Convert a Drawing, Image or Logo to Vector with Illustrator Image Trace | Luke Carter | Skillshare

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Convert a Drawing, Image or Logo to Vector with Illustrator Image Trace

teacher avatar Luke Carter

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Class project


    • 3.

      What Are Vector Files


    • 4.

      Uploading & Importing Sketches


    • 5.

      Image Trace a Sketch


    • 6.

      Image Trace a Logo


    • 7.

      Adding Color to Your Work


    • 8.

      Adding Texture


    • 9.

      Final Thoughts


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About This Class

Have you ever wanted to turn your drawings and sketches into digital artwork or add color digitally to a black and white drawing. Perhaps you’d like to to bring new life to poor quality logo files or any other types of image files. Have you got some hand drawn lettering you’d like to share or start a business with online.

This class will guide you through taking any kind of image and creating a clear and crisp Vector image in Adobe Illustrator.

This class is useful for anyone looking to get to grips with Image Trace and can be useful for beginners or more experienced users alike.

Automatic captions may currently be a little off, I'm in the process of manually correcting them.


Kawaii style coffee cup:

Vector Textures:

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Adventures by A Himitsu
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Luke Carter

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1. Intro: Hi there, and a very big welcome to my first video on here. I'm very excited to have created this video on my favorite application from the past few years. And hopefully there'll be many more to follow. In this class, we're going to learn how to convert image files to vector, with Illustrators Image Trace tool. You could use any image you like. for example, a photo, a logo, or hand-drawn texts But we'll mainly be focusing on taking a hand-drawn sketch and converting it to vector. We'll learn what a vector file is and how it differs to standard raster image files. We'll then go over the various methods for uploading your artwork to your digital device and how to get it into Illustrator. Once in illustrator, we can then learn all about the Image Trace tool. Lastly, we can add some color. To tell you a little about myself. My name is Luke Carter. I work in IT and I've been using Illustrator for the past few years. I started using Illustrator when I got into Fiverr and Etsy to bring in a little extra side business. I learnt illustrated by using videos such as this one to gain knowledge I needed And before long, I was successfully making money offering services such as logo editing and restoration, poster design, blanket design, marketing designs, and much more. Image Trace is and was especially useful for the logo edits and restoration. Not all customers had high resolution files or source files available. And I needed to replicate the raster image files as vectors. This class can be undertook by anyone of any skill level. As I'll show all that I'm doing with full explanations, keyboard shortcuts, and highlighting of key information on the screen. This class is great for hobbyists, who want to take their hand-drawn work to the next level and great for freelancers or people wanting a good side hustle. By the end of the class, you'll be ready to upload and import any hand-drawn work or other image files, convert it to vector with the trace tool, smooth out any rough edges, and add or change colors. Let's get started and I'll see you in class. 2. Class project: For your class project, I'd love for you to take something hand-drawn. Use what you've learned in the course to upload the file to your device, import it into Illustrator, convert to vector using the Image Trace tool and maybe even add some color. I drew something using a YouTube channel I like called Draw So Cute. I'm not a great drawer of myself, but her videos are great for people of any skill level. who'd like to follow along and draw something cool and fun. Draw something of your own. Or I'll put a link to her channel in the description. Pick anything you'd like and draw along with her before converting it to vector. Alternatively, download one of the supplied files and follow through the course. 3. What Are Vector Files: This course is all about using image trace to make our very own vector files. So what might be helpful for some is to have an understanding of what a vector file is and just why we love them. If you've already got firm understanding of this, please feel free to jump ahead to the next section. There are two common categories of image files. One is Raster and the other is Vector. Both useful, but just used for different things. One could say that we paint with pixels and draw with vectors. Some common Raster file types include JPEG, PNG, and GIF, or GIF, depending on how you like to say it. Adobe Photoshop tends to be a top choice for photographers and designers working with raster files. Photoshop typically saves as a .PSD file. Adobe Illustrator is what we're using today and is one of the most popular vector-based software's out there. It is often used to create AI, EPS, SVG, and PDF files. All great Vector formats. When talking about raster images, we can quickly make things very complicated by talking in depth about pixels and resolutions, they're good to know, and they explain how Raster works, but they aren't needed for a simple understanding of what raster is. At its core. The term raster means that if you take an image or a photograph that is small and enlarge it, it will become more and more pixelated or more blurry. Like in the image at the bottom of the screen, we can see the blurring coming in until it reaches the point where it is unrecognizable. While making master image is a little bigger, often isn't a problem. It's not recommend. Unless you are shrinking or cropping an image or photo, you will never have a better looking or more crisp image than the original Raster file. Photographs are always raster and the graphics that you see all over the web are also raster. Even vector images are saved as raster when they need to be uploaded to the web. And while an Illustrator or Photoshop file might be editable, once it's saved as a raster file type, all its layers will be flattened, making edits a lot more difficult. Now, vector graphics, on the other hand, are made up of shapes created by awesome math functions that allow them to scale infinitely. Think about that infinitely. This means they can be enlarged or shrunk down to any size over and over and over for whatever project you have. And they will always come out looking perfect. This is why I love vectors. The shapes within vector graphics are made up of points. These can be modified and manipulated as needed, without the artwork becoming pixelated in any way. For this reason, logos should always be vector. You never know how big or how small you might need to make it in the future. So it's always something that needs to be able to scale up or down. It's also great fun to attend your sketches into vector as they'll have the cleanest lines you can color and recolor it with ease, and you can make precise corrections and adjustments for the same reasons. It's also great for hand lettering. One of the best benefits is that we can then use our logos, sketches, hand lettering, or whatever it is we create the marketing poster design online, use, creating a digital comic, anything we can think of really, please stay with me next to see how we can upload and import our physical work from the real-world and get it into Illustrator. 4. Uploading & Importing Sketches: In this part of the class, we're going to learn how to upload our work from the real-world of pen and paper over to our digital devices. You made two options, mobile or scanner. If you already have a good quality scanner and a familiar with using it, then this may be the easiest option for you. If you don't though, then a mobile phone is a great alternative. And my go-to method, simply load up the camera app on your phone, place your order down on a nice flat surface, preferably somewhere we have good lighting from an ADI window or perhaps just good light in the room. Take your photo from directly about the artwork. This will get the most accurate photo at the work. If you take it from an angle, you may see some distortion. I take a couple of photos using the flash and a couple without. Now simply choose the photo with the best lighting and clarity. Then you can email it to yourself or upload to the Cloud. I personally use Google Drive, but there's one Drive, dropbox, iCloud, and many more available. Once you've uploaded it, send it to your own email. Just opened up the email account or Cloud service on your digital device and download the file. I won't go into too much detail and scanners as you like, you know, your own scanner should you happen to own one? You might even have one as part of your printer. Some of the benefits so that you don't need to worry about lighting angles or finding a flat surface. You can upload directly to your PC or digital device without need for a Cloud app. Some of the drawbacks if you don't already have one, could be the additional cost, the space that they take up, and the time spent setting it up. None of these are major issues, but just something to be aware of. Most people already have a mobile phone with everything they need on there, all ready to go. So this is often a popular choice. Whichever method you choose. Once we have the file uploaded to our device, we can then go ahead and load up one of my favorite applications, Adobe Illustrator. We'll start off by creating ourselves a new document. As you may already know. To do this, we simply click File and then New. Alternatively, you can use Control N on your Windows keyboard or Command N on the Mac. For this, we can use one of the common document presets. Today I'm going to select Web, Web Large and then simply click Create. Now we have a blank new document. We can input our artwork into it. To do this, we'll use the place functionality. We can find this by going to File and then Place alternatively on your keyboard, you can press Shift Control P or Shift Command P on a Mac. Browse to where you saved your artwork, select the file and then click place. Chances are the image is too big for the document or art board that we've created. One option is to just drag out the image as big as you like on the artboard. Another option is to simply click on the artboard and let it place the image at full size. This is a raster image. We wouldn't want to enlarge it as this would reduce the quality. But we can shrink the image and the quality should stay exactly the same. To zoom out, I'm going to hold the Alt or Option key on my keyboard and then move the scroll wheel on my mouse back towards me. Alternatively, you could use the zoom tool and hold the Alt or Option key on the keyboard while left clicking anywhere on the document. I can change my position in the document by holding down the space bar and using my mouse to left-click and drag where I want to go. Whilst ensuring the selection tool is enabled by clicking it on the toolbar or using the V key on your keyboard. I can now hold down Shift and drag a corner of the image to make it smaller. Holding down the Shift key, keeps it in proportion. I can then hold down my Alt or Option key again on the keyboard and scroll forward to zoom back in. Alternatively, I can press Control 0 or command 0 to fit my artboard to the window. 5. Image Trace a Sketch: In this video, we're gonna get started with Illustrators Image Trace tool. We're going to take the rest of the image that we've already placed into Illustrator and turn it into a vector illustration. To get started, we're going to crop our image. This will help the Image Trace tool work quicker and help to avoid it picking up any shadows, smudges or excess pen or pencil marks that we might have on the paper. To crop your image. Make sure you have the selection tool enabled. And then left-click your image. Then select the Crop Image button at the top. Select Okay to embed a copy of your image file into your Illustrator file. This will stop the cropping or any edits you make from affecting your original file. Drag the borders in close to your artwork, but not too close, and then hit Apply. Now while holding the Alt or Option key down on your keyboard, you can drag your artwork next to itself to make a duplicate. If you also hold down the Shift key, it'll keep it in line with the other artwork. Now with the right image selected, click the Image Trace button at the top of the screen. If you get a warning about the image being large, usually you can just click okay, and it's not an issue. If you do find your device is struggling a little, you can follow the steps given in the warning message. If you don't have the Image Trace window open, you can do so by going to Window and then Image Trace. The Image Trace window may look a little complicated at first, but after you've used it a few times, you'll find it's relatively easy to use with the Image Trace window open. Please expand the advanced options and ensure preview is checked to on. Otherwise you will not see the changes you make take effect. If your device takes a long time to preview the changes as you make them, you can always temporarily turn it off, or you can try reducing the image size as per the morning message we saw earlier. And the preset, you'll see a good variety of options, some for photos and for colored artwork. Once the shaded artwork, one for black and white logo, the one we want today, which is first sketched up. Then there's also options for silhouettes, liner, and technical drawing. You get slightly different options depending on what you choose. For instance, choosing a color option allows you to set the exact number of colors that are in your work. But for the most part, they all share the same core settings. Under View, we control how we want to see the results at the Image Trace. First in the list is tracing result. And this shows the image just as it will be when we convert the vector and complete the Image. Trace. Tracing result without lines will show you the finished result of an outline around all of the work. Outlines as expected, will just show you the outline of the trace to work. It will still converge as per the tracing result view. This is just a way to preview it differently, may help with seeing how smooth or accurately lines are. At lines or source image is the same as just mentioned, but with the original image underneath. Source image will just show you the original image. This may be useful for times when you do not copy the image beforehand. Alternatively, you can click and hold on the eye symbol, and this will also give you a preview of your original image. And the mode you can select whether you're converting to color grayscale. A black and white vector. Threshold determines how many pixels will be converted. If you have it all the way up, it'll be completely black. If you have it all the way down, then it'll be completely white. It's worth playing around with this bar to find what works best and will likely be different every time. So there's no set value to go for. I like this one, value, one 35. So I'm going to stick with that. Patch sets the number of paths that are in the design. Fewer paths means a simpler design. But if that's too few paths, then it can become inaccurate. Like before, it's best to play around with the slider and see what looks best. You want nice smooth lines, but you still want to maintain good accuracy. As per the name, co-owners controls the amount of corners that are in your design. Less corners will make the curse of your design more rounded, while more corners will make the curves of your design sharper. The noise slider can be useful for getting rid of stray marks or pixels that aren't meant to be there. It can also eliminate important parts of your design that a small though. So it's always best to play around with the slider and find that happy medium. It's also worth toggling ignore y on enough to see which looks best. Ignore why isn't selected, then all the y in your artwork won't be converted to white fill. If it is selected or why it will be ignored and you'll have no white fill when you convert to vector. Try also playing with snap curves to lines. This can help straighten up some stray wobbles on your line work. Once you're happy with the result, click the Expand button at the top of the screen to convert to vector. We're now going to use the smooth tool. A quick way to get to this is to press the Enter button on your keyboard to bring up the pencil tool. And then hold down on the pencil tool and select the smooth tool. If you double-click on the smooth tool and it'll bring up the options. This is just a simple slider where you can select how much smoothing you want it to apply. Depending on the quality of your pen paper, drawing skills, the wet may need a little or a lot of smoothing out. As you can see, my drawing skills, not much to shout about, so it requires a fair bit of smoothing out. It's also a few imperfections that we can see here around the eye. I'm simply going to use the direct selection tool and delete these. I can easily zoom in and out of my artwork by holding down the Alt or Option button on my keyboard and using the scroll wheel on my mouse, I can then go around my work and smooth out any areas that I think need it. I can also move around the page by holding down the space bar and then left-click and dragging with the mouse. Once you started smoothing out a particular area of your artwork, you can clearly see which area is selected to switch over to another line or area of the artwork. You can hold down the Control or Command button on your keyboard and then left-click the new area you'd like to smooth and easy way for me to reshape some of my artwork is to select the curvature tool and then just drag around the points or even delete some if needed. Once you're happy with your artwork, make sure to save your file before moving on to the coloring stage. 6. Image Trace a Logo: Here we're going to have a look at how to image trace a logo. I went over a lot of the image trace options in the first half of the image trace a sketch video. If you skip this, and we'd like to know more about the options available in Image Trace. Please consider having a watch of it first, this video, we're using similar techniques from the sketch video, so there's a good chance to reaffirm the new skills. So maybe you've got an old or poor quality logo that you are a client would like improving on or converting to vector. Or maybe you just want to hone your Illustrator skills. Sometimes you may not have the original or source files for a logo. And if a logo has been resized many times, they may no longer have that nice sharp crisp luck you want it to have. Or it could just be that you need to enlarge the logo to sizes that you've not previously used and it's starting to pixelate. He's a logo that we can see is not in its original intended quality. It's pixelated due to being enlarged. The outer side slip lightly been cut off due to the pixelation. And even though the logo was originally one fill color with no stroke, the pixelation has given the appearance of a darker stroke color around the edges. Here we have the logo after we've use the Image Trace tool and create a vector image that if we save in a vector format like PDF, for example, could be printed or used in any size without pixelation. I'll now take you through how it was done. Starting with a blank art board, we'll start by placing our logo into Illustrator. To do this, we can use the keyboard shortcut Shift Control P, or Shift Command P. On a Mac, I'll tentatively select File and Place. Navigate to your logo and either double-click it or single click it, and then click the plus button. Click on your artboard to place the file. I'm going to hold down the Alt key or Option key on a Mac and then drag my logo to create a duplicate. By holding down Shift Also, I can ensure it stays level with the first copy. Having it Copy allows us an easy way to always see the original design for comparison. Zoom in and move your view so they are happy to begin working on the logo. With the selection tool enabled. Click one of the logos. I prefer to use the right one. Then select the Image Trace option in the toolbar. Click the image trace panel button if you don't have the image trace panel visible already. Alternatively, go to Window and then Image Trace. It may or may not be docked to your toolbar on the right depending on your preference. Sense that up. I'll end up nine for this video. For me, the black and white preset is fine for my needs. I go over the other preset options in the image trace a sketch section. Please go back to that if you'd like to see that it's fervor options. Now we need to play with the threshold slider until you get a good starting point you feel looks good. I settled on one 56, but there is no one value that fits all for this. For both the paths and the corner sliders, try the far left and far right side of the sliders to see which looks best for your logo. Then slowly move towards the other side to find the best position. You want to get your past looking smooth and your colon is looking sharp, but may need to compromise for a happy medium. Noise didn't really matter for my logo as I had no stray pixels or tiny details. If you have a lot of stray pixels or randomly audits on your logo and just the noise slider, so they vanish. Just be careful not to do it so much that you lose any small details in your logo. The method, the first option has the vector shapes that are created when an image is traced butt up against each other, typically with no gaps between. The second option has the vector shapes that I created overlap each other just a bit. This can sometimes result in small gaps between the vector shapes. For logos. We usually just wanted to stick with the first option for this logo where it says Create, we're just going to select Fill. If your logo is made up of just line work, you might prefer to select only strokes as it'll keep the lines consistent. This wouldn't be useful if you add varying line width in your work. I always like to try both with and without the snap curves to lines option and see which looks best. If you don't need y in yoga, it may also be worth turning on, ignore white. It's never an option that's worth seeing how it looks both with and without the option. As sometimes it can look better one way or the other. If it looks better with the option disabled, you simply need to delete the white areas after expanding the trace. Once you happy with the design and all the options, simply click on the expand button at the top. You can now zoom in and center on the expanded logo you're going to be working on zooming back out again if you need to see the original for reference. And now going to fix up the logo a little using the smooth and curvature tools. My tip for quickly finding the smooth tool is either create a hotkey for it or by just pressing the End key to select the pencil tool. And then holding down on pencil tool to select the smooth tool below it and they expanded list. Now work your way around your logo and smooth around off any jagged edges or overly straight lines. If your logo is made up of different parts like mine, you can hold down control and left-click the object so that when you move to a different part, hits selected and the Smooth Tool continue to work without having to switch over to the selection tool. I'm now going to switch to the curvature tool to make some further changes. Unlike the smooth tool, you don't need to use Control clicking to select the object that you're working on. Simply left-click on the path if you'd like to change, to select it. This logo Kuwait nicely, we've rounded leaves and edges or the sharper corners. I try both to see what I prefer. You can drag around the anchor points to move them and double left-click on one to change from a curve to a corner point. For this demonstration, I decided to go with curved and continue to switch between the curvature and smooth tools to finish off the logo. Lastly, I ensure that I had the Stroke window available by going to Window and strike K for this is Control F or Command F ten on a Mac. The one of the final finishes, I said the logo color to the desired one. You could use the eyedropper tool with hotkey I, if you wanted to select a color from the original logo on the left, you can add a stroke by selecting a color from the Properties panel and increasing the stroke point value. This can be done in the properties panel or the stroke panel. To get advanced stroke options, you may need to click the double arrows next to the title of the Stroke panel. I like to try different alignments of the stroke as this can drastically change its overall lack. Ultimately, I decided to finish with no stroke and remove it altogether. Please have a go yourself and feel free to use a logo for your class project if you prefer it to a sketch. Just let me know if you have any questions and I'll get back to you as soon as I can. 7. Adding Color to Your Work: Now we're going to spice up our artwork by seeing how we can add some splashes of color. First up, we want to open up our swatches panel. If you don't already have this available, you can go to Window and then swatches. With the selection tool enabled. You want to left-click on your artwork. You can then simply click on the colors you'd like to use from the swatches panel. If you want to better see your artwork, you can hide the lines by using Control or Command + H on your keyboard. While selecting colors at this stage, we want to make sure that we have fill selected and not stroke. If you want a color not available in your swatches panel, you can simply double-click on the Fill box. If you have a specific color in mind, you can enter in the hex code, or you can use the buttons and sliders to find a color that you like. Alternatively with your artwork selected, you can click the Recolor Artwork button. From here, you can use the color wheel and simply drag a circle around to choose which color you'd like. You can change the brightness using the slider at the bottom. For this piece of work, I'm going to stick with black, with the selection tool enabled, start by left clicking on your artwork. I'll go over a few different ways we can add color to our artwork. One of the ways we can do that is using the Live Paint Bucket Tool. We can access this by pressing the K button on our keyboards. One of the good things about the paint bucket tool is you can set up your swatches to make it really easy to quickly cover your work. You can use the up and down arrows on your keyboard to go between color groups. And then you can use the left and right arrows on your keyboard to go from swatch to swatch. you can easily see what color you have selected from the color chart by your cursor, or you can check what colors selected from the swatches panel. Now that you have your artwork selected, first color chosen, and live paint tool enabled, you can click, where'd like to first add color on your work. If you've set up all or most of the colors you'll be using in a color group. you can then just use left and right arrows to easily color the rest of your work. If you've not set up a color group before, all you have to do is click the folder icon to create a new color group. You can then just drag colors from the rest of your swatch or drag your active fill color into the new group. Once finished, in order to finalize the changes, click the Expand button at the top of your window to change the live paint group back to a standard group. A handy button to know is the select similar objects button. Use the direct selection tool to select one particular piece of your artwork. Now use the little arrow next to the similar objects button to select the criteria. I'm using Fill and Stroke Color. Then when I press the button itself, It'll select all objects with the same gray fill color and no stroke enabled. This is handy for making quick changes to one color. You could also use the Recolor Artwork button I mentioned earlier, we'll now have a look at coloring our artwork using the shape builder tool, With the selection tool enabled, start by left clicking on your artwork. You can then use Shift+M on your keyboard to bring up the shape builder tool. Now just pick a color and left-click to apply it to a space. Repeat this as many times as needed to complete your work. Lastly, we're gonna take a little look at the blob brush tool. You can access this using Shift+B on your keyboard. We then want to make sure we have draw behind enabled. Remember where this setting is in case you'd like to change it back to normal in the future. You may have one button with a fly out menu as seen on my screen. Or if you have two columns of buttons, you may have two separate buttons for the options. You can make your brush size bigger or smaller using the square open and close brackets on your keyboard. Now you can simply paint where you want to add some color. And thanks to the setting we just applied, we can see it's been set, behind our line work. 8. Adding Texture: Hey, we're now going to give our sketch a bit of texture. It not only makes your sketch more visually interesting, it's a great way to experiment and try something new. You can do this with a sketch, logo, hand lettering or anything you like really. Here we can see the original design, a version using texturizer, which we'll go over a little more later on. and another version using vector texture. To get started, we'll begin with the vector option because after all, this class is focused on producing a full vector image. This first step is optional, but what I'm going to do is group together the black line work of my sketch and the color areas separately. This is so I can apply the texture to the color areas only and leave the line work untouched. First I switch to the direct selection tool by tapping A on my keyboard, and then select part of the black line. work? We can then utilize the select similar objects feature in our top toolbar to select the rest of the black line work. Just use little arrow as you see me doing here, and select Fill Color. So it knows to look for the same fill color. Then simply click the select similar objects button. You can then use Control+G or Command+G on a Mac to group the selection together. This should then leave all the color layers above it. And we're going to select the bottom color layer and then hold down the Shift key when I click the top layer in order to select all the layers in-between to. I can then use Control+G again to group my color layers together. If I zoom out, you can see I've copied and pasted 3 textures into my document. I downloaded these link to them can be found in the class description, or you can search for and download your own. I've currently locked the texture layers by clicking on the lock icon area next to them. This is the save accidentally selecting them for the time being. I'm going to regroup all my cup layers together, As currently the steam color is not grouped in with the rest of the cup. With the selection tool enabled and holding down Alt or the Option key on the Mac. I'm going to drag the cup to take a copy of it and place it over my first texture. As I need my texture to be on top in order to see it over the cup design. I'm moving my cup layer below my texture layer. Now we can move the design from one texture to the other, to see which we prefer to use. Hold down space, then left-click and move the mouse to move around the illustrator window. I've decided on the 3rd texture and now unlocked the texture layers to show that we can use the direct selection tool to move some of the texture around. This is useful should you not like the position of a particular part of it, Or if you have an empty area, you'd like more texture on. I'm now selecting the texture, so I can see which one it is in the layers panel, and relocking the others as I don't need them for now. And it'll help to keep the chosen one apart. I'll then do the same with the cup, so I know which one I'm working on. I'm moving my design layer directly below my chosen texture. We then want to create a clipping mask in order to hide all of the unneeded texture. Holding down the Alt key or Option key on a Mac, I'm dragging both color layers above my texture layer to duplicate them. I can then select both those layers and press Ctrl+8, or Command+8 on a Mac to create a compound mask. Combining the layers into one layer and shape. If I made the compound path yellow, you can clearly see what's being created. There's no need to make it yellow in your own designs as we'll be losing this color in the next steps. If I select the new compound layer and the texture layer, I can then press Ctrl+7 or Command+7 on a Mac to create a clipping mask for the texture. As we can see, the texture is now confined to the color areas of the design. You can also access the clipping and compound options near the bottom of the objects dropped down, If you don't like using hotkeys or if they're not working for any reason. I'll expand the clip group and select just the texture so we can play around with color a little. If you open the transparency window with Control+Shift+ F10, or via Window and transparency, this will give you further options when playing with the color. Try playing around with a few different colors and see which you like. You can change the opacity to make the effect more or less apparent. Trying different transparency modes such as multiply and screen can also give some nice complimentary colors. Here, I have selected a medium gray with multiply and 75 percent opacity. This has given a nice light gray color to go with the white, and a cool dark red to go with the light red color. Lastly, if there's any part of the texture you'd like to move or delete it, it's still possible. Here I'm going to move a couple of bits of texture placements I'm not too keen on. Now let's move the whole design back to the art board ready to be saved, exported, or anything else you'd like to do with it. I'll now show you a second method of using the downloaded textures, go to the textures you'd like to use. I've recopied and pasted the texture we used earlier so I can use it again. Simply select the texture and drag and drop it to your swatch panel. You can now switch to the blob brush tool that we tried earlier for creating the steam color and paint on the texture effect. anywhere you'd like, the benefit of using the blob brush tool over the brush tool for this is it keeps it all in one compound path layer. If we use the Brush tool, it would create a new path every time you release the mouse button. You could also use draw inside mode to constrain your blob brush to a particular selected area. You can use your open and close square brackets keys to enlarge or shrink the brush size. I'll now undo the brush texture I applied to show you another way that we can use the swatch method. If you click an area you'd like to have texture on, with the direct selection tool applied, Copy and Paste in Place using Ctrl+C and then Ctrl+Shift+V, or command instead of Ctrl on a Mac, we can then just apply the swatch to the duplicate layer and the texture will be applied. The downside to this method, is it's not easy to change the size or color of the texture. There's ways around these problems, but they'd require a little tutorial of their own. So I won't be going over them in this video. There's a 3rd short and sweet method I'd like to show you today for adding a little texture also. I'm going to start by only selecting the color layers of the sketch. I'll then select effect, then texture underneath Photoshop effects, then texturizer. I'd like to mention Photoshop effects including this one are raster effects and not vector. So if you want a purely Vector piece of work, this may not be the best method for you. You can select the relative size of your texture compared to the rest of your image. By using the scaling slider, you can adjust the amount of 3D relief effect with the relief slider. You can even select the direction of the light source that produces the 3D look, selecting from top to bottom, either side, or any of the four corners of the image. And there we have a quick and easy texture. Though, if we zoom in, we can see how it's raster and definitely not vector. If you get the jagged black line work like I have in mine right now, this can be fixed quite simply by dragging the black layer, on top of the color layer. I hope this was useful and please let me know if any comments or questions. 9. Final Thoughts: Thanks so much for sticking with me through the course. I hope you had fun watching and learned a few things along the way. You now all know how to upload artwork from the real world to the digital. How to convert that work into vector and even add some color. I can't wait to see your projects and find out what you will have been creating. If you have any trouble and eat any further advice, please don't hesitate to get in touch and I'll do my best to reply and help you out. Thanks again. And see you soon.