Adobe Illustrator : Advanced Vector Illustration | Widhi Muttaqien | Skillshare

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Adobe Illustrator : Advanced Vector Illustration

teacher avatar Widhi Muttaqien, CG expert & entrepreneur

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Stroke basic properties


    • 3.

      Managing stroke width


    • 4.

      Art brush


    • 5.

      Pattern brush


    • 6.

      Other brushes


    • 7.

      Expanding appearance


    • 8.

      Project : Tree logo


    • 9.

      Project : Decorative ornaments


    • 10.

      Line artwork strategy


    • 11.

      Line artwork project example


    • 12.

      Hierarchy of appearance


    • 13.

      Blending modes


    • 14.

      Compound shape


    • 15.



    • 16.

      Project : Flexible label


    • 17.

      Project : Snake and ladder game board


    • 18.

      Shading styles


    • 19.

      Project : Flat map icon


    • 20.

      Project : Image traced artwork


    • 21.

      Project : Polygonal vector artwork


    • 22.



    • 23.

      Project : Autodesk-like logo


    • 24.

      Mesh tool


    • 25.

      Shading with blur effect


    • 26.

      Project : Choco candy


    • 27.

      The illustration workflow


    • 28.

      Sketching phase


    • 29.

      Tracing and Layering phase


    • 30.

      Coloring phase


    • 31.

      Local shading phase


    • 32.

      Global shading phase


    • 33.

      Highlight phase


    • 34.

      Textures and details phase


    • 35.

      Color-correction phase


    • 36.

      Line-artwork phase


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About This Class

Learn the advance skills you need to create any type of vector illustrations using Adobe Illustrator CC. Learn the core concepts and the secret techniques along with total of 14 hands-on projects covering almost every type of vector illustrations you can think of.

This course is divided into two class: Fundamental and Advance.

Never use Adobe Illustrator before? No worries! You can start from the previous class "Adobe Illustrator : Vector Illustration fundamental" which is designed for complete beginners. If you already take the first course or if you are a seasoned adobe Illustrator user then you should be ready to take this course.

You might be asking, why vector art? Vector art or vector illustration is the foundation of almost every applied graphic design. The skills you learn from this course will be super useful when you need to: create icons, design logos, create book or album covers, children book illustrations, comics, game artworks, mobile app UI (user interface), 2D puppet animation, etc.

Meet Your Teacher

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Widhi Muttaqien

CG expert & entrepreneur


Widhi is an entrepreneur in creative industry. He has master degree in information technology and business management from Bina Nusantara University. Beside doing business he is also a lecturer in computer graphic related disciplines in President University Indonesia and Lasalle College International.

In his more than 20 years of experience in the CG industry he finished hundreds of projects with clients from all over the globe. He has been producing thousands of CG images and animations. His deep passion with computer graphic leads him to dive into 3D visualization, animation, game development, video and motion graphic.

See full profile

Level: Intermediate

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1. Introduction: assalum aleikum. My name is William Attack in I Am an Entrepreneur and also on Akademik lecturer in computer graphics Disciplines. I've been teaching computer graphics since the year 2000 and also found so far are creative based companies. This course will teach you everything you need to know on how to create different types off a vector. Artworks step by step from the simplest one to the most advanced and complex a vector illustration. There are actually two courses in your score. Serious. The course you are watching now is the second course, which is more suitable for intermediate to advance level users. If you are very new to Adobe Illustrator, then I suggest that you take this course first, which covers the basics. There are a lot of things that you will learn from this course. We will start by discussing the stroke features inside Adobe Illustrator from the basic stroke properties, then learn how to manage variable with stroke, using different types off brushes such as the art brush and the pattern brush. We will do several projects in this section, such as creating a tree of vector up work like this and then create regret if element like this, then we will cover the core concept off appearance hierarchy in Adobe Illustrator. We also going to learn how to use the blending modes and how to apply effects to our vector graphics. In the section, we will do a level design project and create a snake and ladder game board design from scratch. After that, we will start discussing different types off shading styles and how to create them. In Adobe Illustrator One by one, we will learn how to effectively create a Fred style illustration, polygonal style artwork, press England artwork from photos and then move on to the shedding styles, using the Grady in technique, Mestel technique and various effects such as the ocean blur effect. After all that, we will work on the final project roughly scores, which is this vector illustration off Akari for plan. I will explain the workflow and the core concepts from A to Z, then by following the workflow, and also by making use off all the things that we've learned previously. We will create this illustration step by step and they are finished with the workflow explained. In this course, you can create the vector illustration like this in just 4 to 5 hours. I believe this course will be beneficial to any graphic artists. Is if you need the skill to create a vector illustration effectively and efficiently, then this course is for you. So doing now. Take your vector skill to the next level half unlearning wa Sallam alaykum. 2. Stroke basic properties: the first stroke property is is color. We have discussed this before, so just for reminder only to change the color off a stroke, simply select the stroke and you can double click in here and pick any color you like. Okay, next is the with to change the width property off a stroke. Make sure to select a stroke if it is not selected before and go up here and change the value. We can use pretty fine values from the pull down or type in your own value. Sometimes we want to see which value is the best by increasing or decreasing value. While seeing how it affect the stroke, we can notice in several ways force. You can click in here and just use your mouth scroll wheel up and down to find the best value. Another method is to use the aero keyboard. The process is almost the same. You need to click in the input field in here first, just like before now. Instead, you seen the scroll well. We use Thea Pero and down arrow in our keyboard. Personally, I prefer the mouse wheel method because you don't need to take your hand from the mouse. And also, here's the cool part. You actually don't need to click on a value input field. Simply hover your mouse over this area and your scroll. Now, this works with any other fell you input field in Adobe Illustrator, Not this truck with. So that is something to keep in mind. Okay, Now, if we want the value changing faster or slower, we can do that by pressing control to go slower or more precise, and we can brush if toe make it go faster. So again, while the import field is selected, press and hold control while pressing the aero buttoned up and down or scrolling the mouse wheel to make the changes go smaller. On the other hand, holding Schiff will make it change bigger or faster if you need more control on how the strokes will be displayed or rendered, there is a special panel called Stroke. If it is not available yet in your currently out, you can go to window stroke. I have mine docked in here all the time. If somehow you don't see all of these parameters like these, the options may have turned off or hidden. Just click in here and make sure the options is set to show. Okay, In this panel we can set with dislike you have up here, we can set the end cap whether they are both kept rounded or projected. We can change how the corners will be treated lining the strong Weatherby inside centre or outside. Now for this one toe work unit, actually a closed path. So let me draw a rectangle for us. No, this this option now become available so we can change these and see how it affect the objects stroke. The best light option in here if turn on will create based line on the court and selected stroke instead of continuous line. This option will make illustrator consider the corner area. When applying best lines, you can see the difference when I apply this to rectangle. This is with and this is without considering the corner. As you can see the corner sometime, empty and sometimes field. Mostly you would want this option to turn on, which is the option at the right side. The small input boxers better mind whether we want tohave pattern in our dashed or not. If we only put value in the first box in here, the solid or the dash areas and hollow areas. Other gap areas will have the same length, which is in this case, have pick sauce. If I change these 2 20 picks sauce, we can see how it affects the dish area and the Gap area uniformly. What if we want the Gap Area to be smaller than 20 peak sauce? Let's say to pick sauce. Well, we can input that in here to pick sauce. Notice. We have the solid area, 20 pick sauce and the whole area. Two big sauce. Okay, so what at these boxes are for them? These boxes are used if you want to have a repeating pattern off Dash and gap along your path and illustrator provide up until three combination off dash and gap that we can use. Let's say I put then in here and one in here. Notice. In here we have this pattern 20 dash to Gap, Standish and one gap, and it's looping along this path. Honestly, I never had any need to use more than just to box in here, which are the first dash and gap. But the options is there. If you ever need them? Next are the aero options these options will get. Remind whether your path will have arrow in the beginning and or at the end off it. You can specify also the style off the arrowhead. The scale option will resize the arrow. If this is not locked, you can specify the size off the with and the length off the arrowhead independently that Locke these and hover in here and scroll down or up. As you can see the size off the Aero heading is changing this option letter. Mind whether to put the aero head tip at the end, off the path or projected from the pets. And the less option don't Here in a stroke panel handles the with profile will cover this more in depth in the next video. Inshallah. 3. Managing stroke width: If we have a stroke created by the pen tool like this, for example, we can actually control the with off the stroke known uniformly meaning we can have, for example, six stroke in center and thin stroke at the end of it, it's all up to you to decide to show this effect. We need taker stroke to begin with. So let me just this with toe 20 pixels for now. And click this drop down lease, which is called variable with profile and just this one. As you can see the end part off, the path become thinner in the middle area is thicker. If I just this with profile, the same concept applies the thickness off the path will follow how the profile looks now. You might have different with profile presets than mine, because I have changed the precept to suit my workflow, and we'll discuss that later in this video. Until now, you might be thinking, OK, using appreciate is great, but what if I want to control the with manually where you can do that? And the two for that is called the With Tour, which is the tool in here? W. For the shortcut. Well, the stool is active. You can hover over a path and click drag out to make you think and drag in tow. Make it smaller Every time you do that Adobe illustrator will create with control node on that path. Now, this control node is free from the anchor points meaning that it has its own structure Separated from the anchor point structure to move around with control node, we can click and drag this along the path. Sometimes we want to create a known symmetrical with. For example, I want this side to be thicker than decide. Can we do that? Yes. We can simply hold out and direct the handle on the side. You want to change notice? It only changed these side and not the side. Okay. Now what if we want more control over the wit? If we double click on one off the with control node, we will see this with a point edit window in here, we can control H sites with you seem precise value. We can click in here to make each side symmetrical. And we can also forget the value off each side and you specify the total with you seeing this input field? Okay, Now this check box. Determine whether the changes on the corn with point will offer its neighboring with points or not, and the less one we can delete the weed control note. By pressing this late pattern, let's say you have created with profile that you like anyone to use it again and again throughout your project. The best way to do this is to say, if you're caught on with profile Inuit profile, preset is very simple. Make sure the path is selected illustrator. Automatically detect and display the corn wheat profile up here, then just click. Add to profile. Batten down here, name your profile and hit the okay button, and that's it. You can now easily reuse your profile on other paths. Something you need to be aware, though. When using the wheat profile, you need to set the brush off the path to basic, which is this one, not the other calligraphic or art brush type or pattern brush Notice. If we select this calligraphic brush, for example, do we profile will not work. So again, make sure you set the brush toe basic, which actually the word basic mean It doesn't use any fancy brush effect. I know we haven't discussed brushes, but we will in the next video. Inshallah. 4. Art brush: there are different types off brushes in Adobe Illustrator. But before we discuss those different type off brushes that's discussed force what is actually brush in Adobe Illustrator. Basically, brushes are methods or ways to render stroke. If we so like simple Path like this with basic feature, then select the brush panel and just this one, for example, as we can see the path or the stroke. Toby exactly changed its appearance. If you press control, why Togo? To outline mode? The path is still just a line path like we have before. Let's go back to pre few mode by pressing control. Why again? So if we go to direct selection tool and choose one off these anchor points and added their position or their handles, we can still do that. The brush effect will follow our readjusted automatically as we make changes. Okay, now, if we select this new brush in here, we can see there are a lot off brush types in adobe Illustrator, calligraphic brush, scatter, art, bristle and pattern brush. For now, we're going to discuss the art brush. What art brush? Lewis basically stretched a vector artwork along a path, for example, that's click on this brushes panel option and click open brush memory. Then let's speak this artistic paintbrush. A new panel will open if we just this one, for example, and then use the brush toe to draw a path. Notice how the ship in here stretch along the path we drew. Also, you might notice that whenever I use a brush from any library, that brush will automatically loaded to the brushes panel in here to create a new art brushes. Very simple. Create an artwork and just drag it to the brushes panel. Then choose at brush to show you how it is done. Let's create a snake with all the things we've learned before and make it an art brush. First. Let's make sure the field color is set to green, and the stroke color is said to none. We're going to create a green snake. You can just whatever calorie ways, turn on the great so we can see horizontal lines perfectly. Goto few and show great. Or use the shortcut. If you wish why we use great, because when creating art brush, we really need to make sure that the artwork is not tilted. They should follow either for vertical or horizontal line. Okay, next year's the mental. Then click in here. Click breaking here while pressing Schiff so the handles will be straight horizontally. Click in here. Click drag in here. We're going to make a happy snake so pressed out and moved to handle around here and just create the rest. We've discussed this technique before, so I won't go into too much details about this. Next we add the tongue, so make sure the field color is set to read and just used a pencil to create it. Okay, we want to create a circle patterns on this next body. The easiest way to do this is by using the draw inside mode first, like the snakes body, click this button or shift DI for short cut. We are in. Grow inside mode now and select the object for us and just darker green color and start growing. Sir. Cause as we discuss in previous video, we can start creating clipping mosque using this technique, meaning that the circles become clipped inside this next body shape. Okay, After we are finished, go out from the dro inside mode by clicking this button or hit Chef de again next to create the art brush simply so like both off them, open the brush panel and then dragged the shapes to the brushes panel. Jews at brush. Now we see the option for the up a brush up here you can name your new art brush. I'm going to call it Green Snake. Below it, we have option to control the with dynamically. When we drove the stroke by default, it is said to fix, meaning the with off the brush. We'll stay proportionally with the original artwork. Notice. Everyday Seto fixed. You can control only one value in here. These two values control the minimum and a maximum with off the brush for this maximum value to work. We need tohave other than fixed type, for example, pressure we can now that remind the maximum it value. The pressure in here means that it will create ticker line when we press harder on our pressure Sensitive defies, such as Wycombe. So yes, you need a pen tablet to use option below these two options. The with point profile option in here will be automatically enabled when you add with profile to your brush to show you the difference. Change these two pressure minimum set to the lowest, and let me just hit the okay button in here first. We know have a snake like brush. Okay. To simulate pressure, you need to use the brush tool and make sure the snake brush. It's like the notice if I draw a very long path with Welcome tablet with varying degree off pressure. The with off the brush eyes follows the pen pressure to edit existing brush parameters. We can double click on the brush. Appreciate in here, and Israel opens up the panel that we see before when creating the brush presets. The first time this area controls how the artwork stretch across the path scale proportionately. We'll make the ship precise, uniformly to maintain its ratio. If we click, the OK Button Illustrator will ask whether we want to apply the changes we made to the existing strokes or leave them as they are. Let's just apply to strokes to see the difference. Notice Shorter path will produce smaller snake and longer path will produce bigger snake stretch. The fit stroke length. It's like the ones we have before, so that's jumped on this stretch between guide option, which is very cool. In my opinion, this option lets you choose which area can be stretched and which area is not stretchable notice. We are provided with this guide. Everything between these guides will be stretch and everything outside, which is to the left and to the right will not be stretch. In this case, we don't want the head to stretch some of the right guide, so it's on the neck area and just move the left guide all the way to the laugh. Click OK and apply two strokes. Now we have better looking snakes as the heads are not stretch, let's open the parameters again. The direction in here Letterman, where the strokes goes in relation with our artwork, I guess it's very obvious, so I will just skip ahead to these parameters in here called colorization. The parameters down here are also very obvious. We can just try them out and apply two strokes to see the thank Okay, the colorization control how the brushstroke display its color in relation with the Koran. Active stroke color. If this is said to none, the brush stroke will use the original artwork color If this is said to thin the color off , the current stroke color will be placed on top off the original color. I think this is like screen blending mode, which is basically make the color brighter. If you click this button down here, you can get the picture off how the color will behave. These are the original colors. If we have red color active as the stroke color, this will be the final color. When thin option is on. This is the color off the thin and shared option. I think it uses multiply. Blending Moto makes the color, and the less one is the hue shift option. Now you might be wondering what is thes key color for the key color works in conjunction with a huge shift in here. If we select the red color as the key color, let's apply these to all strokes, then select this one and change the stroke color to blue. For example, notice the tongue, which is the red color, will become blue and the rest off the color will shift accordingly. Okay, sometime we want to make changes only to certain stroke or path. Not all of the path for example, the snakehead is facing up. We only won this bet, toe change and address off the snakes. To do that first, we need to select it. First click in here. This button is called Option for Selected Object, and we have something like this. Click the preview button first so we can see what will happen and then click this flip across check box in here. As we can see, the head up direction is changing on the Koran or Selected path only to remove the brush from a path, select the path first and click this button called Remove Brush stroke. Another way to do this is just by clicking the basic brush, which is again, as I mentioned before, basic brush it just another name for no brush effect at all that conclude our discussion about the art brush. 5. Pattern brush: the next brush we're going to discuss is the pattern brush. The basic concept is almost the same with the art brush. The big difference is that you can specify different artwork for different element off the path to show you what I mean. I haven't l ship path in here with black stroke color and no feel color in a brush panel. I'm going to click on this pattern brush. When I do that, the middle area or the side area will use the artwork we have in here, and this corner type will use this one. Managing the pattern brush is identical to how we may initially our brush. We can remove the brush by clicking in this bottom. This button we let us change the Koran spat, brush setting and double clicking on the brush will open the global for emitters off the brush. So basically it has the same concept to create a Pathan brush. We need to work inside bounding boxes that's create a bounding box like these. Use no color for the field and black color for the stroke color. This throw color is temporarily later. We can set no color for the stroke off the boning box if we don't need it. Okay, let's create an artwork for this. I already have one. It's a simple shapes made off suffer or tilted squares. And I use life paying toe color and clean up all of these. Okay, Now you need to select both off them and group it copies, group into new groups and rotate them 90 degrees. Like so snap this to this anchor, this one. Also, if you are confused at this step place, check again. Our video lesson on snapping. I assume you already familiar with this method, so I don't need to repeat myself from this point forward. Create the bounding box for the corner and then create the shapes you can create your own or make it similar to mine. Make sure they are seamlessly flowing from the style set to the style set. I used the line toe to create this line. Okay, now life pain color it with the life Spain back, it'll remove the lines by selecting no color on the stroke. Our box Now we need to create another corner which is this type of corner to the dead copied the shape toe here rotated 180 degrees. Press control. Why? So we can see the actual lines Better snap this into place. Control. Why again? To go back to pre few mode. The ship already looked nice, but the color is not so Press K and then press all click in here toe picket scholar, and apply the color in here and picked this color toe. Apply to this region. Okay, Now, before we create the pattern brush, double click on the side artwork and change the stroke color toe. No color. Go back outside. Okay. Now, to create the brush, we must first like the side artwork, which is this one, and drag it to the brush panel and to spit on brush disc lake the okay button for now. Now, when we select the shape, for example, and apply the brush, we'll have something like this. No corners. We have corner in here since illustrator trying to generate the corner for us as we can see in here in brushes panel toe, override the corner with this artwork, select the artwork and drag and then press and hold the alky and release it in this box. Notice this corner appear Ian's changed to the new artwork for these corners. We're going to use this corner at work. But here is one of the things that confuse me when working with Adobe Illustrator is that the corner at work must be oriented just like this corner at work. So we need to rotate this back 180 degrees. OK, now click and wreck while pressing out. Place it in here, click OK and apply the strokes to see the results. So that is how you create pattern brush in Adobe Illustrator. 6. Other brushes: the scatter brush were scattered the original artwork along the current path. Let's say I create this black square and dragged these to the brushes panel and to snooze, scatter brush. These settings control the minimum value and a maximum values off these values, which are size spacing skater tradition. To make this thing works, you need to specify first on what aspect they are going to be controlled. Fixed mean there will be no dynamic values. You can pick random to randomize the output value based on a minimum and maximum values we set in the side. If you have been tablet, such as welcome, you can use other settings below the random option. If you only use mouse than random, is the only option you have. Let's set all of these two random just to see how it works. For the size minimum value that set this toe, 30% live the maximum to 100%. Press the tab key several times for this. Let's make it 30%. Also 100%. Again, just like the first role for scattering, I will use minus 100% as the minimum and 100% as the maximum for the rotation. I don't want to have broad values, so minus 20 degree were so face, I guess, and make this one positive 20 degree. Hit the okay button. Now use the brush tool and make sure the scatter brush is rated and just draw like this. As we can see, we can achieve pretty cool. Drawing from just a simple square, you seem to scatter brush, play around with it and make your own cool artworks. Carry graphic brush and bristle brush Arte brushes, which do not need any custom artwork. Toby created Simply open brushes panel and click New button, and you can create either calligraphic or bristle brush. Personally, I never used these brushes for final artworks, as I don't typically use mentally style or hand calligraphic growing, but who knows depend on your own style. These brushes may be the perfect fit for you. Let's create a calligraphic brush first. Okay, you might notice that calligraphic brush is no more than this. Around the brush, we can name the brush in here. We can make the brush their flattened like this and rotate it a bit like this. We can set the angle around us and size from this input field, we can also control these value dynamically in here. But just like we've discussed before, all of this require you to have pressure sensitive tablet such s welcome. That's it. Now we can grow with the brush tool as we are using surrendered calligraphic pen. Now the bristle brush Let's create a new brush Joesbury. So, as we can see in here, the bristle brush will try to simulate how real bristle brush in the real world behaves. The first thing you need to do is to pick the brush type and this pull down menu. Then just adjust all of the settings until you find what you are looking for. Click the OK button and now we can start using the bristle brush which we create before using the brush tool again. Personally, I don't use bristle brush in illustrator that much. If I ever need to do digital painting, I will prefer to do it in for a shop Orc Rita or any raster based so fair because after you see the brush tool in Truster software such as for a shop, for example, you can later so much it the race part of it and do any other pixel based three months, which is just impossible to do it in Vector, such as an illustrator. 7. Expanding appearance: When working with complex appear Ian Shapes in Adobe Illustrator, we sometimes need to convert it to simple shapes so we can adjust them further. For example, I have stroke with bristle brush applied to it. Let's say I want to add it all of these shapes as ordinary shape. We can do that by going toe object, expand a periods. You might notice that we have expanded command also beside expanded periods, which we will discuss later in this video click expand periods and now, as you can see in here, it says group. So we cannon group these by pressing she of control G. And what we have here now is a bunch off feels it low transparency stack on top off each other. So what is the difference between expand and expand? Appear Ian's. The most important thing for us to know is that they both exist for the same purpose, and that is to confirm anything we see on the canvas. So they become ordinary vector shapes. Usually, when we want to expand, either expand will active or expand appear. Ian's were active. They never active in the same time, so the short answer is they are both do the same thing for us. If you need a long answer. Here it is. Expand is used to comfort life effects like warp envelope, distort simple shear, feel in strokes, comfort packs to shapes. Etcetera, on the other hand, expand appear. Ian's is only available if the corn selection has multiple feels or strokes applied using the period. Spano. We haven't discussed about a period spanner, but we will. In Shola. If normal people feels or strokes have been applied, the expand appear. Ian's command is unavailable and expand should be available. If multiple feels or strokes have been applied, then expand shall be unavailable. You might be wondering why Adobe put two different commands for the same purpose. To be honest, I don't know the answer. I also think that these two commands really should be combined into one command. Okay, now, let's see some good use off the experience Command. I have a simple rectangle in here. The field color is arrange and stroke his threat, as you can see if I go to direct selection tool and move this corner around there. Actually, a rectangle consists off foreign car planes. Now, if we go toe object than expand. We are presented with this option like these basically asking us what we want to expand because we want to expand both the feel and the stroke. Just leave it be in this case, actually checking the feel option in here or on checking it really to the same result as the field Color is only solid color. Just click the OK button we can now see, this is a group object. We cannon grope it first. Now this previously read stroke now become a feel area. 8. Project : Tree logo: in this lesson video. We're going to create a three logo like this image. We're going to use art brushes to create it. First, let's create the art brush for the trunk or the ranges, create a rectangle like this, give it a brownfield color and knows throw color. Okay, now select these to anchor points with a direct selection toe and then press E to access the free transform tool. Because you only select these to anchor points on Lee, these two were transformed. Click drag in this middle note. So scary down. Press out while doing this to make the scale occurs both ways. 30. Clean OK, now click. Drag this to the Brushes panel and Tuesday at brush. Let's give it a name branch. You sleep all of the settings to the default and hit OK. Next, create the trunk path using the brush store, or you can use the pen to. Also it is up to you. But if you prefer using the pento, make sure you go to a peer Ian Spinal and turn off. These new art has basic appear Ian's option, as this will force the mental so not having any brushes when created at the first time. Okay, after the main trunk, let's create some Rangers. Make the with size half off what we have before to make it smaller and just draw some Rangers for the leave our brush, create a green circle. Then select this anchor point. Drag it to the laugh and confronted Toe Corner poin. Next, let's create a new article rash from the shape. Let's name it leave for result brush. I don't want it to stretch, so I just this scale proportionally option up here. Okay. To create the lives, you can use the brush tour, make sure the live art brushes active and then just draw the lives like this. In my experience, when creating multiple strokes like this using the brush tool, you will often get small and intentional curse like these, especially when using the pen pressure tablets. So to reduce this risk, I usually said the fidelity setting all the way to maximum smoothness. If you want to create straight leaves and that curfew leaves, you can use the line toe instead again. For this to work right off the bat, make sure in appearance panel options. The Newark brush has basic appearances, turn off and just click and drag to create straight strokes. I will speed up the video and just adjust the rest as you please. And here is our final at work. 9. Project : Decorative ornaments: in this lesson, we're going toe create decorative ornament like the swivel flourishes in Adobe illustrator Assisi. This kind of swirl is called spiral, So before we start creating any decorative elements, let's first study how to create Speidel and house viral structure works to create a spiral or swear Oh, we can go to line, toe and hold. You will see the spiral toe below the line door while this tool is active. When you click and wrecking the outboard, you'll get this spider. If we need to control how the spiral look. We can do this in two ways. First, you shortcuts while creating the spiral or second we can use to dialogue panel. Let's see how we can use shortcut when we click and direct to create a spiral without releasing the mouse button became Press up and down arrow toe, Add or reduce the amount off segments. Okay, Pressing control was still holding the mouse button on that, moving it up and down or left and right will change the decay value and impressing Schiff were constrained. The rotation porter. 45 degrees angle OK, so that is the first method to change the spiral tool on the fly. The second method is by using the spiral panel. To do this, we need to be in spiral Tool and just click and release on the art board, and we'll get this dialogue channel where we can set things up, such as the radius to decay, etcetera. The radius detriment the size off the spiral. The decay value determines the size off the next circle segment. After the 1st 1 small values will make the gap between segments bigger, while the closer the value to 100% will produce tighter gap between the circus, destroy experimenting with them and you understand how it works. Inshallah, segments are the curves exists between anchor points, less one control. Whether the rotation is clockwise or counterclockwise, click OK to create the spiral. The don't side off this method is that you cannot preview the changes you make on the parameters. It will be great if Adobe Pro fired pre few functionality off this spiral panel. It is not exist yet, at least in my current version off Adobe Illustrator. Okay, now let's take a look at this spiral ship image. As you can see, the Spiral has straight handles they are aligned relatively, a vertical or horizontal, just like the handles we confined on circles or ellipses. The big difference between circles and spirals is that these handle are not symmetrical in term off their length. So basically this part is longer on this part. A shorter. Okay, why am I even bother discussing this? Because knowing how this handle structure is important when later we want to edit the handles. Okay, let's create a spiral. Using the dialogue panel, I'll set the size to 180 pixels. The decay toe 80% and then segments to seven. Click the OK button. Next, let's copied is toe top by using the out key modifier and lettuce 180 degrees. Remember to use the shift key modifier to snap the orientation and in line it's Are they facing each other like this? Okay, now we want to connect these two spiral with the pen tool. We already know that perfectly oriented spiral will have vertical or horizontal handles. So knowing these, we can use the mental correctly, move it. So we have a small indication that we are on an anchor pollen at the age off that click drag and hold shift like this and then find a point in here and click and drag up or pressing shift also and that you go, we have double sweet, Old Path. Taken this path. We can either use the art brush or the weed for a file. It's really up to you to create the leaves. Simply create a circle. Take this anger point and this one conferred them toe corner type. Create another one and just copy and tweak the existing leave shape and just take the position. We've discussed these transformation techniques many times before, so I'm sure you understand also the handles off these anchor points until you get the shape that you like. And here is the final at work. 10. Line artwork strategy: in this lesson, we're going to call for one of the most important aspect off illustration and that IHS line artwork specifically the line weight or with variable. If you have normal study about this topic, you may already know that there are a lot of methods or approaches in creating line artwork thickness, for example, we can define line thickness based on lighting condition. You can create variable taken us based on depth or how far the object from the fewer eyes you can create it based on a mass or weight off the object. You can set it by grafitti, meaning lines that are close to each other become thicker, and lines that are alone or away from the rest become thinner. Or you may create your own way off better mining, which lines are thick and which lines are thin. There are no right or wrong about this strategy. In this lesson, I want to introduce off how I approach this issue, although it's about a strategy that I created myself for my own style. You will learn a lot of techniques in this video so that you can create your own style later. The first thing we need to do is to download a template file, which I provide in a download section Open illustrator and from the far menu Jews New from Template. Then just the template. You download it before. If you do it correctly, you'll get this few in your adobe illustrator. The next step is to add all of these with profile to your with profile library. We already discussed how to do this before. Just make sure the path a selected illustrator automatically detect and display the Koran with profile up here. Then just click at the profile button down here. Name your profile and hit the okay button on in this row files with profile. One profile, too profile three and so on in crack order. This will make sense later when we reach the next section. If you really want to follow my strategy off doing Leinart Brooke, wait. I suggest that you just remove all of the default wit profile and replace it with my library in here in correct order. If later you need to bring back that they felt with profile, you can simply click this reset profile button down here. You might be asking why do I need to use these wit profiles and why they are arranged like that? The first answer is no. You don't have to use these profiles. Just learn how use these profiles and later you can create your own. The second answer is they arrange like that for a purpose, and you'll see that in the next section. Okay, this is how I approach controlling line within a drawing. The basic idea off my strategy is I try to simulate how wet brush in behaves in the real world. They are not based, are lighting or depth or any other approaches. I divide the lines in the tree categories. They are both loose ends, one loose ends and both connected ends. The 1st 1 is both loose ends. It means a line where both ends not touching any other lines. If it is short, I usually use the first profile. If the line is long, I use the second profile, which is this one. As you can see, both profile half sharp ends. The second type is one loose, and they are lines which one off the end attach are connected to other lines. For this scenario, I usually use profile number three, if any short and use profile for if it is long both off. This profile has one off the end tick while the other one is thin. The less type is both connected ends. They are lines which both off their ends, connected to other lines. For a short line, I use profile five for longer line. I use profile six, and for a very long line, I use profile. Seven. So there you go. That is how I create variable line weight on any illustration. Again, as I mentioned before, knowingly strategy that I use should benefit you in creating your own strategy. The next question is, Do this strategy will guarantee great looking artworks? Well, my answer is that great looking. It's a subjective matter. But I found that by following these strategy, my artworks already look nice at the level off 80% and the rest is just adding final touches off small tweaks. So the line with looks more natural. Let's see how we can use this strategy with an example in the next video 11. Line artwork project example: in this project. We're going to trace this llama anymore. Photo we found on Google and create line at work like this. If you want to follow long, just don't let the files from the Donald section off this lesson are. If you want to have your own photo to trace, that is entirely up to you. Next, we need to import the image into illustrator. They named the first layer to image. Then Goto file menu and just place and big the image we have. You will have this mouse cursor click in here to recess the image so it fits better with our outboard. We can use the scale note while brushing shift. So they scaled uniformly. Okay, Now, when we do tracing later on top off this image, we might get into troubles because the image is very obvious that it interfere our dressing lines. So what we want to do with this layer is to make it a template. To do that, we can double click on the layer and we will see these layer options panel. Just click this template option noticed This template option will turn off all of these settings and make any images inside that layer. Deemer toe 50% opacity by default. You might be asking, Why do I need template layer? Can I just said the deem images failure to 50%? The answer is, yes, you can. The biggest difference between temperate layer and non temporal a year is that by the end of the day there will not be printable or illustrator will ignore it on any publishing or exporting process. Basically, it is just a quick and fancy way to turn on all of the setting and turn off brain option with one click. OK, let's create a new layer. Rename it toe working. This is where we're going to create the lion artworks. Choose the pento, make sure the field color is set to none, and the stroke salary said to black. The next thing we need to do is to observe the reference image and deter mine on which area we want to create the lines. Usually, lines are created in silhouette for the objects border on area where different colors are met on area where there are awful Epping objects and unfolding areas. Such a skin folding or cloth folding when creating the line at work. It's OK to intersect the lines like these as we're going to use life pain later to clean up the excessive lines for areas that is hard to trace mentally, with the pen tool we may need to use the pencil toe. For example, this area over here we can press and to activate the pencil toe and start throwing for this workflow, you may need to use welcome tablet or similar devices as using mouse to draw like these generally trouble some for a lot of people. After we have all of these baselines finished, you know, move on to the clean our process. So, like all of the line press K or click in this life, Ben Back Ato doesn't click anywhere inside the shapes. Now these aren't ordinary shapes anymore, but the life pain group for a shift out to go to life in selection mode. So, like all of these excessive lines, I'm pressed the delete button. Just repeat the process until they are all clean up. Sometime we missed a line or two. Interesting. The reference in these face we can fix it by adding more lines, and after that, make sure we Select the New Lines and the Life Pain Group or Jack and Jews March Life Bein button up here. After all of the lines are clean up, we need to confront the life being group into ordinary pad. Why? Because Life Pain Group currently does not support with profile. I don't know whether this will change in the future or not. So make sure the life Ben Group is right. That, and click this expand button up here we have ordinary group object now controls if g toe on group it. Okay, now let's add the first with profile just for temporary. Next, let's make the outer lines become thicker from dress off the lines. We can change the thickness through this control panel up here or from the stroke panel in here. The next step is to add off the wit profile, using our strategy we mentioned before in earlier video. Next, we need to fix the flow off the lines, try to find a natural flow in our lines, For example, this line is not supposed to went to that direction, but it should go straight to fix this. Goto the Rx selection tool by clicking this button or price A for short cut. So, like this point and we cut this point by clicking on this button press fee to go to selection mode. So, like this one and this one by pressing shift, make sure this one is not selected. Press control Jay to join the two lines sometime. We also need to cut a line if the line is too long. This imagine if he draw these using a real pencil and paper where we draw this line in a single stroke off course. Not usually we make small kerf and then stop, Then continue again with another small curve and then stop again and so on. And so far we used this cut technique to simulate how human hand behaves in the real world . So again used this car technique to make line flows naturally and shorten over length lines . Additional tip. We can also cut lines using the scarcer toe, which you see for a short cut, hover over a point where we want to cut and click to cut it. We need this process because sometimes you want a certain look on our lines. That is impossible tohave by only relying on the with tool alone to do final touches on the line artwork. We can tweak line with the way tour, flipping the stroke direction or adding feel area on top off the artwork with the pen tal or a pencil tool or any other factor. Anything you can think off from what we have learned until this point in this example will cover some off them. For example, in here I want this line to be thicker so press w for the with tool, click and wreck like this until we like what we see. Another example is flipping the stroke direction as we can see in here. This line should go from thick to thin instead, often take to fix these, make sure it was selected and then opened the stroke panel and find this mirror I can called Flip along. Click it and we just re first the direction off the stroke, the final example off refinement dispatching with additional field area on top off the existing line artwork. Make sure the field color is black and the stroke color is set to none. And just throw a shape that you like. Okay, we are finished on this lesson. Let's remember that we will be using this line artwork technique later in the final project lesson. I will not explain again later what I already explained in this video. So be sure to check this video back if you ever find problems when doing line artwork in the future lessons. 12. Hierarchy of appearance: If we create a starship like these and go toe appearance panel, we can see how Adobe Illustrator structure the appearance off this object. First we have the global opacity which control the whole objects capacity. We're going to discuss these options more in depth in the next video and then beside the opacity, we have this feel which control the color off the field area. We can hide and show it with this button. Unless we have this stroke property which control the color off the stroke. You can also hide and show it using this I button in here now If we click on this character button, we can see that each off these properties also hold its on opacity control. So, for example, I want to reduce the opacity to 50% but only affecting the fear and at the stroke. Then we can do that by going to the field property and click on this capacity in change the value to 50% notice only the feel area become semi transparent and the stroke is still fully opaque. You can do that also with a stroke. If you like using the same method, I'll undo this for now. Okay, Now, here's something not many people know about A periods. Properties in Adobe Illustrator. In a period spanner, we can actually move around the properties and even adding more properties into the stack. We're going to discuss this more in depth later, but here is something we can do now if you direct this stroke property, so now it is below the fear. What will happen? Half of the stroke with is gone as the field area sit on top off it, blocking it. If we direct this up again, notice the stroke will prop up again. And it's full with also a So I mentioned before we can add more properties into the appear Ian Stack. For example, if I click this button down here that stays at new strokes now we have two strokes. Make sure the new stroke is on top. Now I'll change the color to let's say, light green color like this and resize the with. Make it way smaller produce. Now we have something like this. The coating about this set up is that we can always go back to direct selection toe and research the path and everything will follow as they are basically just appear Ian's property. Okay, this video show you how appear IANS are structured in Adobe Illustrator. And in the next several videos, we're going to go deeper into how we can control appear. Ian's, combined them with effects and then creates a fraud project examples using what we flown so far. 13. Blending modes: We've talked about capacity before in our less video. Now we're going to move on to blending modes. If you open the appearance panel or open the transparency panel to change the opacity, he will see these work normal in the left side of the opacity of parameter. This pulled on lease in here is called the Blending Modes. So what is blending mode? Blending more is a general term in computer graphic. It is a term not only applicable to Adobe Illustrator or Adobe so fair, but it exists in almost every computer graphic software in the world, at least every software which allows you to do image composition. Blending more is a mathematical algorithm, which control how color blamed each other between color in one layer with color only or billowy beside normal blending more. There are two main blending modes that are often used by most graphic artists. They are multiply and screen. We're going to discuss these two blending modes plus with additional blending mode, which is awfully okay in here. I have these shapes. This grayscale color shape is basically a life pain group object. I put these on layer on top off this layer but you don't need to put this on top off other layer as blending more works fine in a single layer, as long as it displaced on top off. Other object. If we select this object and open the appearance panel, as we can see by default, it is set to normal blending mode. That is why it blocks everything below it. Now. If I change these to multiply when I moved these on top off this star or this color for a strip, it darkens it. What unique about multiply blending more is that white color will become pure transparent. Blue collar will become fully opaque, so to recap, multiply bending mode will make everything below it visible but darker black will be fully opaque. White will be fully transparent. Another color spectrum will follow the pattern, which is the darker color, the more opaque it becomes, the brighter the color, the more transparent it becomes. Now let's change the blending mode. The screen square is exactly the opposite. Off multiply. It lightens everything below it as you already notice in here, how it affects color below it. Screen blending mode makes black color become fully transparent and white color become fully opaque. Okay, you might be wondering, Why are we discussing these two blending modes? The answer is because we usually use multiply blending mode to shared illustration adding dark areas or the color to existing illustration, and we use screen blending mode, toe add highlighted color or brighter area to existing illustration. Okay, what about other blending modes? There are so many in here. Well, they basically fall to the same category. For example, darken and color burn blending modes are still one family with the multiply blending mode, which basically darkened out everything below it, with slightly different effect off course. And then the lighten and color Dodger blending modes are still one family with a screen landing mode. They make everything below it brighter, with slightly different effect. I recommend you to explore this blending modes yourself, as it will take too much time to discuss every blending modes available. But before we end this lesson, I want to discuss a bit about awful, a blending mode which I use a lot in my illustration After the multiply in the scream blending modes, the overlay blending mode is like the multiply and a screen combined together so dark color we have multiplied effect, which makes everything below it darker. Bright color will have screen effect, which may colors writer The unique effect off awful. A blending mode is that a perfect 50% gray color will become fully transparent. As we can see in here, one strange behavior off awfully blending more that I found is that if the colors below it are purer GB color What I mean by that pure red color, pure blue color and pure green color, the object will become transparent no matter what color you use. I think we can for enough information about blending modes. I suggest you play around with them. Just try to experiment with different kind of blending modes and see what kind off artworks you can create by using them. 14. Compound shape: in this video, we're going to discuss about compound shapes. You might be thinking. Wait a minute. We already discussed about components shapes. Why discuss it again? There are two terms in Adobe Illustrator, Compound Path and compound Shape. They might look like the same thing, but they are different. So what is the difference? The short answer compound shape is much more advanced than Component path, the years compound path to basically create holes in our shapes. Compound shapes can do that, too, but with more option and more flexibility. Companionship can be nested into sub components shapes. It can have a periods property as they were, a single object, which we're going to discuss in this video. Let's look at this example. We have three groups off star shapes that speak the first group. So, like all of them, right, click and convert these two group object now. So, like the second group, all of them and then right, click and choose May compound path. Notice how it behaves randomly like this. We can fix days by opening the attributes panel. Make sure we show all of the options on and click this button. Usually this will make them behave more uniformly and predictable. So now in here we have group as we can see the world group at the upper left part off the screen. And this one is component path, as we can see in here also. Okay, The last one we want tohave a compound shape that's like all of them. And to comfort these to a compound shape, we need to use the Pathfinder panel. But here is the important part. Rather than click in here right away, we need to hold the out button force. Then click the Unite button. Now, as you can see, this is not an ordinary path, but a compound shape. This is a compound path. This is a compound shape. Okay, so why are we discussing this in the appear ian section? Not an object combining section, Because what I find truly beneficial off this compound ship concept is when we play around with the appearance panel. If we said stroke color on the group object, we have something like this. The same thing happened when we set stroke color on the compound path. We have something like this, but notice if we set stroke color in a compound shape. We have something different. The stroke color flow in a boundary off the shape as it were a single path. This behavior is unique to the other type off grouping with discuss before and we're going to use these for a project lesson later. You may argue about this. Hey, I like left one. I don't like the right one. Beside I can create like the right one with just a path where my answer to this is the problem is not about personal preferences, but more about design options. If you need this effect, then you can use groups. If you need this kind of behavior, you can use components shapes. Yes, you can. Just your single packed for this. But to change the elements position will require you to make heavy anchor points adjustment or recreate everything from scratch using components shape. If you ever need to do to information such as wolfman scale or location, we can click with the direct selection toe were holding out. Now we can move it to scale and rotate. We can go to selection toe and just do what you need to do. Another way to do this is just double click to enter the isolation mode, do your things in here and never click on empty space to go back outside again. So basically, you have more control over your initial shapes when you see the compound shape. Okay, so now what if we need to add a hole in the center off our Cambone shapes? That is very easy to do. Let's create a circle in here and select both off the objects and click this minus front button in the Pathfinder panel. But remember, you need to press and hold the out button. Otherwise, Illustrator will confirm and frightened this out to a single path. Now, as we can see, we have a hole like this. Something to keep in mind about this process is that we actually creating nested compound shapes because we create a compound ship from another compound shapes. If you look at this layer structure, we have a compound ship in here with the circle, and inside this thing, we have another Cambone shape where we have the star shapes. The next question will be how can we release the compound shapes toe ordinary path elements . We can release it by selecting it first, then Goto Petfinder panel Goto. It's option and click this release component shape. Or, if you prefer flat on this out into a single path, you can click this expand component shape in here are clicking here directly. If you release the compound shape, you only released the first level off compound shape as this year's an asteroid compound shape noticed. Now the circle is a free object again, but the stars is still in their own components shape, so you need to select it again and do not the really is. If that is what you want to do, I am sure you get the idea. 15. Effects: one of the things that will appear in the appearance panel is the effect. So what this affect? You can think off effect as official plug in or modifier, that you can attach toe on object, which alter how the object appears to explain this concept better. We'll say we have this object. We need to select it first to apply affect to it, then Goto effect menu up here you will see illustrator ship with a lot of effects. Let's go toe style eyes in here and choose drop shadow. Now, as you can see, we have drop shadow attached to our object. If you want to change the effects applied to any object, you need to select the object and open the appearance panel. The effect in our case, the drop shadow effect will appear in here. Click on it and you will see the panel we have before when applying a drop shadow effect. Let's turn on brief you in here and change the y offset bigger about that far, and let's reduce its strength by lowering the opacity toe. About 50% we have multiplied, blending more for the drop shadow because, as we discussed before multiply will make everything beneath it become darker. And shadow is the perfect example. Where you want tohave multiply burning mode, you can play around with other settings in this panel. Just click OK button to apply the changes. If you don't like the effect, but you change your mind about using a certain effect, you can always take out that effect by clicking on it in the appearance panel and hit the trash can batten down here. You can also hide it or show it using this, I symbol in here. If you click on the effect menu up here, you will see that the effects are divided into two big categories. Illustrator effects, which mostly Erector effects. And for a shop category, which are Astor effects. When we apply raster effect on a shape, what actually happens is that the object will become raster image temporarily or dynamically, to be precise. As we mentioned earlier, raster images are made up off peak sauce to show you what I mean. I have this path object in here and let's go toe effects for a shop effects. Thank your. And then let's add stained glass effects in here. Just click the OK button. Okay, Now, if we zoom in really close, we will see this pixellated image. This is due to the fact that stained glass is a photo shop effect which fall toe master affect category. But what is good about having dynamic restoration is that we can always speak up the anchor points and make adjustment like these, and the effect will automatically update the raster image on top of it. Another important aspect off why we discussed this last or effect is the document roster affects settings you can find up here. Why is this important to us? For example, I will pick up the satirical ship and go toe effect for a shop effects blur the ocean blue , click the pre few checklists and as I scroll this up notice at some point we will see this box. A bounding box is bounding. Box is a future raster canvas in which Adobe illustrator used to put the raster effects. If we need lot of your roster bounding box, we need to goto document raster, affect settings and increased this ad Ron object value. The bigger the value, the more freedom you have with raster effect. But any exchange off more memory consumption off your file here is the set up. I usually used to make illustrator display the effects fast. First said the resolution to screen 72 pixels per inch said background. A transparent as we needed to superimpose effects with other graphic elements. Blow it said. All of these options, which are anti alias, clipping mask and preserve spot colors toe off so none of these things are on. I'm going to use these things throughout the course. If you ever feel your illustrator to slow when playing around with the effects or it behave strangely, such having strange backgrounds, just be sure to check the setting and make it like what I have in here. Okay. Later, we will use light of faster FX, especially go Schindler toe Add shading into our illustration. So this will not be the last time we used the effect inside Illustrator Inshallah, 16. Project : Flexible label: in this video, we're going toe create label like these, using the techniques with learned in the previous videos at the glands. There is nothing special about this label, but notice if I used the direct selection tool and grab one off the anchor points, I can tweak the shape and the appear. Ian's follows automatically and not only the anchor point. We can even select ship elements inside this and move it around like these. Basically, the set up will allow us to make changes or efficient easily along the way. First, let's create large rectangle like these, then a smaller rectangle, then another, even smaller one like this. Now we need to align all of these tow center weaken centered. These tow their own positions are weaken. Center these to the art board. I think I want to send the police to the outboard. So so, like all of them in the control panel, like a line toe outboard and hit this button to align it to the sender horizontally. You can adjust the anchor points as you like with the direct selection tool. Next, we need to combine all of these using the Pathfinder so they become a compound shape. Select all off them Goto Petfinder panel and hold our key. Remember, you need to hold out key in order to create a compound shape. Otherwise it will become just regular path. Now, while pressing the all key click the Unite button, we know half the paths combine into a compound shape. Okay, now we're going to add corner style. You see the life, got a feature, press a to go to direct selection tool and select these to anchor points on top. Track the corner we get and while holding the mouse button pressed down a row in the keyboard so that the corner style become flag. These flats style is also known as Chan for Buddhists, also with the corners off the big rectangle. Next, we select these to anchor points and direct Avijit Corner also, but now we press up arrow so that we have something like this. Okay, let's make the stroke thicker by going to the appearance panel on increased this failure orbit, Then change the color toe a brownish color. Let's add some color to the field area and some texture. Click on this field property and choose a color from the defaults watch. I want tohave light, brownish leather Look. So I just discolor beside from Swatch In here you can adjust your own custom color by double click in a field color box and the left side as usual. Okay, Now we want to add texture, effect toe feel area only to do this, select the object and then goto affect menu for a shop effect text a riser and Jews Sandstone from the textural out in here. Okay, You might know there's something in here that the texture, a plight both on the field and also the stroke which is not what the one we wanted Toby on the fill only what we can do to fix this is to direct this effect. So it's going inside the field property and now the texture effect only applied toe feel area, not the whole object. The stroke is now clean from any texture. If you look at our earlier example, we see these teachers around the border slightly in work. These teachers are actually additional stroke property apply to the compound shape, but using the gap feature to make it looks like a stitchers. How can we do that? Well, make sure the compound path is selected. Open appearance panel and click this at new stroke button down here, a new stroke will be created. As we can see in here, we cannot see it in the outboard. Since it is identical with the first stroke, we want to make it smaller or rather placed more inward. To do that, we can use an effect called Offset. So basically, what we going to do in here is to add on effect on Lee toe a stroke and at the whole object . First, make sure the stroke property in here is selected and click this button called at new effect and then juice path offset. Death click The brief, you and your scroll this value down so it has minus value rather than positive value. Make it a bit darker and also thinner. Okay, Next, we want to add dashes effect to the stroke. We can select the stroke in the period spinal, and then we open the stroke panel. It is important to select which stroke you want to add it first in the period spanner, because if we select the wrongs through a property stroke panel will display the wrong stroke. Also. Okay, click this desk align option in here and put a value in here are used 20 big salts for bees and change the capital rounded kept to make it more like a real stitches. As we can see now, we have a more believable looking stitches. We already have a nice looking at work now. But what if we want to add depth to our flat out work? Well, we can add drop shadows on the outer stroke and Arklow effect on the stitches. To do this first, like the outer stroke and click add new effect down here. Jews style eyes drop shadow Pet stone on the preview said the X offset to zero and just play around with the settings as you see fit, then click the OK button. Next, we need to select the inner stroke, which is the stitchers. Just do the same. But now I like to use different effect, and that is the outer glow. Effect this effect by default your screen learning mode. As we discussed this earlier about blending modes, screen is suitable for adding brighter color effects not suitable for shadow, So change these to multiply change the color too dark green. The Duthie amount off a pass city to around 40% to make it more softer, and I think I want to change the blue. The value to four pixels. The last step is adding tax. So I mentioned before, in the introduction of video in these scores were not going toe talk about typography. In here. We only create a simple tax just to complete our label project. So click in the stool called type tool or T for circa, and then click in here type cowboy or any other word as you please go to selection toe. The Jews are fun family up here I am using yoga, a solid, which is currently exists in the PC that I am using. You can choose your own phone family if you like. Make sure the attacks alignment is set to center. Click the horizontal center align button to send the case to the artwork, then Reese ice or reposition the tax. You see the bounding box control after you put the tax at the San Terror and you need to readjust the label base. You can always do that by using the direct selection tool are going into isolation mode 17. Project : Snake and ladder game board: in this video, we're going to do a game board project. Basically, it's a snake and ladder game using what we've learnt before. We can create this kind off artworks very, very fast. It took me about 15 minutes maximum to finish all of these, and I believe you can do that, too, perhaps even faster. The key to this workflow is trying to use the appear Ian's feature to its optimum capabilities and leveraging Arte brush and pattern brush. If I oppress control, why or go to outline mode, we can see that this game board artwork is mostly just a bunch off strokes with complex brush and appearance. I must warn you, though, that this current lesson is men Toby watch after all of the previous lessons, so I won't be getting into too much technical details, as you have already cover most off them. If you find these to be confusing, most likely you skip ahead, suffer or videos previously, so please just be sure to check them up again. Okay, let's just begin. First is the baseboard. Create rectangle. Give it a greenish feel color and yellowish stroke color. Make the stroke ticker and we want to create another stroke which basically using the same color with the existing stroke. The way to do this faster is to select the feel, appear Ian's and hold this color box toe Open the swatch and click this new button down here. Name it. Whatever name you like now at stroke. So, like the color we have before and make it smaller. Make sure the stroke is on top off this stroke. Otherwise we wouldn't be able to see Okay named the Layer baseboard artist base. Next is the path This is gonna be fun. Create another layer. Name it path. Lock the previous layer just to play safe. Now use the brush tour Megadeth Fidelity to be the smoother setting. Then just throw like this to make it even more smoother We can go toe object path Simplify Play around with the setting as you like for me I think this is already looks good. Next measure The brush is Seto basic and change the stroke color to dark orange color. Make it very, very thick. Okay, Now add another stroke on top of it. Change the color to light brown color. You can pick your own color just be sure it's different from the previous and make it slightly smaller. Turn on the days line setting for the stroke. Make the first dash value bigger. Are you 70 pixels in here? And the gap said Toe. Eight pixels. Okay, pretty easy, right? Let's create another layer, a name it circles. And let's create a circle using the lips store. Before we do this, make sure you go toe appearance panel and open the option. This new art has basic appear. Ian's option in here has to be checked on. If this is off and we create the circle, it will use the previous appear. Ian's belong to this path, which, in this case, not something that we want or need changed the field Color white this throw color toe brighter orange color. Create the circle, make the stroke ticker, then create the fax. I just just the regular myriad pra phone family, which seeps with adobe illustrator. Make it bald, condense it. 70 point will be enough send their alignment, and now we want to center the stacks to the circle against, like both off the object that click again on the circle toe pick. It asked the key object. Then center this out both vertically and horizontally For the finish part the select. Both of these objects press out and copies to this location changed. The tax will finish next. Clear another layer. Name it snake and ladder. Now, we already learned how to create Snake Arte brush before, right? So why not just reuse it? So Copy paste the artwork from the previous file. We can use the safe library s and then open brush library feature in the options menu off the brush panel. But I really used this brush, so I just do copy, pace and recreate the art brush Minnery, The same setting s before now in here in the colorization area. Make sure it is said to Hugh Schiff so we can make changes to the color off each stroke easily. Okay, Now, just use the mental or the curvature tool or the brush tool. It's up to you. Just play around with the curls and then add the brush and the color. - Okay , Now we have these cool looking snakes. Let's move on to the last part off this project, we just the ladders. This is perhaps the most time consuming part because we haven't done any ladder pattern brush before, so we need to create it from scratch. First, let's go to the side and create a square. The square is important as the guide when making pattern brush. Okay, now copy pays the square in place. Make it smaller vertically on. Don't forget toe pressure out. We're scaling it to make its metrical goto isolation mode because we don't want to change the outer square. Select these to anchor points and hit the cut button up here. Also these two and then cut. So now we can select these with the selection tool as individual objects. Select the four off them and change those throw color to brown. Select the vertical one. Thes will be the ladder steps and to distinguish it from the ladder column. Let's make it right are place these to the bottom off the letter columns. Copy. Direct. While pressing shift aligned these two the center off this line. Select these two outer letter steps and expand them. So now we have them as feel. We don't want this to go outside off the square guide, so select the angers moves in at these two this line. Okay, go back outside. Okay. Now Copa the style said, And we want to make these set as the end set. So, like this part and lead if you want to add an extra detail, we can round this corner to do that for select these anchor points and move this slightly to the left. Change the stroke and to round expanded. So, like this anchor point, the late this one also off course. Now we have the NPS to create the start Peace just copied his whole set and turn it 180 degrees. These guides, we don't want them to be fishable. So make no color for the strokes and then group each off the set together. Don't group all of them as one group. You need to have each set as one group. Let's create the better, um, brush for the ladder. Make sure the brushes panel is open. Click Director tile said to the brushes panel to spatter brush until we can see something like this. We know half the tile set with the start, and the end set is still not there yet. So at the start, set, click and drag were holding out to this area and then release. Remember to hold the out key. Otherwise, it will just create another pattern brush. Do this also with the end set until we have something like this. Now we don't need tohave the turning set in here and in here because our ladders will always be straight. To create the ladders, we first create some lines. Let's throw one in here and also in here and then in here a dust them again if you like. Next, select all of the lines and then select the ladder pattern to apply it. The scaling. We're not exactly correct to fix this. We can go to the brushes panel again and click this button down here that say's options for selected object to control the scale. Simply move the slider up here until we are satisfied with the size off the ladders. There you have it. A snack and ladder game board created under 15 minutes 18. Shading styles: So what is shedding toe? Make it simple. Sharing is a process off adding the illusion off depth to our illustration by applying different level off dark and light colors. The shading term is actually a common term in computer. Graphic exists not only in the world off duty but also in the world off. Three D. We can separate colors into three basic categories in term. Off shedding concern based color, which is the original color, often object or surface in some seedy application. Sometimes it refers toe, albedo, color or diffuse color, although scientifically the term albedo and diffuse are actually different things. But as a city artist, it be safe to assume that they are the same. Second is the shadow color. No, let's say we have a light source on left top area in here. It only makes sense that this part become darker, right. Shadow color is basically the base color we have before, but in darker area. The last one is speculative color or highlight color. It is the brighter fashion off the base color because the light exposure on that area now off course these are just the basic. There are different types off shadow and different types off lights which generate different variations off colors. And we will discuss some off this later in this video. In term off illustration, I divide shading types into four categories. Flat color shading, polygonal shedding, smooth shedding, stylized shading. We're going to define each off these types with examples in this video and on later videos were going toe create projects which cover each of these styles one by one, inshallah, So for now, let's discuss each off these categories first. First is flat color shading. These kind of shading used minimum amount off color to share the image and with very clear deficient between the base color and the shadow color. Sometime we have spectacular color on glossy surfaces. Another example is these flat style icons. Let's see this map I can. We have based color, which is this red, and we have shadow color, which is this darker red color. We don't have any speculator color in this artwork. As we can see, the difference between light and dark color is very obvious and sharp. There are a lot of tools that we can use to create flat shading style like these as we've learned already throughout the course until this point, but mostly to do this, we can use life pain Feature in Adobe Illustrator The second shading style is polygonal shading. These type of shading has a very unique style to it. In some cases, I might consider this style Toby part off the threat shading techniques. But considering it has so many shading color variations, yet it has distinguished or sharp border between the color. It deserves its own category for polygonal shading. We also gonna be using life pain feature. The third type of shading is called smooth shading. We call it smooth because the color changes from one to another seamlessly or in another world without any noticeable border To create smooth shading toe or a vector illustration, we can use one off the following methods. Grady in MASH and Raster Effect Blue. The last type of shedding is what I like to call stylized shedding. It is a type of shading that uses unconventional methods off suggesting shadows to the few hours using textures, effects, patterns, etcetera. There are several methods we can use to add style. I shading toe are illustration. They are repeated shapes, effects, an image mosque. We're going to discuss all of these methods in later videos. Inshallah, 19. Project : Flat map icon: in this project exercise. We're going to create a flat style shading graphic. We're going to create this map icon using all of the things we've learned so far. First, let's start with the map. A graphic. We're going to create only one side, which is the right part, and then later we'll mirror it to the left side. Pick the line tool. Make sure the stroke color is set to black, and a feel color is said to know color. Make sure. Also, the smart guide is active. Just go to the few menu to check whether it is active or not. Draw a straight line like this. Remember to use the shift modifier key so that the line is perfectly aligned and then two other lines like this. Now we need to add the bottom and the upper lines. Using the pen tool, click the pen tool and hover in here until you see the war pat indicating were snapping on that path. Click in here, then click in this line. Make sure it is snap also to the path than in here. To finish this up, simply hold control and click on empty space. Do this also for the pope area. Okay, Now we need to remove all of the excessive lines. So So, like all of them. And convert these two alive. Pain object Schiff. L and select these outer lines and hit the lid. Okay, now we have the right part. Finished two Copa. And flip this drawing in one step. Find a tool called refractor. We've discussed this before, so I assume you already know how to do this. Select both off the object and juice merch. Life, pain. Just press continue when there is a warning message. Next press K for life pain bucket juice, Redfield Color and feel these area on this area next that speak darker red color and feel in this area on this area. We're doing this because you want to make an illusion off depth by using flat shading technique. Let's just imagine that the light source is coming from laugh top area off the drawing. Okay, Now we need to remove these black strokes, and you can easily do this by going to the stroke color box and just choose no color from their next. We want to add white border around our my growing we can do this. Now, however, our big grown is already why Barf easily looks like white color, so you will not be able to see the white border color his way. That is why it is better to create the green Circle background first before adding the white border. We do this in a separate layer. Create a new layer. Place it below the map graphic layer. Wild layer is active. Just the Ellipse store. Make sure the color is set to green color over to the center off the map. Graphic. Remember, we're growing on a layer of the load on a player until you spot the warpath by the smart guide, which basically they'll ask that we are at the center off our Met growing click and require pressing Schiff and out to draw a perfect circle at the centre. Off our map graphic. Go back to our my play year director layer to this new layer symbol to duplicate the layer . Hide the top map layer for now so we can see clearly what is happening on this current layer. We want to confirm this life, been object toe ordinary object and add white stroke around it first Let's expand this life pain, object into an ordinary object, then marched them using the Pathfinder United Tool said the field color to none and stroke color toe white to control the thickness off the stroke. Simply hover to this number and scroll the mouse wheel up and down. We can on hide the my player again to see how the border looks like when placed behind the map. Find a failure that you like best to create the location. Symbol. Let's create a new layer just black for the stroke and none for the field color. Create a circle about the size. Use one piece of stroke. Quit for now and just hide the other layer so they weren't getting in the way. Kobe the circle with control, See, and then based it on the same location you see in control. She v make the new circle a bigger. Do this again for another, bigger circle. Next, we need to create a vertical line, then place it at the same time off the circle. Next, create another line from about this point to the center line next, so like all and converted to a life pain object. Fill this area with yellow on this area with white color. And so, like this line with a life pain selection tool and live while the life pain object selected to none for the stroke color. Okay, now just reflect. Copy this object, group them or ship. March them if you like, turn on the either layer and position it. So we have roughly something like this. The last step for our map I can artworks is to add a cast, a shadow from the location symbol onto the map. So let's go to the map a year because the map is still life pain. We can simply draw a line from the bottom off the location symbol to this area like this. Then march this new line into the life pain object. Now we can choose a darker red color and just feel in this area to remove the stroke. Simply choose no color in the stroke color box, and there you have it off. Let's style location or my Pichon 20. Project : Image traced artwork: in these project exercise will create an artwork from dressing a photograph. Then we'll add a flat style sharing to it, and we'll also discuss how to adjust all off the colors in our artwork simultaneously with the re color. After work feature in Adobe Illustrator First step is to find reference, image or photo at an imported toe. Adobe Illustrator We've discussed how to import image and how to trace on top off image using pento and pencil toe before online artwork for decoration and stroke feature section off the scores. If you haven't seen that video, please be sure to check the video first before moving on. Okay, In this lesson, we'll trace this image off Ladybird Bug and then adding flat shading style to it again because we already discussed how to do tracing before I will assume that you already done the tracing part which leave us with this vector line artwork toe acquit. Basically, we have our photo reference at the bottom layer in a traced affect, her at work on a layer on top of it toe add flat shading style, toe our out. Brooke, we need to study and better mind where we showed at border lines to define shading areas on sharp or contrast color. Like this speculator areas, it may be obvious that we need to define shading area in there. That is easy. The tricky part is to define shading area on areas where the borders aren't so obvious. So, for example, on this red colored area for me, I will define shading region in this area. And also you may notice that the lady but back has some kind off grounds running from this front area to the back. I want to strengthen these grounds also. So I drove some path on that areas as well. Okay, now that we have something like this, we can start coloring it, using the life pain back to first. Like all of them, press K and just click anywhere to convert it to a life pain object. Before on a previous project lesson, we learn how to dim the image off our reference. Now it's a good time toe under him the image again so we can pick the color from the image to make the color. You can use the pain back a tour and while in the pain bucket to mode. Holding the out button will temporarily change the tool toe color picker mode. In this mode, we can pick any color from the screen. The problem With this all clicking method, you see the pain back a tool is that it only works for a vector of your color for the stool to pick up color from raster images, you need to hold the shift key also so while in pain, back a tool, hold out and shift, then click on the image to sample the color. After picking the color from the image reference, we can use it directly to our artwork. Or you can always double click on a field color box and tweak them a bit. Personally, I like to tweak the colors a bit as I try to avoid photo realistic style color scheme in my artwork. Well, for the sake off simplicity, mostly are we just used the color. I pick from the photo reference right away and later adjust. The color is using the re color outworked all. After we're finished coloring our artwork, you may want to remove all of the strokes. You can do this by selecting the life being object force and then choose no color in a stroke color picker. After we are finished with all of the shading color, you might find that your artworks color may looks too dark or too bright. Perhaps it looks toe situated or under situated. We can fix these easily using the Rick Uhlir artwork feature First, like the life of an object that we have and notice up. Here we have this button click it and a new window will appear like this. There are two modes in re color panel, the edit mode and his sign mode. In edit mode, we can see the color wheel and how the color in our broke mapped on the assigned mode. We can see the colors in less few, and we can reassign each individual color to different color easily by double clicking on this color box at the right side. In this lesson, we don't want to change each color one by one. Instead, we want to change the brightness all at once To do this. There are two methods that we can use. First, we can go to edit mode and see these two buttons down here below the color wheel If we click this button, the color wheel will display hue and saturation, leaving the slider to control the brightness. So adjusting the slider will control the entire brightness off the artwork. The other button will make the color wheel display hue and brightness live in the situation to be controlled by the slider. Okay, Another way to control the whole rightness is to change this mode in here toe global adjust . This way we can change the situation brightness, temperature and luminosity off the entire color off our artwork. You may already understand the situation and rightness, but what is temperature and luminosity in here? Well, basically, for a temperature value, the more you said to the right will make the colors more towards the hot color, which is the arrange color and more to the left. We make them move towards the cold color, which is blue for luminosity. The more we said to the right, the whiter they will become. And the more we said to the laugh, the blacker the colors will be OK. The less question perhaps what if you want to control the hue or shifting the color? Can we do that? The answer is Yes, we can do that to shift the color. The whole color matches a specific or individual color. We need toe klik, this chain. I can first. This will make the whole colors linked together. So with this linked color notes, we can drag and move around colors as one group. As we can see, we can shift colors much easier with this option. There are still things we can discuss in the recover outwork panel, but I believe we've discussed the fundamentals or the most important ones. It is up to you to explore the rest of the features yourself. 21. Project : Polygonal vector artwork: we've discussed briefly about polygonal style shading before. Now, in this lesson video, we're going to actually create an artwork using this style. Okay, the first thing we need to do is to find a photo reference to make thing easy and simple. We're going to use the image use before. And that is the Ladybird bug image we use in previous lesson dislike. Before displaced, the image on a bottom layer entered on the template option. These option will automatically deemed the image to 50%. That way it won't be struck us from drawing the lines. Create another layer on top of it. This is the layer we're going to use for creating the artwork. Okay, Before we start doing any drawing, we need to think first about our approach or our strategy on creating the polygonal artwork . I made the sufferer a checklist to go through before we start doing the actual drawing. First step is to define how big the size off our polygons later. Having smaller polygons surely will make our image able to bring more details. But at the course off development time, smaller polygons lead to a lot more polygons. We need to create and refine. On the contrary, bigger polygons will be faster to create. But we lose a lot of details from our or EU. No photo reference for our lesson here. I will pick a size about the size in general. It is just for guidance. A smaller areas like the head and tennis and the faith cannot have polygon sized this big. Surely they will need smaller size than the square again. It is just for guidance, something that you can check from time to time to make your artwork more consistent. Next click on the Penn Tour These is domain Toe will be using in creating are polygonal artwork, set the color off the field to none and set our stroke color to black. Now the stroke color can be any color. Actually, really, it depends on the general color off the photo reference image. If mostly the image is black or very dark, you might want to use white color for the stroke. The stroke color is not important as we will remove the stroke later. Eventually next. Make sure you turn on Smart guy. We've discussed this before, So just to make sure goto few and see if the smart guide option already turn on. OK, now it's time to get dirty. To draw the lines, informing the polygonal shape, I've made four easy steps to follow. They are drove. The border lines draw important colored areas, throw contour lines, connect them all. Let's draw the borders using the panto. Remember, we are rowing polygons, so we should not use any curve. All off the segment should be straight lines. Also, we must remember our polygon based size. We set before so in making border lines. Each segments should be about the same size off our polygon based size, we said before, I will skip the video so you don't get bought Okay, after we have all of the border lines. Next step, we need to draw border also with for colored areas. This fine areas which have obvious color differences, like these black spots and these bright speck color areas etcetera. Again, I will skip the video as it gets too repetitive for you to watch. The third step is to draw contour lines. Contour lines can be defined as imaginary lines that make up the surface off a three d object. Just use your imagination. If this is a real treaty model made off a bunch off all the papers, how we would be structure Here is some examples of how contour lines work in real tree model. I'm sure you get the idea for the lady. But bug, I will add lines from here to here from this point to this point and from this point to this point, so on, and so far I cannot stress enough the importance off control lines. It is very easy to get lost doing to defraud polygonal effect that we disregard three D contour lines because, unlike through the artists to, the artists have freedom to place points wherever they like. But the problem is, when we forget, the contour lines are growing will be too chaotic. I teach digital illustration for years and a lot of students who fail to create polygonal artwork, mostly because they fail to see or imagine the treaty contour lines in their growing. Okay, I'll skip the video again for your convenience. After we drove the border lines, colored areas and contour lines, it is time to connect them all together before we start. There is something we need to remember, and there is always try to create triangles or quads. Why? Because the polygonal style actually come or inspired by low polygon three D model introduced affairs or games and introduce affair. The most ideal polygons are quad because three D artists will have so much benefits working with Quad. For those of you who are still confused with the term off quad polygons, they are basically polygons, which consists off for ages. OK, now the thing is, when this nice squat based polygon models get exported toe game engine, they were usually confortable triangles, so those are the two mainly used polygons. They are triangles and quads. It's really not recommended to use polygon, which has five or more ages, because off this condition, when we want to mimic that low, poorly effects in our illustration, we should also use only triangles and quads as much as we can. Another thing to consider also is try to avoid Fan point. What I mean about fen point. It's like this, a point where there are so many ages emitted from it in a real tree remodeling process. These kind of vertex our point should always be avoided. Also, it will make our polygonal artworks looks imbalance, as the fewer eyes will get focused too much on that fan point areas. One important tip when growing with so much lines where points are interconnected, like this polygon style drawing we're doing now is that we often throw something like this . We have several segments, then we go around, and when we click this point again noticed the point disappear. Why? Because we're still in one path object and we click again on a point on a selective path. The pen tool automatically become point removed. Tour the void, this behavior when you click on a point and you don't want to remove it. But actually, at another point on that location, you can do that by holding shift key. I noticed the Pento stop being removed tool so we can click in there without removing the existing anchor point and continue drawing the lines. Okay, After we have something like these, it's time to move on to the final step coloring. To do this first, we need to confirm all off the lines into life pain object. So so, like all of them and using the life pain bucket click anywhere inside toe conferred them into one life by an object. Okay, to pay color. Certainly we need to make our reference image back to its original color, not washed out colors like this. So double click on this layer again and turn off the template option Mack. Sure, redeem image option is off. After we have the original color, go back to our working layer and while in bucket mode, press shift and out. Temporarily use the color picker tool and pick the color at the center area and then released the altar and Shefki, then click toe. Feel the color. We've learned this before in our previous project, so you should already get the hang of it. Wanting to keep in mind when adding color to our artwork like this. Always avoid using pure white and pure black collars. Why? Because pure white and pure black color is hard to re color globally. Later, when you see the color artwork, just remember these and you should go to go already . But Buck is finished. But as we can see if conflicting too much with the white background, let's create a green background imitating the photo reference image background color for this will need a new layer. And let's add a rectangle and then at Greenfield color to it. Okay, we're in the last step off our project lesson, and that is recovering again. We've discussed this on our previous project, so I won't get into the detail of it again. For now, Just select the life pain object. Click the re color up, broke button up here and change these two global adjusts. I think the situation level off outgrowing is too much. So I turned this down to about minus 20%. And I want to make the colors look a bit warmer. So increased the temperature to about positive 25%. Leslie, We turned down the luminosity a bit. Perhaps around minus five will do. And that's it. We have a nice polygonal style artwork. 22. Gradient: Grady in is one off the methods that we can use to add smooth shading to our drawings. Probably most off you already know what Grady in is. Basically, Grady in an illustrator is a type off color that consists off multiple colors, at least two colors, and the transition between those colors basic radiant will look something like this. This Grady in consists only two men colors, which is the yellow and green color. The other colors exists are just transitional colors, which automatically created by illustrator based on the two main colors. To access Grady in color, we can use the Grady in panel. We can access it from the window menu. If the panel is not already shown, you can also use shortcut control F nine toe. Open it. Now there is a tool called Grady in in the Toolbar. But that, though, is for defining the behavior off the Grady in, like the orientation, the scale, etcetera. We will use that later, but for creating new Grady in, we should open the Grady in panel First. We called, however, opened the Grady and panel by double clicking on the Grady in tool. Okay, let's create a rectangle force. So we have an object will start applying radiant color to it. No, open the Grady in panel after the Grady in panel is opened. The first thing that we need to do is to choose whether we want to apply this to the field or to the stroke. By choosing between these two boxes so great in can either be applied toe feel or stroke. Let's big field for now. Okay, this box is a quick access to all of the Grady in we created before which are safe to the color swatches. We can think off it as a preset picker, but more about this later, we'll focus on this pull down option in here. First, linear mean that the transitional color happened in a straight line by default. It is horizontal from left to right. Radio. On the other hand, distribute the color in a circle or feitian from a center color to the outer color. Let's speak linear first. In here we can choose the angle off the color distribution. For example, if we said this to 90 degree, it will make the Grady into perfect vertical orientation. Okay, you'll get the idea. However, later, we can use the Grady in tool to control this angle and other great in behavior. And then down here, this is the heart off, Grady in color. We just a Grady in slider. In here we can set the color notes, which is this rectangular notes with small triangle. On top of it. Adobe Illustrator actually named the Sting Grady and stop, But I would call it Node because that's how I've been calling them for years. Now it's off this note. Re present a color this notary present white color and this note represent black color. To change the color off the node, simply double click on it. Jews HSB for the option and let's speak this green color, for example. Now, instead of white to black Grady in, we now have green to black Grady in beside color. Each off this node can also define opacity. We can make the black color note in here transparent by first clicking on it. Go down here and change the opacity toe 0%. Now, as we can see the black note become fully transparent. Okay, Now what if we want to add more color notes to our Grady in to do that simply over our mouse cursor over this area until you see the plus sign beside the mouse cursor click and we have a new node to remove a note, click and hold and drag it away like this. Very simple to control how the Grady in applied to an object. We can use the grading tool while the object is selected. Click this Grady in Tool and we will see something like this. This is called the Grady. In a no tater we can click and hold this control note to move the whole Grady in. We can drag this color note right within the grading and rotator, and as we do that, the color nodes and the Grady in panel will be changed. Also, we can use this no to control the middle distribution off the Grady in does kill the Grady in color distribution. We can grab this node and just drag it out like this. We can make it smaller or bigger like this. Okay, now, to rotate the Grady and we need to move our mouse cursor near this note, but not touching it. You will see this throw Ted cars or appear when these cars are appear, weaken drag to rotate the Grady in tow. Any direction or or indication we like we've been using radiant with linear color distribution. As we mentioned before. There is no other method off Grady and color distribution. We just called radio. We can change or switch to radio Grady in by clicking the spooled on lease and choose radio . Notice the color off the node we have at the left side in, or Grady in Slider will be put at the center, and the color note at the right side off the slider will be put on the out or area off the Grady in with the radio type selected motors. How the annotated change. Now we have more control notes to work with. To move around the Grady in color. We can grab the center node and move it around these small note beside the center notice usedto pinch the center off its original place, making the color distribution pinch towards one side. The color node controls is the same as the linear and rotator, so we'll skip this part to scale the Grady, and we can do uniforms scaling. You sing this note are we can also do known uniforms scaling using this black color note in here, which basically stretched or squashed the Grady in shape. Okay, and the last one is to rotate the Grady in. We can move our mouths over this daughter circle and drag it to rotate the Grady in off course, rotating will have no fishable effect if the scale is uniform. And if the pain Jing is not happening at all, I think that should give you a clear ideas about how great it works and how to control them . Using the grading on a Tater in Adobe Illustrator, there is one final cool feature ingredient were going toe coffer in this lesson, and that is a long stroke radiant feature. This feature only exists when we apply Grady unwto a stroke, not feel so in order to show you how this thing works. Let me create this path, said the field to none, and then make the stroke with bigger around 50 pixels Will do. I need a pat that is almost circular so you can see the difference more clearly. Now go to Grady in panel and make sure the stroke is selected in here. Jews Linear. OK, notice how color distributed left to right like the field, Grady, and normally do. But if we change this option in here toe a long stroke, the color distribution will not fall over the conventional linear Feitian, but it actually flow along with the kerf. This is useful when you need to do effects like light trails or comet or other things similar to that. Another option in here is the cross stroke radiant type. You can use these for different, kind off application, such as creating hosts rope or pipe illustration. 23. Project : Autodesk-like logo: after we have learned on how to use Grady in, it is time to put it on action in this project, lesson will create logo similar to this logo off Autodesk. Now, I don't mean toe violate any trademark or copyrights. So for this example, we're going toe, color it differently, and also flip the logo so the bending ribbon will be at the right side and not at the left side just to play safe. Okay, let's begin by creating a rectangle. Make sure the field color is set to none. And the stroke color is set to black. Just draw something like this now, dreck while holding the key to copy it, move it and then rotate them like So again, we're not trying to imitate it or replicate on exact authorities logo in here. So there is no exact measure woman that we need to follow. Okay, Now we need to copy and flip these lines. We can go to reflect toe double click on it and then press copy. Don't Here. Move it to the laugh while pressing shift. Okay, now we have the base ship for our logo. We need to clean up all of the unnecessary lines from our drawing. So select all of them, converted to life pain, using the life pain back a tour. But I shift el then so like and delete all of the excessive Flynt's that they don't need. We've fused life pain so many times before, so I won't go too much into the details of it. Okay, we know. Have something like this. Expand the object into ordinary object for a shift control G toe on group it. Select these two lines and press control J. And these two lines also press control. J. Now you see the direct selection tool select both off these anchor points and then dragged down Life corner rejects. As we can see, it, will create round corners for both selected anchor points. Create a new line from this, and but it's n select both off these control Jay to join them as one path. So, like both of these lines also and again, press control Jay to join the paths into one path around both off these anchor points. Okay, now create a line from this position. Snap it to the path. Click and Rick Well, pressing Schiff until touching the path at the right. At another line also for this area, make sure the end is snap toe the existing path. Okay, now let's like all of them confirmed this back to a life pain object, and she if l and remove this line and also this line color this large area with purple, this area with my agenda and the smallest area with orange color. Next, we need to save all off the three colors. Toe the Swatch panel so we can pick them later easily. When applying the Grady in color, select the color picker picker purple color and then drag this down in the source just in here to see if the color do the same with the magenta color. Less but not least the orange color. Now go to stroke color box and said it toe no color. Next, we need to convert this life pain back toe. Ordinary path Because grading and rotator one work on life pain object Soldiers expand for a shift control G toe on group. So, like this purple shape and goto Grady in panel. Make sure that this feel button is like that, not the stroke. Then change the Grady in type two linear double click on the right side color nodes. Change it to purple color, using the color on the swatches. Then this color note. Also change it to purple color. But for this color node, we need a darker color. Go to color picker in here. Change this to HSB and turned down the brightness. Make the situation a bit higher. Now, as we can see, we have a smooth shading effect generated by the Grady in All we need to do is to rotate the orientation. So go toe Grady and Tool rotated first, then move it and let's do some scaling a bit. Next case thes orange area. Click on the shape and open the Grady in panel. Basically, we need to do the same thing. Pick orange color from the swatches, make this one a bit darker, and then re Orian and reposition the Grady in color with Grady in tool. Okay, Now for the magenta color, we're going to do something a bit different. First, select the shape open, Grady in panel, just like before. Grab the color from this watchers. Make the left one darker. Okay, Now press out and drag this one toe clone it, then out again and write this one also. So now we have four notes now drag around. So we have the dark color notes outside and the bright color notes inside. Something like this will do. Why are we doing this? We want to simulate the shadows near this folded area up here and also down here we have the cholera set up. The last thing we need to do is to rotate and scale the Grady in. You see the Grady in tool. Besides using the nodes, we can actually just click and direct directly with a Grady in tool like this. The point where you forced click will be the left Grady in stop and the point where you release the mouse will be the left radiant stop. So that's another way to use the grading tool, and that's it. We have a full share that factor logo using radiance, which looks like out or Esca logo 24. Mesh tool: as we mentioned in the earlier video, one of the techniques for reading smooth shading is to use the MASH tool. The Mashtal works by adding vertical and horizontal grades to our ship object and on each off the grades intersection, we can assign different color. So basically it's like the Grady in tool, but the color stops are on grades to create mesh shading. We can use the MASH tour. We can use the stool on a shape, so we need a ship force for that. Let's create a shape off a mango fruit. I'll be using car future tool. Although you can use any tool you one, let's give it a Greenfield color. Okay, now we want to add shading on the shape using the Mashtal. But I want to show you guys something, which is the behavior off how Mestel works. So before we use the mash tool, let me copy the ship first by holding out and just drag this to the right side. Rotate this a bit like so as we can see, the bounding box has also rotated like this. We need to reset the bounding box by selecting the object right click and choose transform and preset bounding box. We will know later why we need to do this. Okay, let's go back to the shape at the left and click on the mash tour and click at this position. Notice how illustrator create this great curves flowing on this shape. Whenever we click inside a shape using the mash stool, it will add both vertical and horizontal line. The thing about these vertical and horizontal lines is that it always try to follow vertical and horizontal line off the art board. So if I used the same tool on the left ship like these, as you can see the flow off the lines are always trying to be straight vertical and straight horizontal based on the art board provided we reset the bounding box as we did earlier. If I select both off these shapes, this great curve in here on the left side shape, for example should be like this in here on the right side ship. But illustrator create the curve this way instead knowing this behavior is essential in creating shedding, using the mashtal. Okay, we just learned how to add mash points. But what about removing them where we can remove them by using the Mashtal while pressing the out button and click on a point you want to remove. Be aware, though, that removing a point will remove both vertical and horizontal grid curves. What if we want to remove Agreed Curve, for example, only the vertical one. We can do that by using the same technique we dis pressing out while in Mashtal mode. But instead of clicking on the point, we can click on a curve. Now the vertical curve are removed with the horizontal one still exists. Another way to create the mash grades on the shape is by using the Create Grady in Mesh Command from the menu. Let's create a circle shape for this example, then go to object menu. Create Grady in mesh. We can set in here how much rose or the horizontal curves and how much column or the vertical curves we can set, whether it will be a flat or with transition toe highlight color. Also, we can set how strong the highlight color will be. Okay, let's just delete the circle for now. Sometime we're not really satisfied with the position off the mash points is enough we can adjust their position, we can drag around the points or the handle using the mash tool. Or we can also use the direct selection door. Okay, let's add more points on the left side ship here. Now we have nine points on the shape. When we want to color this mash object, we need to understand that the colors will be assigned to this points. So, for example, we want to make this whole points at the right side become a bit darker. To do that, we need to select them. First you see the direct selection tool, or, in this case, I want to use the lasso tool as we can select multiple points faster with it. Just drag a selection like this. Okay, now, while these points are selected, any color we choose, whether from the swatches or from the field color books in here will be assigned to the selected points. Let's speak a darker color. Now we can see that we have Grady in color across this mash object. Another method off adding color is to use drag and drop method from the swatches color. Just drag this color, for example, and really sit on talk off this point. You can also drop the color on top off the center Ragen, and the color will be applied toe all off the four points surrounding it. There is another method off adding color on the Mash Boyne, which is using the color picker tool first, Select a point are points you want to alter, then using the color picker tool we can shift. Click anywhere on the art board to sample the color, and you see it as the color of for the selected points. After changing the color off the selected points, we can apply to other points also by pressing the out button and clicking on a point or on on area, which later will affect all of the far surrounding points. Okay, that's it for the Mashtal video. Personally, I rarely use Mashtal because in my experience, creating a good looking illustration takes too much time using this technique. There is a faster method off doing smooth shading, which I prefer, moreover, the master method and that is using Blue Filter, which we're going to discuss in the next video. Inshallah, 25. Shading with blur effect: the less technique we're going to discuss on IDing smooth shading, which is my favorite technique, is using blur effects. Why this technique is my favorite one because it is very flexible to implement. You don't need to worry about Weiqing Mash points like when you are using the MASH tool, which is very time consuming, plus the workflow off shading by ending shapes and blew. It mimics how our brain work as a conventional artist, there are actually two type off blue filters that we can apply to our shapes. For us, it's this as Fiji Goche in Blue and Second, the Photo Shop Blue Go Schindler, the photo shop Go Schindler is easier to use and edit, so we'll be using these. Throughout are lessons. Adding a blur filter is very easy. They say we have these shape. We need to select it first, Then goto effects blur and then go Schindler, we can turn on the preview in here So when we change the value, we can see directly how it affects the shape Notice. If we set this to high, we will see this boning box. Now this bounding box happens due to the document Raster affect setting. We have discussed this before in the video lesson about effects. But just to refresh our memory. Basically, illustrator at a few ritual raster image dynamically around the shape toe Add the blue effect. We can set the size of the virtual image. We can increase the value way bigger than before. Click the OK button And now the effects bounding box artifact we see before are now gone Now using blue filters to add shedding. It's not all that perfect. The downside off using blue is that it? Actually not a vector thing. It's a raster effect. So when you scale up or scale down the shapes, the blue value were not scaled along with the shape. This is something you need to keep in mind. Okay, so how can we enlarge the image then? Well, you don't. At least you don't do it in Illustrator. You can, however, export it to any restaurants solution you want and the blue value will follow consistently . We will discuss about exporting and publishing in later video. Inshallah, Okay. We learn how to apply blur effect on shape. But how can we actually use it for a shading? Well, we use blur effect in conjunction with clipping mosque toe at shading to our flag colors, shapes. Let's see how we can actually do this. First of all, we need to create a shape for these. Just create a circle and give it an orange color. We know have a base flat color. To add shading to this orange colored circle, click direct this layer to the new layer. I condone here to duplicate it on the new clones. Layer big, darker orange color, then grow. You seen the pencil toe? Oh yes, almost forget you need to turn on feel new pencil stroke so that the pencil drove off field area. When you draw a new shape, it always be placed on top off the previous shape, which is the circle shape we need to make the circle shape. Place on top off the shading shape so that it can be used. Asked the clipping mask. So select the circle shape press control Schiff and causing Brecher, then select both off the shapes and hit control. Seven. Now we have something like this. Go inside the clipping mosque by double clicking on it. Select the dark orange shape and apply blue effect. Adjust the blue radius value and then hit. Okay, if you like the preview, if you ever need to change the blue radius, you can open the period spinal and find a blur effect in here. Click it and make any changes. As you wish. Some off my students goto affect menu and reapply the Goche and blur. This is not correct, as this will add another Goche in effect to the object. So don't do that again. Remember, when you need to change the go Schindler setting, you need to select the object and go to a period. Spend all and you need to do this inside the clipping mask group where the object is located, not outside. Okay, go outside from the clipping mask. Look a few. And there you go. That is the basic steps on how to create shading using the blur effect 26. Project : Choco candy: in this video lesson will be creating an illustration based on the things with learn in the previous videos, which are smooth shading. You see the mash tool and ocean blur effect in this lesson. We're going to create this lollipop can the illustration with liquid chocolate sprayed on top of it. First, let's create a circle. Make the field color to no color in a stroke toe black, then create a rectangle. This will be the stick off the candy line, all ODIs to the center off the outboard by using a line toe outboard from this option and then click horizontal align center. Okay. To draw the chocolate, we will use the Bansal tool. Please check the video about pencil tool if you haven't done so and just draw something like this. If you don't like how this looks, you can redo or just tweak the shape using Darek selection tool. Okay, we have a good starting shapes for our illustration. Let's add a rectangle toh framed illustration now so like all of them, and converted to a life pain group again. If you are confused, please check the previous videos about life pain. Clean up the lines then give it some. Cholera for the stake were used off white color for a candy. Will use reddish color with a bit off being. Then, for a chocolate, we'll use dark brown color for the rectangular. Background will add mesh Grady in at the layer below it later. So for now in this layer who just set it up as transparent color, make the stroke color to no color and the name our current layer with base color. Create a new layer. Name it background movie to the bottom press control. Why? So we can see the wider frame? Make sure the smart guy is active at the moment. Then, in this layer, draw a new rectangle, which snap to the upper layer by ground rectangle. Press control. Why again? To go back to pre few mode, make the rectangles feel color purple and no color for a stroke. Lock the upper layer first just to be safe. Now, using the mash tool, click in this area and also this area. In using the direct selection tool, select the point in this area and change the color too bright pink color for the point up here. Change it to orange color. Well, you can use any color you like. Okay, I think the background is finished. The next step we want to take is to add shading to the illustration. You see the blue method. It is always a good idea to separate the shading layer from the base color layer. With this separation, we can easily turn on or turn off shading based on our needs. Okay, So click and drag this base color layer on this new layer button down here. This will duplicate the layer name our new cloned layer toe shading. Next select the life pain group and expanded on group it. So now we have these multiple shapes with different color in this layer. All of these shapes color will not be used on Lee. The shapes will be used instead for clip masking the shading colors. How we can do that for speak this off white color, make it darker then using the pento drove shapes like this now they shared color shape should go inside this steak ship if you want to do clipping mask, remember that. We need to put the clip mosque shape on top of the others for it. to work properly. So? So, like this shape, press control Schiff and causing Brecher. Now it is on top. Then select both of these stick shape and the shade shape. Then apply clipping mask by using shortcut control. Seven, please refer back toe clipping mask. Video lesson Previously for greater details. As you can see now the shading stay inside the candy steak ship, which is nice. Now watch as I hide the base. Scalia, The shedding layer later will only contain the shading color. Just like this area. The stick ships color we have before will not be a fishable after we confirmed it toe clip mosque shape. Okay, now we want to go inside this clipping mask and add Goche in blue effect, so double click on it. So, like the ship ship which is this one, be careful not to select the shape which is invisible ship that function as the clipping mask. Otherwise the whole clipping mask group become blurred when we apply the blur filter Ok, so so like only the shape and apply Goche and Blur effect said it to around five big sauce . Now this value really depends on how large your image resolution so you can use any a number of suits you while inside the clipping mask group. Let's create another rectangle, make it purple, white, and then add another Goche and blue effect, perhaps around to pick source. We'll do change the blending more to multiply. Okay, go back out by double clicking this empty area in the canvas. We're going to share the candy, so I dropped her the color off the candy, make it darker and then use the Bansal Toto draw area like this to simulate shadows at the bottom right and also the rope shadow for the chocolate. Select the candy shape, press control shift and causing breaker to make it on top, Select both off them and press control seven to create clipping mask group. Then, just like before, go inside it by double clicking on it and then add blue effects to the shape. Okay, now we need more darker left for shading for our candy. We can do this by adding a new ship like this, make it a bit darker, and then goto appearance panel and make the blending mode to multiply. We've talked about blending mode before, so I won't explain this again. Now make it 50% opacity. Let's add some. Speak alert to the candy. Pick a very bright pink color, which is near white color. Give this a bit off blue. Also, add large, bright area also down here to simulate cost ICS or sub surface scattering effect. We'll discuss about these concepts later. Inshallah, Go back outside and there you go. Okay. Any object is finished for the chocolate. The process is fairly identical, so I'll just speed up the video so you don't get bought and fall to sleep. The shadow colors are done. Now we move on to the highlights. Less will add some back lights on our liquid chocolate in here so they look more interesting. Okay, It's finally finished. I have made some small tweaks and color adjustment using re color artwork techniques. There are no new techniques in here. We have discussed all of them already. You can download the file and see it for yourself. 27. The illustration workflow: this video is the core information off this course, and that is the illustration workflow. The workflow can be seen from two different perspective. The process, which is the chronological step by step guide and the composition, which is how we should structure the illustration in term. Off the layers arrangement. Let's see how this workflow in term off the chronological process. Let me explain each item quickly. The sketching process can be done in illustrator, but mostly we do this inside roster based application, such as for a shop orc Rita. For this course, I will show you the process off skating right inside Illustrator. Since this is what the course is all about, skating is perhaps the less regarded step as the sketches will not be fishable on the final artwork or deleted eventually. But for me, this is the most important part off all off the processes, since it defines what the illustration we look like at the end. The tracing process start with planning, and it is by dividing the drawing and split them into background. Mid ground and foreground, you can have more than just three layers. It really depends on how your illustration concept demands it. Then after that, dressing the sketch and converted into vector curves using pento or curvature toe or any tool available in Adobe Illustrator Coloring process is a process off. Using the life been feature to clean up the outlines and adding based color to our illustration, local shading is basically heading in direction does inside the shapes off our illustration . Indirection does are small shadows visible in corners or crevasses, which give the illustration stronger sense off depth. It can be river as ambient occlusion in three D computer graphic terms in this face. Also, we will add local highlights which are light colors exists in each shape off our illustration. The next face is global shading. This is where we had cast shadows. Cost of shadows are shadows that are casted from an object and hit other objects around it . Based on the light location. I call it global as the effect and span to multiple Ragen off shapes. In this face. Also, we will add global lighting such as dream lights and back lights. The line artwork process is where we had stylized outlines that has variable with toe. Our growing This face is optional as not always. We require line artwork in our illustration. The nice thing about our workflow is that we can easily turn it on or off later as we need them. The details process is very put textures and detailed graphic elements into the illustration to a textures we can use image, mosque or effects or simple shapes. Personally, I like to do text during after all of the other processes are done but before the color correction face. You can, however, do this right author color process. It's entirely up to you in this face. You can also add more details by drawing out brush strokes, such as for grass blades, leaves and other repeatable, detailed elements, which is too time consuming to draw each off them one by one. The less process is the color correction face. Ideally, any color correction shall be done inside photo shop as it has adjustment layer feature, so you have more control and freedom to tweak the final outcome. However, you can still use illustrator to enhance the fissile using simple color blending method which we going toe coffer in the last video off this section in this face, also, we can add visual effects such as glows, flares or any other simple visual effects. We have discussed the illustration workflow based on the chronological process. Now let's see how it will look like in term, off layer structure. The illustration will be divided into Maine composition layers such as foreground, mid grown and background. You can name this main layers to any name you want. For example, you can have bigger on one big grown to sky, etcetera. It really depends on how complex your illustration is now on each off the compulsion layer , we have the base color layer placed at the bottom. Usually, I just call it B for short. This is where we put our clean life being objects with the main colors on the off the base color layer. We have texture layer or just T for short cut. This is where we had additional colors like patterns, art brushes and textures. On the off the texture layer, we will have local shading layer or a GIs el for short. In this layer, we put shading and highlights, which goes inside H colored areas, basically initiating elements that does not fall into multiple region. On top off the local shading layer. We will have global shading layer or just G for short. In this layer, shading or highlights elements can span across multiple Ragen. There will not constrained to any coloration from the original life pain group. This is the correct place to put cast out shadows on top off the global shading layer. We can add the outline layer or all for short. This layer is where we placed the line Artwork, if you're illustration requires it. After that, the last one is the details layer or D for short. This is where we put additional details that does not require Toby affected by shading, for example, adding additional grass blades without brush or reading semi transparent elements on the drawing. So again, this is how the layers composition will look like. We will have more people compulsion layers, and for each layers will have be layer for base color. T layer for texture. Al layer for local shading. G layer for global shading all year for outlines or line artwork unless one is D layer for additional details for color, correction and official affect layers within. Place these layers on anywhere we need them, Toby. It can be at the top composition layer at the bottom or even in between the composition layer. In the next section. We're going to create a full illustration project using this workflow. So hopefully you will understand this workflow more in depth, inshallah. 28. Sketching phase: in this video lesson, we're going to sketch out our illustration using the brush tool. This is the setting I use for the brush. Make sure the field color is said to none, and stroke color is said to black at this point. As you already see the final product off the course, you should already understand what we're going to create. But at this stage and I'm recording the video, I have no idea of how the final artwork we look like at this moment, I only have a story and an abstract image in my head off how the final artwork may look like sketching, help us to strengthen the story and ideas and making the abstract image in our head to take forms in the sketching process. I am not using my welcome tablet at all just so you know that I am only using my mouse. If you have a welcome tablet, I recommend you to use it. I'm just trying to prove that even with only a mouse, you can create beautiful illustration with our illustration workflow. This is the head of the main character. I think it looks good now, but it is too big compared to the art board. We need to add the trunk and apart later toe fit the our boat. So we need to make it smaller, as you can see when we recites the head the stroke with stay the same and does not scale with the size off the head. That's a new this. First I want to stroke with Toby Smaller. Also, to do these, open the transform panel, open the option and click this button scale stroke and effects now when we scale it the stroke with well scaled. Also, accordingly, the main idea for the story off our illustration is a mutated giant carding for a plan that's just call him Carney. For a short Carney is not always like this. Before, it was just a simple flower in a pot. One night, a meteor shower came down from the sky, and one of the meteorite happens to hit the ground near Carney's location. The media right is not just an ordinary space rocks. It happens to be some kind off aliens. Weapon contains highly radiated liquid toxic. Any living creature exposed to their liquid toxic become a mutant, and Carney is no exception. Carney grew from a small flower toe, A large coming for plan monster, It's root becomes so large the part where it lives barely contain it anymore. Thus, some root able to penetrate the pot. The meteorite drop right beside Carney Spot, which is in this area at the right side. Off Carney. It should looks like a rock but has special round hole patterns. The meteorite drop from the write off area off the screen, so there should be some grounds folded and breaks at the left side off the meteorite. And we should also see some grown at the right side burned. The whole patterns in the meteorite will be glowing with green color or blue color, so we'll see some volume lights and glowing effects coming out from the holes. Carney lives in a lawn off someone's back yard, and he's not long. There are other part of flowers in long. In this illustration, we want to explain Carney's origin, so we will create other plan, which described how Carney ones were. This plan, fortunately or unfortunately, does not exposed to the Radio Toxie so it doesn't transform or mutated like Carney did. Let's copy the spot on the right side off the image. There is another flower plan exposed to the liquid, but it is mutated much later after calmness mutation. So basically, we're just trying to convey the process off how Carney changes from stage to stage until what he is now. The part will be the same, so copy pasting it will make things a bit faster for this plan. The flower already formed a small monster head with teeth. Although there is no fishable tongue and the leaves at the neck, it's not completely evolved yet. The meteorite should be very, very hard as it just traveled from outer space, penetrating our atmosphere. So we should, expecting some smoke coming out of it to help us create environment. Let's create a new layer. Put this below the first layer, the loan where Carney lives. It's a backyard off a suburban house at the center. We'll have short neighbors wall at the right side. We will have wooden playing fence at the left side, which would see wall. Let's add more details on the friends at the center wall. We will have a whole so breaks and mortars off the wall will be exposed just imagine if there is another meteorite. Hit the wall and drop at the neighbor's lawn. Living some traces off liquid toxic at the wall. Let's add some liquid toxic also around the meteorite, adding some brick shapes to suggest while texture on this area. Let's add a three in this area and then also a tree in here. For the right part, we should see some bushes in here. Okay, At this stage, we can see our sketches. Location is too high, making the sky area so small while the loan are too big, so unlocked the layer, so like all of them, and just use the aero key in the keyboard to nudge it down. Okay, lock the layer again, and let's continue with our bigger on sketch. Let's add more details to the wall at this stage. I was thinking that if our meteorite drop into the lawn area from top right direction, it should move through the fence so some off the wooden fence planes should be broken, leaving traces off the toxic. Also in defense. Let's add some cracks on the wall before we move on Brooklyn, a process we're going to detriment first, where the light sources will be in our illustration. At least we have three light sources The main nature A light source which is the sky in the moonlight. Then we want tohave flight also coming out from the meteorite and the rest one is the interior light coming out from the window. Now I change my mind about the wall before we don't have any window. But now I want to add a window So we have more light source options in our drawing. Just rearrange this wall so they are not too far nor too close to the small flower. And there you go. We just finished up our sketch. Next we will move on to cleaning up and layering process. 29. Tracing and Layering phase: Okay, guys in his face, we want to confirm the schedule a year's toe usable form, so unlock the layer. So, like all of the objects and drop them. So now they belong to one group object. This will also make it moved to a single layer named layer toe. Back up. We won't be tracing from his vector drawings. It is there only for backup purpose. Click. Drag this layer to the new layer button, renamed the New Layer to sketch. Now make sure all of the graphics are selected and then go to object mode and rest the rice . This command will rest. Arise the vector. Rolling's Juice White for the background. Okay, now we have the sketches As a rock star image, you might be wondering, Why are we doing this? There are at least two advantages off having the reference sketch image as raster format. First, we can easily dim it through the layer properties. Second, we can use the smart guide on the layer on top of it. If the sketches are in vector forms, smart got will snap our drawing like crazy, which make it impossible for us to draw anything. If we are using the smart guide or points. Nothing features Okay, Now we can double click on the layer and turn it into a template. And just make sure that the images in this layer are deemed for tracing. Our main tool will be the pen tool set, the stroke toe black on a field to none, I assume in a bit as we can see the color off. The sketches are still too strong, in my opinion. So I guess we need to make it even more DeMaria. Let's change these 2 20%. I think they should do the trick with subtitle reference color. We won't get confused when dressing the illustration. Okay, let's start with comments, mouth. Everything I do in here, we have discussed all of them in previous lessons. There is nothing new to discuss. So are we will speed up the video as you might notice the trunk. Er Fisher is still not good. The strong supposed to be smaller at the end, but bigger at its base, which is located at the park. So we need to adjust this a bit for the gum. We need to turn on the smart guide. We'll also need smart guide when tracing the leafs later. - For the part, we can create an ellipse by using the lips store. Then copy this one and place it at the bottom and again make this one way smaller to make the party look solid. We need to copy paste these lips in place. Make the clones one smaller. Next. Let's create the crack hole down here toe. Build the pot easier. Let's move these to a new temporarily layer. - Create the left side. You've seen the reflect tour, expand it on, group them, then group them again as one object just to make the hierarchy less complicated inside, we need to create an under plan at the left side, so we need to duplicate the pot and right one also for the whole pattern on the media, right? We can easily do this with the lip store we need to create out of ellipses so the top area off the holes look more flat. We can only simply by copying and do pace in place operation, and you scale it up. - All of the dressing before are done with the pen tool and, well, also a bit off a lips tool beside the pento. We can you span Soto for complex free form shapes such asked the grasses and a grown area near the meteorite for the liquid spill. This is also much easier to create with the pants a little because the rest off the process will be identical. There is nothing new to discuss, so I have to skip it and just move on to the layering process. Okay, after the dressing process, we know have something like this. We have one layer toe, hold the trees and the bushes, another layer for the lawn and backyard on Leslie, the top layer, which contain our remain characters. Let's focus on the top layer lock and hide the other layers first. So, like all of the lines and conferred them toe life pain object. You see the life pain back, a tour brush. If l and your screen up all of the unnecessary lines from the drawing, I'll speed up the video again so you don't get bored. Okay, In this area, we want to Orefice the line. You can do this by creating a new path, using any tools you like, then select both the new path and the existing life. Been object. Click on a much life pain button. Now we can select the intersecting lines as individual lines. As before, I'll speed up the feed you again. As the rest off the process will be the same. We'll jump ahead to the layering process in the layering process. We want to divide the layers in three men composition layers foreground, mid ground and by ground. Generally, the term foreground is for objects that is, in front, off the main layer. Autumn unfocused elements. But for our illustration, we don't have any foreground elements. So we're going to name our main layer with foreground, named the backyard layer with need ground and named the layer that has threes with background. To do that, create a new layer, name it foreground. Then he named the line artwork layer tobe a scholar, or just be for short. I usually just name it be to make things easy and fast, dragged the layer so it is inside the foreground layer, then create a new layer again name. It made ground. Renamed the Old Trace Layer Toby stand for base color and just like before, drag this also. So it is inside the mid ground a year. And the last one is the background layer. The name is Toby. Direct this inside also. 30. Coloring phase: first, let's at the sky color for these threats. Create a new layer. Name it sky so we don't get confused in this layer. Three of the rectangle. Make sure this snap to the art board. The rectangle should not have any stroke color now for the fuel color to see Grady in color for the left node, let's speak a dark purple color. This will be the top color later. Okay, now for the right note, let's choose a light blue color off course. The orientation should not be horizontal like this. So just Grady in tool and then just drag while pressing Shift like this. Okay, I think this is enough for now. Let's add colors to the trees. Unlock the big ground layer so we can access the base called layer off the background. Speak a dark green color and just feel out the three leaves for the trunk. Let's speak a brown color. I'll just keep the video as it gets repetitive. Okay, for this other three, we can use the pain back a tool and hold out and just speak the color from the left. Three. We've done this before, so you should know how to do this already the bush objects are not actually life by an object. So the cholera it simply selected and select a field color toe dark green. But the bit towards the purple color. Okay, guys, the coloring process are mostly identical. So from now on, I were in their speed up the video or just skip some parts off it. I will do commentary type off explanation for some off the thing that I think worth mentioning for the left wall. I like to use red color. I think in color for the center wall will be great. The long is green off course for the breaks I want to use reddish terracotta colors for the mortals color. We will use standard Saman gray color We have some traces off radiated liquid in here That scholar these with Sion color for defends. Fighting off white color will do at some science color a trace off the liquid also in this area for the window frame because it Ismet off. Would I think we can have the same color as we defends. Okay, let's move on to the main characters to show red color with slightly towards toe, arrange color for Carney's head. The color should almost identical with the original flowers. Let's big, brighter and more yellowish color for the lives for the tongue. I want the tongue to looks different. I guess changing it toe purple will be great as it suggests a bit off poisonous feel to it for the inner mouth. I think I want a dark magenta color. The deeper mouth area should have darker color for the kit. Let's speak off white yellowish color for the gum. I guess dropping color will do next, just at green tone colors for the leaves below. Here, we should have bright cyan colors for the liquid spills. Why? Because this area near the liquid source, which is the meteorite, let's add another terracotta tone color. Also for the parts for the meteorite. We want tohave purple color again at these outer whole areas. We need to add slightly brighter color to define its flat surface level. And that's it. Oh yes, one less step. We need to select them all and remove the stroke colors. So now we have something like this 31. Local shading phase: we are now in shedding face. This is where our illustration will have more depth. But before we start, I just noticed that these three at the right side off flapping with the mutated plan. I think we weather toe move the three to the right a bit, so there will be less conflicting or offer lapping elements in our composition. To do that, we can lock all of the layer except the Big Ron Layer where the three is located. Now go inside the life pain group by double clicking on it. So, like only the right three. Now, here's the tricky part about life pain Object. If you use the ordinary selection tool and move the object, not only the selected paths will move, but also these three at the laugh. I'm not sure what is happening, but to work around this limitation, we can use the terms from Tool instead off the selection door. Now we can move the selected parts in the Bentley Okay for the next process. Most off these already explained in the cocoa candy project before, so here is what I'll do. I will speed up the background and mid ground section off the video, I'll do some commentary type of explanation as needed and later, when we are in foreground stage, how do in depth discussion on some part off the foreground area as we're going to do something different from previous Choco candy techniques for shedding process? As we mentioned in earlier lessons, we always want to do this in a separate layer. The shading layer should be duplicated from our base color layer. We need to expand the layer so they are. There's regular paths. Max create ship for a shed area. We need to pick a darker color basically and then blur them with the ocean. Blue effects do this also for the least, and in the trunks and rangers for the middle ground. The shedding process basically are the same. Okay, at this stage, I want to explain the process in more detail to create the shedding. First, we need to duplicate the base color layer, renaming toe our, which is short name for local shading layer. Now look the other layers, so we have only the locally or active. So, like the life been, object expanded. Then on group it. Before we start doing any shading, we must imagine that there are three light sources in the scene now, which affecting Carney, our main character. One light source is the moonlight, which mostly coming from the top area. Another light source coming from the left side, which is do we know and the less one is the light from the meteorite. We're going to use this meteorite glowing color as the source off our backlight. Highlight later. Pick a darker color based on the head color. Let's at some Indian occlusion shadow. First there will be some crevasses between the head and the lip, so let's add some indirect shading in there. Also the area where the had met the neck. There should be some indirect shading also in here, unless one we should have shadow down here to simulate lighting from above, which is the moonlight. Next, Select the headship and put it on top by pressing can throw out closing record. So like the shape and also all of the shading shapes press control. Seven toe clip, mask them together, go inside the clipping mask, object and select all off the shading shapes. Then add Goche in blue Effect said it. 0 15 pixels. I think this should be enough At this stage, I didn't add multiply blending mode for the head shedding just to see how it looks. Overall force. I am still that reminding where the red color or this type off red color is the perfect color for the head. I will add the multiply, blending more later. For now, I just skip it and move on to add shading to the lips and then the tongue always speed up the video as the process are identical. Okay, The inner mouth area is a bit different in term off the process. So I need to explain this more in depth. You see, I want to shed all of the inner mouth area s one object. To do that, we need to pick all of them like this, then combined them with Petfinder. Unite on group them first. Now this is important. We want this to shape together as one object, then used them as a clipping mask shape. In order for this to happen, we need to make them combine as a compound path first before making it a clipping mask shape. So select both off them on right click may component path? No, let's add some shading on. Select the shape twos darker version off the color. Create the shading shape, using the pants a little. Draw something like this and put the compound path on top off the selected shading shape. Also press control. Seven toe clip. Mask them together, go inside and just add some Go Schindler, Then change the blending mode to multiply For the theater, it is the same story we need to combine them. Also, it's one compound path object before we create the clipping mosque, so managing them will be much easier later. This Imagine if we have to make clipping mosque for each off the truth. It will be way too time consuming later to manage their colors. So so, like all of them and make upon path, create the shading shapes. The light will mostly coming from the left side, so the shadow colors will be approximately at the right side, plus some ambient occlusion near the gum area. Create mask. Adam. Argh! Ocean Floor said the blending more to multiply. I think 100% opacity is enough. Let's just see how it looks now. I think it already looks good for the rest off the shading process. It will be identical. So are we would just speed up the video for shading Carney and then just skip the rest. 32. Global shading phase: This is how our illustration looks like after the local shading process. We are now moving on the next face, which is the global shading. Yes, I mentioned earlier. Global shading is just my own term off describing shedding process that span across multiple shapes from our base color layer. It is typically used for adding cast a shadow on our growing. Let's see how we can do this first, just like the local layer, we need to create the global shading by copying from the base layer they named the newly or G, which is shorthand for global shedding. Next, hide everything but the global layer. Make sure the life Ben object is selected and use no color for the field. Set the stroke color to red. You can choose any color you like for the stroke as this is just for temporarily. Okay, we want to create a cast that shadow around this area. Just imagine if there is a roof on top off the house and it casting shadow to the loan area . For these, that's create a line first like this, then for the GREss area, just use the pencil toe as it will be easier and faster to do it, then using the panto. Okay, we need to march the new lines you have just created to the existing life pain. Then color this area where the shadow will be with any color. I do speak blue collar. Next, we want another cast. A shadow on the right mutated plan. The light will be coming from the meteorite onto the plan and finally create shadow on the wall and defense. Let's create the shadow shape with the panto. Okay, for the grass shadow, we'll use pencil toe as usual. Now march them with the existing life, been object and just color it again with blue temporarily color again. This blue color will not be used or seen in the final image. We feel it with color. Just so we have a shape for the clipping mask or Grady in later. Okay. The next cast that shadow will be from the pot to the lawn. Just use the pencil. It'll again. Okay. I think this is enough, Heidi. Other layers. Just the life been object. Just no color or for the line. Then expand the life pain. Use the Pathfinder. Unite. So the color radiance march together on group it. Okay, now we have clean shapes for clipping mask for a shadow custard from the house roof at the laugh. We can use Grady indirectly without creating any clipping mask, just to show you that we can do this way for global shedding. So just select it and apply Grady in color for the field. Make the left note a bit purple because the sky's color is also a bit purple. Now copy this note by pressing out drag. Just remove the old one. Make the opacity to 10%. Next, we need to change the orientation off the Grady in using the Grady in tool change. The blending more to multiply. I think I will leave the opacity toe 100% for now. Okay, I still think the shadow need more adjustment. So let's reorient Grady in. I think now it looks too dark. That's just reduce the opacity toe. 60%. Okay, I think it looks way better. Now Let's move on to the next cast A shadow, which is the plan Shadow on the wall and the friends at the right side for the shadow. We're not use Grady indirectly, but we will use the shape as a clipping mosque and at a shape which has blue effect inside it, just like how we had shading before. Blurry with dough, Schindler change the blending more to multiply and opacity toe fighting 80% will be great for the cast. A shadow on the left part. The process will be identical with the cast that shadow off the right plan, which is using the clipping mosque. So I really just speed up the video for the global shading on the four grown layer we're going to add, cast a shadow only on the main character. The shadow should be casted by the head, so the leaves the body and also this route down here. The process is identical with the mid grown layer. Basically, we need to copy the base color layer and rename it to G for global shading. Put it on top off the local layer, then walk and hide at the layer. We don't want to have any feel and just read for the stroke color. Let's add a shadow line in here on the head than this area at the leaf. These leaf also and in the trunk just use our imagination off where the shadow will be cast A. It doesn't have to be physically correct. Okay. Combined the lines into the life pain object by using the march life pain button colorized the cast A shadow area with temporally color. Do you speak any color from this watch? So like all of them juice. No color for the stroke. Expand and then merge them with Pathfinder. Unite operation on group it. Press control eight to make a compound path big, darker purple color. Now use the pencil tool to draw the shaded area. Put this on top. Could head clipping mosque with control seven. Go inside. Blurry change the blending Moto Awfully fighting 100% opacity Looks better. Okay, now we have something like this. 33. Highlight phase: in this video, we're going toe and highlights to our illustration. Just like shadows. Highlights can be local and can be global also, so we actually don't need toe. Create another layer for highlights. We can just use the existing local layer or globally year for our illustration. We don't have any global highlight, so every highlights currently in our drawing our local highlights something to keep in mind is that not every ship needs toe have highlights Onley. Glossy surfaces need strong highlights, and semi glossy surface may have subtle highlights for our illustration. We're going to end highlights only to the foreground layer. Our main character will have more highlights than the other. This is on purpose as we want people to focus on our main character and not to be distracted by other elements, although we will add highlights toe all off graphic elements inside the foreground layer. This video will focus on Li to the main character and the meteorite as the process with other objects will be similar. Therefore, we escaped the video for those objects. Let's start with Carney's head that will click to go inside the clipping mask off the local shading. There will be a lot of warm, yellowish lights coming from the window at the left. So let's add yellowish color for the highlights. ATG Ocean Lure. I think 20 pixels should do it. Then change the blending mode, the screen and you opacity to 50%. I think we need to add another highlight at the bottom area. I just used the same blue value and opacity for the lips. It should be way more glossy than the base had area, so pick yellow color but almost white. Create the highlight shape. I think I need to adjust this a bit with simple transformation. Had blue effects because this is a highlight for glossy surface. The blur value should not be big, so to pick sauce, I guess, will be enough. Change the blending motor to screen again. Just leave the capacity to 100%. Let's go outside to preview it. I think it is too strong. Let's go back in and re adjust capacity to 50% for the rest. Off the lip, we will use the same setting. Okay, next 30th. For that, it mouth and tongue were going to use temporarily layer, so we have more freedom to experiment. Later, we can cut paste the shapes inside the shedding clipping mosque, so let's create the highlight shapes. 40th. The easiest. The gum area, lower teeth area the tongue. This is for the inner mountain area. Another one for the tongue. Next, we need to see, like all of the state, highlight shapes. Cut it. We had control X shortcut. Go inside the local shading creeping mosque and paste them in place by pressing control. She if V as this is a very glossy surface, I only use one pixel affordable or value said the blending motor screen and said the opacity toe. Only 80% do the same thing with the gum. Cut the shapes. Go inside the local shading clipping mosque based in place. Add blood affect. Adjust the opacity for the tongue and the rest off the body parts. It will be the same process, so I'll just speed up the video for the media. Right. We want to add bumping us. You seem to highlight collars. Let's speak the water color off the holes and just create the bumpiness. Highlights color with a pencil in a temporary layer and select all of them cut based in place inside the local, shared a clipping mosque At Blur, you set these too far. Big sauce change, the blending more to screen and capacity to 30%. Now, as we can see, the meteorite has some bumping us around the glowing holes. Okay, lets just jump in to the back lighting process. Usually the term back lights are lightings that are used to highlight the silhouette often object on the area so that the main object or the main character does not fade away into darkness. Heading back light really helps your illustration to look more polished and professional for our illustration. We don't have playing dark background. Instead, a multi layered background, so heading back light without any light source will make it to fake and unrealistic. This is how the meteorite help us to serve as the light source for the back lighting on the main character. The backlight process is almost identical, with other highlights process. There are only two distinguished differences. First, backlight is supposed to be placed in a dark or a shadow area instead off bright area. Second, the color is very strong and bright contrast to the color off the shadow surrounding it, and I usually just use the normal blending would to preserve it. Strong contrast color. I drove the backlight shapes in the temporarily layer and then just cut in, based in place in a local shedding clipping mosque. You can, however, create a global shedding path for this if required at some blood. And then I used the normal blending mode for this back light, but with reduced capacity, 70% will do good in most cases. So now we have this nice looking by life on Kearney's strong. I'll speed up this one. Okay, let's see another example off backlighting on Kearney's head. After creating the backlight shape, cut it from the temporarily layer, baste it in place inside the head clipping mosque and blur effect five pixels will do for Lisa will use 50% capacity. Well, that's basically how you add highlights into your illustration. 34. Textures and details phase: in this video, we're going to add textures and details to our growing as most off the techniques we have already discussed before. I will skip a lot of parts from this video so you don't get bored watching it. I will focus on workflow and not much on the technical stuff. We're going to create textures on the mid ground layer. First will attack Charis along this left wall. We will use brick shapes to suggest texture. Then we will move on the defense area at the right side in here, using simple lines and variable struck with Okay, So let's copy this base color layer. We name it toe T for texture. Let's just lock the other layers and hide them. I think I want to hide the background layer also For now, make sure the life being is like that and make the field color to none. Now use the pain back a tool toe, feel color on areas we went to extract later for clipping mosque. You can use any color you like. It doesn't really matter for defense. This will be the areas we want to extract. Okay, I think this is enough. Just expand the life pain and use the Petfinder unite, then on group it. Now we want to create the shapes for a texture, but we want to create them on a temporary layer so we will have more freedom for experiments. Turn on the sketch layer again, use the mental and change the stroke color to red and then just raise the sketch. There are no new techniques in here that we haven't discussed, so I would escape the video. Okay, now we have something like this. We're going toe color. These as life pain object, using the life pain back, a tool we need to extract the color from the base color. So on. Hide it first. Pick the color, said the two brighter color That's at more of arians with a bit off yellowish brick, then darker color breaks. Okay, cut it and paste it in place in a texture layer. Take the ship we have before move it on top and just sleep. Mask them Next. Defense wouldn't texture. Let's use our temporarily layer again. Pick a grace brown color for the stroke. Used the line toe create lines like these following the friends direction. So like all of them and change the width profile. Reduce the opacity to 50%. And just as before, cut and paste these lines to text your layer and just clip. Mask them all inside the shape we have prepared before. Now let's move on to foreground layer in this layer were going toe attacks. Chur only toe Carney. Our main character will add texture to the head. I was thinking tiger or zebra stripes, then the lives lines. Then we'll add stripes also in a trunk. Also, the roots, perhaps green, dark colored stripes. We look nice and the less elements are the details. Elements. We're going to add semi transparent so life in the mouth and had shading to these tools. Life a drops. Okay, let's look everything but the foreground layer. Duplicate the base layer, renaming toe T for a texture. Heidi. Other layers. Select the life pain group, object and then think black for the stroke color and make the field color to none. Next, use the life pain back a tool. Just be Cranham color from this watch filled ahead area. Next for the leaves because they will march together. We need to give it a different color. Just speak any color as long it is different from the head color and discolored the rest off the areas. We want to add texture. Later, these shapes will be the clipping mask for the textures. Okay, now that we have something like this, we can select it and remove the stroke color expanded. Open the Pathfinder. Now, instead of using the Unite operation, we can use the merch operation, as we discussed earlier March, will intelligently combined shapes that has same color and will not combine those that have different color. Next, we need a temporarily layer, so just use this one. You can create another one also, if you like. Put this on top off the texture layer Heidi. Other layers except the current temporal layer and the sketch layer. Then using the car fritter tool, create lines like these for the stripes next, like all of them, and change the width profile to this one. Make it thicker on Haida Textual A year. Let's change the strike color to red for now there so we can see it. Cut the shapes from this layer, then based in place on a texture layer, then clip mask them inside the head shape. Okay, now off course. We don't want to have this pure bright red color. Let's go inside the clipping mask and change the color toe yellowish color, but said the opacity to 50%. Now, if we turn on the other layers, we will have something like this. Next are the lines for the Leafs. Use the mental for this. We need to have the smart guy active, pick a light green color and then just throw like this. I'll just give the feed us. It will be too repetitive now, just like before. Cut based. The lines from the temporarily layer, toe texture, layer and clip. Mask them inside the shape we have prepared before for the stripes off the trunk and on the route. The process will be similar, so I will speed up the video, basically create lines with occur first turtle in a temporally layer and then cut based in a textually year, Then create clipping mask in there, using the shapes we have before. The last thing for this faces adding detail. For this, we need a new layer and place it on top off the global shading because we have an empty temporarily layer. Let's just move this up and rename it to D. We just a shorthand for details. Let's throw this life are in this layer using the panto. You might be wondering why we put this detail layer on top off the shedding layer. Well, because usually I put graphics element which are not affected by shading on this layer. Such as, for example, say my transparent object like this lifer. Okay, now we want to remove part off the saliva so it looks like behind the tongue. To do that, we can get the shape off the tongue from the base layer, just duplicate the base layer, make it no feel color and backstroke color. Now cut base the saliva lines in the new layer and march life pain. So now we can use the life pain selection toe to clean up the lines and then use the pain back to toe color. This life are areas with green color. After we have something like this, we can safely remove the stroke color, expanded Petfinder merch, or you can also use Unite for this case, select the path and cut it based it on a detail layer, then just remove this layer as we don't need it anymore. When we showed the base layer, as we can see in here, the saliva shape still need some tweaking, so it placed on the mouth or teeth correctly. Now let's change the opacity toe 60%. Next, we want to add shading and highlights also for the saliva drops in left side off the mouth . The process are similar to local shading, so I'll just speed up the video. Next we went toe ed highlights or spectaculars on the saliva. The saliva is basically a very glossy substance, so the highlights are very strong and we don't need to add blur effects through the shapes . We still need to reduce the opacity. I think 40% will be great. Now we have something like this. One small tweak. Before we end this video lesson, you can see this drop. It looks like standing on the wall, although it is correct physically but of easily. It might introduce confusion to the fewer Zeiss later. These kind off issues are called change Insee. It is something we need to avoid when creating illustration again. This is not about being physically correct, but it is about creating affect official communication. So because we are working with the factor, thes kind of issue can be solved easily. Simply unlock the base and the local a shading, and then used the direct selection tool to select them all and just nudge it with the arrow keys on a keyboard. 35. Color-correction phase: in these face will add color correction and official effects. Toe our illustration. Create a new lay euro, put it between the mid ground and a big around layer. We are going to create the fog using the rectangle tool. But let's hide the other layers. First, turn on the smart guide. I think we also need to hide the sky layer. Just create directing. Go make sure it's a snap to the left top intersection and also the bottom right intersection. Right now we have white color feel. So go toe Grady and panel and make sure into settle feel. Then choose Linear Grady in and pick the left. Note color. Change the color toe low saturation cyan color. Make the opacity to 40%. Now the right node. Let's big, dark blue color but change the opacity toe 0%. Okay, now, to check how it looks in a composition, let's turn on the background layer and to reorient Grady in, we can use to Grady in Tool and just drag from here. Toe up here. Too high. Okay, changed the layer Name toe fog. Now we want to make the big ground layer looks more monotone. So just duplicate the focal a year The name to color and changed the field color toe blue. I think this is too right. This color should look more natural. Now go to the transparency panel and change the blending mode to color. Then change the opacity toe. I think 20 person will do now I think the focus too weak. So let's change the left north capacity to 50% and the right Noto 10%. Okay, so no, we have something like this. Next we want to add glow effect from this window at the left and also from this media right down here. So let's create a new layer on top off the foreground and rename it to close. Then use the mental. We don't want to use Grady in, but instead twos Bright yellow color like this. Oh, yes. Almost forget. Turn off the smart guide now, as we don't need it for this process, you see Le Pen tool Just draw a border surrounding the window like this. Then goto effect and Edgar ocean blue to our shape. I think 90 pick sauce is good. I would change the blending mode the screen and said the opacity to 80%. Okay, let's add glow also for the meteorite. First, let's speak a bright cyan color. Then use the lips toe to draw some circles. I just speed up the video. Next, select all of them and add Goche in blue Effect 50 pixels will be great. Change the blending more to screen and opacity to 50%. Okay, I think we need more offer or glows in here at blood. 80 pixels should be fine. Change the blending mode to lighten capacity to 30%. Let's move on to creating William Life. Create a new layer called volume. Okay, Now, seeing the over lighting, I think we need to reduce the window glow opacity to 60% as I don't want this window, Toby brighter than this beauty. All right, OK. Make sure we are inside a volume layer and use the mental to draw the volume lights. Now select both off them and make compound path. Change the field color to Grady in. Just drag this yellow color to the node. This one also, I think we need more details on a volume light so usedto mental again with Redfield color and just draw something like this. So like all of them and go to Petfinder than minus front at the ocean Lure. I think the big source is enough. I think I want the end off the Grady in color set to zero opacity. That's readjust Grady in. I think this is still too strong. Let's reduce the opacity toe. 30% will be better. Okay, now we have nice looking volume light effects coming out from the window. Let's add volume lights also for the meteorite. Now the process off this volume light will be identical, so I'll speed up the video. Basically, we create the path with the parental set, stroke to none and feel toe Grady in change. The Grady in Colorado to science to make all of these volume light shapes share the same Grady and distribution we need to select them all and make compound path. So now we can control the Grady and distribution as it wasa single shape at blur off 10 pixels and lending more the screen. I did some tweaking in here off the record, which basically lower, some off the opacity off the close and volume lights a little. Next, we want to create smoke's coming out from the meteorite and also from our imaginary meteorite off the neighbor's lawn. Behind the wall, create a new layer called smoke. For these, hide other layers except the sketch layer, and just use the pencil tool to draw the smoke. The process is very easy, so I will speed up the video again. You should already be familiar with this process. Basically, create life pain. Clean it up, salaried. Expand. Change the color to Grady in. Okay, until the stage, you might notice that the smoke look like coming out from Carney's head. This is one off the composition problem that we need to fix. So select it and just move this to the left skeleton. If you need toe, then change the orientation with Grady in tool. Add blood effect for the main smoke, which is the one that is coming out from the main meteorite. The process is identical with the 1st 1 so I have to skip this one out. I believe you already know how to create it. Okay, so now we have something like this Before moving on, I just noticed that this area is too dark. So let's open local shading layer. Double click to go inside the clipping mosque and big the shading shape at the top and reduce the opacity to 50%. Now it looks more brighter. The next things were going toe create are the stars. A night sky is never complete without stars. To create stars, we're going to use scatter brush. First, create a star layer above the sky layer, then create a wide circle. Drag these to the new brush button in the brushes panel. Choose scatter brush name it started, then change the size to random. Make the minimum size to 10% and this one toe 30% change spacing to random. Also, minimum 2 300% and maximum toe 500% random. Also for the scatter of value. Make the force value to minus 800% and the maximum value to positive 800% for rotation value. This won't do anything visible as our shape is a perfect circle. Just click the OK button. Now just delete the circle as we don't need it anymore. Usedto brash tool and make sure the brush is said to our scatter brush. Just throw like this, and we have started. Just create several strokes again. If you want to add more stars next, we want to add a comment or meet your shower. To be exact. Create another circle like these copy paste in place, the circle so we actually have two circles right now. Make the new one of it bigger. So, like the right anchor point and said it to corner. Drag it all the way to the right. Then change the color toe. Grady in. Just make the right note white with 0% opacity for the left node, use white also, but with 60% opacity. Next, just tweak the shape asked. You see if it I am making these to stretch more horizontally. Next group these two objects as one group, then resize it, rotated and just cornet by pressing out key and transform. You can make some off them smaller or bigger, or even playing around with the opacity to simulate distance 36. Line-artwork phase: Okay, guys, we finally in the less video lesson for our final project in this video, we're going to finish up the illustration by ending strokes to it. No, personally, I don't like to your strokes for the final artwork, but just in case you require stroke for your own style off illustration, we need to discuss this. Also, most of the techniques I'm about to show you in this lesson are already explained in a brief theist line artwork lesson. So this will be just a reminder. And also a demo off how it is in action. But before moving on notice how the grass looks a bit bland. We really need to a tax shelter to the grass. I know you might be thinking, Hey, this will be done in attacks your face not in his face. Well, you're right. They should be done in a texture face before I didn't think of it. But better late, then. Not at all. Okay. So to create the grass, we will use the texture layer. But for now we need a shape toe act as the clipping mask for a grass area. And just as we did before, we can extract it from the base layer by duplicating it. Let's hide and lock the other layers First we want to extract Onley this grass area, so make this throw color toe black and feel color to none. Used the pain back a tool and let's pick a color from swatches. First, any color will do. Let me just speak this blue color. Then just feel in a grass area. We need to expand it, so make the stroke color to none first. Now we can expand it next. Let's got it and based it in a texture layer. We can safely remove this layer as we don't need it anymore. Okay, now this ship will be the clipping mosque for texture, image, the texture image Issa PNG file with transparency which I have made in for the shop. You can find the image file in the download section off the scars, so goto file please to us the grass image this clicking here to place it we can resize in movie it as you see fit. We need to cover the right area also. So just copy this image to the right now they call for us the whole lone area. Select the two images and send them to back clip. Mask it with the lone shape. So now we have something like this. Let's turn all the subway years inside the mid ground layer. As we can see, this is so strong. Let's fix this by going to the transparency panel and reduce it's opacity to 40%. Now, when we turn on the other layers, we have something like this. Okay, now we want to add strokes or the line artworks toe. Our illustration for this lesson will be aiding strokes only to the foreground layer. Specifically only toe Carney, our main character. If you want to add line artworks to the whole illustration, that is entirely up to you. The process will be similar, so you should be able to do this with any layer as well. Okay, let's open a foreground mayor. Copy or duplicate the base color layer. Move the new layer to the top above the other layers. Let's hide the other layers first, so Onley this layer Active said this. Throw color to black and feel color to no color. Expand it, then on grow bit because you only want the strokes on Kearny. Let's just to read the other strokes that we don't need next. So, like all of the strokes and a scientist with profile first just for temporarily make them take her, we can turn on the base layer just to see how it looks over. Next. We want to color the strokes for color. You can set them toe black are we can use base color, but make it darker. So basically, this throw color now is the darker version off the base color. Some strokes may have been separated by life pain, whereas they actually need to be joined together. To fix this, simply select them all, for example, so like this one and then this one. As we can see, they are separated objects. Press control J. We join them together. Now they are one continuous path. Let's speak less with profile for these, as this is very long and both ends are connected, remember to check the line artwork strategy video lesson for more in depth tutorial off how we approach line artwork creation. Let's speak darker. Red color because he's had area based color are red necks are the lips change the width? Profile to this one and just change the color. Too dark red color also, but with a bit off brownish color, and that is basically how you do it. I will speed up the video as it gets so repetitive again. I must remind you that all of the concept and techniques in this video are already explained in the line artwork strategy and project videos before. Be sure to check them out first. If you ever get confused watching this video, just remember if we have multiple paths that we want to join together as one path just like all off them and press control J, then just pick the best wit profile for it based on their characteristic. Then change the color to the same color tone with the base color, but with lower brightness level or, in other words, make it darker. I think for this crack areas we don't need any line. Artworks are just remove it so it looks cleaner. Let's turn on the other layers and there you go, Alhamdulillah. Finally, our illustration is finished. This is with the line artwork, and this is without the line artworks. I prefer without line artworks. But again, it is just a personal preference. OK,