape, which is the back. Going to intersect. Again, fairly obvious, it's going to take the shape that is intersecting between the two shapes and that's all you're going to be left with, so we'll go over here to intersect, and we click that and there you go. Again using the foreground color, exclude is the opposite of intersect. It's going to take whatever is intersecting and delete it, so we'll go over here and we will click "Exclude", and you can see that's what happens. Now these have become, basically there's still two different shapes, but it groups them, so to ungroup you can go Command Shift G or control shift G and a PC. You can select this D and turn it back to black if you want. But now there's no middle fill anymore. We'll go over to the divide. I've actually pulled these apart just to make it a little easier for you to understand. These will actually be touching still. The reason for divide is you got one shape, two shapes. But if you actually go over to divide and click it, now you have to ungroup it again, so Command Shift G, and then you can see that you're actually left with three parts. It look the same until you actually started moving them around. But for some reason you may want to, when you're making an I or something, you may want there's a different shape, you can easily change this color and so on and so forth. Trim. Some of these, another thing about this panel is some of them are going to seem like they do the same thing, but that's just with this example of circles. Trim is the same as minus back which we'll get to later. But with more complicated work when you have a whole bunch of shapes working together, you'll get an idea for the differences between those tools, but again in this example it's going to look similar. So we click the trim tool, and now you can see that we are left with these two shapes. Again we got to ungroup them and you can tell just by that. Again, a lot of these tools are just really straight forward, but they're just going to be really important for you to use. If you want to make a moon instead of trying to draw it with the pen tool, you could simply draw two circles, hit the Pathfinder trim, delete that, and then you have a moon. It's just the way quicker, you're going to get way more precise angles and curves and lines depending on what your artwork is, and again when you send this off to clients or printers, you don't have to worry about the mess and the file up because there's nothing complicated, it's just one nice clean shape. Merge is also going to see in the same at the moment. Basically it's just going to take the overlap and merge it together with each shape. Again I'll try and explain these further in detail but at the moment they're going to a seem the same. Again crop is going to a seem the same as the intersect tool, but again when you have complicated artwork that's what's going to make the difference for you. We put crop. Now the biggest difference between the intersecting crop is that you're actually still left with your artwork that was on front. Once you ungroup it, this has no fill so you can see here but you could actually refill that again, so that's the main difference between those two tools. Outline, I've never found a use for. Maybe you'll find one for it, but essentially it's going to outline each piece and if we ungroup it, you can see that it's kept the colors, those prominent colors of the reds for these parts and the black for that part. Off the top my head I can't think of a purpose why you want to do this, but who knows maybe you'll figure something out. Minus back is just like the minus front. It's obviously just going to cut out the front shape from the back shape, but we'll go ahead and click that and you can see what happens there. That's the basic understanding of using the pathfinder. What I'm going to do is I'm going to show you my patch designs and how I use the pathfinder tool bar to basically work with my illustrations and how I get my finished artwork to look the way it does. Again, it's just going to really increase your workflow and your time and if you understand the pathfinder tools, and they're so easy to use. It's just something that you're not really going to learn off the top of from most teachers when you're first using Illustrator. But in my opinion, it's easily one of the most important aspects. We'll show you in the next video how I made my patches and we're going to do it quickly, but then I'm going to show you a time lapse and if you ever have any questions, just post them into Discussion or send me an email anything like that. It was nice to meet you. Thanks guys, I'm going to show you in the next video. 3. Vectorizing Night Owl Patch Part 1: So here are my three finished patch designs. As you can see on the left and on the right, those two patches were actually made in my last class for enamel pins, but I thought it'd be appropriate to get them made as patches as well so I could show you guys the difference and how the artwork will change from one medium to the next. It's always important to think of what your end result is going to be when you're making your illustrations. Sometimes there's going to be little things that you don't take into account or that you need to understand. For example, in my last class with the Pen Tool and making the enamel pins it was getting punched in a metal, so some of the shapes, it didn't matter how close they were. But when you're making a patch, you can see that these little shapes around the eyes actually are so close together that the string has to go from one to the next. It's little things like that that you need to understand and that's just the difference between one medium to the next. So the best way to avoid that is to either have larger spaces between or you have to allow that to happen with your artwork. I didn't want to change my artwork from one medium to the next in this case because I had already designed it, but if you're designing something specifically for one medium, you want to make sure that you think about what you're doing, and you might want to tell your artwork a little bit to that medium if you're not going to use it for other things in the future. Of course, I mentioned in the intro video that this class is sponsored by the amazing people that Apple metal. Not only do they make amazing enamel pins, but they also make really cool patches. We're just going to quickly go over enamel website because part of your class project is to pick your favorite patch from Apple metal. I'm just on their homepage, this is and if you go over here you can see patch. Again, I know that their website is not the most pretty looking, but they've been so busy they haven't had a chance to revamp it, hopefully that's something that they're going to do in the near future. But anyways, as you can see you can scroll through these and pick something that you like and just post it to your project. Certain things are going to appeal to different people, maybe you like this crazy Cookie Monster illustration, but you may like something else, just copy that over and I'm curious to see what you think is the coolest and let the good people at Apple metal know that you've been checking them out. They are amazing and in the last class, which I've also mentioned that that contest is still going on for another two weeks as we're posting in this class, so you can win 50 of your own enamel pins for that class on top of the patches for this one, so make sure you check that out. We're just going to go back, we'll go ahead and close this window now. Another thing I was going to mention, is in the last class, they had students contact them to buy pins already even though the contest isn't over and they are giving skill share of students are really great discount, so if you want to go ahead and get some patches made maybe for something other than the contest, go ahead and contact them directly at [email protected] and I know I've seen their quotes they are really stepping up their game to make sure that you guys get the best deal possible. Now, let's get into how we make these. I don't want the class to be too long, so I'm not really going to show you how I vectorized all three patches and I'm just going to focus on the out one because that's what I focused on in the last class and I think it'll make it easier for you to be able to see the differences from using the shapes and Pathfinder versus using the Pen Tool in certain areas. Later in the class, I'm also just going to show you, I actually created this illustration and completely and procreate on my iPad Pro, so I'm going to show you sort of the sketch version and how I got to my final illustration in there which I then brought into Illustrator and made perfect with vector shapes. But again, I'm not going to show you all three just because I think that might be a little dull, but it might be cool for you to see the behind the scenes of how I build my illustrations. A lot of the times they don't happen all in my mind, once I start drawing them, you have to roll with different ideas and lots of new things come up and so yeah, I'll show you. We're going to get over to the owl. At this point this is my actual finished illustration and this is the one that I sent to Apple metal for my enamel pins and for my patches, but this is where using the Pathfinder can be really handy. Whenever you're sending artwork to a printer, you want to make sure that you take out all the guesswork and that they don't accidentally move something. Let's just say that again, that apple metal is professionals and they shouldn't ever make mistakes like this but in general, sometimes printers are going to make little errors and if they were to accidentally move something out of place or even just a little thing got shifted a tiny bit, because of the way that this is all grouped in all different shapes, it may not turn out how you want. The best way to stop that and especially if you send this to a client you've designed something for them and you want to make sure that they don't change what you've created for them or what you've agreed on, the easiest thing to do is select your entire finished artwork. Now, make sure that you have a duplicate of this, either basically save another file and then we're going to make a new file for your client, and we want to go to Object, Expand. What that's going to do is I have actually like a brushed effect here, so it's not a fill, and I'll show you how to make that later and same idea here where they've got these thick strokes, so we need to expand all those basically into big shapes. If I go to wireframe, which is Command Y, you'll see what I'm talking about that, this looks like just one big line and this is one line and you don't see all that our work, but if we go to Object, Expand Appearance, it actually turns those into pieces of artwork, so now you will actually see them there and they actually also still have a stroke. Sometimes what you need to do is make sure it's still selected and go to Object, Expand afterwards and you want to Expand, Fill and Strokes, so make sure they're both checked and click "Okay". At that point, the easiest thing to do is to go over to the merge panel or the merged part of the pathfinder, so we'll click that. Sometimes you might want to click it once or twice just to make sure it really combines everything. Now, what we're going to do is I'm going to group it, so that's Command G or Control G on a PC. Now, if I were to grab a certain part of it, let's say I selected this moon with my direct selection tool and I went to Select, Same, Fill Color. If I have artwork anywhere else on my screen, it is going to select that as well. Sometimes you'll have a piece of artwork with things that you've saved off to the side. The easiest thing to do is once this is grouped, we're going to double-click on it, now we're in the group. If I were to go command it to select everything, it's only going to select the things in the group not any of the other stuff. With my direct selection tool, I'm going to select a big part that's black and you go to Select, Same, Fill Color, I'm going to then group that so Command G and then I'm going to click "Command A" to select everything and then I'm going to hold Shift, I know this is a little bit confusing and I apologize if I go fast, it's just habit that I'm a quick talker. If you hold Shift and we're going to click on any black areas so you can click that moon again. Basically we're deselecting everything that's black and grouped together. Now, we're left with some weird fills and strokes, so if I were to fill those colors with just a random gray, you can see all of what I have selected right now is gray. We don't want that, so I'm just going to go ahead and click "Delete." Now, we can leave this wireframe just by or the group by double-clicking anywhere else and if I go into a wireframe, you're going to see I have nice perfect artwork. It's not in shapes, it's not overlapping, and it's going to be a lot more difficult for any printer or any unexpected problems to come up when you're printing or sending this to print. Generally, that is what you want to do with your finished artwork, that is a perfect clean vector file that you can now select, you can copy it by going Command C or Controls C, paste it in a new document and send just a nice, clean, easy document to take out any guesswork for your printer. Because I want to show you how to draw this and I have my smart guides on, which as I mentioned in the last class, they just make sometimes your vector illustrations easy. It's under here if you go a smart guide that's also a Command U or Control U. What will happen is when I tried to draw it, I'll just try to snap to these things, so I don't want to do that. For my purpose, I'm going to rasterize this file, it doesn't need to be too high we're just going to 72, that's a little too low, so let's go ahead and just the rasterize it to 300. Now you can see it's just a big box of framewire frame again. I'm going to go command X, which deletes it, but also copies it. I'm going to make a new layer, command F to paste it where exactly it was before. I'm going to double-click on that new layer and I'm going to select Template. It's automatically going to dim the image to 50 percent, but since it's black, it's going to stand out pretty good. So I'm going to even dim it more to 25. We'll click "Okay". Now that's a nice lock layer. That's not going to interfere when you're drawing over top of it. So generally you're not going to have a finished vector illustration like I have right now, but instead you're going to have your rough sketch or something like that. So we're going to go ahead and we're going to make a new layer on top of that template layer. The beauty of this is now we can go over top of things and try and recreate them. Again, just imagine I have a really rough sketch here and a sloppy moon. Again, I'm always an advocate of quick keys. I'm going to hit L on my keyboard, which is my ellipse tool, which you can also go over here, click and hold and go down to ellipse. But you can see L and M, which are very important to know because those are useful tools. Now what I'm going to do is I'm going to turn my smart guides off. So command U, just so we can see it easily. Now if I click and drag, it's going to make an oval or any shape from where I hold it. But if I actually hold shift, it snaps. So we have a perfect circle, you can see there. Another thing I like to do is if you also hold option, it'll actually make the shape out from where you originally were drawing. Rather than making it from the corner there, it'll do it from the center. Now one more thing, I know this a little bit of a spider effect with your fingers. But if you keep shift and option held down and you also hold the space bar, you can move that around to anywhere you want. We're going to try and line it up here. If we let go of the space bar when we're pretty close, so we'll go a little further. That's pretty close to what we have. Another cool thing is right now the problem with your sketch, and we're going to call it a sketch underneath, is that you can't see where the next shape should go. Another cool thing about having a template layer underneath is if I go command Y, so I'm in my wire-frame mode or the outline mode, I can now see that edge. So what I'm going to do is I'm going to grab this ellipse that I just drew, and I'm going to hold shift, and if I also hold option, what that's going to do is it's going to duplicate that shape. You can see now if I let go, I have that same shape just over to the side. I was holding shift, so it snapped it to a 45-degree angle. Again, that's just to make sure you have perfect artwork. Then using my options and shift, I'm holding it, we want to get that as close as we can. It's not super important that everything is flawless at this point. Again, mostly you're going to have a sketch, and your sketch is going to be so sloppy anyway that you just want it close. So here's where my friend, the pathfinder tool, comes in handy. If I select both of these, and again this is actually in the front. So you can see if I change the color. If I select both of these and I go over here and we want to go to minus front, boom, right there, we have a nice moon drawn. Again, that's one nice clean peace. There's no extra little hidden wireframes or anything. Again, so I'm going to hit L, draw out a little circle here. Again holding option and dragging and we can put one there, put one here. I'm just keep placing them over top of my artwork. So that's the basics of drawing that stuff. Another thing that's nice is that if you're using the pen tool and you click and drag, and click and drag, sometimes what you'll do is you won't get that shape exactly lined up the way you want to. So another easy thing to do is if we hit the M key on the keyboard, and we hold the option and shift, we've got a nice perfect square. So holding shift, we're just going to change the angle and we are going to bring it down here. Now this is a stroke. What we want to do is we'll go over here, and we're going to change, this is the fill, this is stroke. So we're going to hit this little arrow which swaps them, which you can see there. We can go ahead and make that stroke a little thicker. Now you can see that this has a nice rounded edge rather than a sharp edge. You just have to make sure you have your stroke open. We go to Window, down make sure you have stroke open. We're going to change the cap to round cap and the joint to round joint. Now what we can do is using my direct selection tool, I can grab this point alone, and I'm just going to use my keys, and I'm going to remember how many times I move over. So 1, 2, 3. Three is close. So we'll do the same on this side, 1, 2, 3, and we've got a pretty close shape there. Again, maybe we want to go over a little, but we probably need the stroke just a tiny bit thicker. Let's try 2.5. Again, pretty close. Now another thing you can do to make sure that you have an exact shape once again, is just remember that we had a 2.5 stroke, and we're going to select this and we're going to go back to a normal shape, and we're going to draw another square over top of it. Now if we collect both of these and divide them and group them and deselect that piece, so we'll delete those. Now we have a little nice triangle here. So a quick key to hitting this arrow over here is shift X. We're going to go like that. I'm going to put this back up to 2.5. Make sure that we've got that round. Now you see the only problem is we have a full triangle. So to get rid of that, we're just going to select it. We're going to use the pen tool by clicking P. We're going to click in here to add a point. We're using our direct selection tool. We're going to re-click it and click delete. That got rid of that point. Now we have a nice perfect 90-degree shape, actually, I guess it's not 90 degrees because I move them in. But you know what I mean, a nice triangle. So the exact same method would go for over here with the nose. So I'll shift. Then because this is together, we can grab this point, drag it up, grab this point, drag it down. Sometimes your snap might be a little bit off, but we should be able to get pretty close to one. I'm selecting both. So you can see that I have 2.06 that's shifted on me. I want it to be the same as this one. With that selected, I'm going to hit I on my keyboard, which is the eyedropper over here, and we're just going to click that. So we make sure that these are the same stroke. Now if we select them both, you can see they're nice in 2.5. Pretty straight forward. I'm just going to use the ellipse tool over here. We're going to draw that first circle, and now it's on stroke. I'm just going to hit shift X to make it a fill. Then we're going to do it again. We're just going to draw another shape, another circle, just like that. In this time, if you remember, if you're looking over here, you want to exclude the space in between. So we click that, it deletes that little middle piece and we now have one shape with the hole cut out of it. So just like that. Now what we're going to do is, I'm going to draw a bigger circle, and we're going to try and get it roughly centered because we know it's a stroke. We're going to use our eyedropper tool, grab this. Now if we go back into our wireframe command Y, again, I know that I'm moving a little bit quickly, but I'm hoping because this is a video, you can always rewind if you didn't catch something. Again, feel free to ask me if you miss something. In this case, this is a pen tool shape. So I'm going to click over here, draw. If you're not familiar with the pen tool, again, just check out my other class. Just like that, it's fine. So we'll switch back over. With both of those selected, we're going to hit Divide. Then, if we ungroup them, we deselect the bottom, click Delete and there you go. 4. Vectorizing Night Owl Patch Part 2: Now what I tried to do is I tried to recreate this in here, getting the exact angles. But because I blew his artwork up so much, it made changes to the math and I couldn't get it quite perfect as I wanted to. I wanted to show you with my original file and the original size how I actually did it. Again, these are small changes, but I like to make sure it's perfect. This is my little artwork here. What I did to create this is I would draw a line and I made it roughly that shape or size right there. I'm just going to move it over. What I would do is I'd hit this rotation tool. Now what I could do is click and drag and move that. But if I actually just hit enter instead, it brings up this little dialog box. Now to use the math to make sure that you have the exact same increment in-between each piece, you want to use sort fraction of 180. You probably know 90 and you might know 45. What we want to do is I want to get one more fraction in there just to make it exactly a half of the 45, so that's 22.5. If I clicked "Okay" right now what it would do is move that straight line to where it is and that's where it would be. But if I hit "Copy," it will actually keep the original line and make a new one. Now if I just hit "Enter," "Copy," and just keep doing that a couple of times, we'll actually get the shape all the way around. Now you can see that we have that perfect shape. Then, if we bring that down and move that into here, you'll see that I can get it to line up pretty much exactly where those dots are. Now what we want to do is, it's already grouped, so I'm just going to double-click and go in in here. What we need to do is make sure that our artwork is cut here and here. The easiest way to do that is we're going to draw another ellipse by clicking and dragging, and let's just fill that with a different color to make it a little easier to see. I'm going do it again. So holding this, I'm going to command C, command F to paste it exactly into place, and then holding option, we're going to draw it from here. You can see that my angle was a little bit different when I originally created it. It's a little hard to see here because we don't have that template, but we're just going to try and line this up as close as we can. Should be something like that. Then I'm going to grab these two green circles, and we're going to do the same thing where we minus it. Now what we can do is select both, select all by clicking "Command A." Now that we've got them all selected, what I would normally do is I would go to Divide. But that's actually a little more tedious, and you can see it's just making each of these into a shape which is not really what I want. Guess what, I said how hard it was to find the outline tool, and guess what, this actually a perfect. So we're going to click that outline tool and we're going to ungroup everything. This is a little tedious, so we're going to select this little line here and the next line, and we're just going to keep getting these lines, and then we group them, and then we're going to select everything else and deselect these lines and delete. Now that we've got these lines selected, we can blow up, pull up those strokes. Again, I don't remember what increment it was. But something like that. So you get the basic idea of how I work that. Now I'm just going to group that, I'm going paste that in here. For some funny reason, it doesn't like to match up exactly where it was. Whatever maybe I have to do is finesse these lines. I could bring them in a little bit more. That guy is pretty far, I'm trying to keep it to the same angle. But that's the basic idea. With those selected, we're going to use the eyedropper tool and get them there. Now another big point is because this is exactly symmetrical, I'm actually just going to draw one side and then I'll just show you how to flip it. I'm going to show you with one or two more shapes, and then I'm going to just do this in a fast-forward mode so we don't take up too much time. Again, I'm drawing a square with my rectangle tool. I'm just going to grab that and we're going to move it up. I'm going to hold "Shift" to make it move. That's another thing, you can make it move in small increments, or if you hold "Shift," it'll jump in larger increments. I'm holding "Shift" that's 1, 2, 3 times up. Do the same down here, 1, 2, 3 times, so it's pretty close. We've got a pretty good stroke. Another nice thing to do is if we actually bring this out a little bit bigger, I'm going to make the stroke go to the inside, I'll show you why I do that. I'll make that a little thicker. Now what I want to do is I want to keep adding them. What we can do is we can actually round the corners you see by holding that, by holding the arrow tool and dragging them in. Then, what we can do is to try and get these extra fills is we're going to go down here, and again, this is all under, so you want to make sure you've got appearance checked on. We're going to click that stroke and we're just going to hit this little page icon which duplicates it. We're going to grab this one and we're going to change it to white. Now, it's underneath this black layer, so if I hit it open a couple of times, you'll see it. Let's make it a different color. Now you can see where that goes. If we hit it again and we select the layer underneath it again, and we go black, and then we blow that up a little bit, that's basically how you would get that shape right there. Now we'll just change that to white, and that's the basics of that guy. Again, with the feet, those are pretty easy. We'll just use the rectangle tool, click and drag. We're going to make sure that that's black. We'll drag in those points, bring those in here. Shrink that to fit. You can drag to bring that over. Again, this should all really be on the side so that when we go to mirror it, it's nice and clean. There are parts that aren't mirrored like this little twig here, branch, so that part we'll just leave alone. But at this point you should get the basic idea. I showed a little bit more of it with these parts at the Pen tool. I'm just going to go in a fast-forward mode and then I'll show you how to make these laurels. We have mostly illustration done at this point. I just want to show you a couple a little tricks. At some point here, I must move my little star. Now what I've got is I've got this drawn out with the Pen tool. If we select that, there's actually a neat little tool here called the Width tool, that's actually going to allow me to change the width. The thickness is pretty good as you can see over at this point, but over here, it's not right. If we grab this Width tool and we drag that out to about there, you can see that's pretty close. I can drag it out here, get that a bit closer there. That's the idea with that. Now, what I want to do is shrink that down just to make sure that we can see it nice and cleanly. Again, I'm just finessing this, but to some degree, I'm just giving you the general idea and I want to show you the small little things about drawing. What we can do here is I'm actually going to just expand the appearance, unite it. I want to make sure, if we just move that out of the way, that those spaces are exactly accurate. The easiest way to do that is to grab all the feet and group them. Basically, we're going to Command C, Command F. Let's make them of stranger color just so that they stand out here, like a different gray. We're going to add a stroke to that. Now for both that stroke out, and we're just going to move that up. You can see what I'm doing here. I want to try and get that stroke to about where that was, and now we know that we have the point exactly right. If you go Object, Expand, click "Okay", click "Unite''. I'm going to drag that down here. Now if we go ahead and we go to our minus front, we're going to have that leftover twig there for you. What I left for last is one more little trick, and that is the laurels. There's a few different ways that you can make this, but I'll show you what I find to be the easiest way. Again, this is just another random tip just so you learn some more about Adobe Illustrator. What I did is I drew one of these little leaves, and after I did, I found that it was a bit too thin, so I thickened it up by adding a stroke to it. But that was my original leaf, and then I thin thickened the stroke up and then I would click over there and rotate it. Now we got that little background, but you can see basically like that and then duplicate it. Again, I'm not in a bit of a stickler for trying to make sure the spaces are exactly even. What I ended up doing is, if you can see here, if you use the Blend in steps, I just wrote that here as a reminder, but it won't count these two first. We just need to know how many steps we want in between. In this case, it's 1, 2, 3, 4, 5 steps in between. If I go into Blend, I'm just going to release it. If I went to Blend right now and I went to Blend Options, I told it steps. You can change here, from sometimes you want it smooth, sometimes not, but we want steps and I added five, we'll click "Okay", and we're going to go back down to the Blend tool and we're going to click "Make". That's how you make it with that. Now we know that all of these steps are nice and even, and if we click "Option", ''Shift'' drag, and we're going to mirror vertically. Now we can bring it over here, get them nice and close and you get the idea. From there, I would just turn them sideways. I basically just wanted them in a nice straight line and that's how I got this shape here. After that, using my Width tool, I drew a straight line and I just made a taper and I drew one more little leaf and put it at the top. Now, the neat little thing that you can do here is, basically I could take this shape and it would do an okay job in this case. But I could go this way, I could go to Effect, I could go down to Warp and I could try and play with the arc, something like that. That's not too bad. But another neat little trick is to make a brush. As long as we have brushes selected, which again, Window, go down to brushes, we can click and drag this into our brush panel, and we're going to make in Art Brush, click "Okay" and let's just call this New Art Brush. Now most of the stuff, you can definitely mess around with but I'm not going to go too deep in explaining this stuff, but we'll just leave everything basically the way it is. You can change the color method so that you can change the color later and we'll click "Okay." Now it's our last one, you can see I experimented with making a couple of them when I did the design. But now what you can do, which is neat, is that you can draw a circle or you could just use your Pen tool, but if we get that circle, we can sometimes get that angle a little cleaner. This takes a little bit of finessing to get that to try and figure out where exactly I put it last time. Something along those lines, so I'll just delete these other points. Actually let's just go ahead, I'll show you the Pen tool way. Something like that. Then we're going to go over to the Brushes panel, and we're going to select that brush. We'll just go ahead here, make sure it's got no fill. Oh, I've accidentally started drawing on the layer beneath my template. I'm just going to click ''Command X'' to delete that, go to the top layer and let's just hide that bottom layer. I'm going to lock it so that I don't do that again. Now you can see another small issue is it's drawing it in the opposite way. But if we double-click on that brush, it'll flip along, okay, plot the strokes, there we go. Now with that drawn like that, I actually have to draw this all the way up here. But you can see it's cool because you can mess with it on the fly, and you can get some weird angles and stuff in your brush will follow that. We can just get that angle roughly like that, and then we're going to click and drag it over, bring it over here holding Shift. There we go. That is the finished owl work artwork. We get rid of our template, and that's the basic of everything we've been doing here. Now that you know how to do that, I already showed you how to merge this down and make sure that you have it cleaned for your artwork when you're sending it to your printers. But that's the basics of using the Pathfinder and using shapes to cut vector pieces out of other pieces. I hope that you found the class pretty informative. In the next video, I just thought it to be cool to show you the behind the scenes for my other hour patch, the baseball one, just to see how I go about drawing it from scratch. Like I said before, that's using Procreate. I'm just going to show you a quick time lapse of that rather than showing you how do I vectorize that and factorize the [inaudible] because I don't want it to take forever for you. But those are the basic ideas. 5. Baseball Owl - Sketch To Vector: Now that you've seen the behind the scenes of how I actually drew my owl and procreate using my iPad Pro and the Apple pencil, this is basically the end result. This is what would happens if you drew in Photoshop and you didn't have that resolution really high. You can see that it gets a little bit pixelated, everything isn't as clean. For some things including patches, you can send this to a printer and they'll be able to work with it, but you can see the lines are sloppy. I definitely like that look and I intentionally like my hand-drawn look for a lot of things I'm doing, but when I'm sending something like this, I want it to be nice and clean. For the sake of the class, I thought would make more sense if it was that way. You can see what I ended up doing is I double-click that and I made this, it's already a template layer, I'm just dimming it back down, and then that was locked. From there what I ended up doing is I drew out my owl, it took a little few different steps on how I drew it and what pieces I did. From there I realized that what I wanted to do was this was weak down here, and I knew that a patch, you wouldn't be able to have this little tiny leg and this little tiny leg, so you would have to have a random color in here. For the stability of the patch, I thought that that didn't make a lot of sense. What I worked with is, this idea of adding a baseball diamond in the background, which you'll see here. So let's go ahead and hide these. I messed up that idea and then I decided that it just didn't quite flow or there's a lot of wasted space here, sometimes white space is obviously a good thing in design, but I just didn't like the look of it and I was going to draw some stuff in here. Then I came up with that shape and I just really liked it, I thought it flowed well, it really put the emphasis on the owl. You can see that I played around with different line weights to add shadows and textures and thicknesses. The final patch for this one turned out pretty awesome. I'm super happy with the way I thought it looked and I'll show you the patch real quickly. Yeah, so here you can see the difference if I just do them side-by-side, I can shrink that down a little bit, but you can basically see what the final patch looks like. Again, everything's going to look a little bit different when you actually get a little farther because we're going to have each little tiny piece of thread is going back and forth, back and forth when they do it. But again, as always, same with the enamel pins, you want to try and keep your detail really simple, and don't go too complicated because some things aren't going to work out exactly like you want, just make sure you're happy with the final product, I'm sure you will be because [inaudible] makes super awesome stuff. Yeah, that's it. That's the behind the scenes for that, so we wanted a thank you video and the class is almost over. Thanks guys. 6. Thank You!: Hi. Thank you so much for taking the class. I really hope you guys enjoyed it and learned a few things and also great. I hope you have good luck in the contest. Thanks so much to Apple Metal for sponsoring it yet again and if all goes well, we'll see you next month with my next class. Of course, I don't want to tell you what it is yet, but I'm always back with great contest. So thank you again, and I hope you enjoyed it. Take care. 7. A Message From Future Jon: Wait. One more thing. I'm adding this, this is future Jon Brommet talking to you., I hope you enjoyed the class that you just watched. Some of these classes have been recorded a few years ago. I just wanted to give a little up to date on what I'm doing now. You can see that I've put out a ton of classes potentially from the class that you just watched as you may have been watching one of my older classes. If you go over to my profile, you can click it somewhere on the Skillshare website or go to It's spelled just like that with no h, it's J-O-N. You'll see here I've got things broken down. In my newest classes, this may even look slightly different for you because I'm putting out classes once a month right now. I've got my most popular classes, illustration, efficiency in Illustrator, Photoshop stuff, and then all of my other classes and make sure that if it's not already selected, you click "See More" to see the rest of it. So many different classes. I hope you guys will be inspired to learn lots more and hopefully you're enjoying my classes and want to see more. If that's not enough, I'm @jonbrommet on Instagram, so you can check out my Instagram as well to know what I'm doing. I post all my new artwork there and of course let you know when I'm doing new Skillshare stuff. I've started a YouTube channel where I put short videos that are instructional and I obviously advertising with my Skillshare class, but short videos that I can't really put a whole-class out. I put here on YouTube. I even do things like have conversations with other teachers, like Tabitha Park. I plan to do that kind of stuff more often. If you head over to, I've newly updated my website. I have a digital shop where you can grab my procreate brushes or other things like that. On top of seeing my different portfolio elements and things like that, I've also got a Etsy shop, which I'll click here and it would open this. So you can buy all of my pens and different art things that I've created and I will ship them to you from me. I've gotten them all produced here in my home and they look awesome and I know that they're cool. I just recently started a Threadless shop, which you could click here. There's about, Skillshare, contact. Everything is linked from my website. This new Threadless shop has all my merch that can be printed on demand on a really weirdly wild variety of things. Let's just click one of these things here. It's going to open a t-shirt, but let's just say maybe instead of a t-shirt you wanted duvets cover or shower curtains. Why wouldn't you want those things? I don't know. Anyway, I've got lots of different things going on. If you'd like what I'm doing, please check out more of that and I'll keep making more things. Thanks everyone. Bye bye.