Digital Illustration: Adobe Fresco & Adobe Illustrator | Ali Hooten | Skillshare

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Illustration numérique : Adobe Fresco et Adobe Illustrator

teacher avatar Ali Hooten, Illustrator & Pattern Designer

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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

10 Lessons (1h 32min)
    • 1. Introduction

    • 2. Projet de cours

    • 3. Avantages et inconvénients de l'art vectoriel

    • 4. Mon processus en un clin de noix

    • 5. Configuration de pinceaux sur l'iPad

    • 6. Dessiner dans Adobe Fresco

    • 7. Nettoyage d'illustrations

    • 8. Illustration de Recolor

    • 9. Redimensionnement et exportation de fichiers

    • 10. Goodies gratuits

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Le niveau est déterminé par l'opinion majoritaire des apprenants qui ont évalué ce cours. La recommandation de l'enseignant est affichée jusqu'à ce qu'au moins 5 réponses d'apprenants soient collectées.





About This Class

Apprenez à créer des illustrations vectorielles à l'aide d'Adobe Fresco sur l'iPad et à les éditer professionnellement dans Adobe Illustrator sur votre ordinateur portable ou votre ordinateur de bureau. Je parcourais tout mon processus en un clin d'œil, du premier dessin au concept à l'illustration finale prête à imprimer ou à être placée dans votre portefeuille d'illustrations. En tant

qu'illustrateur professionnel, j'ai été architecte, j'utilise les produits Adobe et je affine mon processus depuis plus de 15 ans.
Depuis les jours du dessin à la main, du numérisation, de l'édition et du « "vectorizing" » à la technologie moderne disponible aujourd'hui, je suis ravi de partager mon processus en utilisant un stylo de stylo pour dessiner sur l'iPad.

Assurez-vous que vous avez Adobe Fresco sur l'iPad et Adobe Illustrator pour que le bureau / ordinateur portable soit suivi. J'ai inclus des ressources gratuites à télécharger pour me référer à mes étapes, en un mot, ainsi que quelques autres astuces et astuces que je trouve super utile ! Téléchargez un guide pdf sur l'illustration numérique en utilisant le lien ci-dessous.

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Teacher Profile Image

Ali Hooten

Illustrator & Pattern Designer


Hello and welcome! This is the place to find courses on illustration, surface pattern design, and general organization as a designer.

I have taught in several different capacities over the years, most notably teaching as a full-time instructor at a University, creating courses in product design, architecture, and visual communication. I think every design needs to be created with intention, apply critical thinking, and understand the bigger picture and end use (and user). I think it is more important to learn how to think rather than any particular tool because technology and expectations are constantly shifting. It is not about “keeping up” but rather about resiliency & adaptation.

I plan to keep lear... Voir le profil complet

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1. Introduction: Hi there and welcome to another Skillshare class. My name is Allie. I'm the owner and founder of quite creative in illustration and stationery brand. In today's class, I am going to show you my new process and creating vector art as digital illustrations using Adobe Fresco on the iPad and editing them professionally and Adobe Illustrator on a laptop or desktop. You might start by asking what is digital illustration? And essentially it's an illustration made with the aid of a computer. You can use a digital pencil, mouse, or even a trackpad. I will be using an Apple stylus and the iPad for this entire course. But you of course can use anything you would like. And I'm going to go over drawing on the iPad. So digitally I start to draw on, on my iPod using a stylus and then later send that to a laptop or desktop and edit the illustration in Adobe Illustrator to professionally make the final tweaks. And think about sizing and all the extra pieces that go into the illustration. You can use art, the print on products to licensed to companies had two portfolio. And really I love the iPad and digital illustration to enjoy making art on the go. Some examples are creating things like greeting cards. This illustration was made on my iPad and it's now printed on an A2 greeting card, which is a standard greeting card size in the US. You can also create prints, whether you are selling them or creating them for your own home. This too was a digital illustration made in Adobe Fresco, and then later edit it and Adobe Illustrator before sending to the printer. In this class, you are going to walk away with a couple of key skills. One, drawing in Adobe Fresco, learning how you can actually use vector brushes versus raster brushes and get rid of all the extra steps of using things like image trace and trying to vectorize your art to seamless layer management. I'm going to talk about layers and both these programs and how Adobe Fresco and Adobe Illustrator seamlessly sync those layers and how you can use that to organize your file In three illustration cleanup in Adobe Illustrator, this is a really important step after you've done all of the drawing on the iPad. The cleaning up the different paths and layers and essentially editing all of those elements to professionally put together a file is really vital if you're sharing this with other companies, especially if you're licensing your art. And lastly, overview of exploiting files, resolution file type, and how you might resize all of these different illustrations for different purposes. This class is really for anyone who wants to learn a different process in creating digital illustrations. However, I am putting it together with the beginner in mind, thinking of someone who's maybe really new to drawing on the iPad, wants to learn Adobe fresco, or maybe just new to Adobe Fresco wants to learn how to draw in vectors from the beginning and edit them in Adobe Illustrator. What are all the different editing tools and how can you actually make this professional file? As an artist myself, I know that I love learning other artists processes. So whether you're a beginner or longtime Illustrator in some other format, I think this could be helpful and might be nice to pick up some other tips or just see how another artist is doing it. As I've already alluded to, I am going to be using Adobe Fresco downloaded on my iPad with an Apple stylus. I will also be using a laptop or desktop computer, whichever you have with Adobe Illustrator downloaded, I highly recommend a mouse. I personally have a really hard time with a trackpad and find using a mouse for any kind of CAD program is really helpful. And hut drink of choice. I always find this kind of fun just to watch a video and follow along in your own cozy space. We're going to go over everything and broken down lessons from the actual conceptual drawing and sketching on the iPad to illustrating an Adobe Fresco to then sending it to your laptop or desktop, editing it in Adobe Illustrator, I talked about recoloring the art, resizing all of the different art, the different export options and files. And then lastly, at the very end, I have a bonus guide that you can download. It's essentially reference guide distilling everything I'm going over in this course. It a PDF document with some extra tips and tricks, things like the color integration between the Adobe Creative Cloud in Fresco and some other file management tips that I really recommend to use. So I hope that you join me in the class. I am so excited to share my most recent process and creating digital illustrations. If you have been here long on Skillshare, you may have seen some of my older classes and turning hand sketches and effector art. It's still completely applicable, but this is my new process and I really think the iPad and stylus is changing the game and digital illustrations and vector art. I hope to see you in the class and I cannot wait to get started. 2. Class Project: For the class project, I would love if you could upload two different images. One, an image of your iPad and possibly just a screenshot of your process in Adobe Fresco with all of the different layers turned on. You can see in this example I've got the line work kind of overlapping the edge of the art board. And this doesn't matter where you are in your process, but we'd love to see kind of the earlier screenshot and then to a final image, ideally in the A2 size. So about 4.25 inches by 5.5 inches and 150 PPI. But it's okay if you don't want to follow along exactly this. This is the artboard size that I am going to be using throughout this class. So it should be pretty easy to export out the image. But the goal here is I would love to see your process and your final illustration. You are more than welcome to upload several different color ways of the same illustration as I do go into detail how you can recolor your artwork in a later lesson. Can't wait to see what you create and please don't forget to upload your project pillow. 3. Pros & Cons of Vector Art: In this lesson, I wanted to talk about a few pros and cons of vector art before we dive in. First of all, vector benefits. One, it can be scaled to any size. So if you are Commission to create some amazing illustration for a billboard or a mural, you can scale it to any size and it can be printed really, really large without losing resolution, it will not become blurry. It's also easy to replace colors with any kind of vector art. Lastly, it works for many different programs and manufacturing, especially if you're using any kind of digital fabrication like a CNC or laser cutter. Even printing off labels for liquor bottles or packaging. You can use the vector art, and EPS files, which I'll get into later. But these three are my top three benefits for using vector art. As far as the downsides, there's always some pros and cons. There is a limit to that textured look and even the layered look, you're not going to get that really nice painterly style of different textures. While there are some brushes out there, it's just not quite the same as something that's rasterized art. Then lastly, it also can look like it was made with a computer in some way, but this really depends on your style and what you're going for, regardless of how you're making. 4. My Process in a Nutshell: My process in a nutshell. Throughout this entire course, I am going to break down every step lesson by lesson from using the iPad and drawing to sending it to Adobe Illustrator. But before we even dive in, I wanted to give you a really big overview of my process and creating these illustrations. First, I might come up with ideas, and this could be in the form of something in my head or some thumbnail sketches. Then I start to set up my digital brushes, which I will walk you through all the different settings I prefer in Adobe Fresco. Third, I like to draw on the iPad. Fourth, send it to Illustrator on my desktop. Fifth, clean up the file and the layers and a lot of the paths and anchors and we'll all get into all those details. Six, I like to make size adjustments. So thinking of all the different formats I might be using the illustration for seven, I might make some color adjustments, exporting out a different image types and sizes. And nine, the use of that illustration in a portfolio or creation of products. As we dive in just a reminder, we are going to be using an iPad and Apple pencil for the first lesson. Then moving over to a laptop or desktop with Adobe Illustrator, I highly recommend using a mouse. I find it very difficult to use a trackpad and a hot drink of choice. 5. Brush Setup on the iPad: In this lesson, I'm going to talk about brush setup on the iPad and getting everything started. You can see here, I've got my iPad, which I'm actually using the iPad Air, and it works just fine. I've got the Adobe Fresco app downloaded, and then I have the first-generation Apple pencil, which at this point is a little dated, but I still using this until it doesn't work anymore. I've got a few little extra accessories, for example, that first-gen still has the lid that comes off. So I've got a little silicon holder and I also have a grip. So opening up Adobe Fresco among the Learn page and here there's a bunch of default tutorials all about Adobe Fresco. And I will show you everything you might need to know for my process and digital illustration. But the first thing we want to do is actually go to the home menu. We're going to create a new custom size illustration. This is your chance to name it. So you can click on these different fields. And let's call this Skillshare example. You can name it anything you would like. Then I am actually going to create this as an A2 greeting card that I can then show you how you might enlarge that later. For something as large as a 2436 inch poster. Or even greater if you want to go bigger because we are working in vectors. So the width is 4.25 and it's inches. So I made sure to change the units to inches and the height is 5.5. Now, I'm going to change this to 300 pixels per inch. That's the PPI over here. Because I'm working in inches. I'm going to keep that PPI as opposed to peep ECM. But if you are working in the metric system, feel free to use centimeters. Then I'm going to keep the background white. And I'm not going to save the size because I actually already have it in. Here's A2 greeting card, but I wanted to show you how I might set up and click Create Document. Now if I zoom out, I want to go over brush settings and give you just the lowdown of the workspace and what you might need to know. On the left, we have our toolbar really standard for Adobe products, but it's pretty simplified in Adobe Fresco. I also have this little color and brush piece, which you might have it down here. I like to tuck it up along the left. And we're gonna get into here when we're talking about our brushes and the brush setup. The top is kind of like a menu bar. You can drop this down and you can rename it. You can zoom in and out and you can see that percentage is changing at the very top. And then up here is actually some of the settings that we'll talk about in addition to the exporting to your computer when it's time in your illustration is complete, then the far-right are all the different panels so we can expand things like the layers. We've got Layer Properties under here. There's precision. And that is where we can turn on the grids, which I'll talk about when we're drawing. And then there's also an area for comments, which I don't typically use this because I'm not sharing my document. Brushes. Let's talk brushes on the left and Adobe Fresco, there are three different kinds of brushes. One, there is your pixel brushes, and it actually looks like a little tiny grid of pixels in the top left. These brushes will be pixelated, so we're not going to use them because I want to show you my process and making vector art. However, there are some really fun brushes in here, kind of similar to Procreate, which is also a raster based program, which rasterized art is a series of pixels. That's a whole another discussion. Pixel brushes. You can find tons of different kinds of brushes in here for different uses. Now the middle one is live brushes. Right now, Adobe Fresco has watercolor and oil options, and these are pretty fun to play with. But again, the live brushes are actually rasterized or pixel-based as well. So we're gonna be working with vector brushes. I'm going to show you my own settings of how I like to draw to make it feel like I'm using a micron pen or a different kind of brand, just a really simple black ink felt-tip pen. But there's tons of different options here. You can add to your favorites. As you can see, I've started that one. But this is where we're going to be working through the entire course. And I actually use the basic round brush for everything. I'm going to show you all of my settings in this lesson. Before we even get to the brushes, you also want to go up to the setting gear wheel on the right. Because this is where you can change your Apple pencil settings of how it's working on your entire screen. I didn't mention that I have a screen protector. It's a really thin film. It feels like paper, so that adds a nice extra texture just for the drawing on the iPad. Going under App Settings, this is where I can pull up a few things to do with my Apple Pencil interface. This is where you can change your appearance, export settings, time-lapse. We're not going to get into that yet. But input is where you can play with the Apple Pencil. So under touch, this is where you can change things. Finger settings, whether you're going to disable the undo redo gesture. We'll talk about the double tapping long press for eyedropper. I turn that one on. I have my duration set up to 0.5. I have the snap line turn on, which is really nice if you're drawing straight lines. And then I have degrees with brush as my touch shortcut setting and then show touches off. And then under brushes, we go down. I have the brush preview off. So this is everything you need to know as I accidentally change all my settings under input. I'm going to exit out of there. As far as the brush, we're gonna go into the vector brushes, clicking on the basic round. You're now set up. Oops, I click the ruler. You're now set up to have the basic round. I could start drawing and phase zoom in here, you can see that it's just a really simple beginning and end. And it's pretty sensitive whether it has that little tail at the end or how I'm drawing it. But it draws just like the pen. What I want to show you is the different settings I have set to do this. Now, I didn't click Undo on the top rate few times or it can always double, single tab. Under this brush panel. Oops. Pull this to the middle so you can see I have the color, which we'll get into as we draw the size. I can kind of move and toggle this, which is what I usually do. So this is the size of that brush head can get pretty small. Then the smoothing. I like it around 44, but let me show you what this does. I'm going to turn the size up just a bit so you can see it. As I'm drawing. You can also see there's a lag where my pen tip is, where I'm drawing. I had a little gap there was I pulled up my pencil where I put it to 0. It can be really gigantic. It's smoothing does, is it kind of smooths out your line. And I find the 44 to be a lag that I've gotten really familiar with. There's not actually that much lag. You can see as I'm moving that tip of my Apple Pencil, the ink is flowing from it. So play around with that. You don't have to use my setting, but I prefer to keep it around the low 40s. Then pulling up the brush settings, this is where you can actually test out your settings up here in this box. Now, I set my roundness to a 100. The angle is actually an 81. I know it sounds silly number. But it works for me. The taper mode is under length, but there's no taper because I don't want the end of my lines to be tapering off. Then I have none of these extra boxes checked. Then under stylus pressure, this is where you can start to play with it. You can start to adjust it if you really want to overhear or reset it to the default. Really what you could do is start to play around with light versus heavy. If you're really heavy handed, that might be handy. And then under really light, you can still draw really lightly. Again, I like to keep it in the middle somewhere. That's it. So to recap, we have got our vector brush basic round set. You can go ahead and start it on the right. When you select it. As you select different brushes, you'll have the option to store them. That means there'll be added to your favorites. We have we can change the size as we go. That doesn't matter for now. We've set the smoothing to 44, and we've set roundness to a 100 angled 81, and everything else is 0% or turned off. Now, if I zoom out here and I'm like, Oh gosh, I'm going to delete all of that. I've made kind of a scribbled mess. I can go up to my layers panel over here. Click on that layer, delete the layer. And now we're all set to begin the next lesson where we're going to start drawing and sketching and administration. 6. Drawing in Adobe Fresco: In this lesson, we're going to go over drawing in Adobe Fresco. Coming back to our iPad, we are going to start drawing from start finish the entire illustration in Adobe fresco. Now, as I mentioned in our brush setup, we are just going to be using the basic round brush. So assume that I have that brush setup for all of the drawing. Then I like to keep my layers panel on the right open. As I add this little plus sign new layers, I can start to stack them and organize them. And the amazing thing is all these layers will come into Adobe Illustrator when we go to export it. Let's cutover. Let's create a new layer just like I did. So adding that plus sign, if you accidentally add a second one, you can always click on it and delete the layer. When you click on it, you just want to make sure it's selected by having that blue outline. For sketching. Here is your chance to start sketching an illustration. Now I might have an idea of some kind of like mountain scene. That horizon line halfway through. Thinking of the 1 third, 2 third, I'm going to try to create some peaks in the distance. So now I'm using about two-thirds of my art board of that drawing. The other third is the sky. Then I might kind of sketch out stem of different trees. Really roughly thinking of placement of different elements. And this is your chance where if you want to refer to a photo or something that you have ideally taken yourself, so you don't want to be copying other people's work. You can bring that photo and I'll show you how in just a moment, I can start to sketch some of the elements. Maybe you have some trees in the middle here. What kind of work that out? Maybe one up here in front of that trail. I also like to typically add kind of like weird low, It's of snow into my mountains. It adds a little bit of detail. And I'll also occasionally bring some clouds. Scott, you're really rough idea. Now, if you do want to bring in the photo on the left, this image, you can go over here and I'm going to photos. And then it's going to bring up your photos. I took a bunch of photos of some dried flowers to refer to because I really hard time drawing some flowers. And I've got a ton of Wildflower images from the wild. But I wanted to add a little bit of variety. So if you know which one you want to bring in, you can click on it, bring in your photo, click Done. And you can see it's added its own layer over here. Now while I have that layer selected, I like to go up into the properties and turn that opacity down. I'm going to turn off my sketch layer. So now you can see I've got a base photo. And if I want to use the Move tool, I can start to adjust it. Maybe I want to bring in those flowers somewhere in the center there. Then what I like to do is add a new layer where I might be sketching what I want from it. So you're kind of sketching over it, then you still have a sketch to refer to when we do the illustration, if this is how you would like to work on, just be mindful of what photo you're referencing and hopefully your own. And bringing that into almost trace like a light table. It's kind of like a glorified light table and tracing. So let's say that you have but all set up your sketch, maybe spent a little bit more time than I just did. You could turn off that layer and then work with the sketch. And then eventually we're going to turn that opacity down as well. So turning off layers, these little eyeball, just like many of the other Adobe programs. I'm going to turn off both of those and turn on my original mountain sketch. Let's say I'm pretty set up here. The only other thing is maybe I want to add a little bear or something into here. Think about just the rough placement and falling off to spend a little bit of time drawing him because it wasn't a very great bear. Let's say that I've finished my sketch, whether using a photo reference or not, it doesn't matter. Now, we're going to turn down the opacity. This is the trick. I like to take it down to somewhere between 2035. Keep it in the normal blend mode. Now we have our sketch to reference so we can see over it as we draw. The thing about the sketch is I want to make sure it's the top layer. So every time I add a layer, I'm going to click on our base for that background. Click plus and I have a new layer. Then I'm going to come into my colors. I've got a couple of different things on this color wheel. We have in three different options. If I collapse them all. One is the color wheel where I can just toggle my way around. Move this up to select the color. I could go to the HSB sliders, which is hue saturation brightness, which is really handy when you start to play with different tones. I can play with all of these different things. Then we have all in recent colors. So recent, There's nothing here except that black that I used a sketch. And all this is Saint with Adobe color. If you go onto Adobe on any internet browser, you can save different collections into here and start to use the colors within that palette. Now, sometimes I might save several different color palettes that I might refer to because you can only save about five at a time. This is a really nice way to make sure you're using, say you have a color palette. This is what I do for my brand. But you don't have to do this and you can always change the colors later. So don't feel like you're stuck with the colors. Maybe we'll just use the color wheel and kind of go from there for, for this. Now, as I drag this color back over, I get that blue highlight. Let go. And it actually starts to dock into the side. I don't want to talk it there because I'm going to exit out because I don't want to always up. So as I click on Color and click on it again, it disappears. Now I like to use the paint bucket tool. Next, we've got my sketch setup. Turn down the opacity and added a layer below it. Now I'm going to click with the paint bucket and make sure to select vector. My entire background is painted this kind of sleep blue. Now I'm going to click the next layer. So I like to work from the very back of the image to the front, the background to the foreground. So I'm going to start with that sky. Next, I might start drawing some clouds. I'm going to try this color in here. I'm going to start drawing. Now notice I'm drawing outside of the background for that edge. Then I could paint bucket and that's really quick and simple. You can, depending on the texture and look that you're going for, you can start to draw in the clouds, but I like to go over the edge just to make sure I'm really closing that shape and go between the brush and the paint bucket, filling the men. Now, I can go back to that sketch layer and turn it off and on just to kind of see my progress, It's kind of hard to see now. I just saw clouds in the sky, but that's something nice to do. Now sometimes I will collapse or merge layers together, some clicking and dragging where I'm making a layer group. If I double-click on this, I actually have a couple of layers together. Now I can turn off that entire layer group. This is a handy tool when you are perhaps working on a really large illustration with a ton of layers where it becomes kind of hard to organize. You can't name them over here like you would on a desktop. And so I'll typically put different groups together. If I were to draw a person hiking, I would have all the elements from the person to their hat, to their shorts, to their boots, all in the same layer group because then that's really easy to move around. So I'm going to keep that together. Click on a new layer. And now we're going to draw the mountains in the back. I'm going to go back to my color wheel. I'm actually going to come down to a charcoal gray. I like this thinner to 0 size pen. I went outside the art board. It's hard to see this dark background. Then I'm gonna fill that new layer. Now I'm going to try to find maybe a yellow, maybe we'll make this kind of a weird yellowy degree. If you're like me. And you feel like you're changing your mind with color a lot. Don't worry too much. You can change it. Once we get into Adobe Illustrator. If you don't have a color palette set, colors you usually use, you're not you're not stuck to whatever colors you're using. I actually like that. Little yellow over here. Now if I go into my colors under recent, so you can actually see the variation and it's saving both of those. But it has some of the past colors and this is going to come in handy when I come back through for my process. Okay, so we've got these blocks of color. Now I'm going to add a layer. I'm gonna do all the trees on the same layer. But I want to start with the screen. If I had something else selected, I'm gonna come in to recents, select the green, or I could use the eyedropper tool to select that green. Then I'm gonna go under the HSB sliders and turn the darkness down. So this is a really nice way to keep your color palette fairly consistent by using the same color and just playing with the brightness to come up with different tints and shades. Now I'm going to turn up this brush just a bit. Zoom in here, draw a really rough tree. Now, I tend to draw in this almost cartoonish style. But this is where you can start to draw in your own style. And you're welcome to follow along and draw a similar scene. But you can also have a little bit of fun with it and draw something that you really want to know. All Zai YN to try to start drawing. Make sure that again, drawing in the center, go up and combine those and I didn't like that. So I'm double tapping my fingers. Tapping once with two fingers to zoom out and use them. The paint bucket tool to fill that in. I'm going to continue to do this with all of the trees. Then we're gonna come back. Now that I have golf, my tree is drawn. Wanted to show you the grid. So the grid tool on the far-right, if I click on the precision, it looks like little grid. You can turn on the grids and you can actually change the grid color. Let's say they are like a bright red. You can change the spacing and you can toggle around the opacity. I find this to be the most helpful when hand lettering. But as you see here, my tree, it's not really flat, but you know what trees outside aren't always super flat. They usually do grow up towards the sun, but sometimes they can be leaning on a hillside. But let's say I did draw this tree like really wonky. And it's part of a huge layer. You can see over here, there's all the trees are on the same layer together. When you turn off my sketch. Now you might be able to see this a little bit more. I'm going to just select this tree to rotate it a bit. And this is a pretty handy tool. So going over to the left, I'm going to navigate to the Polygonal Lasso. I'm just going to hand draw around the tree, making sure not to select any other elements. And we can select this entire tree without accidentally clipping it. Then while it's selected, I can click the Move tool or transform. I can actually rotate it and click and move it with this toggle on the top and click Done. Now, I still have my selection. I don't want to mask it. I don't erase it, although that's an easy way to quickly erase a large area. If I click erase, I'm going to undo that. I just want to click de-select. Now my tree, Cancel lasso. Let's go back to our Pen. Now my tree is all set. You could draw with the grids on from the very beginning. Or you could alter it after the fact. It's really up to you. Like I said, I usually just turn the grids on when I'm hand-lettering. But you can do it really at anytime. Now going to turn my sketch back on. Notice here I want that trail to be behind this tree. I'm going to go between these two layers and click plus. And if I didn't do that, I can always click. And drag and move this. So instead of docking it together there until layer group, I'm going to hover between the two until it kind of pulls up some space. Now I'm going to draw, let's try this. And we're gonna go a bit later. The edge of the green here, the grass is where I want my trail to end, but there isn't an edge of the art board. What I'm going to do is draw to the edge of this artboard, overlap it just like I have on the other edges. I'm going to treat the mountain like the overlap. So what does that mean? It means I'm going to have this white line going over the mountains. We're going to clean this up later in Adobe Illustrator. But what you do need to do is close it. You could add it at the very ends. You could add it anywhere just above that green area. So when I use the paint bucket, know the trail is completely filled in. If I'm like, oh, that's a little bit too white there. I could come over here and use the eraser tool and do the same thing, toggle the different size. Just kind of eyeball it. If I do that, I'm going to have to come in here and erase everything around it, which could be tedious. Undo, undo. I like to use that same polygonal lasso. Select an area, erase, de-select, then kind of look at it. Now, there might be some spots that aren't very pretty. And oftentimes what I'll realize if it's something really quick to draw, it might be easiest to turn that off and just draw new layer. Again. It's up to you. That is just part of my process. And I want to show you all of my ways of thinking about this and how I go about it. I've gotten neutral, I'm going to delete this one. But when I export, you don't have to export out the hidden layers so you don't necessarily have to delete it. I just like to keep my workspace pretty clean. We've got the main base and if I turn off my grids, I turn off my sketch. You can see I've got a really rough idea. Landscape going on here. Now there are a few things where this tangent, these two lines next to each other, a little bit weirdly close. So this is the point where you could start to select things and using that transform, move them around. You can make this tree even bigger because I don't want those edges to be close either. Deselect it so you could start to kind of clean up a little bit of your design. We still want to add the snow in the mountains, so we're not, we're not completely done yet. I'm just going to edit a few of them, just making sure not to have those edges touch. Coming down to the mountains. New layer in-between. Going back to my recent colors. I'm going to turn this way down. Then I'm going to start to kind of guess what these kind of snow cups, pockets of snow looked like. Now, I personally spend a lot of time in the mountains and have a lot of photos. But even so, I find it can be nice to reference every once in awhile. So you might want to take your time here. If you're tracing something. We really want to get in there and zoom in. There's some overlaps that I'm going to kind of fix and go over. So the more that you can fix here in Adobe Fresco, the better because it can take a lot of time to smooth out some of these edges and readjust the paths. So I recommend just taking your time with the drawing. The color is really easy to change actually, so don't worry so much about the color. But as far as the shapes go, kind of the edges of them, make sure it all looks. You would like it to, or at least pretty close in here. You can of course, always edit it later. But I find that it keeps my process a little bit quicker. When I'm making sure that this is all pretty accurate. I'm going to continue finishing these. And then we're gonna come back and talk about next steps. So coming back then let's say that we brought this illustration took place in wanted. I can always turn back on my reference sketch and remember I had the little bear here. I may or may not want to include it. I think I want to keep it out for now, but feel free to finish everything. I still have this overlapping trail here. That's fine. I'm going to show you how we clean that up later. But essentially I've got all my different layers now. I could start to group a couple of the layers, maybe the snow in the mountains and the trail on the grass. If I wanted to change that color, I have to double-click into it to come over here and change the color of that trail. Let's say that I wanted to make it a little bright yellow. I don't really think I like that. Thought is where you can start to change it. Now, we have play around here just for a second and turn it to color. We're just going to go back to the late green. That's where you can start to edit it. If you wanted to add anything same with the snow, I would have to come back into that layer instead of just clicking on the group. If you've got everything set up, I have the colors mostly setup to how I would like it. I have the layer is turned on that I would like, and I've turned off the layers that I don't need, that's important. Then in the next tutorial, we're gonna talk about exporting it and cleaning up this illustration in Adobe Illustrator, which is where it goes from. A really fun there'll Fresco drawing to a professional illustration that you can then send to minus potentially license. 7. Illustration Cleanup: In this lesson, I'm going to go over illustration and how we might be editing our illustration in Adobe Illustrator on the desktop. Coming into Adobe Fresco. I have left it at my final illustration with all the layers pulled up and the layers are turned on. The next thing I want to do is in the top right, right next to this little gear wheel is a Share button. I want to go down to open a copy, send it to the Illustrator on my desktop. Now, I have a laptop and then a monitor next to me. It's sending to my laptop. Whether you're using a laptop or desktop, you're going to send the file. Now, while that's sending, you can see here are on Adobe Fresco, it's got the blue little wheel. I am going to pull up Adobe Illustrator on my laptop and wait for that AirDrop to come through. Now the important thing here is that you're on the same Wi-Fi or internet connection between both your laptop or desktop and the iPad. It says document sent. Now looking at my laptop, I have some import options. Even though it says Photoshop import, it's actually going to come in as, as vector layers from Fresco. I want to keep Convert layers to objects. So this is where I actually like to keep them all different layers as opposed to flattening it into a single image. And then this is where I can say Import hidden layers, but I don't check that. I just like to keep the layers I turned on and click Okay, now I've got a file in Adobe Illustrator. With my illustration. And opening up the layers panel. I've got a bunch of layers over here. So you'll notice that there's actually a default background layer. I'll typically delete that right away. And then I've got all the other layers turned on. We've got all of them separated out just as we did it. And you can see here there's actually a layer group which I can then expand. It should come expanded and then the different elements within it. So we've got our file, it came named, but what I want to make sure before I do anything is go up to File save As, and just save it locally on your desktop or laptop. Using a folder, AI files in my Skillshare class. You can find your own folder if you want to. I want to save this as a dot AI Adobe Illustrator and click. Okay. Now I actually it says Skillshare example dy. So I have this file saved. You could rename it if you would like to as well. What I want to do is I actually want to clean up all these illustrations that are kind of hanging out over the edge. The trail that's hanging out over the edge. I might even have some random little pieces which I can just click Delete right there and then I might want to clean up. So I want to go through and make this a nice clean up illustration. Then in future lessons I'm going to show you all the different sizing and the way to think about this art board. The first thing I typically do is I go up here and I click and drag all these little eyeballs off to turn off the layers. Now, I wanted to leave this bottom one on, but because it's part of a layer group, I need to turn that layer group on. I could take this opportunity to call it the sky. I could call this clouds sky. Now, you can see here they're all actually say Vector Layer. Then there's layer group. If you had a pixel layer, it will say pixel layer. You will know. If you don't already notice, I'm going to actually copy using my Command or Control C, depending if you're on a Mac or PC, my base layer, lock it internal the next layer. Now, it's hard to see, but this does overlap on the edges. Instead of doing one huge layer mask, I actually want to clean up the line work and get rid of it forever. This helps limit the file size and keep it really clean for the future. So if you were to send this file to accompany and it was just masked, you're not risking that mask coming undone. I'm going to do is I just have my cloud layer unlocked. I'm going to select it all. I'm going to pull open my Pathfinder tools. Now, you might want to pull this out so you can reference it really often. Or you can expand and play with your workspace over there on the right. But I want to talk about the Pathfinder tool. And if you don't see this, you can go up to window and go down to Pathfinder and open it up. The Pathfinder tool has shaped modes and Pathfinder. The first thing I'm going to do is actually unite all of these shapes together. Now. Is click on one. It will click on all of them. It's kind of like grouping them. Now the next thing I want to do is Shift Command V, which is essentially paste in place. Remember I had the sky on my clipboard. If you don't do that, you can go up to Edit, Paste in Place and you can see this is my keyboard shortcut. I'm on a Mac, so I have the command key. Then selecting everything on the layer. I knew the clouds are at the top, so it was just going to select the top. I now have this sky outline, which is the size of the art board and my clouds that are overlapping. I am then going to use the crop Pathfinder tool. It has completely cropped off my clouds to this blue rectangle, which I know is the size of my art board. Now if I click on this, it's still going to be one big group. You can see there's an outline around the whole thing. I can right-click and click Ungroup, and then come in here and delete the outline. So now I just have my three Clouds. We're going to unlock these two, but lock the whole group and collapse it just for the neatness of layers. So I'm gonna come in and turn on my next layer group. And then that first layer. Step one is to unite. Step to paste in place that background. Step three, pathfinder crop. Then optional step four is to ungroup, delete that kind of excess space. So that way we just have these mountains locking that turning on the next layer. Now I don't think any of these layers actually go over the art board. I'm just going to unite them. Then lock it and unlock with just lock the group. Then we're going to call this Mountains. We've you're getting the hang of it. I'm going to keep going through this rather quickly as I go through each one. This can be really tedious. However, I find it to be really helpful in cleaning up your illustrations in the beginning. So you always have some nice illustrations. Now we're at the path. If I place this over and do the same thing, It's just cropping the bottom, but it's not cropping this top part of the trail, the path to that meadow. I'm actually an undo and I'm going to delete that rectangle. What I want to do is actually use this green element as my mask, not the blue rectangle to refer to. I'm going to unlock it. Copy, lock it again, come back into this path layer. I had united it just to make sure all the line work is united. If you scribbled by hand, this is important because it will unite all those individual strokes because I use the paint bucket tool. It's already one shape. I've selected that, united it and then you can de-select. I'm going to Shift Command V to paste in place. Right now I have this on top of that trail or path below. Then I'm going to click Crop. Now it's important that I copied it because if I use my original meadow, it would disappear entirely. Just make sure you're copying whatever you're going to use as that crop shape. Then I could ungroup it again and delete the space to the left and the right of the trail. So I just have the path. I could name this, let's just call this meadow grass. Locking the whole group and then turning on the last layer. Now we're at the trees. I could do the same thing, select everything, but now actually need that sky. I'm going to unlock it, copy it, lock it again. Then paste in place on the top of the tree layer. Pathfinder crop. Ungroup, selecting the border should delete everything. And now I have all my individual trees. You could also start to kind of play around and move your elements. While you have it separated into different layers, you could unlock everything. So you can now see it altogether. I'm making sure to go up and save your file as you go. And fat is in short, how I edit the illustrations. So we've named a little of our layers. We've cleaned up each one using the Pathfinder, Shape Modes and Pathfinder. Mainly the first one for the shape modes unite. The fourth one for the pathfinder crop tool, are the two that I refer back to time and time again. When I'm coming up these illustrations, saving the file. Then we're ready to move on to lesson. 8. Recolor Illustration: In this video, I'm going to cover re-coloring your illustration and using the recolor artwork tool, which is one of my favorite tools in Adobe Illustrator. Opening up our file. In Adobe Illustrator. If I zoom out, you can see I've got my one art board here of my mountain scene that we just cleaned up in the last lesson. To make it all really cropped to the edges, individualized elements in addition to named layers on the right. As always, if you can't see the panels that I'm referring to, you can always go up to Window and then look up both layers and then we're gonna be referring also to libraries. So go ahead and click on that. If you don't already have your libraries on the right. First, I want to talk about color palettes and integrating them into Adobe Illustrator. And then we're gonna talk about changing the colors. Now, we have one art board that is an A2. And if I click on the Artboard Tool, it should come up with a blue and white dashed line. I can either add an art board by clicking and dragging, then changing that size at the very top. In the Essentials Classic workspace. I could change that to I'm in inches. I don't need to type IN, but I could change that to that a2 greeting card size. Alternatively, we could click Plus for new art board. We could then change this to a different size. So let's say we wanted to do a 27 inch by 36 inch. Now that is huge and it's covering our artboards. I'm actually going to undo, come back down to the art board. I'm going to move it over to the side because I don't really want it to go over anything. I'm going to make that the 27 by 36, which I find to be a really good size for a lot of different prints. It can work for, for both small eight by ten inch prints and up to really large prints. And it just seems to be a good proportion. But of course you can always make those individual sizes. Now, we're going to rename this. Let's call this A2 copy. Then this one I'm gonna call 27 by 30-inch 36 print. There we go. So you can make as many artboards as you want, but I just wanted to set this up so we can start working on two different sizes. So back to color. The libraries. If you are logged in and using Adobe's Creative Cloud, then you can access your libraries and actually sink color pallets from Adobe So you just need an Internet browser to go on there to either browse existing color palettes or alternatively, you can create a library, for example, mountain scene, and you can create all different palettes. Now, you're limited to create palettes of five different colors. But they do have some amazing tools to help with color theory or specific rules for harmonies of color, like this monochromatic version or this complimentary version. So you can really test out and try different color schemes. Once you save a couple, I'll show you all four of these how we might bring them in. You can find them in your library's panel. So again, that was navigating down to my libraries. I have several different folders that I've created, one called mountain scene. Now in order to bring these into my file, I'm going to open up my swatches panel colors in there. I could just go ahead and select all the folders and then click on the little Delete key or Delete swatch at the very bottom. Now it's empty. Before I even add these colors, my preference is to highlight the color palette I've already been working with highly everything, making sure those layers are on. And then click this little folder, new color group. We could call this existing because this was our existing illustration. And the colors we chose an Adobe Fresco. It's going to automatically assign it a color group or a folder with all those colors. Now let's head over here to our libraries right-click and go to Add theme to swatches. Now, you can also add color by color, but I like to add each theme. Notice here, as I go through my libraries and add each theme, they're all adding in its own color group. If I wanted to combine things, for example, if I want to bring this pink over, notice first that I actually had everything selected. I'm going to de-select and Command or Control Z to undo. And just make sure nothing is selected. When you're playing and moving around your swatches. I'm going to click on just these two kind of muted pinks. And if I click and hold, you can see this blue highlight is moving around that group. So I just move them into the group and then I can delete this other one. That's a really nice way to start to combine swatches. All often save, say you had like a larger color palette for a specific project. This is a way that you can put it all into the same group. And this will make more sense when we open up that re-color artwork tool, you are limited to work within each group in certain ways. So we can actually access all the colors, but I like to start to group them before we dive in there. I'm going to leave it at this for now and take your time here. Play with colors. If you don't have Adobe Creative Clouds, like sync it up to your login and all of that to access your libraries. There are a couple of other ways you can create your own color palette. One is if you brought an image in, you could always create your own little swatches and it doesn't matter what size. I like to use the option key as a keyboard shortcut to quickly make some copies. And when I click on one, I could use the eyedropper tool. So let's pretend this was a photograph I brought him. I could start to eyedropper different colors within it that I really liked to create my own color palette. Alternatively, I could click on one of these squares, double-click into the fill. Then I could just zoom around the color picker to pick something kind of arbitrary and way. I mean, maybe I'm like, oh, I really want to find gray navy. You could type the hex code and directly, There's also the hue and saturation brightness, red, green, blue or RGB values or the CMYK values. I find using the hexadecimal value or the hex code for short, to be the easiest to write in specific colors. And click Okay. You can do this for all six of these and maybe I'll kind of go through it really quick and kind of show you what you would do next. So let's say that I've got almost all of my colors here. Let's add one more just for fun. Once you have just a solid rectangle filled in of colors, you can open up the swatches panel and click on that little folder. That's new color group. And let's call this example five. And it's going to create that group. Now once you have that, you can delete these or you can keep them out there if you want them for reference. Now we are all set up with our swatches. Whether you pull those from an inspiration image that you took a photo of. You just played around with the colors or you went in to Adobe Color and either created your own palette based on color harmony rules or color theory, or found in sourced some of their preexisting color palettes. The next step, we are going to copy this illustration. You can either Command C, command V, Edit, Copy, Edit, Paste command if you're on a Mac control, if you're on a PC. Or again, one of my favorite keyboard shortcuts is to hold the option key and the Shift key to bring it over and making sure you want it to align in that corner. If you notice here I'm getting that bright pink line that says intersect. You can turn on Smart Guides if you go up to View Smart Guides and see it's checked here, That's going to just automatically pull up some of those alignments and I find it really useful to work in. Let's start to re-color this image, selecting everything here. I've got one really weird line going on, so I'm just going to delete that. I don't know where that came from. We're gonna select this. And we're gonna go to the Recolor Artwork. Now there's a little icon that looks like a color wheel. If you can't see it, you can go under Edit, Edit, Colors, Recolor Artwork. You'll see here when I pull this panel up, it's actually opening up the advanced options. Because I have this tiny little box checked at the bottom. Open advanced recolor artwork, dialogue on Launch. I'm going to uncheck it and just show you what this looks like. Clicking the icon this time. I really like to change it to advanced options with the button at the bottom. And then always open this and this is what I'll refer back to every time I come back in here. Now there's a couple of things. I've got actually the real white colors if you're using true white, which is the hex code, FFF. Fff Or true black, which zeros, zeros, zeros, zeros, zeros 0. It won't come in to alter it right away so you can click on it. Do you want to add a new color to the current harmony? Yes. You have to click on this little space on the right. So that then adds this tiny little thumbnail. These bars of color on the left are all of the colors currently in your illustration. And these little tiny images with after the arrow or what it's assigned to. So if I were to click and drag to swap them, you can see I'm actually swapping out the colors. Everything that was this charcoal gray isn't how the bright green. You can also play with these little icons at the bottom to randomly change color order. Now you can't go back. So this is just a fun way to randomize those color assortments as opposed to manually swapping them around. You can also play around with saturation brightness or start to find them where they are in the artwork. I like to just sort them differently and see what happens. Or if I know, I would just want to make a quick change. All do that in here. Now, let's say that we don't want to stay with our same color palette. We actually want to select one of these other color palettes. This is where the color groups come into play. Now if I click on my example of colors, because those are combined, they're named the same thing now, so I could definitely go back and name it, but that doesn't matter. I'm going to select the second group and start to sift through them. You can play around with us for a while. It can be very addicting. Or you can start to kind of change them around yourself, kind of like I'm doing here. It looks like these two greens are really similar. If you're noticing that if I switch them, you can barely tell the difference. I can always double-click on one. Say I want to darken one of them. Then I might swap those around. You can always alter the color palette a little bit if you need to. Change up what it's looking like, then once you're done and you like the end result, let me change this just a little bit to you can click Okay. Then I usually don't change the swatch group. Then if I really liked something I altered, I'll select it all, click on the folder, and then add it as a new color group. I encourage all of you to at least try recoloring your artwork once. You don't necessarily need an art board, if I wanted to select both of these, drag them down. I could start to play with each illustration going through this really quickly, with some of the different variations here. And adding that white in there. If you remember, we wanted to get that and maybe I want like a really bright illustration. Then this one, Let's go through it really quickly with one of the other palettes and kind of sorting through. So this is just a really fun way to test out different, different variations and see what's going on here with some of those blues. And click OK. Let's say that you actually did want to export out all four color options, not just a second one or not just your class projects. You could always go click on the Artboard tool. Click on the background. The sky I know is a full square or rectangle, and it's adding art boards. Now, I might call this color bright, and you can come up with your own names for them. Color for very unique, but at least I have some names. So when I go to export, I'll know the difference. So now I can actually export out each art board. You need an art board behind your artwork in order to export out a file of just that image if that makes any sense. So I've got four kind of a2 sizes. And this would be a great opportunity to eventually export out several different color variations or color ways of the same illustration. That is it for re-coloring. We're going to use this bigger print on the right, this kind of larger art board we've created. In the next lesson when we talk about resizing an art boards in a little more detail. But for now, Have fun with your color palettes, recoloring your artwork. I find this stage to be really fun and I feel like I could spend a lot of time here. So dig into the colors, don't forget, you do want to add an art board behind each illustration. Eventually if you plan to export out an image. But we will talk about all of that in the next lesson. So have fun coloring. 9. Resizing & Exporting Files: In this lesson, I am going to cover resizing your illustration print at a variety of formats and exploiting files, talking about some of the most common file types I use when exporting out my illustrations. Opening up our Adobe Illustrator file, making sure to constantly save as you go through this. We left off the last lesson with re-coloring our artwork into these and for little art boards over here. And we have four different varying color ways or color variations with different palettes that we integrated from our libraries. We also added clicking on the art board tool, this large poster. And we talked about adding Artboards either by clicking the plus sign to add a new one, or clicking and dragging to any arbitrary size with the option to type in the value or units at the top. Now, one trick for the units, if you don't want to always add IN for inches or cm for centimeters, is you can go up to view the very top. Under rulers. You want to Show Rulers, a minor, minor shown here. I could hide. And then let's go into rulers. Show rulers. If you right-click on either the x or y-axis, you can select the units that you want to be using. And this is just really handy when you're constantly using different tools in Adobe Illustrator that you're constantly referring back to, say inches. I'm gonna go back to the Artboard Tool. And let's say I wanted to delete this one, I just have to select it and click Delete. Then if I want to click on any of them, I have to be under the art board tool to click and move. Now, the benefit here is that I have one AI or Adobe Illustrator file with all of the different sizes, as opposed to opening up several different files. This one saves a little bit of space, but mainly it's way for me to organize and know where everything lives. It's for my own sanity there. And I can always rename these. That's my preference is to rename your art boards. Because when we go to Export, you will see that that name comes through. If I wanted to go through and rename it, you can always do that. So I could call this color one. Let's call this color to start to actually make these match, instead of just some random names. We've got our 24 by 36 inch print and our eight by ten, I'll add the word print just to be consistent. But you can come up with your own naming system. I find these little tags just helpful, So I know, but if I forgot what size this was, I could always click on it with the art board tool and go up here and look at the width and the height. If you don't see this whole ribbon or if it's somehow disappears, which sometimes happens. You can always go up to Window on the File menu workspace and then go down to essential classic. Let's go to that. I'm going to show that panel. Then. You can go to Reset Essentials Classic, which it should come up. Now, I like to rearrange my entire workspace and kind of customize the panels. But if you ever need a really good default, I use the Essentials Classic workspace for several years and it would be just fine. I find it has everything you might need when dealing with illustrations. So let's go and choose one of these color ways for our larger art board. So what I'm going to do is actually just highlight everything. Making sure in my layers panel. It's moved around over here. I might even pull it in to see up here under my layers panel, everything's turned on. If you remember, I have it all named in groups, so we make sure we got everything. And then I can either copy and paste or use my favorite keyboard shortcut of holding down the option key and just try to bring it somewhere in the middle here. Then what I'm going to do with this one is just drag it to the corners, even though it might change it a bit. I'm going to show you something different with this last art board. In fact, I might actually move this art board out just a bit to have a little bit more space around it. So we've got our large illustration prints. So let's say we know we want to print that at a much larger size. Then let's go over here and grab one of these other options, doesn't matter which one. I'm going to try and group it. So Command or Control G. I could also right-click. So let me undo that and click Group. To make all of those images one. And now I'm going to grab one of the corners. I should see that control box and the arrow. If you don't see that actually, sometimes this comes up to it's called a bounding box. And you might go under the View Panel, under the File menu and go to, it'll say Show Bounding Box if you don't see it. So sometimes if you accidentally hit the key on your computer or something else happens, that's definitely happened to me before. So instead of just dragging it to the corner, see how I can move this to any size. I'm going to hold the option key and the Shift key at the same time. That is scaling it from the center point and it's keeping it proportionate. Now, as I get bigger, we're hitting the bottom of the art board. Now we've got the sides. So if I move this around to try to get in the center, I want a tiny bit of overlap on the sides just to make sure I've covered the art board and the top and bottom are overlapping just a bit more because my A2 greeting card size, the 4.25 by 5.5 inches, does not scale perfectly to an eight inch by 10-inch frame or art board here. Instead of just dragging it to change it, I'm going to show you how you might mask. Because this is an art board. This is a quick little disclaimer. I could potentially export out this art board and Illustrator will automatically crop my illustration to this artboard frame. You don't have to get rid of everything. If you remember and cleaning up our illustration, we actually use the Pathfinder tools and the crop to get rid of that information instead of masking everything to save on our file size and kind of clean up all those elements. But in this version I want to show you how you actually can mask. If I come in and grab this rectangle tool, I want to draw a rectangle, making sure I'm on that top layer trees. I'm going to fill that rectangle with any color. I like to pick something really bright. And if you remember, I've grouped everything in the back. So that was an important step. I could Let's see, I'm just going to select everything, drag it. I could just click on both holding the Shift key, but I'm just gonna click and drag over everything and use the keyboard shortcut Control or Command seven. It's going to create a clipping mask. Now if I double-click, you'll see I actually have that illustration. A little bit of cloud goes outside the art board. And if I double-click again, it's not grayed out anymore. I can only see it cropped. That is a quick clipping mask. I will do this if I want to preserve the original illustration. I might need that for certain files submissions. But oftentimes I'll try and clean up the illustration, get rid of any unnecessary information. At the clean-up stage. We've now got let's see if six different art boards took me a second to count. I want to export out specific ones at a time. I'm going to show you all the different kinds of ways to export your files. A few common file types that I like to use. Our image files, manufacturer files, and print files. There are so many different ways that you can export out various different kinds of files. And this is the moment to look at any project or any recommendations or requirements that you need to export. It might be a pixel aspect ratio, a size, a resolution, or a file type, or maybe a combination of all of those image files. The most common tool that I find myself using our JPEG or a PNG manufacturer files. This is sending two different kinds of production partners and manufacturers. They typically want the base vector file so that AI or Adobe Illustrator file, your main file that you're gonna go back to. Or an EPS file, which is something really similar, print files. So say you were sending this to a printer or you taking it to go get printed somewhere locally is typically a PDF. Pdf files are really common, but sometimes you can use an image file and all sometimes you use a PNG. Now, I'll go over the different resolutions. Say you're using this illustration on your portfolio website versus trying to print it out on a print or a product. There's a couple of different things to take into consideration, but I'll be talking about all these file types that I commonly use. All right, so coming back into Illustrator, I went to first save my file. Next I'm going to go to File Export, Export As. This is where you could navigate to a folder that you might have. And if he needed to find or create a new folder. You could rename one images. Let's go with sculpture example. But before you do anything, the very bottom format, this is where you can change your format. I'm gonna start with PNG. A PNG would be excellent for your class project. It's also great for any kind of image file, like uploading it to a portfolio website. Before you click Export, you want to make sure you click Use Artboards. You can click all of them or a range, and I don't remember which one is which. I think this was 1234, but I actually, it might've been one to three is large, 1456. So I'm just going to say all in click Export, making sure it's going into the right folder. Then I'm coming up with a few different options for a PNG file. I'm actually going to go with the highest resolution and see how large these files are coming in. 300 pixels per inch. I'm going to go to Art Optimized, which is my preference for all of the artwork, even though it doesn't quite matter as much with these flat illustrations, this comes into play, especially when you're working with repeating patterns. And then background color. This is where PNGs shine with a transparent option. But this doesn't matter because my illustrations fill the entire art board, so I'm just going to stick with white and click. Okay. Now we went to open this up and it might take a little while. This large file is going to be pretty massive at 300 pixels per inch, which is a very high resolution. So I'm gonna go to that folder and navigate to my Images. Going into my images folder. I'm going to quickly expand this so you can see I've got all six of my files, so it started with the filename. Then the computer is adding this underscore with a name of the art board, which is why I find naming those art boards really handy. Let's see, my eight by ten inch print is 2401 by 3,001. This is pixels. That's a pretty good size. It's definitely large but not too massive. If I go to my 2736, this file is great for sending to the printer. I would not ever put this online because an 8 thousand by 10 thousand pixel file is really large, even though the size is only 711 kilobytes. That's a pretty big file. So I might want to export this version smaller if I'm using it online for portfolio, or perhaps we'll look at are smaller versions. So let's see our color 1234. We've got all 300 pixels per inch. And this is more around 1276 by 1650. This is a great size for uploading online. If you're using this for your portfolio website or anything similar. These sizes, anything above 1000 and less than 3 thousand is my own personal rule of thumb. But again, it really depends on the aspect ratio. So we've got four great options here and these would all be wonderful to upload for your class project or to use for your own illustration online portfolios. Let's say that we wanted to actually export out this print and only this print. The first thing I want to do, coming into Adobe Illustrator, the art board tool and figure out which art board this is, it's number 303. I zoom way in here. It's still going to stay pretty tiny. But you could see which art board. So this one is art board three. I'm gonna go up to File Export, Export As. Then under use art boards, I am going to go into the range and type in three and click Export. Now, I could call this really quick small print. And then we're going to change this all the way down to 72 pixels per inch. I like to think of 70 to one hundred fifty and three hundred is like small, medium, large, screen, medium-high. It's kind of a similar, similar idea there. Let's go back down to 72 and click Okay. We can always go back. We'll check that in just a moment. I want to show you how you might export out some other files. So we've got our image files. Let's go back up to File Export, Export As. Look at some of the other file types. I could export out a DWG for Autodesk. And this is more or something like AutoCad where You're transferring CAD files, illustrator and AutoCAD. Autodesk products can talk to each other for lack of a better term. I've got JPEG, another image options, sometimes lot of media submission. So if you're submitting illustrations to magazines, they might require a JPEG. We've got a few options. Photoshop file, SVG, a tiff. So you can see here I don't have the option of a PDF or EPS. So I'm gonna go ahead and click Cancel. So this is for exporting. I have to go to File Save As or Save a Copy. Then under Save a Copy, I have a couple more options. This is because these files are really similar. You probably won't need an EPS for any personal use. But again, that was one of the manufacturing file types that is often used. You can even save your own template if you love how you set up your art boards. This is where you can find a PDF. So let's go under images and click on Adobe PDF. Notice here, you don't get the choice to use all the art boards, but you can pick a range, so you could say all or range. It's automatically going to use art boards. It won't just take a picture of your whole, entire workspace. Let's click All and save. Before you click. Okay. This is the PDF dialog box. Under this drop-down, the PDF slash x dash one. Colon 2001 is the most standard print file. You can also, I've got one named down here for a print manufacturer. You can customize it and save it as a default template. Or you could just go to high-quality print. This is completely up to you. And again, nice to look at some of the options. If I click on this standard print file PDF and click Save, it's going to ask me a few editing features. Do I want to preserve editing capabilities? This is really important to consider in PDFs. If you preserve it, anyone who opens up pdf can completely change your Illustrator file. And that's both good and bad. I'm just going to click Okay. So my Acrobat is automatically opening these files. If I zoom out and scroll down and see I've got all of the different sizes. But third art board being really large, and then that last art board being a little bit smaller than eight by ten. I've got all of my different files. And if I wanted to click on organized pages, I can always select all of them. Extract, extract as separate files. If I wanted to individual PDFs. Then locate a folder where you might want to save all of those. Then we're going to close out IX out of here and come back into our Illustrator file. That is it for resizing, exploiting files. I hope you've learned something or something different. This is my process of doing it and I really love all the art boards in one workspace to save and rename and keep it pretty clean in one file. Make sure you save right before you exit out minus grayed out. So I've saved the latest version and I will see you in the last lesson. 10. Free Goodies: Free studies. This is the good stuff, the very end. I have created a free download that contains a digital illustration guide and tips just for you and those vector brush settings on Adobe Fresco. So this is essentially putting together and distilling everything that we went over into a guide that you can download and reference for the future. And also remember some of those brush settings if you liked how I set up the one basic round vector brush in Adobe Fresco. I would also be really excited if you could follow me on Instagram at quake creative, you can find me there. My latest illustrations and I would love to see what you create as well. I also have a newsletter, the pine. It goes out weekly with lots of other educational tips and resources and behind the scenes. And you can find everything quite And if you follow me on Skillshare, you will be notified when new classes are released. I am hoping to release a new class a month throughout 2022. Please rate and review this class. It really just helps other creatives find me and find my process and using Adobe Fresco in Illustrator and learn something new. As always, thank you so much for watching. I really appreciate it. Feel free to message me below and don't forget the class project at the end, I cannot wait to see what you create.