Simple and Fast Texture in Adobe Illustrator: Add Texture with One-Click with Custom Art Brushes | Julia Dufosse | Skillshare

Simple and Fast Texture in Adobe Illustrator: Add Texture with One-Click with Custom Art Brushes

Julia Dufosse, Illustrator & Designer

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12 Lessons (53m)
    • 1. Introduction

      1:07
    • 2. Examples of Use

      4:02
    • 3. Your Class Project

      4:29
    • 4. Creating Brush Assets

      10:12
    • 5. Creating More Brush Assets

      8:57
    • 6. Generating Perfect Art Brushes

      3:20
    • 7. Saving Your Brush Library

      3:00
    • 8. Applying Brushes to Artwork

      10:29
    • 9. Adding Final Touches

      1:10
    • 10. Conclusion

      1:22
    • 11. Bonus: Adding More Detail with Scatter Brushes

      3:10
    • 12. Bonus: Finding Your Brush Library on MacOS

      2:04

About This Class

Any good illustrator knows texture can take an illustration from good to great. But adding texture to vector artwork doesn't have to be complicated. And most importantly, texture doesn't equal Photoshop.

In this class, I'll walk you through a simple and unique way to add texture using only Illustrator. You'll learn all the basics to make your own set of custom texture edge art brushes using only Adobe Illustrator. These brushes are basically stroke presets that allow you to add texture to any line using ONE click! Think of the time you'll save with this efficient workflow.

This technique of adding texture is simple, very effective and creates an awesome textured look that will add a lot of character to your vector work. I'm very excited to share this technique with you since I haven't found any tutorials on this method anywhere else!

On top of learning this awesome, fool-proof method of adding texture to your work, you will also see my complete illustration workflow to go from flat vector shapes to something a little more polished and sophisticated. And I've thrown in a couple of bonus gifts and tips along the way to help you further personalize your work.

By taking this class, you'll learn to:

  • how to make custom texture brushes simply (no analog material needed!)
  • how to properly save your brushes in a unified brush library
  • how to share and/or sell your brushes
  • how to apply brushes to vector illustrations
  • how to apply finishing touches using custom scatter brushes I created for you (free and available in the class project section)

You'll also learn some basic Illustrator tips and tricks like how to:

  • use staple Illustrator tools like the shape builder tool in an efficient way
  • use clipping masks without going mad
  • apply and optimize texture for your style
  • round corners like a boss
  • work with anchor points and fix awkward paths using the delete anchor point tool
  • expand objects and paths correctly
  • scale objects using the transform panel
  • And tons of other really practical stuff like keyboard shortcuts, faster ways of doing things, etc...

Plus as a BONUS for this class, I've included a custom stipple scatter brush set that will help you add even more texture to your work!

Go from boring vector artwork to awesome textured illustrations without torturing yourself with overly complicated texture workflow!

 

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Transcripts

1. Introduction: Hey, everyone, Julia Doofus A. I'm a French illustrator and designer based in Chicago. In this class, I want to teach you a really cool technique that I haven't seen explained anywhere else. So this class rough edges is about giving your victor illustration a little bit more character, a little bit more subtle, sophisticated edge In this class, we're going to create a custom set of vector art brushes and under use an underrated tool, in my opinion, that allows you create very textured shapes, right? An illustrator. So for this class, you will need full shop. You will need any fancy brush sets you won't even need. Analog material will be making these brushes entirely, using the powers both illustrator, and I'll show you how to add the's brushes to brush library and then how to apply these brushes to your artwork. So let's get right into it. I'm excited 2. Examples of Use: Hey, guys. Ah, I'm here in my website to show you a little bit, uh, examples of how to use thes rough edge vector brushes in your work. So I frequently used them in my own work. I find that it adds a lot of complexity and interests visual interest to what can otherwise be quite dry, cold vector shapes. So I've got a few examples here that I want to share with you. And by the way, my website is w w dot Julia Do fall, say dot com It's just my name dot com if you wanna take a look and let me know what you think, Uh, that would be great. Otherwise, let's just keep going. Um, so here I have a project that was actually just e ah, promotional card for myself. Ah, and it's an illustration of a man on a train, and here you can see that I used textured brushes, Um, suddenly on him, Um, and also on the background, you can see these edges are a little bit jagged E, and that's that's on purpose. That's Ah, it's I thought it added a little bit more to this very flat. Ah, shape based illustration. I've got another example here. This is another promotional eight by 10 print I made. Ah, and this one. Ah, I edited it a little bit more subtly than the last one. Um, but it's ever so slightly there. You can see on the edges of the shapes that there's just a little bit of rough inning giving it a little bit more of that textured, hand drawn effect and a little less of that clean, flat vector Look, even though the images very flat, um, I think that it adds a lot of character to the image. What a show. You another example that really like, Ah, this one here is, uh it's an illustration showing Charlie would memories. Ah, and ah, sorry. I had to refresher. Ah. So here I used it to, um, same principle, very flat shapes with no, um with no outline. Ah, and I thought that I really in this the rough, in effect, really adds it kind of no on elements of nostalgia. And it kind of emphasises this kind of very, very, um, nostalgic kind of, ah collection of objects from your childhood. I think it's a very, very effective way to use thes brushes. Ah, then I when I had ended some additional shading in photo shop using brushes. But as you can tell, you can't really tell the edges. Is the photo shop brushes like where I'm pointing right now with the mouse, as opposed to the edges that we made that I made in Illustrator? And I think that's really the power of illustrate the power of Vector based illustration is that you can actually do a lot of these hand drawn. Ah, very complex looking effects, right and illustrator. You don't need to go to photo shop, and I love Photoshopped to don't get me wrong. But what I'm just saying is that if you want to simplify your workflow, there's a lot you can do with then illustrator. And that's what I want to demonstrate to you in this class. So I think that's enough examples. If you want more examples, you can go to my website and check it out yourself on, and I'm going to show you some more example in this class as we apply the brushes that will be making two on illustration that I made and ah yeah, so I'll see you in the next class 3. Your Class Project : you guys. So I heard this part of a class. I just want to talk a little bit about the cost project on. I do think it's really helpful if you actually do try to complete the project yourself, practice using the skills that I'm gonna teach you, apply them and really cement them in your kitchen your memory in your brain so that you can use them and incorporate them within your illustration. Workflow. Yes. So for this class, the cost project is really too ill Street a Siri's of objects that are that you like or that are important in your life. From my, uh, illustration Siri's. I chose objects related to illustration, and this is not cost for me to get take you through the process of actually creating this vector illustration. There's a lot of classes on scale share and even on YouTube that you could look at for more information on how to make the's vector shapes. And, uh but I want you to l Street. Um, you know, anywhere from 3 to 10 objects for mine? I did around 10 objects. Uh, on I'm going to show you right here. Uh, so first I uh, let me turn off these lines real quick. First I sketched on paper this my original sketch Ray here. Very rough, kind, defining shapes. I find that this really helps me for when I jumped to illustrator. So I illustrated objects that are on my desk. Really? So I did a desk lamp, pair of scissors, pencil with line class of water, a wack, um, tablet, Uh, a pencil sharpener, headphones, fountain pen, candle computer in a mouse marker, you know, And you can kind of choose the same thematic as me and just go straight in our own way. So maybe you could do the same objects is me. But, you know, put your own spin on them or you can just decide what collection of objects you want. Elstree. It could be objects related to basketball. You could do like a net basketballs, shoes, jersey. You could do objects related to gardening. I mean, it's really the sky's the limit for what you want. Toe feel straight and the type of style that you want to go straight. That being said, I want you to focus on making vector shapes, and I want you to focus on making the shapes pretty basic. What do I mean by that? Let me turn back on my lines here. I just mean that I want you toe first. Start with a contour drawing like I did here, where you trace the stuff that you've created on paper, using basic shapes and then modifying those shapes. And again, there's a lot of classes and skill shown how to do that. So if you need help of that totally fine pauses. Video, Watch another video on how to make vector shapes and illustrator and you'll be set. So I use a little bit of the pencil without too much these circles, ellipses and rectangles. And I just kind of made these shapes, Um, and when you've got your shapes and you're pretty happy, what I do is I always keep my previous version. So I've kept my version here driving a new copy. Um, then I made a little few adjustments than I apply color, and you can see here. I just have to call a pallet on the side, and I applied color to the illustration. The one trick that I'll give you that you'll need for later is when you play college illustration tried to apply a stroke that is the same color as the Phil. Because that's the way that it works the best with these rough edged brushes. And it really saves you a letter a lot of time for later. All right, so this is the cost project, and I'm looking forward to seeing what you guys come up with, um, and reviewing and critiquing you your projects in the class project section. 4. Creating Brush Assets: Hey, everyone. So we're in Adobe Illustrator, and we're going to start creating these brushes. So the first thing I want to do is hit I m on my keyboard to get the rectangle to go out. And instead of dragging on creating a rectangle and kind of eyeballing the dimensions, we're gonna put in a specific time and, you know, work really well with these brushes. This is a quite important step if you don't want your art brushes later on to have weird corners and, uh, yeah, so we're gonna click once instead of dragging, and we're gonna change this'll the dementia. We're just gonna put in for the with. We're gonna put in 10 1000 pixels. I'm in pixels. Just so you know, I'm not an inches on. Then I'm gonna put in 50 pixels for the height. Okay. All right. So this really long rectangle right now has a fill of white. Any stroke with black. I'm gonna switch that up. I'm actually gonna remove stroke. There we go. We've got our first rectangle, and, uh, things might seem ridiculous because it's super long, but there's a rhyme and reason for this. So why don't we do something to save this copy. And I'm just gonna drag out another coffee by holding up option and dragging. So I got a second copy here. This copy? I'm gonna actually start applying an effect to some here. I'm gonna select those copy, zoom in a little bit so we can see what's happening. I'm gonna go effect in anima go dong to distort and transform Ruffin before a hit preview. I want to hit thes options first so that the computers and slow down. I'm gonna goto absolute here. And then I'm gonna go to smooth under the points, and then I'm gonna head preview. All right, So you see, it creates these jagged e kind of rough cuts on her object. So what I'm gonna do is I'm gonna go down in the size and the size, Just adjust he size of the jagged edges that will appear on your objects. I'm gonna go down to two pixels detail, controlled the level of details that you will have, uh, in those in those distortions. So I'm gonna keep if I keep it pretty low. What I'm gonna season? It's going around it out a little bit. I like that. I think it makes it subtle something. So right now I'm making the first brush asset, and this one I'm gonna make the most subtle. And then I'm gonna make some more extreme ones as I go on so I can make them in the order of their intensity so I can have a pretty versatile brush that with there is so little birch and some less subtle ones. Okay. 70 hit. Okay. All right. So, as you can see, this one here is kind of like creating this almost like, wave like effect, because we kept the detail pretty low. So it gave us this kind of rounded look and the size pretty low as well. So we're going to do here is we're gonna actually, uh, we're gonna actually just duplicate this object, and you'll understand why later on? Because this will service thymus. We crave more of these. So no work on this copy here. Uh, and what I'm gonna do is I'm gonna go to object, and I'm going to go to, uh, expand appearance and what we'll do. What this will do will expand the the It will allow the effect. The rough in effect to take hold over this object. So what I'm gonna do is, uh, bring this down here, and I'm going to transform this to re scale to better size. I'm gonna make sure that this option here is clicked, which constrains the within the height. So basically, the proportions will stay the same and go to the high end aumentar five pixels hit. Enter. It's gonna automatically resize us to a small size. So in this case, it's a size that I've made sure is gonna be good. For what? For our purposes, We've got a first brush assets our first brush assets are. And what we're gonna do is you know how he kept a copy of the, uh off the rectangle with the rough in effect. So we're gonna make another coffee about to keep that copy intact, and instead of applying the roughing effect again, I'm gonna show you Cool trick. That's a just a little bit of time. We're gonna go to window and appearance to bring up the appearance panel. I have it right here on the right. So right now you can see I can tell that this, uh, path has a rough in effect, applied to it. You see the little effects thing here and this will Ruffin thing. If you double click on the rough in, you can actually modify the effect instead of replying it all over again. So what I'm gonna do here is I'm going to same thing. I mean, absolute smooth. I'm gonna hit preview, and I'm gonna make the size a little bit larger. Maybe about four pixel on a change. A detail to maybe for pixel was well ahead. Okay. All right. Let's zoom in and see what we got. Okay, so now the jagged edges are a little bit more intense. That's great. That's what I wanted. I'm going to same thing. I'm gonna expand the parents of this, and then I'm gonna resize at the same way I did before. I'm gonna put five picks off that hit. Enter. There we go. Got a second brush. Ash it. See how easy this is. Drag it down. Cool. All right. We're going to do another one just like this, Zuma. No, but so we can see better go to the appearance panel. Hit the rough. In effect, que preview? Some want to make it. Seven pixel. And let's add more detail now. Ah, maybe you lower the size 25 pixel in hat and add a little more detail. Alright, so I've got five pixel from size. 13 pixels per inch is for the detail. Same settings as before for the absolute and smoove options. Okay, Hit. Okay. All right. We got this way. More jagged E one. Let's select the same thing. Object, expand appearance. And now we're going to do the same thing. We're gonna resize dis objects. So we're going to go to the transform panel up here. Enter five picks off the height had enter. We've got our third brush. I have already created three brushes, and now what we can do is we can keep creating different brushes. So on my creative for fun. Okay, let's do that right now. Before what? I'm gonna make a lot more extreme. A lot less subtle, cause I wanted to make these in, um, in the order of their intensity to make a very first to talk kind of sets, I copied this roughened up rectangle again. I'm gonna double click on roughened preview that's up the size, but maybe like a Su 14. Let's go a lot higher. Okay. Got 14 picks is for the size, and the details said at 18 inches Hit. OK, All right. This is a lot more intense, as you can see. All right. Like this object. Expand appearance, transform. Put five pixels in the height and there we go. All right, we've got four of these brushes. I call so you can see these brushes Air? Not exactly the same length. Because we switched it up. Read Applied a rough, in fact, but they're roughly the same dimensions. And that's what I wanted. Uh, what I'm gonna do right now is I'm actually gonna, um, just gonna quickly kind of square off the edges for each of these Bunches. So what I'm gonna do is I'm just gonna draw a rectangle over the edge of every one of these brushes. And then, um, lead out those rectangles to straighten the edges. Like here. As you can see, it's not straight. It's got these, like, rounded edges, and it's gonna mess with the weight our brush applies to close past. So this is a really important step that you don't really wanna skip. Alright, Samantha, took my rectangle tool. Hit em when to draw these clips. Dragon ease out to draw these very small rectangles just over the very edge. Here. Okay, I, uh the guy on the other side to the same thing. Um, maybe I'm gonna move this over like this, Okay? All right. I'm gonna Mina ah, select everything here and I'm gonna hit. Shift em to trigger the path bowler tool and in the hold option or Alz and go over these two shapes that we've deleted. So you've got a straight edge now. Good to the other side. I could zoom out. This will be faster. The's air kind of obnoxiously long. And there's just kind of there's a really good reason for this. It's not just the work at this ridiculous scale. All right, um, and I'm gonna do this for every single one of these brushes have created. So not gonna bore you with that step again and again and again. But you've got to square off those edges. So in the next clause, I'm gonna show you another method to create a slightly different type of brush. Uh, asset and the next ones will will play a little bit with shapes and removing shapes from the main wreck title and then applying the roughing effect, so it's, you know, the next one. 5. Creating More Brush Assets : Hey, guys. So we're back, and by now, you should have thes four brush assets that are all roughly the size of five pixels for the height. And like around the 1000 pixel for the length, it could be a little less a little more. It doesn't really matter if you follow the steps that I described before. You should have exactly the right dimensions for this clown thing. It doesn't need to be in the black science, and you should have also straighten the edges. So you've got straight edges at the two ends of your rectangles that will form your brush. OK, so now what we're gonna do is we're gonna use a related but very similar techniques to create other brushes that look slightly different from these. Um, So what I'm gonna do is I still have those copies of large copies of, um of both directing without the rough, inexact and director, with the ref in effect for this, we're gonna grab the rectangle without the rough in effect, and we're gonna make a copy of it by holding option and dragging. Okay. And now what we're gonna do to this is we're gonna have put in some shapes and delete out those shapes from this object. All right, so what I'm gonna do is I'm gonna hit L for the Ellipse. The star drawings on the leaps is, uh, changed the colors. You could see what I'm doing and they go to this, uh, go to like, a red here. Um, because we're actually gonna delete out those ellipses from this. This made this big rectangle I want to do for this 1st 1 of them's going to be pretty consistent. I'm just gonna do kind of like a kind of a pattern, so I'm just gonna drag him under, cover him to hit command d To duplicate this for the entire length, the duplicate. And this will take a little while because get such a long rectangle. Alright, alright, alright, so it's duplicating can on almost there. And okay, so I want him to do is I'm actually gonna take dragged this over everything and, um, a little shift and click on the rectangle once to de select that and I'm gonna group thes circles. And the next time they do is I'm the center, these circles on top of that rectangle, raising your line panel and the align panel. You can find the windows. You don't have it. I have it conveniently here on the side. Um, So what I'm gonna do is I'm do, um, select these. Select a rectangle when you select a line to key objects. And so when I click on the rectal when once more to make that the key object that he circles aligned to And then I'm gonna hit the align horizontal line center. Now I've got peace center over this rectangle. Now, instead of doing the path boulder method to remove those circles were actually just gonna Well, first, actually, we're gonna move the's by holding option and bring them down. And, ah, we hold option and shift and just bring them down here. All right, Now we're going to do is gonna remove thes circles from the rectangle. So what we're gonna do here is we're going to use the Pathfinder tool instead of the shape builder tool because you would have to go in and out in and out in and out with a path, but literally would take forever. So again, you confined apart Funder panel. If you go to a window and Pathfinder. I have it around here. Then we're gonna select this option. It says minus front. All right, so that's removed all those circles, made the school kind of Jocketty thing. All right, um, except to do, may go to effect and rough. All right, keep it very, very settle for this because we've already got all these indentations in there. All right, so now we've got the roughing effect. Can I'm gonna I'm no whips. You need to do that. Uh, and had expand appearance when I'm in India, too. The transform memory size. Those again do five pixels for the height and tractors. Now, by my brushes. Um, again, I want toe. Emphasize this again that you want to straighten those edges by laying erect ago over the edges here on the other side. Not gonna do that again because I don't want to bore you, But remember to straighten the edges of every single one of your brush assets as I showed you the first part of this. So we're gonna create another one now. The track, the same rectangle about the rough inning effect applied to it down old option and drag. There we go. this time, let's try one where we trialling. We're remaking these ellipses that are kind of varying sizes. Let's change that. To think here so we could see what I'm doing. Kind of dragged him out, make it pretty random. You can, like, kind of spend as long as you want doing this or as little time as you want, but not gonna worry too much about the way it looks right now because I don't want Teoh. I want us to be too boring for you guys. Ah, beer quite zoomed out. The trick here is that you have to kind of zoom out a lot and, uh, could be a little hard to see what you're doing. But I'm sure you will appreciate all this work you've put into your brushes when you have your brush it later, drink this one here. Okay? Same thing I'm to go and I'm the select everything. Three easiest way to group all these objects. So then we're gonna hit. We're gonna hold shift, clicked on the rectangle to de select, and then I'm gonna do command G to group. All right. Looks like the rectangle wasn't de selected something. Do it again. Select everything. Hold, shift and click on the rectangle Command g So like the rectangle and do a minus front. There we go. All right, we've got all these Dance began of high. The same rough, in effect, is before it saved it from the last time. We used it to just do a pie rough in here. We'll put and then object. Spend appearance and you will recess this again the same way that we did before Five pixels you can enter. Drag it down and we've got another one. This one is much more random in the last one. All right, you can do this. You can kind of vary up the frequency of how How many of these ellipses you put in you could try Put it in rectangles. You could even build your own shapes of the pen tool and then abstract toes. And so, like, really, you could go crazy with some domestic duties to more ballsy kind of brushes and these other four kind of rough brushes for my set. But again, it's this is all about experimentations to create as big of a brush that is you want Just remember again to straighten out the edges to edges of your brushes. Because this Gumby super duper important as we create these brushes on the next class, we're actually gonna be rating these brushes from these assets, all right? 6. Generating Perfect Art Brushes: Hey, everyone. So by now, you should have all of your brush. Assets created here have got my six brush assets. And at this point, we're actually going to do the important thing, which is to create our brushes from these brush assets. So to do that, I want you to open up the brush. Um, panel. You can find out if you go toe windows down two brushes. Okay, I've got it on this side right here. Um, first thing you want to do is select the first brush, and you can do one of two things. You can either drag it into the panel or with the brush select with the brush as had selected. You could go to this hamburger menu here, click on it and click new brush. I find that dragging is a little bit faster, but I wanted to show you both ways. So here you've got some options as to what kind of brush you want to create. Um, today we're gonna create art brushes, which are brushes that apply to end to a stroke. Um, so we're gonna select Arte brush. Um, here you have the option of naming the brush so I'm gonna name this one. Rough one, uh, under with. I'm gonna leave it on fixed, but you could also ah, adjust its that it Adjust to your pressure. If you're using a Wacom tablet, for example, brush scale options. I'm gonna put it. Ah, I leave it on stretch to fit stroke length. The direction I'm gonna leave as is the colonization method is really important because this is the setting that will essentially tell illustrator, um, how you want to re color your ah store color. So you need to set it to tints not tense and shades and not hue shift, because then you won't be able to re color your strokes properly. So set this to tent. Um, under the options, I don't want to touch anything except for the overlap here. Have got two options. The one on the right is addressed quarters and folds to prevent overlap. And the one on the left is do not addressed corners and folds. I want us like the one on the left. Do not adjust corners unfolds because this will prevent illustrated from making some really bad decisions. When it comes to the corners, the shapes that you want to apply this brush to? When I'm done with that, I'm gonna hit. Okay? And you're gonna notice immediately that this brush has been added to your brushes panel way here by hover over it. It's is rough one. Let's go ahead and do that with second brush. Drag it over, create art brush. They named this one rough shoe. And I'm believes the with six. Same thing is before I want to change the colorization method to tense and then change the overlap to the one on the left. And, um, it I'm a hit. Okay. All right. So we've got to him. I'm gonna do the rest of them the exact same way that I just showed you. And they were to meet back in the next class and save these brushes into a brush library that you can access any time and share with others. 7. Saving Your Brush Library: Welcome back, guys. So now we've got our brushes. Um, we created all our art brushes. So here, I've got rough. One rough two or three, right, six, etcetera. Um, and next thing we want to do is we want to save these brushes as part of a brush library, and this is going to allow you to Ah, either one used these brushes in another document, um, in this one, and or to share these brushes with others. So you could, um, for example, package these up and share it with your friends, um, colleagues. Or you could even package these up in some way and seldom, so yeah. So I'm gonna show you how to do this. It's really easy. Once you've saved all of the brushes you want into the brush set, What you're gonna do is you're gonna go back to that hamburger menu, and you're going to go all the way down toward says save brush library. Well, this is going to do. It's gonna take you to this brushes folder that is ah, nested inside your ah, adobe illustrator libraries. So, um, in the later lesson, I'll show you how to find this. Ah, Ah, this file, if you're looking for it through Ah, Finder. But for now, let's just name this set. Um, So I'm gonna name this JD's rough edge brushes, hit, save, and I've already want got one. So I'm just gonna replace that. All right. And so now let me show you what happens if I open another document. So let's just go to new. Doesn't matter what kind of document I open. Alright. So I've got my brushes panel and you can see my brushes are not there. So to put my brushes, I need to go to this little brush libraries menu. It's a Nikon that looks, took a few books leaning against one of the other Click on that, Then you want to go down to user defined, and then you want to find your brush library that you saved. So in my case, it's JD's rough edge brushes. All right, so now I've got all my brushes pulled up here and I can start using them. For example, if I just built a very simple rectangle and apply my rough one you can see if I zoom in. I've applied my brush stroke to this object so that's really cool. Join me in the next video and I'll show you how to best apply these brushes to your artwork by showing you how I apply them in my illustration project for this last 8. Applying Brushes to Artwork: Welcome back, everyone. So in this, um, class were actually going to do the fun part which is applying these brushes to an illustration. So for your project, you should have created a bunch of effective illustrations The disc unb e simple. And they could just be a collection of objects from your daily life for collection of objects from a sport or hobby that you like. Um, in my case, I just did a bunch of up it objects on my desk that are related to drawing illustration. So once you've done that, I want you to make sure that your objects, um, every shape on your object basically has a Phil and a stroke that matches that cell. I find that these brushes worked best with this kind of setting. But if you want to have a stroke, that's like a black outline that could work as well. It's just not gonna be a subtle It's not to be exactly the same. You might need to apply the subtler brushes in that case. So in my case, I've got the stroke in, uh, Phil, uh, matching on each of these objects. So what I can do is I'm gonna goto brushes that got it open. Let me close that I can show you. So I'm in my brushes panel. Um, it shouldn't surprise you that, uh, they're as of now, it can't see my brushes. So as I told you, you have to go to this brush libraries icon and bottom go to user to find. And then, um, go down and find your brushes. So minor JD's rough edged brushes. Uh, all right, So now that you've got your brush panel with your brushes open, you can actually drag your selection toe over the object that you want to apply the stroke too. Now, you can just click on whichever one of these brushes you could kind of cycle through really easily and kind of fast this way, Which is why I like this method. And I think it's very simple way of applying brushes. So because we made our brushes so long and narrow, this means that they do a really good job applying to a path. Um, and the corners look good, but it also means that essentially, it's their very subtle. But if we wanna increase the effect of these brushes or even make them more subtle. We can play with this stroke weight of our objects. So, for example, here, by bringing this stroke up, you can see the Thea. Um, the effect starts to become a lot more dramatic and vice versa. If I do creased the stroke and I could go, you know, 0.25 here. You've got an incredibly subtle yet you can still see it, but a very subtle effect. All right, so I actually designed these brushes so that most, um, will work really well at the default stroke weight, which is one because I found out that saves me time, cause I don't often need toe change it up. So I'm in a points, by the way, in my stroke weight units. Right. So I like this for this lamp. Um, now for these scissors, I'm going to maybe play around. Let's try. I think it was rough. Four. We're recreating now. Maybe it's rough. Yeah. Okay. Just rough. Five. It's that one that has more consistent Well, circles, This one I find a little too intense, to be honest, My bring it down. I kind of like that. But it is very uniforms, so I might not fit everyone's style. I like it for this. I think it's subtle enough for these blades. I'm gonna just give it a hit it with this one. I like that. See this nice? Ah, roughened edge here. I just I'd love this technique. Um, this pants one just got apply this one. Oh, here's another thing. Um, let me go back. Say that you have these strokes. You want the So say you want the stroke caps to be rounded, but you want to apply a roughing effect on these strokes as well. Well, to do this, you should expand them before you applied it. Rough inning effects. So if you hit, expand here it. Okay, Now you play the roughing effect. It's going to keep that round cap on our like this trick because it helps you a lot when you're wanting to keep that kind of rounded effect. Same thing for this line here. If I want to keep that, I'm gonna have to expend Okay, Now, I can apply my effect. And remember, you can play with the stroke weight so that you can go down and up and whatever you want. Uh, the other thing is, and this doesn't often really bother me, but if you zoom in here, you've got a corner and it looks a little bit up. There's something underneath. That's weird, right? My bad. But, um, that land us up again, Cary are Okay, so here, if you zoom in, this corner looks a little bit off. There's a simple fix for this. All you have to do is, uh, grab your direct selection tool A on your keyboard. Uh, grab just this anchor point here. Going to see this little icon appear here in this wells you'd around the corners. If you applied the slightest bit of rounding to this, it should fix the problem. So if you hold the option key, it allows you to be very precise with the amount of working that you apply for a rounding that you play. In this case, this might not be the best brush for this particular object. I'm gonna try another one. That's kind of weird. Okay, I think I'm gonna go down in the intense, the intensity. And then what I'm gonna do is I'm gonna to compensate. I'm gonna go and size the subject up. So you can see that this is really there's no exact science through this method. I just kind of have to play around. You have to decide what you care about. If you care, right corners having that little point, you know, you have to round them. You have to play with the sizes. You have to play with the stroke sides. This is all like a You have to really kind of adjust it. But, you know, I don't mind that because it's so easy to cycle through an experiment with different brushes using this method again because you just select an object and apply strokes in this way and you don't even have to open photo shopping and has this really cool, um, effect applied to it? Uh, you know, throwing some great and shading are, you know, some shading wood grain using adobe illustrator, and you've got a really kind of textured illustration that looks like maybe you played around with some folks up brushes, but you didn't. You were actually much faster. And you create all this in illustrator and people will be well by that, um, so just going through. And so I'm gonna go through and basically do this again and again. And all the tips I gave you are you know, all the tips that you really need to understand how these brushes work. Oh, the other thing I want to mention really quickly. And this is you know, thats might be important. When you have a long, long paths that you want to use thes brushes on. I'm gonna actually make direct angle here. That's pretty long because I want to show you this. So, um, if I apply a stroke to this rectangle, say I want to buy The rough thing is that this is gonna stretch out this stroke effect on this object. So if I want the, um, effect toe, have more details If I want to be able to see more detail, the rough edges, my object, there's a really simple fix. And it goes like this. This guy, I'm just gonna bring him back the stroke to a basic stroke, and I'm gonna copy this object. Close that I'm gonna copy this object by hitting commence see on a piece in front by hitting command F. And now what I'm gonna do is I'm gonna have my direct selection tool, and I'm going to delete three anchor points that I don't need. So in this case, I'm assuming that I needed to see this path right here. Be textured. Um, So what I would do is I would then texture this path and set the Phil to none. And now I don't know if you can tell that this effect has been applied over a smaller stroke length, so it looks more detailed. The other thing you could do is you could cut your paths using the scissor tool, which is, uh, here under the eraser toy, you start as well. And so, using the scissor tool, you were basically used the same technique. We coffee paste in front, and then you cut the path in front to add more detail to the sections that you're applying the effect to. Um, yes. So those are all the tips and tricks that I can give you. Um uh I look for to seeing you apply these brush effects to your illustrations and seeing what you come up with and yeah, 9. Adding Final Touches : everyone. Um, I've ah worked on my illustration and I've changed the composition a little bit, modified a few elements and applied all my brushes. And I'm happy with what I've got here. A collection of some of my illustration materials and, ah, objects that surround me as I practiced daily. Um, so yeah, I've, ah, I have expended this. I've changed the size and you could see it got a nice roughened edge on all of my shape. So I think it adds a lot of character and dimension. At this point, I could call this stone, but, um, for this class, I wanted to show you Ah, tiny little bonus tip. And that's gonna be how, Dad, Even in more detail in texture, using custom scatter brush I made especially for your guys. Ah, you'll find the scatter brush in the project section of this class and in the next video, which is some bonus content for you guys to show you how to apply that scatter brush to your artwork. It's a really cool additional technique that will add a lot more character to your illustration. 10. Conclusion: Hey, guys. So by now, you should have a set of your own customized, personalized brushes to texture your edges on your vector illustrations. I hope that this class has taught you a little bit more about what you can do with Illustrator. It's a very powerful program, and I I hope that this will show you that you really don't have to get complicated to get a little bit of texture. Here is my finished illustration. I've added some scatter brush details with the bonus free scattered brushes I've provided for you guys. Um just added them on like I showed you before and mass them out with some shapes. I think this really cool way of using illustrators powerful masking features using the vector shapes that you've already made induced going into making just a line with the scatter brush and just adding tons of detail. Um, yeah. So, um, please do share your project with everyone. Um, I look forward to seeing what you guys come up with. If you guys discover new ways of making these brushes, please let me know. I hope this will unlock your creativity and help you create those things that you really want to create an illustrator. All right. Thanks a lot. Yes, 11. Bonus: Adding More Detail with Scatter Brushes : Welcome back, guys. For this bonus lesson, I'm gonna show you how to, um, apply these Cool Inc stippling, um, scattered brushes I made for you guys. In case you want, I had even more detail in texture to your artwork. Um, so you'll find these brushes in the my project section of this class, and you can just download the file and access that Anyway, you would access your custom brushes. So once you've opened up, the file is should be in your user defined brushes. And this set is called, uh, JD's Inc stippling, um, these air some really cool custom brushes I actually made. Ah, by tracing over some, um, some Cool Inc staples I made myself, um and ah. So let me show you how this works. First thing I want to do if I want to apply this and I'm just gonna on group all these object just to make sure the thing is grouped because I want to be able to mask out certain things. Um, so the way these brushes work is right here at the bushes. I'm gonna press B to drink of my, uh, brush tool. And this is such a way. Black stroke. That's cool. Seven. Add a little bit of shading here. Well, what a man do? I'm just gonna go over this. Them You see, this brush is applying. Now, what I can do here is I can change the stroke sites of this. I like it. Be right around here and you can move this because it's one line. Um, make it a little now I like it a little bigger, right? Somebody leave it like that. What I want to do is I want to mask out that shape. Um, what's one group? This again? Um, using this gray square, Someone a copy of the square gonna paste it in front. And I'm moving all the way to the front by holding shift command and right bracket. Can I have got this selected? I'm gonna hold shift. I'm going to select this ah, line that I made with my brush, and then I'm going to press command. Seven. This masks thea staple inside, um, and the object. So let's say that I wanted this stippling to be a little bit more subtle. Maybe I wanna blended in more, so I'll just go to my trip. I went inside the mascot. I'm going to my transparency. I'm gonna put it on a multiply in my lower capacity a little bit, and I'm just gonna make it bland and more like that. Now, we got the school greeny effect that we can apply to our shapes. So, yeah, this is really cool. You can apply this to the whole object. So, say, for example, um, you wanted to shade, You know, all of this glass uniformly or something. He would just mask it out with the entire shape. Um, but I like masking out like small elements. I think it creates a more, Uh um, a more interesting look. 12. Bonus: Finding Your Brush Library on MacOS: Hey, everyone, I just want to show you a very quick trick for Mac users. I do believe that for Windows users, it's a lot easier. But this a tip for Mac users on how to access your brushes. Ah, your brushes file that you you saved when you created a brush library. It's actually kind of frustrating because that there's no real simple way to do this. And you have to know the strick. So if you, um so, like your finder, you go here to go, you can tell that there is no um, quick way of accessing libraries. Now. What you want to do is you want a hold the option key and go back to go, and you could see if I go down here. I have a library now. If I release, it's gone. If I hold it, it's there basically Ah, in the Mac ecosystem, the library folder is already it's automatically hidden from you, and it's the way that you won't hide it temporarily, so it's click on it now. Once you're in this, you want to go to applications support Adobe Adobe Illustrator, and then you're gonna find this folder called Brushes Okay, So at this point, if you know, you're gonna want to go back to this time and time again, What you can do is drag a copy of this by holding, um, option and drag it to your favorites in your sidebar so you can access it later when I goto brushes. I've got all my brushes read here. So if I wanted to share this brush over with somebody else, I could just, ah, create a duplicate copy of this and share with someone. It's that easy. So I hope this helps you out, and you don't have to scour the Web for a solution. This is just a really easy way to access your brushes library on a Mac.