Transcripts
1. Intro: Hi, Sahar Heumesser. I'm a graphic designer based in Vienna, Austria. I have years of experience working with Adobe Illustrator as a design tool for my work, as well as teaching the software to other designers and training them to master the tools. In today's class, we are learning Adobe Illustrator on the iPad. Throughout this class, we are going to learn a to z of the application. We start from beginner level and carry out to the advanced level. I will break down each feature in the most digestible way, even the students who never worked with Adobe Illustrator can easily follow along. We begin with a full tour of the app and continue with mini-tutorials describing tools, panels, features, and techniques, as well as tips and tricks. I will also point out all the common mistakes made by advanced users and direct you into mastering every single tool in easy steps. You will receive an interactive practice file to guide you, follow along with me, and do the practices simultaneously. As the final project, we will use what we learn and create three greeting cards. I will draw with you and walk you through every steps. By the end of this class, we've already made our class project together. As a bonus, you will also learn how to swap the files back and forth between the iPad and the desktop version. By the end of this class, you will be able to master Adobe Illustrator on the iPad and create any type of illustration in any style. I'm super excited to get it started and I see you in the class. [inaudible]
2. About The Class & Resources: Welcome to my Skillshare class, Adobe Illustrator on the iPad. Thank you for joining me here. Just to get things rolling, I'm going to quickly tell you how this class works, how to follow along and do your class project, and where to download your class resources. First of, this course has three parts. Part 1 is a tool of home screen document, workspace, shortcuts and panels. Part 2 is the interactive learning process, and Part 3 is our class project. To download your class resources, please go to the project and resources tab below and navigate to your class web page using the link. All the information about this class is listed here in this web page that I made for you. Here is some information about me and how to find me in the wide, and right below is your class resources. Please make sure to download these three practice file and the image folder before you start the class. I also listed some extra links to the resources and equipments in case you need them. Upon the download, please do not alter any of the files. I will walk you through using them in the coming videos. Let's launch the Illustrator app and get us started. I'll see you in the next video.
3. Home Screen: Welcome to the Part 1 of this class. On the screen is the first window that appears when you open Illustrator on the iPad, this is like a gateway to your actual document book space. If you have both the other Adobe softwares such as Photoshop or Fresco in your iPad, this is going to look very familiar. One thing Adobe's doing with all the mobile app is creating a consistent user interface across all of them. Now let's cover some of the basics to pitch your startup. Tap on your avatar to manage the app setting preferences. This setting is also accessible from inside the document workspace. When you open the app setting, you land on the general tab. If you're left handed, change the position of the toolbar to right. Otherwise it is better to keep it on the left side. You can change the interface mode into what's best for you. I personally toggle between them quite often. Scale stroke and effect is a very handy feature. There is a full lesson about on an office states of this feature in the coming videos. Unfortunately, I do not speak any of the East Asian languages not yet, so I'm going to keep this off. In the input tab you wanted to keep the palm rejection on otherwise their app would detect every single touch of your hand as a drawing command and that is not what we want. We want to draw with our Apple pencil, not with our fingers. Here you have a very important decision to make. I would highly recommend you to set the double-tap to deselect objects or pass. Because the rest of them can be done with other method. This is the best method to deselect this stuff so, please choose this option. Touch shortcut has its own video and will be fully explained to you. Show tab as a blue dot will pop up, blue dot for every time that your pencil touches the screen. I am not a fan at all. Some may say it is helpful for making tutorials but if you're a teacher I recommend these colorful silicone cover for the tip. They increase the visibility for the tip for the students and also prevent the microphone from picking up the tapping noises much better than the flashing blue lights all over your videos. I like to keep stroke smoothing in blob brush tool on while dragging option. Because after drawing keeps a lack that I personally don't like. The "Unit" tab. I keep my stroke and type units on points. "Account" tab is about you and your Adobe account so make sure you are logged in. "About" tab is about the app. I recommend to keep the usage in for on and set the crash report to always, this will help Adobe to improve the product. Last one is the "Help" tab. In the learn part, we have a bunch of basic thoughts and learning tips for new users, you don't need to dig in they're all included in this class. In the support part, you can suggest a feature that you like to seeing Illustrator or vote for the existence suggestions made by other users. You can also report a bug. Basically, this opens your browser and navigate you to Adobe community forum. Done with the app setting, what else do we have on our home screen? There was a Cloud icon next to your avatar. This is a Cloud Sync statues. This shows if you're sync to your Cloud documents or not. No sync errors means you are an awesome Adobe user. Tap on the "Home" tab. This gives you access to the documents that you worked on recently. Recently is the key here, so you won't see all of your works. They are not gone, they're just not shown here, don't panic, don't look for them. We also have new and upcoming features part that shows a list of freshly added features, as well as what is Adobe working on. Take it as a coming soon part. Next we have the "Your Work" tab. This is where you can view a list of all the documents that you created in Adobe Illustrator that as well includes the files that are made by the desktop version. Obviously, if they were saved on the Cloud, not locally on your computer. Here you can sort your work and you can flip the sorting. You can also toggle the view between the grid and lists and here you can make a new folder. Let's do that and name it Skill share dash I'm putting my name, you can put yours. If we tap on the document or folders template, it will open them. If we tap on the three dot, it will open the menu. These two tabs here shows what was shared with you or what was deleted by you in case you deleted something accidentally and you want to recycle it. "Learn" tab is the same as what we had in the app setting and as we mentioned before, is a collection of basic tutorials that you do not need to go through them. I'm covering everything in this class. Then we have the "Discover" tab here you can watch the live stream of other creatives from within Illustrator is actually really nice to view different artworks done by the illustrators community and get inspired. Whether you open an existing file or make a new document, both would navigate to you from this gateway into the actual walker space of the document. Let's give them a try. When you tap on "Create New", you can create a new document. You can use the preset templates here or set up a new document from scratch. Let's make a document together, give your document a name, any name. Then set the unit to "Pixel", set the weight to, let's say 2,000 pixel and the height to 1,000 pixel, pick the orientation to horizontal and change the art board number to four. Let's set the color mode to RGB and check the save option. By checking this box, you can save this setting as a template which will keep a copy of your document in the saved tab, tap here and give a name to your template. This is the name of your file and this is the name of your template. Then tap on "Create file" button and there it goes. Now tap on the "Back" button and go back to the home screen. Let's tap on the "Create New" again and go to the "Save" folder and there we go it's here. Let's tap on important open and then navigate to the student file part 1. This is the file that you downloaded from your class resources page. Every time you import a file, Adobe will automatically open it. Tap on your file and voila stay here and I see you in the next video.
4. Document Workspace: In this video, we'll learn all about our document working space. Let's have an overview. In the middle, we have the Canvas and the Artboard. This gray area here is called the Canvas and the white pages are your Artboard. Let's say the Canvas acts as your desk and the Artboards all like pieces of paper that you can draw on. You always have one canvas on which you can have multiple Artboards. On top is the navigation bar. On the left side, we have the toolbar, and on the right side we have the task bar. Unless you are left-handed and you flip the position of these two, that's how they are located by default. Finally, we have the circle here that is called the touch shortcut button. Let's dig into the navigation bar. In the center, we see the documents name and zoom value. Tap on the number to open the Zoom menu. Here you can simply specify a zoom value. We use the slider to choose a value that works the best for you. You can also tap on the plus or minus to change the zoom with more control. Next, we have undo and redo. Since we did not do any action yet, these are not activated. Having in mind that zoom is not an action, but a viewpoint setting that goes with any application you cannot undo or redo a zoom setting. We won't be using these two anyway, because we a hand gesture to do the same action in a more intuitive way. Invite to edit is a teamwork feature that allows you to invite people to the document and then Edit the file. Next we have export. When you are done, you can export your work as a different format type. Since PNG format is the most commonly used one, it also exist as a shortcut here. Here you can live-stream your process for other users to enjoy. This will be published on the Discover tab of the home screen for everyone to watch. It's pretty fun to watch other artist's process and workflow. Check it out. Then we have help that is a learning reference for you. But since I'm covering everything in this class, you can skip this. Then we have the Setting and Info tab here. If you want to change the name of this document and tap here to alter the Unit of this document. We're going to drop that info to check the main information of this documents such as color mode or resolution. This Settings menu here is exactly the same as the App setting preferences that we went through in the last video. It was nested under your avatar. In a View mode, you can toggle between Preview, Outline mode or Transparency grid. For this class, we want to stay on Preview. Finally we have the back button. This navigates you back to the home screen. Having in mind that all of the documents that we created using Adobe Illustrator on the iPad are said to be auto saved at regular intervals to Adobe's Cloud. But of course, if you hit the button in between those intervals, the app will save your work before exiting their workspace. In this video, we learned the document working space and the navigation bar. Throughout the course, we will learn every single item in the toolbar or the taskbar in their own video. I'll see you in the next video where the action starts.
5. Shortcuts: In this video, we will learn the shortcuts. We have five groups of shortcuts. Hand gestures, Apple Pencil shortcuts, the contextual widget, touch shortcut button, and the keyboard shortcut. Let's start with learning the hand gestures. First hand gesture is the two fingers crop. Place two fingers on the screen and drag to move or pan the area in any direction. This could be any two fingers. Next is to zoom in or zoom out. With two fingers on the screen, drag outward to zoom in or drag inwards to zoom out. Open up to zoom in and close it to zoom out. Very intuitive. You can combine pan and zoom at a same time, like so. Next is undo and redo. As we mentioned before, we need to perform an action first. There is something to undo. I'm doing three changes; scaling the middle circle, moving this one, and perhaps recoloring this one. Now, tap the two fingers to undo. Undo, undo, undo, and tap three fingers to redo, so redo, redo, and redo. Undo, redo. The last hand gesture is zoom to artboard. Pinch the screen to zoom into the last artboard that we were working on. Last action that we performed was on this artboard. When we pinched the screen, the zoom changed in a way that we can see the last active artboard in a full view. Now selecting this path, so now our last artboard is changed to this one. Now let's pinch again, and this time we're zoomed onto this artboard. These were the hand gestures defined by Adobe. I'm assuming that you know all the hand gestures that were defined by Apple for your iPad can be implied here as well. I cannot branch out of the class topic and teach you all the iPad works, but if you need more info, I put a link for you on your class resource page. Next, we learn the Apple Pencil shortcuts. Let's first cover some primitive principles of how Apple Pencil function just to make sure everybody is in the loop. Here is a quick review. Tap is when with your Apple Pencil, you touch the screen and release immediately. Whereas tap and hold means your Apple Pencil will touch the screen and make a pause there. Now, double-tap is when you tap two times, one after each other with no pause at all. Same way that you would double click with your mouse. Whereas tap twice means you tap two times, one after each other, but with a pause in between. Tap twice is not a double-tap. Finally, drag is tap and move. The pencil touches the screen and moves right away. There is no pause when you asked to drag, this is very important to remember. Let's give you an example. When I tap, I'm selecting the path but when I double tap, I'm sending it into the isolation mode. Now if I tap on a point, I'm selecting that point but if I tap and hold, I am deleting the point. You see that just having a small pause is changing your communication with the machine and submitting completely different command. Now, if I double tap on the point, I am changing it into a corner point. If I drag it, I will change the position of the point. You see where I'm going with this. It is important to distinguish between them. Now that we know the difference, let's go back and actually learn the Apple Pencil shortcuts or actions. There are three groups of actions that we can take with our Apple Pencil. First is to select or deselect then it's the group of Scribble commands, and finally, it's drawing or editing commands. To select, you just need to tap on the object. To de-select, we can go two ways. You could double tap on your pencil side. This works only when you have the second generation of Apple Pencil. The other way is to simply tap somewhere on the artboard out of your selection area, or just tap on the Canvas. Second type of Apple Pencil shortcut is the Scribble Group. Let's give it a try by renaming our artboard name. Double-tap on the artboard name to open the keyboard and writing options. We can scratch out a word to delete it. I'm not talking this smooth, wavy line, but a real scratch movement. We could scribble any text and it will be converted to type. I'm writing my name, and then let's say Skillshare. Now we can draw a vertical line to separate the characters by adding a space between them. We could also draw a vertical line where there's a space to join the characters by removing this space. You can tap and hold to make room for a new board. Finally, you can drag over a word to select it. These were the Scribble groups. The last type of pencil shortcuts are drawing or editing commands. We will learn them all when we learn the tools. This was all about the Apple Pencil. Next is the contextual widget. That's these menu that pops up on the selected object. Depends on the selected object or the tool that is activated, we will have different actions on this menu. The options in this menu are the most common actions that you may want to take with the activated tool on the selected object. This is a shortcut to a selection of most common actions in the property panel. Since this is different for different tools, we will learn a contextual widget of each tool when we learn that specific tool. Next, we have the Touch shortcut button. This can be moved anywhere within the window. I like to keep it on the left lower corner of my window, but sometimes I alter the position to boost my workflow. If you're left-handed and you already flipped your toolbar and taskbar, then you probably want to drag your shortcut button to the right side. Now let's see what we have here, this is a two-stage button, primary and secondary. The small inner ring is the primary, and the big outer ring is the secondary. To activate the primary touch shortcut, just touch and hold. As long as you see the small one, the inner ring, it means your primary touch shortcut button is activated. This functions are very similar to the Shift key on the desktop. To activate the secondary Touch shortcut button, you need to first activate the primary one then drag your finger on the outer ring. Now you can only see the big one, the outer ring, the small inner ring is gone. That means your secondary Touch shortcut button is activated. These functions are very similar to the Alt key on the PC or the Option key on the Mac. We're going to use these two a lot, and as you notice the name of these two buttons are mouthful of words and a lot to deal with. For the sake of this class, I'm going to refer to the primary Touch shortcut button as P and to the secondary Touch shortcut button as S. P for primary and S for secondary. Much better. These are not the official abbreviation by the way, I just made them up for the sake of our sanity. Holding P or S temporary changes the function of the tool or guides the tool to act in a more controlled way, similar to when we would hold Shift key or the Option or Alt key on the desktop version. We will learn how the shortcut works for each of the tools while learning that tool in the coming videos. The last group are the keyboard shortcuts. Please have in the mind that Adobe illustrator on the iPad was designed with the Apple Pencil in mind. They work very intuitive together. Generally, adding an external keyboard defeats the whole purpose of working with the iPad so I don't recommend it at all. But if you insist, I put a link to the full keyboard shortcut list into your Student Resource page. That was all about the shortcuts. Next, I will introduce you to the panels. Stay tuned and I'll see you in the next video.
6. Layer Panel - Precision Panel: In this video, we will learn the panels. Panels are located on top part of the taskbar above this line. We have three panels, layer panel, property panel, and precision panel. You may have noticed that the layer panel and precision panel are on, but the property panel is off. This panel shows the property of the selected objects. When there is nothing selected, the panel will be off. Let's start with the layer panel. Zoom in a way that you can see all your artboards and open the layer panel. This eye icon here, is to toggle the visibility of the layer. When you tap on it, all the objects that are in this layer will be hidden away. This crossline on the icon is letting you know that the layer is not visible. If you tap again, they will appear so they are not gone, just invisible. To create a new layer, tap on the plus icon, then swipe left to open up the Edit menu. You can always swipe right to close the menu without submitting any command. Now tap on "T" and rename your new layer. I'm going to name it delete me, and then hit "Okay". Now since this layer is demanding us to delete it, we are going to swipe left again, tap on the trash bin and delete it. To lock or unlock a layer tap on the lock icon. When a layer is locked that means that we cannot perform any actions on the objects that are in this layer. Now let's zoom on the artboard that is called thumbnail. From the layer panel, find the layer that has the same name and then tap on the arrow next to the layer's name to open it up. This is a master layer that has multiple sub-layers. The sub-layers could be single object or a group of multiple objects. Each layer has a thumbnail to give you a quick preview of what is inside of it. This comes handy when you have a crowded artboard. When you tap on the name of layer, it will select all the objects and sub-layers that are inside that layer. Now what if we want to make multi selection. Hold P and tap on the layer one by one to select multiple layers. Layer panel S doesn't have any function. Now let's zoom out and this time zoom in to the artboard that is called stacking order. Now let's see how to move a layer. Tap and hold on the layer's name until the layer starts wobbling to show you that it's ready to move, then drag it and release it in a new position. Pay attention that the hierarchy in the layer panel indicates the stacking order of the objects on the artboard. The object that is located in the layer that is below all the other layers is also located below all the objects on the artboard. Now, let's move this up and locate it between the blue rectangle and the big green square. Now check it out on the artboard. If you're a beginner student, I recommend you to take your time and mess around with the layer panel until you get a hold of it. Next is the property panel. As we said, this is a changeable panel. We will learn about the properties of each tools or objects when we learn that tool. Finally, we have the precision panel. First thing is the snapping. When the snapping is on the application will assist you to pick the position that you most likely want to pick. With the snap off try to align the corners of these two squares. I'm going to zoom in, try again, zoom in again, try again. It is very painful to align them. Now let's zoom out, move this path away again, and this time try it with the snap on. There we go. One trail and it's snapped right away to the point that I want it to be, nice and neat, and that's why you wanted to keep your snapping always on. Smart guides are very, very handy, so you would want this to be always checked. There are these magenta colored lines that pop up while you're working to guide you into the position that you most probably want to pick. Next is the grid. Let's turn the grid on and check the snap to grid. This will assist you to move along the grid, very functional for icon design, for example, you can modify the look of your grid as you wish, you can change the color, the spacing, subdivision, anything. Next we have the guides, on or off a stage of the guides return the guides that you defined on or off. We will learn how to make guides in the coming videos when we learn the object panel. For this class, I would like you to keep your settings this way, snap to grid off, smart guides on, grid off, guides on. In the next video, we will learn our very first tool. I see you there.
7. Toolbar - Artboard Tool: In this video, we will have a quick review of the toolbar and then our very first tool, which is the artboard tool. In the toolbar, we have a variety of tools for selecting, creating, and editing. Some of them have a small arrow next to it, which means there are some related tools nested under this tool. You can either long press or double-tap to see the nested tools. This highlight blue square indicates which tool is activated at the moment. Now, let's zoom out in a way that we can see all our artboards and learn the artboard tool. This is the only tool that has this arrow, but inside the menu, there is no extra tool, but instead, there are multiple options for desktop. When you select the artboard tool, the last artboard that you were working on it will be selected by default. Tap on any other artboard to change this selection. To create a new artboard with the artboard tool activated, you can either pick one of the suggested artboard sizes from the menu or drag and draw the area of your artboard on the canvas. You've got to be very careful though. When the artboard tool is activated, every slight touch on the canvas will create a new artboard and sometimes they are so small that you don't see them. Now, what if we want to select multiple artboards? Same as with the layers. Hold P and tap on the artboard one by one to select multiple artboards. Let's check the artboard's property panel. With the artboard tool activated, go to the property panel to view or modify the name, position, size, and orientation of the selected artboard. You can also change the size to one of the preset ones here. Unfortunately, this cool option to rearrange the artboard that we have under desktop version is not available on the iPad for the moment, but I'm rooting for it to be out soon. Now, let's deselect everything. From the layer panel, go to the terminal layer and lock the rib and this blue rectangle. Now let's see what we have in the artboard tools contextual widget. With the artboard tool activated, select this artboard that is called the thumbnail. Notice that the contextual widget popped up. In this quick menu we have three common action, notch, duplicate and delete. These three are the fixed options of the contextual widget and they can see on the widget of other tools as well. First one is the notch. Drag the notch icon to move the artboard in a new position. As you see everything moved except they're locked items. When we move an artboard, all the items that are on that board will move to the new position except the locked ones. Let's undo this. Tap on the duplicate icon to duplicate the artboard. Again, everything is duplicated except and locked items. Now tap on the delete icon to delete artboard. Then the deleted artboard objects on that artboard will remain still. Same thing happens when we resize an artboard, the object will not change. The last thing that I want to tell you is an especial hand gesture to turn to the board to your most comfortable drawing angle. Similar to the two fingers scroll, but instead of pan and move horizontal or vertical, we want to turn our finger clockwise or counterclockwise. Same as before, we can combine these with the zoom gestures. That was all about the artboard tool. You can tap on the back button to exit. We are done with this file. In the next video, we will start working on our interactive practice. Stay tuned and I see you in the next video.
8. Selection Tool: Welcome to Part 2 of this class. Please go to your student resource page and import the student file Part 2, the interactive learning. In this video, I will shortly explain the dynamic of this file. Then we will start by learning the most critical tool in Adobe Illustrator, the selection tool. Let's head to the interactive practice file and get started. This is our interactive learning file. There is a number at bottom right corner of each artboard. This number is the same as the video lesson for that practice on Skillshare. If at some point you need to re-watch a video, this will help you to navigate easily to the artboard that is made for that specific video. Currently, you're watching video number 8. Please zoom into the artboard that has number 8 on it. Selection tool. First, I want to point out a couple of basic vector facts to make sure beginner students are in the loop. Every object that you draw on Illustrator is called a path. Regardless of which tool you use to draw them, you always draw a path. Each path has three elements; fill, stroke, and anchor points. Fill is the color contained inside the path. In this example, the pink color. Stroke is the border of the path. In this example, the red color. A path can have only fill, only stroke or both of them applied. With selection tool, you could only view and modify fill and stroke to view or modify the third element, which was the anchor point. We should select the object with another tool called the direct selection tool. We will learn about the anchor points and direct selection tool in the next video. For the moment, we stick to the selection tool, fill and stroke. Tap on this path to select it. When you select the path, you will always get a bounding box around it. Bounding box indicates which object or objects are currently selected. Each bounding box has nine handles; these white circles. The one on top that is poking out is the rotation handle and the other eight are the scale handles. Let's check and see what we have on the selection tool's contextual feature. The first shortcut is opacity. Drag to change the opacity, drag downwards to decrease or drag upward to increase the opacity value. Since the opacity of this object is already on the highest, which is 100 percent. When I try to get even higher, the value box starts to jump around to get my attention and let me know that I reached the peak value. Same would happen when I hit the lowest number. In all of the contextual widgets to check the name of these shortcuts, you need to tap and hold, then the name would pop up. But as long as the name's displayed, the main function of that icon is temporarily disabled. You need to tap again to remove the name to be able to use the shortcut. Take the transparency icon as an example. We have drag to change the value, tap and hold to see the name, and tap again to remove the name. Next, we have the stroke width. Drag vertically to change the thickness of the stroke. Then we have stacking order. With this path still selected, open your layer panel and navigate to the selection tool layer. Now from the widget, drag this stacking order to change the position of the path and see how it changed in the layer panel. Next, we have notch. We will learn about this moving shortcut. Drag the notch or the path itself to move it around. Next is lock. This will lock the layer of the selected path. Why did the contextual widget disappear? Because you cannot make any command on a locked object or locked layer. The only action you can do to a locked path is to unlock it. Then we have the group. Currently, this icon is not activated because we have only one item selected. By selecting multiple items, you can tap here and group them together. Now see the icon change to let you know you have selected a group. Now, tap again to ungroup them. Next, we have duplicate. When we duplicate a path, a copy of it will be created and it will be located exactly on top of the original one. You can't see it unless you move it. Watch out, if you tap on Duplicate, let's say five times, it will create five copies on top of the original one. The last shortcut on the contextual widget is the delete. With any path selected, tap here to delete the path. Now, let's learn the actions that we can make with this tool. Selection tool allows you to select, move, scale, rotate, and modify the properties of the selected objects. The first action is select. We already learned how to select and deselect. By tapping on an object or dragging over it, we can select it. By tapping outside the selection area on the artboard or canvas, we can deselect. We can as well, tap on the pencil inside to de-select. To multi-select, we can either drag across all the objects or we can use P. For multi selection, hold P and tap on the objects one by one to add to the selection or to remove from the selection. The second action is move. We have already learned we can drag the object to move it around. If we hold the P, it will move the object in a more controlled way along the x or y-axis, or increments of 45 degrees. If we hold the S and move an object, it will duplicate by dragging. Important tip about the P and S button, always you need to release your pencil first and then your finger. The third action is scale. Drag any of these eight scale handles on the bounding box to scale it in the direction of the handle that you're grabbing. When you hold P and scale it constraints the shape's aspect ratio while scaling. It gets bigger and smaller proportionally. When you hold S and scale, not only constrains the shape's aspect ratio, but also it scales it from the center instead of from the opposite corner. The fourth action is rotate. Grab the rotation handle on top of the bounding box, turn the object around in clockwise or counterclockwise direction. By default, the center of object will be considered as a center of rotation. To change that, tap and hold on the rotation handle to activate the rotation center, then drag the center into a new position and then rotate the object. If we hold the P and rotate, it will snap rotate to increment of 45 degrees. If we hold the S and rotate, it will snap rotate to increments of 10 degrees. That was the selection tool. Stay tuned. I'll see you in the next video.
9. Direct Selection Tool: In this video, we will learn the Direct Selection tool. Please pan and zoom in to the artboard that has number nine on it. In the previous lesson, we have learned that each path has three elements, fill, stroke and anchor point. We also learn that with the selection tool, we could only modify fill and stroke. To modify the anchor points, the object must be selected by the Direct Selection tool. Anchor points are these blue points on the stroke. Careful, do not mix up anchor points with the scale and rotation handles on the bounding box. What is anchor point? Wherever the path changes the direction, we have an anchor point. A path needs at least two anchor points, otherwise it's just a dot. A path with two anchor points is called line and a closed path with two or more anchor points is called a shape. Whether a path is open or closed, it can have only fill, only stroke, or both apply. There are two types of anchor points, corner points and smooth points. Corner points are represented by a square shape and have the round widget. Smooth points are represented by circle shape and have two opposing Bezier handles, which are used to control the curve. A path can have only corner points, only smooth points, or a combination of both. We can convert a corner point into a smooth point and vice versa. Segment is the part of the path between the two anchor points. A segment can be straight or curved. This circle and this square each have four anchor points and four segments. The difference is that the square has corner points and straight segments, while the circle has smooth points and curved segments. From now onward, I would refer to the anchor points as points to make the communication easier. When you select the path with the Direct Selection tool, by default, all the anchor points of that path are selected. We know that because they all have a blue field. To select a specific point, tap on that point. Notice that the rest of the points have a white fill now and only the selected one has the blue fill. To select multiple points, drag and draw over them. When you select multiple points, they do not need to belong to one path. You can as well select multiple points of different paths. We can only see the widget and handles of the selected point. When we want to move point, we need to select it and then drag it into the new position. If we hold the P and move, it will move it along the x or y-axis or on increments of 45 degrees. If we hold S and move a point, it will move the point along the path. This is my absolute favorite feature of the Direct Selection tool. You cannot even do this on the desktop version of the Illustrator currently. How to adjust the corner widget. Corner points have a round widget which you can use to make corners of your shape round it. It can work for all the points of the path at once or just for the selected one. Let's see how to adjust the handles. Smooth points have two opposing Bezier handles which you can use to modify the bend of the curve. Handles are paired by default, which means moving one of the handles may affect the both segments. You will know they are paired because there is a straight line between them. If we hold P and move a handle, it will break the pairing and only move the handle that we are grabbing at the moment. If we hold S and move the handle, it would pair them back. We will learn more about the handles when we learn the Pen tool. Let's first see what we have on the Direct Selection tools contextual widget. This menu is exactly the same as the Path tool on the taskbar. By learning one you're also learning the other one. The first shortcut is cut path. This option will cut the path from that point by duplicating the point into two separate points that are sitting on top of each other. Convert to smooth point will convert the corner point into smooth point. Convert corner point will convert a smooth point into the corner point. Join path will convert an open path into a closed path. Simplify path will remove unnecessary anchor points and generate a simplified optimal path for your complex artwork without making any significant changes into their original path shape. Smart delete will delete the anchor point without breaking the path and it will retain the shape of your curve, whereas the delete option will delete the anchor points and the segments of it. There are also two hidden shortcuts to adjust the point. Tap and hold on a point is like smart delete, but without fully retaining the shape of the path. Double-tap on a point is to convert a corner point into a smooth point and vice versa. If you double-tap on a smooth point, it will turn it to the corner point, and if you double-tap on a corner point, it will turn it into a smooth point. Now to wrap up this video, I wanted to tell you about the isolation mode. With the Direct Selection tool, we can direct select a path and also switch and direct select other path. But if we grab the Selection tool instead and double-tap on a path, it will select that path with the Direct Selection tool, but it will do that in the isolation mode. All the other stuff are paused. This feature comes very handy when you want to work on a certain path and you need to work on it with Selection tool and Direct Selection tool one after each other, and switch between these two all the time. Double-tap Direct Selection tool, tap twice Selection tool, double-tap Direct Selection tool, tap twice Selection tool. This can go on for a while until you are done with your editing. That was the Direct Selection tool and the path panel. I'll see you in the next video.
10. Properties Panel: In this video, we will learn the Property Panel. With the selection tool activated, I'm going to select the Path and open the property panel. We already learned that the contextual widget is a quick menu to allow us have a quick access to the most common actions. We also learned the actions that we can take with the selection tool's bounding box. Property panel is the main source of all those actions. In property panel, you can perform them in a more precise way and with more control. Selection tool's property panel has three main sections, transform, appearance, and stroke. Transform section allows you to move, scale, and rotate with more control. You can define the exact value here. In the appearance section, there is a shortcut to fill in a stroke color tool, which we will learn later on. Then we have the Blend mode that you can choose a mode from the drop-down list to specify how colors interact with overlapping objects. Then we have the Opacity handle with possibility of entering a precise value. Next section is the Stroke section. Here we have the stroke with box, which is the same as what we had in a widget, but this time we can put the exact value. Let's set this on the 35 point. Now, that we have a stroke, some more options popped up to let us modify more aspects of this stroke. We can modify this stroke type, alignment, cap, and corner. In the stroke type, toggle between solid or dashed line. When you pick the dash type, two additional box will open up to let you specify the width of your dash and the width of the gap in between them. Be careful, we are not talking about how many dash you want to have, we're talking about the width. This is the size, not the numbers. Let's give it a try. Select all these three lines and change the line type into the dashed line, then set the thickness of stroke, dash, and gap all of them on 40 point. Since the dash and the stroke have the same width, the dashes appears as square here. Let's make some changes. First, I want to select the top line and bring the width of the dashes down to half and 20, and then I want to select the bottom line and bring the width of the gaps down to half. Now, compare these three and see how the different setting can change the dynamic of a dash line. Next we have the cap option. Cap is the end of the stroke. By default, this is set on the projecting cap, but you can change it. Projecting cap has squared ends that extend as much as half of the stroke width beyond the end of the line. Round cap has semicircular ends and butt cap has squared ends. Butt cap is the same as the projecting minus the extended part. Now, let's go up and grab one of our dash line again. If you wish to make a dotted line, meaning each dash to be a full circle, the stroke width and the gap is up to you, but you need to have these two settings. The cap has to be set on round and that data width has to be down to absolute zero. Next is the Align Stroke options. By default, this is on the center, which means your bounding box is on the center of your stroke. You can change these to be outside or inside. Pay attention, the bounding box did not change the position, but instead, the stroke is the one who adapted itself to the position of bounding box. The last one is the corner options. By default, this is on the miter joint, but you can change it. Miter joint, creates stroke line with pointed corners. Round joint creates stroked line with rounded corners, and Bevel joint create a stroke line with squared cut corners. That was the property panel. Next we will learn the Shape Tool. I see you in the next video.
11. Shape Tool: In this video, we will learn the shape tool. Please zoom in to the artboard that has number 11 on it. Please tap on this shape here to select it and then de-select it again. I just want to make sure you are in the right layer and your color default are in the same way as mine. Long press on the Shape Tool to open the four nested tool beneath it. Rectangle Tool, Ellipse Tool, Polygon Tool, and the Star Tool. Now we want to select these tools one by one and draw with them. Use the drawing square that I made for you here and try to start from top left corner and finish at the bottom right corner. While drawing, pay attention that how the app is showing you the smart guides to direct you on drawing a perfect shape. Now we want to draw them again, but this time using the P and S button. Holding P will lock the smart guides to constrain the shapes aspect ratio, and therefore we can only draw a perfect shape. We undo to get rid of them. Now we want to draw them again with S. Holding S not only will keep the aspect ratio, but also will let you draw from the center instead of from the corner. If we want the shape to align the out guide, we should this time start from the center. Shapes made by rectangle tool or polygon tool have a round object to let you round the corners. You could also specify exact value from the property panel. Polygon tool is a life tool, and by default is set on triangle. You can drag these control object to change the number of sides, or you could do so from the property panel. You could go from three, which is a triangle, up to a polygon with 10 sides. Unfortunately, the light option is not available for the star-shapes same way that it is on the desktop version. That was all about the shape tool. I see you in the next video.
12. Edit Panel: In this video, we will learn the edit panel. Please Pan and Zoom into the artboard that has Number 12 on it. With the edit panel, we can do two types of comments. The first type is to cut, copy, or paste the object itself. The second type is to copy the appearance of one object and paste it into another one. Cut, copy and paste are no brainers. They function same way as they do in any other application. Cut will delete the object before doing so, it will keep a copy of it in your clipboard. Copy makes a copy of the object in your clipboard. Paste will release the last thing that you have in your clipboard on the exact same position that it has been copied from. This is exactly the same as a duplicate on the contextual reach. Watch out, there is a hidden shortcut for paste and that is double tap to paste. Every time you double tap somewhere on your artboard, it will paste the last thing that exists on your clipboard. Now, let's undo this mess and learn how to copy and paste appearance. You can copy appearance attribute from one object to another, including, fill, stroke, character style, and paragraph style. Let's say we have object A and object B, and we want object B to look like object A. A is the key object and B is the follower. My [inaudible] follower is not a technical term, I just made it up to help your learning process. Let's give it a try. First we need to select our key object, then we tap on "Copy Appearance" then we select our follower, and then we tap on "Paste Appearance." Now at this point, we can choose what attribute needs to be applied. I'm going to first check the fill box and tap on "Paste." I'm going to do the same process, but this time choose the Stroke. Then do it again, and this time choose the Both Attribute. For text, we have an additional option, and that is the character style. For paragraphs, we have another additional option, and that is paragraph style, which is the alignment of the paragraph. I want to point out to the long-term users of the desktop version that this is similar to the eyedropper tool. But on the desktop version we first select the follower, then we grab the eyedropper and go after the key object's attribute. But on the iPad, we always select the key object first. That was the edit panel, we are going to have a lot of fun with the scale stroke feature in the next video. I'll see you there.
13. Scale Stroke: In this video, we will learn the scale strokes and effects setting. Please pan and zoom on the art board that has number 13 on it. On the left side of our art board, we have three key objects that we do not want to modify. We want to change the ones on the right side and at the end, compare them to our key objects and see what is the difference. Go to the app setting, "General" tab. With the scale stroke and effect on, let's try to scale our objects once up and once down. I'm holding the S just to keep the aspect ratio. Because this option was on when we made our objects smaller, their stroke got smaller as well. Then we made them bigger, their stroke also got bigger. Now go back to the setting with this scale strokes and effect off. Again, we scale our objects once up and once down. Since this option was off, when we scale the objects and make them smaller or bigger, the stroke remain the same and did not change accordingly. This is a very handy feature. Depends on the type of illustration that you're working on, you can toggle this on and off when you need it. That was the scale strokes and effect setting. I'll see you in the next video.
14. Align - Distribute - Flip: In this video, we will learn the alignment panel. There are three artboards that belong to this video, artboard 14A, B, and C. Please pan and zoom in a way that you can see the artboard that has 14A. This panel allows you to align, distribute, and flip objects. Aligning objects means to change their position in a way that they stand on an imaginary line. We can align objects in six different ways, on six different lines, three vertical and three horizontal line. Align left, we'll find the furthest left point among the selected object and draw an imaginary line on that point. Please select these objects and tap on align to left. You see that all the objects move to the left until they reach the line. Align right does the same, but on the right side. Next is horizontal Align Center, this one will find the furthest left point and the furthest right point and draw the imaginary vertical line in the middle of those two points. Please select these four objects and tap on horizontal align center. You notice that though the objects move towards center until the line across them all in the middle. Some students ask me, why is this called Horizontal Align, while the imaginary alignment line is vertical? Then name comes after the direction that the object move, when everything is moving horizontally to right, left, or center, this is horizontal alignment, and when they are moving vertically to be aligned to each other, then that's the vertical alignment. Vertical alignment, follows the same principles. Now, let's align this to top and to bottom and to the center. A handy tip, if you select one object versus multiple objects, when you align it, it will be aligned to the artboard. Now, if you wish to align multiple objects to the artboard, you should first group them. Please pan to the next artboard that has number 14B on it. Now, let's learn the distribution, we have two distribution options, horizontal distribution and vertical. The same as alignment and name comes after the direction in which the objects move. Horizontal Distribute simply means the horizontal distance between the objects are the same. Now, let's select the four objects and tap Horizontal Distribute, you see the object moved horizontally until they are evenly distributed. Now, Vertical Distribute means the vertical distance between the objects are the same, now we select this and tap on Vertical Distribute and see that the objects move vertically until they are evenly distributed. Now, please zoom in to the last artboard that has number 14C on it. We will learn how to flip. We've got two flip options, horizontal and vertical. Now, watch out to not mixing up flip with rotation. Flip has nothing to do with rotation, but it is a reflection comment. Now, be careful sometimes when you flip a symmetrical looking object, it seem as it was rotated by 180 degree. Letter R is a good example, its not symmetrical in any direction. Now, let's rotate this 180 degree to just have it as a reference. Now, let's flip horizontally. Here we have a tree that looks vertically symmetrical and letter R. Now, let's flip this horizontally, and then flip the R. Now you see that the tree is tricking us into believing that this could have been rotated, whereas, R is completely different than the reference that we have, which is the rotated one. Now, let's flip vertically, here we have a branch that looks horizontally symmetrical, so if we flip this, it may seem that branch one was just rotated, whereas, R is completely different than the reference that we have, which is the rotated one. Three notes for this video, first one, is the touch button shortcut does not have any function in this panel, the second is to remember that the names come after the direction in which the objects are moving, and the third is to not mixing up the reflection with the rotation. That was flip distribution and alignment. See you next in the video.
15. Import Tool: In this video, we will learn the import tool. First, make sure that you've downloaded your images and textures from the class resource page. Now pan and zoom into the artboard that has number 15 on it. With import tool, you can bring different types of images into Illustrator. Long press on the import tool to open the nested tools beneath it. Now first option is camera. You can capture a picture using iPad's camera and place it directly into Illustrator. Now scale or adjust the position of the image frame if needed, and then capture. My camera is covered at the moment, that's why my picture is black. Now, I'm going to switch to the front camera and bring my penguin here into the frame. Say hi, to you guys. Hi, and then I'm going to capture. If you can capture multiple photos at once, and then after capturing all the photos that you need, you tap on "Done" and you have all your photos imported here right away. Now, let's undo clean this mess. Photos gives you access to import photos or images that are saved on your photo album of the iPad. Then "Files" allows you to import images from any file on your iPad or any Cloud storage that you have, including Creative Cloud, Dropbox, Google Drive, etc. The Cloud documents, it's obviously a shortcut to your Cloud documents of the Adobe. Then we have "Libraries" and here you can bring in anything that you saved on your Creative Cloud libraries. Let's navigate to the folder that you downloaded your class project and import our first image. Now regardless of the size of the image, once you import, it will be placed in a way that fits to your artboard. There is a very cool option to import an image with more control. You can define a path as the frame of your image and then import the image inside of that path. To do so, first, we should select the path, and then with the path selected, we had to import and bringing in our images. There you go. It will be placed inside the selected path as a kept content. We can scale or adjust the position of the image if needed, and then submitted by exiting. Let's try it again. But this time, we select the compound path as our mask. This would not work with a group of paths. It works here because this is just one solid compound path. We will learn all about it in its own video later on. When the important image directly inside of a selected path, the path will be turned into a clipping mask, so we will lose our path. In the next example, I want to import an image and use it as a texture. I want the image to be clipped and resized as my background, but I don't want to lose my background. Therefore, I'm going to first, select my background, duplicate it, and use the copy that I just made as the clipping mask for my texture. I'm importing the image and then I am bringing it all living on top of everything. Then I go to the property panel and change the blend mode into multiply. Then I'm going to repeat those steps, but this time, I'm bringing in a vector texture. This time, I will alter the blend mode into soft light and I bring the opacity down to 50 percent. Alright. That was the import tool and all its wisdom. Next, you're going to dig into the color tool. Stay tuned, and I'll see you in the next video.
16. Color Tool : Solid Colors: In this video we will learn the color tool. With this tool we can set fill color, stroke color, gradients, swatches, and so on. Now please select this first path that has both fill and stroke. Now if we look at our color tool, the top one is showing our fill color, the bottom one is showing our stroke color, and then there is this swap widget in between that can swap the color of fill and stroke. If I select this path that only have the fill color and no stroke, you see that there is a red dash on the stroke. That means transparency. It means the stroke has no color. The same would be if I select the path that has a stroke but no fill. This time we have the red dash on the fill color. Now, let's select this gray circle and apply a new color on it. To apply a fill color, we should tap on "Fill," and to apply a stroke color we should tap on "Stroke." Tip about the color panel. These colors are attached on Color button, and also it is attached to the tool with this small triangle. Therefore, every time that we touch our artboard, this will close. Now if you want to walk back and forth from the panel to the artboard, every time we have to tap again and open this again. Grab this dashed green line here, and push this panel all the way to the back until we see this highlight appears. Then upon release this will fix. Now, my touch on Color button is over it, and I can go back and forth between my color panel and my artwork without losing the panel. Once we are done, we can hit "Close," and push it back. We have two tabs here, the solid color and the gradients. In this video we will learn the solid color, and we will learn the gradients in the next video. On the Solid Color tab, we can choose a solid color from the color wheel, color mood sliders, swatches, color books, or libraries. In the color wheel, we have the hue ring, and then we have the brightness and saturation spectrum. You can change the hue by moving the widget around the ring, and then you can change the saturation or brightness of that hue, here in the spectrum. We also have four shortcuts available here for the most common actions, which are the color white, color black, full transparency, and the Color Picker tool. Let's start with my favorite, which is the Color Picker tool. What we want to do is to change the color of each rectangle to the same color as the pencil beneath it. To do so we select the path first and then we tap on the tool. Then the color picker widget, which show up. Now we can drag this widget onto any spot to pick the color of that spot. Pay attention that the grabbing point is the tip of the arrow, which is where your Apple pencil is touching the screen. As long as the widget is still activated, if you move the widget along, the color of the selected path will change over and over. So you want to make sure to submit the color. The top part of the widget shows the color that is ready to be applied, and the bottom part shows the current color of the selected path. Next is the color mode. You can tap on these three dot to open up the options and choose a color spectrum mode, that fits to your project. The grayscale slider will remove the hue and leave you with black and white option. The CMYK hue saturation, brightness, RGB will allow you to modify the color using the color spectrum sliders of that color mode. The hex color box will let you type in any hex code that you wish. If you are a beginner students, please don't feel overwhelmed. I cannot branch out and dig into the basic of color and teach you all that. But if you don't have prior knowledge on this topic and you're interested to learn more, I drop you some useful links so you can read up on the topic and get more comfortable with it. To have a bit of a cleaner workspace you can tap on the arrow next to the name of each part to close that part and only keep the part that you need at the moment open. In the swatches, we can tap on these three dots to toggle between the grid view and the list view. In the grid view, we can just see our swatches, whereas in the list view we can also see the name of each swatch. There is a limited window in both grid view or list view to show the swatches, but you can always slide down to see the rest. This plus button here will add the last color that was selected, the one that is showing on your tool, into your swatches. Long pressing on the swatches allows you to edit them or remove them. Edit option allows you to modify the name, the color type, color mode, and color spectrum of that swatch. When you have the global process color, any path that you have in your artboard with this color are linked to this swatch. Therefore, when you change the color of this swatch, all of those objects will follow the new color. Any swatches that were saved using any of Adobe services, if you save those swatches on your library, you can have access to it here as well. That was the solid color. Now in the next video we will learn all about the gradients. I see you in the next video.
17. Color Tool : Gradient: In this video, we will learn to apply gradient color. [inaudible] pen and zoom into the art board that has number 17 on it. On Gradient tab, we have different options. We have Linear Gradient, Radial Gradient, and Point Gradient. Linear gradient blend two or more color stops along a straight gradient annotator. Straight doesn't necessarily mean horizontal, then radiant gradient blends two or more color stops in a circular gradient annotator, and then point gradients creates two or more free color stops within the shape. Let's apply a linear gradient. With the path selected, I choose linear gradient. To modify my color stop, I can select them by tapping on it. The selected one is a slightly bigger and it has the [inaudible] beneath it. Now I can apply a new color on each of these two color stops. In the middle of our annotator, we have a midpoint. We could drag this midpoint to change the spread of the color stop. To change the angle of our annotator, we can drag our color stops in two different position. When we select a color stop, we cannot tap on [inaudible], it's deactivated. This is because we need at least two color stops. Tap and hold anywhere along this annotator, you can create a new color stop. Once you have more than two color stop and you will be given the option of deleting the extra one. The trick to get a smoother transition is to have your annotator longer and have your midpoint somewhere with the same distance from the two stops. Now, let's apply a radial gradient. Once you choose a radial gradient, you get the annotator, but this time we have an additional ring with a handle. Be careful not to mix the two color stops with the handle. The handle is not attached to anything and is located solo in the ring, whereas the two color stops are attached to each other with the annotator. Choose the handle and change the form of the ring. The rest has the same dynamic as we had on the linear gradient. We can select the stops, change their color, we can move the midpoint around to change the spread and we can change the position of the two color stops. We could as well tap and hold to create a new stop. Same tip applies here as well. To have a smoother transition, you're going to have our annotator slightly longer than the path and we want to locate the midpoint in a more or less same distance from the two color stops. Next, we want to apply the free point gradient. As the name suggests, the color stops are free, they are not linked to each other. Each color stop has its own ring that allows you to change the spread of that color. You can add as many color stops as you wish by tap and hold anywhere. Two tips to have a smoother transition. The smaller the rings are, the smoother the transition is, and the closer the hues are, the smoother is the transition. That means when the color stops that are near each other are also having a more similar hue, then you always get a smoother transition. They blend very well. But as when you have color stops that are far away on the hue ring, they don't blend with each other that good. As the last practice, I'm going to turn these Christmas lights on. To do so, I would apply a radial gradient. Then I'm going to first thing, change the ring into a closer shape to our path and I'm going to change the color stop that is in the center into some varnish yellow. I'm going to lower the opacity and then I'm going to change the outer color stop into white, then moving the annotator slightly closer to the center to give the glow. There we go. Now, I am going to copy the appearance of this and paste it onto the rest of them. To do so, I'm going to select this, hit the Edit panel and copy appearance. Now I'm going to hold P and select all of them and hit Paste appearance. I'm going to have these to check and hit Okay. All right, that was the gradient. I see you in the next video.
18. Pen Tool: In this video, we will learn the Pen tool. Please pan and zoom to the tile that has Number 18 on it. Let's first select this path and go to Property panel and set this stroke on fore point, and then deselect it. I just wanted to make sure that you are in the right layer and your colored default and the stroke setting is in the same way as mine. The Pen tool creates path by defining the anchor points. As we learned, there are two types of anchor points, corner points, and smooth points. Creating corner points is really easy. Tap and release to create corner point. We're just tapping and once done, we exit to submit. To create smooth points, we need to tap and drag. Tap a corner point, tap and drag for smooth point. Again, corner point, smooth point, corner point, smooth point. Don't forget to exit to submit. As easy as it was to create corner points, creating smooth point and curve segments is really tricky, because we have to drag and depend on which direction you are dragging the dynamic of the path we change. This is a trap for many Illustrator, but it is actually really easy. There is one and only one trick to name this tool, and that is to know the difference between the two leading handles. Even though they are paired and always stay in alignment, they are not the same. These are two different function. Once you learn to differentiate these two, you will be able to master the Pen tool. It is that easy. When you drag to create a smooth point, one of the handles stays on the tip of your Apple Pencil, and the other one goes opposite of where you are dragging. Now, what is the difference? This free one that is going opposite of the direction that you're dragging, specifies the direction of the current curve, the curve that is being drawn at the moment. The one that is under your pencil is specifying the direction of the next curve. The one that we cannot see and it will come afterward. Now, we can edit the handles and points without switching to the direct selection tool. As we learned, if you hold P, it will break the alignment of the handle and when we press S, it will move the points along the path. Let's draw this shape with all the curved bending inwards. There are two steps that we take while drawing curves with the Pen tool. Step 1 is to drag the smooth point and only pay attention to the current handle and how it is forming our current curve, the curve that is being created right now. Step 2 is to hold P, to break the alignment, and then grab the handle that was on other pencil and change your direction of feed into wherever we want our next curve to bend, and then release the P. We can repeat these two steps for each point. We are going to drag this smooth points and only focus on the curve that is being drawn now, and then we're going to hold the P, break the alignment and redirect our leading handle, and then we're going to release the P. Then we're going to do the same with the next point, and the next point. If you got yourself confused about which handle should be rearranged, remember that the handle that is aligned with our last curve is all set and the one that is pointing somewhere unrelated is what was on the pencil and has to be redirected. Easy, huh. Now, this time we have exact same points with the same position, but this time the curves are bending outward. Let's draw this together. Drag and draw the current curve, go to P, setup the leading handles for the next curve and then release the P. We're going to do the same practice again. Just have in your mind when you are redirecting your handle to the next curve, the best position is to put it somewhere in a third of a curve towards the direction that the curve is going to bend, to get a smooth and nice curve. To have a good feeling of the Pen tool, you need to practice and practice and practice. Some handy tips for the Pen tool. P and A's have no function in order to making the corner points. But for smooth points, P will break the alignment of the handle and S will allow you to move the point along the curve. With Pen tool, you can tap anywhere on the path to create a new anchor point. This is only available on the Pen tool. You cannot even do this with the direct selection tool. You don't have to draw with the stroke. You can also toggle the color and draw with fill. We already learned how to modify points and handles with the direct selection tool. Good advantage of those techniques in order to editing your path. The final is to align the anchor points. We already learned the alignment panel. We can use the same techniques that we would use to align multiple paths, but they seem to align multiple anchor points. There are different approach to draw in Adobe Illustrator. If you're not a big fan of the Pen tool, don't worry, I'm with you on this. The good news is, you can draw almost anything without ever needing to touch the Pen tool. Stay tuned for the next video where you will learn that amazing pencil tool. I see you there.
19. Pencil Tool: In this video, we are going to learn pencil tool, which is my absolute favorite drawing tool. Adobe Illustrator on the iPad was designed with Apple Pencil in their mind. Apple Pencil and the pencil tool are the power couple. Please zoom into the art board that has number 19 on it. First, tap and select this star here and then deselect it right away. Now, grab the pencil tool and let's draw. The pencil tool creates path by defining the segments. That could be a straight segments or a curved one. Tap and create straight lines from the point that you tap to, to the last point, similar to when we created corner points with the pen tool. Now, drag the pencil tool freely to draw a freeform path. Segment is the part of the path between two anchor points. When you drag to draw a freeform path, you will draw a variety of multiple curved segment one after each other. Pencil tool is intuitive like a dream but creates too many anchor points and most of them are likely to be unnecessary. Good news is we can always head to the direct selection tool reject, aka the path tool to simplify them and refine our path. Now that we've learned two technique of drawing with the pencil tool, we can combine them in one go. I'm going to tap, tap and tap to create a straight segments, and I'm continuing with dragging a freeform path and then I'm continuing with some more straight segments. Some handy tips to master the pencil tool. Close path are easy. When you are drawing with pencil tool, as soon as you close the path, it will be submitted automatically. Regardless of if we tapped or dragged to draw, as soon as that path is closed is considered as a complete path, so the next touch on the screen will start a new path, nice and clean. The tricky part is when we want to draw an open path. Let's say we have an open path and we want to start a new path. As long as you start your new path with dragging, everything is fine. The machine will give you a fresh start same way that we do with the closed path. But if you start your new path with a tap, the application things you want to create a straight line from the point that you tap to the last active point. Since there is an active last point, this will create a connection to your previous path, and that's not what we wanted. To avoid this situation, you need to submit your last path before moving to the new one. The conclusion is starting with the drag gives you a fresh start, but starting with a tap will connect you to your last active point. If you don't like these, you need to submit your previous path every time that you want to start a fresh path with tapping. Next tip is to create a corner point in the middle of dragging a freeform path with curved segments. To do so, make a pause by drawing until a blue circle appears, then continue drawing. Every time you make a pause, you create a corner point. This comes handy when you want to change the direction of your curve with a sharp and pointy corner. Let's draw this flower using this technique. We have these curved petals and every time we go to the next petal, we need to make a pause to get the sharp corner. Pay attention to the blue spots that pops up every time that you make it pause. This is Adobe letting you know that it got you back and it will create a corner point for you. The next tip is to create a straight line with more control. Hold P to create a straight lines in increments of 45 degrees. Whether you are tapping or dragging, holding P will get you there. S doesn't have a function for tapping technique, but while dragging holding S will guide you to create a straight line in any direction. Every free drag you make tends to perfect straight line. This is very handy for hatching, for example. Last tip is to set the smoothing value. With the pencil tool activated, a settings option will be added to your toolbar. This allows you to change the smoothing value of the pencil tool. Use the slider to set a value between 0-10. These three curve were drawn with the smoothness set on zero, five, and 10. Now, let's select these three with direct selection tool and check the differences. The highest number gives you the smoothest curve with the lowest amount of anchor points and vice versa. That was the pencil tool. If you are a Procreate or Photoshop fan and love to draw with a brush tool, then wait for the next video. I'll see you there.
20. Blob Brush Tool: In this video, we will learn the blob brush tool. Please pan and zoom into the art board that has number 20 on it. First tap and select this store here, and then deselected right away. Blob brush tool creates paths by defining the fill of path. To make the communication easier, I'm going to refer to the blob brush tool as brush. Brush is nested under the pencil tool. When you grab the brush tool, you can right away choose your brush type. I'm going to grab the basic around for a moment. Selecting the brush we actually options to our toolbar, brush size, smoothness, and brush setting. From the brush size, you can set a number between 0-100 as the size of your brush by moving the slider up and down, or by tap and hold on the number, and then you can specify a number. Smoothness allows you to move the smoothing value of your brush, tap and hold on the smoothy to be able to specify certain number. Let's choose 5. Now let's get into the brush setting. Setting the brush tool is very important. First thing here is the preview window to show you the current look of the brush. As you change a setting, you can see the changes in the preview as well. For the moment, we want to keep these boxes unchecked. Next is roundness. Since we chose the basic round brush here, the roundness is set all the way to 100 percent, drag the slide there and see the changes. The lowest value gives you completely flatted brush like this one, and the highest value gives you rounded brush like this one. Next is the angle. This determines the rotation angle of your flat brush. If the brush completely rounded, rotation angle is pointless. Rotation angle can come very handy when we are using the carotid brushes, doing calligraphy or stuff like that. Let's first set the brush back to 100 percent round. Each of these options have more setting nested beneath them, but they've read only open up once that they are checked. Check the tapper ends to be able to open the menu. This is the beginning of our brush and this is the end of our brush stroke. Taper ends gives you opportunity to choose if you want the ends of your stroke to look fully rounded or look like the tip of your brush. You could choose if you want this transition to be placed based on the length of your stroke or the velocity, that means the speed of your stroke. Next, we have the pressure dynamic. When this is not checked, no matter how much you push your Apple pencil on the screen, it will not have any impact on your brush character. But when this is checked, you will have a pressure dynamics. This simply means that thickness of your brushes stroke changes accordingly to the pressure you apply on the stylus when drawing. Same as how it's done with the manual brush. The more you press, the thicker the brush gets. This is in a very awesome features, especially when you are into hand lettering. You can set the number somewhere between 0-100 percent. Let's add this on 40 percent for now. The last setting, which is the most important settings of the brush tool is merge brush stroke. When this box is not checked, every stroke that you draw is an independent path. Whereas when this box is checked, we can match our stroke under two condition, they should intersect and they should have the same color. Now with merged brushes stroke check, I'm going to draw multiple stroke and not changing the colored in-between, and I'm making them in a way that they intersect. Now you cannot select them one by one as an independent path anymore, all this stroke have been merged into one path. This would not be the case if my stroke don't intersect. You see my merged brush stroke is a stay checked and I'm not changing the color, but we have independent path. They did not merge. Now I'm going to try this again. This time I am creating a intersect, but I am changing the color of the area that they intersect. Now as you can see, they remain independent and nothing has been merged. That was our last drawing tool. I'll see you in the next video with the combined shape panel.
21. Combine Shape: In this video, we will learn the Combine Shape panel in the taskbar. Please pan and zoom into the art board that has number 21 on it. Combine Shape panel assist you to create complex shapes by merging, overlapping, or cutting parts of the path. Select the first two shape and open their Combine Shape panel. We have three parts. In the middle, we have four live options or non-destructive options, so to speak. Here, you have a preview of the new combination which gives you a feeling of what will happen. Let's give them a try. Combine All will combine the multiple shapes into one shape. Minus Front will use the shape on top as a cutter and remove the overlapped region of the shape below. We would have the cutout version of the path that is below everything. Intersect retains the intersected part of the overlapped shapes and removes the rest. Exclude Overlap does the opposite; it excludes the intersected region of the two overlapped shape and retain the rest. We call these four live options or non-destructive options because they demonstrate how the results will be while they're keeping the original path untouched. This gives you the chance to modify the new combination while they are still under the effect. You can also change from one option to the other. Have in mind that destructive commands, live objects, and effects are meant to be a temporary state and they need to be converted once that you are settled and you're done editing them. This is due to the fact that they make the file very heavy. To do so, we need to convert them to path. With the live objects selected, we go to the panel and we select Convert to Path. Convert to Path will be activated only when you have a live option selected. This is a destructive change, and once you converted your live option into the path, you will no longer be able to modify the original element. Divide All uses the overlapping lines to cut to the path and divide it into smaller portions, so nothing is excluded, they are just divided. Every time we press Divide All they will be divided, but they will also be grouped by default. To select the splitted portions you need to ungroup them first. The last option is the Shape Builder tool. This is a very intuitive tool that allows you to use your natural gesture to create new combination. Let's select this group of shapes and go to the Combine Shape panel and grab the Shape Builder tool. With the Shape Builder tool selected, we can drag across multiple part to merge them into one. We could delete a part by tapping on it, dragging across it or scratching it out. Just be careful, you can scratch out one part. But as soon as you scratch more than one part in one go, the software would consider that you are dragging across them and want to merge them. Having in mind that the changes made by Shape Builder tool are disruptive changes and can no longer be modified. That was the Combined Shape panel and I'll see you in the next video.
22. Text Tool: In this video, we will learn the text tool. Please pan and zoom into the art board that has number 22 on it. To create a text, double-tap or long press a text tool to open the nested group, and then choose between horizontal or vertical direction. Let's go with horizontal. There are two ways to create text container, point text, and area text. Remove the default font will be the last one that we were working on and the default color will be black. Let's first, create a point text. With the text tool selected tap to create a point text. This is an auto adjustable text box that expands as you type characters. The line expands or shrinks as you edit it, but doesn't go to the next line until you send it. The bounding box in the point text is the text itself. Now let's create the area text, also called paragraph text. To create an area text frame, drag and draw the frame that you want your text to be fit in. This define the boundaries of the text to control the flow of the characters either horizontally or vertically. As you see when the text reaches the boundary, it automatically wraps to fit inside the defined area, meaning it goes to the next line by itself. The bounding box is not the text, but the area that you defined, area that the text is allowed in. When this area is smaller than the texts and all of the text is not fitting in, you will receive an error here to let you know that part of the text are missing. To fix this, you can either extend your text area or make your font size smaller. Let's have a look at the text tool's contextual widget. The first four options are new. The first one is the keyboard shortcut, which allows you to open the virtual keyboard on your screen. We have the text size to adjust the size of the text. Then we have the text tracking to adjust the space between the characters and line spacing to adjust the space between the lines. The rest are the same that we had on the selection tools contextual region. Now with the text that we selected, let's head to the properties panel. The first section is as always, the transform section, which allows you to edit the size, position, and rotation angle of the text container. Then we have the text section. This part allows you to format the font and the text. First we have the font menu. Tap on the drop-down menu to open the font. You can tap on the search field to look for a font by its name. Your recently used fonts are displayed right under the search field. You can tap on the plus sign to add new fonts to your list. Then here you can have a look at your own font collection. At the bottom of the menu, tap on more font to have access to over 17,000 Adobe fonts. This works if you have Creative Cloud subscription. I'm going to choose a comic font. I'm going with this one, you can go with what you like. Now let's close the font and go back to our property panel. Next is your font size, and next we have the font scale. Tap here to change the horizontal or vertical scaling of font using the sliders. This will mess up the proper proportion of the type face, and it well certainly piece of the font designer. Unless you've got a solid reason do not change this, 100 percent is the predefined scale, and then we have the same options that we had in the contextual widget, but here through property panel, we can adjust them with more control and define a specific value for them. Then we have the four text format options, they're all caps, the small capital, underlying text, and the strike tool. Next we have the text container type. Here, we can toggle between the point text and area text. As we learn in point text, the bounding box is the text itself, whereas in the area text the bounding box, is the area that the text is allowed in. If I scale the point text, I'm scaling the text inside of it, but if I scale the area text bounding box, I'm scaling the area that the text can fit in, same goes with the rotation. If I rotate a point text, I'm rotating the text inside of it, but if I rotate the area text, I'm rotating the area that the text is in it. At any point, you can change your text container type and toggle between these two types. Next we have the paragraph alignment option. You can select suitable option to align your paragraph to left, center, right, or justify. Then we have the appearance section in which you can change the fill color, stroke color, blending mode, and opacity. You can always add stroke to your text, and when you do so, the stroke options that you already learned, will open up and you can adjust them as you wish. All the settings and rules that we talked about also implies for the vertical text. That was a text tool. In the next video we will learn the type panel. Stay tuned and I'll see you there.
23. Type Panel: In this video, we will learn the type panel. Please zoom into the art board that has number 23 on it. The type panel has three options, outline text, type on path, and edit path. Outline text, converts your text into a group of path, therefore the text properties will be removed from the property panel and it can no longer be edited using the type tools. After the text is converted into outlines, you can edit it with the selection tool or direct selection tool, same as any other path. Type on path guides the text to follow along the stroke of a path. Therefore, it only works with the path that has a stroke. It works with both open and closed path, but not the compound paths. Have in mind that you will lose the path after applying this effect. If you need the path itself, you should duplicate it first before applying this. Let's grab the pencil and draw a path. I want to point out that I'm drawing it from left to right as the arrow is suggesting. To add a text on path, select both texts and the path and then tap on "Type" panel on task bar and choose "Type on Path." It starts from the starting point of the path and uses the path as a baseline, meaning it locates the text on top of the path and it goes from left to right for English texts. The point here was that my path was drawn from my left to my right, surrendering the text on the path was really easy here. But what happens when I draw my path from right to left? Let's give it a try and boom, a total disaster. When you check the Adobe's forum for Adobe Illustrator on iPad, you will see that quite a number of users reported this as a software bug. There is no error here. The baseline here in fact, was drawn from the left to right if the person was sitting in front of me so they can read it. For them this is totally correct. This implies only for the open path and obviously a closed path doesn't have a left and right. Watch out if you are using the vertical text, this effect will convert it to the horizontal text first and only then it will run the text to the path. If I run these vertical texts or these horizontal texts through the same path, the end result would look exactly the same because the vertical one will be converted to the horizontal one first and then will go to the path. Edit path will be activated only if you have a type on path selected. Basically it's switched to direct selection tool and allow you to edit the baseline path itself. You can also simply select your type on path and go to the direct selection tool yourself. Let's see what we have in our property panel. When a type on path is selected and new section will open up on the property panel. The first option is the baseline direction. We mentioned that in order to have a legible texts our path has to be drawn from left to right. If you found yourself in a situation that your text is in the wrong direction, you don't need to go back and redraw your path, but instead you can come here and switch the direction of your baseline. Next is the line menu. As we learned, the path is set by default to be the baseline, but throughout this menu you can alter it to be the center line, ascender line or descender line. The last menu is the effect. Here you can add some pre-made effect on your text if you wish. I don't use this effect, it's not my cup of tea. Finally, let's learn how to adjust the type on path while making this logo here, I already put a head of centers on our text here to speed up the process. First we need to draw our path. This looks like a square with rounded edges to me. Let's draw that. We want to make sure that we have a stroke and now I'm duplicating these because I will need it again for the other texts. I'm moving the duplicate somewhere else so it's not in our way for the moment. Then we want to select the path, hold P, select the text as well and from type panel tool select "Type on Path." First thing we notice is there is two new handle in our bounding box. These are the start point and end point of the type on path. This one with one line and a circle on top that is very close to the start of our text indicates where our text starts and the second one with two parallel line on it is telling us where our texts can end. I can type from here and go all the way up to this point. We can drag them around and adjust them. I'm grabbing the end point and bringing all of it back closer to where my text is. If I get too close, in a way that there is not enough room for my texts anymore, I will receive the same error that I would get in our area text. That means there is not enough room for my text, so I could make my font size smaller or I could open up the area so the text can come out. Two thing that you need to watch out. First is that when you are dragging the start point or the end point, you should drag them towards the direction of the circles outward. Otherwise, you will change the direction of the text. The second thing is to not mix up the rotation handle of the bounding box with these two. Remember always rotation handle has a circle also beneath it. If I grab this and move it around, I'm actually using the rotation handle of the bounding box to rotate the whole path. Once I'm happy with this one, I'm going to do the same procedure, but this time with the other text. Let's first deselect this and go bring in our path. Once you select both my path and the Rick and Morty go to the alignment and align them to the center from both direction. Now that the position is right, I'm going to select the Rick and Morty and lock it, so it will be out of our way. Then I'm going to select the path and the next text together and hit "Type on Path." Let's adjust this. First thing that we want do is to grab this start handle and drag it in because we obviously want this text to be in the other direction and then from the property panel we can adjust the size until we're happy with everything. First thing we notice here is that even though we selected both of these paths and align them to the alignment panel, they still don't look aligned. This is because they both were run through the path in a way that the path is their baseline. That means the top text is located outside the path, whereas the bottom text is located inside the path. Always when you have this logo with arching takes on top and bottom, you need to change the baseline to the center line. Let's select these two, go to the property panel and change the line to center. You see now the path goes through the center of the top one and the center of the bottom one. Nice and neat. That was the type panel. Now it's the SPD time, so pattern designers be ready to have some massive fun with the repeat tool. I'll see you in the next video.
24. Repeat Tool : Radial: We have three repeat tools, radial repeat, mirror repeat, and grid repeat. In this video, we will learn the radial repeat, please [inaudible] and zoom into the art board that has number 24 in it. Then use the repeat commands. The element that is being repeated is called the instance. With the instance selected, choose radial repeat. Radial repeat creates a concentric repeat by repeating the selected instance around a circle. First thing that we notice is that the bounding box is a dotted line instead of a solid line. This is Illustrator giving you a heads up that this is a live repeat. The four handles around the bounding box, as always, are the scale handles. By default, repeat tools are set to keep the aspect ratio, but if we hold S it re-scale them from the center, we have a bunch of other on-canvas control. First one is instant count. Here outside the bounding box. By default, eight instances will be repeated. But as the arrows of the instance count widgets are suggesting we can drag up or down to change the number of the repeated instances. Our instance was repeated around this circle here, this circle has to control widget on it, the radius and splitter. Radius widget controls two things, the radius of the circle and the position of the original instance on it. This method alone is the PowerPoint of the radial repeat. Super interesting when you learn how to control it, hold P, and drag along the circle to change the position of the original instance, and see how changing the position of the original instance can change the whole dynamic of the repeat. Now hold S and drag in or out to change the radius of the circle. Now, what if we move this without holding the P or S? It does both of the functions at the same time. Next widget is the splitter. This divides the circle into two zones. The repeated instances are only allowed on the solid zone, and all of the instances that are located into the dash zone will be cut out. When you hold P, you can split symmetric, meaning when you move one side of the splitter, the other side moves accordingly. Holding S helps you splitting the zone without cutting out any instances. You're just pushing them into the solid zone. Therefore, you will have the same number of instances at the end. Now let's select these repeat and head to the Property panel. At the bottom of the panel, there are a couple of options. N stands for the number, and it is to change a number of the instances the same way that we would do with the on-canvas tool. Every time that our instances are overlapping each other, this option may change the stacking order of the overlapping objects. Now, some handy tips, with the repeat block selected. If you double-tap, you will get into edit mode. Here you can edit one instance and then the tool will employ the changes on all of them. We can do all sorts of editing. We can add new elements into the block or remove elements just [inaudible] at the moment, the shape tool and pencil tool can go from multiple changes. But unfortunately, the brush tool can only make a single change. Now, while you are on edit mode, you can also switch the direct selection tool and edit the path itself. You can as well select the whole blog and make the instance for a new repeat. Nice. All right, that was the radial repeat. I hope you've enjoyed this tool as much as I do and I'll see you in the next video.
25. Repeat Tool : Mirror: In this video, we'll learn the Mirror Repeat tool. Please pan and zoom in to the artwork that has number 25 on it. With the artwork selected, choose Mirror Repeat. The selected artwork will be copied and flipped across the vertical axis and create a Mirror Repeat, reset or with the artwork selected. Pay attention when you draw a path. If you're still on the Drawing tool, this will not work. You need to switch to the Selection tool, so the application understand something is selected. The four steps are, draw the path, grab the Selection tool, select Mirror Repeat, and submit. Here as well we can double-tap to get into the edit mode. In Mirror Repeat, we can do both drawing or editing in symmetry, Meaning, any changes on the left side will be automatically on the right side as well. Now, let's do a practice and draw this beetle in symmetry from scratch. I'm going to grab my Drawing tool, set it up, and draw a part of my path.Then Selection tool, then Mirror Repeat, grab my Drawing tool again and continue drawing in symmetry. If you submit and you notice you are not done, you can always select your mirror, double-tap to get into the edit mode, grab your Drawing tool, and continue drawing in symmetry in the same repeat block. When we are in the edit mode, same situation that we had in the radial repeat is here as well. Shape tool and a Pencil tool can go for multiple changes in one go, but unfortunately, the brush can only make single changes. Once you release it, it re-check out and you have to get back in again. When you're in the edit mode, you can also switch to the Direct Selection tool and edit the path. When you enter the edit mode, a new axis of the tree on canvas control appears. The middle handle of this axis, we move the Mirror Repeat, which is the right side artwork closer or further from the original art board, which is the one from the left side. The left side is fixed and this will move the right side closer. The top and bottom handle are the same, and what they do is to break the pairing of the two side. With the middle repeat selected if you go to the property panel, we can see that at the bottom of the panel there is an option to insert an angle. This is the same as the top and bottom widget on the axis, but here we can specify a certain value. This was the Mirror Repeat. I see you in the next video.
26. Repeat Tool : Grid: In this video, we will learn the Grid Repeat. Please pan and zoom into the art board that has Number 26 on it. Grid Repeat is the one that is very handy for certain type of surface pattern design. With the instance selected, choose Grid Repeat. Grid Repeat will repeat the selected instance in the horizontal and vertical grids. The bounding box is, again, a dotted line with four handles at the corners to scale it proportionally. We also have a bunch of super cool on-canvas controls. Let's first align our block to the top left of our frame. The smart guides will help you to pick the right position. Now we have two ellipse handles on the right and bottom, which will help you to add or remove more rows or columns. Now, careful, we are not scaling our instance here. We are just resizing our pattern block. As always, we can define a specific size through the Properties panel's Transform section. I'm going to round these numbers to have it nice and clean. We have two handles on top and left, two vertical and horizontal spacing in the grid, which means they will let you to increase or decrease the spacing between the rows or the columns. With our block still selected, let's head to the property panel. As always, you want to go to the bottom of the menu to see what's new. The first two boxes here are what we just talked about, vertical and horizontal spacing. Now you can set a specific number. Let's set this on tenfold both sides. Next comes the goodness, the tile type. Check this out. The default option is always to grid. We can change it, brick by row, brick by column. This is very similar to the pattern tool in the desktop version. Now, what is the difference? When we brick by row, we have all our instance in the same row, but the whole next row altogether will be shifted in a way that they are not in the same column anymore. Brick by column does the opposite. We have all our instances in the same column, but the whole next column would be shifted in a way that they are not in the same row anymore. Next option allows you to flip the row on vertical or horizontal direction. We want it to always keep the left ones on grid so we can compare our changes to our sample. When we flip the row in vertical or in y-axis, that would mean that we keep one row and we flip the next row vertically, the same way that we would do to the alignment panel. This will flip every other row. If we flip the row horizontally, this will do the same, flipping every other row, but this time on the x-axis horizontally. Then we have the exact same scenario, but this time with the columns. We want to flip our columns vertically, or we want to flip our columns horizontally. Now, let's check the editing mode of the Grid Repeat. First, I want to point out that our instance can be one path, multiple path, or a multiple path that has been grouped. Now while you are on edit mode, you can also, as always, switch to the Direct Selection tool and edit the path itself. This was the Grid Repeat. In the next video, we will go to the object panel, including learning how to expand any artwork that we created using the repeat tools. I'll see you in the next video.
27. Object Panel: In this video, we will learn the object panel. We will work on two art boards. First pattern, zoom into the art board that has number 27A on it. Even though this panel is pretty simple, but still can get very confusing when you don't a deep understanding of the functions. I sometimes see that illustrators are mixing these up. To boost the workflow, I will ignore the order here and just go back and forth, until we cover everything in this panel and clarify all the differences. Let's start with make clipping ask. First, I'm going to use this book to demonstrate the concept of clipping masks. Clipping mask is the path that masks or hides away every area of the artwork, except the area within the path like so. This shape acts like a window, and lets us see whatever that is underneath, and it will cover or hide away anything else. We need to draw the shape of the window that is going to be used as the clipping mask like so, and then put it on top of our image, and then turn it into clipping mask and get this. Now, let's demonstrate this on the machine. Three steps of making clipping mask. Step one, grab the vector path that you want to use as clipping mask and place it on top of the image. Step two, select them both. Step three, from the object panel, tap on make clipping Mask. There we go. I want to point out a couple of crucial points. Point number one is to remember to keep the path that you're using this clipping mask on top. This will not do anything if it's located under our image. Point number two is that only vector path can be used as clipping mask, whereas any type of image can be mask. It could be photo, vector, raster, whatever. Point number three is the attribute of the path. Here, we have a path with a greenish color and no stroke. Regardless of its previous attribute, a clipping mask changes to an object with no fill and no stroke, so you don't need to set this up in advance. Point number four is to remember that when we turn a path into a clipping mask, the path will be gone. In case you need the path to use it as background or anything, remember to duplicate it first and keep it aside. Now, if we don't have our image inside the file, we can also import it. We learned how to import the image inside a path when we were learning the import tool. We said we select our path, and then tap on the import, and bring in any images, and then this will automatically mask it inside the path. Then we can scale or adjust the position of the image if needed, and then submit by exiting. Now we can do that adjustment also, if you made a mask with a photo that was not important. All you need to do is to double-tap to get into the mask, and then grab your image and adjust it, and of course then submit by exiting. Regardless of the technique that you use to create your mask, once a mask object is selected a new shortcut will be added to the contextual widget of your selection tool. This is Illustrator telling us that we have a mask, and giving us the option of releasing the mask if you want. Now, let's clarify one of the confusions about the clip group. With one of our clip objects selected, I'm going to layer panel and navigate to the right layer. Notice the image has been grouped and placed into the layer of the path that we used as the clipping mask. This is a specific kind of group called, clip group. You cannot ungroup these, unless you release the mask. If you pay attention into their contextual widget of our selection tool, the clipping mask shortcut was replaced exactly in the same place that our group option was. There is no grouping anymore, this is a clip grouping. Therefore, keeping mask is a type of grouping that has also a mask comment on it. Now, let's check how clipping mask works on multiple paths. Here, we have three individual paths that are not related to each other in any way. Let's select them and try to mask. We notice that it only used the polygon and ignored the other two paths. Why? Because clipping mask does not work with multiple paths. Now, why did it choose the polygon and not the circle or square? If we go to the layer panel, we'll see that the polygon was located on top of the other two. Now, if we undo this, in this I'm bringing the circle on top and mask again, this time it will choose the circle. Now, what if we first group all these three shapes, and then use them as a clipping mask? You'll see that that doesn't work neither. Let's put a pin on these, and check how to use a text as clipping mask. I have my name as a text here, you can change it into your name. Now, this works like a charm. Now, what if I convert my text into outline and then make the mask? Let's try. Convert to outline and hit the mask. There you go, it does not work. It's time to make a list of what path can be used as a clipping mask and what cannot. First list is the three paths that work as a clipping mask as single individual path, a text, or a compound path. Second list is the three types of paths that cannot be used as clipping mask, multiple path, a group of path, and an outline text, because outline text is a group of paths. Now, let's pan and zoom into the next art board that has number 27B on it. [inaudible] of the clipping mask, because once you understand this completely, the rest of the items in the object panels are super easy. First one is group. We already learned how to select multiple paths and group them together to the contextual widget of the selection tool. We can do the same with object panel. This actually was a shortcut to this tool. To make compound path, means to merge a number of individual path into a single path. Now, this is telling us that we have a compound path and gives us the option to release them if you want. Let's undo this and see what happens. When these were individual paths once, we would select them altogether, they would have each their own bounding box, and then we would have a big bounding box of the multiple paths that were selected. But once we turn them into a compound path, then suddenly we only have one bounding box because this is now just one solid path. Now the most asked question by students is, what is the difference between a group of path and a compound path? In group, every object has their own life, their own job, their own car, but a compound path is just one person. If I select the group, I can imply the same change on all of the members of the group. But also if I want to make individual changes, I can double-tap to have the possibility of changing the attribute of each path individually. As long as I'm focused on that individual path, I can again double-tap to edit the path. But since a compound path is just one individual path after double tapping, we will write where we would be directed into the direct selection tool to edit the path. Now, let's apply a gradient once in our group and once in our compound path. You see that in the group, each of the paths get their own gradient annotator, whereas in a compound path there is only one. Now remember when we were learning the clipping mask, we said that it doesn't work with a group but it works with the component path. Now, let's give it a try. It doesn't work with a group, whereas it works nice and neat with a compound path. Next, we learn how to convert any path to guide. Convert to guide converts the stroke of any selected path into a guide. The feel of the selected object is irrelevant and will be ignored. If the selected object doesn't have any stroke rate, the command will give a stroke rate of one point to the object, and then we'll convert that stroke into the guide. If the selected object has a stroke rate that is higher than one point, it will convert the center of the stroke into a guide. The shapes that have been converted to guide are no longer recyclable, so you want to make sure to duplicate them in case you need the original path. If you convert path to the guide and it disappeared all at once, that means your guide is off. You need to go to the precision panel and make sure that guides are on. Next is create stroke outline. This is very cool. It converts the stroke part of any path into a feel which can have its own stroke, therefore, it is not activated when the selected object doesn't have a stroke. Expand is only available for the repeat option. It will convert this live repeat into a group of path. Therefore, the repeat properties will be removed and it can no longer be edited as a live repeat. When we expand a radial repeat, all the instances will be grouped together. But when we expand a mirror repeat or a grid repeat, we will have a group of path, but also we have the lock frame as a clipping mask. This is because the frame of grid group block actually acts like a life clipping mask that is hiding away the parts of the instances in the rows or columns. Now therefore, in order to edit one of the path, we should first release the clipping mask, so all the other paths that were partially hidden away can be shown. Now, if we manage to make this frame in a way that nothing is masked away halfway through, then after expanding, there would be no clipping mask. That was the object panel. In the next video, we will learn our last tool. We will also wrap up our interactive file with having a quick comparison between our different drawing tool. I'll see you in the next video.
28. Drawing Tool Comparison - Eraser Tool: In this video, we're going to compare different drawing tools. Then we will learn our last tool, which is the eraser tool. Let's have a review. The pen tool creates path by defining the anchor points. The pencil tool create path by defining the stroke. The blob brush tool creates path by defining the fill. Let's cross the fill, grab a nice red color for the stroke and draw this Christmas candy cane with each of these tools. With pen tool, I'm dragging the smooth anchor points and edit them as I go. Then I adjust the width. From the property panel, I'm choosing the round cap. With pencil tool, I am dragging along the path. The width and the cap have already adjusted based on my previous modification. Then I grab the brush tool, adjust the brush size, and check the tapper and the pressure dynamic and draw. Now, if I select the path that was drawn with the pen tool or pencil tool, we have no fill with the stroke color, whereas when I select the one that I just draw with the blob brush tool, we have no stroke but the fill color. With that said, the pen tool and pencil tool are interchangeable. They both draw based on the stroke of the path. Whereas with the blob brush tool, we draw based on the fill of the path. Completely different strategy. Therefore, picking between the pen or pencil is quite a matter of taste, but picking between either of these two or brush is a technical choice. It will impact your drawing flow. As you know, I'm not a big fan of the pen tool. I always draw with a combination of the pencil tool, the blob brush tool, or the shape tool. Depends on my subject, I pick which tool to use. For example, I would prefer to draw this basic shapy stuff with the shape tool and then adjust from that point. It's just more convenient. Whereas for the path that has specific forums, I would prefer to start with the pencil tool and adjust from there, especially when I have sharp corners or big fill area like in this pomegranate. I would not go with the brush tool. This is too much to fill in, but for small free-form doodling stuff or organic branchy leaves that can benefit from the pressure dynamic, I would definitely go with the brush tool. Now let's learn our very last tool, the eraser tool. Eraser tool has the exact same dynamic as the brush, but instead of adding fill, it removes fill and the setting are similar. We even have the pressure dynamic. You can drag over an area that you want to erase from it. When your shape has a fill, eraser will cut it into separate fills and when your shape has a stroke, eraser will cut it into separate stroke. Now let's do a practice. Duplicate this candy cane, and then change the color to an off-white, like almost white. Now if you check the red one is a fill beneath it. With the top layer selected, I'm going to grab the eraser tool and same as the brush tool, first thing, set the size and then a stroke to delete out. All right. That was the eraser tool and this was the last video of the learning part. I cannot wait to finally create some artwork together during the next video, where the fun starts.
29. Class Project : Card.01: Well done everyone, you've just learned a whole new software. Now comes the fun part, the final project. We are totally ready to use all those tools and techniques that we learned, and creative art books. We will do the class project together. We're going to create three different greeting cards. I will walk you through every step and setting that I make so you can follow along, draw with me and finish your class project. The team color and style is totally up to you. You can do exactly same thing that I do or change as you wish. You can pick which card suits you and you level better. But I recommend you to do all the three cards in the same order and the same time with me now. Remember, there's going to be certificate for the student who create all three cards. So let's get into it. Welcome to the part 3 of the class. Please open the student file part 3 in the class project. Let's start with the color palette. We are going to work with a limited color palette to stay focused on the techniques and not get distracted with the star. Here, I have a neutral gray adore, maybe, and medium mustard, and a light blush. You can use the same palette or change them right away if you wish. Here is an example of an alternative palette with the same dynamic of a light, medium, dark, and neutral color, but in different hues. First thing off, we need to add all four colors to our swatches and make sure they're global, so later on we can easily recolor the whole piece. Remember, the gray rectangle on the bottom right corner of the swatches indicate that that's a global swatch. I also put some of the materials here to speed up your process if you need them. Let's get a starter and create our first class project. Hover on the art board that is for cart number 1, and let's make sure we are in the right layer. I'm going to the cart number 1 layer and inside of that, going to the layer that is called Worm. Now let's draw. I'm grabbing the blob brush tool, basic round, and I'm setting the color on navy, setting the size on 90, smoothness on 100, no tapper end, no pressure dynamic. Now, let's draw the warm. Going to the selection tool, then bringing the opacity down, so we can see the guideline that is under it, the we select it. Grab the Blob brush tool again, set the color on mustard, set the size on 10, and the smoothing on 50. Let's draw the features, feel free to get creative and draw the features differently. Just don't forget to give it a face and perhaps a cool hat. Once done, we want to select the warm and bring the opacity all the way up again. Next, I'm bringing the text from the resource art book here to speed up the process. You could type it from the scratch, the font is Anabella, and the size is 60. Let's draw a path and around this type on it. Grab the pen tool, make sure you are on stroke, then from left to right, drop two anchor points, and edit them into a nice curve that matches our worm. Mix with the selection tool,. hold p to multi-select, and select both texts and the path. Then head to the type panel and select Type on path. Now we want to draw this blobby backdrop. First, I had to derive the layer to set organized, and then I'm picking the Ellipse tool. Set it to stroke, so we can see our guide that is boundary, and draw a circle. I'm holding S to draw from the center. Grab the direct selection tool, adjust the points and handles and edit these into a nice block. Once you are happy with the form, we want to swap to fill color and set it to blush pink. Then to add a bit of dimension and character, I'm going to add some texture to this blob, but since I want to keep the pink blush as well, I need to first duplicate the pass. With the second copy still selected, tap on Import tool and bring in the image that you want to use as texture and import it directly inside the path. Adjust the size and position if needed, and then go to property panels, and set the color mode on Multiply, then bring the opacity down to 70 percent. I want to draw the main background. As always, first go to the right layer, and then grab the Rectangle Tool, hold p to draw a perfect square, and use the smart guides to align it in the center. You could also use the alignment panel to do that. We want these to be set on the navy free color. I want my background to have a salvage edge like the edges of a stamp. To do that, we're going to make a dotted line of square and use it as a cutter. Let's duplicate the background, swap the fill and the stroke, change the color to something different, so we can see the overlapping areas. We go to the property panel and adjust the stroke. Set this stroke width on 35 point and increase the gaps to, let's say 60. As we mentioned in the class, to turn a dashed line into a dotted line, we need to set the cap on round and the dash on zero. To use this as a cutter, first we should go to the Object panel and create the outline stroke from it. Then select both the dotted line, and the navy background, and from the Combined Shape panel, hit minus front. That's how you get this salvage edge stampy background. Then we convert this to path to kill the effect. As the last step go to Layer panel, and from the drawing guide layer, turn off the guides of discord. Make sure you're not turning all the guides, but just the guides for card number 1. Perfect. We are done with the first card. Great work everyone, you officially pass the beginner level of this course. I hope you had fun. In the next video, we will level up our skills and create a happy birthday card together. I'll see you in the next video.
30. Class Project : Card.02: In this video, we will create our second class project. Whole on the artboard that is for card number 2. Let's make sure we are in the right layer. I'm going to the card number 2 layer and inside that, the hand lettering layer. Let's get started. I'm grabbing a pencil tool and setting the smoothing on five. I draw the first line to activate the property panel. Now from here, set the stroke on three, set the coupon round, and set the stroke color on master. We want the fill to be crossed. Great. Now let's draw the letters. Remember, tap to create straight lines and drag for curves. Every time you want to start a new letter with tapping first submit the last one and then tap, tap, tap, tap, tap for straight line, and drag for curve. Tap for straight line, and drag for curve. Now to speed up the process and give you some tips for lazy days, I duplicate the letters that are needed twice. Let's draw the rest and don't forget to hold s and drag to create the straight lines if you want to submit after each letter. Pencil tool is pure joy. Once you get used to it, it is not easy to get your hands off this tool. If you need to adjust grab the Direct Selection Tool and mess around with it until it is perfect. Nice and neat. Once we're done with our so to say, hand-lettering, let's select it all duplicate it and change the color to navy. Bring the stroke up to 20 and group them and send them back behind the yellow one. Nice and neat. Now we need a guide, so I'm grabbing the pencil tool holding p and drawing a vertical axis. Align it to the center, going to the object panel and turn it to a guide. Before we start drawing our ornaments, let's go to the right layer and stay organized. With the pencil tool I draw the first stroke to activate the property panel so I can set it up. We want the stroke to be on 20 round cap, no fill and stroke color on navy. Perfect. Now let's have some fun with the middle repeat. With the selection tool be careful, we cannot stay on the pencil tool. With the selection tool, select the first stroke, go to the repeat panel and select mirror repeat. Then adjust the center in a way that is aligned to our guide and start drawing in symmetry. Try to just focus on the left part and ignore possible misplacement on the right side. We will adjust them afterwards. At this point, you can use your creativity and instead of straight lines, draw some more complex shape, leaves, flowers, etc. Once we are happy with the composition, we go to the object panel and hit Expand. Then Ungroup, release the clipping mask and delete the hidden mask frame. Clipping masks are always on top of everything. When you have too much going on, the easiest way to find them is go to your layer panel and delete them from there. Now we want to go to the elements on the right side and adjust them. You can remove some elements that are overlapping with the hand lettering or add some new ones. Adjust as needed. Perhaps you can also add some nice details. Perfect. Now that I'm happy with the composition, I want to draw the background. As always, first, go into the right layer. For background, I'm going to draw a simple square. Grabbing the rectangle tool and holding p to draw a perfect square. Then I'm going to set the color to blush. Nope, too pinky. Let's go to the property panel and bring the opacity down to 80 percent to make this situation a bit milder. Now the last step go to the layer panel and from the drawing guide layer, turn off the guides of these card. Looking good. We are done with the second project. Great job, everyone. You officially pass the intermediate level of this course. We have one more step to become a vector master. In the next video, we will learn our skills and create the last card together. I see you in the next video.
31. Class Project : Card.03: In this video, we will create our last class project. Hover on the artboard that is for card number 3, and let's make sure we are in the right layer. I'm going to card number 3 layer, and inside that, the teacup layer. You need to draw the outside part, the handle, the edge, the inside part, and eventually some tea to drink. Let's get started. To draw the outside part with pencil tool, I'm setting the smoothing on five, the stroke coloring maybe and drag to draw the cup. Then swap the fill and stroke and make the necessary adjustments. Perhaps make the corners rounded and touch up the curves. Then I would grab the pencil tool again and draw the handle. Adjust the stroke width, and then from the object panel create outline stroke. Now let's select them both, and from the combined shape panel, grab the shape builder tool and merge them by dragging across them. Nice. To draw the inside part, again with the pencil tool, first we change the color to light gray, and then we drag and draw the top part, then make a pause to make a corner point and drag to the opposite direction to draw the second curve. Now, let's adjust the position and the size and make sure it aligns with the cup. Perhaps even make the corners a bit rounded. Nice. To draw the tea, we duplicate this part and then change the color to mustard. Then we scale it down and align it with the bottom edge of this inside part. Now to draw the edge, we duplicate this gray inside part. Then we swap the fill and stroke and change the color to navy. We bring the stroke width up to six, and bring it all the way up on top of everything. Create the outline stroke from this and make sure everything is aligned. That was our teacup. Next we want to draw the steam, so let's go to the right layer and stay organized. I'm going to grab the pencil tool and draw the steam. Then I'm swapping the stroke to the fill color and set it on blush, and then bring the opacity down to 50 percent. Okay, nice. To write the text, I'm grabbing the blob brush tool and setting the fill color on navy, and setting the size on four. I have no tapper in and no pressure dynamic. I'm going to write always tea time but you can write what you like. Next, we want to draw the yellow flower. Let's go to the right layer first and stay organized. Again, the pencil tool and draw a little flower. As you know, I'm a pencil tool fanatics, but you can totally draw this with blob brush tool or pen tool. Pick a tool that is most convenient for you. I'm changing the petals color to mustard and deselect. Then I set the color to blush, grab the ellipse tool and draw a circle for the middle part. Then deselect again, grab the blob brush tool, then set the color to navy, and draw some dots as the details. Then I'm going to group these details to stay organized. Now let's select the whole flower and duplicate it. Then change the petal color to blush, and change the middle part to mustard. Then to stay organized, we select this pink flower and drag it to the right layer. Now we want to move this yellow flower on top of the steam near the text. Perhaps make it a bit smaller. We want to use the pink flower as an instant of a grid pattern for our cup. Let's place this pink flower on top of the teacup and adjust the size. Then with the instant selected, go to the repeat tool and select, Grid Repeat. Now I want to grab the ellipse handle and adjust the number of rows or columns that I want to have. Perhaps you use the scale handle to adjust the size as well. Next, I'm going to the property panel and set the repeat to Brick by Row, and also flip the both row and the column horizontally. To give it a bit of a variety, you can choose different settings. Once we're happy with our grid, we go to the object panel and hit Expand. Then release the clipping mask to reveal all the hidden elements, and delete the hidden mask frame and then ungroup the elements. Now it's time to do some adjustments. First thing I want to do is to remove all the excess flowers that we don't need. I'm holding P to multi-select. Now, I want to make it look as it is following the curve of the cup. To get that look, we need to downsize the flowers that are around the edges. Absolutely cute. Next we want to draw the background. Let's first go to their right layer, and then with the pencil tool, draw a jagged rectangularous background. Now let's swap the stroke color to fill and change the color to gray. I'm also going to the property panel and bringing the opacity halfway to 50 percent. Looking good. Now turn the drawing guide of this card off and enjoy the tea. Great work everyone. We just finished our last class project and you officially passed the advanced level of this course. Now, let's save our project. I'm going to tap on Publish and from the menu export as JPEG. You can save it in any format that you want. Please, right away upload them on your Skillshare profile. I'm very excited to see your projects. If you're not sure how to upload your class project on Skillshare, I have made this step-by-step guide for you. The link is in your class resource page. Now that you are a vector master, let's hit to the next video and learn how to get your vector master's certificate. I'll see you in the next video.
32. Certificate: Grade book everyone. Now that you uploaded your class project on Skillshare to celebrate your achievement on sharpening your design skills, I'm certifying the students who finished all three greeting cards. Even those submitting one greeting card was your class assignment, but those of you who created all three greeting cards will receive a vector master certificate from me, with your name on it. This will be a printable diploma to reward your hard work. To receive your vector master certificate, you need to send an email to skillshare@sahar.design with these two information, a link to a project on Skillshare, and the name that you wish to go on your certificate in case you don't want to use your Skillshare profile name. Next, we have a very short bonus video to learn how to swap between the iPad and the desktop version of Adobe Illustrator and send files back and forth between them. I'll see you in the next video.
33. Bonus Video - Swap to Desktop: In this bonus video, we will learn how to swap between the iPad and the desktop version of Adobe Illustrator and work on the same file. When you save a document on the Creative Cloud, we have access to the same file from our iPad and from our desktop. Watch how this does not mean simultaneously working across multiple devices. But rather to let you finish your work on one device, switch to the next device, and continue working on the same file. Let's go to our class project file, tap on the three dots to open the menu and from the menu I'm choosing Duplicate. Now I'm renaming the second file to lets' say, "Re-color." Now I will switch to the desktop version and continue working on this very file over there. See you on the other side. I'm using a PC, but it's the same story in the Mac as well. On the desktop, I launched Adobe Illustrator and I am logged in with the same Adobe ID. Now let's go to our Cloud document tab and navigate to the file that we named it, "Re-color." Click on it to open it here, and there you go, we have it here. Before we start, please have in mind that we are not going to learn anything about Illustrator on the desktop, that would be totally out of the topic for this course. This short video is just to make sure that the beginner students know how to access a file from the both devices. I'm making some changes here just for the sake of altering the file, so when we go back to the iPad, we can make sure that the file has been modified in the desktop. First thing off we want to go to the Window menu and make sure that the control bar is checked. Then drag a rectangle to select everything or use the keyboard shortcut of Control A on PC or Command A on Mac. With everything selected, click on this wheel here, it's got the Re-color Artwork tool and open the Advanced option. I'm simply going to change everything that has this blush pink color to some very light blue color. That's it, let's hit "Okay." Now let's go to the menu file and hit "Save." Now let's close our desktop app and go back to the iPad. I see you on the other side. We are on the iPad again, we navigate to our file, and there we go. Here is our file with all the changes that we made on the desktop. Why did I ask you to close your desktop app first? It's because Adobe Illustrator on the iPad is set on autosave, which means it is going to save your file quite often. If you have the file open on both application, the iPad version will create multiple versions of the file and it can turn to a total madness of duplication. Here is my tip, don't have the file open on both devices at the same time. Work on one side, exit, and continue on the other device. I hope you have fun swapping between the iPad and the desktop. Don't miss the next video, which is the last video of this course. There is going to be some good news and some final thoughts to wrap up the course. I see you in the last video.
34. Final Thoughts: Congratulations on finishing this class and thank you so much for your time and engagement here. I hope you had fun in this class, could help you to sharpen your skills and learn new ones. Please have in mind that this is an open course. Which means as soon as Adobe add a new tool or feature to the application, I will make a new video and add it to this class. If you wish to get notified about upcoming videos, make sure to follow me here on Skillshare or stay in touch with me through social media or my email. If you end up sharing your project on Instagram, you can use hashtag SaharSkillshare or tag me at SaharHeumesser. I can follow your work and keep up with what you are doing beyond this class. I love seeing my students work in the [inaudible]. You could also use hashtag AioniPad or IllustratoroniPad to share your artwork with the other members of the community. I have a good news for you. I'm putting up my next class topic on vote so you can participate and tell me what would you want me to teach next. You can vote by going to my profile into the discussion part. There is a discussion called Vote for my Next Class topic. There's also a link to this discussion into your student resource page. I can't wait to see how your greeting cards tend out. Please do post your project on the Skillshare. I'll go through all the projects and give you my feedback. I will also be available to answer any questions that you may have along the way. Thank you so much for joining this class, and I see you in the next one.
Sahar Heumesser, ⭐ Graphic Designer ⭐
