Adobe Illustrator CC – Advanced Training

1. Intro to the Illustrator Advanced Course: Hello. My name is Dan Scott, and this is the Adobe Illustrator Advanced Course. During your course, you'll go from an Ok user in Illustrator to a Superop, super awesome superhero in Illustrator. So who am I? Dan Scott. I am an Adobe certified instructor, and I've been a designer for about 16 years now. Um, I'm part of the Adobe Expert program, and my online and in person classes have been attended by more than 1 million people now, just like you. In the course, you'll be given our brief specifically for you so that you can build beautiful graphics alongside the course videos so that you can practice what you're learning, plus build projects that will be great for your portfolio. You'll learn how to use artificial intelligence to boost your creativity and ideation. You'll learn the quick way to take hand drawn sketches and vectorize and color them. Part way through the course, you'll have the building blocks ready to set you loose on a huge variety of beautiful effects and techniques. And we'll all just agreed to ignore the weird costumes. D, focus on the cool effects. No dan in the caterpillar suit. Make beautiful charts and graphs for your documents. There's a color mastery section. You'll learn how to make quick color adjustments, pantos, and blend it all together nicely. You'll learn how to master images inside of your illustrated workflow. You'll harness all the secret gems that will help you level up your typography skills. You'll learn all the tricks of the trades for drawing complex shapes easily. Your creativity will be doubled when you finish the transform and distort section of the course. Double, I tell you. There is an entire section dedicated to speeding up your personal workflow to get the most out of your creative day. There's so much in this course. I want to go through it all here, but you'll have to check out the course outline for the full list of topics. So, if you're okay at illustrator, but you know that there's tons more potential trapped inside of it, join me for this Illustrator advanced course and become an illustrator Superhero. What is he doing? It's a superhero pose. What is how I'm doing? I don't know. Something like this. 2. Getting started with Illustrator Advanced: All right. You've made it inside the course. Welcome. You're in here with me. To get started, I want you to download the exercise files. There'll be a link on the page here somewhere. Okay, download the exercise files. Un Zip them, get ready for the course. Inside those exercise files, there'll be a shortcut sheet. You'll see it labeled in there, and you can print that off and stick it next to your computer to help along with the course, scribble down any kind of new obscure ones that are relevant to you. Circle the ones on there that you like. Okay, so they're in the exercise files. The other thing you can do is speed me up or slow me down, okay? Some people think I speak fast. Some people think I speak slow. I don't know how I can be both, but hey, there you go. There'll be a cog in the bottom corner. You can just turn it up to whatever speed you're like. Look for a little gear icon and look for a speed. Also, let's reset our preferences so that yours looks like mine. We'll jump into the computer now and do it together. Step in. First up, you don't have to do this if you don't want to mess with your illustrator setup, we're going to reset a bunch of stuff to the factory. I'm going to do it now so that mine's more likely to be like yours, and if you want to follow along exactly, you can do this as well, but if you're comfortable enough for an illustrator, you don't have to do this. First thing we're going to do is open up any document. On a MC, go to Adobe Illustrator and go to Yes, we are, we're going to go to settings, and we're going to go to the general. If you're on a PC, go to edit, down to preferences down the bottom here, and go to the same thing general. We go. All I want you to do is click these two. Reset all warning dialog boxes and then reset preferences. I've already done mine. I'll ask you to restart Illustrator and then come back in here. Once you've done that, come back in again and open up a blank dock and go to Window, I'm going to go to work spaces. I'm going to be working on this class in essentials and I'm going to make sure I had reset essentials. I rejigs it how the factory is and yours might match mine a lot better. Other things is there's a tool bar on the top that's really handy, it goes away when you reset essentials, you might have turned it on, you might have never noticed it. This is a good one. Go to a window. Along the top here, there's a couple of different options. This one here called Control gives you this top at bar. It's just really handy when you're working. I think, especially when you're advanced, there's lots of good stuff up there. You don't have to have it on. Pretty much all of it can be found in the properties panel, but I like to have both options. The handy one is over here, the tool bar, this is the basic tool bar and it's just got the tools that people use the most or the latest tool that they're trying to show off. This will change a little bit. If there's something in this course, and you're like, Hey, No over here anymore. You'll be hiding under these three little dots. You can click on them and you might find it being bumped over to here. You can just click on and say, I want the Polar coordinates tool, you don't use very much, but I can start using it. By just clicking at in there, I can click undo. You can add them to the tool bar by clicking the three little dots and say, man, I use this all the time. I'm going to click Hold Hold Drag Drag drag and find a spot for it. If you want to get rid of a tool, I'm going to click over here in the background and actually I'm going to go back into here, and then you can click and drag it off into no men's land and it just comes I do want you to do though, yours looks like mine is up in the same thing, go to the three little dots and go to the top right up here and say, let's switch to advanced because we're advanced now. We're no longer basic. Another one to check before we move on, I'm going to grab the rectangle tool and just draw out a rectangle. I'm going to go to my move tool, and you'll see this thing here. It's called the contextual task bar. Whatever you have selected, will give you options that it think you might want to use. This thing might be turned off under Window, go down to contextual task bar, turn it on. Problem is it's in the way. I find it in the way anyway. You might not. I'm going to grab the type tool, draw a type box. That's really awesome, but often it's covering this. I like to just grab this edge here. Can you see this little shady dot thing? Click hold and just drag it somewhere. Then it won't appear underneath and in the way. I just like it. I like it. It's awesome. I just like it down the bottom here. If you do wanted to get it to snap again, see these little dots here, you can say more options and say, let's reset that bar. It'll go back to being close. It's not right or wrong. You might like it really close to it. That's actually really handy. Often it doesn't take me long before I end up dragging it one is there are lots of class projects in the course and just in case you newish the way to save those class projects in this course. We'll do exporting advanced at the end of the course, but I want to do this at the beginning. You've made this beautiful design. Is wonderful. I want to export this to be sent into as a class project. I'm going to go to file, and we're going to use the one that says, export Export As. That's a real simple one. We'll do more advanced ones later on. In here, you can save our PNGs, probably the best or a JPEG if they're getting a little big. That will be enough to be uploaded for the course. But again, we'll go through advanced exporting. You'll see a category at the end of the course that has a whole bunch of cool exporting options. But it's towards the end, that'll do for now. That's it for now boring stuff over. Let's get into the fun course. Actually quick Otro. Let's get into the course. But at quickly before we did you spottm? There is. See that black ball over there? You'll see him in the first few videos. Osh. He's home sick. Sick. Look how sick he is. So sick. Say, hi, everyone. The camera Hi. Where's the camera? There. Oh, hi. Bye. Say, enjoy the course. Enjoy Enjoy the course. Now it. 3. Your Unique Illustrator Design Brief: One. In this video, we are going to get a brief that we can use throughout this course. No essential, but I think having a brief when we're doing these projects rather than just following me. It's going to make some really good portfolio pieces, but also, I think it really helps cement it in your head when you actually have to think about your own project. These projects are unique for you. If you go to random project generator.com, website, me and my team have built, what you're looking for is Illustrator advanced. Next, click Generate my project. All right. Looks like I've got the city of Grenada and I've got a donut shop. That's the small business that I'm going to be designing for throughout this course. You'll get something different. If you don't like it, you should probably just keep it. Working on a client that's not perfect, something that might be outside your comfort zone is probably good. There is a try button. Do not click it more than three times. But grab this. Have a read through. The short version is that we're going to design lots of little things throughout this course for this company, and yours will be different. But basically, it's like a hipster style business, a local one, not a big international brand. Have a read through I've tried to give you a persona, of what kind of person we're designing for. Keep them in mind when you are designing it and bring on the course, M. Let's get started. 4. How to use Text to Vector Ai in Illustrator: One, in this video, we are going to look at some of the artificial intelligence that is built into Illustrator. Specifically in this video, we're going to look at text to vector. You might have bumped into it and played around with a little bit and it works. This video, we're going to master it to get it to do outbidding. We're going to start with some basic prompts. We're going to get those prompts to match some of the styles that are on our artboards. I'm going to show you some cool tricks where we can pull styles. See this here. This is a vector graphic, but the designs and colors is pulled from this graffiti. C. It gets better. Look at this illustration style. That's the sample image, and look, these are the vectors that were pulled from it. Match the colors in the style super well. I find it's a way easier way to use some of this generative stuff to give it a sample image rather than to spend ages in the prompts. The prompts are good. Picking styles from references is even better. Let's jump in and become the boss of text of vector in Illustrator. To get started in your exercise files, there's a file in here called text two vector 01. Can you open up that illustrator file for me? It might say that it's an older version of Illustrator. I back save it so that everyone can open it without problems. We're going to start on this first artboard here, this white do. And just a quick run through. Wow, we'll even start with a tip when using it. You can go and use it in your properties panel. I find it tricky in here. I like all this other stuff in here. I'm going to get a window and I'm going to go down to text to vector and have it as a own panel. I'm going to clear out the thing that I was demoing and playing with. The other thing is that you can actually just type in. Let's type in candle. It will just generate it on the nearest artboard that you're working on. You can give it a little bit of help. Let me speed through this. There we go. It's great. It's given us at the moment we're on subject. It's given us a candle. It's given us just a size. You can say actually, I want a small one. You drag out the rectangle first, doesn't really matter what's in it. Whether mine's got a white fill and no stroke, it doesn't matter, but with it selected and you do the exact same thing, it will try and squish it into there. You can get the proportions right. There you go, got a small candle. This is more important when we are doing things like the scene option, this one here. Subjects, think of it as like object or creature or illustration regular old thing. I'm going to draw up the size of the artboard because I want the scene to fill it. Otherwise, it just makes a square. I'm going to say, candle makes shop in steam punk style. I've had subject. I'm going to go to scene and do it again. There it goes. Scene will set the background. Scenes funny one. It's all very vague and stuff. It's cool. It's a good starting point. But if we draw the rectangle first, at least we get it cropped into the shape that we want. I'm going to just move this over. Some of the big learnings that I had is when you've got nothing on your board, you get some new shape that came out of whatever you've typed in the prompt. If you're like me and you are not as clean and tidy, you're really messy. Let's go to board to. Do the same thing and I grab my rectangle tool. I like doing the rectangle first. I don't know why. You don't have to. But I I do it over here and I say, I want a candle, I'm going to make sure it's on subject and I generate. What I didn't realize for a long time is that there's an option under the style setting here that actually does have a look. See what it's done. It's gone in by default. This is on at the moment by default. It might be off. I'm not sure. You have to check yours, but under styles and settings, in here, the match active artboard style is on. It's really clear here. Can you see that things just happened to be on my artboard? Not because I wanted to match them. It's just they were there. I was like working on another project. It's cool. You can see this skull pattern going on and picked all the colors from it. It's very similar to this stuff. Just be mindful. If you're looking for some unique character or subject or scene, you need to make sure that is turned off, so I go De it off and do the exact same thing, rectangle to actually what I'm going to do is duplicate this one. I'm going to select it, hold down my option oma PC, you stay there. Go back to this one here, and I can say, it off, do the exact same thing. Do it again, please. You can see there it's gone and created something new. That's one thing to be mindful of. Match active style. Now what I find even more useful is this one here says pick styles from a reference. Let's go and do this one up here. We're going to go to the graffiti. I'm going to draw a rectangle. I use the M key. It's a shortcut for square. But to the M Key draw a rectangle, and I'm going to make it a bit smaller. And I'm going to do I want a subject. Okay, I want to pick a style. And can you see it highlights the image. Don't have to be on an artboard, and just click on it. And you can pick it from anything. I'm picking from a pixel image. It's brilliant, and I'm going to go candle and I'm going to hit generate, and we are going to get ready. Oh, my goodness. Look at that. It's gone through and pick the style from the JP. It's so good. Have a look at some of the other options. Oh, good, good. The colors. It's not just the colors, though. Can you see? It's tried to do some graffiti stuff. It's a really good way to like, even if you're not using this image, it's a sample image. Even if you're not using it, it might be just the way to get where you want to go rather than using the prompt because sometimes prompt with graffiti on side using vibrant colors, but not that color. You can use this to just use it as a style guide. Let's do this one here. This one is pretty awesome. Let's go here, rectangle tool. Let's draw a candle. I'm going to have to reset the style, and then I'm going to click the styles again. Click on this. This will change the changing this panel quite a lot. You'll find it. There'll be a style set in here. I've picked my style. I'm going to hit the same thing. All I've got my prompt is candle. I'm not sure if you've done it. I've tried to black and white sketch drawing type thing. It's getting better, but it's so much quicker and easier just to grab an image that looks like what you want. Oh. Look at that. Oh. So good. Look at it. I'm just so impressed with myself. Look at some of the old. I'm going to hold down my option Keana on a PC to drag out a couple of copies because it's nice to instead of just flicking through them is just to have them all up on screen and go. That one kind of works. I love the color that added. Where they pulled that color from? Not sure, but it's a great complimentary color. What I find it useful for as well is when you're designing icons. This is one of the designs from the Illustrator essentials course, Malvios. His Turtle. Love it. I'm going to go here and let's say I need a corresponding icon that is a candle. I'm going to go to icon, and I'm going to say, let's reset the style, let's pick it from the turtle. I find icon. Sometimes it's good and it gives you way too much detail. Under icon, basically, what it's really doing is, can you see the minimal versus complex? Icon, I don't know. I feel like it's just a drag down subject, which is what it is. For me, it's a little hidden miss. If you find yours not as great. Two. It will get better though. The cool thing about this tool is that this is the worst that's going to be. Going to get better. I'll pick the style from that. Let's go generate icon minimal vectors, see what we get. I give it to you illustrator. You've done a pretty good job this time. Find when I'm using it in my own work. Maybe candle is just a nice simple thing that it can make. I'm finding it's generating a little bit much detail. It's not perfect. It's got the stroker on the outside that doesn't really happen there. I'm hoping that will get better as well. But man, you can't deny. Look how good these are. 5. Class Project 01 - Graphic Styles using AI: One, it is class project time. For those of you who haven't done any more courses before, I create a class project after some of the videos where it makes sense to give you a project to do I set some tasks so that you can practice what you've learned. Rather than just follow me along, you get to actually participate and you'll learn more. You'll have something you can actually use for your portfolio. You will find the class projects in the exercise files. There is a document in here, PDF download the exercise files, and you will find the class projects in there. They'll build out as we go through the course. Number one, I'll show you what we're going to make first and then I'll show you the description. This Hey, how cool is this. Basically, we want to use what we learned in the last video, which was, let me zoom out. We did that style where we did a candle and I wanted to match the style of an illustration or a drawing or a photograph. I want you to do the same thing. But I want you to use where is it gone? I want you to use the brief that you were assigned earlier. Go to that random project generator.com. Get your member I got donuts. I can't even remember where from Granada. That's the one I'm going to be working on. Whatever yours is, find an object that embodies what you're making. Doesn't have to be too literal like mine's pretty easy. It's a donut. Yours might be a little bit more obscure. Figure out an object and I want you to find at least three images that have a visual style. I went for the stippled look, I found that Csolic, found that casilic, and Using it as inspiration, so we're not really just go off and find anything anywhere. Type in things or moods or artists that you like. Bring in the images into Illustrator file place if you haven't done it before, and then use what we learned in the last one where we go and use the style, pick from it, and I typed, I put a dout with sunglasses. I don't know why. I feel like this brand in Grenada needs sunglass wearing donut Through practice with a few very different images, and then I want you upload them both to the class project and share with me on social media. Can't wait to see what you guys do. I'm so happy with myself with my little sunglass donut. Quickly again, make sure that you've got your brief from the random project generator, for your small business, think of an object that represents it. You can change it later on. Don't spend too much time on that. Using that object, use the text vector that we just learned in the last video and create three or more graphics, or graphic styles. Do loads of them, just cut it down. I want to see a zillion billion nice distinct visual styles. Yeah, then I want you to either take a screenshot or save an image and upload it to the assignment section here on the site, and as well, if you would, social media, and tag me in Instagram and Twitter and join the Facebook group in the Linked in group, which is your better flavor and share it on there. Let everyone know that you're doing the Illustrator advanced because I bet you they're going to go, How to do that? You can tell them. We did it together in this course. The one thing is, include the sample image because that's what really makes this awesome is you can actually see where you got your inspiration from and have a look and see what other people have done as well, because it's amazing to go, Oh, man, that's kind of what I want, and you can go off and I don't know. You can all help each other. All right. Enjoy messing around with text of vector and stealing were going to use the word appropriate. We're not stealing. We're borrowing styles from images. It's very cool. Has some fun, and I'll see you in the next video. Is this homework? It is not. It's totally not homework. It's fun practice. It's very different. Next video. 6. How to use Text to Pattern Ai in Illustrator: Everyone. In this video, we're going to use text to vector to make patterns like these. We're going to end it a some props. We're going to look at the pros and cons, the things that it's good at, the tricks to make it work. Plus at the end, I'll show you some more tips and tricks for using any of the artificial intelligence in Illustrator. There's credits that you need to look out for variations to tidy. Jump in and start making patterns. To get started, go to your exercise files and open up the text to vector 02 working on the second one. Just make sure under Window and down the bottom here, open up the text to vector panel. We're going to be looking at this pattern option here, works differently than the other three. Pattern has its own special abilities. We're going to select the shirt down the bottom here. Let's click at once. We're going to start with It's really good at doing especially organic and randomized abstract stuff. It's a little less good at doing really geometric patterns. And so let's go you don't need to write pattern, so I'm just going to type in floral and see how it goes. There you go. We've got some floral patterns. It's pretty bananas good. I do like it. Great for flowers. What you'll find is that it totally ignores the background color. Whatever color is in here originally, it just starts again. I'll show you how to specifically pick colors in a second. I just want to show you some of the butts that it gets not as good. Let's look at I was experimenting with heir and bone and like Hounds tooth like really typical fabric pattern. It knows what it's meant to do, but it ends up with suboptimal results at the moment, you give it a try. You go. This is the thing, but not quite the thing. What it's really good at as well is being very generic, so I can say gardening. Type in gardening. Bam mine's done, we're jump cutting in this video. If yours is taking longer, it does take longer. Jason is jump cutting it for us. Thanks, Jason. You can see here because it just typed in gardening as a general theme, I gave us cool gardening stuff. It's brilliant. It does get lost sometimes I was like, put it in pajamas. You can see I was looking for like pajamay style stuff, but I actually just got a collection of pajamas. You can put in groups of things, so I can say I would like a fox with a flame with what else do I want fox? Flame bottle, from the Illustrator essentials course, that was one of the brands where I was working on, at least. And you don't have to put commas in. You just put in groups of words. You can see, I've got fox. I've got a bottle and I got some flames. Oh, it's very cool. There you go. Actually, let's do a test together. Didn't think you needed commas, but let's add them to see whether it breaks it up a little bit better. I'm not sure why had a beach ball in there. There you go. In this case, it actually did a lot better by separating them and not maybe thinking it's one whole sentence or one word. There we go. There's always the third one seems to be a lot more random than the first two, but it's so good. I really love it. One thing you're going to want to do is to be able to control the colors. This is what this little option is here, color controls. If I click on this, there are some basic presets, Let's go for pestle. That's all I'm going to change and generate again. There you go. You can influence it in a generic color way. I like that one. Also though, you can go through and actually specify colors. Now I've got some colors over here that I want to use, I can go to specify colors. They need to be in your swatches panel at the moment. There's not an eye dropper tool that I can find at the moment. I want to add them to my swatches first. Over here, I'm going to select these three, and I'm going to go to my swatches panel. Window. Down to swatches. I'm going to say here, I'm going to say add selected colors. If I drag this down here, there are my colors there, one, two, and three. Now over here, let's close down the swatches panel. Let's go over here, selecting on this. U specify colors. I can say, and then actually go to do them one at a time, plus again. Yep. It will use your colors okay. Can I use them as a general rule, not a real absolute. If using pan tones or specific colors, it's not good at just actually only using those colors. It uses it to influence the colors rather than actually do it. Let's g a look. There you go. You can see it's not perfect. You can see they've used different shades of it all. Hopefully, but more control will come over that, but still. So cool. You can limit the colors as well. I can say actually 30 is too much. Especially if you want to pull it apart afterwards, and there's just too much going on. Let's turn it down to three. It doesn't work with three. There's just not enough detail for it to do what it wants to. You can see that even with the specific three colors, it's gone and use black as well. Yeah, you can't be super tight. You can edit it afterwards, of course. I'll show you how to do that in a sec. But you'll find your what is a good limit of colors for the things that you're making if it's really simple flat flowers, then you can go for the three colors. We've got a fox that has no face now. Because there is not enough colors for it to do its thing. There you go. That seems like a really good mix. It's tied into the colors. There's enough variation in there to get all the detail. I like it. A bit more advanced stuff. Let's look at what happens when these patterns are made. If you haven't done patterns before, we did a little bit in essential scores. We'll get another section later on in this course, it's called color and patterns. Jump to that if you are dying to get more into patterns. The basic one while we're here though is once it's generated these, if you go, you might have seen it when we went to window and swatches. You'll see that they're actually being put in here. We've got loads of swatches in here. If you are working on this and experimenting and then sending this to somebody, you might want to go through and delete some of the swatches if you're not using them. I'm going to click off in the background, so got nothing selected. Then I'm going to click on this and delete and you can remove them from your switches panel. The other thing you can do is if you want to edit this now, feel like I like this, but I want to go and mess with it. It'll be in here under your swatches. This is my text patterns, the last one that I made. You can drag it out. There you go. This is no longer a pattern, it's just the shapes. I can go in here and I'm going to go to command or control y for outline mode. You can see this is all vector good stuff now. We can get in here with our direct selection tool and start messing around with things. Mess around with them badly. Just for instance, we can go through and start messing with these things by dragging them out of the pens. Again, we'll go into pens a little bit more in the course, but I didn't want to leave you hang in here. This is more general for all of the AI features in Illustrator. The first one is the variations. If I click on this again and I open up either, let's just toil this down, rather than the panel. Can see here I've got all these variations. They're cool, but you don't need them anymore. They are increasing the file size, and you might just not need them. You don't want anybody to see them, you don't need them. You can just go through, click on them and say, let's say delete variation. The other thing to note about using text e vector to do this pattern, but any of the actual AI features. I say AI, gets confusing, artificial intelligence is what I mean. Any of the text e vector stuff here in Illustrator or in photoshop or F fly, they actually cost credits now. It costs quite expensive for this to actually be done by Adobe. It's not actually happening on your computer. When you type fox and beach balls, it actually goes off to Adobe, Adobe processes it on servers, and then they send it back to you. They are giving everybody a certain amount of credit as part of their licensing. It changes. I'm on the generic all software creative cloud license. I get something like 1,000. I'm not going to say the number, even though I have because they are still working through this on what they're actually going to give people. I have never bumped into that limit. You can go into your account settings and check how many credits you got left and how many apply to your account because you might run out. You won't. They've done lots of research about the uses so far. I use it all the time, and I've never got anywhere close to my limit. It's a monthly limit that will reset again every month. Just say you know there are credits and they're called generative credits at the moment. Go and have a look how much you've got as part of your plan, how much you've got left. Last one before we go is there's one thing that AOI doesn't seem to be able to anywhere at any time? I'll show you. There you go. Hands. Don't ask you to make hands because hands end up looking really weird. You end up with bent fingers and fingers going the wrong way. And did anybody notice that let me through this? Do you know her hand? This is the first time you've seen it? Like Oh. Okay, her hands are really averagely done in any sort of artificial intelligence. I don't know why there is this problem. Last thing I'm going to do is I like this one here. Oh, that one's good. No hands. I'm going to copy and paste the rectangle. I'm going to right at the top. I'm going to fill it with. I'm going to fill it with black, and I'm going to lower the opacity and I'm going to select both of them and I'm going to right click and go to arrange and send them to the back. Just to have a bit of I visual difference between the two, my poorly shaped rectangle. There we go. That's it. Time to go find some coffee and donuts. See in the next video. 7. Class Project 02 - Text to Vector Patterns: One class project time. I want you to create a pattern background. We're going to make a push pull sign for the store that you're doing your design work for. Mine is the Granada donut shop. Yours will be different. You've used the random project generator to get something. Make something in the background, and it's the push pull signs that go on the doors. I don't mind how they look, what shape they are, circle squares, rounded corners. I've put just a box that matches the background with the opacity down with black, just to give it the darker look. Depending on the patterns that you end up getting made for you, you might not need it. Main thing is, I want you to experiment with the pattern maker, have a playground with limiting the colors, typing stuff in, have some fun. What you will bump into though is one little problem like let's move this off here. If you move this, this might happen to you. You may be like, Oh, how do I stop that? Surprisingly, it's quite tricky. It's in a weird place. I'm I'm going to show you where. I got a window and go to the, where is it pattern options? In pattern option, no not in pattern options. Window transform. Open up the transform panel. In the transform panel, I'm going to have this selected. I'm going to say little fly out menu. Under here, there's option. The default is transform object only. Means when I'm dragging it, moving it around, it only moves object, not in the pattern. What we want is we could just do the pattern only, we want both. We want to move it so everything comes along. That feels more natural. Check. Your default might be different to my default. I'm pretty sure that's out. Looks weird by default. This is the way I like it. So I'm going to put my mine back together and let's have a quick look. It's in your class projects. Make a push pull sign, use the text vector, just in a screenshot or save them both and upload them to the assignment section and share them with me on social media. Enjoy messing around with the pattern maker. We do have a section member later on that goes into more detail about patterns. It can be hard to know how to group these things up in these courses. Comes a little bit later. Just have fun messing with the artificial intelligences. I'll see you in the next video. 8. How to use Generative Recolor Ai in Illustrator: One, in this video, we are going to look at generative recolor in Adobe Illustrator. Now, we covered this a little bit in the essentials course and this video, we're going to take it that next step further. The advanced version. We're going to look at adding specific colors to coach the AI to get it to do what we want. Plus once we get results, I'll show you ways of adjusting it, brightness and saturation if it's close, but not quite right. Plus some of the weird things that it does and how to get around it. All right. Let's jump in. All right. First up open a file called Gen recolor 01, in your exercise files. Looks like this. I made a little logo lockup for the exercise. I want you to select this top one here. We're going to find the recolor panel. It's pretty easy fine. I've got loads of options. There it is there in my contexural Task parts, over here, my properties panel. You can go to Edit, go to edit colors, generative recolor, however you get there. Often you get there on this panel. What we want to go is to the generative recolor one. Generative recolor is the artificial intelligence, helping us recolor stuff. It's very cool. There's some sample prompts down here. Let's click the first one. What is this one salmon Sushi? I find it very hard to know how to describe. This seems very random. How can these all be salmon Sushi? I guess there's a salmon color in there. I guess as it Dan. But anyway, if you find it difficult, I find it difficult. What was I doing? It was really weird. I did urban. I like the word urban. I don't know why it gives me a color scape that I like. But if I go vivid urban, these colors here, like But if I went, what was the other one, it was urban, It was vibrant urban. I really liked every time I had vibrant urban, gave me really good colors and then vivid urban, didn't. We'll get better at understanding the prompts and what to write to get the things we want. Also the people developing the understanding of what we type in, will get better as well. Hopefully that gets better. One of the problems that you might have run into is that I really like this color and this color. I want two of them. I'm going to drag out another version. And the recolor goes. At the moment, it's not I wish I could just say I want all four of them, please. Or the other thing is when I slicked on it, earlier on, the textur vector stays active, if you know what I mean. I'm hoping they change this in the future. But at the moment, you got to do it again and type in vivid urban and get another The other more advanced push for this one here in terms of the course is using these sample colors. What I want to call out here is that if you want a really specific color, see you've got some colors here. If you really want those, don't use regenerative color. Because you can just click on it. I'm going to click on this part of the font. I'm going to use my eye dropper tool and I'm going to say pick that font. If you've got really specific colors, just color it the way you need to. I found when I was using it, I was trying to get it to use specific colors and it doesn't want to. Wants to help you randomize or at least find explore new colors. I'm going to go into it. So the other thing is, it'll be grade out. You've got to actually type something in. Let's type in muted, and I'm going to go plus the color. You'll notice as well, if you've watched the earlier videos that I can't pick these colors that are over here, because they are not in my color swatches. I can go into this color palette here, and it's a little bit weird. Yours might be different. I think they all default to C on Y K, and you go up to here and you're like, Oh, little bit bunk. I'll go to pick a color. Then go into here, little flat menu. I'm going to pick HSB because that's the one I like using the most, and you can pick from down the bottom to get started and then you can mess around with the hue and the saturation of that hue and the darkness of that hue. You can pick a color I know ad hoc. But if you want the swatches to appear because you're like, I'm using this throughout the brand and I want it to influence but not completely replace these colors, so I can go going to go to Window, we're going to go to swatches, and we're going to go into here, we're going to say add selected colors, two our swatches. There's one, two, and three. Now I can close that down and say, generative recolor, let's go to recolor, generative recolor, type and mute it again. I'm going to have plus, and there it is there. I'm going to have to click off, click Back plus. You got to do this and can do more one go at the moment. Now, let's go generate. There you go. Use these colors. Oh, man, that's not even close. Better. There you go. That one is there. Oh, not even. Is it influencing it at all? A little bit. I can see it in there, but anyway, it's stuck that one there. It's close to it. You can go through and say in here at the moment, good result, bad result. I'm going to go through and say, just generate again. Give it another go computer. Better, better, not better. Normally works a lot better than this, but I guess the big takeaway is that these colors aren't going to inject themselves in. They're more of a way to direct what kind your prompt plus this color. You can just type in blue in here as well. Doesn't have to be very specific. You can type in blue and get rid of these and it will influence the colorway as well Last bit of advancnss is that when you say you're like, this is close to it, I like it, but I'd like it to be more vibrant, even though it was muted. You can either go into the little dotted menu click on the one you like. And you're like, I like this, but I just need to make it more saturated. I can go into this option, and go select and edit colors, or I can just click this. You end up at the same place. Watch. Just jumps to this tab here with all the colors selected. We're going to do this recolor tab later on in the color section, but for the moment, go into here, these two here are quite useful. This one here is the brightness and this one here is the saturation. You can click on this first one and say I want them to be more bright or less bright. Say you want them to be a little bit brighter and this one here, I want the saturation to be up a little bit. Too much. It's a good way of getting it close using generative color and go, I just want to tweak it a little bit. Give me a little bit more or a little bit less. All right. That's it. Generative recolor, a cool artificial intelligence bit inside of Adobe Illustrator. Actually, lastly, before we go, this font, I've outlined it in your version. It's just the shape if you're like, Well, I like that font. I do. It's called BC mixer. It's an adobe font. You can get it from the font adobe who is the fontographer? There it is there, BC Mixer. Where's the type designer? There is there. Thank you, Phillip, Kraus. Love the font. I got loads of cool weights. Oh, it's lovely. Anyway, Side track. That is actually it for the video. I'll see in the next one. 9. What should I use Scissor Tool Eraser tool & Knife Tool?: One. In this video, we are going to look at the differences between the scissor tool, the eraser tool, the knife tool, the shape builder tool. They're all used to cut things up in illustrator. But they all have their own like quirks, pros and cons, and I want to go through them all with you. I'll show you the ways and reasons I tend to use them because there's a lot of crossover in these tools. But everyone's using illustrator differently and I want to give you all the tools to figure out which one works best for you. That's meant to be a coffee bean. I had to put a reference over here what a coffee bean looks like. Anyway, let's jump into the video. All right, first up, open up a file called knife scissor eraser shape builder from your exercise files. It's just an orange background that I put a tiny gradient in. All you really need is you don't need this file, you just need a shape. Have the shape with a fill, but no stroke, that'll be a good way to get started. Let's start with the eraser tool. And it is, where is it there? Looks like that little icon there, looks like as it in, and all you need to do to use it is to click and drag through something. I'm trying to draw a coffee beans why I've got all these mood boards over here. Undo. If yours is not working, can I share a couple little tips for using the eraser tool? First is, if it's not working at all, I grab my eraser tool and I go over here and I go uk. It's not working, you can tell why. I have this selected, but not that. I can do this one, but not this one. Alternatively. What I can do is have nothing selected, grab the rosa tool, and I can go through both of these. Fancy. I've undone a few times because what I want to do is I want a few versions of this. I'm going to grab it with my selection tool. I'm going to hold down my Option PC and try and drag it out straight. I've got this. I'm going to go command D O MAC, Control D on a PC, and give myself a few versions of it. One thing you would have noticed about the eraser tool is that your brush size was smaller than mine probably. Let's go into it to change the size of the brush. I've got the size here. You can either double click the tool. Basically every tool and illustrator is double clickable. That's a good tip. In here, you can play around the size, and you make it bigger or smaller. If you're doing lots of work with the eraser tool, you can use the shortcut, k, which is your square brackets. On my keyboard, nix P key is the open and closed square brackets. If I mesh on those, it'll make the size bigger and smaller something appropriate, and then I'm going to draw what I feel like has been, it's not bad. What you'll notice is that while you're dragging it, I'm going to do another one, then I don't want to rag this one. Can you see my actual line is a bit yucky. What it does is it actually smooths that out and blends it a bit. You end up. Why is it not drawn on it? Because I had this one selected and not this one. If I had nothing selected, grab my eraser tool, which is the shift ek wed. You'll notice that when I'm dragging it, even though it looks really jittery, once I let go, it'll be nice. I do that. That's the eraser tool. You end up with like two chunks, erases the bit in between. Now, let's say I want to just cut it into two parts. That's what this tool here is for, the knife tool. Does a similar thing to the eraser tool. What will happen. If I click and drag through it. Do you notice it's jittering? Actually I'll draw another line. Can you see you should be zoomed in now? It a jiggles around. It's trying to smooth out. It's hard to do stuff with a mouse like I know you can do precision but you can't do smooth. What it's going to do is watch this if I draw the same thing through there, it's smooth it out nicely. The cool thing about it is if I grab my black arrow, click off, I've got two halves. That's the knife tool. You can see the difference. The erasor tool just knocks a chunk out, whereas the knife tool slices it and you've got two parts. To you what you need in this case. All right. So who's left in the gang? It is the scissor tool. He's got the very good C key. People use this a lot. I find it tricky. I ended up pulling out the Shep builder, which I'll show you at the end, but it can be handy. Now, what you'll first find out is if you try and do what we just did with the knife tool, watch this. Says, you can't just draw through things. You actually have to click on the outside line of something. So I've got nothing selected or you can have something selected and watch this. Can you see? When I click around the edge, it starts working kind of. Watch this. If I get right at the top, click in there, and I click once at the bottom, I have now used the scissor tool. You'll be like, you haven't. It's done nothing. What it has? If I grab the black arrow, Watch this. I've got two halves now. Using the knife tool, all the erasor tool is pretty painful to do that slice, especially straight up and down or between two anchor points. This is a tool can be handy that way. Where it gets used the most by people. I'm going to duplicate this up again, shift dragging, holding shift and option on a Mac, shift ult on a PC. What I want to do is instead of a fill with no stroke, I'm going to switch these around. Now I have a very thin stroke, but no fill. Or shift X is the short cut for toggling between those two, and one. I want a stroke around the outside, no fill, in a zoom a little bit, I'm going to These panel, I'm going to say, give it a bigger size, anything. Where this a tool shines now if I have these two selected, go to my C key for Sizz tool. If I say actually I want to slice a piece of this out, I want to go and U. You're like, again, hasn't done anything. It has. Watch I've got this chunk that was left at the top. I've got this bit in the middle and I've got this bit here. If you need to slice things into pieces, that is a siss tool. No sure what I'm doing with this one, but I'm going to grab the pencil tool, which is hiding underneath the shaper tool. I'm going to double click it, make sure a smooth is maxed out. Click, and I'm going to have nothing selected and I'm going to go wavy line. It's meant to be steam slash, Steam slash inside of a coffee bean. I don't know what I'm doing. Let's select it all. Let's go to stroke, and let's go to the rounded cap to give it a slightly nicer edge. Throughout the advanced course, I'm going to throw in stuff we did in the essentials course, for people who did the essentials, be like, Oh, yeah, forgot about that, or hopefully the repetition will help you like cement it. For those people who have jumped to the advanced course, you'd be like, I don't want you to miss out either. All right Let's do one more. I'm going to duplicate this down here, and I'm going to get you stroke profile wavy one. Nice. Not sure what's going on there. We've got the as tool, we've got the knife tool, we've got the scissor tool. One of the things with the scissor tool is, let's do it for this one here. I'm going to select this and I'm going to grab my sissit to C Key, and I'm going to click on this endpoint, and it's going to freak out. For some reason, the scissor tool, it'll cut things into segments into sections, but it can't clip the end bit off. I don't know why. It should. If you want to get rid of that, grab the Dre selection tool, click on this end point. Other ways as well, but it's one of those things where I'm like, You sure can't do that? Yeah, I'm sure. Scissor tool is a little bit wed. Also, I'm going to be honest, what I tend to do instead of the scissor tool because it has so many strangenesses. I've just duplicated this out. I'm going to grab the pentol. I'm going to say, I'll just hit p for the pentol. I add a point there, add a point there, grab my direct selection tool, click this chunk in between. Grab the dire selection tool. Click off, click it back into the chunk that I want to get rid of and delete it. Is that easier? Totally isn't. There's a lot more steps in that one, but I know the way I do it, I figured it hare. Now, the knife tool and the eraser tool and this is a tool. Often just use the shape builder tool. We cover this in essentials again and we'll do the shape builder a bit more advanced in the next video. But again, I want to show you how often I do things like this. I'll grab my pencil tool and I'm going to draw a line. The nice thing about it is I like spending time drawing the line, rather than, I got quite lucky with the eraser tool here, came out, but if I want to adjust it and play around with it, it's done. Same with the knife tool. I tend to do is go, I just use the pencil tool there. But I'll grab the penol go, click hold and drag, and maybe over here, I'll go click hold and drag. I can spend some time with my direct section tool. Click on this first anchor point, drag this around. I got to change the color of the stroke. There you go. I'll spend time doing this. I like this time going like this, but like this, looking at all my reference material, and then selecting them both with my black arrow, selecting you and saying, Shape builder, which is this tool here, and going you can delete stuff, so hold on my option. My MC or on a PC is delete stuff. But if you want to keep them both, what you can do is you can say, actually, I'd like to fill it with just a random coloring and a pick dark red and say you click on one of them. Then go back to my black arrow and now they are actually two different chunks. Depends if you want to be doing free hand stuff, where the knife tool is great, the scissor tool works with shapes, but often gets used for paths only. The erase tool can be good for more illustrative purposes, you try to drag things and rub mount. But you might find you're working a little bit more like me, where you spend some time creating that stroke. With the pen tool. Then once you're happy, using the shape builder tool to slice it into pieces. The one thing you'll have to do with the shape builder tool. Let's hit command y on your keyboard or control y on a PC is there's some chunks left over. I'm going to hit delete on that, delete on that. Sometimes it can be bits left over. I'm going to do undo. If I've got them all selected, I've just used the shape builder tool, I can go back to my shape builder tool that is there. I can hold on the option key like we did before when we deleted a chunk, you can actually draw lines to the bits you want to get rid of. There you go. That, my friend is the res tool, the knife tool, the scissor tool, and a little bit of a recap of what the shape builder tool does, and the different ways that I work. Again, the reason I wanted to show you all the different ways is that everyone works a slightly different way, their brains like, Oh, scissor tool. Looks like scissors, works kind of like scissors. That's the one I want to use. Go do that one. There's no problems with it. I just know people are using illustrator in lots of different ways than I do. Those are all the ways. You're a master of the ways. That is it. I will see you in the next video. 10. Advanced Shape Builder Uses : One, in this video, we are going to master the Shape builder tool. If you're like, already know how to use the Shape Builder tool. Ah, there's going to be seven here you're going to love. I use the Shape Builder tool probably the most illustrator, and we're going to supercharge our superpowers in it. Let's jump in. That's a donut, by the way. It was meant to be a dougut. Now, it's kind of green. Anyway. Let's jump in and start making doughnuts. Gross gross doughnuts. All right, our first open up from your exercise file, something called Shape Builder advanced. It's mean to be a donut. First thing we're going to do is just to make sure for this tutorial, click on any of the circles here. Go to your property spanel. Under transform, there's this little three dots, little advanced little option. Say scale stroke and effects is turned off and the scale corners is turned on. Just means when we shrink things up and down, the stroker on the outside is going to stay the same thickness and don't get smaller. Anyway, first thing we're going to do is select everything. We're using my black arrow. I'm going to go to my Shape Builder tool. Shift M is the shortcuts, this one here. What I'm going to do so if you haven't done it before, you click across them, just drag across them, and they all join up, which is cool. We want to delete this like it's meant to be a teeth mark. We're going to hold down the option key once a PC, and you'll see my little cursor changes to a minus and then I can just click through and zig zag my way through them all. You might not get them all. You might have to do that same thing again, hold the same key down, which is option on PC and just drag through them until we get our bite. Let's look at some advanced stuff. Let's grab the pencil tool. You might have to hold down the shape builder tool, grab the pencil tool or use the n on your keyboard. I'm going to double click mind to make sure the smoothing is write up just to make it look nice and smooth. What we're going to do is we're going to exaggerate a gap at the top. Yours might work at might not. I'm going to try and make we work. I'm going to leave a gap and try and draw my icing, and I'm going to try and draw some like blobby D that work. Then I'm going to come back over here. Oh, it's like a skirt on it. I'm going to do that. Okay, that was nicer. I've left a gap at the top. I can check the gap. Command Y or control y on a PC goes to outline mode. Can you see the gap at the top there? I'll zoom in the gap there? That's what I'm looking for. If you don't have it, grab the white arrow, and you can just nudge it around. Don't want it overlapping because that's the idea of this advanced feature is to fill in those big gaps. Back to normal views, Command, control y on a PC. Blacker, I'm going to select it all. I'm going to grab my shape builder tool and I'm going to say, I want great to add this to there. Perfect. I'm going to get rid of this like little tab here. Can you see it? I'm going to hold down my option om PC, get rid of that. Now I want to fill this bit in. But you can see, I can't drag across this. It's because there's a gap in there, and by default, the gap detection is off. What you can do is double click The shape of the tool, remember, all tools can be double clicked as we find all the good stuff. We can go gap detection is on. You might have to mess around with small medium and large, depending on how big you made it. You can see small will chime fill gaps of three points, that's how big minus, still doesn't do it. I don't know why. I just go straight to large to see if I can fill it. That's 12 point gaps. I might not be big enough, it still not. If you've done yours massively big like me, You can double click it and say, I want custom, and I'm I put it up to 40. I'm going to say, you can fill this all in. You watch this. I can click and drag across them now that we'll join them. If there are gaps, you're like, it's really close, but not quite overlapping, you can force the shape builder tool to fix it. Now for me at the top here, I want to try and fix. There's a little bit of a jettery jiggly thing up the top here. You're probably going to have the same thing. What we can do is grab the option key PC, and just click on a once. Get rid of that, grab my direct selection tool, and tidy this up a little bit, just moving these anchor points around to make it more smoother. Okay. If you have got gaps, especially if you've drawn some hand drawn illustrations, you can fill those gaps if they don't really want to play around with a gap size. The next thing I want to look at is let's select it all. Let's go to our shape builder tool, and let's look at where it gets its color from. At the moment, mine has got no fill in this purple stroke or on the sides because that's what my last thing I was doing. Yours might be white with a black stroke. That's where it gets it from your stroke panel. You can see pick the color from your color swatches. Currently, I have a fill of noun and a purple stroke. What you can do is be a bit more intentional about it. Let's cancel that. Let's open up. I'm going to have nothing selected, black arrow, deselect the background. Turn that off. Go to window and open up your swatches panel. When you're coloring in a drawing that you've done, or done a live trace, or got it from somebody else. What we're going to do is we're going to add all of these swatches over here. Can you see I've got this chunk. Select them all. I'm going to go in my swatches panel. I'm going to say you are all add all selected colors. Awesome. They all are my swatches panel. Now if I select on this, and I grab my shape builder tool. Shift M. I can say, I want this pink color, or is it there? That one there the darker one to be in the top, and I want this I know biscuy donat color at the bottom. You can work your way through your illustration picking the colors that way. Let's add a little extra. I'm going to grab what I'm going to do? I'm going to click hold down my leptol, grab the rounded rectangle tool, and I'm going to draw some sprinkles. If you are finding hard to draw sprinkles with rounded corners, what you might do is a new your properties pandle, under rectangle. You see the an option. This says scale corners. We turn that on earlier on. We do want to scale it. I'm going to grab the white arrow, and I'm going to zoom in a little bit. And I'm going to say you drag all the way and I've got this lozenge thing. I'm going to use my black arrow. I'm going to rotate it, and I'm going to actually copy paste paste paste paste. I've got a few of them, and then I'm going to go in fast forward mode. I'm just going to move these in. Those are my stingy sprinkles. We've got a couple of them. Let's select them all. Let's supercharge this color swatches things. Great when you're coloring in big illustrations. Select it all, Shift M for my shape build at. Let's double click on it. Let's say this one here. We're going to pick up from color swatches, but we're going to turn the swatch preview one, which is handy. Let's click. Can you see above my cursor? It's telling me where I'm at, which is the middle one. I'm at no fill, but a little bit to the left. Can you see there's dark pink, a little bit to the right, a little white square. What do is use your arrow. Watch this. If I use my arrow keys on the keyboard, left and right, these ones down here. Can you see it's moving if I go right, right, right, right, right? Can you see it corresponds with what's going over here? I'll move it there, you watch. If I hit right, can you see it's going through my switches? What you can do is I'm going to go down, down one row across. A little bit tricky there we go. Down one, and it actually jumps to that next row down there. I'm going to go up one. I'm going to go back back back. Can you see my little highlight now is on those switches that I made? Just using left and right. Once you find them, what you can do is you can say blue, an blue. I can go right one, right one to my more minted be chocolate color, drag both across these. I'm going to go next one along, which is I think it's an off white that I made, and I'm going to go back to blue, using my left arrow key. See, it takes a little while to get used to, but you can start toggling through colors that you've added to your watches and start coloring in. Let's go to this purple color, t's go. Let me go for the darker color down the bottom here. How I imagined it. Now, we're using swatches to color it. I've got let's pick our own just custom colors. Let's select it all. Go to my Shape Builder tool and you can just double click on the fill swatch and say, actually, I want a really darker pink for this middle bit, and then click and fill that. It's not a swatch, you can't toggle between them, but you can go and pick them. It's what I'm looking for. A couple of other tracks with the shape builder tool is. Let's say I just want to make this one big flat icon. Don't want anything in it. What we're going to do is, I'm going to go to my shape builder tool. I'm going to actually double click shape builder tool. I'm going to go to reset everything. I want to smush everything together like the pathfinder. What you can do is shape the tool, just hold down shift. What ends up happening is instead of drawing a line like this and trying to join a little bits up, you can just hold shift down and drag it across. Joins them all up and one go. That's a handy trick. I'm going to undo. Another trick that might be handy for you. I don't use it, but it might be handy for somebody else doing illustrations. If you double click on the tool, is this here that says I Merge mode clicking stroke, splits the path. It's not clear what it does, but let me show you. Let's turn it on. Click. I'm going to deselect everything. Command Shift A on a Mac, Control Shift A on a PC and I'm going to just do it with some basic shapes. I'm going to grow up in ellipse and just overlap two of these guys. I got two of them. If I select them both, G my shape builder tool, make sure that setting is turned on. It's this one here, I Merge mode clicking strokes and path. Click Okay. What you'll notice is when you hover above a path, it's got a different icon. Can you see that weird little cross in the middle of the line? You click on it and you're like, it didn't do anything. Does. Watch this. If I grab my black arrow now, click off on the background and say, you, and you, see what it did? Slices them where they were. Like using the scissors tool, but a little bit easier. I don't use it very much, but you might be like, Oh, that's super helpful. There you go. Some advanced Shape Builder techniques. I love the gap detection and coloring in with the swatches from your swatches panel. Before you leave, you might want to just double check, double click on the Shape Builder tool, and you might want to hit reset and maybe tune gap detection on. Everything's back to the way it was when you click Okay. It'll remember it next time you're using the tool? There you go. All right. I will see you in the next video. 11. Class project 03 - Shape Builder: One. It's class project time. We're going to use the Shape Builder tool. Let me quickly go through what the requirements are, and then I'll backtrack and give you a slightly more information on them. Think of an object that compliments your business. It might be something that you've done earlier on. Might be something else. Obviously, I pick donut because I'm doing a donut shop, but coffee might be perfect for me, something different for you. I want you to draw a simple graphic of this. Don't get too hung up on it. I want you to pick some color swatches. So different colors to use, and I want you to practice using the shape builder Draw something. The two things I want you to practice with is the gap detection. Draw some lines that don't quite overlap, play around with it and coloring it in using that cursor swatch preview. Me when we had a bunch of different colors we use our left and right arrow. To color in our graphic, just practice around with it, then upload it. Let me dive back in a little bit more. Obviously, the object pick it in, don't get hung up too much on what kind of Are you a good drawer? Is it not a good drawer? Whenever I'm stuck with something like this, I've never drawn a donut in my life. I went to Google images and I went Donut icon, gives me something simple to try and redraw. You can use the pencil tool, you can use the ellipse tool. Any tools you know how to use Pen tool, it's fine. Sometimes I go out to dribble with three Bs, and I just typed in donut to get some other ideas. Often in here can be a bit more Designery, and beautiful. Sometimes I'm just looking for simple. Once you've got it, again, don't worry about how good it is or how good your drawing is, it's about practice. I want you to pick a few swatches. You can totally randomly pick swatches. Often what I'll do is I'll go to adobe color. So it's dot adobe.com. I go to this one called Explore, and then I typed in Donut. And there's colors related to a doughnut. Now, there's two ways of bringing in. I going through about this again. We've done a lot of this in the Illustrator essentials, but I want everybody to be ready in case you jumped in here straight to the advanced, and it's a good recap. Say you do you like these colors here. You've got two options. I can click on just the colors, and I go into this big version of it. This might change. They mess around with the UI in here all the time and every time I make a video, it's like, Hey, it's not there anymore. You might have to find your way around a tiny bit. But what I'm going to do is K can hover above the copy. I see those the called hexadecmal numbers. I've copied them. I'm going to jump into Illustrator. I'm going to open up my swatches panel, which is under Window. I'm going to go to Swatches. There you go. I'm going to add a swatch, and I'm going to type it in down here. I'm just paste it in, and you can see there's my first swatch. The other way of doing it is I'm going to come out of this. I'm in cool doody.com. I've logged in. You can see my little face there. I've logged in. What I'm going to do is I'm going to create for this course a new creative card library that I can share. I can hit plus, and I'm going to say, make a new library. I already created mine called, Illustrated advanced. I've just got it selected here. What that means is I can go in here and say, Okay, I'm going to click on this. Actually I don't have to go in there, do I. I can hover above this, and you see add the library. I'll add to whatever you've got selected at the top here. Just make sure you've got the one you really wanted to go to, and I'm going to say add the library, jump in the illustrator, give it a second. There it appeared. Add your own sound effect. What I can do is that feature. S we look slick both of these, let's go into my shape builder tool. If I want to turn this on, it's only going to pick swatches from not my library, but from my swatches panel. It doesn't quite work the way I want it. What you can do is just hover above it, right click it and say, add all of these colors actually add the theme to swatches. The groups called a color theme, you could do it individually. All are. Now, look. I'm using my left to right arrow and I can say I want you to be that color, the color. I want you to be that color. Practice that. Do a little drawing. Don't sweat it too much about what it looks like. If it's meant to look like the thing it's meant to use a bit of the pencil tool to add a bit of caps, so you can see if you can fill them and problems you might run into. And then share it with me. This was a long class project explanation. I figured I wanted to just everyone skills up on some of these ones and remind people if you haven't done it before, how to use libraries and swatches. What I really want to do is see what you draw, good or bad. To make sure you share it with me in the assignments, but also on social media. You'll see the tags here in the class projects, let us know how you feel about your drawing. If you feel really bad about your drawing, that's the perfect time to share it. Because it'll make others that also have bad drawings to feel good. Then we'll get better as the course goes along. There you go. Be brave. Share your drawings, and I will see you in the next video. Happy Shape building. 12. What's the difference between the Pathfinder Vs Shape Builder?: Hello. Hey, it's Pathfinder secrets time. In this course, I often use the Shape Builder tool to combine shapes like this. It works great, but it is very destructive. We're going to look at the Pathfinder tool and show you that it has a super secret feature where we can make things non destructive. It has pros and cons, but wash this. I've got this amebus blobby bacteria looking thing. Watch this. I can go into it and watch I can move it around. It's not fixed in time forever. It has adjustability. Let's jump in and reveal the secrets of the pathfinder. Open up the Pathfinder file from your exercise files, and we're going to open up the path finder window as well. Window, go down to Pathfinder. There it is. It is in your properties panel, but it's cut down and we want to look at this on purpose. Nice and big. A lot of my courses, I do a lot in the Shape Builder tool. I slick it all, grab the shape builder tool and I want to join these up to make them like one atomy blob thing. The only problem with that is very destructive. If I want to move the circle around, I can't. I'm going to get it undo till I got all it back. This is where the pathfinder is really helpful. If I get my black arrow, and what you'll notice is what click on this first one called Unite. Does eboy use path finder the same way do, you go under click, under, click, under Do you find the one you want? We want the first one luckily in this case. I want to join them up. It's just a quicker way than using the shape builder tool. If you prefer it this way, you end up at the exact same point. The perk with the Pathfinder though is it has a super secret trick. It's going to undo is instead of just clicking Unite, if you hold down the Option K M O K a PC and click the same thing, you're like, does the same thing. Of. But can you see if I have it selected? You see the circles are still in there. How do I get to those? Just double click on any of the lines. Inside of here, look, it's hard to see against the background then, but you get the idea. This is what they call non destructive. It's doing the exact same result because you're not too short, you need to do, you're like, it needs to be a little bit wider, a little bit bigger, and it keeps all of those dimensions in there. Doing something sneaky with something called a compound shape, you can do with any of these options here. Now, let's go back and you can edit it by double clicking on it. The other a couple of things you can do is you can select on it and you can say, I actually, I want to break it apart again. You might get somebody else's artwork, you just want to smash it to pieces as in get all your bits back. With the pathfinder with the selected, we can go to the options here and you can say release these compound shapes. Bam, we're back to where we started. The other option you might do, I'm going to select it all, make sure I hold down the option Kean PC to use the non destructive version of Unite. You can expand it. That is basically the exact same way as clicking this first option without holding down that special key. Depends what you want. Why don't we just use that for everything is that it's really good for simple shapes, but when you start doing complex things like our donut. It starts running into problems because it's mixing compound shapes with shape builder tool and it'll gets a little messy. If it's not complex shapes, my advice is to use the shape ular tool. Let's do a little circles. I'm going to do bits of this. I'm going to do just these shapes to start with. I've got my bite marks and my outside val, and I'm going to go remember to hold down. We want to unite them. Actually, I don't want to unite them. I want to minus front, but key to a hold down. That's right. Option on the mac a PC, click a once. We get our bite mark. I've given you the little drawing of this quickly thing. I want to fill that in. I'm going to go click you. Hold Shift, click on this one, and I'm going to go joins the line. Does this thing. We can't get the path finder to do what I want. It's a shape builder trick because it's got to join this and it doesn't know which bits. You've got to join these two up. I grab my shape builder tool. I double click the shape builder tool and get a reset, just make sure everything's back to how it was and watch this. Yeah. Okay. Doesn't work. It's because it's trying to do too much. It's trying to do this compound shape. It's trying to do some shape builder stuff. If your drawing gets it might start off and be nice and simple, perfect, get your adjustments done, but eventually you might have to go U with all this complex compounding going on. I'm going to expand it. Then shift click both of them. If M for my shape builder tool, and I'm going to join them up now. You might end up starting one way with all the non destructive goodness and having to expand it eventually pretty soon. That's what I find. Everyone's doing different stuff. You might find that you can stay in the lovely pathfinder world with compound shapes for a lot longer. There you go. That is the secret trick of the Pathfinder. Retain some of that editability. We can expand it, release them. It's non destructive, but you might find that you will quickly have to be destructive and expand it if you want to do anything else with it. There you go. Pathfinder secrets. Onto the next video. 13. How to use the Join tool & Joining Path Ends: Hi, everyone. This video, we're going to look at something called the join tool. Super handy. Look at this. These overlap, watch this. I can scribble over them. And I join them. Do the bottom as well. Join them. Lots of joining, using the joining tool. Super easy to use. A really good compliment to using the shape builder and the pathfinder. Building up our skills. Let's jump in. All right First up and your exercise files. Open up the join ai. I've got it's meant to be a flame. I drop with a pencil tool and a bit of the pen tool. Now they're all individual shapes. And this is with the join tool shines. The shape builder is perfect as long as they overlap. But when there's these big gaps, we can use the gap feature in shape builder tool, but often it's not exactly what we want. You may know or you may not know the simplified version of this. I've got these two separate paths. If I grab my white arrow and slick both of these end points and say, I want to join U two up. You can go command J or Control J on a PC. I just joins Only trouble is, look, it's just a straight line. You're like, I guess it's joint. At the top here, which is this. If I do it to this one, I go and go I've selected these two anchor points at the top. You go command J or Control J in a PC. You're like, That's not all we want. The join tool. Where is the join tool holding? Where is the join tool hiding? It is hiding underneath all of the pencil tool shape or tool right down the bottom here. Grab that one. Now, I don't think you have to have anything selected first. I think we can just go scribble scribble scribble. C. It hasn't just cut them off. It's actually joined them up. You see it's actually a joint bit now. Go on. Same thing. Let's grab the join tool and let's scribble across here and I've set us up for a success. Sometimes it gives us a less than happy ending. Sometimes let's try this one. Done pretty good and this one here. It's done pretty good. Sometimes it's not perfect and you're going to have to go in and grab the white direct selection tools, the AK, you're going to go see that's a bit murky in there. How am I going to get rid of that? Like there's two anchor points in here? I'm probably just going to end up grabbing my p for my pen tool, hovering above the anchor point, getting rid of him, getting rid of him, zooming out a little bit. That's probably all I need. I'm going to go back to my A tool for the direct selection, and I'm going to go and mess around with this. There you go, the join tool. Super handy. Like the shape builder tool, which is better suited for things that overlap. Join tool is great when there is a gap. Often you'll need a mixture of the tool. I'm going to pick a couple of nice colors for this now and redo the intro with the good looking flame. While I do that, you can move on to the next video. I'll see there. 14. Learn Advanced Pen Tool Tricks: One. Welcome to Advanced Pen tool Tips and Tricks. The Penal can be a tricky one to learn. If you've got some basic skills, I'm going to show you how to take them to the next level to get smoother lines. Loads of shortcuts in stop you having to go through a whole bunch of tools. Basically, we just use the Pen tool for everything. Hold a few shortcuts down and we can get very far in our design. All right, Let's get in there, let's do some advanced pen tool tips and tricks. All right, First up, I've created a document. I've just made mine 1,000 by 1,000 pixels. It doesn't matter what size. I want you to bring in an image. Let's get a file. Let's go to place. In your exercise files, there should be one called Pentl. There is the Pentl 01. What we're going to do is we are going to set it as a template. All that does bring in the image, but puts it on a background layer that is locked. Check out my layers panel. Se it's on this template player, it's locked. You can unlock it to mess around with it, but it's faded it out as well. This is something I drew in my notebook. So have a little look and let's get advanced to pen tooling. The first tip is often when you are starting with the pen tool, you can go to view and turn smart guides off. I often turn that off when I'm working with the pent tool. The shortcut on a MC is command you on a PC it's control you. Turn that off. The next tip is to change the anchor points, make them a bit bigger. They can be quite small on some displays. On my Mc, I go up to the word illustrator at the top, go to settings and down to this one selection and anchor display. If you want to PC, go to edit, general, or edit settings, and go to the same thing, section and anchor display. Let's crank this one up. Anchor points are massive. Let's see what we've got. When I grab my pen tool, which is the P key on the keyboard, watch this, boom. Lo how big these guys are. Giant handles, you might find something in between. I'm going to see if we can work with the giant handles just to make it easier for the video. You find the size that works for you. I've got the pen tool and just note if you haven't got much experience with the pento none at all, you might want to check out the essentials course version of the pento. But if you've got some basic skills, you should be right. We're going to supercharge pen tool here. J. It does take a lot of practice. So if you did watch the Essentials version, the way I teach it to get used to it and a lot of self taught people, I'll click once for a corner. I'll get to this curve here and they'll go, drag out, click and drag for a curve, click once for a corner, click and drag, and that is fine. It works. What you'll find is you've got extra anchor points that you don't need. I've got one, two, and three defining this curve down the bottom here, and that works fine, but you'll find the more anchor points you have, the less smooth things are. For something like this where it's really small, we've got one, two, and three defining this curve. The trick is und und und und, I'm going to start down the bottom here. The weird thing is, instead of putting the curve in the middle, I'm going to put it at this corner point here. I show you what I mean. This first one is a bit of a hail Mary, and you don't really know what it does without a bit of practice. Watch this. I'm going to click hold and drag, I've got a anchor point with some handles coming out. I've dragged it this way because it's the way the lines going. Can you see, you can see what it's doing to the line here. Over here as well, I'm going to click hold and drag it out. You can see I can do the exact same thing, the same curve, but only two anchor points, and the handles on both ends are doing all the work. The trick is this bit down the bottom here. What is happening to this? What I can do is I can hold down my option key down here and I can break this Watch, Clo down my option and it jumps to se cursor changes from the pen tool to the convert anchor point tool. I can click hold and drag this and just break it over here. Get at the top here. I want to drag it out again. Even though it's not perfect, I do need both the top and the bottom handles. Just doing the bottom one will work, I like to have them at at both the top and the bottom, or at least the first and second angle point. Roughly, we can fix this up afterwards. Again, I need to break this one, so hold down my option key on my M, key on a PC, and I can break it to get it to go where I want. Same over here, going to click hold and drag to get the curve, to hold down my option key, to break it, to get it to go where I want. It takes a little bit of time. But forget about the Apex, go to the top here, drag it out, hold down my option or key, and break it off. You got to know that the anchor point will drag the line this way. That's the bit of experience that it takes a little while. That might be advanced enough. But if you want to go super advanced, what happens is watch this, I'm going to drag this line out of here. Instead of letting go, then holding the option key and breaking it. What you can do is you can say, drag and before you even let go of the mouse, hold the option key in a ma, a PC, and it breaks it in one go. Just remove one little step. It's how I've got fast, drawing things with a penal. Yes, it is quite complicated. This one here, this line, there's too many curves going on. I've got two handles. I can bend the line two different ways up and down. Or in this case, both the same way. This one is one curve, another curve, another curve, another curve, there's too many going on. I've got this first one going, but I'm going to need one here. Sometimes you just can't control at all with just two anchor points. You need one, two, and I'm going to need this third one down here. Again, hold the auction key, or the k key before I let go. Et getting it roughly in. I can get it pretty close, but even if you're a pro, it does take a bit of time afterwards to tie everything up. You see where you've dragged the handle in too far. I find it's actually easier being quite zoomed in. When you are doing these, you see that one's too far out, this is going to lead me into my next little super duper shortcut is I can do this and keep going and come back and fix it, but I can fix it while I'm working. Can. It is the command key on a mac, the control key on a PC. We've done two. We've done the option t, which allows us to break the line. Now we're doing the command or control key depending if your mac or PC. What it is is we can drag this anchor point, look at that whilst we're working. I just held down that key, Command on a Mac, Control on PC, just drag it back home a bit, so it's not wrecking my drawing so much. I can actually do pretty close to finished using those tricks. Drag this one out, you pulling the option and old, can drag it to there. Drag this last one out. The last one is always a pain in the butt. This is like, Hey, do you want this to be a curve? No. No, I don't. Before I let go, going to hold down the option key, break that one. Grab this one, hold down my option oma, ops, get you back to where you started. The first and the last joint is always a bit tricky. Doesn't know what you mean, so it jumps around a bit. Now, I can stay on my pen tool here and hold down those keys. Remember, command basically just switches it to the direct selection tool. The option key drags it two or changes it two to the convert to anchor point tool. I never go back to the dir selection tool. I can. I'm going to go around and go, you want this to do a lot of the work there. This is a hand drawing. It's never going to line up perfectly. This one here, I want to be mostly straight and let this curved do the work. I could put another anchor point in here, but you end up with this little kink in your pen line, which is also called the stroke pen line. The same here, I can work my way around. I still got the pen tool selected. I'm just clicking on anchor points, finishing these up, Lick on this anchor point. Move the handles, a little loons. This one here, what I want to do. Yeah. This one here is trickier. If I use the same techniques. We got to the end here and it went, you're going to be a curve, and I had to fix it afterwards. We all the way around. This one here, if I click and drag for the first one. Click and drag for this one, Haven't quite got it. That's right option to break it. Go down this way. Come this one. You can see what it's done. It has done what we did when we got to this edge of the flipper here and it's to turn it into a curve. But that's okay. We can hold down our option key on a M PC just to force it to go around. Times here, can you see it's got this handle selected, but not this bottom one. It didn't disappear, but it doesn't know you've meant to select these ones. Sometimes you go to hold your command or Control key. Click on that once to highlight the anger point to get all these things to spill back out. Sometimes happens, sometimes doesn't. All right. Mm. What do you think? Do you like the tricks? I've got a couple of other ones. Let's have a look at this one here. Another little tip is we've looked at the optional rock key. The command control key depending of few cor PC and the last one is space bar, which is the same for all of them. Let's say I start down the bottom here, start getting my curve, go up the top here and I just miss it, just way off. I start dragging, If you hold space bar before you let go, you can move the anchor point, Let go a space bar and then keep dragging, has to be all one motion. Your mouse has to be down the whole time. Click hold and drag. Click hole and you get it wrong, click hold and drag. But before I li go my mouse, hold space bar. You're like, here you go. There you go. Look at us. Pen Tool Masters. Another trick is we go back to the command key on a Mac Control key of PC. We use a second ago for selecting back to the direct selection tool. Remember, we could use it to adjust this. We can use it while we're drawing. Earlier in the video, I showed you how to start doing it and then let go and then hold the command or control key and adjust it. You can do it while you're drawing, watch this. I can say, say I want to point, actually going to break this one, holding my door option. Then I'm going to start dragging here. Sometimes you need the moon on the other side, the little handle, to be shorter on one side than the other. The same length. Before you stop dragging, we'll get here, you hold the command key down. They're still connected, but you can see one can get shorter, one can get longer. I don't do that very often. But you can. This is the advanced shortcut stuff. Here we go. Now we've got smart guides off, sometimes smart guys need to be on. Command. Sometimes are just snaps way too big. Again, the tip for this, we looked at it earlier is, if you don't just get just zoom in, and you'll get lots more screen real estate and you can get a lot closer to a line without actually joining it up. You want it to start close without it actually connecting, just zoom in. L ast but not least, say that you do want these things to line up. It might be that you've already got some existing. Actually I'm going to draw something real quick. I'm going to turn off my lays panel this one here. I want these to line up down the bottom here. I don't want to just like snap them. I want these paths to line up because I could turn on my smart gods and I could just line these things up and try and snap them. That works, what I want to do. But what I want to do is actually leave the top part of this alone. I just want these anchor points to line up. I'm going to go into outline modes, command y onom Control Y on a PC. I'm going to go my direct selection tool, which is the A key, and I'm going to go to both of you guys. I don't want to move around. I want you two to go to object, let's go to path, let's go to this one called average. Let's average them both and watch what happens. Bam. Lines them up. Co. Sometimes you line things up and you're like, it's close enough, nobody can see, but you can actually technically get them bang in the same place by selecting just the anchor points you want and then going up to object, path, and average. But you've got to have something selected first. Otherwise, if it's grade out, it's a good tip. Make sure if it's grade out, you've got to have them selected first with a direct selection. My friends, that is all the tips and tricks that I have got for the pen tool to make you just better with the penol faster with it. Loads of shortcuts, I know. It does require lots of practice, but while there are lots of cool tools in Illustrator, often the Pentl is the core one that a lot of designers and illustrators use. Here you go, better practice, give it a try. Try some of the shortcuts. Maybe only a couple will sink it in the beginning. You can come back to this video once you got the hang of it. Just pick one. Pick them all. It's totally up to you. That is it. I will see you in the next video. 15. Learn Width Tool Advanced Techniques & the Curvature Tool: We are going to use the Width tool, advanced Width tool. We're going to combine it with our sweet new Pen tool skills. We'll introduce a little bit of curvature tool for those who haven't done much of it, and we're going to make this. We're going to go from a little drawing here that I did, and we're going to add all of the like whips and curls and stuff, and I'll show you how to make these bits at the end here. It's very fun. Let's jump in. First up, open up the width tool exercise from your exercise files. I wanted to show you how I got to this drawing here. Basically, I picked a font that I like to start with, and not a good type designer, but I found something quite line It's called ust. If you've opened up the font, it might say, Hey, you have the font, you can sync it to have it, you can ignore that as well because I've outlined a version of the font. This is just shapes that represent the font. Over here, if you did want the font, it's called Lust, there it is there, you can sync it the adobe fonts. There's my font. I printed it off. I'll show you what I did to get all my curls, is I printed it off onto a sheet, or is it? There it is there. Just printed it off a few times onto a sheet, aid a bit of paper over the top, staple it at the top and lift the paper up, could see through it and drew my little curls on there and was happy enough for this exercise. And I was like, looks cool, and we moved on. That's how I got to this point for those little drawings. Can you see I just flipped it up and down. That's how I got here. What we're going to do now is draw the curls on and get them to do the in an ti bit that you saw at the beginning. What I'm going to do is I'm going to make I find it easier to use the pentol when you're doing this custom stuff to have the smart guides off. Command on a MAC, Control on a PC. Turn smart guides off to you. You can use the pentol or the curvature tool. I'm going to start with the Pentl and then switch over to the curvature tool because we haven't done much of that in the advanced course yet. We'll start with a pent tol because we've been practicing that. Over here, I'm going to make sure I've got a black stroke or a stroke and no fill. I don't want to feel for this at the moment. What I find with when I'm trying to connect existing vectors to new drawings, I find it's easier not to start from the vector because it wants to snap and create anchor points on this thing. I don't want Zoom in, grab my pen tool, and I'm going to start with, start with an easy one. That's not the easy one. We'll start with this one. It's going to come up over here and around. I find it's easy to start from the sens. I'm going to click hold and drag for a corner. I've got my little handles. Now, when you're doing curves like this, I find it's easy. You want as least amount of anchor points as you can, but often you need them in all of down the bottom here, on the side here, at the top here. Can you see one on each of the 360 because I'm coming back around as a circle, I need. Show you on a circle, I draw a circle and grab the white arrow. Click on this. Can you see to get a perfect circle, the minimum to get a perfect circle is four. I use that when I'm doing these things as well as need four of them to get the shape right. You can try with three and you get mostly there and there's just something awkward about it. I'm going to do that because I'm going to show you another trick. Pen tool, I'm going to click out and drag this one. What I find useful and this is a bonus extra pen tool trick is when I'm clicking and dragging down here, it's nice if this thing is completely flat, you can drag you like, that's flat, it's not. What you do is you click hold and drag. If you watch this a hold shift, it just snaps it into 90 degree increments. It means that I can drag it out here. Let go shift, click drag hold shift. Can you see snaps it into the straight up and down? I find that useful. Let go shift. I think you can all shift the whole time. Get the top one and then down here, I don't actually want it to attach. I'll show you y in a second. I'm going to get it to be inside of here. I'm going to drag it out out out out out. Then I'm going to use my set shortcut by going to the command key on a Mc, Control Keener PC, click on these anchor points. Or you can go to the dir selection tool. S dragging these out. If you hold shift while you're dragging them out, they snap horizontally. Then you spend the next 30 minutes going back and forth going, is that good? I might switch the dir selection tool now, the A key, and Sometimes you've got to move this around. Get it looking. Don't spend too long because when you add the width tool changes it a bit. Now, the tricks for the little blobby N bit. That's what you came for. Let's grab the width tool. I'm going to click on this once, and I'm going to click Hold and drag. I want something at the end here. I'm going to click Hold and Drag because I want some thickness here. How much, just guess some begin with? Do it at the end and drag it out. Over here, I want some thickness at the end here as well. You're like, doesn't quite work. Zoom a little bit. What I want to do is, I've got this n one. I'll just show you again. I click hold with the width tool and dragged it out. You're like, what you do is you come back to the tiny bit and click out another one. You can see you can say B thick, but then get skinny again. I just dragged it here and just made it thin. You're like, how do you get the ball at the end? Go to your properties, go to stroke and switch it from the butt cap, Great name to the round cap. And it doesn't work. You've got to click on, slick it with the black arrow. Click off the width tool, click on this, then go to stroke and then go to round cap. There's a little blob at the end. Now I'm going to spend some time with the dir selection tool, the A K, direct sction tool, and I'm going to spend a little bit of time going, don't follow my pencil drawing. My pencil drawing is not symmetrical. Forget the pencil drawing, even if you want to turn it off in the layers panel, turn the eyeball off so that you can come back and go, forget about that drawing because that might not be. There's a lot of sketchy pencil marks there that you don't need to particularly follow. That'll do. What I probably want to do is I'm going to go to the width tool. We're going to do this lot. Shift W is the shortcut for both Mac and PC. I'm going to go. You actually just be a bit smaller. Did anybody end up with this like monster and blobby bit at the end? You can just drag that down a little bit and you might decide actually, this is a bit thinner here. Do some adjustments, and then spend ages with the white dir selection tool trying to make it look nice. It's too thick. I'm going to fix that up at the end. Keep going. I turn back on my layer and I'm going to go. Let's do another one. Let's do Do that one? No, I'll show you this one here because the rest is just step and repeat. Draw the exact same things. This one here, we're going to use some of our earlier techniques. I want to get rid of this. Can I remember the name of it. Or it's in my head. We're calling it the big dangle here for the moment. We're going to grab the eraser tool, which is over here. Remember the racer tool was handy because you can just lower the brush size using my square brackets, drag it over and go, Let's use the curvature tool. We did the pen tool for that one. I'm a pen tool person because I'm good at it. You might be from the essentials course and be digging the curvature tool. If you've never heard of it, the can get the quick demo. Basically, the curvature tool works like this. Set of clicking and dragging to get a curve. You just click once. Wh click once. Actually, I said, don't start on the object. I'm going to start here. Click once. Click once, click where I feel like the Apex there is, click once. I'm going to switch these around, so it's a stroke with no fill. Click Oh, once about there and then get to about there, and that didn't work. It tries to connect. It's like, do you mean this? I'm like, I'm going to undo, so it's still connected, and I'm going to go past there. No, still going to do it. I'm going to go up there. Don't connect, please. I could lock the layer, I could do lots of stuf. I'm just going to force it out here, go back to my direct selection tool, and now line it up and it won't snap. I'm going to spend a little bit of time going see the cove tool? I don't know. You digging it? I dig it. I love showing new people it because the pen tool is hard to learn. You can use the covage tool forever. Let's do one more. A, one of the tricks. This is a good trick. At the moment this stroke width here, that is the smallest it can be. What is it? Stroke of one point. I find, especially if you want little pointy ends, we don't. We've got a little blobby end. I find starting with a 0.25. Really thin line is just a default go two for all of width tool stuff. Now we're going to use Shift W to go to the width tool. I want this to be nice and thin here. I'm going to leave that end. I'm going to find this end, drag it out. Way too big. A little bit. I'm going to make this one nice and small. Then I'm going to go to this one. I'm going to forget, you need to select it as a path and say fill. That work fine. Let's have a look. We've got nice and thin there. It gets thick here. Sometimes the width tool adds its own points. Back to my width tool, if I hover along, can you see there's one there? Hover along, there's one there. You're like, I don't want you. I can click on it, and delete on my keyboard. It starts there and gets thinner and thinner. I'm going to have to get this end and just make it a little bit bigger. Try to match where that G came out. Do something cool down here and go, make a bit thicker, but I practice this before this video and I didn't really dig it. One of the other little advanced tricks with the width tool as well is say I did drag this out, but I don't want it to be equal. Can you see it's equal size? I'm going to drag it out a little bit and then hold down my option Koko PC. Just drag one side. Can you see it dips the bottom side more than the top side? Otherwise, it's equal. U to you. I messed around with that and I didn't really like it. I ended up going Actually I'm going to delete that one, slick it, delete it. Zoom out of it, squint my eyes and go all right. It probably needs to be a little bit thicker, but again, we spend Age is making this nice. We've got the idea. How to put the blobs on Width tool. We can use the curvature tool in there as well instead of the pen tool. I'm going to continue on. There's going to be no more bonuses in here. I'm just going to do it. You can watch if you like. Kick back, Watch. Mine's grenada donuts. I'm going to get you to do your own one in a second, so practice with me. Watch me up to you, and I'm just going to continue on. Found as well as this drippy things kind of cool, but I think I needed to when I was practicing, I'll show you, this is my practice version that I did just before this video started. I found it look nicer going around that way and like balancing out the side. It's still not perfect, but better than that drippy thing. Pen tool, I'm going to remember start where I want to go. I'm using the pen tool this case. I'm going to go one. And then get up into here. I'm just going to keep talking while I do it. Get it roughly good. Don't spend too long getting the line good because instantly when you add the curvature or the width stuff, everything changes. Another tip is that often if things are looking really quirky or weird, it's often that these two handles are really different links. This one's fighting a little bit, but this one's overpowering it. Often when they are the same kind of distance, it tends to give you a bit of curve. Don't be afraid to move the anchor point. If you find the pen tool and all this really tricky, it takes ages to get good to it. There's a little bit. I can pass on the techniques, but the experience part is the stuff that you end up having to just alone by doing it badly for a long time. Again, remember, stroke 0.25, grab the width tool, Shift W. I want this bit to be nice and bulbous, I'm going to go at that end. Go like that. The end probably needs a little bit of width in it, not much. And it needs to line up. We're not going to get properly perfect. We're going to get it to look okay. We could merge this together using the pathfinder and start doing that, but for the moment, that is good enough. Just look a bit weird. There's a little weirdness down here. It needs to flow better. Flowing better. Mm, that. Still not quite right. I show you this because you're going to do the same thing. You're like, Man, this takes forever, and it does. Really good example to go and have a look at for ideas is letters with flourishes, curls, Syscot. That's what I typed inoGoogle, and I went to Google images. This is where I ended up. Really small. You can probably do a better search, but I like Si Scott. I know. He did all this really cool stuff early on, and I copied it. I love it. That's how I got here. Let's go back into it. Let's finish the last ones off. What I want to do is this one here, Pentel start at the end. How many does this need in terms of anchor points? Probably more than two. Oh, does it? Maybe I can just do two. I reckon three is the way to go for this one. P tool. I because I've fought with trying to do it with so little of them in the past and eventually give it up and added another one that I find the happy medium. Oh, I nail that one. Could you just use a circle down? You could totally use the side of a circle? Slice it up, I'm going to go 0.25, I'm going to go with, SF W, grab the end, tuck it in a little bit. Probably still too thick, and probably just drive the Zoom in the. Zoom in. Anybody still around? You saw here? Maybe there's a hidden one over here that it added. It's messing with my width. What do we think? I like as well to add the circle tool, which is clearly the key for circle, circle. I'm going to draw a circle. The moment the fill and the stroke, are the wrong way around, you can hit shift x and we'll toggle them or switch them. I'm going to do back to my move tool. I'm going to say you go out there and may maybe another one. I'm holding down the option key on a PC, and doing some blobby splattery thing. There you go. The next one, I'm probably not going to draw it again. I'm just going to go copy it and rotate it a little bit, get it to where I want it. Just the roughs, come on, rotate and go over there. Grab my direct selection tool and go, want it going in there. I find it is easier to draw it first because I can be a little more fluid and I find I ended up easier to override it with the pin tool, but I find it so much easier to draw stuff and then scribble over the top. I might add another one of these. Then that's going to be it. This is what you see at the beginning for this video. Sometimes can you see with the move tool? You can't actually get in there for a zoo in and say because I made the anchor points really big. It's working against me right now. All right. That is going to be me. What also want to do? This guy's too chunky. All right, I'm going to stop you. You don't have to watch anymore. I'm going to go through, tidy this up a little bit for the intro and just play around with making it thinner. I think that'll be it. There we go. Text, with a bit of flourish using the width tool. We use the pen tool and the curvature tool. Hi five for those who hang around for the whole thing. Watch me mumble to myself as I make a little blobs. All right. That's it. I'll see in the next video. 16. Class Project 04 - Text Flourish: All right. It's time for another class project. Unsurprisingly, I'm going to get you to do the exact same thing we did in the last tutorial. But instead of using GD. For my grenada donuts, use your business. Figure out what the two initials are. Hopefully get better letters than me. I don't like the word letter D for doing those things for. It's just that tricky letter to make anything happen with. A wise good Qs are great. Depends on what you get, but I got GD. Go. So use yours, make your own custom flourish. Now you can start with letters like I did from Illustrator. I used Lust. That was the font that I used. You can start from a font that you like. Go find something that you want to start with. Or you can totally hand draw custom's up to you. I don't mind which. Have a look at other people's work. I made a better search. I changed my search parameters inside of Google to add the word Clegraphy, that really helped get me some really good examples for you. Left the link in the exercise file. Go through, get some ideas about how you might do it. Some of them just really simple, and some of them are really really complex. It's up to you and what you. That's cool. I want you to go and do it. You can start from a hand drawing like I did, to draw over the top of. I like it that way. You can start straight an illustrator. I don't mind. When you have done it though, if you did do the hand drawing version, make sure you send us before and after the hand drawn version and the finished version. You don't have to be limited by just the initials, if you want to go a bit further with this one, I'll just show you some of the stuff that I did a while. So, went mad and made this thing for something I was working on. But that took me forever. That's not the purpose of this class project, but I don't want to limit you by just doing the initials as well. You can go bananas. Another one that I did. You don't have to do exactly what I did here as well. I did something different for another project. Living spree is the brand thing that I do pseudonym that I design under, and I did this thing as well. So, there you go. With tool, curly bits, trying to add these little blobs in here because that's what we are working on, but it's more about practicing how to use the Width tool than anything. Ha some fun, something simple, something complex, totally up to you and make sure you share it with me. I'd love to see before and after, especially if you did a drawing. One thing I'm going to introduce here is the critique sandwich. When you are sharing your work, both in the assignment section and on social media, I find it tricky to keep up with everything. I did at the beginning, and that's just I can't do it anymore and reply to everybody. We can do it as a team. If you're joining up and what we do is, if you've uploaded something and looking for a little bit of feedback, you've got to give feedback to two other pay it forward, and it's the only way we can all get some feedback. I find that if you are giving feedback to other people, you will help become a better designer. Being able to articulate yourself to others through social media, which is like low risk, easy to do, you can do it badly and nobody really cares because it's not a client meeting. It just helps when you do get to that client meeting, or you're trying to describe your ideas to teammates, or colleagues or investors. There you go. Go through and if you see somebody else's work, make sure you go through two other people. What I find really useful is the critique sandwich. What I mean by that is if you've never given feedback before, often, what comes across well is easy to deliver is the sandwich. You have positive on either side of something that is critical. When it's critical, it's not like that's crap. It's something that you would do differently or something they might try. In case of this one, I might say, I really like the flourish around the and the V, it's really good. I'm unsure about what happens at the E here. At the end. I reckon needs a bit of work or it might need to wrap around again, or it's a bit thicker than But overall, I love it, I love the colors you've picked, and the way that the two words connect together really is really inspiring. So can you see that that's the critique sandwich? There's stuff to do hidden amongst positivity. And it just comes off well, it's delivered well, receives well, and gets what you need across in terms of the critique. So make sure there is not just that's bad, it's something that you don't like, but you might try this. I find that is a really clever way to get your idea across to people without insulting them or making them feel bad. Go just critique my own work. You go fix this now. There you go. Make sure post stuff, love to see what you're doing. I try and chip in when I can, so do the TAs around bring your laptop and can get to everything. We do it teamwork wise. You help out two other people, we'll pay it forward and we'll all get some cool results, and it works for both the deliverer of the critique and the receiver. That is a long video. I know, but there you go. I'm going to say it once. Onto the next video. Can't wait to see what you do. I's awesome. I love the storial. I makes really good social media stuff that I get to see. Make sure you share it. That is it. Onto the next video. 17. How to master corners with corner widget effects: Hello. Are you ready to master corner widgets? That's these little targets in the corners. We're going to learn all sorts of cool shortcuts. We're going to impress your friends and colleagues. We'll learn about live shapes and the pros and cons for them. This is totally not a boring video. It's full of good illustrator juicy goodness, all about corners, let's jump on in. All right, I've just created an empty document. I've got the rectangle tool, I've got a fill, no stroke. That doesn't really matter. I'm going to draw out a rectangle using the rectangle tool. And if you can't see, this is the things we're going to be working with. Ga these little corner widgets, a all these little targets. If you can't see them, get a view, go down to show corner widgets. You should see them. If you can't see them, best is probably jump to the black arrow selection tool and have your object selected. Everybody's probably done this where you got my black arrow and then just grab one of the corners and they all come along for the ride. Because this is a rectangle of equal sides, it's doing it for all of them. If you have another shape, I'm going to grab the pen tool and I'm going to create just an interesting shape. All the way around, go back to my black arrow, click off, click back on. What you'll notice is that this one here with a black arrow, I can seal the targets because it's what's called a live shape. It knows it's a rectangle. This thing doesn't know it's a rectangle, a rectangular, but not a true rectangle. My black arrow doesn't show the targets. If you don't see them, switch to the direct selection tool, which is the white arrow or the ak. There you go. Now I can drag this in and they all come for the right. If you want to do just one corner, you can just drag a box around where the corner would be, and you have access to just that one corner. You've got to just be mindful about where you're selecting and you should be able to grab it. A couple of other differences is another advanced feature is the corners don't have to be round, or they don't have to be t round. Let's work on this one here. I've got it selected, you can hold down the option Keion Mckeon a PC and click the corners. You can work your way through from an t to an any to a flat one. It's up to you. I've never used any other than round. What I did do for a long time there is, did everybody do this? I feel like every like I know features box on a website and on a brochure had this I don't know, pull out like facto thing in one of these tear drop shape boxes. I love them. I still love them. No a creepy voice. The other differences between these live shapes and re irregular shapes that you've drawn is if I select them both, I got my direct selection tool, so the AK and I can see the targets. Watch this. This one here, if I hold down my comank and control keiner PC, little corner targets disappear. With this shape here, if I hold the same key down and double click it, you go into the transform panel. You can jump straight to it, go window, and go to transform. Let's look at the difference. We've got these rectangle properties. This one here has no rectangle properties. This thing here has some special stuff. It knows what kind of corners does it have? Can you see, I've got my corner here, I want this to be in any, but I want to be bigger. I needs to be bigger. I can unlink them so I can work on the corners separately, so you could be a bit more deliberate. I'm going to hold shift and use my up er. There's my four corners, I can decide what goes in the corners, what shape they are, are they ins, are they flat ones, what sizes they are? You get a bit more control. Whereas some shapes don't. There's just none of this. That's why sometimes you're like, Oh, I was working before, but now it's not working. Live shape. Other one that has a live shape is the star tool. I'm going to grab the star tool, drag something out, and you'll notice that the star tool has star properties. I can go you. Look at all my sweet stars. I can play around the inner and outer radius in this transform panel or over here, I can grab this middle one. I can grab this out one. Live shapes are quite cool. It's draggable. Se this, I can move up and down for how many points that I want to a degree. Only 20 is allowed. But you can type them in as many as you like over here. The point is that I can mess around with these corner options here. I can decide, are they pointy, or are they rounded? I'm going to say rounded, but I need them to be not zero because you can have a rounded zero points. I'm going to make them 1010 points and rounded. Can you see what I'm doing over here? You can actually drag them over here. So the star only has. Instead of having 1 million little corner widgets. I only got two. I can go where we go. Let's grab this one. I can go ice it's like a biscuit. There you go round the corners, more than meets the eye. One last thing I want to show you is it's a subtle change and it's hard to let me demo it. I'm going to go point. I'm going to make this really like sharp edged box. I'm going to grab my corner wedge, I'm going to go, I'm going to select them all, grab them in. What I skipped over earlier is I'm going to double click the edge. I've got them all selected, double click the edge is this one here rounding. Actually, I got them all selected. Let's slick them all. Now, I've got this one here if I go through and double click this, it's only going to work with that one there. I'm going to cancel. I'm going to hold shift and grab all the corners want to mess with. Double click any of them now. And this is the default. Absolute rounding. The relative rounding, can you see what it does? Sometimes you just don't want it to do this a perfect rounded corner. You want something that follows the line out and around. Okay. You'll notice that sometimes these ones here, you can't even notice the difference, the top and the bottom, but the left and right because I've drawn it this way, is a very big exaggeration. If you're drawing something like, doing this weird geometric end and you want something a little bit more. I don't know, relative to the angle of the lines, then you can mess around with those as well. All right, my friends, you are now the master of Corner widgets in Adobe Illustrator, go forth and impress your colleagues, and I will see you in the next video. 18. How to work with Compound Paths in Illustrator: Hi, everyone. We're going to get nerdy with compound shapes. We've made them before, you select something, use your shortcut, cut a hole in stuff. It's called a compound shape. We've done the basics, but we're going to get into the advanced stuff here. Compound shapes can be tricky. Hopefully, we'll demystify them here and give you a few little shortcuts to be the boss of compound shapes. You ready? All right, Phase one, open up the compound shapes from your exercise file. You don't actually have to open it. I just made an interesting document with a totally unrelated image in the background just so we're not staring at a blank page. All we really need is a rectangle. I'm going to click off. I'm going to grab the circle tool. We're going to create a simple compound shape to start with. I'm just going to whole shift and create an ellipse. I'm going to make it a different color for no reason other than you can see it easier. Arrow, Let's stick it in the middle. I'm going to hold shift. Click both my circle and the square. They're both selected. Going to command eight on a MAC Control eight on a PC to make a compound shape. Well, it does is take whatever is on the top and cut a hole in the background. The long way is under object and down here under compound path and go to make. That's command eight on ac, Control eight on a PC. Okay, so cut a hole in it. Now, often you'll get stuff like this, or you've made it and now you want to adjust it. What people tend to do, where I left it in the centrals course is you went and released it. You can right click and say release compound path. I've got my shape back and I can move it and do stuff to it and then make it again. But you came for shortcuts. Let me give you the shortcut. Instead of releasing it, what you can do is with the black arrow, click on the object and double click it to go into isolation mode. I've gone inside this compound path, and it means that I can click on just the circle and work on this individually. I can hold shift and grab it and resize it and move it around and same with the outside, I can work on them independently. Get out of isolation mode, you can mesh away at the arrow up the top here, we'll just double click the background. The other thing you can do without going into isolation mode is use the direct selection tool. Maybe let's click on this A over here, and I can work on these parts without having to go into isolation mode, I can work on the individual anchor points, I can old shift, grab them all, and move it around just like inside of isolation mode to you. One thing I want to show you is we hinted at it earlier as well as there's two compound shapes. What do I mean by that? Let's make another rectangle. M two of them. U and U, and I'm going to have two circle U circle sitting over top of this. If I make this a compound path using my shortcut, so Command or Control eight. This one here, remember we did the pathfinder earlier. I'm in my properties panel path finder. Actually, I might just open it up for us all. Window pathfinder. Remember, if we hold down, if we use minus front, we get the same thing. But if we hold down our option key on a Mac, K on a PC, we get the same thing, but remember that it is still editable. The big difference is in the layers panel, it's overlook. I've got this shape here. I'm going to slick with my black arrow. I'm on Layer two in my case. You can see which one is highlighted by see down the edit here if I click on it, highlights over here. There's this one compound path. That's see much inside of it. It's called a compound path. This one here is a compound shape. This is the one that I used with a sweet trick here. It means that I can still edit it afterwards. I can do the same for these two. It means in here. Can you see it is this one here? This is the one I made using the path finder shortcut? It's actually their lips and the triangular separate. I can work on them separately by clicking this little target option at the end here. You see the little dot down. I've got their lip selected and I can work on it and I can do stuff and it's editable. It's just sometimes easier working in the layers panel. That's why sometimes you'll find stuff that is I can get inside this compound path. That's why sometimes you can get inside a compound shape and sometimes you can't. It's just the way that they're created. There's no real better way. It's more just we're getting advanced. Sometimes you're like, why does it work one way sometimes and then another way another time because they're created two different ways. One by the pathfinder and one using the compound shortcut. Anyway, compound shapes can be a little bit mysterious, hopefully a little less mysterious after this video. That's why there is ferns in the background, trying to make this thing visually more appealing. It's nerdy stuff, but it's the good quality advanced stuff that will really help lift your illustrator game. There you go. I will see you in the next video. 19. How to use the Appearance Panel: One. It's time to learn the appearance panel. I will do a basic introduction here. It is the big unlock for adobe Illustrator. We're going to use the appearance panel a lot through this course. It allows us to add multiple fills and strokes to objects. This one here, I can easily grab. Steal the appearance. We can do some cool things where we drag the appearance onto different objects, style things really quickly and consistently. Without having to do add stroke outline stroke and stroke, outline stroke, you've done it. You can just actually add multiple strokes all at once. Go the appearance panel. Let's jump in. First up, open up the file cord appearance panel from your exercise files. This is the push pull sign that I made Let's start with something simple. Let's grab the star tool. So hold down the rectangle tool, grab the star tool. Draw a star, pick a feel color, and a stroke. I want you to make the stroke nice and thick for me. I'm bumping mine up 210. You can hold shift and click it to get a nice thick stroke. Now, let's look in the properties panel. Let's go to stroke. Click on the word stroke, and we can set this to the outside. We can or the inside. The center line, so it crosses over the middle or the outside here. A great. But let's say I need a second stroke. I could outline, outline the path. You might have done that, outline stroke or expand appearance, and then add another stroke to that. That works. If you've done it that way, get ready for awesomeness. Let's open up the window and go down to appearance. This is like, if you know how to use the appearance panel half good, you are in top 10% of illustrator. Much of illustrator and the advanced things rely on this. Get ready for goodness. With it selected with my black arrow, says, look, I've got a path. Inside of it, I've got a stroke and a fill down the bottom here. I can add a second stroke or a second fill. Let's go to add new stroke. You're like, I didn't do anything. It's the same as the one we've already got. It's just duplicated. I've got 20 pixels and it's the same color. Let's pick a different color. And let's pick a different size. I'm going to make mine even bigger. Now this appearance panel actually works like layers in photoshop. This stroke is on top of this stroke, covering it. What we can do is we can click any of this blue area here. You can grab lots of different parts. You get the hang of it. I just grabbed the no man's land of this layer here. Can you see the line that appears a little blue line? You can say, I want it below this stroke and ready. We've got two strokes. It's got to make sure one is bigger than the other, they're not the same size and make sure the different colors otherwise, you won't be able to see them. It's go crazy. A third stroke. Again, needs to be bigger than the last one. I'm holding shift, may get a little bit bigger, going to pick another color. I'm going to make sure it goes down, down, down. You can see I've got inside and outside here. What I can do is I can select on this. There's not too many options in here. You can do basic stuff, but you can click on the word stroke or click on it over here to go. Actually, I want this one to be I want this one to have a rounded join, so goes around the corners. Get what I mean. It's not really what I want, but know that you can do stuff to it by clicking on the word stroke. You can open it out, you can see the capacity for it, and you can get into the weeds with it by clicking on the word stroke, and get all of those goodness in there. Look at us. Multiple strokes. I'm going to turn that thing off. The cool thing about the appearance panel is if I grab the eps tool and I've drawn something that has nothing on it. It's just a plain one. How do I get that to that? I can use the eye dropper tool. I can say I grab that selected, grab the eye dropper tool, and I can say grab that. Grab a bit of it. You're like, just grab it all. You can force it to. Watch this. If you double click the eye dropper tool, remember, lots of tools can be double clicked. I can grab the whole appearance. It was only grabbing part of it on the whole thing, all ticked, and I want to apply everything. Grab everything from the appearance and dump everything from the appearance. Let's click. Now when we do it, look, it grabs it all. There's another trick. I don't know why I'm giving you more than one. This is the advanced course. I'm trying to impress you. I'm going to turn that one off. Normal old circle. How do we get it over here? Watch this. If I grab my black arrow, grab this one. This little thing here, this little swatch is actually everything that's in the appearance panel. Watch if I grab it and just drag it onto it, bam. Two ways of doing the exact same thing, Dan. Excellent. Next up, if we can have more than one stroke on an object. Have more than one fill. Earlier on, we made this push pull thing and I showed you a little hack to just have two shapes. One at the bottom that had our pattern fill that we made, and one on the top that had a fill of black and the opacity turned down on it. What we're going to do now is give it to you. It's fine having two separate shapes. But you're going to bump in two projects where somebody else has made it and it's more advanced to do it all than one go. Tides everything up. Plus we can turn it into a style later on. With the selected, I've already got a fill in it. It's got the fill of my patent fill. What I'm going to do is say, I want another fill. This one here, Edge fill. It's duplicated. I've got two pattern fills, which is not fun. I'm going to say I want the top one to be black and not completely black. If you can't see it, click this little chevron, and then you should be able to click on the word pacity. And lower it down, like it was 42%. Now, why is this different? This thing is one unit now. I can copy and paste the appearance onto other things. I can set it as a style and share it with my team. It's just all together. The appearance panel is handy, multiple strokes, multiple fills. You've got to remember the layer order is important. So I have this fill underneath everything. It is down the back. Also, if I undo that, if I have the stroke, Depends on where the stroke is. If I add a nice big bright stroke so you can see it. I'm going to hold shift and click the up er a few times. You go to decide, do you want the stroke to be affected by the fill or do you want the stroke above it, not affected by this fill. Top down like photoshops. I'm looking at the top, see the stroke first, then the fill, which covers a bit of the background. Layer order is important. One of the weird things about the appearance panel. Everything I showed you is the sum reason type doesn't work the same way. I've got the other document here. I'm going to copy this out. You can type any old text. I found a cool font, and what is it called that flea grey. One thing with fonts is I don't know, it's a weird thing. But watch this? If I go stroke and I want to increase it, you see it just creeps into it and you're like, I know how to fix that, click on stroke. Instead of going aligned stroke to the center line. I'm going to say Align it to the outside outside. Side or the inside. I think I got those backwards, but neither rhythm work with fonts. I don't know why. You can outline the text and that will work, and we can start messing around with it, but I want the text to stay editi. What I'm going to do is I'm going to get rid of the stroke and say you have no stroke. What I can do is I can make the thing that I want and use our trick before and say, I want you text to steer the appearance of this. I'm going to use the i dropper tool. Just double click the iroper tool and make sure that all of it on the texts up here are all on. I'm going to grab everything from this and apply it to this. Works. You see the stroke is applied to the outside. It's doing some weird stuff for you're like, Why can I see the inside overlapping bits? Remember it's layer order. At the moment the strokes on top, I can say it's black and everything else gets bit muddled. If you want the center of it, which was orange, feel feel feel feel. I want it to be above the stroke, below the stroke. It depends on what you're looking for. The appearance panel can be really handy. Anybody done the outline text and you're like, add stroke, Expand appearance, add another stroke, expand appearance. Some of you will be shaking your heads, knowing that you've done that before, I've done it before. Welcome to the world of the Appearance panel. Advanced stuff. In simple once you understand it, but it really does unlock a lot for Illustrator and a lot for this course. That is the quick version of the appearance panel. We'll dive into it as we get through this course. That is it. That is the appearance panel in Illustrator. I will see you in the next video. 20. What is the difference between Expand & Expand Appearance? : One. Hey, we are going to look at expanding appearance in this video. We're going to look at why we do it. Basically, it's breaking up some of the things we did in the last video where we separate all the strokes out so we can adjust them separately. That's what I've done down here. And we'll discuss the difference between expand and expand appearance. The shortcut is they both do the same thing. But let's get into it and learn it prob. The reason you would use the expand appearance is at the moment, the shape here that we d in the last video is a circle with a bunch of strokes on it. If I go to my outline mode, which is command y on a MAC Control Y and a PC. You can see it's just a single circle with a bunch of effects applied to it. These effects are here in the appearance panel. If I want to separate this say red circle from the rest of them I can't smush together and attached to this inner fill. We're going to select on it, I'm going to go up to object, and you're going to have one of these two available to you. Just pick whichever one is available. Expand appearance is this one, we're going to do expand appearance because it's the only one we It's just going to separate the fil. Actually it's grouped, so I'm going to click on it, go to n group or n group over here in your quick actions. I'm going to click off here, and you'll see that my fill now is separate from all the different rings. There are lots of times where you need to expand it. You get it to where you want, and you're like, actually, I'm going to grab my direct selection tool now and I want this to have a blob. The reason there are two is that there shouldn't be two. They should just mix them together in terms of the expand appearance and expand, just confuses everybody. But for you, just click on whichever one's available because what happens is, I'm going to undo, get this back together. This circle here is a fill with a stroke. There's a couple of things going on in the appearance panel. I will say expand appearance. If I get rid of the stroke on the outside, I I do it, let's say we do it in the appearance panel, we say, click on stroke. I've clicked on it in the no Man's land area, so it goes blue. I'll click on this dark gray era and I'm going to say, let's go trash. It's got no stroke. Now if I go to the object, can you see it says it is an expand because it's really simple now. I don't know why. Simple shapes that haven't had anything applied to the appearance panel, say expand, if you add anything, it says expand appearance. They should smush them together. I'm sure there's a technical reason why it's useful to have them separate. I've never bumped into it. If you have, let me know in the comments, be great to know if there's a scientific reason or there's a gotcha that might catch somebody out. The weird thing as well is if I undo that and go back, if I slick it here and say, you've got no stroke. I got it selected. Basically, the end up at the same part, but you can see it says expand appearance. The appearance is still holding on something. I'm going to delete it from the appearance panel, and now it says expand. It's a bit weird. Don't worry. Click on whatever one's highlighted. The reason we expand appearance is that we want to break apart this quite complex shape that we've made. We want to mess around with it. Let's say we need to adjust the red stroke on the outside, but we can't because it's all attached to this inner fill. If I go to command y on a mac, Control Y on a PC, you'll see that it's just a simple shape with some effects applied to the outside, all those different strokes. If we want to mess with them, we're going to slit on it, and we're going to go up to object, and we're going to go to whichever one is available. Basically, it doesn't matter. Correct me in the comments if there is a really good use case for one of them will agree grade out and one of them won't be. You can only click one at a time. In my opinion, they should just smush them together. But let's explain the difference. Expanded appearance means that there is a simple shape with a whole bunch of stuff in the appearance panel that is applied to it. When there is not, expand will be available. They both do the same thing. What they do is when I click on them. Now, if I click off, I got to ungroup it, click on the group sign. And over here in the properties panel, there'll be an group there as well. So every one you want. If I click off, now and click on these parts. Can you see they're all individual parts? I can grab the white arrow, start messing around with them. That's what expand does. It doesn't really matter what use expand appearance or expand, whichever is available. What is if I grab the ellipse tool and I have a fill and no stroke and I hold shift down, I get a circle. If I go up to here now object, I get expand. If I had a stroke to it, add a stroke to it, what color is it? Let's pick anything. I'll still get object expand because it's still like the basics, just to fill in a stroke and opacity. Those are the only things we've done to it. Nothing fancy. If I had something fancy like another stroke, and let's change the color of it, so you can see it. To the bottom. We can see it. If I go up to object now, can you see it switched to expand appearance. It means there's things going on. There's effects applied to it. If it's expand, it's just simple stuff. Expand has a tiny bit more. Watch this. If I go to a circle, and I drag it out and I go to object expand, I get given this extra options. Do you want to expand the fill and the stroke or just the fill or just the stroke. I always leave them on. You might find a time where you might need to expand just the fill. Maybe there's a pattern in there, but you want to leave the stroke on it. You might have a stroke where you want to not touch the fill, because maybe it's got a gradient in or something, you don't want to expand. Is a little bit of benefit for the expand, but it's just working with simple shapes. You do end up expanding things because you want to like like this, but this weird little PC, you want to move this one around, I'm going to have to select on it, go to object, expand appearance. Now it's all individual parts. I can grab my direct selection tool and say, actually I want, didn't quite get it. And I want to bring that over here, not that one, go over here. You end up doing some adjustments, depending on what you got close to it using some of the effects in the appearance panel, but there might be just something a bit weird that you want to There you go. Expand appearance, explodes out everything in the appearance panel. Expand does a very similar job, but it's only with simple shapes that haven't been modified with the appearance panel. They both do the same job. Let me know the comments if you're like, no, no, no, there's this other really good reason. And for you watching, go check out the comments. If there is somebody in here who's got a better understanding of the difference, I'd be interested. Use this for decades and use the same. One of them is great out. Use the other one. They both do a really similar job. All right. That is it. Expanding appearance in Illustrator. I'll see you in the next video. 21. How to create Graphic Styles: One. In this video, we're going to look at the graphic styles panel. We put a lot of work earlier on to make our interesting appearance around our type and shapes. I'm going to show you now how to turn it into a template so that you can share it with others and you can in other documents, go, this little handy icon here. Bam. It's a way of saving and sharing all that work you did in your parents panel. Basically, all it does is grab everything from the appearance panel, sticks it into a graphic style library, makes it sharable and reusable. Plus I'll show you all the really bad ones that are built into Illustrator. Let's jump in and do some graphic styles. To create a graphic style. First of all, you need something selected that has the style that you want to pull from it. We created this earlier. It's got a fill. It's got one, two, three, four strokes on it. Can we have anything? As long as it appears in this appearance panel, it'll get added to the graphic styles library. With it selected, we're going to go to Window, and we're going to go down to graphic styles. Open up that. Often it's tied together with your appearance panel because the kind of one in the same. But, earlier on, let's grab reps tool. Earlier on, I drew something. The way to get style from one, everything from this appearance panel onto this new object, was to grab my black arrow, click on this, and drag it across. Basically it's just a little swatch. All we're going to do is transfer that little swatch into the graphic style swatches. To do it, I'm going to slick on it, and I'm going to go to graphic styles, and I'm going to hit plus, and there it is there. It's just reusable now. I can say, I got some type. Very small type. And I can click on my graphic style, and it's a bit much for this type. There you go. Yeah, I've applied my graphic style to it. There you go. That's how to create your own style and reuse it. You can send it out to other people. Let's say that I want to give this to other teammates, make it downloadable, is you can save your graphic style library. It's nothing to do with the document really. It's to do with the Styles library here. What I'm going to do is clear out this library. There's some default stuff in here. I don't want included. I'm going to click on this one. Hold shift, grab this last one. I'm going to grab them all. You have to have this first one. It's the default one. I've selected all of those and had been and delete them. Now I've got just that style that I'd made, I can go to the Flyout menu and I can go down to save Graphic Style going to do is I'm going to call this one, Dantyle. I'm going to put it on my desktop. It can live in the deep recesses of illustrator on your computer. That's fine. I'm going to share this with say other teammates, I'm going to go to my desktop, I'm going to dump it on the Dantyle. What's happened now is I've got the separate library. How do I bring it up? How do I get other people to bring it up and use it? We're all using the same style, watch this. If I go to a new document, you'll notice that my graphic styles have all reset. What I can do now is I can say, I want to load that style, I can go to that graphic styles panel, got a little flat menu, down the bottom that says open. This is weird, rut me. Go down here, open Graphic Styles library, and right in the bottom, it says Open other library. Nokiki, let's go to our desktop Dan style and click open, and this panel appears. This is a graphic style panel, like this one here. This is the one for the document. This is the one that I've loaded, and I'm going to drag something out. Lick on this and bam, we've shared it. You'll notice that if I undo it. Before I apply it, it's only in this style, and when I click on it, what happens to the graphic Styles panel. It applies to the one that I'm working on. That's a good way of sharing it. The other way of sharing it, K is just to open the document because what we'll find is, let's have a look. On the desktop, you'll see that Dan Style is actually adobe Illustrator file. I can go to File Open, That's what people tend to do they file open. It's better to bring it in through the graphic styles. It's a bit cleaner, but you can open the document, and what ends up happening is you end up like this. You open the document and you're like, thanks, Dan, I've got a blank document. Basically, the AI file has transported that style, not in the document, but in its graphic styles library. There it is there. Try and use the file open other library to see the panel, or you can just open the illustrator file, open the graphic styles panel, and there it is there. It doesn't really matter to get it from one document to another, you could go to this new document and go to the file open, O with this open, I can use the style and then just copy and paste the whole object. Copy, jump into this document. Let's actually make a new document. There's nothing in it. Hit paste. Can you see it comes along for the ride? Is that confusing? There's two ways to One way to save them, a new graphic styles library Go to File save, and then to open them or bring them in from somebody else. Either your own ones or the teammates. The best way is in your document, go to this, go to Open and go to other library, and it'll open up that separate panel, Dan styles. Then you get to use it. But it is really common just to double click and open up the illustrator file, and the style will be in here. You think that with a blank page is a bit weird. As long as you've got your graphic styles panel open, it should make sense is. One thing before we go is your appearance panel. Sometimes you've applied lots of styles, watch this. I can go. Actually, let's look at some of the built in styles. They are bad, man. This might update. If you go to window and go to Graphic Styles library, there's some built in, awesome. I'm going to just use the image effects. If I click on this and I go. It works. I don't know. I'm not a fan of these. They were made. I think before I started using Illustrator, all these effects, and nobody's gone and updated them. I'm hoping the next version of Illustrator will have these updated. But let's say you are missing with these. Ah, that's lovely. I want to remove them. Go to appearance panel and you can go to this flyout menu and say, Let's reduce now, let's go to clear appearance. It's got no fill, no stroke back to square one. You end up with no fill, no stroke, just a way of tidying things up. I'm going to give it a fill so we can see it. There we go. You can go and have a look through the other graphic styles libraries that are built in. H a look and I don't know. They disappoint me every time I go in. That's why in the next video, I'll show you how to bring in other people's graphic styles because there's some ones around, and I'll show you where to find them and how to use them. 22. How to use Other People Graphic Styles: I. Hi, everyone. In this video, we're going to look at graphic styles. We're going to download somebody else's. I'm going to show you how to import it. I'm going to show you how to manipulate it. Most of all, I'm going to show you that it can be really tricky using somebody else's graphic styles. Because they're all created slightly differently, and I'm going to show you how to get in there and understand the frustrations so that you know it's not you. It's just some quirks with illustrator and graphic styles and whoever made them. There's no real consistency on how they're created. Requires us to do a little bit of messing around to try and figure out how they work. Let's jump in and we'll figure out how this one works. It's cool. All right, we're going to be working with textile that I've downloaded from free pick.com. I'm using this one here called pop line. It is free to use. It requires attribution. My attribution in this video is that this came from free pick.com. That's where it came from. This is going to bring up if you download anything from this site, there's loads of sites to go find graphic styles from. They're all created differently and have their own quick. It's a messy video, but it's a messy subject. I don't want you to feel like, maybe I'm doing wrong. No, it's just tricky working with other people's graphic styles. Happened is I downloaded this one and it turned up as an EPS. This is it. I came a pop up dot EPS. EPS is a file format. Depends on how old school you are. Basically, that's used to be what we used for a lot of vector. You can still use it. But basically in this case, basically an illustrator file. You can just open up this EPS in Illustrator. Often though, they are AI files. That's the first bit aw ardeness. For us, just to make it a little bit easier, I've recreated this file. Under exercise files, and it's called graphic styles, one. If you plan on using the style as well, go check out free pick and go pick up and go check out the terms and conditions that they've got. At the moment you can use it commercially, it's just attribution required. Open up this one up in Illustrator. The first issue with using somebody else's style, especially when it's text is probably not going to have the font. You can either cancel and then just click on this and pick your own font, or you can see if you can sync the font using Adobe fonts or go find the font. For you, you might sync roboto if you don't have it, otherwise, click on it. Ha cancel and click on it and say, actually just pick a different font that you've got on your machine. That's one thing that can be problematic. The other way is how they're set up. Because some files open up with a blank document and the style hidden under window graphic styles. You'd be like There it is. This one's not. I can tell because watch if I draw this out. It's got some styles in this file, but it's not what I want. You like, this is not what I'm looking for. This person, whoever made this, did all the style, which is really cool in the appearance panel, but never turned it into a graphic style. It's still here and you can still use it as a graphic style. I can create my wn, look, I can click on this and say, make it a graphic style. Sometimes it is the object in the document that has all the appearance stuff applied to it. Sometimes it's an empty document. And the graphic styles hiding in the graphic styles panel. Sometimes it's both. Really depends on who created this. What we're going to break down now is this graphic style slash appearance panel, the same thing, remember, but parents panels, all the stuff, graphic styles, is all of that stuff saved in a library. In the parents panel, you can see that there's one, two, three fills, there's a stroke. There's all sorts of stuff going on. If you can't see them, you can toll these down and let's Let's just deconstruct this one to give you a sense of what you might have to do when you're working with somebody else's style that you didn't create, especially when they're quite complex like this. What I tend to do is turn the eyeball on and off on each of them to see what they're all doing. Sometimes it's not clear who's doing what, like this weird box that's dark blue. I can tell because that's dark blue, but sometimes it's not like, that's doing that. Say that I want to mess around with that. It's moving up into the right. How do I mess with that? I'm going to go into it. It's going to be something stacked underneath here. It might be the actual fill color. You can go into this and it's just the plain swash. Nothing's really going on there. The transform, if I click on the word transform, it opens up the transform effects panel. We're going to cover this more and more as we go along, but I want to introduce appearance panel early, so it's not such a big surprise a You can see in this one, it says, it's moved it, a few pixels to the left and a few pixels down. Hrizontal and vertical. Can you see? If I want to move it or move a little bit that way, I can adjust it here. There you go. I'm able to adjust it. I don't want to and had cancel. Let's have a look at something else. Let's look at those lines at the bottom. That's pretty cool. The one, two, three, four little lines. Let's go to stroke. Now, is there anything we going on the stroke? The size seems about fine, transform pacity. Let's go to transform. You can see they've done the same thing, we've moved it a little bit to the left and a little bit down using the horizontal and vertical. The fancy thing about this is they've done it just four times. Let's say I want only three. Got three, got five. We can adjust these things afterwards, click Okay, work through and break them down. They can get quite tricky and complicated. Let's have a look, dots, where the dots coming from. The dots are we, where are the? What remember, I did them on and off because sometime you're like, is that it? Is that it? It's definitely this one here that's giving it at the dots. Have a look, you're like, let's go to transform. You can spend ages in here and go, Noh early, I can move the dots, but I can't really change the dots. What's happening in this case is that they've done so fancy. Let's cancel. The actual fill here is a fill of dots. Problem is it's white dots on a white background, which is the worst ever. I picked I picked a style that had some complexity to it just to show you that sometimes it can be really hard to work out what's creating the dots because you could go opacity and say, something in here is doing it, Hard light. We'll cover color modes later on. It's not what's doing it because you can mess around with this rages and the dots the dots don't change. I can't control them. I can change the color of them, but I'm going to put that back. It's this fill here. This fill has a swatch, if I drop that down, you like, what's all this? Normally we just got these basics, but what they've done is they've picked a dot that has, can you see, they've picked a dot swatch. There you go, that's what's giving it that dot. Sometimes you need to like, Yeah, spend a bit of time clicking things in the appearance panel to work out what the graphic style is done. Then you can make your changes. I'm going to pick a different color, and I'm going to go to my graphic styles panel and I'm going to create a new style based on that. That's the Dan style, similar to the original one, but that's my one now. Now, I'm going to show you one more just on my own because it's a paid for one that I like. It is from this place called vado elements. It's a subscription. I pay for it every year because I love all the cool stuff in here. If you want to go sign up, you can use my affiliate link here on screen. But there's loads of good stuff in here, but the thing I'm looking at now is these illustrator graphic styles. This is the one that I liked, I like this half tome thing and I'm like, cool. I can work out how to do it often in Illustrator because it is effect built into Illustrator, but sometimes it's nice just to cut to the chase, if somebody else designed it and you go and just change the font. But using this the other day, I ran into problems. I was like, I'll show them in the class. Let me bring up this one. I downloaded it. There was a Hal to PDF, which is cool and there's these two files. These will do the exact same thing, the EPS or the AI. I'm going to open up the AI file, and you're like, nothing's happening. Remember before sometimes there's stuff in the document, and sometimes there's nothing in the document, but can you see in the Graphic Styles library? The and I can say, I'm like, cool, I want that style. I'm going to grab my type and I'm going to type in Granada. I can't even see it. Granada doughnuts, and I'm going to make my lot bigger. I'm going to say, I'm going to pick a really thick font so we can see it, and then I'm going to go bam. I'm going to go, what is wrong with this? This took me a little while. I'm like, go to the ap parents panel. There's all the stuff. There's a stroke applied, there's some effects. There's a gradient. There is also rasterize. Spend ages clicking in all of these, adjusting it, clicking all of these, adjusting it. The way I figured it out was, wow, the way I figured it It ended up being half tone. If I messed around with pixels here and I went, I'll get this down to maybe 60. A lot of trial and error. I was like, Okay, maybe down to ten. I did it. What ended up happening is they'd said it, and I'm going to undo that. They'd set it for a font that was maybe, let's go 1,000 pixels. I worked. Maybe a bit big. That freaked out illustrator. There you go. It's backw again. I'm not sure what happened there. But they just designed it around this enormous font. We I made it was working with hundred point fonts. There's nothing wrong with that, but it just means when I started using it with my 12 point font, all the effects that that applied were quite dependent on the font being really big. Do you get what I mean? It's not so much how to use this one. It's more there is when you download somebody else's one, and you start using it, you might be a little frustrated at the beginning to work out how it works because they're not very bulletproof. They are quite dependent on a few things. Some of them have instructions. Some of them don't. Often, what I do is load them up, find them in the graphic styles, or they might be sitting in the document like this one here, then I go to the appearance panel. Click on them, and I just click in everything to figure out what I need to change, and what will suit my situation or why it's not working in my one. That is graphic style libraries. They are awesome when you find somebody else's one because I could do all of this 100%. But sometimes it's not until you see somebody else's one, you're like, Oh, how we do that? Then you can pick it apart, change it, take ownership of it, manipulate it and you're like, Yeah, look what I made. But we ended up starting with somebody else's graphic styles. And there's some cool things out there. Alright, I hope that was helpful. Basically, the name of this video is graphic styles are fun. They're awesome. They're a shortcut, but they can be really tricky, to get them to do what you want, and it's not you. It is just graphic styles. There's so many considerations and things that are part of it to make it happen. All right. That is it. I will see you in the next video. 23. Class Project 05 - Graphic Styles: One class project time. We are going to set a task of finding somebody else's graphic style, download it from the Internet and see if you can get it going in Illustrator. I want you to use either the text from your small business, like mined be granada Duts or maybe one of the graphics that we've drawn earlier in the course. I don't mind if it's text or image, something that something unique that you've made. But using somebody else's style, you can totally change the style One thing for this class project is that it's going to be a little bit frustrating. I guess on purpose, not on purpose. I don't want to frustrate you, but I want you to get a sense of sometimes the graphic styles can be easy to use, and sometimes it can be a little bit of jiggling y to overcome them to get them to work. Some styles I haven't been able to make work. There's no definite rule that these have to work. Somebody's made them just like you uploaded them to the Internet, some of them are better than others. So, download a graphic style. Make it work for your small business. Let us know in the comments when you do post any frustrations that you did have or like, I don't realize. It took me ages to work out X or it was this that was giving me the problems. If you're watching this, go a, look, have a scan through the last ten comments to see what people might have had and it might help you with your style, or it might just help you educate your future self if you bump into an issue can you share the link to your style and where you found it as well? So that if somebody goes, that is cool. Where do you that from? It's already there and linkable and clickable. Then take an image of your style and upload it to the assignments and share it on social media. Take me, I love to see what you make. Happy hunting on the Internet now. I used that free pick.com website. I don't use it all the time. I often use vado, but that's a pay server. Just Google Adobe Illustrator graphic style library and do some hunting around because these places change? They have all sorts of different rules, there's different styles around, but there's quite a few of them on there, see what you can find. One note though, is that if you end up with an EPS file, sometimes double clicking on it won't open up an illustrator. You got to go a file open. Be quite deliberate when you open up an EPS file, and then it will open up an illustrator. Sometimes it can open up an acrobat and all sorts of other weird stuff. It's the only gotcha you might have with the files. But yeah, happy hunting, and Hopefully, you find a style that I don't know suits what you're doing. I know. It's quite exciting when I found styles. I'm like, H, other people's stuff doing the work, rather than maybe following a tutorial and going through all the steps. You just got somebody who's done it already, little bit of fiddling, but I don't know, graphic styles are awesome. All right. That is it Happy homeworking, no homework, class project. I'll see in the next video. Once you done your homework? No homework. 24. How to make a Symbol in Illustrator: One. In this video, we're going to look at something called symbols. We are going to create symbols and then be able to drag lots of multiple versions of them out. It's like a big copy and paste. The nice thing about them though. Is if I make an Edit 21. They all update. They can be really useful in some situations, and some situations, though, CC libraries, which is the same might be better. I'm going to show you I'll show you the pros and cons between symbols and CC libraries at the end as well. Little bonus. But first, let's jump in and get started with symbols. All right. Open up the file cord symbols in your exercise files. I've got a map here and a thing that looks like a location marker. And we are going to create our first symbol. Go to Window and go down to your symbols panel right down the bottom of your windows, and there's my symbols. I've got some defaults in there. The default seem to change every now and again. These seem to be the random ones that are in there at the moment. To make a symbol, let's select it. The interesting thing is that whatever size you want to be using the symbol, You need to drag it in there at that size. You can resize it afterwards, but it's a pain if you have to do it every single time. For our map here, I'm going to grapple with my black arrow, hold shift, and drag one of the corners till it's an appropriate size. Also just a side note from really Zoom down, I've got these giant anchor points, it's hard to move it, but if you click off and then just click once and drag it, you get around those giant handles in the corner. In terms of size wise, let's say that I'm happy with the size. It's an important marker and we want it to be nice and big. It's our location of a donut shop. Actually, it's it. I don't know. I've been to Grenada once. I can't remember all the good places. Let's say that that is the best place for a donut shop. What I'm going to do is to make it into a symbol. I've got it selected and I can hit this plus button and it will add a symbol, or I can just click hold and drag it into the symbols library. It doesn't matter. Can give it a name. Nobody gives it a name, but I probably should. The export type, don't worry about this is old flash. Remember Adobe st piece adobe flash. This used to be important there. I always switch it to graphic just in case, it doesn't matter. Dynamic in static. Old style symbols, new style symbols. Pretty much always do a dynamic one. I'll show you the difference in a second. Don't worry about nine slice scaling again, that's something that used to happen in flash where you could stretch things out. It's unrelated to what we're doing here in Illustrator. Clear. Now it's telling us here that that compound shape that I made before is too complex for what the symbol needs to be. It's going to say, would you like to expand it before turning into a symbol? I'm going to say kiki. Thank you very much. Now, what's happened? Let's zoom in on this. This one here now is what's called an instance of the symbol. This is the symbol. If you drag out instances, of that symbol. That's all these are. These are instances, this is the symbol. What we've done here is basically copy and pasting. The perk for it though is that, let's say that they've got different locations I'm going to be working on is, I do this pretty quickly. If I want to go and change it, I can either double click the symbol and the symbol library or I can do it here on the page, it's double click it, and says, Hey, you're about to enter the symbol definition. We're going to go inside and update it. Let you know that it'll update all of them. That's fine. This guy here, these are all grade out. Can you see I can't use these? Just this one is available. I'm going to zoom a little bit. I'm going to grab my white arrow. I'm going to click on this point at the bottom and go, Just to change it. I'm going to go up the top here. Can you see exit symbol editing mode? You dive into it, just like isolation mode to get out of it, either double click the background or click that arrow that was in the corner up there. What's happened is, can you see all those buddies updated? So that's the perk of the symbol. You can create it once, keep it in this library, drag it out when you're ready, and you can update it by double clicking and going inside. Not with the white arrow turns out. Black arrow. I'm going to leave this on. You click that off. Don't show again. I'll leave it on because I'm a teacher and I need to keep showing people that. Now I'm going to draw something real quick, W should draw. I to make a symbol star that I want to use. I'm going to it's going to fill, no stroke, good work. Give it a fill. I'm going to leave it like that. I want this to be a symbol, but I'm going to do that classic symbol. I'm going to go U dynamic, sorry, not classic, it's static symbols. Static just means the old style ones. This is a newish thing for illustrator. The only difference is can you see in the panel here? This one's got a little plus next to it and this one doesn't. If I drag out a few instances of those. The difference is that see this one here, I can grab it with my white arrow. And I can do some simple things like this one here, I can select and say fill, and I can fill it with a different color. It's still connected, but I can actually do some different stuff. I can add different fills and different strokes, but I can't change the vectors, but that can be handy. If you ask me, just have dynamic symbols because this one here, was this, I can select it and I can't go and change the color. It's stuck. I have to go inside of it. Grab my black arrow, I can double click it and go and change it. I'm going to edit it, go inside of it, you and now the other color. They all update. Go hit the little arrow in the background or maybe double click in the background. That's the static one. They all update, whereas these, you can update just little bits. You can say this has got a different color than this one. If I go in and adjust the shape, it's double click it to go inside, grab my white arrow and mess around with it and then come back out of it, or double click in the background. You see they all update. The dynamic ones let you do a little bit of changing, the static ones don't. I'm going to undo. Come back out. Now what you'll find is there are some symbol libraries built into illustrate it and you can download them from the net, have a little look. It's got a window all the way down the bottom. There's one called symbol libraries. There's a bunch in here. You might find some useful ones in here. I haven't. I find them all just a bit weird, Shi. That's what I need. It's cool. These are interesting, but not particularly useful. They're illustrations, they're not symbols, if you know what I mean. So this one fashion here, look at. I was like, maybe there's some cool footnote, just the boot. Arrows I was like, but the arrows aren't particularly exciting either. But hey, it might be useful. Can download them from the Internet like we did earlier with what do we do with? Oh, we did graphic styles library. There are ways of doing the exact same way though, O symbols panel here, you can go into the little flyout menu and you can say, I would like to open a symbol library and down the bottom, say other library. You can open one that you've downloaded. My only problem is that that's being surpassed by Creative Cloud libraries. I still use symbols. It definitely has its place. But because it's an older style of way of working in Illustrator, you will find the symbol libraries online can be a little bit dated. Creating your own libraries for your particular profession, symbol library can be really good. You can save your own library, a file save, and then other people can go to open other library to access it as well. Start dragging things out and they're all connected and you get some consistency. Now, a couple of things about symbols is that sometimes you want to break the link. You're like, I want you to update, I want you to stay as you are. What you can do is with it selected here, you can either top here, you can break the link or over here, break the link and say, It still looks the same, but it's not connected. When I update the symbol, this one is not going to update. I'm going to undo that. What a lot of people do is instead of breaking the link, which is the official way, you can just go to object and go to expand. We learn that earlier. Does the same thing. Now, I want to show you symbols because this is the illustrated advanced course. I use it sometimes. It's in this section and it's great. But often what I'll rely on now instead of symbols, which does a lot of the same things plus a little bit extra is the CC libraries. I've got a library, I've created one called Illustrator Advanced. What I can do is I'm going to break the link to this one. And I'm going to forget about symbols panel, and I'm going to drag this in and it does the same thing I've got this graphic in this library. The difference is, well, I can still bring it out. I can drag it out, drag it out. I can go into it, so I can double click it, go into it opens up in a new document, which is different from symbols. I change this one, sure what I'm doing, save it and close it. You see, it's still updated. This is my little instance of this symbol in my library. You still get those symbol benefits. The nice thing about libraries though is they are a lot easier to share. I can just share and invite people to the library. The big difference is once I've shared it with them, we're accessing the same library. Whereas if I save my symbol library, if I go to symbols and I file, save the one that I've made and send it to somebody, it's like this thing on its own. It's a file that you share with them. We have two versions of that symbol library. Update it, I don't get to see their updates unless they send me the file back and I delete the one I've got and start using it. Whereas this, I share the library, and we're both working from the same one. If I'm working with some of the other designers here at bring our laptop, they can make changes to it, or I can give them view only access, so they can't change anything, but I can. I can go through and update the symbol, and it will change on their computer Symbols are good? I rely a lot more on CC libraries. Sometimes symbols are just great to find an existing set of symbols. There's just some situations where some companies can't use CC libraries. I was working for the local government. They're urban planners. They are producing a lot of symbols for their road marking and all sorts of topographical maps and kind of blew my mind, but they needed help building out their symbols library, and that worked perfect for them. They were to share them. They had like a library of them. There you go. That is the overview of symbols in Illustrator. Did it annoy everybody that my circle is not quite in the middle of I just do it quickly. Oh, should have done the first. Anyway, that is it. That is symbols over. I will see you in the next video. 25. How to use the Smooth Tool in Illustrator: Hi, everyone. In this video, we'll look at the smoothing operation in Illustrator. We'll also look at the Smooth tool. Tick us out. Lo. We can just simplify and smooth things out really easily from this little hand drawing we've done. Let's jump in and look at the smoothing options in Illustrator. First up, open up the file called smooth do AI, and we'll look at a couple of different use cases. This one here, I just drew with the pencil to come out how I want. Did on purpose that it's a bit scraggly and a bit, not quite as smooth as I'd hoped. We're going to click on it, this leaf part with the black arrow, we're going to go up to object, we're going to go down to path, and there's this one in here called Smooth. Click on Smooth and often if you click on this option here, auto smooth, it'll get you pretty close. It doesn't in this case. It's guessed it here and it's it doesn't know that it's meant to be a leaf withal, it's like little bits of subtlety. So this is how it's started, I can just crank it up until I feel like it depends what you want. But I can just take away. It just gets rid of all that awkwardness of my drawing. I might be somebody else's one, it might be something generated from AI. The smooth option is just really nice to average things out and smooth things out. Obviously. I do it for lines as well. If I've got a line that just needs to be if I click on the dir selection tool, you can see there's just too many anchor points, trying to do too much. So I'm going to go back to my object, I'm going to go to path, and I'm going to go to Smooth. You can hit the auto and in this case, it's not doing a great job, but don't underestimate it. Lots of jobs that I've done. I can't think of anything now. I hit auto smooth and it works out great. Can you see the line? You decide on how much of the roughness, you want to smooth out and you can decide there. I'm just clicking and drag. Another really good use case is I've got this drawing in my book. I found it. I have no idea what I did it for. I mean to be a skull. Hand drawer and I need to turn it into a vector. We've done live trace in the essentials course. We'll just do a quick refresher. It's not really about live trace, it's about smoothing it afterwards. I find I use this quite a lot for my hand drawn stuff. Let's go to image trace. Let's click. It's going to just default something that's close enough. I might do just to simplify things is in your properties panel. If the text of vector is open, you might close it up just because it's so big and down the bottom here is live ase. We're going to go instead of going to the different presets. We are going to go to this option here. Get the panel open, the big ugly panel. Yours might be toggled down, toggled up. What I'm going to do is work out the threshold. It's done a pretty good job. Basically, the threshold is how much like how black does it need to be to be included? Do all the light marks get included? What's the threshold? If you have it right up, it includes everything, and if you have it quite low, it only gets really black. And I was using a sharpie to color it in and it quite light there. Finding the happy medium, I want it to how they had it. We could spend a lot of time tiding this up. I want the pass below, the corners to probably below, I want less noise. I want to crank it up. Try to get rid of some of the dots in the middle. The last thing I want to do is I want to say actually in here, I want to ignore the background color. If I use this I drop a tool to say this color, I want you to just not include it. I don't want a white background in this because with it off, let's turn that off, watch this. I can move this out and it has a white background. But if I say ignore that color, Can you see it gets rid of it? That's fancy. I'm happy enough with this. Don't worry too much if yours looks exactly like mine or it is not. It's more about the principle. I'm going to say, expand this now. And click off from the background. You might end up with some junk around here. You might need to delete. I got lucky and I don't. But if I select on this now, I want to use that simplify because it's what I wanted, just a bit I was better in my head and I want it to be smoothed out. With it selected, let's go to object. Let's go to path, and let's go to the smooth. Smooth again, you can hit automatic and going to grab this little bar because it's always in the way, grab that little dotted thing to drag it out the way. It's not quite what I wanted. You got to find this happy medium of, that's quite a cool transition. What is that? That looks like Bla cla, I don't know. Minion. But I'm going to try and find some happy medium of, that's how it was and then keep going up until I'm like, that's it. Just smooth everything else out. Nice. The live trace tied in with the smoothing option. I find really handy to get the results I want, at least tidy up some of the points. You'll find after it's been smooth, if I click off from the background and I grab my direct selection tool, the A key. I only have a few anchor points. It cuts them down when it's smoothing out and blends them around the nice and smooth. I find I've got better control afterwards as well. If I do want to go The other thing you might do is this one over here, we've used a global smooth. Sometimes you just want to do a little bit because that's nice, that's quite nice. This bit here is a bit rougher than the rest of it. With it selected. O here underneath your shaper tool, pencil tool, hold it down. This should be one called the smooth tool. This does the same thing except that it is brush. They can apply. This one here, I'm just going to brush across this. You can see the removing anchor points and tighting them up and smoothing them out. You can go too far. But I find it's like No, a little bit more specific on an area rather than doing the whole thing. A bit of both. There you go. Smoothing stuff in illustrator, either using the object path smooth function or using the smoother tool. That's it. I will see you in the next video. 26. How to use the Simplify Path Advanced: Hi, everyone. Hey, we're going to look at the simplified tool. Its job is to grab all of these many, many anchor points, way too hard to edit, and with a push of the button, bam. The same skull, whalers anchor points way easier to adjust. That's the simplified tool. But what gets better. We're going to use it stylistically to go from this curvy Dup shaped rocket to This like straight line geometric thing. Looks cool. I think so. Let's jump in. Let's get busy with the simplified tool. To get started, open up the simplify file from exercise files, and we're going to tidy up the anger points. Basically that is what we're doing. Where I use it the most quite often is the width tool. I've made this like thing blobby thing, and I want to outline the appearance or expand the appearance. Because at the moment, it's still editable. Shift W to go the width tool. It's still this editable shape. If I want to start messing and in more detail like the anchor points, I need to expand the appearance. We've done that before. Let's go to object, and let's go to expand or expand appearance, whichever is available. You can see what it's done. It's added a bunch of anchor points now, so I can grab my direct selection tool and start modifying it. Because often it gets me close with the width tool and then I want to go and make adjustments. But you see all the junk over here and you're like, Oh, man, so many anchor points. That's what the simplified tool is really good for. I'm going to select it with my black arrow, and I'm going to go to object, I'm going to go to path, and I'm going to go to simplify. Click on that one. It's hard to see what's changed here. The weird thing about the simplify tool, I'm going to undo it to come back out of it. If you select it with your black arrow, versus your white arrow, you get a different view. Black arrow selection tool, no anchor points. It's a little bit easier to see the edges, but with the white arrow, you get to see how many anchor points there is. That's what I want in this case. Be deliberate on how you selected. Then go to object, go on to path, go to simplify. Can you see how many anchor points have disappeared? So much easier to work with it and it's retained most of its shape. You slide this that way to get less and less anchor points. Now it's got four trying to create this whole thing, and it's not doing well. You slide this back and forth to decide how much is too much. Okay. And, basically you want as little as you can. You want to go left, left left as long as you can until it still holds shape, and you can do some really easy editing. The automatic feature which it launds with, does auto simplify is generally 90% of the time. I leave it just leave it there. It's pretty good. Yeah, go to leave it there and now I can go through and adjust this thing. It's nice and simplified. Good work tool. Let's have a look at the difference between these two. This one here, if I select this top one with the direct selection tool, this is the thing that I drew earlier. Is meant to be a leaf. Ed so many anchor points because I do it with the pencil tool. And this bottom one here, I believe is a comparison. You got to decide where you want to go. First of all, let's have a look at difference, how many anchor points disappear. I got it with the direct selection tool. So I can see all the anchor points. Let's go a object. Let's go a path, let's go to simplify, and look at that. So It's really got rid of a lot of them, and you can keep going this way, and it does a similar job to smooth that we did in the last one. Except it's not going to try and deliberately smooth everything. It's just going to keep removing anchor points, which ends up at the same point. Except you'll probably end up with sharp bits as well as curves. It's just going to remove anchor points. Let's click on auto. What I find useful is I'm going to undo that to get out of it, and I'm going to go with my black arrow. Remember we can toggle between the two. If I want to go in and not see the anchor points, because I'm really more interested in the edge of this one rather than how many anchor points. I'm going to go back into the tool path, it's going to simplify. What we can do is go into these advanced options. Click on that. These vance options, keeps defaulting to that. It's not normal. Yours probably doesn't default to straight lines. What I'd like to see is show original path. Can you see there are so many less anchor points in this now, but can you see on and off, it's basically the same shape. You can't probably even tell. Basically there's a blue line and a red line. Let's crank that up. If I go around to minimum curves, can you see there's a bit of differentiation now? It's really tries to minimize the anchor points and it's basically the same The corner threshold, it'll just decide, see this point here. I decided, this is a point because of this angle, 150 degrees. Basically, the lower it is, the more likely it will convert changes of direction into points. The higher it is, sorry, the more sharp, it will likely make these corners. With it lower, it has to be a very, very acute angle to make it a corner point. Let's turn off the show original path and have a look sharp. Keep it smooth. Drag it this way, more likely to be smooth, this way, more likely to changes the direction into sharp. But this one here is such a big change of direction, it's always going to be sharp. We can't get higher enough in this angles. You might have to go to smooth if you want to get rid of some of these. Remember simplifies job is to try and remove anchor points. Lick, and let's have a little look. Look at the control I have over this one versus this one, but they look the same. There you go. Removing anchor points does a few things as well. It can speed up your machine. If you got lots of anchor points and you've got an older machine, it can be really tricky. If you're sending this out to get laser cut or three D printed or like an engraver, and you've got lots of anchorpoints, it can be quite tricky for the machine to process. The file size is bigger, whereas this is really simple and easy. Next, the simplified tools really good after you've done a live trace. I've done this earlier in the course. And if I look at it with my direct selection tool, can you see many anchor points it is? It's really good. Follow the lines really nicely. We end up this like like uneditable vector line, really, really thick, with anchor points. What we can do with it selected, I'm going to go to object, go to path, and go to simplify. Just leave it as is. It's hard to see with the anchor points here, but I want to show you how many anchor points it's got rid of. Remember, you can just drag it up or down depending on what you need, I'm going to drag it up. It happens so often with live trace to simplify it afterwards that they actually built it into it. I'm going to grab my black arrow, click on this image. I'm going to trace the image. I'm going to say. It's going to default to that. I'm going to open up my properties panel, slide down to the bottom, find image trace, and I'm going to say, under the advanced. What they've done is they actually built in simplify. The same tool that has built into this panel as well. I can say actually, let's simplify this down. There's not so many anchor points. I want less anchor points, and I want to crank up the noise to get rid of some of the dots in the head there. Enough. Simplifies just like baked in. I'm going to go and say ignore the background color. It's pretty good at defaulting to it and there you go. If I go to expand now and go to the A Key, I end up at the same point, but it's built into the live trace, rather having to do it a second time. All right. The next one is for Giggles. It's a cool effect. I drew this. I did not draw this. This is generative AI. I said, donut powered spaceship. A cool thing about it though is if I selected at all. Do with my black arrow, because I don't really want to see the anchor points in this case, the V key, and I'm going to go to object. I'm going to go to path. I'm going to go to simplify. It can be really cool to go inside the advanced options and say convert to straight lines. Do much and just drag this down. You find something that's quite geometric, preview on, preview off. C. It's quite a stylized look up to you. I quite like that. Now, what's this handsome guy doing here? Hello? What you can do? This is another live chase that I've done. It has got lots of anchor points. If you've got the world's oldest ctiest machine, don't do this. Just watch because there are a lot of anchor points. We need to simplify this up. Yeah, just watch. If your machine starts overheating, that's because it is because it hates doing lots of anchor points. What I find is, I want to do two things. Actually, I want to do one thing. I want to smooth But it's handy to simplify it first, to get rid of all the anchorpoints, then smooth it out because it's really hard for this machine. Even my one's pretty amazing, maxed out Macbook Pro. It finds it hard to work with this many anchorpoints. If I selected all my black arrow, I go to object, I go to part, even though I want to do smooth, I go to do simplify it first, just to clean it up, to get it something usable that's not going to melt my computer. Then I'm just going like, what can I get away with? Still looks like me, a little bonus tip. If you hold down the command Kano control Ko PC, it'll toggle the blue lines on and off. I don't want to show it to you, but I don't want to show it to you because you'll forget to turn it back on. Hold down the command key on a M and hit or control key on a PC and hit. It's nothing to do with simplify or smooth that just removes all the blue stuff. Because it's hard to see what I look like. When I've got all the blue lines around it. I look more zombie like. I got rid of it, and then I'm going to brag it down to something doable. Maybe a little bit higher. Now that's done. I'm going to click off to close that little panel, slick it all again and now do more smoothing and it won't be so hard because there's not as many anchor points. Move me out, how high can I go? Still freaking mine out a little bit. Click and wait, bouncing ball of doom. There you go. Is smoother version of myself. There you go. There you go, that is the simplified tool. Its goal is to remove anchor points, but you can use it stylistically and often you need to use it after doing a live chase or while you're using the live chase with the built in version of it. Okay? There you go. Simplify tool. Super handy hidden under this, but really useful, deep in the dark reaches of Illustrator, but something that we use all the time. Super handy. There you go. I'll see you in the next video. I'm back. I was making the next video, and I did exactly what I said not to do is I was clicking on these with W A I'm like, Where do my ank points go? Something's broken. What's wrong with it? Remember, command or Control H. Turn them back on. Don't forget. I'll probably remind you in the next video as well. There you go. Now it's the end of the video. If you go 27. Class Project 06 - Simplified Takeaway Mobile: Right. Super awesome class project number six. You've been asked to create a graphic for your small business. Depending on your business, it might be a takeaways version of your product, or if you're like a tattoo studio or something like that, it's going to be like the mobile version. Basically, we want a vehicle graphic to use on a poster for advertising. So think of a vehicle, doesn't have to be a car because everyone's going to probably use a car van. Think fun, scooter, plane, rocket, any vehicle, creative. Then use the text to vector prompt to say, your vehicle made from your product. For instance, boat made from old signs, if you're a sign rider. Skateboard from Tattoo guns, if you're the Tattoo studio. I've done, where we plane made of donuts. You have to get creative, my own worked out right. Found a good version of it. I got a plan B over here. This one over here, I changed the prompt to say aeroplane with douts as engines. You can experiment with how to make and combine these. What I want you to do is once you've got it, I want you to do the simplified line drawing version. Remember under object, go to path, simplify, and we're going to use the option in this advanced options here to convert to straight lines. That's what I want you to do and play around with something that works. Give me a screenshot of both of these for the assignments and tag me on social media. Some of them going to be easy. Donuts was easy, yours are going to be harder, but it's all part of the practicing using the simplified tool, but also some of the text of vector prompts to try and get it to do what you want. That's it vehicle powered by or made of your product or service, and make a straight line version. With me. The one thing that I mentioned at the end of the video for everyone who forgot about it. We turned on the shortcut Command H. Remember, command H means you can't see any of the blue lines or the anchor points. I'm on my direct selection tool. I select it, I can't see anything. If I go command or Control H again, to turn it back on, I can remember to turn it back on if you ever do turn it off. I forget and I consider myself super Advance, but I still end up looking at my screen going, Why is there no anchor points for a long time. That's got to happen to you two. All right. That's it. Enjoy the class project, and I'm interested to see what you make. Share it with me. Se in the next video. 28. What are Live Shape Effects in Illustrator?: One. This video, we're going to look at something called live shape effects. It happens on some objects where you get to do cool pack Man stuff, Amnon some polygons, where you say triangle No, octagon, polygon. Don't know all the goons, but they're all in there. Same with the startle, you can say, actually, I need it to be more pointy, less pointy. Less sparkles. Live shape effects. They're really cool. They can be super useful, especially when we'll make this little pi graph here as Packman probably more useful as a pigraph. All right let's jump in. All right. I've got a file called live shape effects open. You don't need it. It's just got some nice colors in it, so we're not on a white background all the way through this course. Now, live shape effects, it applies to anything under this little drop down. The rectangle tool, lips tool, polygon tool, star tool, flat tool doesn't work. Some of them have it. What it is? Let's use their lips tool. And I'm going to draw lips. I've got some colors in this file down here that you might use. Again, just to look cool. Now, this little target here is going to do the live shape effect. Let's give it a go. Ready. Click, hold and Nunu amu. Looks like a little Pac Man, drone end effx. It's more like a bar graph. P bar graph. Pi graph, and that is one of the perks of using live shape effects. These are easily broken. Watch this. I grab the direct selection tool and I click on this and I move it around, and I go back to see this is shape expanded. Flash there. It just says all those cool features, the little Man version, it's gone. They're easily broken and they only appear when you draw them with these tools. I'm going to go back. Does a hit undo. Now you can use the features on this, or look at the lips one first, so the Pack man version, you can use both sides. Often when I'm using this for say a pigraph, I'll use the transform panel. Go to a window and open up transform. You can do bits of it here in the properties panel, but I find the big transform panel is a lot better. Can you see here? Ps properties. I can change the height and the width, not that useful. This one is, can you see the degrees of where the Pi starts and where it ends? You can be more mathematical. You can type stuff in here. Don't set them both 90. See this option down here, you can flip them. Live shape effects have some options. We'll make it into a pie chart in a second. Let's look at some of the other ones. Actually, before we do, to clear them off, you can just double click the little target, and we'll clear it out. I'm going to undo that. The one I use probably the most is the polygon. Grab the polygon tools, click and hold down the rectangle tool or the lip tool, grab the polygon tool. I'm going to move over here which says, if I start dragging out, I'll get the default fill, I'm going to pick a new color because I really want to. You can see down here it has the same sort of target looking thing, and I can grab it and actually it's the wrong one. That's the corner widget. It's this one down here. Bit weird. Everyone looks a little different. The third one I'll show you is in a different space as well. Watch this. I can click and drag, look, I can go from I don't know, Pentagon. I don't know my gons Octagon. No Hexagon. I don't know. What I tend to do is just do it for a triangle, drag it down to three sides, you get a perfect triangle. Nobody tried to do that, hands up in the comments, trying to draw a perfect triangle with the penol. It can be tricky. It's really easy just to grab the polygon tool and just drag it down to the minimum, then you get this triangle. Let's look at the last one. Let's look at the star tool. If I draw out a star and pick a new fill, yours look different from mine because I've been messing around with my one. When you draw it out in the past an illustrator, or maybe that's what you've been doing. You've been drawing it and then you think, it's wrong, and I have to draw it again. What you used to have to do is grab the star tool and you click once and you could type in the stuff and you type in 20. Then that was it. If you did it wrong, you're like, I want how many points, I want to be six now. You do that once, but now because this is a live shape, we can adjust that afterwards. I'm going to dest these. Let's go this one here, and this one is slightly different again, look there's this different looking widget on the edge where you can hit up and down. We can drag this left and right, add points, remove points, or you can type it in over here in your transform panel. This one's handy because like this star burst here, do you want it to be a star burst or like a star or that's the rounded corners. There's two options in this one. There's this little target here that does the rounded corners. Maybe what you want. But there's this inner radius and this full white circle here with the outer radius. If I can grab the inner radius and just make it bigger, more like a sun, more like guaranteed 30 day mini back type sticker or I don't know how I buy my wine? If there's a label on it, it says gold medal award winning. I have no idea if it's true or not, where the medal came from, if it was self awarded. But anyway, these live effects can be handy on these shapes. You either drag them on the art or with the transform panel open, you can see all of these options in here. The inner radius here, I can lower it down to 50 k and get more of a star. Little bonus tip about stars. This used to be like my really awesome trick to show people, but the live effects have got rid of it. But hey, if you've got a colleague that's looking at you making something, impress them with this. I've got my star talk and to click and drag it out. Before I let go, I'm still holding it down with a mouse. Use my up and down arrow. You can do it quite visually. I'm just using my keyboard up and down. If you hold it down long enough you get so many of them. But anyway, that's my little trick, starbursty. Because it's a live shape, I can still go through and say, actually, there we go. Lovely. There's normally not a time where I'll go and break this live trace. Sometimes though if I'm exporting something to like an old school, you might be a sign writer, sending this out to an old plotter, cutting out the vinyl. Sometimes you might need to expand the shape, see you over here? It just converts it to a thing that looks like a star, but doesn't all have those lovely live shape effects anymore. Sometimes you might need to do that. Do that because I liked all the shape effects. Let's do that graph that I showed you the beginning, just because I want to show you some extra stuff with the math and this is how I make easy pie graphs in Illustrator. Often we can't just drag these around for the graph. Let's say we need something that says 15%. What I'm going to do is I'm going to double click this to get rid of it, and copy it and paste it. I've got another version hanging out over here. Let's do this chunk. We're going to say you are first going to pick a different color. And I need it to be 15%. I find math tricky, goes on tricky with my head, but I've got some tips that I use that I'm going to share. Over here, I need 15%. I know that there's 360 degrees in a whole circle, and if I times it by using the little asterix by point whatever the percentage is by 0.15, that will give me my 15%. There you go. There's my little pi graph. It needs to be the front. I'm going to use command shift and square bracket to bring it to the front, control shift square bracket, bring it to the front, and then it often just lines up. As long as you've got view smart guides on, it should line up. If I need another chunk of this, I'm going to copy and paste this. I'm going to say you're just a different color and say I need the number in here is 30 degrees. Again, I just go through delete this 360 times zero point whatever the number I need, 30 degrees, 30%, and that's my 30%. I'm going to line it up in there, and I'm going to rotate it around. U that should snap because of my smart guides are on. That's an easy way to make Pi graph. I'm going to make mine a donut before we go. That's it for live shapes. I'm going to make mine a donut for no good reason other than my brand as a donut. I'm going to make it Donut. To drag an ellipse from the center of something. Anybody remember? That's Hold down the option a PC, to drag from the center, and if you hold down shift as well, you'll get it to go as a perfect circle. I'm going to sect it all, grab my shape of the tool, Shift W, and I'm just going to hold down the option key on my Mac. That's the width tool. Shift M. Hold down my option key, hold down my option a, PC, and just delete. Oh, it's my little donut ring bar graph. I keep saying bar graph. It's a pie graph. And that's it. Live shape. That's why some of your shapes have these extra little things in the corner. They are awesome. They do go away and you can't add them back again, but they can be super handy. That is it, live shape effects in Illustrator. 29. How to make Repeating Grids & Concentric Circles in Illustrator?: Hello. It is time to look at something called repeat in Illustrator. It is a feature that lets us do things like this. Look, lots of doughnuts all radioed around each other. Same with this, my little coffee and donuts option, was this, I can make them bigger, smaller. Flip them around. It's a great way of making patterns, very similar to the patent maker or Stephen Repeat, but just a little bit cut down and often exactly what you need. The nice thing about it is that it is this live effect where you can adjust that afterwards without having to commit it to say a swatch like the patent. Let's jump in and work out how best to use the repeat feature in Illustrator. If you want to follow along, open up the file called repeat grid, let's start with this donut at the top here. I created this using the text vector, and what it does is it ends up putting out a rectangle around it, which can cause us a little bit of problems with this because I want my donut to have this border. I'm just going to hit group, click off, click back on and it's no longer got that border around it. Sometimes you have to do that with text vector at the moment. I want to keep a good version of this and I'm going to duplicate it. Hold on option Kemal K PC and drag it out. When you're using any of these tools, it is way easier to get it to the right size before you put it into the repeat grids. You can totally do it afterwards. It's really confusing to do it while it's in the repeat grid. I've got my donut. Let's look at the one. Let's go to object. Let's go to repeat grid. Or repeat. We're going to start with repeat mirror. I don't use this one very often. You might decide that you like the mirror option. You can play around with these settings, how far apart it is and the rotation. Don't use this one very often. You might be like, Oh, my goodness. That's awesome. There you go. I'm going to undo it. It's gone. Let's look at the other one. Let's got a object. Let's go to repeat. Let's go to the one that says radio. There we go. We got a donut Sunshine. You can on here. You can decide how many versions of it you want. Quite like the live shapes. The same dragging components here. This one here is where it starts and where it stops. Do you want it just to be a semicircle or a full circle? Or The go, there's this one. I can play around with the size here. It's in this live effect type deal. You can use these on art graphics here or over here in the properties panel, can you see there is a repeat options panel? It gives you some of these options in here. You can decide more like I need six of them, not just some random number. You can see in here with a repeat radio, you can reverse it, see which ones on top. Also, I'm going to use that as my little star sunshine thing here that you saw at the beginning. Let's do the grid one. This is the one I use the most. It's similar to just like we did before, we duplicated this. You're holding down the option anomic, PC, and just dragging it over, and then you can hit command or control D, and we'll duplicate it. Then I can grab this and duplicate it DDD. You can get lots of duplicates. That works fine. You can also use the pattern feature that we looked at really early in this course, using the AI version of the pattern makeer or in the essentials course where we use the pattern tool. This one here is just a little simpler. Let's have a look. Let's go to object. Actually I'm going to get the right size first. That works, I'm going to go to object, repeat. Let's use this grid option. It's really cool. I'm going to say, I'm going to get it so the side lines up and snaps to the side there. Then I can extend it out and to be that full background there. It doesn't quite snap and we go, it's going to be here like the radio one, we've got this things we can drag. How many versions of it's going to be there, same with this way. Just be careful dragging it. I find it can be nice of just using the options on the side. Main one you're going to want to play around with is the grid type, you might want just a complete grid style thing. We're going to use as a pattern, but you might just need a few of them. There you go. Job done, way easier than copying and pasting and duplicating. But if you want to a pattern style, you have got some of the pattern options here. Grid type, the normal one, then brick by row, and then brick by column. I'm going to do brick by column, the one I end up using the most, it's totally up to you, and then you can mess around with these flip. It's a little bit tricky. At the moment they're just repeating consistently. Now I can say the rows are this way. Actually, let's go back to this first grid type. It's a little bit easier to explain. It's hard to explain anyway. But let's use this first option. We've got rows and columns. Up and down columns, left and right a rows. I can flip the rows so that every second row is facing a different direction. Don't on one side, don't on the side. So I can turn that off. You can do it by you can flip horizontally, so one's upside down, one rows upside down, the other ones up the right way. Same thing with flipping columns. Columns move up and down, you can say every second column is flipped upside down, or turn that off, every row is flipped like a mirror. Now you can have multiple them on. You can have the flip column on, so you can have flip column horizontal and vertical on, and then we get a bit lost. I don't find I look at them and work out which one I want. What I do is I go brick by column, and then mash away at this until something looks good. What I want to do is have a bit more overlap. Now you can use these options here. Can you see, I can bring them in? I can hold shift to get them to eventually go to the minuses some zero. If I go a little bit lower, holding shift clicking down, going in ten point increments. The overlap, or it is, you might just easy drag these ones. There we go. W a bit of overlap in there, bit of overlap. I think the overlap is good up and down. There you go. Mash away these, I'm going to actually start mashing away. What looks good? For me, because my coffee cup need to be up the right way, I just use the first two options. I flipped horizontally on both the row and the column. That's how I got this one. I'm going to move it off so it's a little bit easier to see for you. Let's say we do need to edit this afterwards. You can double click on any one of these guys. And what ends up happening is it's quite like the patent maker. But you've just isolated one. You can move it probably best not to, but you can rotate. Look at this. And I can hold down shift A drone so eff. Hold shift and I could resize it. You can see it's a bit confusing doing it in here. It's better to get it right before you make get into a grid, but you don't have to. There you go to come back out, double click the background or hit this arrow, and you're out. Click on it again because this is a live effect, these things hang around, which is very cool. You can break them apart, actually and hit the arrow again. You can break them apart by going object and going to expand. Gets rid. Let's click. It gets rid of all those effects, but it's now like a regular shape. Have a look at the appearance panel to what we ended up with a parents panel. I've got a group with a bunch of stuff in it. I could now have it selected and go to group, and it's not going to do anything because what happened when the patent makeer was doing its thing, it created a mask. What I can do is say, over here, let's release that mask. They all spill out and you can start working on them. I want to leave them in. What I want to do is I want to go. But you in the background here. That's it for the repeat tool. I'm going to style mine to look nice. Where this come from? That wasn't there before. H. Weird. I'm not sure all that came from. Did you see where they came from? Glitch in the matrix. What I want to do is kind of darken these down. With this, this is interesting. Disappearance panel is like, remember, we added multiple fills to rectangle. You can, but what's going to happen? Lo I'm going to add a new fill to this group, and it's going to color in my contents. I'm going to undo that. That kind of trigger is not going to work in this case. What I'm going to do is grab my rectangle tool and draw another one and there have to be two separate shapes, just because there's some complexity going on inside of that mask. I'm going to say you snap to the edge, and I'm just going to lower the opacity here down. Just to make sure I can see my text on the top. Here we go. I've got my black arrow, I'm going to go there. I'm going to grab both of them by selecting just with my black arrow around both of these. I should get them. Great. I go to group them just so that I don't mess around and I'm going to send them to the back using command shift first square bracket next to the P key on my keyboard, or that'll be command shift square bracket on. My background pattern thing going on. Now, I shouldn't have expanded my grid because now I have no control over it. That was a mistake. I should undo a few times and keep it, then you can still put the darker box over the top just to dull it out. But there you go, repeat grid, similar to lots of other methods in Illustrator for making multiple ones. Pat makes very close to. They've just made a really simple version of it, and often, that's all you need, just need to repeat stuff around, doesn't have to be pattern swatch and all the other business that goes along with patent makeer. Bus, we don't want to be copy and pasting this forever as well. That is the repeat feature in Adobe Illustrator. In the next video. Yeah, I'm going to make you make a website. I'll see you there for the clus project. 30. Class Project 07 - Repeating Objects: Hi, everyone. This class project, I want you to basically recreate this little website. Lockup. It's called a Herro image. This is the thing we're working on here. It's the L lead graphic at the top of a website. Don't spend too long. It's up to you. If you've got some time recreate this using your own brand. But the main things I'm looking for if you are pushed for time is this radial repeat. And the repeat grid in the background here. Just replace those two. I use text vector to create my graphics. You might get yours from an earlier project, you might get it from the Internet. You might use the text vector AI feature like I did. Those are two main parts. If you do have time, create your own marketing message as the CTA or call to action, and replace it with your own stuff and replace it with your own. Potentially logo, or I kept it simple here by just having text, just the name of my business. Once you've done it, customize it as much as you like, get a simple as you like, take a screenshot of it and upload it to the assignment section. The official version in the class projects is just creating hero image for your small business, similar to the video example that we did with the donuts, and just want you to include the repeating grid background and the radio repeat. Then save it and share it. Have fun repeating stuff and I will see you in the next video. 31. How to make Random Objects in Illustrator: Hey, this video, we are going to look at randomizing things inside of illustrator. Here we're going to take the simple hat here and then bam, spin it around, shrink it, move it around. It's awesome. It's meant to be like a wrapping paper wallpaper background type thing. That is meant to be a winter's hat. There's a winter Christmas wrapping paper style thing. We'll start with the easy way of how to do it. Then we'll built on it throughout the video to add build in some of the techniques that we've learned previously, repeat grids, symbols, so that we're not just randomizing things, we're doing it in kind like boss mode. We're now advanced illustrated users. All right. Let's jump in. Let's get going. Follow along. Open up the random AI from the exercise files. That is a hat. We're going for the winter theme here. It's a very happy winter theme hat. We're going to select it. And we're going to go to. Actually, we need a few versions of it because we need to randomize it. You can copy and paste, or I'm going to use the option hold and drag on a Mac lt on a PC, and just drag it out for a duplicate. Command D. Maybe grab a few of them, do it again. Let's start with this group. Let's go to object, go to transform and we'll look for this one that says transform each. Is the magic one. The first thing we're going to realize is that the thing needs to be grouped first. I'm going to pretend they did that on purpose. Do a few times, group it, command G Control G, or it's down here group. I'll speed through to that same position. Now with them all grouped and selected, they're all not grouped together just separately. I got them selected, object, transform, transform each, and yours look much like mine. The magic thing in here is the random, turn that on. It does nothing until you start playing with any of these slides. If I rotate it just a little bit. It doesn't matter which one it is. It's going to then randomly assign anywhere in that angle to these guys. Look at them. A random. Look at move. I I move them horizontally, The It stays within the bounds of this, but random and moves them around in here. Don't worry too much about what the numbers are. It's random now. It will work when that's turned off. This moves them over, but I want to say random. The scale. Let's turn the locking icon on. If you turn it off, watch this scale, this one quite extensively this way, can see it's mix mines like thin in between the full size and really thin version. I want to turn that back to 100. Lock them together so that when I drag both of them, the height and width gets scaled. Look at that. We're randoming things. Make sure previews on if it's not, have a play around with these options here depending on what you might have on by default. I'm pretty sure this is all default. If you've got a problem with your stroke, then turn the scale stroke and effects off, that might work for you. That's the basics. Let's click a K, and let's move this one over here. We are going to. Actually, I'm going to go back to the beginning z. I want to restart and flesh this out a bit more using some of the tools we've learned already. I'm going to get a file. There's this one in here called Revert. I don't use it very often. I use a lot in these tutorial. File Revert says, I'm going to go all the way back to the beginning of this document. Anybody had to hit undo way too many times like Smashing away, command Z or Control Z way too many times. File Revert will get it to the last time the document was opened. That can be a huge big jump forward. But it wipes everything you've done. So be. So let's do this more advanced because we're advanced people now. What I'm going to do is I'm going to tie together. The first one is going to be a symbol. I'm going a window. I'm going to go down two symbols. Symbols remember are reusable thing and when I update one, all the instances update. This's going to be handy. I'm going to hit plus. I should give it a name, but I never do. There is my little symbol. That's a symbol Excellent. Now I want lots of them. I'm going to start maybe here and I'm going to use the sweet object repeat. Look at that. We're going to use repeat grid. How many do I want? I don't really know. When you are dragging this out, don't drag it to the edge of the screen. So it'll be clearer in a second. How many do I want? I load them. I'm just dragging them in. It's more just how many versions of this have I got. I don't really mind about the overlapping, I'm not going to worry about how they go here. I need to release all of this from this repeat grid. I'm going to go to object. I'm going to say expand. It's going to expand it and it gets rid of all those extra fancy repeat stuff. Now, it's in a group, and it is masked. You can see the edges of some of them. I'm going to ungroup it. You're like, I didn't do anything, ungroup it again. Sometimes there's just groups inside of groups. It depends on how illustrators created this thing. There were two groups. Now you're still really not ungrouped. It's actually inside of a mask. Over here, I can release the mask. There it is. The reason I showed you before not to drag it right to the edge, the rectangle is because there is actually a frame in here somewhere. You see it there? It's hard to find. This thing here. It's this invisible frame. That's what was using to mask this. The easiest way to find it is, can you take a guess? As outline mode, which is command y on mac, Control Y on a PC, and you'll have to dig it out. I wish there was an easier way, but sometimes there's just like this leftover mask. It was used to mask all this and when it unpicks, it goes, here's your mask. It has no stroke, no fill. Good luck finding it. The command y or control y to turn it back off. Look at all of this stuff. I'm going to say, not you. I'm going to grab everything, but that little drawing over the side here. And that'll become clear in a sec. Actually it's pretty clear. It's where I stole the colors from. Now I'm going to use my random just like before. I'm going to go to object. I'm going to go to transform, transform each. It's remember the last thing I did, Look how random and awesome it is. Load of them. I'm going to leave it as is. That's cool. The purpose of doing it this way is we got to use some of the skills that we've already learned. I got to pick apart one of those repeat grids, and we got to use the symbols. To update the symbol, I can do it two ways. I can double click out in here, or I can double click it over here in the symbols panel. Sometimes like this one here, I can probably do it quite Click it, it's going to say, I'm going to show you the symbol. Yes, flips it around to its original size and up the right way. Now I can say, I like this one, but needed a bigger pompom. I'm holding shift and my option anomic PC. It's got a bigger one. Actually don't hit Enter. Let's hit, double click the background, or click this arrow a couple of times. Now they all have a giant pompom. We're using symbols. Look. All right, I'm going to zoom out now and what I might do is grab the rectangle tool, which is your M key for rectangle. I'm going to make sure my smart guides on. I don't think the smart guides are not on. I want it to snap to the edge here and put one like a border that goes around, and we're going to basically re mask. I'm going to you, grab my black arrow, slick everything except for the unicorn. Go. Who remembers the shortcut for masking? It's called a clipping mask. There is a button over here. Don't click the button. Got to remember the shortcut. It is command seven or control seven on a PC. Go. We go. Look at our random, awesome, wintry wonderland design thing. Actually wrapping baby, remember. That is it. Random, we did it simply, and then we tied in some of the other tools we've used to be more advanced, more awesome. That's it. I'll see in the next video. 32. Class Project 08 - Random Season: All right. It's class project time. This one's called random season. You've been asked to make a background graphic, repeating background graphic for social media. There'll be texts and images to go on top of this. What I want you to do is pick a sale season. I don't mind which one it is. My one I clearly did winter because it's a wintery hat. This is what it is. Pick any of these ones. You can pick one if you like. I just put it in a few ation, I want you to draw a simple object that embodies that season. We don't want to use the text vector. We've been leaning on that too much. I want you to draw something quite simple. Often research like autumn icons or winter icons. That's how I found my hat. I was like, I can draw that. It's pretty easy, links in with Christmas or the winter holiday nicely. The main goal is to randomize it, but to add a little extra flavor here, I want you to appropriate colors. I say appropriate. You can't see my little hands here I'm going appropriate in the finger quotes because we're stealing colors from someone else. What I did and what I want you to do is go and have a look through whatever your favorite website of cool stuff that you like to look at in that creative world. Dribble is my one or Bhands. I go to these two quite often, and I was scrolling along. I was like, Oh, look, how cool that is. Thank you, Kusen. And I took a screenshot of it on my Mac command shift four, on PC. It is different depending on which version of windows you have, but check it out, or you can right click it and save it either way, get it into Illustrator and that's how I pulled my colors. Let me show you this. It's a little bonus trick here because stealing colors from images is slightly weird because you're like, Oh, just grab the eyedropper tool. First of all, you need to decide, are you doing it for the fill or the strokes? Bring that to the front. I want the fill of this rectangle, and grab the eye dropper tool and watch nothing happens. With an image, you need to hold down shift inclic it. Don't know why, hold down shift on your keyboard, using the y dropper tool and it will steal it. If it's not working, you probably I'm going to undo that, you have the stroke to the front and you say, Yes, there you go. Because my stroke only has one point, it's very hard to see. That is there, just make sure that you fills at the front. That's how I pulled my colors. There's a little extra level of bonus to the class project. Find somebody else's colors, and then I want you to do the randomize and mask. Basically exactly what we did in the last video. This thing. Okay, I would turn it into a symbol if I was you, so you can adjust that afterwards. You don't have to. But yeah, this is where we're looking to get to. Draw it, turn into a symbol, duplicate it. You could use the repeat grid. I don't mind. Practice it because it's interesting. Or you can just copy and paste and have loads of them. Select them all and use the object, trans, transform each. Once you've got it, I would like you to mask it, so it's not just like flopping all over the place. I want to trim it into this rectangle. I don't mind what kind of rectangle, as long as it's a rectangle. Square or a circle. I don't min, just crop it. We're practicing some of our tools. Yeah, there you go. Make sure when you've done it, make sure you upload it to the assignment section and share it on social media. I love to see what you do. Share the screenshot as well of the graphic that you took from. Make sure you credit the person who got it from my case, I read them out and I've included them in the screenshot. I find it's a great way of expanding the colors that I end up using a is by appropriating, using the finger quotes, other people's stuff. Go enjoy making random stuff and I will see your versions online soon, and then I'll see you in the next video. Right? 33. Advanced Keyboard Shortcuts in Illustrator: All right. It's time to get fancy with shortcuts. We've covered a few in the course already. There's loads more to give to you. It's want one video where we can just get them all in one place so that you can review them later on, potentially feel like, Oh, what was that shortcut? There's one video. There's also a PDF that you can download in the exercise files. It'll be in there. I'll make it after this video. It'll be in there for And so the first one, let's start with something simple, Let's grab the direct selection tool, which is the A Key, not the shortcut. S grab this heart in the middle. You don't need to open up the exercise files. You can, if you want. I've made one called shortcut AI, with some stuff in it. Ignore the poem. Anyway, I'm selecting on this. One of the handy shortcuts is, if you look down your keyboard next to the M key, you've got a full stop, and a ford slash or a coma period ford slash, whatever you want to call it. The first one actually go for the last one. The last one is the best one. It's Fd slash key, your keyboard, and that with whatever you have selected and whatever is at the front here. If you have your fill at the front or your stroke at the front, it will just clear it out. It's really handy. Undo that, if I click on this one and the fills at the front, I hit ford slash. I just clears it out. It's got no fill no stroke. What the other ones do. Let's click on the heart with a dir selection tool. Let's use coma. C will just add a gradient. You don't have to go and find that gradient swatch and find the gradient panel. Get started, opens up the gradient panel. You're a way. Easy easy. To switch it to a solid, it's the first one. It's the full stop or period. It's just those three keys in a row. Full stop is fill C, which is the next one is a gradient, and then the last one, the fd slash is it. Let's go back to the full stop, so we've got something put into it. We've got a fill in there. If you want to switch the fill and the stroke, because you want it for the fill, but not the stroke. Actually let's do it for this one. Who remembers what it was? It is shift x. Says, I'm going to switch the fill with the stroke. There you go. Often I do it the other way around, I'm like, it's meant to be the fill, shift x. It's the shortcut for what with this. If you click this a lot. You see hobo shift x, if you click that a lot, that's what that does. Another handy one is just the x key on its own. If I select this and I want to add a stroke color to it and I go and I go up to here to my color panel, I got the fill, I want to do the stroke. Is going to undo. What I do is hit the x key and watch what happens over here, x just brings either the fill or the stroke to the front. Means I'm going to say, not the fill, click at once, the strokes at the front. Now when I click it, stroke. Now the handy one is just D. D just goes, scrap all of the weirdness going on, just add a white fill and black stroke. D is for default. Switch everything. I'm going to go undo. On that we've used loads already is command y or Control Y on a PC and it's just that outline mode, x ray mode, very useful. The other one is if I grab my direct selection tool and click on something, you get all the anchor points and the blue dots and the targets. Remember the command or Control H. That just gets rid of it. You still got it selected, but there's just none of the junk around to make it a little bit easier sometimes working on stuff. I can still actually click on these anchor points. They're quite tricky to work on, but sometimes it is nice to have something selected that's not so messy. Just don't forget to turn it back on command or Control H. Now the handy one is font sizes. I'm going to grab my type tool, which is a T key. I'm going to select on this. The shortcut is on a MAC command shift, and you're looking for the greater than and less than on my keyboard, it's the same as the period and comma keys. Can you see down there next to the M key on my keyboard? You got to see M Key. Look at your own keyboard. We're holding down command shift and hitting either of those to go up or down on a PC, it's control shift. K, greater than, less than. Super easy for doing font sizes. Another one that I love is with ning or letting space between letters. Let's say that I don't like this big gap between big, the B and the i, actually I can slick it all and then hold down my option kanamc, ko PC and just use my left or right arrows to do all in one go, or I can have my cursor flashing between one of them, hold down my option kamala PC. The same thing, use my left and right arrow. I can just toggle it in tight up, especially when you're dealing with a logo. You've got some of these overhangs that you might be working on a font that hasn't had a lot of love. This one actually is a great font Myriad, but you might end up with one of those free fonts where there's just some weird gaps going on. The last font one is if I select this poem, don't read it. If you select all of it, I've just trouble clicked it, if you hold the option key and use up and down. We use left and right to do the n. But if you use up and down, it will do the leading, the space between the lines, the line spacing. That's really handy. Look at some preferences that can really speed up your workflow. Let's go on a Mac, I'm going to go to the Adobe Illustrator settings and start a general on a PC Members editing ber it's edit, and then the bottom, you'll see the same thing, you'll see settings, and let's go to general. In the general one, some things that are useful is this here. If you're working with older files, defaults to, whenever you open up an old file and you try and save it, it keeps giving it like, I've been converted, you're like, Stop You might like it, leave it on. If you don't, it's pain, leave it off. I've got to leave mine on my matches everybody else's for the courses. I like this one, Zooming with my mouse wheel. If you don't have a mouse wheel, you don't need this one, but I've got a mouse with a little wheel on it and I like zooming in and out with it. I'll show you that answer out. The other one is the show rich tooltips. That's when you're hovering above stuff, and it goes, Hey, do you mean like this thing with a big giant version of it with the description? If you like that, and those things popping up, keep it. Otherwise, if you like me, you like man. Stop sowing those things. The other one that's really handy is, if I am over here and I've got the selected, and if I hit Zoom, I'm going to use command plus, Zooms into the thing I've got selected. They changed that a while ago and I hated it for a while, and loads of people complain to me like I invented it because I'm the illustrated teacher. I find it actually quite handy now, a lot of people still really hate it. So you just want to zoom in on the middle of your screen here and I've got the selected, it goes, it jumps over here. You can turn that off settings and go to general note selection and anchor points. If you're in here from general down to selection anchor points and say this one here. Zoom to selection. Turn that off. Now when I'm zooming, I've got this selected, it'll just zoom into the middle of the document, or me with my scroll wheel now, scroll wheel. I can turn mine back on because I like it. You wait there. Magically it's done now. Thank you editor. Another little shortcut is we've done this one, I've got a few different objects. I just want to smush them all together. If I grab the shape builder tool. Instead of going around and going, clicking you and clicking you and all the other bits, just hold shift and draw a box around the mall and it will just smush them down like the pathfinder just unites them all. Shortcut. We've done command D loads. If I duplicate one, holding down my option Kanoa, PC and I had command DDD, you get lots of them. Command D. What can be useful is if I've got this one, this one, let's make this one nice and big and it's over. There's stuff behind it. Let's make this one transparent. Let's open up an our parents panel and say this whole object is going to be in opacity lowered down to something like this. It's above it, but I can't click the thing behind it. If I doubt click it, just go inside my heart here, it's not what I want. Do click things underneath other stuff. Hold down the command Kean, Control K PC and you'll see my cursor changes. The little chevron there. Means I can click on the top one and then the one underneath that and then the one underneath that. With it selected, I could say actually, I want to change the fill color. So there you go. Beautiful color, Dan. Another handy one is the shift key. If I click on this and I'm moving it, I can just use my keys, just one, two, three, I'm just moving at one point at a time. If I hold shift, it does it in lumps of ten, and that continues on for lots of stuff. We covered this before, this font, if I grab the font size, it will go up one to 50, 55, and we can keep going up one, but if I hold shift, it'll go up in lumps of ten. It works for anything that has any of these diles. If I had a stroke to it, ten, 20, 30, anything with a number. Now one of the things though when you are moving it around going, just tapping things just like li little tap. Is it can be quite a big chunk when it moves. What you can do is have nothing selected, so click off on the background, be on your properties panel, close down the text to vector if it's occupying too much. You see here says a keyboard increment. You can turn it down. O point is what it's doing at the moment. I like to put it down to 0.1. It just means now when I move stuff, keys, it's real fractional. And what if I need to move it a bit bigger though. Oh, hold down the shift key. It times that 0.1 by ten, moving one point at a time. I find I use that a lot more than doing the huge chunks. The up and down arrow though, in some of these transform ones, so I got this thing here. You can actually just click in here instead of going one to be one pixel across, deleting eight, typing in nine. You can just click in here and just use the up and down arrows. Can you see it just goes up in single digits. And if I hold shift, it goes up in big digits. Same with all of them. Let's say the rotation is quite good. If I go up one, two, three, four, five, 67, just by using my up or down arrows, hold shift. It goes up in ten. Yes, we're doing stuff. The next one is toggling between programs. I had to rejig my screens heck. These two of them. You do a lot of work between Photoshop and Illustrator. Or any other program. It doesn't have to be adobe, hold down the command KMC or Control K PC and hit tab, you will be able to cycle through all of the things that are open. What I tend to do is I go, right, so if I go over to photoshop and then hello you, go back to Illustrator. And I can just click at once. So command tab let go. Command table let go on a PC, it's Control tab. You don't even need to see those little icons. Can you see? You can just shortcut between the two. If I go you, I need my weird heart copy, tab, command tab on a control tab on a PC, and hit paste. And it's going to be a smart object. And it comes in. There we go. And then tab back. I find that super handy. The other one is if you've got more than one document open, so I've got two tabs open. You can cycle between them. This one can be tricky. It is the command tilde key on my MC and on my English quirdy keyboard. If you've got an international keyboard, it can be trickier. On PC it's the same, hold down the control key and find the tilt key. What's the tilde key? Is this one. On my mac, where is a good version of it. That one there. That's the key. It could be this key, the grave key as well, not sure. Mine are always tied together on my keyboard, I'm never sure which one it is, but look for that in your keyboard. If you're on another languages keyboard, you might have to find out what is the tilde key? It's about like that. For my style of keyboard, Spanish, German, whatever it is, or the grave key. That's the other one. That looks like an aphostrophe. Look for those two, and you should be able to then hold down the man key and hit that. Some keyboards I know can't do it, but it is really handy for toggling through tabs. That works for anything that has tabs in photoshop, in design, premiere pro, Sandy. You'll notice I get my doc on the left hand side. He's like, What is he doing? Crazy person? I know. I like it on the left. It's only because I've got two screens. Make sure I have it on for all the time. Yeah I have it on the left. I feel like I've got a lot of left and right room, but not a lot of up and down. I'm not sure it makes sense, but that's where I keep my doc. Stand it off. The next one is the F key, tap at once and it gets rid of not much. Tap it again and it tidies up everything. This is good when you're maybe presenting to somebody at your desk. You want to show a colleague or a boss. You can do it this way. I do it for my intro videos for this course so that I can show you stuff and I can do stuff in here. There's no reason why you can't work this way, especially if you know a few of the shortcuts. You can work in a full screen way. It's great if you've got a really small laptop screen. You want to go full screen. Keep cycling F to bring it all back. It's one, two, three, we'll get you all the way through. One for those people who have a mouse with scroll wheel, up and down is zoom in and out, I hold shift, and it will go left and right. I'm just using my scroll wheel on my mouse, holding shift key down, goes left and right. If you hold down the option K PC, it will go up and down. I'm surprised how much I use this. I don't know why. It'll depend on your and scroll wheel as well. Mine's quite jumpy. I can go through my settings. I'm happy with it. It's a bit ugly and jumpy, but there you go, shift to go left and right, option or alt, to go up and down, and then do nothing and it will zoom in and out. Last one, random is, if you grab, let's grab the line tool. Depending on what you've got doe, grab the line tool, pick a stroke color. Remember x to bring it to the front, there you go. And I'm going to pick a color. Actually going to pick one of my eroper tool, I'm going to pick one of my colors that I've picked The line tool, I ended up being the fill. I'm going to pretend I did that on purpose. How do I switch it around? I want to bring the fill to the fill color to the stroke color? Shift X. You remember. Good work. Grab the line tool. What I'm going to do is if you hold down that same tilde or grave key, and then start dragging, the weirdness happens. Anybody remember Spirograph. It's got a very spirograph fuel. You can grab any tool, watch this, hold down that tilde or grave key. How do I get rid of all the blue dots whilst still having it selected? You remember commander Control H. I can say actually I want to play around with this and pick the color and stuff. Spiro graphy. Why does it use it? I don't know. It's just been there forever and I like showing people, and do I use it? No very often? Other than trying to impress you. That wasn't impressive. Hope, some of the shortcuts were though. Remember there's a shortcut sheet with them listed in. Highlight the ones you like, test them out. You don't need to remember them all. Just the ones that you and your industry might use. Learn those ones, pick one a month. Hopefully, they'll save you some time. That is it. All the sweet shortcuts, all the one video. I'll see in the next video. 34. How to add a Gradient on a Stroke in Illustrator: One in this video, we're going to add some color. We're going to add a gradient to the stroke rather than the fill. The fill is easy. The stroke is mildly more complicated. Let's jump in and I'll show you how to run it around the edges. There's a couple of little tricks to it. If you hang around to the end, I'll show you the rotation tool as well. It has a bonus trick where we can change the center of rotation. Right, let's jump in. All right. If you want this file we're going to start with, you can open up gradient stroke from your exercise files. All you need is something with no fill in a gradient, have the gradient at the front. Remember, x will toggle who's at the front, make sure the gradients at the front. Let's apply a gradient to the stroke. There's the default one in here, and you click on that one. Go, good gradient on the stroke. Pick a pretty one and I'll show you how to adjust it. There is a gradients panel, window, and there's a premade swatches. Switch libraries down the bottom. There's one core gradients. As far as some of the pre built ones, these are actually okay. Color harmonies or color combinations. These are pretty good. You can just work your way through these. Make sure the fills are at the fronts are under x k to make sure the gradients are the front, and then you can work through the ones you want. I'm going to pick this one. Now, at the moment, it's like filling the stroke. What I want it to do is like, Well, I'll show you some different options. Let's open up the gradient panel. You can either click edit gradient if you've got it selected or get a window and open up gradient. You can't really use the tool. This one here, you have to use this panel if you're using the stroke. These are the different options. This one is going to put the gradient within the boundaries of here. You can get it to run around. Starting with the beginning of the stroke and around. This beginning and end, you can fix by going, I need you Whatever color this is, I'm going to double click it, grab the hexadecimal number, copy it. Add another little circle here, we're just clicking underneath, double click that one and paste it in. We didn't paste at all. Wait. Obe. If you had accidentally add one that you shouldn't have, just click and drag it off. I'll get this. First one again, and I'm going to go paste. Now I've got it in there. You can fudge the beginning and end by adding it. Another way of doing that undo is if instead of using a linear gradient, you can say use a radial one and it blends the better as well. This just has a gradient all the way across like that circle. You see it starts in the middle and expands out. This one runs along the outside, and then this one here runs on the inside. You end up with this strop thing going on. Prefer mine is more of a thing going on like, let's do that one. I'm going to rotate mine around so that's it for stroke gradient on a stroke. What I'm going to do is close down gradient. I'm going to flip it around and I'm going to give you a little bonus tip here for rotation. We've learned a few different ways. We did that repeat option earlier on. I've been going up to object. There is repeat and we could use the radio one. This would get us where we want to be. I'm going to show you a different trick. You could use transform. There's rotation over here, loads of things. Let's show you this one because it has a handy bonus trick. The rotation tool here, the key. I can actually click anywhere in here and can you see I can hit this little target. That target, click and drag them now. You click them once to get them started and then you can click and drag it around. It should snap to anchor points as long as your smart guides are on. Command or control you to make sure those are on. That is the center of rotation. Now, watch this. I've still got my rotation tool. I'm just clicking holding anywhere and look rotates around that. I can do a couple of tricks for hold down my option key. While I'm dragging, I get a second copy. I I it's hypnotic, I'm hypnotizing myself. If you do that same key, hold down option on a M, on PC, and hold down shift as well, it'll lock it into 90 degree angles. You can go look. It takes a little bit of practice. You go to start dragging at first, then hold down those two keys, option shift on a M, shift on PC, start dragging first. You get this duplicate. Look at us doing cool stuff. There you go. That's the thing I had at the beginning. Not sure what it is, but it has gradients on the strokes. That's what we came here for. That is it. I'll see in the next video. 35. How to add Gradients across multiple objects in Illustrator: Hi, everyone, we're going to add gradients across multiple objects. You're like, Why is this even a video? Because you've done this. You've added a gradient to lots of stuff and it's added lots of multiple gradients. You're like, is that what I wanted. That's why there's this video. You want to do this. Bam. We've got this sweet gradient going across all the different objects and one little ban that we can adjust. Let me jump in and show you how to do it. Spoiler alert, just the compound path. Let's do it All right to follow along, open up the file called gradient multi shapes. All it is is a bunch of icons here and I want to gradient across them all. I'm going to cut to the chase because I want to show you all sorts of stuff. But really, if you just came for selecting them all, turn them into a compound shape or compound path using command eight or Control eight, it'll work. Let's go to Phil. Let's go to the black and white gradient and then grab your gradient tool, gradient tool, and then you can drag across them. There you go. I'm going to do do undo because I want to get you more skilled and I don't know. I want to talk for another 2 minutes what happens is, if you don't do that, you don't turn it into a compound path. You can't turn it into a group, you end up with this, you end up with lots of shapes. They all have their own gradient across them. You can fudge it by selecting them all, adding a gradient, grabbing the gradient to and select across them all. That works except now every shape has its own gradient to play. Can you see these multiple lines. I grab this one here and say you're pink. Going to work for the gradient that is applied to this heart. There is another end to that, there you go, but a lot of individual ones. It has to be a compound path first. You've heard the word compound path. Where do we do that? Remember earlier on, we did these. Generally, a compound path is used when you cut a hole in something. I'm going to do that. I've got a square on top of another square, and if I hit my command eight, control eight on a PC, it's a compound path. That's how it's meant to be used, but it works as a good trick for this. Command eight and then grab the gradient tool and I can drag across, I can click the one. I've got an ingredient. Let's start with a gradient. Bam, I can drag across it. It's a little bit tricky. I'm going to do that thing we did at the beginning, you're allowed to go. I'm just going to add these colors here and I'm going to show how I did it. Another inspirational image that took a screenshot off, I'm going to double click this first one, go to the y dropper and go to Bam. Then I'm going to click once just below this gradient tool. You can go now if you want to see how this is done, you're going to get the picture. No more to learn. But hang around if you want, double click this one, drop, and I'm going to go the pin and then along here, I'm going to If you add one by accident, you can just drag it off. Click on this guy, double click, drop to. B. How many more do I need? I just this one down the end here, y dropper. M. There we go. These little bits in the middle is like, which side, there's these two colors. These are the stops. This is the influence of who's got more influence, O gravity. There you go. That's the thing I was looking for. Awesome. We added a gradient across multiple shapes. Just remember to make it a compound path. It does break if you release that compound path. I'm going to release it, which is no good. Surprisingly tricky to do gradients across multiple objects, but it comes up a lot. That's it. I'll see in the next video. 36. How to add a Gradient in Text in Illustrator: Hi, everyone. In this video, I'm going to show you how to add a gradient to type. You're like, why is this a whole video? Because it's not easy. Trying to copy that apple look as well, see this one here. Apple did it for a long time, through their type on their website. I like it half copied it. Illustrators made it hard. Let me show you how to unhard it. We just need some text on the page, I've made something that's nice and thick so we can see it. If you want to cheat and have me type before you, open up gradient on text. With this selected, the weird thing is if I go to Phil and go gradient, you're like, why is there a video? It's because this happens. You're like, I can't add a gradient. No, it's applied, I can see it, but type is a weird thing. But we've got some amazing skills with the appearance panel now. We know what that thing does. That's what we need to do. Open up the window, let's go to appearance. Let's click on this. There's two parts to type. There's the characters. That's what we're styling over here, and then there's the parent, which is called type. That's the parent characters of the individual parts. At the moment, this is trying to apply fill to the characters and it's not working. Watch this. I can dive inside the characters and apply the fill and it doesn't work. But if I go back up to type, double click this. I can click on type and say you, my friend can have its own fill. You're like, nothing's changed is because it's going to fill with black in it. If I go fill with white versus white to black. There you go. You do it. Little trick. Just open up the appearance panel, Make sure you've got the type selected, which is the default. I should be at the top and then apply a fill to it and switch that fill to a gradient. Don't know why that's not the default, but there you go. Keeps me employed. The other thing we can do now is you can go on now. That's probably all you wanted. I'm going to do that cool apple looking thing. You can use your gradient tool and just drag across it. I'm going to go for that. Actually I'm going to pick my own color. I'm going to go to the swatches. I'm going to go here, make sure it's on HSB because that's the one I like, and I'm going to start with something of Mish, and then down here, we're going to go, going to be that purply color that they use. Here you go. Pick my colors. One thing to know about the gradients is that watch this. If I go down to one line, it'll change. When I put a return in a type, can you see the gradient actually changes direction? This gradient tool will stay in the middle of it all. If I see the gradient there, actually, let's do it, let's do it this way. If I do a nice line this way, and I go, I'm going to make this smaller. Can you see it shrinks up to fit the text. There's just some thing to note. Undo and do and do. That's it. Just make sure you use the appearance panel and use that top level type to apply the fill to. That's it. I will see in the next video. 37. How to use the Freeform Gradient in Illustrator: One. In this video, we're going to look at something called the free form gradient. I love it so much. Why do I love it so much? Look at this fin here. Look at all the colors and stuff going on. I love it. Can check out what's happening? There's all these little dots that are influencing the gradient rather than a linear or radio one? We've got free form gradients. Maybe you're not as excited, but I'm going to show it to you anyway. Maybe you will. Let's jump in and learn free form gradients in Illustrator. All right. To get started, open up the file called gradient free form. I'm going to select on the first little flipper and Zoomin we are going to go to panel, and I'm going to apply a gradient. It's going to start with anything. I'm going to go to my little swatches panel and say, Well, there's no gradients in there. I've cleared it out. That does happen. I made it nice and tidy for you guys. Then how do you apply a gradient? We're going to do it with a gradient tool. Go to Window. Let's go to gradient, and we're going to say, you, my friend is going to be a linear gradient. Nope, were a radio gradient. Nope, we're learning the free form gradient. You're like, what do they do? At the moment by default, your two little dots will appear in a random positions. I don't know why, the appear where if they appear. What they are is it's like a linear gradient right now, look. And move it around and it's connecting these two. Where it gets really powerful is when you add a third one. Actually, let's color these first. Let's double click the centers. I'm going to go to swatches. You can use your color mixer be on HSB if you want or any other color and pick from down here. I've got some color swatches that I want to use that I baked in here for you. Go to swatches, I'm going to go for this first one. Got to go down here, double click this one, go to the second color, and I'm going to add my third one. This is where the magic appens. Click anyway. Watch this. If I wa I'm still on my gradient tool, that's important, and I'm just going to click once. It's going to add a gradient, what color it ends up being is a mystery. Suble click it, and I'm going to add this third color. Oh, look at what we've got now? We've got this weird dynamic where we've got what's called a free form gradient. I love it. I'm going to stick that one there, I'm going to stick that one there. How many can you add? Loads of them? I'm going to add maybe two more there. I'm going to make sure you are the darker one and double click this one as the darker one. Can track that line there and have all these different colors going on. Does it excite me? Why does it excite me so much? I don't know. I really like it. When you get them close together, they start fighting it out. I'm going to click off from the background. Can you see it does interesting gradient things? So the other thing to note about it is with its selected. Hit G for the gradient tool is there is. The thing you can do is see this little extent. How much influence does this have? Does it have a ten bit or ten bit a lot. Can you say it's pushing against this one? If you crank that one up as well, you end up these really distinctive lines that you can play around with, or freak it out with lower mine down. But you get the idea, you can click and drag them around to remove them, just click one and delete on your keyboard and it goes away. I want you to be bigger. There you go. I'm going to you can't do free form gradients across multiple objects. It just doesn't like it at the moment. Give it, I can't make it work, so Maybe somebody does let me know in the comments. There you go. I'm going to work my way around this document now and do a bit more of it. But that is the base exhibit. I'm going to do this one here, I'm going to go to a gradient, free form gradient. I did this one. Normally, I hit this first one linear and then move along. I don't know why. This one here is just added one dot, which is not very exciting. I'm going to add another dot. Double click it and go to this one. I'll change this one up here to the green, and Maybe this one over here. Can you see what you can do? I clicked that. Where did that color come from? Is this color over here? No idea where that color. It's I guess a mix of these two. Man, where did that one come from? Magic. Double click it. It can be a little quicky. I guess is what I'm going to say, that sometimes you need to be quite deliberate and say, I want this to be the darker color here. Down here, I'm going to use a blue, but instead of the swatch I'm going to make it darker, so I'm going to go to my color picker. Because it's a pre made swatch, it only gives me the ability to make it lighter and darker. You can switch to HSB or GP, and I'm just going to darker mine down. I love the free form ingredient. Amazing what you can do with it. I'm going to mess with mine a little bit more. You the one you saw at the beginning. I'll see you in the next video. 38. Class Project 09 - Spirit Animal: Super exciting class project time. We're making a spirit animal and adding a gradient to it. That's the main thing. I want you to practice using the free form ingredient tool, and to do it, the business owner has called. They've said, Hey, I know you're doing this job. Can you also create an animal mascot that we can use on packaging, and it's like our thing? Think of an appropriate animal for your business. Don't stress too much about it, pick something. Draw a simple outline of it, and then I want you to fill it with a stylized gradient, using the tools we learned in the last. Basically, I've done this version. Mine's pretty elaborate. I don't expect it this elaborate. I don't know. I did the drawing, took way too long. I think it's cool, but yours can be really simple. Depends on how much time you have available. What you might do is if you're like, Oh, my goodness, what am I going to do? Go to Google images and what I say, you decide a goat going to be the spirit animal of your business. I'll type in something like goat icon and just get ideas of what is a really simplified version of a goat? We're not copying, but we're just looking for like ideas of like, Okay, maybe it's something like that, something simple. I even then, you're like, it's going to be too much, just do a poll print. I'm happy with that as well. It's mainly about learning the gradient freefall gradient tool, and practicing with that. Pick some nice gradients, or some bad ones. It's mainly about practicing. P print, if you want to, or do your spirit animal. Mine is the whale. I use spirit animal and mascot interchangeably. Every time I see mascot, I think, I don't know, American football game with somebody in a suit jumping around, whereas spirit animal is more like capturing the essence of a business. So enjoy, have fun just like before. Make sure you save an image, upload it to the assignments and share take on social media. Can't wait to see what your spirit animal is for your business. Enjoy. I'll see you in the next video. 39. How to use Advanced Color Swatches in Illustrator: Oh, are you ready to get Swatch testi with me? Dad Joke. We are going to look at swatches and detail in this video. We're going to look at, can you have a default watches? Every time you open up a document. It's the default watches. The answer is no. How to save swatches, load other people's watches, clean up your swatches, everything to swatch. There's lots to do with swatches. It's not boring. It's a little bit boring. Useful to know, because you're awesome and you're going to wait all the way to the end, I'll give you a bonus at the end. I'll show you how to steal colors from websites without having to actually leave illustrated. It's pretty cool. It's your prize for sticking this one out. Let's learn all about Swatches. It could be my worst injury ever. Stick around. It can be boring, but if you wait to the end, it might be interesting. Anyway, let's get going. All right. To get started, go to Exercise files and open the one called Color Watches one. We've got this template for an ad. We are going to look at swatches. Open up the Window Swatches panel. Swatches, right down the bottom. Now, the first thing I get asked is, how do you save the defaults? Update this. Every time you have a new document, it's got all your colors in there. Oh, for some reason, that's not possible. You can do with libraries, and I'll show you how to do that in a second. But Swatches panel, no, bit of a pain. You can share swatches, though. You can have a company wide swatch panel that you can share with other people. Let's look at importing somebody else's swatches. I've made some for us. Let's go to the Swatches panel, go to the fly out menu, and we can say Open Swatch library. There's a bunch of stuff in here, weird colors. Go down to the one that says other library. And we're going to say in our exercise files, there is one called colorwatch 02, is it there? From Grabient. I've made some color swatches that have come in and basically Grabient as a site that I have borrowed, using my e quotes, a lot of cool gradients from. I'm going to bring in all those. Basically what happens is not really smooth. You opened it as a separate panel. These here are all the gradients. What you can do is you can slick them all. It's got all this other junk in here as well. I can slick this one here, hold shift, grab the last one. I've got them and then you can just drag more in. You go. You've got all the gradients. I can say, Ba Ba grabient as a website. Go check it out for cool gradients if it's still around. You can share them. You just save swatch file and people can import it. Now there's the official way of saving it and the way that people do it. In the switch panel, let's say that I've created some swatches and I really like it. I've mixed this color. I'm going to add it as a swatch. It's going to be great. I need to share them more now. W a sweet color panel that want everyone to use, I can go to here, and there's this one here. That's what you meant to use. It's called the Adobe Swatch Exchange, the AC file. Doesn't include gradients. It's dumb. I don't know why I can't contain gradients, but it can't. What you do is you save it as AI file. Same thing happens. That's what my gradient swatch is. I'm going to put mine onto my desktop, where is the desktop then. There it is there, give it a great name, Color Swatch is 01. If I look on my desktop, There you go. I've got color swatches 01 AI. The only trouble with it is it looks like an illustrator file, and it is, you can open it like an illustrator file. That's the one tricky thing about it. But when you load them, you go to exactly what we did, open library, and you can open either an ASE file or that Adobe Illustrator file. I'm going to say desktop, there it is there. The AI file has the switches in it, including the gradients. Do you get what I mean? Was the ASE file is more specific, which makes it less confusing for people who are new maybe in your business. There it is there, and I can grab my colors and I can drag them out. That's painful, I know, and it's just a little bit painful. That's all. There is the easiest way to share them as long as you want to gradients, Gradients for some reason, this might change. Check. Every time I say chick, it's going to change, it never does. A Normal color swatches are really easy to share via color libraries. They're just easier. Because I can say got it selected. I've got a library. If you haven't got a library yet, you've probably got my library somewhere, but I can hit back, I can create a new library, and you get into it, and I can say, with this selected, I can say, I would like my library, the fill color. Maybe I want this one here as well, and I can go this. Color. It's a great way of building out colors, and then I can go to the share option here and decide who in my company, friends, colleagues, can share my colors. That I find is a better way. It's more cloud based and it's dynamic if I change this and delete it from my computer, from the library here, it goes from everybody's one. You can give different access to different people. You can say, you can view but not edit. There's generally the better way to share colors around. Tween people in a company, but not everyone can use CC libraries because of strange company wide Internet things? Swatches get used as well. Let's go into some more detail with the swatches. Let's go to our window. Let's open up swatches. I've got this document here with a bunch of colors in it. What you can do is you can say, I got nothing selected. You can say fly out menu. Get this one, it says, add all used colors. It's going to grip everything you've ever used in a document and just throw them in to the Swatches panel. You're like, There you go. All in there. Nice. The other nice thing is you're like, What's all this chunk? Who actually uses these colors? Does everybody go, You know what I need? That, maybe do. There's an ugly greens in there. But let's say you're not using them. You want them out of your switches panel, especially if you're going to save it, go up to this one, the little fly menu and you can say select all unused. They're all selected and you're like, can we can? Boom. Yes. You can just delete all the unused ones. My green continues. I was used in the document. It's bonus time. Better be good Dan because there was a boring old swatch is useful, useful to know, but a little bit boring. We have learned the color tricks for stealing stuff from colors. I'm just going to add an image in here. We know that if I grab my eye dropper tool. This is the i Key. I click on this. It doesn't work. Who remembers the shortcut to hold down your shift key, you got it, you can click from an image. What you can also do though is make your UY a bit smaller. I'm just dragging the edge of this to see something underneath. I got B hands open. It's a bit of a track. First of all, some UIs make it hard to drag the edge. Maybe the bottom right hand corner might be easier for you. But get in, so you can see the background. What you can do is you can slick on this I for roper tool. You can start clicking in here. Watch this. I can click on anything. Click. Hold hold, hold, hold hold. Can you see All the way over here, the editor will help. There's this bit over here showing me the colors. All the way over here, can you see updating depending on what I have selected? I'm holding it down the whole time and I can say I want that green. There you go. Instead of digging a screenshot or using a fancy I don't know, chrome plug in, you just steal them from images. I do one more time. I've got the object I want selected. Grab the yopper tool. I'm going to click and hold my mouse key down, to select the green, but then don't let go. Hold on, hold on, hold on, and just move around and go, I want that red. I want that there. Then I went and got it. Come on. I'm going to make bigger again. The last one, is it good? It's not good. It's a super super obscure, right at the end of the video shortcut. It's got a window. It's open up a color panel if yours is not open. If you shift click the color bar on the bottom, it'll toggle through them. If you're like, you know how it always defaults to this and you're like, you and go do this, because that's what you want. You can actually just if you end up at that one, You just hold shift and click on this little rainbow thing at the bottom, and it will cycle through all of the available options. Well, these five gray scale HSB, RGB, CMYK, and Safe RGB. That is it. Was it worth hanging around for? Maybe the stealing the color in the background was and finding out you can't have default swatch panel? A tiding up the swatch panel. That's all important. I hope you found it useful. Yeah, that's it. I will see you in the next video. 40. What are Global Color Swatches in Illustrator: Everyone, let's talk about global swatches. Basically what they are is if I double click this watch here. It is global. When I adjust it, can you see it adjusts everything that is applied to it? A normal swatch does not. Global swatches are awesome. Let me show you how to make those little awesome guys. If you want to follow along, open up global colors is basically the last document we had plus a couple of extra cubes. I want you to open up your swatches panel under the window. Now, global swatches are the way to visually see them. Can you see this? Like it has a little thing cut out at the bottom right. Call it a tab. This one doesn't. Regular swatch, global swatch. Let's go to window and let's go to large thumbnail view just so we can see them a bit easier. That might be actually a revelation for you. But these little tabs. Basically what happens is, I'm going to make my own swatch. I'm going to go into here and just randomly pick a color and I want to reuse it, not that color. But I've decided on that color. I'm going to add it to the swatches panel, click on swatches panel, and hit plus, and this is on by default. By default got a global swatch. Really, I can't actually think off the top of my head, Wi reason I wouldn't have it on. Let's click. You get that color with a little tab in it. While they're useful is that watch this. If I click on this, you can see it highlights. It says, Hey, I'm using that swatch. If I click on this one, can you see, hey, I'm using that watch. Click on this one. Hey, I'm using that watch. So, let's use these two. This one global, not global. If I click off and I go and change the not global ones. I've got nothing selected. I double click on it, and I go actually, I want this to be HSB, and I want it to be darker. Click. It's changed the swatch, but he hasn't changed. That is the perk for global. I'm going to undo that. I've got nothing selected, I double click this because it's global, and I make that same change, what happens. It changes that plus the green change. That's why global swatches are awesome. A lot of stuff you get from other people won't be global swatches, and it is handy to go and turn them into global swatches. Et's look at that. I've got this document here. It's got a bunch of stuff. Let's clean everything up. Let's go delete. I'm going to go to swatches. I'm going to say select all use swatches and hit delete. They'll get a nice tidy swatch panel. There's one swatch already in there, this one here. We're left with one swatch. It's this one. This is like yellow color. It's been used there, there there's a couple of places. I think just there maybe down here as well. It's not a global swatch. You like, how do I change it to a global swatch? Let's double click it. Let's say you are now global. Now let's go and change it to something dark. The problem is is that didn't work. What we need to do is, I'm going to undo, let's make it into a global swatch. Perfect. Now, let's select something that uses that color, a square here, and I can do a trick, I can say, select all of the same things that have the same fill color. It will go through your whole document, say, I got all that, now I'm going to apply that swatch to it. Nothing really changes except all of that color that was using a non global swatch. Now is because I slick it and clicked on it. The colors are the same just has that little global ticked on it. Now with everything de selected, I can go through and say, and you see it all updates. Go. Global swatches. They're awesome. I'm going to do this as well. I'm going to say you are going to be global swatch. You should give them names. I'm not. I'm going to go select same everything that has the same fill color. Oh, there's nothing else that has the same fill color. What's this then? What I'm going to do is going to go actually, I did something a little bit wrong there. I'll leave this in the video because you'll do it. What I did was is selected this, made it a global swatch, then I kept it select and say, select the same fill color. But this square that applied. Even though this is the same color, it doesn't have the global swatch applied. I went to try and find everything else that had the global swatch that orange, and none of the actual oranges use it. I'm going to do it properly. I'm going to click off. I'm going to say you grab everybody that has the same fill. The funny thing is it won't grab that one because that one's using a different watch. Is using this one. I'm going to say, A, everybody use this, please. Now, we should be able to double click and again, go through and change it all. That makes sense. I got myself lost there a little bit. I'll leave it in there because you'll probably do the same. You just got to be really deliberate about what you select. Hopefully, that made sense. Let me know the comments if it didn't. Global swatch is awesome. They just something universal that you can update and they will all update through the document. If you don't want that to happen, you can double click on them and say not global anymore and they will break that link. They will all be lone rangers all on their own. Last trick that I forgot. Let's make a new swatch. I'm going to make a new swatch. I'm going to pick colors. I pick some random color. Something obvious. I've got this as a global swatch. Let's say I want to replace all of that orange. I could go click something that's that yellow color, sorry. I could say s same fill color, and then switch it to this. Watch this. Say you want to get rid of that color for this new one. Let's say the brands come back and it's something else or you're working with lots of graphics, but lots of different maybe clients. They use the same details, but the company colors need to change through a couple of different versions. What you can say is you can say, nothing selected, I want to grab this green, hold down the option PC and say, and it goes out and switches that one for that. That, my friends is global Swatches. Super handy. I'll see you in the next video. 41. What is the difference between RGB vs CMYK color modes?: Hello. It is time to learn the difference between RGB and Sm YK in a little bit more depth. The difference is basically digital versus commercial printing. Some of you will know already. Some of you won't be prepared. S YK versus RGB is quite nerdy. It's important to know though. Let's jump in. All right. Open up the color modes do ai file from the exercise files. Let's talk about CY K versus GB. Basically, they are two ways of mixing colors. RGB is used for anything that's used on a screen. Like you're looking at now, your computer screen, that is coming to you. All these colors are coming to you with a mixture of blue. The alternative is CMY K. That's what your physical printer in the real world uses to print. The difference is that IDB is a bigger color space mainly because it has the added benefit of light. Your little electronic screen has the ability to produce luminance light shining out of it, so I can enhance colors. It can make these crazy, strong pinks and greens. Dwn here this like nuclear green. You'll know through experience that when you print stuff through your printer, if you printed this right now, it would be washed out, right? You'd be like, Yeah. It doesn't look as cool. It's because in the real world, your bit of paper does not have light shining out of it with electrons. It is just a plain old bit of white paper. There is a compromise in color, and to get the best colors possible, they don't use GB when they're printing, they use C M Y K. Cygini yellow and black. Those are the basic differences. When you're working an illustrator, you're just going to be mindful of the purpose of the So, when I'm working on stuff, often in my professional career, everything has dual purpose. It might be printed, but it also will have a lot of life on digital stuff. So through social media or website, YouTube, so I've got to take that into account. If you are print only. So you're working at a company who print, I don't know, magazines or boxes or packaging, something like that, you're probably going to start every document in CNY K. Why would you do that? Because watch this. At the moment, this document is RGB. How do we know? Up the top here. Can you see it says Color modes. This is an RGB document. You can switch it because there's no point working in RGB if you're going to be print only Beney indian disappointment because you'll design this thing, you'll get it signed off by their client, I'll be like, Yeah, love it, and then a print off will washed out. There's no point starting in RGB if you are going to print only. If you are going to print only, what you can do is one of two things. When you start a document, go to file, go a new, and when you're starting a document, doesn't matter where you click, you can change it under advanced settings. Say you pick your own customer. We may get a and b 1,000 points. Down here, under advance options, you can say, let's just be CMYK. It's going to give you a little warning saying, Hey, you pick something that by default an illustrator is set to IGB and you changed it to CMYK, just a little warning that way. It's not going to break anything. That's not the default for these presets they've used here. Doesn't make any difference. But let's click Create. And up the topic, can you see where in CMYK? This one is an RGB. If I'm going to print, I'm going to start this way and just be very deliberate at the beginning. When you are maybe new and you're not sure about RGB and C K, you're going to be careful. If I go to web, everything in here is going to be GB, that's the default for this presets. But if I got a print, which is going to be physically printed in the real world, watch this letter A four, can you see down here, it's all CMYK. Even if you say it's going to be a PDF going to send it to people via e mail. If you go to A four US letter, it's going to default to CN it K. It's never going to be printed though. What you might do is use the size here and you're like, I have that size, but I want it to be RGB. It's going to warning and say, Hey, it's not the default for this print US letter preset, but we're k because we're professionals. We know what we're doing. We know that this might get printed, but mostly it's going to be e mail. We're just going to work in RGB because it's a bigger color mode. More colors, more intense colors. The other thing to know about it is you can't round trip it. Let's say you are in RGB and you're like, Okay, this is going to go to print, I needed to be CNit K, so I'm going to go. F. It's going to be interesting to see what the colors do. Let's go to file. Let's go to Document Color mode, and we can go, Okay, we're going to be see NYK and get ready for the change. Ready? Ling. You're looking I'm looking? Boo. Washes out. And we know that happens, right? We can print stuff off. It isn't as vibrant. Like, Okay, cool. I'm going to go back. File, document setup, document Color mode and go to RGB and watch it won't come back. I'll come back a little bit. Watch. It kind of came back. If you can't tell, I'm going to undo a couple of times, and I'm going to get the editor to jump from this one to this one. Go. There you go. It is quite different. You can't go RGB to CMYK back to RGB because even though they're both GB again, it doesn't jump back to the original one. It knocks out the colors, it tries to bring it back, so you can't round trip. That's an important point. Last tip or thing I want to mention is printing CMYK versus IGV. We've worked out that IGV is digital, CMYK is physical printers. If I'm sending this to a commercial printer, so I'm getting this thing printed, I need 10,000 of them, so I'm sending it to my local printer, they're going to expect me to send it to them in file, document color mode CMYK. I might have started that way if that's its only purpose. I'm printing off a flyer. Start CMYK, M as well work in that color space, know what it is and the result that I'm going to get back to be the same. But now I'm printing it in a different case. I'm printing this now in this situation at home or like in an office, you've got a big printer down the hallway that you're connected to, and it's a color printer fancy. They actually do better when you send them RGB documents. You're like, Dan, you just told us CMYK for print. I know early in the days of printing, they still use CMYK. Actually, my first printer was a dot matrix. Google that if you haven't heard of one, noisy things. But the first color printers just printed CMYK and then it looked like this, came out, we got documents set out, went CMYK. Ed like that. That was fine. You just sent them CMYK perfect. New printers, though, have some special secret source in their software. Some of them have extra colors. You might have one of these printers, where it has a light yellow and a dark yellow and some other colors, there's seven colors in your printer. Even if it doesn't, small little home printers, HP Epsom, whatever they are, they do some weird trickery to try and attain try and get some of this more RGB style. If I sent two prints to my printer at home here, one was GB, one was CMYK, the RGB one would look better, even though it's still printing with CMYK. It's just printers have some magic technology in them. Trying its hardest to lay down stuff and mix colors in a special way where it can try and achieve RGB. Some fancy printers, even the home ones or the home office ones or commercial ones, they have some special source in them that some extra colors to try and achieve more RGB like prints. That was a little bit waffly, but I hope you get the idea. RGB if you're printing at home or at the office, but if you're sending it to commercial printer, they'll want S NYK. That is it. I'll see you in the next video. 42. How to proof colors in Illustrator?: My friend, let's proof colors. What is it? It is when you want to stay in RGB, but you want to see what it looks like in CMYK. Basically, you just click this button under view proof colors, and it will change. There's a bit more nerdiness to it. We'll get into it in this video. Let's get going. If you want to play along, open up the proof colors file from the exercise files. It's our whale. Now this is an RGB document. The situation is, the fake situation is I'm creating this whale, let's say, and I'm going to use it both digitally. It's going out via web and social, and also it's going to go via print. I just want to check it in CMYK to see what it looks like. Before I send it But we know if I go to file and I go to document color mode and switch it to CMYK. It's very destructive. It'll actually change the colors in the document to CMYK. Even if I flick it back to RGB, like we learned in the last video, the colors aren't all going to come back. It's quite destructive. I want to preview it. Imagine if there was a way of just previewing CYK. They call it proofing. It's a view, and it's easy to turn on proof colors and it should default to CMYK. Let's go click. And that my friends is what a whale looks like in CMYK. You might decide that the blues don't change a whole lot of the greens do, that could be a problem. I might need to pick a different green in RGB, just so there's a bit more consistency between the digital and the print version. Now, what's happening is, can you see up at the top here? It's RGB, but it's been previewed in this thing called US web coded swap. Basically there's a default where I am that for CMYK. Now you can't hit undo. That's what I just did there. I try and hit undo, I'm like, Let's undo that. It's not really a thing that's done that can be undone. It's just a different way of viewing it. You've got toggle that on and off to see RGB versus CMYK, where are we proof colors. Now sometimes that doesn't work as well. If you're doing that, you're like, it's not working. Sometimes you go to turn it on, then get a view and go proof set up and click on this top one here, which is CMYK. That's that swap thing I just mentioned. C. That's what it looks like when it goes to print, you might be like, I'm happy with that. Or you might be like, these colors aren't going to work together when it's printed, so I might have to go and change them. Now, another thing that you might be interested in, interested in, you might be like, mine doesn't say swap up the top, it might be something else. Now, the way that CNY K is displayed can be different in different regions. If you're somewhere else and this is different up the top here, leave it. G means your industry standard in your country in your region is set to a different one, buy a different one, it might be like if we're going to customize, I can say actually, like that one there, I know parts of Europe. I know that in New Zealand and Ireland, we use web coated swap as the CNY K breakdown. If yours is different, don't worry about it. It's not going to make any difference. It's just the way that the industry in your area work. So if you're working in that area, for sure, keep it as that. If it's not gain, you're sending you're working in Sweden and you're sending it to the US, you might want to check to see what the default is in that country. But to be honest, you're working with a really, really big printing house. If you go to a local color shop and say, Hey, and when I'm proofing CMYK, what proof are you using? For CMYK, they'll just look at you blankly. It's quite nerdy. I only mentioned here because everyone's different and people ask like, mine's not that one. Should I change it? No. Just leave it as is, you can't talk to your printer to see what they use and what you should be using, but often they won't even know either. Printer that knows will handle that anyway. If you know what I mean. If they are aware of all of the really intricacies of pre press and color profiles, they'll be holding your hand or expecting stuff from you for them to fix on their way through. Do that make sense? There you go. That is proofing colors. I'm going to make sure I turn mine off view proof colors off back to GB, but that's the way to do it without actually converting it to CMYK, just to see what it looks like before it goes out. More neudiness, but useful. I'll see you in the next video. 43. How to use Pantone Spot Colors in Illustrator?: Hello. I have escaped the screen recording into real life video for us because I want to show you some stuff. We're going to discuss in this video what a spot color is. Okay, spot colors premix colors. Okay, and we're going to look at pantone specifically, and we'll look at some of the issues with Pantone in Illustrator. Okay and some work arounds on how to get that going. So the first half is discussing what a spot color is, and then the second half will be how to actually get that into Illustrator. So some of you might want to jump ahead. But it's all interesting. I think, nerdy color stuff. It's good. Let's jump in. Alright, so first up, what are the differences? So, the term is called a spot color. Okay? That's the kind of generic term. Pantone happens to be a company that makes spot colors. There is another, like, kind of color code here called a I use it. This is more for like, painting physical things. Pantone generally gets used for printing in print stuff, like packaging, stationary, branding, that sort of stuff. But there are lots of different companies that make these spot colors. What is a spot color? A Spot color is a preinc So if you go to your printer and you say, Hey, I want to print my business card, and you say I want you mix up a color in Illustrator, you say, Okay, here's my color, and it's going to commercial print, so we're going to make it CMYK. So it's a mixture of sin, magenta, yellow and black. Okay, those four colors will mix it up. The trouble with it, though, is if you send it to 100 different printers, let's say ten printers in your local area, and you get back all those cards, they're all be slightly different. And for big companies, often that's not. You can't have different colors. Coca Color needs to be that red, and it's very specific. You can't be any other kind of red. You can't just mix it with CMYK because printers are different. They just come out looking different. So what pantone set is like, If you pick this color, if you go through and say, Alright, you want this kind of like lilac color, this purple, and you say, Alright. If you pick five, six, seven, six, 76, and you decide that's your color. If you get this printed here in Ireland, in New Zealand, in America, in India, Pantone will supply your printer with a pot, a physical pot of ink that is mixed to an exacting standard that is that 7676. So there's consistency across the world. So that's one great thing about a spot color. Is that it's a pre made ink. Lots of companies do it, Pantones the most popular for print. And it just allows you to be consistent across lots of things. There is a way of saving money as well, because a printer, will go through the printing machine, and a bit of paper goes in the front, ok? And then if you're printing this purple, so yeah, if you're printing this purple in Chit K, it needs four colors to make that work. It has to go through a printer that has one thing of yellow, magenta, C YK. Cyan, Magenta, yellow and black. Goes through there and gets stamped four times big process to get the purple. Whereas, if you only used that purple out of the spot color, it would only need one of those little rollers. You could use a smaller machine. It would be quicker, Okay, less set up and clean up. Okay, so it goes to the white better paper, goes through and just gets the purple stamped onto it, and that's it. So it can be cheaper. It can be more expensive. Let's say that you want to do some stuff in CMYK. So you've got an image of me like this frozen. And it's on your business card because that would be awesome. But next to it is the brand color of the purple. So to make that business card, you need the CMYK that makes up me. I'm a bit magenta, and a bit yellow, bit, black, bit. Forgetting all the colors, Cyan, Magenta yellow and black. But also the purple. So now it's gone 4-5 because you want the CNY K plus that spot color, which happens to be pantone. So now it's a five color job, so it's more expensive. It could be cheaper as you use the purple, but black. S your business card is just black text with your purple logo, that has some black bits on it, then that'd be a two color job. You just need K, which is the black and the spot color. So it can be cheaper, and it can be more expensive. But Pano is just one company. I use this a lot for this royal color scheme here, this K five. It's just a different company, a different way of making inks. Okay? And if I decided that I really like, this bright color here. This is three, zero, 24, gaining the same thing. I I went to my printer and said, normally, this would be like, I've got a product that I want to print, K painted in this color. Generally, these are painted inks, and seeing Y K is a printed, sorry, Penton is a printed ink. So some industries will use R a lot when you're getting things a specific color. Okay, but there are more of like you might have a product that's painted, k, and this pantone is more about print, but there are other companies. I point this out just because it feels like pantone is the only thing. There are other color companies. Pantones are the most kind of prolific in the print industry. The other thing to know about a spot color is that notice how neon this is, okay? We Can you kind of see in this thing? It'll be hard over the camera. But this thing in real life is quite nuclear, k? I couldn't get this in CMYK. Just no problem. I just couldn't do it. So let's say that I didn't have a specific brand color, but I really wanted this color to get printed. Okay, then I would include a spot color because let's say it's the cover for my magazine, and I want it to really pop. I want this like, super awesome thing shiny, you know, this brilliant color. So I don't want to limit myself just to seeing it K. You might need CMYK, k? You might need it in the mixture of images that are on the front cover, but you also add this for a really vibrant color. Okay, so you could use spot colors that way. It doesn't have to be like brand consistency. It can be just like, I really want a really strong color, and I can't get that through CMYK. So I'm going to use a spot color, which might be pantone it might be this roll. Lo, that's the kind of explanation about why the differences are. Let's show you in illustrator how to get them going. Actually, quickly, before we get in, I want to show you for the logo that I'm about to open now. I've picked two colors. I've gone through my color book and I'm like, that is the color that I want to use for one part of the logo. And that color there is the color that I want to use for the other part of the logo. So you need a color swatch book. It's handy to have these. They're quite expensive. You'll find them online. And it's a way of going through and going, A right, that's the color that I want, and you might kind of go through it with the client go. We agree that that's the color we're going to start using for our spot color. Okay, so when you work out the number, this one here, this one, first one. Is 694. So I know that's the color that I want to start using. I'm going to show you now how to get that going inside of Illustrator so that it can get printed exactly that color. Right. If you want to play along, you can open up the spot colors document. And we are going to use Panton. It's the real common thing to use in print. So let's say we need to add panton color. We want to pick a panton color of both of these two colors, so that it's consistent. And if we're only printing the logo, we only have to use two spot colors. Loud at the beginning that Adobe and Panton at the moment, since 2023 have run into problems in terms of licensing. You can't actually see them in here. You should be able to get a window check now because this is in the future, you're in the future. You might be able to go to Swatch libraries, Window, Switch libris, go on to color books, and you might see them in here. They're completely gone at the moment for me. These are other companies that make spot colors. You might be using these in your country. And they're ready to go, click on them and there you spot colors. Often, I like to go to this and go Let's so List. Because you can see the names. You can type it in here. You might decide that you're using ten K, and there it is there. You can use that color, so I could say you are that color now is my fill. Yeah. If I sent that to my printer, they would find the ink called from the company H K S and find the ten K pot, put it in their printer and print out that part of the logo. You should be able to do this with pant. Can't anymore, but you can. I'll show you the work around. We don't want those ones and to undo that. I've looked through my pantone book and sometimes I do this with the client, sometimes on my own to go, Okay, these are the colors that I want. I've decided that this one up the top here, will do this first is in my color book, it looks like a 4985. I like that color, so I need to go and create it. Because what happens is it doesn't really matter what you write in here. As long as it's a spot color, and you name it right, they'll go to the shelf and get the right pot of pant can be more official and get Panton built into illustrator, but there's something called the Panton Connect app. It's a bit buggy at the moment inside of Illustrator and it's a paid subscription. Chase that one if you want. I'll show you what I do is I know what the color is. What I'm going to do is I'm going to start by going and have a look for that color. I'm going to go and there's that color that I was looking for. I just google it. I was like, there you go, Panton this, and there is a Hx version of it. Just a representation of it on your screen, because whatever is on your screen, it doesn't really matter. You could make it green. As long as you labeled it this, they would go and find that. You don't want to trick people like that and that'll be a bit confusing, but let's get it close enough and then label it right. Remember that, 874, b52. I'm going to go to my Phil. I'm going to go to either GB or HSB because what I'm looking for is this. Who members the pause I'm going to go get the number. I had to go and write that down because I can't hold that many numbers in my head for some reason, especially when I'm recording. That's the number. Click on it. That there looks like the spot color. But if I sent that to the printer now, they'd go and print that off and CMYK because that's what the documents sent to. What I need to do is make this a spot color. I can do it by opening up our fill, and I'm going to say you, create a new swatch. What kind watch, not a process color, processes this. The process of mixing same magenta, yellow and black gives me this raisin color. I want this to be a spot color. I'm going to give it a name. This is what's really important. You're going to say this is pantone. 4985, either coated or uncoated. We won't go too much into that here. This is the color. It's a spot color. I can click. There's a little warning that says, Hey, we don't have licensing problems, and it doesn't really matter. When I send this to my printer, they're going to get the file, and they're going to be able to see that this is a pantone color. Let's have a little look at way of the double checking, like, Have I got it to be a pantone color? Have a look. The difference is, can we look in our swatches panel? Can you see that? Remember the global color had this little tab down the bottom, but it doesn't have that dot. That dot means spot color. Can I make these bigger? Wait there. There you go giant swatches. Let's make a global color. I'm going to U. I'm going to say, I want to swatch, I'm going to make this global, but it's a process color. Let's have a look at my swatches panel. Can you see the difference. That is that little tab in the corner. That's a global color. We've talked about those. A spot color is this pre mixed in a pot on a shelf gets used and it has a little dotnet. I can tell that. The other way to do it is through the separation. Let's go to window and down to separations preview. A separation just means, let's separate the different colors being used. Let's go to Opint preview, and let's see. There's my pantone color. What the printer is going to say, I'm going to go chic, we need to go get some 4985 or orders depending on how exotic it is. I can tell what is using that color by turning the eyeball on and off. See that. No other colors getting mixed in there. Down the bottom here though this is made up of a little bit of can. How much can? If I take the let's turn them all off, except for can. That pink color down the bottom here Ue a teeny tiny bit of can. Let's turn the sin off and turn Magenteron. I think you go to have one on at least. It uses a ton of Magenta because it's pink. How much ellow does it use, ten yellow one and that teeny tiny bit of yellow. How much black, it uses zero black. When this goes through the printer, this actual logo at the moment is going to print a little bit cyan, lots of magenta, little bit yellow, no black, and a chunk of this pantone to do this. This is where that can be quite expensive. This is more expensive. To make it less expensive, I need to make this one a spot color as well because then we don't need any of the sy magenta yellow in black. You get the idea. I'd now go figure out that color. I'd go in here, figure out what type this color in, and then go and figure out what the hex number is, or the CMYK version, it doesn't matter. You're just looking for something in your computer that represents the color and to make sure that you create a spot color like we did and name it correctly. When you're working with your printer, make sure you're clear, just that this is a spot color job. Don't assume they'll know. They probably will, if they're a commercial printer. If you're sending this to your local copy shop, they won't know what a panton color is. They won't be printing in pantons. Even if you give them a pantone color, they'll just print it in C. You go to commercial print where you've got to be really clear about your colors, and what you might even do is get a proof done, like a physical one. You might get it printed off and ask them to send you a proof, and you either go in there and check it out, or they'll mail it over to you, you can check it and go, Yeah, these are the colors I want, and then they'll do the big print run depending on the size of the job, how important the colors are, and how much money you're paying. Yes, Pantone color is no longer baked in to illustrate it. You can get the pantone connect app. I haven't used it very much. It's a subscription one and I don't do enough print stuff to use it. You might have to. But if you're doing general pantone stuff like we're doing here, you can just make a spot color and name it the pantone color. Last thing before you go, sometimes picking color can be tricky. If you go to Pantone, the company, they have a color of the year, often the color of the year, they're pretty amazing. It will drive a lot of the color that is in the market in terms of everything, like curtains, cushions, print. Their color of the year is they're a leader for like, All right, this embodies what we're doing. You can go in and have a look at the color, read about it. The title change by the time you get here, but have a look for their color of the year. And see what it is, what it means. They've got great language around it. They will show you ways of using it with other colors. The thing is with this, you'd have to call this 113 Hyphen 1023. That's what you'd call the pantone color, so that the company that's printing it for you knows the right color. You could use peach fuzz as well, that might be helpful, but the code is really what they're looking for. Just make it clear that it is the new pantone color because if it's a small copy shop or small printing, they might not know the color of the year or at least not have it in stock, and they might have to get it in for your job. I hope that was helpful. Nerdy spot color pantone mix with adobe issues, but it's all right. We know how to work around it now. Hopefully, I'll come back in the future, and Pantone will just be swatches like they used to be in the switches panel. But for the moment, that's the way we do it. All right. I will see you in the next video. 44. How to Recolor Artwork & Changing all colors at once in Illustrator: I. Hello, everyone. We are going to go nuts with the recolor panel. We've done something similar early on with the generative recolor, but now we're going to get right into it. It's a great way of going through and picking new colors. For graphic, we're going to start here and work our way through picking new colors, and it's really useful for somebody like me who end up picking the same colors. It's a great way to experiment with colors, or if you are new, it's a great way to pick colors that you would never even think of or color combinations. You can also pull from images. Look at that. The image drives the color as well. Plus we can use some of the preset colors. It's super awesome. Let's jump in and recolor stuff. Right so open up recolor 01. What we're going to do is make a few duplicates. I've selected it. I'm going to hold my option key down and drag it, Alt on a PC, and then command or control DDD DDD to get a bunch of different copies. All right, Let's leave the original. Let's do the second one. I've slick everything on there. You can get to recolor there there under it, it colors, recolor. There's so many ways of getting there. Either way, we're going to get to this window. Make sure you can drag this little top it so you can see the thing underneath. Let's start with the basic and we'll get more and more complicated. First of all, make sure this is linked. The link is linked, broken link, linked. We want it to be linked. What you can do is you can grab any one of these colors and watch you can drag it around. You got to let go of it's a drag li, drag. Can you see you're like, look at that. It's a great way of picking new colors rather than going to every single color and going N N, N. Look at that. What you'll find though is if you don't have a good set of first colors like good color combinations that doesn't matter how much you drag that recolor slider, you'll just get if you've got ugly colors here, you'll get different versions of ugly combinations here. That's one thing. If it's not getting better, you might need to pick some new colors. How do you do that? Pick new colors? Let's do this for this third one. Let's go to recolor. What you can do is you can pick something from the color libraries. There's stuff in here that I'm not too worried about these because they're more let's say let's go to art history and let's pick broke, and it's going to give you a really limited color palette in that artistic style. Again, you can drag it around, you can say actually, completely new colors now. It's not changing these ones or adjusting them. You're actually limiting the color palette. That's broke, let's have a look at one more. Select all of you guys, reopen recolor. Let's go to library colors. Let's pick metal. It's metallic colors. What you can do in here, let's take this a bit further. Let's find one that we like. But let's say this gray here is just too dark. You can drag it in. We'll drag them all in. I'm going to undo that. I'm going to break the link and say you are lone ranger now. I want UN par there. You can that. You are more over there and you are over here. It's not using all the colors. This is quite a limited color. There's not many colors going on in this. You can see it's only 12 and three. I shore to probably pick something ahead more colors going into it. You can adjust which ones is using this brown. We're going to adjust that one around. Let's go over to the greens. It's using this one. I'm going to drag that one around. The other things you can do in here, let's do another one. Let's slip, go to recolor. Other things that are useful. You might just hit these ones. This is change color order randomly. At the moment, you can see it's got this yellow, it's got this render in red and a brown and black wash list. If I just hit random. It just goes and switches them around. Same colors, but it's just put them in different orders. That can be really handy, look at that. Same colors as this first one, jiggled around. Let's do another one. And go to recolor and say, actually, I don't want you just to jiggle the colors around randomly. I want you to change the saturation and brightness randomly. See this? Wow, all of new colors. Look at that. It's using the same. Can you see they're not moving on the color wheel? It's just deciding that actually, I'm instead of using that really, I can't remember what color. This one back here. This is like black, but it's not black. It's it's got a bit of green in it. It's gone and said, not black, I'm going to make you like a lighter version of that. It misses with the randomly, the saturation and the brightness of those colors. That can be really handy as well. Let's do another one, and let's go to recolor. What you can do is you can say, I like all of these colors, but I just want them to be. There's two options. There's brightness and hue and saturation and hue. You can say, I want the brightness and hue to go down, or I can make it brighter. Or I can say u, I want the play around with the saturation and hue. Drag it lower, less saturated, more saturated. Basically light and dark, more color, less color. Another one, Let's go into here. We're running out of ones. Let's go in here. You can decide on colors. It's defaulting to the moment one, two, three, four. You might have hundreds of colors in your illustration. But you can say actually, I want two. What it's doing is that it's only using two colors and different shades of it. There's this solid dark color at the back and there's this tan color here. It's not tan. Going to call it brown, got this color here, and it's used the brown color there, but it's use a lighter version of it there and an even lighter version of it there and a middle version of it there. It's only two colors, different saturations of those two colors. All right. We're going to need some more of these. I'm going to grab one, two, and three. Let's bring in some images. You can pull colors from images, which is cool. We're going to go in in your exercise files. I've got two colors, they're called recolor image one and two. I'm just going to drag them into my dock. You can go file place to bring them in. I like doing it this way. You can go there. Can go there. It might be that you've got a graphic hero image, something that you have to include in your document, and you want to pull the colors from it. Let's say that this has to go with this image. We just like the colors in it. You can select it all, and you can go to recolor and you can say, grab the color theme picker, it has to be a pixel based image. We say, bam, it's pulled all the colors from that image so that when you're using this logo on this image, there is a cohesiveness. Again, you can use all the things we did before to adjust them afterwards. Brightness, you might decide that they need to be brighter. From here, you might decide that the saturation needs to come up as well. It's a great way of getting these things to mix well. We'll do one more, basically the exact same thing, nothing new here. Color color theme. That don't always work. Sometimes you do stuff and you're like, it's not quite it. The other thing it's going to do is that it's decided lots of blue because this image has lots of that blue. You can decide this color here actually just needs to get bigger. I need you to go bigger You can kind of influence which color gets used by making them bigger down the bottom here. It can be a little tricky to play around with these things. You see prominent colors. I want that to be more prominent. You can keep going until it's like mega prominent, and starts taking over the colors of other parts. This starts getting smaller. This is only using a little bit. Co. I love recolor. Is a great way of getting colors that just look good if you find color tricky like I do. Don't find color tricky. I find a quite repetitive. This helps me get out of that repetitiveness. The recolor panel. I hope you found it useful, and I will see in the next video, Benny. All right. See you there. 45. Class Project 10 - Sticker: My friend, It is time for a class project. We haven't had one for a little while. This is a fun one with the recolor. What I want you to do is, let's look at a class project. I've got some tips at the end for recolor. If you're not doing the class projects, you should wait till the end because there are some handy tips for using recolor for the people and all of us that are doing the class projects. You've been asked to design a sticker, just a simple sticker with the company's name, the graphic and some sort of graphic. I've done the texts on the outside and I kind of and not great donor in the middle. I want you to experiment the recolor. I want to get you to push yourself, so I want at least 12 variations. I want you to use both the color libraries and the color picker where we stole it from images. Go find a couple of images and pull from that as well. To experiment with it. When you've finished, pick one that you like and make it large. I'll put mine in the middle, and that's the one I like the most. Save a screenshot. Include the images here, in your post and describe briefly why you like the color the most. It's just really helpful for you when you are working with clients to help, even if you're not good at it, that's the perfect person to be describing why you like these colors. I like them because they are kind of non traditional doughnut colors. They're a hints at color, but they've gone I like the contrast of this scien against the pink. Normally, it's the other way round, the pink icing on the doughnut and something else that compliments it. I like the big bold contrast between the text and this background color as well. Just something simple, doesn't have to be profound. It might be this one here, and that you like the colors because they embody inner city urbanness, because that's kind of one of the things that are on our brief, is in this cool part of the city. It's not trying to do big brand, I don't know, American chain style thing. It's looking for more like in a city cool folks stuff. It's looking a little bit punk alternative and that's the kind of color scheme that I feel this gives me. Experiment practice describing your colors and why you want to do it. I'm not great at it, but we all need to practice. Make sure you upload why you like those colors. The tip that I promised. When you are designing your logo, it doesn't have to be text on a path, if you haven't done it, have a look at the essentials course where we did type on a path. It can just be flat text, it can be in a rectangle, it doesn't have to be a circle. Super simple. The main goal here is practicing the color. The tip that I keep promising is this first design that I did had black text and the circle of the background is white. What's what happens when if I leave things black and white? If I'm going to go to recolor now and I say, let's pick, S, let's go let's pick history, let's go broke. Let's go and move it around. Do you notice that the donut is the only thing changing if I use some of these random features practice with all of these. You notice that it's not coloring anything else? It's because it will ignore black and white. If you want them to be included in the color like I did, I grabbed this top bit of text, now not being black, you can pick any color. You can say that's a color I want it to be, because we're going to replace it, you can pick out on any old color because nobody would buy that donut. Same with the background, instead of being white, I can make a gray that will still work, or I can pick a color doesn't really matter, but now that there is a color applied, I can select it all and it will go and say color library tones, random. So can you see it's doing it to the white and to the text, but it's ignoring the stroker on the outside because it's black, and the word donuts because it's black as well. Just give it some color. When I say pick any sort of color, that's fine. Color library will override any colors that you've got there. If I go to a neutral, it's going to override everything. Men that don't looking toxic. But why was I saying? Oh, that's right. If I undo that. If I pick really bad colors like this and go into it. Remember we can override them with color library, but if you're hoping just to grab this and go, you're all linked and just drag it around. Remember you will only get color combinations that are similar to what you had. If they were terrible to start with, it doesn't really matter how much you drag this around, you will get still terrible colors. If you start with good colors, you can drag this around and have randomize. If you start with bad colors, apply the color library. So make lots of duplicates, and I love to see what you make. Just something simple, remember, it's mainly around recolor, and I hope at the end you'll appreciate maybe some of the colors that you might not have considered or would have spent ages trying to get combinations of. Play around with the recolor. Oh, I'm back. Cut back in because I go to the and I was like, my colors? Why am I so bad? Wasn't bad, but also what I just noticed, did you notice? Because I didn't say it in the class project, but like, Is he using CMYK on purpose? Nope. I totally just made a new document. But because the previous videos were missing around with RGB and CMYK, it's devolted to CMYK. As much as I tried to it was this color here, I was like, I want this color to be brighter. I I finished the video and I was like, I really want this one, but I want it to be brighter and I was like, Okay, I'm going to go situation all the we. A the we. All the way up. Why won't you go up? I'm like, S YK. CMYK remember can't get the really really and that happened because I went file new and I just remembered the last thing I did, and it went, CY K. Be very careful when you are messing around with CMYK and RGB. Even if you're a pro, I'm pointing finger at me, meant to be a pro. Sometimes you forget and you leave it as CMYK, so be very purposeful. Again, I'm going to run into trouble here. I need to basically restart. But let's say I kind of like this combination here. I'm going to go file, document color mode, I'm going to go to RGB. It'll change a bit, but now I probably go and start again. But I'm actually just going to go into this, I've grouped them now and I'm going to go where is it? I want the top one. I'm going to go into here and watch the saturation. And brightness, I can get a lot brighter color now out of this than I could before. It was just really washed out. I'm actually quite liking this unrich pink background, but there is more saturation to be in here, and I think I'll take it. Brightness, O it's getting a bit much. Anyway, I thought I'd jump a in and let you know, Yeah, the problem that I had, and it will happen to you. And for this class project, use GB. There's more colors in here, but we know we could use the MAK if we had to. All right. That's it. I hope you enjoy using the recolor tool, and I will see you in the next video. 46. How to use Blending Modes to Mix Colors for Anaglyph Effect: H, everyone. Let's look at something called a blending mode. What is a blending mode? It is when colors interact when they overlap. Watch this. Ready, Sd Co ha, where they connect. We've got this blending mode, in this case, I think it's overlay, and it just means when they overlap, something interacts that blend together. Good blending mode. We'll take it a little bit further and we'll make this kind of like anaglyphic effect where it's kind of three D is. Go the 1980s. All right. Let's jump in and learn what a blending mode is and how to make it work. If you want to follow along exactly with me, you can open up blending modes one, but you can just type in text. I've put in a little light tan background because I think this fact looks cool against it, but you don't have to. The other thing that might happen when you open the document is it might say, Hey, you don't have this font called aboral Fatface. You can sync it with adobe fonts, or you can just use these ones here. I've outlined them down here just to make things simple for you if you don't want to download them. We're going to start with these two. I'm going to make a copy of them, hold down option, drag it down, alternate PC. Basically what we do is, it won't work with black or white. Color modes need colors to blend. We're going to go to first one, and we're going to pick any old color. We're going to go to fill color. I'm going to go to my color mixer. I'm going to go to ATSP because that's the one I like and just mesh away at this until I get something I like. That. Then this one here, same thing again, I'm going to mash away until I get something I like. Cool. It two different colors. The way they mix is they need to overlap. Look at the beginning. Mine is a supergraphic. It's not meant to be totally legible. It's meant to have hints of the color in there, something like that. I'm going to go you, my friend. Now you can use the appearance panel or the mini appearance panel over here. I'm going to click on opacity. Opacity has a special secret source. Normally, you just use it to lower the how C through it is. Fully opaque, transparent. I want to do completely opaque, 100%, but click on the word opacity and you've got this drop down. We're on normal because it's normal. If you click on Darken, Hey, I love a little bit of blending modes. Sometimes it's called color modes. I interchange between the two, but look at that. Now, it depends on who's on top. If I grab this G, and I right click it, and I go I should use my shortcut. Arrange, bring to front. This is on top, he's normal. He's not doing anything. When this was on top, he was doing fancy stuff. I'm going to say you, my friend, actually, we're going to go to opacity, and we'll get the same thing if I go to darken. And just work your way through. They all do something differently. There's no real, you have to learn. It depends on the top color and the bottom color. Well depend on which one of these work well. Remember black and white doesn't work. Don't think, Oh, I understand what color burn because it lightens this color. Doesn't always. It really depends on what you have selected, what things overlap. Just work your way through. Click on a few of them I find in this case. It's either darken multiply or overlay are really good ones. Depending on the colors. I'm going to go to quite like darken. Here you go. Let us to and cool stuff. Now, let's do that anaglyphic effect that you saw at the beginning. I'm going to go here. I'm going to grab T. Now, ang, it's a weird word. It's that three D Goggles from 80s, 90s, Michael J Fox Time, where you went to the movies and it look three D. It's just a cool retro look. What I'm going to do is I've got this. I want two versions of it. I'm going to hold down my option on a Mac on a PC. I'm going to stop saying that we know Dan how to copy and paste. This top one here. I want the specific colors. You can guess them, but there is I'm going to go out to color do com and I search the word. You're just looking for the one that feels the right kind of glyph. There's no 100% role on it. That's more of a visual style, quite like this one. I'm going to say, add to my library, I've got where I've got my library picked from my illustrated advanced course. I'm going to say, I want you add the library. Hopefully, an Illustrator, we should go to libraries. I should pick my illustrator advanced, and there it is there. I'm going to say you are going to be, which colors? That one and that one. And I'm going to overlap them. The one that's on top, I'm going to say u, properties panel, u opacity, u normal, and I go to multiply. That's cool. I think I maybe need the blue color. No. That's awesome. I'm happy with myself. There you go. That is how to do blending modes and get colors to interact to do kind of funky stuff and illustrator. Imagine trying to do that with the shape builder tool and kind of like outline it all and recolor bits. Blending modes are awesome. One thing you might find as well as before we go is, let's say I add a third color. I'm not sure why I need two Ds. Let's make it P. Okay, the GDP. I'm sure that's an acronym. Sobody knows. I don't know it, but I'm going to go you are going to be what color. Mm a dark color. I'm going to go dark. So what you can do is you can say, right, I like this. It's got the opacity of dark and I'm going to pick maybe multiply. You can lower the opacity of it as well to kind of get other effects. So you don't have to just do blending modes. You can do different colors, opacity, along with blending modes to get some sort of cool stuff going on. DGP. PDG. It's one of those. Anyway, that's cool graphic. That's actually readable and looks quite retro, and that is blending modes. That is it. I will see in the next video. 47. Class Project 11 - Blending Modes: Right, class project time. Blending modes are fun. It's a nice simple class project. Type in the name of your business, and experiment with different colors and different blending modes. Play around both the full name and this nice little initials version as well. Pick different fonts, different colors, different blending modes. I've only done one example here. I would like you to do many different trials of it and experiments. And share what you did. Take a screenshot or save an image of all the different versions and share it both in the assignment section and on social media. You'll see it in your class project file. It's basically nothing this is experiment with blending modes, and then upload it. That's all you have to do. Have some fun, play with blending modes, and show me what you make. That's it. Enjoy experimenting. I'll see you in the next video. 48. How to work with Images & Blending Modes in Illustrator: A everyone. This video, we are going to trap, first of all, an image inside giant letter. We've done that before, clipping mask, and then we're going to look at blending mode and watch this. We can do the same thing we did with text, but with images. In this case, we're going to line up two different letters and offset a little bit to make it look. But yeah, basically the same principle as before, but we're going to deal with images. Let's jump in. If you want to follow along exactly, open up blending modes two, you don't need to. Basically just need a colored box. This doesn't really work very well as you've got a completely black background or a completely white background. It's better with color. Blending modes just work that way. The interaction is what is useful. And what we're going to do is let's type in a giant letter. Hitting the T key from my type to click once, and I'm going to type in G. Select it, and I'm going to pick the font that I'm using. I really like Museo. If I can spell it Museo. It is a nice big font. You can find it on adobe fonts fonts adobe.com and download it. Just pick any font. I'm going to use the rounded version. I really like it big thick rounded wait the app. All right. Finally found it. Size wise, you can go through here and update it. Less like grabbing the black arrow, holding shift key, grabbing this, and just dragging it bigger. It's just like the cheat way to get the size, especially if you need to go up something massive. All right, giant G. Now let's bring in an image. We're going to place an image. The shortcut is command Shift P on a MAC Control Shift P on PC. In your exercise files, there is one care blending modes three, JPEG. I'm going to drag it so it covers my letter. You can resize it afterwards. Now, the way the clipping mask works to get it inside of it, we need to make sure that the Gs on top. What we're going to do is I'm going to send it to the back. Command shift first square bracket, sends it to the back or control shift first square bracket. I've got a locked background. That's why I've got a background, it's locked just to make things easier. That's why mine didn't go behind here. But we need the G on top of the image, select both of them, and then we hit command seven or Control seven on a PC. And it's inside. H. Now, blending modes. I'm going to select it and just like we did before, go to opacity, and I'm going to go to normal, I'm going to go to Darken. I think on PCs, you can hover above these and it will actually give you you don't have to click on them. I have to Okay, so I'm going to work my way through, and I practice this already, and I like I like overlay. And it's kind of cool. I like the way it interacts. Like your image and your background color will determine what this looks like. So if you've got a different image and a different background color, girls won't look the same. It'll be kind of the same using overlay, but not the exact same. The thing I want you to remember when you are using and experimenting with these is you often combine them. Let's say that I like this, I'm going to copy and paste it. I'm going to move it out. The other weird thing is wash this. When I move it out. What is happening? Blending mode, in this case, the overlay needs the image to interact with this color. When it doesn't have the color behind it, it just looks like that. You'll notice it looks different over here if I move this in front of everything, which is it's in front of that text now, but because it's white, it doesn't really do anything. It's like above it, but anyway. Yeah, it has to be over the top of some color. I'm going to say you are going to stay overlay and you are going to be multiply. Again, this is just because I practice before. And don't be afraid again to mess around with the opacity of that. I'm going to say you're down, and I'm going to get this overlaid combo thing going. So I can see through the multiply to the overlay, and it interacts nicely. I like this little offset thing you saw at the beginning there some again, retro D thing, misprint misregistration. When you're doing physically print, when they don't quite line up, I know, it's Go. Interesting note is that if I double click on this. Well, let's separate them out. I can go and adjust this, I can double click it. To get inside and edit the text because the text is still editable. You've got to make sure the image still lines up, which mine does. You might end up having to move the letter or the image to move it around. Remember, I'm inside an isolation mode, double click the background to get back out. Double click into the object to get the text and the image. You might want to line the be up nicely with the D or G and undo. I want mine back to being a G. There you go. That is how to do blending modes with images and trapping them inside of a letter. All right. That's it. I'll see you in the next video. 49. Class Project 12 - Image Blending: It's class Project time. I want you to remake basically what we did in the last video, with your own small business. Let's have a look. Project 12 here, you've been asked to make a postcard for your small business. The postcard is to be handed out at your store introducing a new flavor, feature or service. That will depend on what your small business is. You get to pick. I'm not particularly worried. Amends, make a postcard, have a heating and body copy. I'm not worried about what fonts and how great they are. It's more this part that I'm looking for. It's the mask and appropriate image inside of a giant letter and experiment with the blending modes. Once you've done your experimentation, do lots of experimenting, but then I want you to pick one to share instead of sharing it all. A bit of critical review of your own work and decide that that's the one that I like the most. Pick one, share it, share what blending modes you've used. The other people looking at it go, that and they'll not have to reach out and they'll be able to see what you've done. T have a quick look. Again, don't worry about what fonts it is, you can spend some time crafting a little bit of marketing message. You can also just use the type tool and just drag out a box and you'll end up with a inipsm. If you don't, sometimes it doesn't, you can go to type and go to fill with placeholder text, and it just fills it with what's called Linpsm, which is just there are real Latin words, but all just mixed around to give the sense of some content. Yeah, I want you to do that. This is optional. I just added this down the end here. Is the bit that I'm looking for. Just remember as well, though, find an appropriate image anywhere and trap it inside of a letter and make sure the background is our color. Maybe something you've used before. Now, in terms of the postcard size, the weird thing about postcards is that they're not the same. If you've ever been to souvenir shop in different countries and you're like, they do big postcards, they do small postcards. There is a generic for your country. If I went to my local printer and said, Hey, I'm going to do a postcard size. They'll know what I mean in terms of the millimeters or inches, but it's not the same around the world. Do a little bit of research, have a little pen postcard size Ireland or wherever you're based, New Zealand, because I know those two are different, and I don't know, France, the US, everyone has different postcard sizes. Just make it whatever it is in your local area. Yeah. Go forth, trap an image inside of a litter and play with the blending modes. Make sure you upload it to the assignment section and share it with me on social media. Enjoy, I'll see you in the next video. 50. How to make Black & White Images in Illustrator?: Hello. Hey, in this video, we are going to take this colored image and switch it out to be a black and white image. Then we'll add some color blending modes to build on the skills we've already learned. We'll take it a little bit further as well and do the black and white image, but then add some other colors to it and try and get in a cool effect going. But, this is basically how to black and white images in Illustrator. There's a couple of things to be mindful of, mainly, whether it's linked or embedded. Let's jump in and I'll show you how to do it. Hey, to play along, open up black and white one from your exercise files. Basically just an image behind some stuff. The first thing we want to do is we want to with it selected. We want to make it black and white, and it's easy, go to edit, go to edit colors, and there's one in here called convert to gray scale. Bam. You might be going up there and going, Hey, that's not available because it's great out. What it ends up happening is images that you want to convert to black and white need to be what's called embedded in Illustrator. What I mean by embedded is if I bring in an image, command shift P Control Shift P on a PC. I bring in from the exercise files, Black and White 02. See this one, linked with it linked. It's going to link and reference this image. It's not going to do the Black and White thing. We it broken, it's called embedded, and it's part of this file, not linked to this, and it will do the Black and White thing. Just make sure it's not linked. If you've imported it already, let me say, let's import it and it's linked. Let's have a look edit, t's go to edit colors. C, Can't do a lot of stuff to it. We can embed it by selecting it down here at the moment. Can you see there's a link image? I can click on that, or I can go to my window and go to links. Open that up. And this guy here is linked, this guy is not. That's that one and this is the new one that I just imported. What you can do is you can say, with it selected, you my friend are embedded. Thank you very much. Now with it selected, I should be able to go to Edit edit colors, and I can convert it to gray scale. It to the sky, you edit, gray scale now. Let me show you. Edit edit colors. Scale. You just left with whatever illustrator decides, and it's pretty good. What I end up doing is often doing my Black and White photoshop. While it's not a photoshop course, I want to give you the quick run through and try and excite you for doing the photoshop, either essentials or advanced course if you haven't already. I Photoshop here does the same thing. I've got the same file open. I'll go to adjustments. There is one in here called Ue single adjustments, and there's one here called Black and White. Is that one there? Got a click. You'll see it does a very similar thing, but the nice thing about it is you can cite afterwards, what becomes black and white and how much is dark and how much is light, just demo. The reds here we this hydric left and right, can you see everything that has any red tone or tint to it in the video, you can control or make it darker or lighter. It gives you a lot more control. Yellows. There's a lot in the skins. You might decide that you want it to be just a little bit darker, Greens. There is no greens in this entire image. Somehow. There's a little bit in the edges, not really. Sens. Just in his pocket and on his arm patches. You can see you can play around with this to get it to be more of the black and white image that you thought it might be. The other cool thing about the one in photoshop is this is this thing called the on art slider doesn't really have a name. A little finger with the arrows on it. You can click on it and say, actually on to grab his cheeks and click hold and drag a left. You can instead of trying to work out what the slides are, you can go right this check here, want to be darker, I want the fence to be darker or lighter. You can work on click and drag on the artwork. You can also tint it, which is handy. Click on tint, pick a color, and decide what you want to do. Anyway, if you are interested, you can check out my photoshop advanced or Photoshop essentials course. All right, so we've got it black and white. What I find really cool is being able to have this monochrome image or just one with a simple tint and then grabbing this top color here. We've done this before. I like going to pacity and going through and say, darken, or I love this interaction here, especially with this like blood red. You can work your way through more color blending modes. Which one I'm going to go for? Burn, love it. Now, when the image is black and white in the background. I talked about not using black and white earlier on, solid black and solid white, and at least one of the two needs to be a color. This can be black and white or at least gray scale, and then we can work on these colors on the top. If this was solid black, it wouldn't work very well. If it was solid white, not so well either. But because there's a lot of tonal range in here, we can do some cool stuff. What I'm going to do is I'm going to make a duplicate of this artboard. Shift O is the weird shortcut for the artboard tool. We've got one artboard. Let's duplicate it like we do a box, hold down the option Keke a PC, and just drag it out, so we'll get two of them. What I'm going to do is, I'm going to keep dragging it by clicking anywhere inside, making sure in the up board tool, that's it there. I got a bit of space between them. It's tricky to do what I'm going to do next when they're too close, close on the links panel, going to grab my black selection tool, I'm going to grab this. I'm just going to I'm going to make some giant stripes. Like I saw at the beginning there, just rotate them around, make them big, a little bit wider. The layer order here is important. I want them behind this text here. I'm going to do is have it selected and use my command, but not shift and use square bracket. That doesn't work. It does. It just moves it down at one level at a time. I'm holding the command key down on a MC control key on a PC, and just hitting the first square records, so go back one. B one more. You got to keep going until you're like, Okay, it's just in front of the image. Like we did before, let's go to opacity, let's go to normal and find something that works for this. I love this. That is cool. What is that one? That one is color burn. Love it. Both of them a color burns. Maybe this one here goes back to being normal. There we go. To finish it off, I might go and grab my rectangle tool, which of course is the key, and I'm going to drag it out across the whole thing and try and crop this. My image is a little bit big as well. I'm going to grab that on top, grab my V key from my section tool, and try and hold shift and go ton image down the bottom is going to be hard to sl. How do I know? Wiggle it around. I Haven't got any of that What I'm going to do is use my black arrow and just drag a little bit across these. Can you see what I'm doing there? This is the trick that I use often is I can select that purple, that red, and the image, but nothing else. I'm going to shift click and grab these two as well. They're all connected. Generally I give them a wiggle first to go, I'm doing it right, I'm going to go command or Control seven to mask it. Then send it to the back. I'll promise that's it for shortcuts for the layer order. You know them. All right. Yeah, Black and White images and the cool thing about Black and White images is you can do some interesting stuff when you combine it with the things that we've learned earlier and with blending modes. I find it spices up, spices up images and content. That is going to be it. I will see in the next video. 51. Class Project 13 - Founder Message: Hello. This class project. I want you to make a founder graphic like we did in the last video like this guy here. You've been asked to make a graphic for the At us page for your client's website. I want you to go find a founder image. Find somewhere a free image online. I use unsplash or pixels. Find somebody that seems like they might be a good fit for your business. Pick that image, something interesting in terms of a photograph, M a Black and white, and use some blending modes to add some pz to it and add some texts as well. The main important part is being able to work out how to make a black and white. Then just playing around with some colors on top. You could use the pen tool, you could use type. It's just a bit of a practice. Now in terms of the text, I've added the founder name and their job title, just called them founder. Yours might be more specific for your particular small business. But yeah, the main important part, black and white, play around with the colors. In terms of the size, again, I'm not worried as well. You might make it slightly different for more of a website banner image. This one here is going out via a blog post, so it's more rectangular. Yours could be in a square, go crazy. Put it in a circle. Just remember to make sure that your image is who remembers what it is. That's right. I needs to be embedded. Otherwise, the convert black and white won't work. Do it. Show you graphic, and I will see you in the next video. 52. Advanced Workflow Tricks in Illustrator: Hello. I hope you're ready for some super advanced workflow tips and tricks. Speed up your illustrator experience. Go fast tricks. We're going to clean up pis that aren't filled. We will show you how to find things really easy through all the big complex menus, transparency grids. We'll customize our own tool bars and work spaces. We'll even create a template of file sizes that we make all the time that's not built into Illustrator, all sorts of handy dandy workflow tips and tricks. Let's jump in. Kk. If you want to play along, open up work flow doc one. The first thing we to look at is cleaning up paths that don't do anything. What I mean by that is let's go into outline mode, which is command or control, y. You see, there's a star. Look at the star, if I go back, toggle that same button, I actually has no stroke and fill. It's there, just a paint the butt. I don't want it there. Same with these. These are a little spots here. These are just anchor points that I did with the pento. Watch pento click once, forget what I was doing. You end up with an anchor point there that doesn't do anything. Just gets in the way. This here is the same thing, but this is a text box with no text in it. Again, not doing a whole lot. You can go to object. You can go to path, and you go to some one called cleanup, and it'll do all of these things. Unbnded objects, straight points, and empty text paths. This happens to be the things that I put in here. Let's click. Now if I go to command Y, control, y on a PC, look, they're all gone. Nine. Tidy. Look at us. I find that's really useful when you're kind of, like, I don't know, using live trace and ungrouping or using other people's work when you're like, expand, you know, ungroup, and you end up with these stuff that you don't really need kind of like lying around that doesn't have a fill or a stroke. Just clean up the paths. Oh, I you've had fonts not load in this, don't worry about it. Late in the video, but don't worry if you've got missing fonts. Now the next tip is handy if you're like, Dan said there was a way of cleaning up all the paths. What was a call? Where is it? You'll never remember. What you can do is it's a little bit different on a Mac in a PC. On a MC you go to help. Up here, it says search. If I type clean, I vaguely remember what it is. Can you see I've typed in bits of the word clean, and you can look path clean up. See the big arrow pointing to it as well. Look at it. You can go down here and click on it. It's easy just to click on it up here. Path cleanup, and you click on it, and it will do the thing. On a PC, it's slightly different. I'm going to close this down. On a PC, you've got this one called Illustrator Help. This works on both Mac and PC. MACS is like shortcut to it, but a PC and Mac have this illustrator help. What you can do is I've been using this for something else. This discover panel opens up. You can type things like, I want to do clean up Path. The same thing happens. Typed in clean, can you see these little icons on the side here means this is a dropdown menu. Can you see the thing over here appearing? Saying, I'm in here. Down here, these are just searches for tutorials. There'll be different results. Let's say I want to do a half tone. We'll do this later in the course. Cool effect, and you're like, can't remember it is. I typed it in there. There is a couple of different half tones in here. Tells you which panel this things in, and there you go. The works both Mac and PC. You can just click on it though. It tells you where it is, but actually just click on it and it will start that effect. Anything in Illustrator that's in these menus along the top here, that you can't remember where it is, just go to help and on a MAC, type it in search, if you're on a PC or a MAC, use the Illustrator help. Now, I add it because I'm advanced and I still use that thing because you where is that thing? Everyone uses it, even the advanced people. The next is transparency grid. The transparency grid, I'm just going to drag the image off because often you're like, what's on this page? You can hit command shift or control shift D on a PC, and you can see more photoshop style transparency grid, is like checkerboard. It just means you're like, this text because without it, the same key command shift on am control shift D on a PC. It's hard to know what is what. The same thing with this down the bottom here. Can you see the M fox? You're like, Oh, it's got a white insight. On it. Ah. It's because it's not actually white. You're just showing the white of the background. I'll toggle this on and off all the time. With transparency grid. Not as needed when I've got this backing image here, but yeah, it's a handy tip. The other one is let's have a look. I'm working on this fox, let's say, an it complex illustration, and I'm working on some really small bits in here and I'm like, Well, I'm exaggerating because it's not that complicated. But let's say I'm working on this and you're like, Wer what it looks like you Zoom out and then you zoom back in. What you can do is you can say, this dock up here, I can say window new window. You're like, What's this do? Get ready. What it does is it duplicates the window head open. Car two of them. They're exactly the same. They're not a copy of it. It's just showing you two versions of the same thing. There's option one, the colon and one, and over here, it says two. What you can do now is you can say, I'm going to get a view, actually window, going to arrange these to be tiled. You can have more than one open. I don't know if that's useful, but what we can do now is we can be very precise in here, we can be working on it. Can you see they're actually connected. They're not two versions, just two looks at the same thing, but over here, click on this title at the top, I can Zoom. And I can get a holistic view of my illustration whilst watch the whisker. There we go. See. Haven't used that much. Only when I'm doing I know more artistic complex drawings when I'm trying like because you can drag the center bit as well. You can have that quite small. If you click on this, hold space, you can use your normal navigation to get this how you want, you get the idea. To close it down, you can just close it. It's just two views are the same. Next workflow hack is to create your own toolbar. Early on in the course, I showed you how to go from we did it up here and we said three dots, we went from basic to advanced. There is another way of doing that and also creating your own one. Let's go to Window and go to toolbars. Here's the same thing that might actually be easier to get to going from basic to advanced. Let's create our own new toolbar You might end up creating one or two different ones depending on the type of work. You might be doing a lot of graphic design work and then switching to illustration and you want different tools set up. I'm going to call this one the Dan tool bar because I can't think of anything better. Give it a name, click. You get this thing. You can drag it by there's a little gap at the top that you can move it by. Now, it's a little bit tricky to do. You can go to the three dots and say, which ones do we use a lot? Now I'm going to click hold and drag it. And it's really tricky to do I find anyway. You can do it. You click at once and then click and drag it doesn't seem to work. Let's say I use the selection tool lots, and I'm going to click hold and drag the white one up and to get it in there, you go to drag it up and get it to where you want it practice. It's a little bit tricky. I don't use these very often, the tool I do, try and drag it up, give it a second pen tool that I use. And some of them that I don't use actually, I don't use the pin tool because I know the P key so well. Other ones that I do forget for rectangle. I don't know why remember that one. The Lips tool that I might be using. Just go through and say, I love using this and just build your own toolbar. What you can do now is you can say, actually, this tool bar here. What I might do is click hold and drag see that little hex pattern at the top, drag it out. Comes out and close it. They can say a little dash line thing there, I can drag it over and there's get it close and it goes blue and you can get in the right spot. Then what you can do is you can say, All right, Window workspace, I'm going to save this workspace as a new workspace. I'm going to call this one graphic design workspace. It will just have those tools saved there so that you can use that, and maybe you'll save another workspace called illustration where you're doing more like hand drawn creative stuff. What I'm going to do is I'm going to go to Window, and I want to open up my toolbars. I'm going to go back to the advanced one. That's what we need now. Drag that one out. Here we go. Actually, Another handy trick if I grab my pen tool, the peaky. We start with this thing that looks like a fountain pen. We probably all stumbled across. If we hit capsck, it goes to a really precise target version. We've all done it by accident. But you can actually turn that on all the time rather than having to use the capsck button on your keyboard. You can go up to on a Mac, go up to Adobe Illustrator, go to settings, go to general, on a PC, it's edit settings and general. Here it says use precise curses and it just turns that function on forever without hitting caps. You cancel you hit capsck, and it goes back to the old way, just flips it. The default is the precise one. Same with the key for the pencil tool. It's this target, it's a lot more accurate. Up to you, I don't know why I'm used to it the other way. I'm going to turn mine off and click. The next handy trick is when you are working on documents, let's say I'm making a new document, and I have to make the same thing a lot, and that's just not one of the templates in here. I want to save my own template. I got a print, let's say that I'm doing a poster. For some reason, A two, I've got a five, a three, a four, no A two. A one. I'm going to make my own. I know that A three will be different from whatever measurements you're using. I like a two size, so I like it. I would like it to be millimeters or inches up to you. I know that A two is just times two in terms of the width. I'm going to use my little math and field trick. I want mine to be portrait. I decide if it's going to be Cm Y K, all of these things I decide, and I'm going to go create I've created this thing. I want it to save as a template, so I can get a file, save as a template. Now, I'm going to go mine A two poster. Depending on your mac and your installation, I think PCs just save it to this templates folder, fine. On a MC though, it will depend on how illustrators installed. My One comes up with this error says, You don't have privileges. I can go and give myself privileges too hard. Think you'll have to Google how to do it. I'm not sure. I know it can be done. I don't want to give you mac hacking advice. What I end up doing is just save as a template and just stick it somewhere I can get to. It might be your documents and you have a special folder for it. I'm going to stick one of my messy desktop or a desktop. Boom. A two poster. If I want to make a new document, I can go to file and there's this thing here says new from template. I can say, they're in my special folder, and they are, where is it desktop? I just start there. What it does is say AIT, Dobe illustrated template. You just can't write over. What it happens is you can't open it. You just create a new one from it. I've got this A two document now. You might create a few of your own, save them, see if they save into templates because that's a better folder, or like me, if you don't have privileges, you stick it anywhere you have privileges, like your my documents. The last one is this totally useless one? Wow, down the bottom here, the stuff that people don't notice. You can hit what size you want this to be, in terms of zooming level, you can rotate your screen. You can say, I would like this thing to be 90 degrees. It doesn't change the actual document. If I grab my type tool and type this out, can you see it's still working the way it just tilted it. So if you need you're turning your head for some packaging design or something, you can actually just temporarily say, I need this to be 90 degrees. To read the barcode, do proof reading. It doesn't change the print or the file. It's just temporarily while we're in Illustrator. The last one down here, this, I think the default is what tool you're using. I'm on the type tool. It my Vk, I'm on the selection tool. No sure why this is useful. I'll show you other unuseful things. You can say actually show the current upboard name or the current tool, that's what we're on, the date and time, the number of undos, that's exactly what I want to do. I've got two undos ready. I don't know why that's useful. That's why this is at the end. This is the only one that might be useful, the document color profile, and you can see up the top here. That's already got CMYK up there. You might find it useful. There might be something in the future that is actually useful in there. Anyway, that's at the end of the video because it's weird. All right, that, my friends, is it for like workflow updates. There's more coming in the course, but that is good for this group. I hope you found something in there that's going to speed up your day. You finally discover how many undos you've got waiting. All right. That's it. I'll see you in the next video. 53. All the Super Selection Mastery in Illustrator: Everyone. Welcome to Super Selection Mastery. It's a sexy name that I gave it to try and keep you from skipping the video. We're going to select lots of stuff. There's lots of cool ways of doing it. I'm excited by it. You probably doing the course. I probably excited by some of this neody stuff as well. Yeah, let's jump in and look at all the really interesting ways you can make your day easier when you are trying to select and grab stuff in a larger document with lots of stuff going on. With it, Dan. Okay. I've got two files open from the Exercise files. One's called Selection Madness. Previous one we've worked on called Workflow Doc. Open both of those up. We'll start easy. Let's select on this star here and say, you could go through and shift click all the stars. But what I want to do is select the star and say, actually, go Illustrator and find I want you to select things that are the same. Often, this is what you get to decide. If I pick fill color, which seems obvious, it works, but it's going to go through and grab even the text that has the same fill color. I can still change it, which is cool. But it's not quite what I wanted. Often you'll say you, I want to select the same. Often it's the appearance. You say things that have the same appearance. That'll mean the appearance panel is built the same way. Often they are very the same things. You can see here it selected everything, but not the text. Also grab this down here, which is my grasp former. Do you what you want to do, there are a bunch of different options in here that might be appropriate for you, capacity, stroke color, that type of thing. Let's look a another one in there. Let's jump to selection madness. Again, your fonts might not be loaded, or you might have sync them, it's up to you. But let's say there's this font here. Playfair. You want to go and change it. What you can do is you can say, I want to select everything that has the same font family. The font family is in this case, Playfair, I'll go through the whole document. In my case, it's grab one, two, and three of them, and I can go and say, I want that to be regular, awesome. You can be a little bit more distinct, so you can say this one, let's say this one is set to regular. You can be a bit more specific if you're working on a large UI design project like this or social media or just lots of stuff on the page. You can say, I want this font, select the same font family, but the style. The style is bold italic regular light. You can see how details you can get. You might get them all plus the size, which is going to get. If I do this one, it's only grabbing these two and not this because it had a different style. There's a lot of control in there. More selection control you didn't say that, but I'm going to give it to you anyway. This is my favorite one of selecting lots of stuff is something called global edit. Let's click on this like orange mandarin red box down here. Let's say we want to add round the corners. But I've used that button lots to this UI design thing. You're like, I have to select them all. You can select color? It's going to grab this button. That's not what I want. Global edit is really awesome. With it selected. Over here, start Global edit. You've seen it. You're like, I've never clicked it. What does it do? We'll get ready. You click on. What it does is say, Hey, you've clicked on this rectangle that happens to be this color and this shape. It goes through the document says, Do you mean that one as well, and do you mean this one as well? This global edit, like a shortcut for all the select same. This goes ahead to look around and says, excellent. What I can do now is I'm going to go here, I'm going to lock, I'm going to put round the corners of it. Now when I click over here, you see updated that one, that one. That one. It's great for doing multiple objects that maybe art symbols. It does have some problems with groups. Some groups work, some groups. I sometimes it can be a little flaky. If you're like, Hey, it's a little flaky. I find that too. Hopefully with groups and stuff, it's just a bug and workout, works most of the time. The cool thing is that with this selected here, I'm going to click on the green bit at the background. Let's say I want to play around with the color of this. I just want to go and start global edit, but actually if I hit global edit, it's going to pick this one, but also this giant version over here, it's picking that one, it's picking that one, picking this one down here. They're all the same, so that's like, grabbing them all. You're like, The ones that are just the right size like just these ones. What you can do is you can click on it again. It's really hard to click on it so far out. Zooming a little bit makes things a lot easier. I made all my big handles really big as well, which is a little bit tricky. This drop down. You can say actually just match the appearance, and I want to include things in the Canvas, which is the outside of here. That's on the Canvas, this is on the artboard. You can include them or not. There are some options on here. I've tick size, just means when I start global ed it, it's going to pick this one. You can see it's pick this one, it's picked this one, but not the big one down the bottom or at the top. You can refine it as well. It's super awesome. I'm going to go through and change. Pick one of my other colors. That one. Awesome. I find this useful I clipped all these images that are all in here. I find sometimes it might be my work, but somebody else's or a template that I've downloaded, there's all these clipping masks ewhere or a result of some process like live trace or something. You've got these clipping masks everywhere. You can do is you can say select an object that has a bunch of stuff, we're going to use clipping masks. Select them all. Then you can go to object and say clipping mask, release. Tata, they're all just exposed. I find that super handy. Undo it because I want them back in. Now another handy one is selecting text. We've already done it, but there is actually a nice overall one that's useful. I've got this text selected. Just that and I can say select instead of going into clicking, trying to work through this. Sometimes it's easier going actually just select all the objects that are all text objects. Now I've got all of the text. I can go through and say every single one of you need to be aerial. Bo. But it is just a handy one to grab everything on a document. My. I bet you you've run into that one. Another handy one is down the bottom here, let's look at the kiwi. If I grab my A tool, which is my direct selection tool, I can click on the handle and you're like, what is this handle doing? I click on this one? I can't see it in relationship to all the rest of them. With my direct selection with it selected, I can have any of them actually selected. Then I can go to select object, and I want you to select all the handles. Watch this. This really handy now to see that one's influencing this one, that's influencing. You can't work on them all at once. But it's just a handy way of showing all of it to get a good sense of like, A there too many anchor points? How long are they? What's giving me the problems? That can be handy. Another handy selection is that you can save selections. Do spend some time you're like, this one, this one, this one, but not that one. I need to be quite purposeful with my selection, and maybe not these two. I want to make some changes. Let's go to Phil, and make a change. You're like, I'm probably going to change this again, so I need to save the selections. You're going to select, and a lot of people don't know. You can save a selection. You totally can. Let's call this M stars. I bet you there will be people out there going, Oh, this is going to be great for my thing. The thing that you do. What happens is white, they're not grouped. That's the interesting bit. Because you group stuff and dive into it and do that. I can keep moving around, move this around. I can change the color of this one. I've mixed them up. What I can do though, I can go to select and I can go to right down the bottom. Can you see it says stars. That's built into this document now. I got stars. Even though I move them around, look, they're all selected and can actually that was a terrible idea back to being white. Ha, you can have many selections to save them. You can get to it by the Layers panel as well. Down the bottom here. I've got this option. Can you see this? Save selection? I might do another one. It's going to be these two bits of grass down here. Actually I'm going to Zoom, select them all. I can hit save selection. I'm going to save this selection, call this one my grass, I can get to them by just clicking that same option down here and you can see this grass and stars. For me. This does savor the document as well. If you hand it off somebody else, you can pass on some ways of selecting stuff without them being a group. It doesn't matter which way you go, but you can also rename it. You can go to edit selection and rename them. If you do find you need to start renaming stuff. Here you go. Two more handy selection stuff is on the layers panel here. You can see this little awkward area here, you're like, what does that do? If I click on, let's say graphics, it's clicking everything on that layer. In my case, it's all the graphics. If I go to my text layer, and click in just here. You see it makes this little selection. You can see the little tab there. It just selects everything on the layer. I find this handy when you're like, maybe somebody else's file, you're like, actually just want to select everything on this layer because it's text and maybe change it or delete. That's a handy one. The last one is the tool that nobody uses. This one here is the magic one tool. You're like a photoshop thing. Does a similar thing. It is basically a shortcut to select same. You can click on it and you can say, I want to click on, say a star. It's going to go through and pack everything that is the same appearance. You can double click on it to modify it, to make it a little bit more specific. It's not exactly the same as Select Same or global let it.other of the many ways you can do stuff, but you might find that's perfect. You might actually just going to use it for stroke color. I'm going to put mine back to fill color. It is handy in a tool. Awesome. Last one, super nerdy, but actually quite useful. Somehow I've stretched out selection for an entire video, but it's worth it, watch this. If I'm in here, let's say, I'm going to lock the background on my working doc. And I want to select all these stars in here. We know that if I use my black arrow and drag a box around the stars, it's going to grab whatever it touches. It only grabs a tiny bit of the text box, but it grabs it. Both this. If I click and drag drag drag drag drag, same thing before, grab all the stars that I want. I'm not completely around the fox or the grass or the text. If I tap E, just taped it once. See the icon changes and it says, basically it's the enclosure mode. It just says, I'm only going to select everything that is enclosed inside of here. Same with this, if I click these two stars, it grabs the text box, but I start dragging tap E, can you see it only gives me what I had completely selected. The thing I wrapped all the way around the stars, but only just touch the type. It's just something you just tap. All right, my friends, that is all of the selection nerdiness. We are selection masters. Could the course get any more exciting? It can. There's a lot more to come, but that will do for selections for the moment. I hope you learn something leveled up. That's it. I'll see in the next video. Selections over. 54. How do I find the History & Old Backup Versions of Illustrator files?: On. In this video, we're going to look at two things. One's called version history, and one's called history. Yes, very similar. But they do different jobs, and one's more awesome than the other. L to look at the differences. We'll start with the best one, version history. Let's make a change. You don't have this document. I can't give it to you because it needs to be a cloud document for this to actually work. I can't share in the exercise files. Just watch me. I've got a bit of type. Let's change it to something else that looks very different. Save. This first of all is saved to the cloud, not to my desktop. That's one thing we need to have for version history. What it does for us is under File, there's this magic thing, version history. What it's done is today, can you see here, it saved all the versions that I've been working through. I opened it a little while ago to get ready for this lesson, and that's how I opened it, and I did this to it, and then I did this to it, and this and this. It's it's a history, Version history. You can see my text there. It's a little hard to see, but font New font, is the editor Zoom in. I can go back to it. The cool thing about it is, I can go back to this and say, actually, see here, I'm going to revert to this version and goes back to that. It's like hitting undo. The cool thing about it though is that you can record these things forever. Let's say I'm about to make some changes. Instead of doing a save as, that's what people mostly do. They're like, I'm going to mess with mess with this font or this logo here and I'm going to change the colors. But I don't want to wreck my original. You do a file, save as, and you say V two, V three, V final. Final final, final final two. To get around that, you have to save it to the Cloud. But what you can do is you can say, actually, right now, I'm going to at this right here when I make it a change, I'm going to say, let's bookmark this version. Let's give it a name, edit the version info. I'm going to say maybe client amends and put it in the date or the time or let's call this one font change. The cool thing about that is that you can add more information, but there it is there. The cool thing about it is that that will be there forever. I can close this down, come back to it, file open, then it go to my Cloud documents, there it is there. Later on, there it is there. Clin amends. I can go back to it. What you'll notice is I found an old file because I actually have from 2020 bookmarks. Brown version. I should have check this first. Anyway, have a look at the pu brown version. There it is. You can see it there. There was a version of that color. I can say, let's revert to this version of it. I can jump back and go, this is before I made those changes, and that is the really ugly colored version of it. I think I was pulling colors out of that thing there. So you can jump back instead of different files, they're just different versions. I can say, actually, I don't want that. I'm going to go back to this current one. I'm going to revert back to the one that we just did now. Is a great way of jumping back and forth? There you go. Back. Things to note about it is that what happens is you'll see it at the bottom. End of history. Versions will expire after 30 days you're like, can't use this then, except the ones marked that you want to keep. Basically, it's going to keep every time you do a change, it's going to appear in this. Like this change here. I'm not sure what I did. But it was not essential. It might be fun to go back to it, but it's not essential. What you need to do is when you are making a decision it's a fork in the road, and you want to save it. All you need to do is go right, Let's go through and say, I ended up deleting all of this. I got to get rid of it and close down mark versions there's today. This is when I just did this thing. I'm going to save and I'm going to say you, I would like see this little mark version here. If I click on that mark version and give it a name, this is when I deleted all that stuff. Now that won't go away. That'll stay forever. I'll be opening up this file in another ten years and it'll say hopefully not P Brown. It'll appear in this marked version here, deleted all stuff, amend, font change, and all of these. Just give a little tick on this little bookmark thing for it to remain forever. Some cool things about it is you be using this quite a lot. Let's say I click on Brown, you can search and it'll give you the versions that might be there. You can filter them. There's a few different things you can do in here. It's super handy. Now, one thing is you might have to educate whoever you're working with to letting them know that there are different versions in the version history they can roll back to. Just think next time you're going to go file save as and save another version is you can make sure it's a cloud document and hit the little Mark checkmark thing there. If you're not too comfortable with Cloud Docs, it's this one here watch. If I go to this document here, it's called history. I added it to your exercise files for no real reason. What ends up happening is we can go to file. If I go to the version history, you'll notice that there is no version history for this. Because it's not a cloud document. To know it's not a cloud document. This one's called.ai and wasn't in the Cloud because it's in your exercise files. It's on your hard drive. This one here has a big shiny cloud in front of it. Let's say I want to enable version history. I go to file, and I go to Save As, and I'm going to say save to the Cloud. PC is slightly different. It's in a similar position. Now when I add this to the cloud, this thing will start. There it is there. I got my first history, and this starts working. So it has to be a Cloud Dock. If you're on the fence on Cloud Docs, you might have a reason. I don't. I love cloud documents. I don't in this course, it's just so much easier to share class files with you in a zip file. But everything that I do professionally goes into the Cloud. Easy to share, there's so much storage, and there's so many perks around Cloud Docs. Talked about history. There's Version history and there's a completely other another document that says history. You like, They are very similar, they're capturing what you're doing. Version history often captures groups of things you've done. This captures every last little detail. New paste, clear, paste scale. That's what I've done, watched. But move it. It adds them all in there. Now, this is handy. It's a visual way of seeing the undo. The perks for it is that it works with's go to history, the original file. This is the non Cloud one is that it works with non cloud based documents. The problem is as soon as I close this, watch U, scale, U, I'm going to do a save. What ends up happening is, I've got it all. It's non cloud, if I close it, and then go and re open it. You'll notice that the history is cleared out. It's only while you're working and I wreck this. There's no going back. This came first. This is better and came second. This is just a visual representation of the undo redo options. This one here in vision history, Cloud document dependent, but has a lot of perks. Got to remember to flag the ones you want to keep otherwise they disappear after 30 days. It's handy as well. Even if you don't use it, it's just handy to know that have you done it, you saved a document, you're like, I forgot to do the thing and you've closed it and you realize your undoes are all gone. There's no edit undo, you're like, Oh, There's no way to undo. If you get to that point, open up version history. If it's a cloud document, and h, it'll be in there. Save me a couple of times. So that is super useful to know. All right. That is it, Version history versus history. That will be it for this video. All right. I'll see you in the next one. 55. Advanced Fonts Tricks & Tips: Hello. Are you ready? It's time to get Super Duper advance with Type in Illustrator. Now, 100 different little things in this video. That's when they are all separate videos and just one big mummo gummer of a video. Sit back, get a bit of pen and paper, note down the ones that seem to apply to you. It's good to know what's available. It is pretty nerdy. Font nerdy, but you're here. You love font nerdiness. Just get on with it, Dan. All right stump in. All right. You can open up type advanced from your exercise files. You might have to sync some fonts if you run into any problems, syncing fonts, just pick something else. I don't mind. Let's get started. First tip is that let's open up window and let's go to the type. Right down the bottom type and open up the character panel. The character panel here. There is an option in here. If I click on this, you get some basic stuff over here. The character panel has just so much more. If I click on it, there is an option to go fly out menu and go to show options, and you get into real nerdy stuff. What we're going to do the nerdy stuff. The first one, I'm going to duplicate this. Let's say where I've got this font selected, I can go up here in this little drop down menu. One of the handy ones is under filters. I can say, I want another sand seraph without the little feet. I want a sand sera font, and it's going to go through your whole computer and go, What is Dan got loaded? That is a sand sera font. I want the San sera fonts that have a heavy weight. It's going to go through and cut it down. I can go through now and say, that one's similar. Wow, similar. This one here. I like the little tick on that one. Those filters are really handy. There's lots of options in here. I'm not going to cover them all, but the ones that I use the most under filters. Is those are the ones I just showed you, but also this width. Lots of times I need to squeeze lots of texans so I want something that has a condensed option. It just gives me the skinny versions of it. The other one that is handy is if I'm picking a font that's going to end up being a body copy for a company, picking a font that has this old style figures, can you see it drops? If you have done it, you're like, What is this font? Why is that above X i and that's below the baseline. You want ones that have a standard set of numbers. That just look nice and work good in terms of phone numbers, and those can be tricky. That's a way to do it. One thing you need to do is hit clear or because otherwise you come back into this and it's always stuck like this. There's a clear button here to clear them. There's lots of other ones that go in the filters, I'll let you have a play. The other one that I use a lot is, let's say this Avant guard. I use a lot. What I can do down here is hit this little star button. I've cleared mine for the beginning of this course, which is a pain. But I want it to be fresh install for you. But this little stubborn. Let's use that one. The other one that I use lots is, let's say I use Roboto a lot. You can go through and say, right, Mr. Roboto, I'm going to say Roboto, I clicked on it, then come back into here to get the family and say, I want the family to be started. It just means later on when you're like, I'm working on this thing, I can say you just show me the favorite. Just cuts it down. The same thing that happens with the filters, you got to remember it clear all otherwise. It doesn't come back. It's stuck that way forever. Another really handy one is, let's say that I'm using to duplicate this one is I use a font last all the time when I think luxury I love this font, but I end up using it way too much on selected part of it. Let's go to last. That's weird. I've used a glyph here. We'll talk about glyphs in a bit, but it didn't have that version of a Que that didn't know what to do in lust. Let's just type in Q. Let me go. I love Lust, but I use it too much. What you can do is I've got it selected. There's Lust, there's this little wavy thing. This is, show me similar fonts to that. It's going to look on your computer and say, Hey, on your computer, these are the other fonts that are like this. Now in my case, it has done nothing. Why? I think I picked a really weird version of ust. Let's go to regular. It doesn't always work. Okay, some fonts that just doesn't work for. Let's go show similar. That's better. So the regular version, it's going, Hey, look at all these, the very like lust, but they're not the same old font you used in. So visually similar. I love that little wavy line, and you can keep going down that rabbit hole, you might be like, Oh, kind of like this a thick one that is kind of wavy. Visually similar to this one. You end up down kind of like a font picking rabbit hole half a day later. Anyway, what we're going to do here is we're going to get back. And that is visually similar. The other one that I find handy in the character panel is we are going to go to finding ones on Adobe fonts. Let's say I like Victor. I'm going to grab it. I I'm going to replace that Que because that gave me problems before, just with a regular Que from the font, and I'm going to go up to here. I'm going to say at the moment we're dealing with fonts that are on my computer. If you've just installed Illustrator, there are a bunch of fonts on Adobe fonts. It takes a little while. You can click on Find More. It's going to go and have a look at other things from Adobe fonts. There is slot here. It can take a little while to load. What you might say is, I want to find a font that is not currently on my computer. That is a sera font that has a really thin option. It's going to go through all of adobe fonts. These aren't installed on my computer yet. They're not what's called sync. You might decide, I like this one now, I can preview it it's brilliant. I got to click on this option here to activate it. I said sync, but really I meant activate. Do I want all seven of the different weights? I'm going to say, See it's doing its work, and it takes a second activating, what's it called? Aina? But I should now be able to come out of find more into fonts. It's a little confusing between these two here. Heard a little beep going. Means now, I can click on this and go, right, Antina hasn't loaded yet. Please hold. Actually, this is a good I've done this, but I've still got my filters on. I'm going to turn clear the filters, and there's Antina. Here we go. It's all installed on my machine. Find More is good. I often actually just jump out to font sot adobe.com. The exact same thing except I find it easier to find fonts that I like. You can still use. You can get a browser. You can still use the filters. A lot of them are in here, but I get to see versions of it. Often I see a font home by itself is not cool, but this with all the different weights and widths, and it's very cool, and I can click at family. They'll do the exact same thing. Whether you want to go via the drop down here, Find More, which is the small don't have to leave illustrated version or jumping out to fonts stat adobe.com. It doesn't And to build on top of that, what is good is, I've gone through forever and loaded a lot of fonts. There used to be a limit on them. You could only download 100. They've given up on that because I don't know, somehow I was allowed to do thousands. What you can do is you say, I want a new font, but I want some of the ones that are already picked. I've probably selected a bunch already that I can pick from. I can go down to here. I can say filter by. This little tick marker says show the activated fonts. That just means ones that are not default fonts on my machine, ones I've downloaded and activated from adobe fonts, and I've been very careful when I've selected these clearly. But it just cuts it down to some stuff that I've actually picked. I find this is a better way to pick my next font because I've already got some font love for these guys. I've made a choice. So that's handy. Next is let's look at stylistic sets. We've looked at glyphs in the last essentials course, but if I select on this, depending on the font and whether it has these things called glyphs, this is just something that's an alternative for that particular letter. Not all fonts have it, some of them do. You can find them all under an under glyphs and you'll find all the extras that are in here. You can see this one here. Q has this other option. P has an alternative option as well. If I highlight this in, and if I hold it down in here has, that's a cool one. You'll find alternatives for it. But that's just like randomly picking them. What ends up happening is of it undo is the designer, the typographer, phontographer, biographer has actually gone and created sets. They've gone and said, this is a group of all of those styles of glyphs together. I'm going to make a duplicate of it. It's just an easy way to go. What do they all look like in this different set? I'm going to go up to the open type panel. If you can't see it, it should have opened with a character panel, but if you go down to type, there's one called open type. With it selected, you can go up to this flat menu and say, show me the different stylistic sets that this font comes with. If there's zero in here, there's just zero. There's no way and some fonts have it. So don't. Let's go to Set one. That's the one we're on. Let's go set two. You can just see it just shows you, that's a set that the designer has done with all these very similar extras that are on it. Let's look at the third one. What you can do is you can actually turn them all on and have some of them off. You can toggle turn all those off and show me set three only. You can see in this case, D has no alternatives. Whoever designed this font went, D, you're boring, you're not getting anything else. Some fonts will be different. Those are stylistic sets. That's why open type fonts generally are better than true type fonts if you are downloading. Get two options, use the Open type font. Let's move on to variable fonts. These are awesome, love variable fonts. Let's grab. I'm going to grab my little logo thing here, making a big mess. Everybody have the same mess as me. I'm going to click on this one. I'm going to go and have a look at Acumen. If you don't have acumen, I think it's default for everybody. If it's not, I'm going to click on it. You can download it from adobe fonts. Otherwise, go and have a look and see if you can find any other variable fonts. The way to know is can you see here? This is an open type font that has the word or little is var next to it. I's variable. You can search for variable fonts on adobe fonts. You can say, brows up the top here. Show me ones that have variable fonts, and go through those. Why are they so awesome? It's because of this magic. See this little button here. It's a whole of the panel. This one here I've picked because it has both weight width and slant ready. Si, I think this is magic ready. I just gets bigger. There's no you go from light, thin, medium regular bowl black. You're not sure which one is which, you cycle through them or 100200300, is another way that fonts get done. Can you see this one here? It doesn't just wrap a thick line around the outside. The typographer is actually go at this. It's quite balanced in terms of its thickness, whereas here, different parts end up getting bigger at different options. I'm going to go to this version of it because I think it's easier to work with over here so you can see it. Same same. Again, weight is one, but you can do with Condensed version or compressed. I forget which one is the most skinny version, but you can get to a really big extended version as well. This one here doesn't have a really big extended version, so there's some limits within it. Some of the fonts will stretch right out and slant, which is basically like italics. It's not just lening it over, it's actually redesigning it. Well, there's thought into what happens to this font when it does get turned over on its side. Then when you've done the false italic and you just squish it over, you've done it, I've done it. We've all done it. But when you are picking a large font for a company that you're working for, you will do yourselves a lot of favors if you can use a variable font. Is still the preset options? Watch, I can still go to all of these things that I discussed. They're all still in there. You can say, hey, we use condensed bold, it's still in there, but really what it is is the sliders at these positions. There are some other options. Those aren't the other options. There's another one that I was using the other day. W's an minion variable. Is if I go into here, I love this optical size. The weight, is the thickness, can you see the difference? Can you see when it gets heavier, the actual ascender pair comes down? Really interesting. It's thoughtful, rather than just wrapping a stroke around it with false bolt. Let's pick this. I've got some weird tracking going on. You might be killing yourself with that. Let's go to zero. This one here has optical size, which I find really interesting. It's different from weight. Somehow, it's not changing the size, but it's like how visibly big it feels. It's still what do we got 116 point font? It's not changing the size, but The way it feels. That feels like a small font, this feels like a big font. Some of them just have weight, some of them just have slant, but do dig in for variable fonts. They can, I know, I think they're brilliant. Let's talk about Let's do this. Let's grab the type tool. We're going to use a type area box. A type area box is click Hold in Drag Detric. It's going to fill it with placeholder text. I'm just going to put in my name. What you'll is this useful everybody? This is advanced stuff. Sometimes you just want it in the middle because you've got maybe multiple text boxes with different sizes in here, this one is Dan Scott in two letters. What I can do is I can slick both of these, go up to type, and go two type area options. I've mixed that up area type options, and there's this option that I find quite useful. Aline center. It's new, and it puts it in the center of the text box. Let's click, Make sure previews on, let's click. We can use centered fonts as well. It's just the way I don't know, there'll be a few people out there going, Finally, you can put stuff in the middle of this text box. Whereas before you had to fudge it. Another really useful type area textbox thing is watch this. If I grab the type tool, drag out another type area box, which means I've dragged it, it's filled it up. If you have done this, where you're like, Okay, that was great, and you delete it. You're like, what was what? Can it go up or if I add more text, it becomes what's called overset. You can see there there's a little red box and you're like, it's too much text. I can't see it. You can click on it and drag out another box. That's linking two area type box together. Not what I want I want to just expand and contract. What I can do is I can grab my type tool, sorry my selection tool, and you can just double click the bottom. No, double click this option. That's it. That will turn it into what's called an auto height box. Now, what it means is just I think a better default. Delete some stuff, you see, the bottom comes up and when it gets bigger, goes down. You can do it the long way as well. Wh it selected, go to type, and go back to where we were before, the area type options, and there is order size. You turn on and off that way as well. All right. Next is aligning thing. In the past, it's been really tricky to align things. Let's open up the align panel actually. It's got a window. Let's open up a line. Have that ready. Now, what's happened is if you want to align this and this together. These are just text box in a weird shape I made. If I aligned to the bottom, can you see lines to the bottom of the text box, which is really we and you end up either outlining it or just trying to get it to line. It's close enough to get guides out. Who's done that? Hands up. Watch this. What you can say is under then tool. I don't have to have anything selected. I can say align to the glyph bound. Glyphs are the k parts these characters in here. Point text is just when you click once and the text line goes along for a long time. Area text is the big box. We're going to use point text because that's what this is. It's just a line of text. I'm going to align to that. Watch this and I sick both of them and I say align bottom. Lo, it aligns. K see there. It aligns to the bottom of the Que of that descender. It gets better to watch this. If I say This is no dumb questions. This is a forum that I'm working on. S it's no dumb answers. Same thing. Click it. Make sure that setting is on and watch align to the bottom. Look, align to the bottom. Okay. There you go. Now, it's aligning to the This is a strange find as in the baseline, this kind of D dips below it, so there you go. It doesn't quite line up. Well actually, it does. It just depends on what part you want it to line up too. I have that on, especially when doing logo design. I want things to line up to the actual letters, not the box that the letters are in. Further down the rabbit hole. What I want to do is grab a version of an object and some type, and I'm going to go up here, have the line and character panel open. Now, this is thing called Snaptlyph. Yours might not be visible. Go to the character panel and go to show Snaplyph, to turn it on. Glyphs are considered these characters. These individual letters inside of this font. What we can do is we can actually snap to them. Now, if yours are grade out, it's probably means smart guides are turned off. Command you control you to turn it back on, or there it is smart guys. I'm back. One other the reason that might not be turned on is under view, go down to here Snap to glyph might be off, and then it grays out. Make sure that on as well as smart guides. Carry on. You can see mines enabled. You can decide on which I'm going to turning them all on. You know they're on the dark. What happens is now I want to line this up. I'll get the editor jump in, but can you see it's aligning to the baseline? You're like, Oh, It's just the lining to the baseline or like the glyph bound there at the bottom, it might be right at the top, it might be the glyph bound at the top of it. You can see the x height. There's all sorts of things that it can connect up to now with that turned on. Just makes it easier for lining stuff up. Visually go. Tongue out going. That's close enough. You've done it? I know you have. That's Snap glyph. There's so much more to it. I don't want to cover it all. I want to give you one more, for instance, because let's have a look. If I type in a y here for no good reason. I put some spaces in. If I have my black arrow selected, I'm going to make sure this one's on, the angular guides. If I click this one now and say, I want to snap to the y. If I click this one, it'll snap to the in. I can snap to the y. I can see U, it's highlighted it, and when I rotate this, what what happens. Look, it matched the why. Oh. Why am I so excited? I don't know. It's nerdy and it's cool, and it will help probably three people in the world. But it's a good for instance of all of these things. There's lots of options in here, and they keep growing them as well. All right, I'm actually leave that one alone. I'm going to duplicate this. How does the y go away? I don't know. I just I release snap. There you go. I just ignore it and close my file and it goes away. Last but not least, I can make a whole course on fonts. Probably should. But one of the more advanced useful things is looking at font sizing. At the moment, I've got this, let's say we're going to make this up a D Q. I want it to be the same height as this. What you can do is you can say, I know the height of this, it is a height of whatever is in here. Mine set millimeters, es might be inches or pixels, copy it. I slick it at all by clicking a few times. Grab it all copy it. And I click on this. What we can do is it can say at the moment it's got something called font size, and it's to do with what's called the M height. We can change that to go this little fly out menu. We can say, show me the way font heights are actually measured. That's this box here. That's the M height. Basically, it's uses the M is the height. We can say actually, show me the cap height. Is the really baseline here all the way to the top. Not this little thing that hangs below it, on the cap height. What we can say is I don't really mind what it is. I'm going to delete that and paste in whatever it was. It was 37 millimeters. I'm going to hit inter, and it's going to be the exact same height as that now. It's a way of just saying, I'm going to deal with fonts a different way. I'm going to make sure they're all the same height. Not a 12 point font is different for lots of different fonts. You can switch it to show different ways of measuring that height and the cap height is often a great way to show consistent font like actual height, rather than the vague M height. I'm totally losing you now, A. Anyway, it's good for matching sizes of things to the size of fonts. Man, there was a deep dark hole it? We could go deeper. We won't for the moment, though, I feel like your brain is probably melted. Hopefully you took lots of notes, and even if they don't all stick in your head, at least you'll know if you end up at a job where you do a lot of something repetitively over and over, it might be like, Oh, isn't there a way that I can and you will find it? You'll either come back to the video, or you'll be able to work your way through the panels now that you're more advanced and go. All right. There is a way of doing this. I just need to spend 5 minutes Googling it or looking or coming back to this video. My friends, you are now Type advance. I bet you no one else that you know knows as much about Fonts and type in Illustrator. It's nerdy, but useful. All right, I'll see the next video. Let's make the next one shorter Dan. Okay. I'll see over there. 56. Retype to know what Font is being used in Illustrator: One. Hey, in this video, we're going to look at a feature called retype. What it's going to do is this is like a press metal old worldy sign, and I have no idea what the font is, but somehow, illustrators going to go and figure it out and make it editable? Bam. It's not perfect. It's not the press metal version because that's a photograph of font. But look at this. I can go through and say, All right. It's now old Bush Ms Daniel. That does't make sense. But you get the idea. It's a way of taking things that are pixelated photographs and converting it into editable text. Really good when you have outline text or if somebody hands you a PDF for a JPEG or something and say, Hey, can you change the type on this and you're like, I have no idea what the font is. This will guess and turn into edi text. It's very cool. Up. To get started, just open up a plain old document. It doesn't matter what size it is in your exercise files. We need these two files called retype 01 and 02, ones a GPI, ones at PNG. I just drag mine in or you can use file place. We'll start with the old Bush Mills whiskey. It's a sign at my local pub. It's actually a brand that exists in Ireland for whiskey. It's good, but I like this old sign. It works for this project. This word wiskey down here. I want to find out what the font is. What we can do is we can go to type. If you go to re type, it'll be grade out, so you have to have it selected first. Then go to type. Down to retype. I've got the B version of mine. It will be out and better when you get to it. It is a little clunky at the moment. It's good. But preparing for this video took me a little while to master it. I'll get smoother. We're going to go to retype. We're going to start. There's two options, Match Font and edit text. We're going to match the font. What if you have selected, I'll pick whatever the largest font it can find and try and guess it. It's not perfect. I already had a look at this. I'm like, Or it's so close. It is so close. It is almost bang on for this top one here, and I'd say for what I need, see the curve on this S at the end here, it's different, so it's close. It's looking both on your machine and it is looking for stuff through Dobe fonts. It's pretty good. You can decide not that one, but this one, and it will check this one. I'm going to use whiskey down here only because that is in type wp, or it's in a warp envelope. I just want plain old text. Find the font. What you need to do is, you need to click on this little option saying activated. I'll activate a different one. I'll take a little second and eventually it'll come up with a tech mark. Why are you doing that? So that it loads on your machine, you can start using it. That's it. You might just use this feature just for that thing and you know that it's Shackleton now, you're going to use. That one's activated. Where it gets quite cool is at the moment, a bit of the changes because this is a wed UX. If I click exit, then I can go to edit type, and I'm going to click on this one, and I'm going to click this font. Click apply, and it's going to say some stuff. Click Okay, get a bit lost, click edit text again. Let's click on this one here. Wanted to embed the image. That's okay. I'm going to say you. Then Dan's going to notice it, it says, double click to apply the selective font to make this text live. Look what it did. It's a slightly different font. We'll be okay with that one because this is way back. This is very old font. You'll notice that it's actually editable now. Now I have to exit. Look, that, you're like, it's editable tech. There's stuff hiding behind this one. Ignore that for the moment. But look, we can make this capitals. Bourbon. Look at that. It's the same font. It's just really cool that you can select things and just go off and see if you can match the font. It's pretty good. It's pretty cool. It's made this embedded version. It's done some photoshopy stuff blended in. All world cool signs, fun. What's probably more realistic for us when we're working is we've got this thing here and it's a PNG. It's a screenshot. It is not editable text, I done with the font is, we do because we made it. I know, but We end up with stuff like this. Somebody sends a GP, say, can you print this at a high reason, we'll change the text. You're like, I can. What we can do now is with it selected. Again, let's go two type, let's go two retype. Let's match the font first, and it's pick the perfect font, and go through this. Knows, I know what it is because I made it. But is ang on accurate, which is cool. I've sync the font, which is perfect. I'm going to click exit. What I'm going to do is see, I'm going to edit the text. What text? I bet of this flow will change because I get a bit lost in here. I'm going to do this one up here and it says, double click to apply selected font to make text live. Smooth. Double click. It's going to embed the image that I brought in because it says, I can't be linked. I need to be able to mess with it. It feels like nothing has happened. Let's click on edit text again. It's in Beta or mine. Yours will work nicely. Double click it again. It changed. Do you see that there? Let's do the same for this. Double click that one, converted to live text, Retype to edit. Converted to live type, Exit retype to edit. Ok. Go away. O we're still in retype. You wait there. Alright, I hit escape. That's what escaped me. It's in beta. But what's cool about it now is this is now, caps. It is editable. And look, kind of smooshed the background. That is still like pixels. Let's have a look. Can you see it's just a shortcut? You can see it's just bitmap, but now I have these two as editable text. It will try and get either perfect in this case because it knew the font. That's the way I end up using it. I'm like I found this PDF type and it's all outlined and it'll figure out what it is. This first one here, if it doesn't find something, it'll find something close. If you're looking for the vibe of the font, it'll go through and get you something close. I finish alp want this one here to go to object, envelope to store, let's make with, wp and mess around with, which one is it? It's like this one, not quite get there, need to stretch it out. I think I'm trying to match bush Mills, actually the word bourbon. Anyway, you get the idea. Retype is cool. It's useful and will get better, it's better on my version. It won't be in yours. You'll will be working a little bit more smoothly and probably a little differently. But at least you know the basic mechanics, yours will be slightly different. All right? That's retype in Adobe Illustrator. 57. How to put Text Inside a Letter or Shape in Illustrator: Hello. Hey. Have you ever wanted to put text inside of text while you're in the right video, we're going to do it this way with just the cool grady of the background, and then we'll do this. Look, it is text inside of text, and there's actually an image inside of text inside of text. It's very inceptiony, but it looks very cool. Let's jump in and I'll show you how to do it. You can open up the file called text in shape, text to vector text in shape 01. I've just got a color background. You don't really need anything, you can create your own. We're going to start with the giant letter. I'm going to grab the type tool. I'm hitting the T key click once. I'm going to use the initials from my company. Do it with me because the D causes us problems. If you have a letter that doesn't have this compound shape that hole cut in the middle of it like an r or A, t's see that hole in the middle, and that will give you extra trouble. We knock because we'll work it out. I'm holding shift and grabbing the corners just to make a joins font and I'm going to pick something that is got a really big got a big weight. The text can actually fit inside of it. This one called active grotesque, you'll be able to find that on D fonts if you want. We're going to start with this one. What we'll do is we always have a duplicate of it just in case we need to go back. This is very destructive. You can't put text inside of editable text at the moment, at least. What we're going to do is outline it, it's a command shift O or control shift O on a PC or type create outlines. Now it's a shape. Although this is text inside of a text, you could draw anything now because this is just a shape. The rest continues if you want to put it inside of a star or a rectangle, actually a rectangle wouldn't be useful. That's a textbox. What we want to do now as well is these things are grouped. I need to ungroup them, command shift G, or control shift G on a PC, or right click it and ungroup it. I've got two shapes. Let's do with the G first because it's slightly easier. It's weird though. If I grab my type tool, I'm looking for area type tool, that's the magic that does the magic. What I click on it and watch this, if I click on here, it says, Hey, you can't do it to compound shape. You're like, it's not a compound shape. That is, this isn't. I don't know why, but that's what happens. It's a compound shape. I'm going to release the compound shape, a compound path. Nothing happens because it's not a compound shape, it works now. Now if I can click in here. Actually because it is no longer a compound shape, go to the regular type tool, see the icon changes, go B that little circle version, a drone scientific because it's it just guesses it goes, Hey, do you mean the text area type like I did. Now what we're going to have to do is pick a font that fits, something small. I'm going to go. First of all, I'm going to pick like roboto, something easy and small, and I'm going to make a small size. That looks like it will fit pretty good and my placeholder text run out of it. I'm just going to click in there and go type and go to fill placeholder text and I'll just top it up. You might have to do that a few times. There is just some issues. Can you see with a sentence or the line ends and this is go slick off in the background. It's close, but it's like is that a C, is that a G? What you can do is you can mess around with the font size, get it smaller and smaller, it will fill in a lot more of the cracks. What you can do as well under paragraph, we're just using lift a line. Use one of these ones, either justify, which tries to justify the text, squeezes it into the whole line. The only problem with this one is, I think this is called the last line, or is it justify with last line a land left. The alternative is this one here. This one is justify all line, that just goes, I'm going to smush even I'm just going to smush this across, even though there's huge gaps in here. There are just times where there's rivers running. They call them rivers this one's got some extreme not too bad. You can see gaps starting to appear in places. This is for effect. It's not meant to be legible, so I'm going to ignore those. I'm going to go back to maybe just left a line. Does enough of it. I'm going to pick a white font. I'm going to actually go to the slightly bolder version medium, and I'm going to pick white because it looks cool against the gradient. So that works until you get to this one. This one has this hole in the middle. What we're going to do is, again, we're going to right click and say release compound path because that's part of it. I've got this chunk in the middle here. I'm going to copy it and maybe just move a version over there, paste it in again in a sec. What I'm going to do is ignore it. I'm going to grab my took tool and I should be able to click in there. It's remember the last font I've done except it's black. I'm going to slick it all, and I'm going to grab the eye dropper too. Shortcut key for the i dropper tool is clearly I, which you can't do when you're in the type tool. Let's go to the i dropper tool, click in here, we'll steal the font and the color in the size, but we've got that thing. Middle of my Digo. We're going to just hit paste. Command or Control V. Actually, we're going to use the paste in place. Remember that from earlier, it, it's command F or control F. Gets it back to where you copied it from rather than just the middle of the screen. That's what paste does, right in the middle of the screen, wherever you are paste. Command F gets it back wherever it got it. What I want to do is this, we're going to add a of magic to it. The magic is, it should be under type. I always hunt for it under type, it's actually under object. If you go down to here called text wrap and hey, make, look at that. It's got this visible force feel on it. Watch you can move it around. In design people are like, Yeah, whatever, we're doing that for ages. But if this is new, it's exciting. And it's got this can you see the visible line around the outside? You can get rid of that by going back into object down to text rap and go to the text wrap options, and turn it down from six down two or whatever the default was on yours, turn it to zero. It's still working is just not got a little force word around it. We can't get rid of this, but we can. We can say you have no fill no stroke. Remember x toggles this over here. It has no stroke already, I'm going to toggle it so the fills a front and then I'm going to use that forward slash key. O M keyboards down the bottom next to the question That, that is the have no fill. There you go. We're going to go even further. Like we saw earlier on, we're going to put an image inside of it. And gets even weirder. Only because when I first did this course, people like, how do I do images and they went off and tried to do it and it's really weird. We'll do the weirdness together. I just copied and pasted that. I want to do now is bring in an image, command shift P or control shift P on a PC. We're going to bring in from the exercise files. There is something called text shape two. It's just an image that we made in the essentials course. I'm going to get it. It's nice and big covering everything, and I'm going to move it to the back. Going to be a command shift in the first square bracket. I just want to get the hints of it in here. Now, it's easier just to outline all the text. That's what I found. The compound path and this text rate stuff just doesn't work. What we're going to do is select both of them. We're going to say, we've got a copy of it that is editable, so we can change the text that is inside of here in terms of the white stuff, but we're going to have to go remember the shortcut, command shift, control shift on a PC, or type create outlines because now it's, it's a bit destructive. But it's okay. We're doing it for an effect rather than editable text. What we're going to do now is we're going to group them together because we can mask these. If I group the G in this background one, and I go command seven on a MAC, to mask or control seven on PC, it's going to say, Hey, it's very complex. I'm going to say yes, it doesn't work. That reminds me why it doesn't work. Why it doesn't work is, for some reason, this works great. M machine is struggling a little bit. If your machine is struggling, it will. It's such a big complex mask. To make it work, I'm going to select both of them and I'm going to turn it into a compound path. Don't know why. Command or control eight, it is now a compound path. We haven't cut a hole in anything yet, but it is a compound path. It allows us now though, as long as this is on the top, a hold shift, grab the image in the background, and then go command seven, Control seven. It's going to say very complex, and you're going to say, I'm willing to take the risk because look how cool that is. Love it. Obviously, you'd be using not Lauren Ipsum, potentially to be some text that's relevant to your business. It might be GBT AI generated, or it might be poem quotes, your annual report, something in there that maybe is a bit more maybe a description of what you guys do, maybe your menu. For some reason, it just looks really cool, especially when there's depth in the image. I know Coe was really good. The big takeaway from doing images inside of it is that stick them all together, make it a compound path and then do the masking. The big thing to remember on this one here, remember that when you outline this first shape, and try and put text in it says, Hey, can't be a compound path, or it's not a compound path, but it is. Illustrator has created a compound path, you got to release the compound path and then you should be able to put text in it. Then for things that actually have a compound path in it, like A or a D or an r, or an O, you need to put the shape back in and put text wrap around it. At this stage, it remains editable text. To go the image way, we have to outline the text as well inside of it. You were watching. You were taking notes. I know you know. Way, that is it. We put text inside text and then image inside text inside text. It's very inception, very cool. I'll see in the next video. 58. Class Project 14 - An Image Inside Text Inside Text: I wonder if he will set a class project for that one. He totally is. I want you to basically do this. I would like you to pick the initials from your small business. Put the text inside of it, and then get an image inside of that text just like this. Find an appropriate image for your industry. It can be abstract, but there you go. Easy one, simple class project in terms of what you have to do. But a little bit complicated and technical to actually get that image inside of it. Good luck. Let me know in the comments if you do run into any trouble. If you do find solutions to that trouble. Everyone else know how you did it. All right, enjoy putting text inside text inside of an image. All right. Make sure you share it with me as well. Upload it to the assignments and make sure you Syra take me on social media. Love to see what you make. All right. Bye. 59. How to use the Touch Type Tool in Illustrator?: Hey, everyone. Hey, in this video, we're going to look at something called the Touch type tool. What does it do? It takes type and remains editable, but we get to mess around with it at a bit of creative flare, and the cool thing about it is somehow it's still editable and typeable. C. Let's jump in and transform boring old text into custom looking stuff that remains editable. Jump. If you want to play along, there's a file called touch type tool. Open that one up. You might have to sync some fonts. You don't have to. You can pick your own fonts. If you do want to go and find them though, this one is called Market Aid, and this one here is called filmer type, honey. Fmtype is a company that makes fonts, and they make various different ones. This one happens to be called honey. So this effect works. I like it with these hand drawn fonts, just to add a bit of character to them. What's cool about them is that they are non destructive. We can move them around without outlining them. Let's just do it, Dan. Let's grab the touch type tool. It is underneath. You click and hold down the type tool. It's right at the bottom here. You pick on a letter you want to mess with. G click on this M, just click on that one, and you've got a bunch of different dots. And the four corners. The main ones, let's do the top right. This one here does the size. We can make it bigger or smaller. I'm going to make mine a bit smaller. You've got the top left, which is the height. I'm going to undo that. You've got the bottom right, which is the width. You can squish the type. It's criminal to mess with fonts like that, but sometimes you just need to. The bottom left one is the movement cycle just move it around, see. What's really cool about it is actually the last one I'm going to do that one, and the last one is this dot at the top. This does the rotation. You can actually just drag it in the middle. You don't have to use that bottom left hand dot. What's really cool about it though is if I go back to my type tool, I can highlight this M and say, actually this needs to be a D for whatever reason. He it's editable type. Whereas in the past, you might have done it. I know I've used to do it. Before the touch type tool, I would outline the text, turn it into a shape, then start messing with it. I can never go and change it afterwards. I love this. Now it does run into a few problems. Let's look at this one here. We end up with a big gap with some of the fonts and you want to move it around. You might leave it, it's fine, but let's grab the type tool. Let's get our cursor, get it flashing. Just put it in there and can see my giant thin flashing cursor. Now what I do is you can use the conning over here. Conning is -75, that works. What I tend to do though is use the shortcut. Still with it flashing, hold on the option Comic canopy C. Just use the left and right arrows. You can just jostle it around. I find that's the best way of doing it. Still doing the exact same thing. It's still doing the ning. It's just doing it in more of a tactile visual way. I'm going to go through and jumble mine up in a second, but I guess I want to show you a few other little things. Now, let's say I grab the touch type tool again and I'm going to mess with the T. This thing at the bottom appears and all of these, these are the glyph alternatives, they're cool because this font has a bunch of different versions of it, depending on what I want to do. You can turn it off. You can go to your preferences. On Mac, it's under settings, under Adobe illustrator and down to type on a PC, it's under edit settings type. And you can go to where is it called show character alternatives. You turn it on and it cleans it up. It turns it off forever, though. I really like it. I'm going to leave my back on. And it's back a pain in the butt. You can work around it though I do up to you. Another useful thing when you are wheeling, this is outside of the type tool, but I wanted to show you, let's have a look at this one here, hand drawn font. Once you do mess around with one, let me do a speedy jump cut for this. Overlay these so they look like they're coming out of the same dot. Anyway, what's really cool is one of the techniques we've already learned is a blending mode. If I zoom in in this, can you see it's an interesting paper background. With the text selected, just with the black arrow. You can go to your capacity and look at the blending modes and have a look at the different options. Dark does. Multiply. See what it's doing. It's showing the color through it just to have a cool effect. I find it's interesting when you're doing, especially hand drawn fonts. Light doesn't work. Work your way through and see what might work in terms of this. I'm going to go to probably just multiply. That shows enough of it through. It's quite a thin font, you don't really see it, but it feels a lot more connected to the page than say, my name down here where it is just a solid color. Anyway, I'm going to go through now and start messing around with the fonts, and you'll see those you would have seen them in the intro. But, the touch type tool. Great for hand dram fonts, great for ransom notes, give me all your money or the laptop gets it, or put all your dishes in the dishwasher, a company office favorite. That's it. I'll see in the next video. 60. Class Project 15 - Ransom Text: Hello. Hey, class project time. This one's called ransom text. I'm calling it there just because it's fun. A touch type tool exercise is no fun. But it's not so much a ransom text. It's more just find some statement or a quote or values. I don't mind what it is. Something that embodies your small business. I could be a quote from somebody else, a statement that you've made, some values. But then I want you to use the touch type tool to customize it. I don't mind what font, I don't mind what colors, I don't mind what it says. I just want you to practice with it. Have a little think. Be a little bit of creativity in what you actually do that maybe relates to the statement up to you. Once you've done it, share either a saved image or a screenshot and upload it to the assignments and share it on social media. Happy touch type tooling, ransom text. Wait. 61. How to add a Connected Stroke Around Multiple Shapes in Illustrator: Everyone. In this video, we're going to look at some advanced stroke stuff using the appearance panel. We're going to be able to create something that is a graphic style that runs around the outside of multiple objects. The objects can still be moved around. You can see the stroke comes along for the ride. We'll do it for this mountain here, which is flat and doesn't have a stroke around it, and then we're going to add it, and we're going to add this extra effect he to push it off to the side. It's reusable, we can turn it into a graphic style, and a lot of the skills we already know. Let's jump. I've got the file called stroke outside, open up in my document, I do some mountains or triangles. We want to do what you saw at the beginning with the line around the outside. There's a couple of rules. First of all, let's select it all and let's open up our appearance panel because that's where the magic is going to happen. What we want to do is add a stroke around it. I won't let us. It says it's because all of mixed things going on. All we need to do is group it Command G on a ma control G on a PC, and it turns into a group. You see here, it says I'm a group now, and guess what? I can add a stroke to it. That works. Let's increase this up. Not quite what I want. I want the stroke on the outside, and it's just to do with the appearance panel order. We're going to click hole, drag drag drag, and you want it either in front of contents or behind it behind it. Drag behind the contents and the contents will be above the stroke and the stroke will just apply around the outside. Co. Hello it. The cool thing about is, let's pick a color. I'm going to pick a color from this, just an off gray color, and I'm going to hold shift and click this up a few times. What's really cool about it is, watch this. If I can double click to go inside, grab the top of the mountain, see? Can you see the stroke around the outside? I know, it's magic. I don't know why that's magic, but you see it bends around it depending on where it is. You don't have to outline stroke and try and force it and never be able to adjust it later on. Other things in this particular example is it can see, for some reason, even though if I go to outline mode, I've got a little line that I drew, little ag. He's in there. The stroke is seeing it and squidging out the side. Can you see it? You like, what is that? It's really weird. Things like that happen. What we want to do is I'm going to come back out. Double click on the background. First, we have to have it selected. I always spend a lot of time messing around in here, not having the actual shape selected, you will do this, and you like, it's not working. It's because you don't actually have selected. You're doing stuff, but to nothing. I'm going to go to my stroke and in stroke here, I can cut to the stroke panel by hitting this little drop down and say, I can pick one that's maybe more appropriate to what I want. To try and get that line. If you need the sharp one, it is just a byproduct of using this technique, if I double click it to go inside and I go in a little bit. Grab this one, hold shift and click over. Can you see? It's only when that edge gets close to it. You might run into little problems that you need to work around. Love it. Let's go even further, double click the background. Let's add that extra line. We've done this earlier on Remem way back when when we did graphic styles, and we added lots of lines around the stroke. I couldn't remember either. Remember this way back when. I was like, I'm sure we did it. We did. Basically, we can do the same thing here, but add a little bit of extra advancness to it. I could say actually add another stroke. Make sure it's in the right spot. I'm going to put mine just above below the contents. I'm going to make this one white. And I want to make it smaller because it's on top of the gray one, it looks like there's this offset part. We'll do offset in another video, but faking it here a little bit. But what I want to introduce you to is, we're going to do effects more and more, but what we're in the appearance panel I want to start introducing it. What we do is we have it selected, make sure, and what you can do is you can actually apply effects to a specific thing in your appearance panel. I'm going to say you, Mr. Stroke, I've got it selected. It's blue. I can say I want an effect. All of these effects here are the same ones that are up here, we're going to cover those in a But let's just do one to get us started. With it selected, effects, like this one. You can go to transformer distort. I'm going to go to free transform, make sure we have it selected, watch this. I'll do something. I'm going to drag it out this way. Watch this. Oh. It's too far. You can see the bits underneath. I'm going to click on Free D Stort to get back into that effect, and I'm just going to make it appropriate for the size of the stroke, your stroke will be different. Look at that. I love that I don't know, it's nice in vector, but it has this organic an drawn comic book style. I've double click to go inside of it and that's what's really cool about it. It is something can be updateable. If you're doing a set of icons or a set of matching shapes, as long as it's done in the appearance panel, and you haven't outlined everything and just hand drawn it, it's all totally updateable. Last thing I want to do is turn it into our graphic style. We've done that before, and I just want to reiterate it. Graphic styles. Remember, if I select this at my home base, I'm not inside of it. Got it selected, I can say graphic style. Then over here, I can grab my ellips tool, and to grab one. I drop a tool, grab that. One, two, and three. I dropper tools Key, grabbing a couple of colors. That one. I've got them all, I can select them. If I apply the graphic style now it doesn't quite work. What I want to do is go to my parents panel. Remember, I can't add anything now. What do I need to do? What's the thing? You need to group it. Group it, it could be a symbol, just needs to be together. This group now can have all this stuff, but I can say just add the graphic style library. Look at that and matches that one. If I double click it to go inside, look, I all connects up. I do love it. Look at us. Advanced appearance panel people. Making graphic styles are awesome. All right. That is how to add strokes around the outside of stuff that is editable. It's fancy appearance panel stuff. All right. That is going to be it. I will see in the next video. 62. Class Project 16 - Connected Outline: Hello. This class project I'm calling it connected line. Very good. Basically, it's the same techniques we learned in the last video. I want you to do it for something appropriate to your small business. Create more than one graphic. I cheated. I just did mountains. I'm not too worried about what the actual objects are. Keep it simple. Then what I'm looking for is this stroke that runs around all of them. You can do that extra effect if you want, turn it into a character style, apply it to many things. You don't have to, though. All I really want is two separate objects, and I want to see that you've got a line running around the outside just to practice some of the things we need to remember. Grouping and make sure that the layer order of that stroke is important in the appearance panel where it all appears. So give that a go. I've gone and grabbed some colors from color.adobe.com. You can get your colors from anywhere you like. Yeah, have fun with our stroke around the outside of all the stuff. Right? I'll see in the next video. 63. How to Offset a Stroke with Text in Illustrator: Everyone. In this video, we're going to do this. We're going to actually be able to have editable text that has an offset stroke around the outside. We're going to get nerdy with the appearance panel. It means there's a gap that's what's over the edge here. You can see there's a gap between the text and the outside and the text is editable. We don't have to do any create outlines. We'll turn it into a style as well, and we'll play it to shapes as well. They have a nice clear offset. Let's jump in and do it. D some pizza. Yum. All right. First up, type some text on a page. I'm using Museo, which is an Adobe font. I like it. It's really cool. It's the italic 900 version. I'm going to lower the tracking. I've selected with black arrow. I've got the option. I'm just going to use my left. Option mac C and just use my left and right arrow. That is a little confusing like I thought we were using Kerning. Kerning is this one, which is the space between individual letters and tracking is all of the letters all at once. You end up at the same place. Got that. I want to add a stroke to it, and I'm going to pick a stroke from my swatches and I'm going to make it thickish, and that works. But we know that if you see it overlaps, I'm going to go even lower my tracking, you can see it overlaps. We know that we just need to go ink and put it underneath the characters and that works. I need to make it thicker so I can see it. But I want it offset. You might have used the object path offset. I can't do it with this type here. I'd have to outline it. We're advanced, so we're going to use the appearance panel. What we can do like I introduced earlier, you can say, actually, you Mr. Stroke, click on the line up here. I can add an effect and in this effect is one under path called offset path. There you go. Half working. How much do I want to offset? I'm going to go up to 20, I click down here to get it to do its thing. That's the gap that I want. I'm going to click, I'm going to demonstrate what it's doing. You see it's not put in a green gap. It's actually a whole, it's offset it, which is cool, except there's that overlapping going on. What we can do is we can add multiple effects. I'm going to click on the stroke again. I'm not doing it to everything. I want to do it to this, I want to add another effect, and I want to go to, I want to go to Pathfinder. Remember earlier in the course, when we used our Pathfinder, we stuck things together like the shape builder. That's what this is. What we can do is click add. That and it adds all of those together to make one group. I think I want mine a bit bigger because it ends up going down the U and I don't want that. To edit any of these, you can go to which one. I want to go to offset path and I want it to be a bit more. I'm going to get up to 30. That number will depend on your font size, and how big are your page is. You don't have to copy mine, it'll be whatever's appropriate down here. I want maybe 35 because I want to clear out the hole in the donut as well. The good thing about it is because we haven't had to outline it to do it, it is this active effect, we can change the text. I can be pizza. That. What I might do as well is add one stroke. I can say you are another stroke. I got two of the same. The one at the bottom here, I'm going to change the color, something darker, and I am going to not change the width, I'm just going to change the offset to go what have I got here? I've got 11, so I want to go out another 11, and we're going to use those sweet math tricks plus 11 hit enter, and it should go out whatever plus 11 was. You can do the math. You can probably add better than I can. Let's turn it into a graphic style with it selected, graphic style, U, and now that graphic style. That was weird. I didn't come along. Our graphic style doesn't have a fill. The, the fill color is coming from the actual text itself. That's weird. I just assume that would work. I'm going to add a fill here. The stroke is a fill and the appearance panel has a fill. It doesn't really matter. We're going to go to graphic style libraries, and we're going to add a new one and we will get rid of this one. You can drag it down or you can click on the delete button. There we go. This is going to work better. There we go. It, it's offset, you can see through it. It's actually a gap between it and it's an effect that you can apply to anything. Let's apply it to our star, just because star, we go bam graphic stay library. Look at our super duper advanced people. The big track here to remember is that we've applied things to a specific part. You can do things to a fill. You can say this fill has an effect and you can go through all the different options in here and apply it just to the fill, not to the fill in the stroke. Not only just effects, which will cover a little bit later in the course, but actually like more path stroke style stuff. Even the path finder if you're like, what was the pathfinder again, I'm going to grab my rectangle tool, I'm going to do two of these, stick it over. Remember, we're able to do this and these are the pathfinder options. This is the button version, we used the effect button. Get you the same place. Add is the same as these two going add. Remember, if you hold down the option or the key on a PC and click it, it becomes still adding, but it's remember still editable, non destructive. We're getting off topic. We came for the text that had the offset stroke, and we did it. That is it. I will see in the next video. 64. Class Project 17 - Offset Style: In this class project, I want you to create some compelling texts that resonates with your target audience. Just some texts. I totally hit the Thesaurus here to add compelling and resonates. Just pick some texts and I want you to apply the technique we've already learned. The offset stroke. Pick some colors, pick some text and basically redo this. I don't mind what the text is. It can be one text, it can be many texts, but I want you to practice making it and turning it into a graphic style. The member of the stroke has to have this offset here, you're going to have to play around with offset paths along with the pathfinder add function. Have fun and I'll see in the next video. 65. How to make a Bar Chart in Illustrator: Everyone. In this video, we are going to take spreadsheet data and turn it into a good looking graph in Illustrator. Really cool, it got the data built in, so we can go and change it, 50. We can mess with the colors, the fonts, there's a few little quirks to using this tool in Illustrator. But if you want to be doing relatively simple graphs, it is a perfect tool. Let's jump in and look at caffeine in coffee. Bar graph style. First up, I have got a blank document, and we're going to find this charting tool here. The graphing tool. If you can't see it, go to Window, go down to tool bars, and go to Advanced. You should be able to see it here. I'm going to do I said bar graph. It's called a column graph here. Bar graph seems to be going left to right. But that's what I call a bar graph. I don't know about you. Technically doing a column graph, it doesn't really matter the same techniques work. But I'm going to use this first option here. Now, drawing a graph, if you click once, you get the teens tiniest world's little graph. You don't want that it cancel. You want to click hole and drag it out to roughly the size you need it to be. You can resize it later on. It is a little bit tricky though Once you've done a bunch of customization. My advice is get it close to where you needed to be to start Now, to import the data, there is a fancy import data option. This is called the graph data panel, and this is where we put the data in to influence this graph here. But importing the data, you can do it. I find most of the time the data that I try and bring in is corrupted or at least is not the right format. It's not super clever of processing all sorts of data. Just look at my one. Exercise files. I've got one called Charts Bar. This is an Excel doc. Click open and it goes, what the heck is this and freaks out. I find pretty much every time I do this, there's always something wrong with that import. What I tend to do is either open that exact same file in Excel. On my MC here, I have something called numbers, which is the same thing, or open it up in say Google sheets, whatever one you have access to, Just copy and paste it. When you are copying and pasting it, I know if I pasted all of this into Excel, it would go, that's probably the title. This is probably the heading for the column. Strat is not that smart. It will do column headings, and all the data in those columns. I just find copying the stuff I need. I want the column headings and all the data in it. Some holding shift and just clicking it all, I'm going to go to copy, and I will type that in afterwards, the heading. Then an illustrator, just make sure I'm going to click in this and hit delete, or was in the top right, and s top left, and I'm just going to paste it in. Then the magic bit is doesn't seem to do anything. You've got to remember to click this little plus button. I said plus, but I mean ticks apply. That's really big for this one. Sometimes it can just just like nothing's working. It's because this data panel here needs the little tick done. You're like, ok. Whatever you need. Remember that little apply tick. Mine is a bit big even though I totally said don't make it too big or too small. Resizing it. It's a good point. Resizing it, you notice if I click on it with my black arrow. This is not the bounding box on the outside. This is weird state that I am the special thing called a graph. You see my property sanel. I am graph. I have nothing. No width or no height. It's a funny one. You have to use this scale tool, which is this one over here, and I'm going to click hold and drag, and I'm going to hold shift, so it goes down, so it fits in there. It's a weird old. Break it apart later on and do a lot more regular customization, but you want to keep that data connection so that you can update the graph for next week, next month. It is handy to try and do workarounds to keep this thing a graph. I close down that data panel. How to get back to the data panel? With a black arrow, have it selected. Over here, in your properties down the bottom here, you might have to twirl down the text or vector. There is graph data. That's the little panel there. You can close it down, open a backup, or you can go to object and there's a whole section of graph here. The same thing. Go to data. Data. O a data guy. Cool. What I can do now is I can say instant coffee for the next month, I don't know. Let's say the average milligrams of caffeine has On average gone up in the last ten years or whatever it is, you can change it. All I did was hit enter on my keyboard or you can hit the tick. Now, to customize it because all being black, no fun. I'm going to leave that open. Let's grab the direct actually, let's do the fonts first. To change the fonts, all you do is slit on it with the black arrow over here in the fonts, you can say, I'm going to put mesio 500. Can you say they all changed? You can do them individually by using the direct selection tool, the Ake. I'm going to click on just this one here with my direct selection tool. Now I can say you are like a bold version of that. That's the fonts, colors. We want to change the colors. What I'm going to do is the same thing, the direct selection tool, I can click on this and I can go pick colors. Now one thing I notice is I picked some library colors for this video. I like do some library colors. I just assume that would work. It doesn't. Some reason the color themes don't come through. I don't know why. What I had to do was in my libraries, when I found these colors on color.adobe.com. I had to right click and say, let's add this color theme to the swatches. Be it works if I go to properties, and click on this one, go to Phil. You can see there as a swatch, they come through. Some reason not a library. This might be different on your version. It's a bug. I just discovered it. I'm not sure how long it's been around probably forever. You just go through slick them, pick your colors. All right. Mall got strokes. I'm going to hold shift and click them all and say, all of you guys have a new stroke. All right. That's how to customize it. We've done fonts, we've done colors. In terms of the actual structure. There is a little bit of play you can do. With a black arrow, have it selected. Over here, there's graph data, there's some called graph type. If you click on that, we're on this column type, remember, you can play around in here, have a look through. You can play with the column widths, add the legend across the top. Had a drop shadow. It's my favorite one. That's a drop shadow. I'm not sure why That counts as a drop shadow. There's limited stuff you can do without breaking it apart, but I guess we want to try and avoid breaking it apart as long as we can, especially we want to reuse this. If you do want to break it apart, just make sure you make a duplicate of it. You've got one, you can go back to and change, and then what you can do is you can. It's weird. I I got to object, actually, with this open, nothing happens, close down the data. Let me just quickly expand it. The only thing null of australia that won't expand. For some reason, we need to ungroup it. It's going to give you the warning saying, Hey, by ungrouping it, you can't mess with all the data panel or the graph type. It's going to become just shapes. Look, a little handles come back. Now we get to mess with it as we remembered before. Ungroup, it's ungroup part of it. Often there's a lot of ungrouping to be done. If you want to really get into it or remember our isolation mode, do we click to go inside. I'm going to undo before I got back there. The one thing I want you to remember before you leave this video is just to make sure that little tick box. That gets me here all the time. I'm messing around with stuff and it's not updating or I'm messing with any of these other features, and the little tick box hasn't been hit. There you go. Look at that. We made a graph. Looks cool. It's not hard to I don't know, stretch this video out because there's a lot of gotches, and hopefully we've avoided a few of those. But, look at us. We made a bar graph, AA, a column graph, D. That is it my friends. I will see in the next video. 66. How to make a Pie Chart in Illustrator: Hello. It is time to do Pie charts, an illustrator. The Pie chart part. This part here at the top is super duper easy. You may ask yourself, this video looks really long, though. It's because I don't know, I mess around with making it three D and stuff. I really like messing around with that stuff. Not essential. The pia graphs are easy. I spend way too long messing around with this, but I really like about this tutorial. After finishing it was like, Oh, we got to tie together a bunch of different techniques and shortcuts and things in this one video to take something and go a little bit further. So Go. Enjoy the video. To create our Pie chart. You can use existing data and just change it or start again. If you're going to start again, click and hold down the column chart, find the Pie chart, and just drag it out and you can get started from there. I'm going to convert this one we've already got because I've already got some data in it and it's useful skill to know. With it selected with my black arrow, we can go to graph type. In here, we can say, I don't want it to be a column, I like it to be a pie chart. Again, you can go through and have a look at the different options for this one. I'm just going to leave it as the default. And it's not going to quite work. With a Pie chart, it needs the data to be organized in a specific way. Let's go to graph data. For some reason, it doesn't like the stacking of data that way, it wants to go left to right. That's why this little option here it says, transpose column and row. If you do that, nothing's going to happen, but you remember what you need to do. Remember, and it's gone and changed it. It lost my colors. That's okay. We can go and update those, but that is how to make Pie chart. I'm going to close down graph data and let's go and color it. We should go. I'm going to use my direct selection tool to grab this just this chunk because if I grab my black arrow, grabs the whole thing. But I want just this chunk. What I can do though is use our sneaky trick. Remember, select same appearance, and it's going to grab this one and the corresponding one over here. So you don't have to work it out. I'm going to say you are going to be this color. Another grade. Anyway, I'm going to work my way through. I'll speed this through. All right. So I colored it. That was fun. If you're thinking, man, this is a bit cumbersome and illustrator. I totally is. It is a tool that can do it. There are better tools to make graphs like things like Excel or Max numbers or Google Sheets, or there's a plug in that I'll share with you at the end for this. For Illustrator, if I'm doing a one off an your report, I'll probably just do it an illustrator. If I am I know data visualization person, that's all I do, I'll probably do something else other than Illustrator. It's just a bit tricky and cumbersome. The trick with the pi graph like the column graph is that you don't want to break it apart unless you really have to. There's a few things you can do. I can grab the direct selection tool and grab the slice and just pull it off. It is still part of the graph, which is cool because I can go back into the data, graph data and say, what was that slice filtered coffee? Let's put that up to 150. Let's go to 80, that didn't work. I've got 880. Had enter. You can see it updated and changed even though it's pulled out. There are things you can do with it. Sometimes you also just want to say you want to leave milligrams there. What move it around, use the direct selection tool and move it around. It'll still be part of the graph. You can still go through and change it in here two Dans. Remember to hit the tick, and will adjust. You can jiggle things around while still being part of the editable Pi graph. Some things you can't do. Want to cut a hole in it like that donut you saw at the beginning. If I grab my lips tool, which is what is it the key, and I hold down the option kem PC and I drag out a circuit from the center, holding shift as well. I can't grab both of those and say, I want to make it a compound shape, which is command seven. I can definitely add a clipping mask. It's not what I want, let's say I want to do the command or Control eight. It says you can't do it, and needs to be broken apart. That's where you might go through and go, Okay, I'm going to break this apart now. But sometimes a little hack might work. Let's say the fill color here is just going to be white. Don't tell anyone. It's not a hole, it's just white. That needs to be back in there. But the idea. Sometimes this is just a little bit of fudging to keep it connected to the data. Let's break it apart now. I'm going to make a duplicate of it. I'm going to grab you. You go sit over there. That's my good version. This one here, I'm going to select and do you remember? Do you go to object and hit that forever? No. You go to ungroup. You're going to say you're going to break the connection. That's fine. I'm going to ungroup it again. I'm using my shortcut command Shift G or control shift D on a PC. I now want to actually I want to put that back in. I should have done that at the beginning. I'm going to go to command y, and I'm going to grab you and get you to wedge back in. Command Y again, and I want to cut a hole in this. Instead of a clipping mass, what I'm going to do is I want to actually destroy everything in the inside. I want to get rid of it because it looks better when it's three D. What I'm going to do is I'm going to go to my shift M on both Mac and PC, hold on my option mac PC, just Color out the middle. Now there's a hole. How do I know there's a hole? Remember the shortcut? Command Shift D, or control shift D, to go to what's it called transparency grid. Definitely a hole. Now the next thing we need to do is I'm going to make it three D. What happens is it'll wrap the sides with whatever is wrapped around the side. You see there's a stroke. I'm going to make it bigger. By default, there was a stroke given to it. If I make this three D, the edges of this, things going to be black. I want that, I don't. I'm going to select it all and say, have no stroke. I'm going to use a shortcut again, over here. You might be thinking, does he usually shortcuts? I totally do. I'm a bit of a shortcut nerd and I do think they work. If I get the x key, key over here, it brings the stroke to the front and who remembers what the give it no feel button is? Down your keyboard, the Ford slash key. I has no stroke. Right. Let's make it three D. What we need to do is have it selected, this chunk needs to be grouped. It does work when they're separated, but they end up flying all over the place. Let's just select it all and use command G for group. Control G for PC. Wh it selected, let's go up to Window and add unnecessary three D. We covered three D in the essentials course. Let's just do a basic, let's go to object. Let's go to the top here, go to extrude, and look how cool that is. Now, if you've not worked with three D very much, it can be a little tricky to rotate this thing. You meant to use this gooey thing in the middle here. If you click at the.in the middle it's the worst part, You might eventually get it to where you need to be. What I finds the most useful is probably just using. If you scroll down here using this, it's probably a little bit more like, I can stand. Or grab one of these edges. Either that one, to go forward and back or that one, to do the rotation it just as one at a time, one ax easy at a time. Either way you want to do it, I'm going to do the crazy wind it up, perfect. Stuff you can still do is can you still see the outline there? I can go into outline mode. Command Y, and I can grab my black selection, double click to go inside, inside that group, I can grab this chunk, use my black arrow just to move it out. And I can go command Y again. L at us, Col three D thing that we could label with other stuff. Double click the background to come out and command y, will control y for outline mode. There we go, we've got some three D stuff. Now, when you are doing three D, we've finished bar graph stuff now. But I want to show you like if I zoom in, can you see mine is quite pixelated, yours might not be. Your computer also might be having a little mini meltdown with three D. Three D is tricky and the way to make it more tricky, but also look better, there's two things. W it selected, you can go up to the three D materials, there's this little option. You can turn on retracing, watch what happens to it and hit render, I just comes out a whole lot nicer. What I'm going to do is go to my materials and there's a bunch of materials. I'm going to keep on the base, and I'm going to go this little panel fine a little bit You can scroll all the way down the bottom here. There's one called metallic. I want to be rough, now to be super shiny. Now if I hit render again, it'll go through and a really serious render, actually a little bit of roughness. Let's change the lighting as well to be diffuse, standard. I'm going to crank it up. I'm going to go back into here and hit render. This is like you've got it close, now hit render and it will give it a nicer finished polish look. Mine doesn't look much different. Go, Dan. I'm going to move my light source somewhere it's catching the top of this thing. We go maybe a diffused light. That's it. Diffused light, and I'm going to crank it up. Then I'm going to go to Render. Mine's soft, I'm going to lower down the softness, let's get it to be high. I'm going to stop messing around in three D. It looked cool how it started. I just wanted to remind you of how to get a good render is to come into here, turn tracing on, turn the quality up to high, and then hit render, because by default, it's not doing that. It's not going to give you a good output. The other thing that can really help with the resolution, and this is totally going to freak your computer out is that if you go up to effect and go to something called document Raster settings. In here, mine by default is at 72 PPI, pixels per inch. Like low resolution, works perfectly good for what I'm going to be using it for. But let's say it's going out to an annual report and I needed to be super high. Be prepared. If you click this button, it's going to redraw it, and depending on how old your machine is, it will freak out. My machine is like I maxed out an apple machine and it's still quite tricky doing a simple biograph. Oh, but look how tasty it looks. So if you do need more resolution out of it, you can do that. I totally need a shadow, selected, turn shadow on, prepare to freak out machine. If yours is freaking out, but you really do want three D stuff, there is a way around it. First of all, just turning the Russ settings back to 72, get it how you want. Then when you're finished, crank it up to trended PPI. I'll be fine. The other one is, look at all my reflections. I changed my lighting just one more time. I made mine worse, but what I want to show you is instead because I want to drag this along and it's going to start rendering again. What you want to be doing is turning the rusa back down, but also turning the retracing off until you're finished as well because otherwise it's going to keep doing this every time you move any one of these dials. Anyway. All right, that one. Let's turn it off. Hang on Jump. You might be able to hear in the microphone? I don't know. The fans on my pool, the laptop have come on. They never come on. Illustrator it does cool three D, but it's not built for it, so it can be a little bit tricky. I'm going to turn the retracing off and then mess around with it and let you go because we've made a paragraph way back earlier, and then we spent way too long messing around with it in three D. I turned off my shadow, didn't look good with it. Anyway. Last thing I wanted to share with you before we go is if you do find yourself doing a lot more work with graphs inside of Illustrator, there is a plug in. This seems to be I haven't used it. I ask a few people that I know who do do this type of thing, and they said, this is the one. D Detainee, whatever it is. Go check it out. They have got a plug in for Illustrator, and that might be something that you could use if you are going further with graphs in Illustrator. All right, my friends. That is going to be it. I will see you in the next video. 67. Class Project 18 - Data Visualization: Class project time. I want you to do some data visualization. It's a fancy word of making a graph. Okay, taking boring all data and making it interesting and ligib and visual. Okay. So you've been asked to create a PowerPoint slide for your company? You can be quite liberal about what the purpose of this PowerPoint is. I'm not looking for something. I'm not sure how useful this would be for a cafe if it were showing the caffeine and stuff. This is related to my industry. Maybe it's an industry or report we're being part of the coffee Brewers Association that we're a member of. A, but don't worry about too much, does it show my company in positive light? Just find something interesting about your industry. What I would tend to do is just like I just typed an interesting data about pizza, and see if you can dig out something that can be represented in numbers so that you can show it in a graph. The requirements are find some data. Create a graph. I don't mind what kind of graph it is. I could be the line graph, you can play around with different ones. I want you to make it so it resembles the shape of a PowerPoint slide, this thing. You're going to have to add a title. There's no real specifics about what you need to do. Just have a play around with it. One of the things you'll bump into is like, there's no What if I want to label this? What if I want to do this? Sometimes you have to get the core of it in using the graphing tool. Have a look at the graph type to see if you can turn something on. Remember, it is where is it this one here, you can go to graph type and there are some things you can turn on and off, but not everything. You might end up having to go Pen tool. Lick, describe something. You might end up having put a layer over the top that you do. You don't have to do three D, but have a play with it. I don't mind which kind of graph it is. You might have a couple of different graphs on your PowerPoint slide. I want you to give it an experiment. Play around with a graphing tool. Don't forget to click the little tick button. That's what I fgured to do. When you're finished, share it with me both in the assignments and share it on social media. Enjoy graphing or data visualization. Sounds fancier. Make sure that's what goes on your CV. I'll see you in the next video. 68. What are the Layer Power Moves in Illustrator?: Goodness. I hope he's going to do a whole video on working with layers. They are ayer power moves and totally not boring. This is a super fun. I like doing this stuff anyway. So we're going to get really nerdy with layers. I bet you there's going to be a couple of things in here. You're going to be like, you're going to do that face, and you're going to be like, Oh, it's going to save loads of time. Have I made it seem interesting? Hopefully. All right, just get on with it, Dan. Get in there. If you want to play along, there is a file in here called layers do ai. You can open it up or just take notes. We're going to go to the Layers panel. The first easy one is this little Chevron opens up. I've just got one layer and there's lots of stuff inside of it, basically like internal layers. Remember you can open those up. The same with groups. I've got this group down here. The good thing about it is that little red icon there means that's what I've got selected. Inside of that is the group. You can go inside of it and work on things inside of the group. Just know that you can twirl a lot of these down. How ful stuff, let's open up the background layer. You can search for stuff. If you are naming things in your layers really good, I've called some of my layers star. You can see here it's just giving my stars and I can select them all and delete them or do something to them. So I can select them all by doing a search. What I find more useful though is this option here, the filter. Let's go on filter, and I want you to show me all of the text in this document. Cuts down everything that is a text layer. Now, you have to have this open for this to view. Otherwise, it just it's closed like that. Open it up and you should only see text. That's really handy to go, I want you and you. Now I want to go and change the font or delete them or something. There's lots of options in here. If I want to see text and groups, I could do that, or turn text off, you can turn the tech off. Shapes that you've got, effects that you've applied, link files is lots in here. The thing to remember though is that it'll stay on. And you've lost layers in here, where are they going? You got to click on this and say clear all to get just to be able to see them all. One of the big questions I get is, what does that donut do? There's a couple of things. We know that this is the eyeball. Is it visible? This is the weird thing we meant to know just click in there and it will lock that layer, no longer moved. The fox is no longer movable. The background is though, I'm going to unlock it. What does all this rest of it do? There's this option here at the end. That's an easy one because I have now got the fox selected. If I want the st underneath it selected, I can click in there, that's what that little icon does. The color is more to do with the layer. The layer has the color red, so the little color over here will be can or blue or green, whatever you've got the layer color as. What does this thing do? What's the donut do? It tries to explain it. I don't know. I find this is the worst one. I have got. I'm going to go back to that. Forgot to reset that one. I've got a star here that has a stroke applied to the outside, it has a hole in the middle and I want to apply it to this. We've done it earlier on in the course with the appearance panel, but you can also do it with this little donut thing. What you do is you say, this, I want to apply it to this one. What you can do is I've stacked them up here because this star is just underneath. This is the star I have selected here, that has the stroke, the thing underneath it. I would like to apply all the attributes to it. What you can do is you can just drag it from this layer to any layer, drag it to the one underneath and watch it shifted from this to this one here. Now that's the way to move it. Often that's not what you want to do, you want to duplicate it. While you're dragging it, hold down the option key on a Mac O K a PC and click and drag and say, there you go on that one. Just duplicate attributes. You might be like, Oh, man, that's really helpful. I don't find it helpful. It's really weird, except that there's a doughnut that I have to explain in classes. What does it do? I find copying and pasting appearance from the appearance panel is easy. Using the eye drop it is easy, making graphic styles is easy, the doughnut. You know, really useful thing that I use when I'm handing over documents to other people. I want to name my layers is let's say I've got a few stars. I know that that one for Zoom out, and I click on this a little bit here is a star. Where is another star? Is that a star at the top there. It's nothing. But what I end up doing is, if I go and click on this, double click the word, and I can name this one Istad of a group calling it Fox. Then I hit tab. You can see I've got Kt, this one here is per Kat. I just go through them and go, that is a star. I just tab means I don't have to take my hands off the keyboard. Is that actually helpful for anybody else? I do find it good for tabbing along and then be able to rename it. Sometimes copy and pasting, you can go copy and then go paste, paste, paste. You can't see my hands, but you get the idea. Yeah, click in one and then tab along to get to the next one to type in it. Another one is sometimes you'll have this closed up and you'll have multiple layers and you'll be like, Where is this thing in my layers panel? Instead of going through and doing, do you do this on, on, of, on of Which one is it? What you can do is select it over here and see there's this option, this like little What is it called? Our glass. No, magnifying glass. Lock on that. You see it actually jumps into it and actually highlights the thing and you're like, A, there it is. You can go work on it or name it because that's what I want. I want star. Now, when you are working, especially like using the pen tool. Can you see this red line isn't very good? It's all the way either around the outside. When I'm using my pen tool, it uses that same red line. That comes from the layer. What you can do is you can go to this layer. My one's happens to be called background. You is probably called Layer one. You can double click on not the word. You can click on the little icon here and say, actually, you are something like green. Just it's not done anything. It's not going to color it really. It's just the preview around the outside of the vectors. You can see I find it useful sometimes, especially when you are dealing with something that's red in the background, you a red lines. It doesn't really Another useful one is let's say I do search for my stars and I want to put them on another layer. I want to get them off the background layer. I'm going to grab all of these. Actually I got everything that has a star. You can select them all, go to the little fly out menu in the top of the layers panel and go to collect a new layer. All it does is put them all in this layer here called Layer two, and I can call it and call it stars. It's just like a group, but it's on its own layer. It's within this one here. Sometimes I need to drag it out, I'm going to drag it out. It's on its own layer, needs to be above the background. It's a little bit tricky to do, but you can Yeah, Yank them out, get them as part of their own layer, by using that option in here called, collect a new layer. Just have them selected first. Next is locking layers. We all know that we can go into here. We can go to the log way go object and go to Lock. But the shortcut here is really handy and good one to learn is lock selection. On a MAC it's command two, on a PC, it's Control two. That's a handy one to go just this bit here instead of trying to find it in this thing and go it's part there, P there, it is there, and locking it, you can just select it and go command. Control to. Now, the big unlock though is, well, big unlocked. See what I did there is I can't select it. The problem is, does everybody this object, Unlock all. Then every single thing that you might have locked is unlocked and you're like, I'm going to lock it though. What you can do is you can right click over it and say Unlock just the fox. If you've got a couple of things locked, so lock that, lock that, lock the background, you can just go, right, just this, I'm going to right click it, unlock just the cheat sheet. It doesn't work for an entire layer. If you've got the whole layer selected, it doesn't right click it and unlock it. I only works for individual objects. We've used that lock selection. But you can just right click it. The handy trick is let's say I've got some layers going on here. Let's actually move, Let's go let's use our filters. Show me all the text. Maybe go to have that toll down. I want to put this on its own layer, click the new layer, I'm going to call this layer, double click it, call it text, and I'm going to drag it up and over above stars. You've done some really interesting we have done some organization in your file. Text stars background, and you want to grab it all. I'm going to actually use the object unlock all now because I do want everything unlocked. Grab it all, copy it, make a new document, you got to paste it in and it just dumps it all on this one layer and A is getting it all on its own thing. What you can do is you can go to this little option and say, paste, remember layers. You turn that on, it will be on forever. You can turn it off if you need to. But when I have paste now, it remembers the layers. It hasn't overridden this. I don't need that one anymore, but it broaden all those layers. That can be really handy when you're trying to re use stuff in another document and keep all those layers going. I want to turn mine off. For the moment, another super handy one is if you let's say I'm drawing and I'm drawing with my mouse and I am okay in key for the pencil tool. Okay, if I'm drawing, I'm really good like moving down like that, but as soon as I have to kind of go up, I find it, my muscles in my hands don't do that very well. I can drag down nicely, but moving up is a bit more wonky. What you can do is you can say, I'll draw this. Then I want to use the H key for my hand tool. That's the key there. You can click hold and drag it. Actually, it's not the hand tool. You click and hold down the hand tool, and it's this one here, shift H, and rotate view tool. The cool thing about this, if you click on that, you click and drag it, you can move it around, grab my n key again from a pencil tool, continue on this line, and use that direction that I'm good at at drawing, down and down. And it's rotated around, but it actually hasn't done up forever. You can hit escape key and it just goes back to the regular view. Shift H, and just drag it to the angle that you find, you might be using a tablet and drawing. You just find it's better to illustrate around this direction. We just need to see it upside down, maybe doing packaging, and it's easy to see the barcode because it's on a flat that's opened up. Do you get what I mean? There will be lots of use cases. But now you know, it's not adjusting the layer, it's just the view of the layer, and you hit escape to get out of it. Last one is there is an option down here to do use the clipping mask. I don't use very much. You might find it really useful. I'm going to work on my background layer. I'm going to draw on apse over the top of it, get it lined up. It's got no stroke, no fill. I'm going to use d for the defaults just so I can see it. What if it is at the top of this group of layers? If I select the layer a parent and had this option here, is the make release clipping mask. It does exactly what a command seven does, Control seven on a PC to make a clipping mask. But we're doing layers. Those are some of Te are all the things about layers. You now layer master. We know in the comments what your favorite layer tool? Any game changes. There's probably one in there. Anyway. I like this nerdy stuff. I hope you did too. I'll see you in the next video. 69. Advanced Artboard & Pages Tricks in Illustrator: Hello, everyone. We are going to do advanced artboard and page tricks and tips. This is one of those leveling up videos where you're going to be impressing everybody in the office with your mad secret skills, especially working with multiple artboards. That's where it's really useful. Alright, let's jump in and get nerdy. All right. Have anything drawn on any page? I'm going to show you my favorite one is I've got the selected, and I want the artboard to match the edges of it. Have you ever try to resize the actual object to match the artboard or shift, to grab the artboard tool and try and resize it to fit that. Pain in the butt. All you need to do is have it selected and you can go to your board tool. Shift or the board tool over here. In your properties panel, you can go to your boards, you can go the preset size I want is fit to the selected art, please. I just resizes it to the thing you had selected. When you're exporting things like icons or stickers or the page size needs to match the size of the thing rather than a predefined size. One thing you might have to do though is, sometimes you can be down here. If you've got a preset down here, you have to scroll to the top if you can't find it and can use this one. Does work as well, without having it selected. It depends on. I find it easier just to be very personal about the thing I have selected and then fit it to selection. Tip number one. Tip two. Open up the artboards panel. In your exercise files, there's a file called artboards. There's multiple artboards here. Did you know? You probably didn't. There's a window. There's an actual artboards panel. Look at that. Shows me all my boards. A really nicely named. If yours aren't nicely named, you can double click on the first one, give it a name. Hit tab, name this one, it tab, name this one. Kind of like what we did earlier with the Layers panel. I don't know why I find that useful. You can rearrange the order in here using these little arrows. You might decide that this mobile leaderboard really it's at the top of my stack, so it should be at the top of my artboards here. Doesn't really change anything other than makes it clearer. Me sometimes as well. This is like nicely laid out right, but let's say that you've got mad messy artboards. What you can do is with the artboards tool, there's this option here to reorganize them. If they're all rectangles, you might decide that they're all the same size, you might say, I want two columns and you can see this one is going to go left left to right, and then down a row left and right, you can change the different order. You can restack them. That doesn't work for this one. I'm going to go more of just straight down, please with a gap, and they're just nicely ordered. They're grabbing the outboard tool and trying to go, I want you to line up and this one you move them around, you can just do all in one go. Another useful thing is if you use your outboard tool, this one here or shift, and go slick all, which is command A on a Control A on a PC, you can slick them all like rectangles and just go, you right aligned or top align, whatever you needed You can just organize and like objects. You can create new artboards from here, but it's probably enough for the artboards. Great when you're working with large, social media, multiple touch, will spread across the Internet. You can select them all using the artboard tool like we just did and go and change the presets. Let's say you're doing this is more of a paper document, and you've started at US Letter. You need them to all be A four, you can go and change them all one big go. It doesn't make a whole lot of sense, they'll social media ads, but you get the idea. No the handy trick is, I'm going to go back to my select tool, I'm going to go to board tool is handy for navigating as well. It's open the backup. You can double click. On the ones you actually just yeah. That's it. Just double click on the numbers. You can move around the document this way rather than scs goes goes goes goes scope. Number one. Another handy tip for artboards is grab, let's say you add a logo or a bit of text or something. I was going to put this in to make sure it's at the top and make sure it's got a color you can see, which is in my case, it's the what. It is the D for defaults. Some reason mine is not at the top. Look at the layers panel. S on the right one. Somehow it end up in the background. Anyway, I want it at the top. With it selected, I'm going to copy it, and I'm going to go to this edit. There's this fancy one called paste on boards, which are my one is doing something really weird. I don't know why. It's a bug. Normally, because I've messed around with these things, I think in my current version. Normally when I teach this one, it just paste on all the boards. Some reason it's placing them all on the same board here. Really weird. Watch this. I've just closed and opened it again. What I'm going to do is do the exact same thing without messing with my boards. This normally works fine. And I don't know why mine's not. But let's pretend that I haven't done all the wed, something to do with probably the shuffling of the outboards, but let's pretend that didn't happen. With it selected, we got a copy. Then we can go to edit, paste on all artboards. You'll notice that. It's just a great weight. Have you ever done it and you're trying to copy and paste a new board copy paste a new upboard? It puts them all with reference to the top left, so you can't put them all on the bottom corner. Let me know if you can. I don't think you can. But at least they're all on all the artboards and now you can go through and resize them and put them where you need to be for the various different aspect ratios. Of course, you brakes like mine and dumped a whole pile of them on one artboard. I'm not sure why. The useful artboard trick is, if I go Probably everyone does this. You start working in the paste area, or this mine's really having a bad day. Get the pixels. I'm going to close down illustrator and open it back up. I bet you that'll go away. You wait there. I'm back. I just close reopened it. If you ever run into problems, it's normally just reopen it. Let's pretend there we go. We're back. You're working in the canvas instead of the artboard, like this stuff around the outside, and you're like end up doing stuff and you're like, Okay, this is the perfect one. This is the finished version of the drawing or the text that I've done, you move it onto your board and you're like, What is all this junk? You there's mad mess around the artboards. You do it. I'm looking at you. But you just want to tidy it up for a presentation or something you can now go to view, and there's one in here called trim view there is there. It just cuts everything out from view. If you're presenting to a colleague, we want to look at something a bit more tidy, Trim view. It also gets rid of bleed if you've added bleed, it is a new feature and there is the trim view, turn on and off. You can still work in trim view, which is we turn it on. There's still things here. You can work on them. It's like in design. If you had the W key, it's the same thing. Trim view back on. Another handy one when you are presenting is the F key. The shortcut is F presentation mode. If I go to this, it just launches it in presentation mode. Let's hit escape to come out of it. I'm going to open up that artboards one. It's handy for this because what you can do is go to view presentation mode. You can see I might be presenting to somebody through a data projector like a PowerPoint presentation or just to my creative director or my client, whatever it is. You can use the ra key to toggle through them, to show them the different concepts. The F key just toggles that into presentation mode, escape to get out of it. That's where this layer order is a bit more important in the artboards because the arrow keys will cycle through one through to six in this case. Mand will control. I'm going to zoom out. We've got a lot of boards. A handy trick is to get them all out, you can go to file. There's an export two screens. They call it screens. I don't know why. But export all the boards. You can see all the boards can be PNG, or they could be a PNG and maybe JPEG as well. Not at the double size, just at the single size, you might just see the difference between JPEG and PNG. It's just a good way of getting them all out, especially these social media options. A in one big go rather than exporting them all corners. The handy artboard trick. If we get to file new, let's make a new document, whatever size it is. Sometimes this restriction here, the page, you just don't need it. You're at logo design idea time. You don't need this stupid board and this outside stuff. What you can do is you can go to view and you can go all the way down here, there's one called Hide artboard. And you're like, what happened? It's like old school illustrator, if you've ever used it. Nothing's different. I can grab my rectangle tool, I'm going to pick a color so you can see it. And you start drawing, you start doing your things and you just got no boundaries. Command Shift H. That's it. You can toggle that on and off. You're working, you don't have that line running through things. If you add concepts, you don't need boundaries, you can just turn it off. It doesn't really wreck anything. The artboards still there, but it just might be a nicer way of working. Command Shift H, if you need to toggle it or under view hide artboard. Weird trick that I just thought of is you can drag these things. I do all the time when I'm getting ready for these tutorials, when I'm like, that's the main one and then we're going to jump to this one next and then I'm going to jump to this one. You can just drag the tabs around, not quite artboards, but close enough. Now the last thing is actual size. Now somehow really this work. Let's say I'm make a new document and it is going to be print and I need A four, and I'm going to click create. You need to see what it looks like at actual size. You're looking at the screen recording on your screen, so it's not going to be quite right. But on my screen here in front of me in my office, I want to see what the text and stuff looks like. What does this text look like? When it's actually printed rather than just like guessing it on my screen. You can get a view and there's one in here that says actual size. There is there. Command one or control one, what it'll do is that is exactly what it is. It's weird. Somehow through my laptop onto my computer screen, if I go and grab an A four sheet of paper and stick it up next to it, it'll be bang on. I don't know how it does it. I'll show you this. So I did this a while ago when it first came out. Watch this. This is vies mute me. This is earlier M, not so bald, still pretty bold. Watch this. I grab a bit A four sheet. Look, It lines up nicely. It's amazing. Watching videos together. Yeah, it's really handy for business cards. Like, Oh, is it? Is it going to be too big or is it too small? Go to actual size. I'll show you another good thing that I used it for the other day. You don't have these files, but, actually, where is it? Let me grab this. It's one of my Cloud Docs courier box lid. You're like, what the heck is this? I didn't make this design. I bought it from vado really cool design. I was printing this to be made into a giant sticker that goes onto something else making. I was like, how big do I make this tile? Because on your screen, you're not sure, so I went to view and I went to actual size, and then you realize, maybe it's a bit small, maybe it's a bit big. It's really handy for these patterns. I'll show you what I ended up doing. Here it is there. I made a courier box lid. Can you see the lid there? That's that design. It didn't come out as good But I made this career box, I wanted a lid for it, and I thought I'd print this off. It was just handy because I was like, what size will look good in real life? I wish I printed it bigger now, even though I checked it a real life, the actual size, but yeah, that's my career box. I got a massive career box. So the career can obviously dump stuff over the fence and not get wet in things anyway, but overkill, but that's the view, what is it called? Actual size. Somehow it works. Magic. All right, my friends. That is the artboards and page advanced awesomeness features. I hope that, I hope you found something useful in there. Like before, let me know in the comments. Which one was it? Like, Oh, that's the one. That's my number one. I'm interested to know because sometimes I think, that's not useful. I'll add it in anyway, and sometimes I'm like, this is the best ever and nobody else sees to like it. But let me know. I hope you enjoy the video. I will see you in the next one. Bye. 70. How to Unlink vs Embedded Images in Illustrator?: H everyone. In this video, we're going to look at images. We're going to look at the ones that are linked and some of the issues that happen with those and the ones that are embedded and some of the pros and cons for those, plus some shortcuts to get to both handsuff. Let's jump in. F you exercise files, open up image tricks, and you will probably get nearer. It? Here is there it says, Hey, come find a linked image. We probably know what linked images are. They are images that are in illustrated files, but they're linked to your hard drive somewhere. They're not actually embedded inside of the file. They don't come along with it. What I have on purpose, made this not work. We can do a couple of things. We can replace it, or we can go to ignore. Let's go to ignore in case you've already gone that far. It's got a tempting preview. Like, it's there. But it's low res and it's not going to print very well. What we're going to do is we're going to open up our link folder, get a window, go to link, and we're going to start by relinking it. Broken. It's red. With it selected, we can go down the bottom here. Relink from CC libraries. That's not what we want. We just want to relink it, and we're going to go to our exercise files and there's a folder cord images. And we can relink it. What I've done is I've changed the name of the file. It was looking for something called bike zero, but you can actually re link to something else. I've called a bike A just to make it not work because I wanted this to demo this. But you might just find it somewhere else. Often, I'll send a file to a friend or a colleague and I'll forget to send the images, and they'll be like, hey, where are they you e mail them to them and then they need to relink them. But you can link them back up. If you don't have the image and the link is broken, you're going to have to go and try and find it. There's no magic way of getting it back. Linked images, why we have linked images and not embedded by default is that the file size can get really big if they're all embedded. The file size gets big, the machine gets a bit slow, the illustrator feels like it works faster if they're linked. I find sometimes it's easier just to embed them all and do away with trying to keep the link. With it selected over here, you can say, you, my friend, are embedded. Now that link is broken. Now if I send that file, it's no longer linked. This thing here. It shows me where it used to come from, which is where, but it's embedded file now. It is actually part of this document. Let's bring in multiple documents, and you get a bonus tip here. If you go file place, man shift P or control shift P on a PC. Then your images grab all of these bikes, one, two, three, four, 56. We can turn the link off. Let's leave it on for the moment. That's one way of say, if you turn that off, there will be embedded in part of the file. Let's leave it on for the moment. If you can't see this, there will be a show options. That might be something you need to do. I'm going to bring in all of these. What you'll see is, can you see my cursor, when you bring in multiple images, it has one of six. What you can do before you put them in, you can use your left and right arrows to decide, I want one then, then the next one is actually this one, and then can you see I'm just toggling through. I'm making it up. But you can bring them in in different orders, depending on what you need. You can do in the link panel, select this one, hold shift, grab the last one, and just unembed them all in one big go. Undo that, and they're all linked again. You do need to just find them where they are on your hard drive. Are they buried in a dropbox folder or somewhere els? You can now click on them and go up to here and you can go show on finder. At I'm going to go open my PC and see if that works on there, too wait there. Yeah, it does. Says, show in Explorer. It should take you to the file, the folder where it is. That can be handy. In the last super secret trick is, when you are bringing images, I'm going to just delete these. I think I've shown you this before, but let's do it again, I often just drag images straight in from my finder or explore straight into Illustrator. That's how I get them in. I'll just dump them all in. But by default, they come in as linked files. But what you do is when you drag them in, can you see this little plus hold shift while you drag it in, and you'll see they'll go in as embedded file. There you go. That is embedded images versus linked files and all the handy things to know about that and images. That is it. I'll see in the next video. 71. How to you Crop Images Rather than Mask in Illustrator?: All right, everyone. This video, we're going to look at cropping an image, rather masking it. We've masked things where we just wrap it inside of rectangle and everything still exists in there. We can still move around. But there are lots of times where you need to go out to photoshop and crop it down. There's no actual other stuff around this. We've kept the file size small, it's a lot tidier and there's just lots of times where I do need just the smaller concise part of an image rather than this big mess of masked images. We're going to look at cropping an image in Illustrator. Jump in. Let's bring in a file. Let's go. I'm going to bring this one called Heather. It's from my images folder, bringing anything on something nice and big. I don't mind if it's linked. I'm going to make it is going to drag it out. I want to crop it down to one of these doughnuts. Don't need all this other stuff. Might be images, don't need. The way we have been doing it so far is I've got the rectangle tool, drag a box around it, select them both, and then use command seven, or Control seven on a PC. We've done a mask. Now this has its perks, because I can double click to go inside and I can pick another doughnut. But there's just times you don't need all the other junk. What we're going to do is crop it rather than doing a mask. One of the perks is, actually, let's do it and I'll show you the perks. I'm going to undo all that. So back to my image. I'm going to grab my rectangle tool and just draw because I'm quite specific maybe about the size. I might want it to be a specific size, but I just don't want all this other stuff. I'm going to keep that there. I'm going to add a stroke just so you can see it. I'm going to x to toggle to the front and add a the stroke. With the image selected, you can go over here and say crop image. You're like, Isn't that similar to mask? What's the difference? This is actually going to remove pixels. The first thing it's going to say is that you can't have it linked, and needs to be embedded. What it should do is it should still snap to these edges. I can grab the corners and go u and u. Then I can click Apply. If you've got the top one open, it's up there as well, but let's go apply and All the other pixels are gone. There's no other doughnuts in here. It's a simple image. Now it might be like, just mask it. There are loads of times we're working on multiple page, multiple up boards. You're trying to set up templates for other people to use. You just don't need all the other stuff. It just throws everything a bit of a curveball having all this extra stuff. Because you end up with, look, If I go to outline mode, it's quite complicated that way, and it can throw some programs off when you're trying to do some things. There is a time and now you know how to do it. Plus the file size is a lot smaller. There you go. It's a way of cropping images without having to go out to photoshop. Good work, Illustrator. All right. That's it. I see the next video. 72. How to Mask Inside Text & Multiple Shapes in Illustrator?: One, in this video, I'm going to show you how to mask an image inside of multiple shapes. The shortcut is, you just need to make it a compound path first. I'll show you how and also just to throw in there that how to put an image inside of text. Let's jump in. Hey, didn't we do this already? We did. It was amongst other videos and it's a common problem for students. I want it in its own little breakout video. This will be concise. Let's bring in an image. And I'm going to bring in two. Slick both of these. I'm going to drag one out, that covers this group down the bottom. I'm still using the image tricks folder and one of the top of this. Let's do this one first. The big thing is is that the image needs to be the back. Command shift first square brackets. I my file, I've actually got two layers. In my case, it needs to be on the right layer. What I can do as a little trick is with the selected, it needs to move to the background layer. You can actually drag this to say you're now on that layer. Now, I can move to the could copy and base it. What we want to do is the big thing, ends up who remembers because if I sliect all the objects and all of this and go, command seven, it only goes inside one, you're like, Okay, multiple objects. I'm going to group them all. First of all, I'm going to go you, and I'm going to go to slit, same appearance. I'm going to grab all the circles, I'm going to group them first. Then select the background and go, boom. St work. You remember. With it selected, I'm going to ungroup them because they don't need to be grouped. I'm going to use the make compound shape. We're using shortcuts now command eight. It's now a compound shape. Remember what we did when we put text in slide of the initials earlier on, you might not. You might have skipped that video, but this shape needs to be a compound shape, or you go the long way and go object down to compound path and make and then select them and then use our command or Control seven. Go inside of them all. There you go. Text is the same, and we did this earlier. I just want to keep this one in this course as well. Again, it's on the wrong layer. I'm going to drag it from that layer to that layer. I'm going to make sure that text is on top. Otherwise it won't work. You don't need to outline your text, command or control seven. There you go. The text is still editable. That'll be relevant, depending on how old you are. Yeah. This image doesn't quite line up, so let's go in. So we're going to double click to go inside, and now I can grab the image and say, A, I want it to be really big to cover my very awesome lyrics of a great song. If you're young, you tube it. It is awesome. That is it. Concise video for when you get lost, you can go back to it. All right. That is masking images inside of multiple objects and inside of type. All right. Thanks video. 73. How do you use the Puppet Warp Tool in Illustrator?: Everyone, are you ready for the puppet pin tool? It's super awesome. Look, I've got a whale flying through a cyberpunk city and watch Flippy flam. It's a way of adjusting illustrations to different poses. It's called the puppet pin tool. It's awesome. Jump in. Open up this file call puppet pin. It's a whale that I created using the text defector. It's got they looked, isn't it? I've got a whale in a cyberpunk city. And so with the whale selected, if you want to use the puppet pin tool, everything that you want to be distorted has to be in a group. I ready grouped it for us, we go to find the puppet pin tool. In the advanced tool bars, you can go and hold down the free transform and grab puppet pin. It looks like this. If you can't find it, there's three little dots down the bottom here and you should be able to find it in here. Where is it? There it is there? G and click on it. What it's done is it's added some pins already. I just defaults. They might be perfect. It's pretty good at getting them mostly in the right place. Let's grab this last one here and click and drag it. How cool is that? Maybe this pins on the right place, you can delete it. Let's say I want to put another pin there and click on this one and delete it. I've got one in the tail, and that's a bit more flappy wail any thing. We can't animate it. If you like, Oh, can we animate it? You can animate it like this if you record it. But After effx has the same tool. It's called the pop pinto, but you can animate it over time. Check out my after effix course if you want to do that. But this is really good for drawing a character and getting multiple poses out of it rather than trying to redraw it in all these different shapes and sizes. With the puppet pin tool, you can add as many as you like. The more you have, let's say I get rid of some, the less you have. Can you see it's more flexible and more fluid? But if you want to start restricting stuff, if you're like, actually, I want this flipper to move, can you see it's dragging the body? What you can do is I'm going to undo that is you can add a couple of pins there, that will force it to stay in its original spot. Now I can move it. You just keep wiggling and you're like, Why is that moving? Stab that as well. Jumps back to its original spot, and then you end up with a bit more control. The trouble is that can be a little tricky with so many different puppet pins. Other things you can do is I'm going to put a pin in the fin and maybe one here in the middle of the tail because I wanted to it was down, I wanted to be up and I can start dragging these things around. One of the things you can do is rotate them. See this each here. You can actually that one probably doesn't need to be rotated, probably want one there and rotating it there just to have a bit more of getting twisted. So I want to just rotate these around. If you add one, select it, click on this one and then look for the rotation. Now, a couple of more advanced things is that you can't do it with pixels. You have to do it with Vector. That's one thing. You might need lots of different pins and then you find yourself having too many pins and there you go. Clearly needs to smile. There you go. The other thing that is important, last thing. There you go. Needs to be Happy whale. You need a pointy app fin, is you can play around the depth. There's no in after effects, animated version of Illustrator is you can actually click on something and say, actually, I want that to be above. You can't do that, least I can't find out how to do this in Illustrator, because you want the pin above the body, not below. You want I'm flipping around that way. What you can do though, a little tricks you can do is you go back to the direct selection tool. And what you can do. It's all to do with layer order, nothing to do with the pins. I can select this part of the flipper. I'm not going to drag it out because it'll break the pins. The pins are still there, which is cool, but I can say you, and my layers panel, need to be at the top. Who remem use a shortcut Remember this little, show me in the layers panel, where that thing is. You can see it's right at the bott. I can say you be right at the top. Now if I go back to selecting the whole thing, the whole group, back to the puppet pin tool, they're all still there, but now look, he's above. The black line the black part of the I'm calling it a flipper. It's a tail is above his body. If you do get, I'm not super advanced to this, but I can really see the benefits if you're an illustrator to draw something with an open gate and arm sticking out and be able to know, change it into lots of different positions. I can see it for organic stuff and that's way too exciting. Other last things is under properties, you can select all the pins and delete them, if you want to get rid of them. I'm going to do that. You can show the mesh or not. The mesh just shows you the density. You can see there's a lot of tight areas through here. Is it useful? I don't find it that useful. You might like it. All right, my friends, that is how you get a flying whale to do the right things in cyberpunk City using the puppet pinto. Co. Let's get on to the next video. 74. Class Project 19 - Puppet Spirit Animals: Yon. Hey, this class project is all about murder. My hands are waving in the air. Murder. Or a gaggle. Okay. What I mean by that is I want you to grab your spirit animal from earlier and make multiples of them. Whatever the group is, like a group of crows, which is my spirit animal is called a murder. I love that. But let's show you, for instance, we used a whale earlier on, and I made a separate version of them. Okay, I've only done two here. You can do two or more. If you've got birds, you can do lots of them. It's up to you. I just want to see kind of a side by side of, like before and after you've gone and messed with the puppet pin. T rephrase, grab the Sperone animal from earlier. You can draw a new one. You can use the one that you did earlier in the course, or you could use, like I did text evector, to create your graphic and then use the puppet pin tool to experiment, and create a few of them in a group, think flock pack school, whatever it is for your group of animals. And then save an image of your animal group. Upload it to the assignment section, and I'd love to see what you do. It's a great use of the puppet pin tool where you draw something once or create something once, and then you can make multiple versions of it that are unique. I've gone and use the recolor as well, so you might experiment with that. No essential. It's mainly the puppet pin tool, but play around with it because you can get slight variations of it or completely different colors. You might create a background like I did as well. I created the separately using the text evector, I created a scene and then created a subject. Enjoy playing with it and looking forward to seeing what you make. Nd. It's enough then. I'll see in the next video. 75. How to use the Distort Envelope Shape & Type: Hello. Hey, we are going to distort both regular old shapes like this group of rectangles with gradients in it into this lovely whoopie flag woppi thing, and we'll do the same thing with text where we can squish it into a shape. There is a bonus at the end where we do something similar, but with the puppet pin tool. Let's get busy distorting shapes using what's called an envelope distort. To get started, open up envelope distort from your exercise files. You can do with any old shape as long as it's vector. Let's start with this top group of the top. These are just rectangles that I've grouped together and added gradients to. There's nothing fancy about them. I'm going to have them all selected, I've grouped them, and I'm going to go up to object, and there's an option here that says envelope distort. In this video, we'll look at make with WP and make with Top object and we'll do M with mesh in the next one. Make with WP, that often will do a lot of what you want to do. Need a rainbow, done. We've got an arc. You can adjust the bends in here to get it how you want. There is some different options underneath. When I say different is it will depend on the style that you pick. If you need an arch, actually, I'm going to put these back to zero tab zero, so there back in the middle to give you a better sense of them. Obviously, these little icons are helpful. Arch and arc are very similar, but give you that different look. Of course, we all need the fish. I never used the fish option. I waiting for the day where I get a client that says, I'm a fish shop. I'm like Bingo Fish style. Followed by Fishy. It is just so easy to be able to things like flag and wave are just so easy when you get to just drag a slider rather than try I don't know. If you ever try to do this for like a pen tool and get all the curves to follow each other, it's a nightmare. Make sure you previous on, so you can actually see what's going on when you make your changes. There you go. Make with Warp. It's pretty easy. Let's click. Okay. What will happen is if I click out and I click up on, I'm like, can I change it, still? Totally can. Over here there's warp options, or if you've got this top bar turned on, you can see there's a lot of options up here, there's a drop down and all the options that are just in here. It's up to you, go back into warp options, and it is continually editable. I'm going to. There will be a time where this is trapped in this envelope warp. It's an envelope because basically mentione sticking objects inside of an actual envelope like a letter envelope, and then twisting the envelope. The stuff inside of it's still fine, it's the envelope that is actually distorting everything. That's why it's called an envelope distort. At the moment it's trapped in this zone of editability. We can go back into wp options. Let's say we want to break it apart because we want to adjust anything. It's stuck here. There's two options, you can go to object and our regular old expand. That'll click, I'll get it to the thing that you know and love. I ungroup it, and now it's just going to ungroup it again, and it's now just parts. It's no longer editable as that warp, but it is as we know it. Sometimes that is useful. I'm going to go und und und until it's back to wp. You see it, it's in a bigger box, and there's these lines in here. Another way to do it is you can go to object and down to envelope distort. In here, there's one chord release. Expand is the exact same thing, either clicking it here or up here. But if I go to envelope distort and go to release. What ends up happening is it shows you like, it's just interesting. If you need that shape and separated these out, I'm going to actually copy and paste it, so I've got it, then do that object envelope distort release. Separate them out, but this is the shape that was forcing this to do the bend. That shape you can use later on, I'll show you. This is the thing forcing this into a shape. We can use that technique for that type that you saw at the beginning. What I'm going to do is I'm going to grab some tool. I'm going to go much into love. I'm going to pick a font. You wait there. I like this font. It's called hobo occo I don't know how to pronounce that. You can see it there. It's a derby font. I've made it bigger, I'm going to make it actually a different color, and I'm going to stick it on top of this because what we can do is, first of all, the layer order needs to be right. I'm going to say this heart needs to be on the top. And I'm selecting both the heart and the text. I'll show you why. You can go into object, and you can go to envelope store. You can say instead of make with wp, you can say make with top object. As long as the objects on top, it will start bending it. Cool. Whatever you design on top can be squished in there. Now, it is really hard to edit this afterwards. You can go inside it, still editable text. I can go inside it and say, I want to play around with the leading here. L all going to use my shortcut for the leading, which is option up, but it's weird to work in this view. That's old up, and I've got it all selected to do the leading. Come all the way out to plect the background. I find it's easier to get the type close to where you want it to be before you get it in and actually pick a font that actually is eligible. Much in this font is tricky. Love kind of works. There you go. Ah, I love you too. To look like the background. It is editable type and you can just use the top shape. That is really handy because if you say you get like this one here, you like the whip in the flag style of this, you can release it, and then use this multiple times on different, different text to get the same effect, if you know what I mean. Use the make with warp to get the original shape, release it. You've got this thing and then use this again and again and again as the top object. Just make sure it's on top. Sometimes though as well is I'm going to copy this. I'm going to do and, and do. I'm going to come back to here when I had the actual heart. Often, I want it inside of it. What I'm going to do is just paste it and maybe shrink it down a little bit so that I'm using the top shape which obviously disappears when you've used it, and I've got another copy that just fills the void there. Go there. The other thing you might do is I'm going to make a duplicate of this is we looked at the puppet pin tool. You don't have a lot of control. The top shape drives the font and you're like, Oh, it's doing some we stuff with this here. What I'm going to do is show you an alternative is I'm going to play with the leading Option or old up arrow, and I'm going to go there, and I'm going to grab the puppet pintol. This is completely different, but a similar effect with maybe a bit more control. I can't remember where the puppet pintol is. Se somewhere, does everybody turn that thing on? You can hit the cross or hit escape and it gets rid of it. Or I can't remember the pintol is. Oh, there it is. It was there the whole time. Anyway. You've got some random pins going on. Might add some more to the corners, get rid of this one. Just be very deliberate with this text. Maybe have one there and get rid of that one, maybe one there. You got to actually click on the object. If I try and click there, it doesn't go in. Probably a bit too much control, but you can see, I'm going to do the same thing. And But I get to be a little bit more deliberate around. It takes longer, but I can start rotating this around and decide where it's going to go. You get the idea. We've done the puppet pin tool. You made a cool flock or a murder. Alternative use of the puppet pin tool, using it for type. It'll depend on what you're doing. All right, my friends. That is using the envelope warp tool with a bit of puppet pin tool in there for good measure. I'll see in the next video. 76. Class Project 20 - Envelope Warp: Hello. Hey, this class project is making a Black Friday sale graphic. You've been asked by the business to create a graphic, they're going to use on posters, stickers, in store stuff, and also on the website. Create something. It's mainly about practicing the envelope warp feature or the make with shape, it's up to you, but I want you to practice with both text and shapes. I've just bent shape and text together. You can do it separately. Hopefully yours is better than mine. I throw this together. M. Maybe that needs to be bigger. What a little better. Basically, that's it. Back Friday graphic use both shapes and text. One thing you might experiment with is, can you see that white line around the outside? W it's selected? Let's actually pick another color, so it's more obvious. Actually, it's already better. Remember we did it earlier. How do we get a bit of a line running around the outside of the little graphic ties them together. You don't have to, but I would experiment with that now. It is an earlier video in the course. But the main one was, if I have it all selected, group it in your parents panel, you can add a stroke as long as it's underneath the contents. Remember. Give it a go, you get a stroke running around the outside of your little graphic? Even if you don't like it, you can turn it off, but it's a good time to experiment with that in practice. Yeah, happy Black Friday sale making. Like always, upload it to the assignment section and share it with me on social media. What did you make? A fish. You're not allowed to use fish. Actually, I'm not the bossy. You can use a fish. Alright, I'll see in the next video. 77. How to use the Envelope Mesh to make a Ribbon in Illustrator?: One. This video, we're going to look at something called an envelope mesh. Different from an envelope distort gives you more control. Very custom. We're going to go from stripy lines to three D ribony thing. Ignore all the pink edges around there, I'll explain what I did accidentally later on. But the mesh is relatively easy to get going. Then later in the video, we'll start combining some of the things we've learned earlier in the course. My favorite parts will start kind of combining techniques and becoming even more awesome. Let's jump in. Everyone. To get started, open up envelope mesh. We've done envelope distort, we're going to do the mesh part now. Make sure they're all grouped. If you're doing it on your own. These should already be grouped. And we're going to go to object, and we're going to go down to envelope distort, and we're going to go to the one that says make with mesh. Warp is predefined mesh. Lets us do super custom stuff. The default, I think is four by four. Let's live it at four by four. Let's click. The mesh, this is quite a dense mesh. The mesh is the grid that's over it. What it is is if you grab the direct selection tool and click on any one of them, you can start distorting it. Hey, and this is full custom stuff. Now, the only trouble. There's two parts really. There's these little anchor points, which actually force the shape to follow it around. Then these handles like we have when we've got the pen tool or the curvature tool. These define little gravity pulls the shape along, not exactly along with it, but directionally with it. Four by four mesh is pretty hard core. What I'm going to do is I'm going to go back to my black arrow. Click off, click back on. What you can do is you can go to either reset envelope shape. It goes back to add your own sound effect. You can just reset it to start again, or you can go reset with mesh. What I want to do is just one by one. All you do, I like this one because you only get anchor points in the corners. You can't really see them yet, but just click Okay, grab my direct selection tool and you'll notice that can you see the just in the four corners? And you get these massive handles that stick out. I especially for this ribbon obviously, it's just nice and flowy and limited control, but smooth. What I want to do is make a ribbony thing. Can you see this mesh doesn't work sometimes like the pentil? If you're like, Hey, this feels weird, it is weird. I don't know why? There's a little weird. There's a little bit of, what do we do? Every time I use it, I'm like, man, I feel like I'm starting again with illustrator. It's a little bit of messing around going, what is this doing? If it's like that for you, it's just like that. Is this mesh thing. Often, I'll have to click off a reset with mesh. Actually reset envelope shape and just be a little bit more deliberate. It doesn't like lots of fine adjustment. That's the vibe. I'm going for this flicky thing. I'm going to tuck these in a little bit. It looks like it's a whipping in the wind. Maybe just bulge that out a little bit. That's going to be good enough for now. Actually I say that, you wait that. A. That seems good enough. That's an envelope mesh. You can do it with anything, type. We did it with a ribbon here. Everything else we're going to do is building on some of the skills that we've learned already. First I'm going to fix my ribbon weight there. You can spend ages getting that right. What I want to do now is I'm going to move it down. I am going to create a second one. I'm just duplicating it. What I'm going to do is make it darker because it's going to be underneath this first one like you saw at the beginning. What we can do is we can use our recolor. For some reason, the contexural task barb decided to disappear. We're doing an envelope mesh. I'm going to go to recolor this way, and I'm going to say, remember this before, you can just go grab all the colors and say, I'm going to drag the human situation down to be dark it looks like it's behind. Next thing I'm going to do is get it lined up. That's envelope meshes, by the way. Everything else I'm going to do is building on the tools that we've learned so far to beat them into you. You alternative use cases. This is on top, perfect, and I'm going to get I'm going to get roughly on the top. I got my smart guides on, so it's snapping, which is perfect. I'm going to go into my envelope distort and you just have to go to the dir selection tool. Click on this, and I'm going to with this bottom one and I want it to be like this. You down there, you down there, and maybe you over there, there. What I'm going to do is, that's it. I'm going to send it to the back, and that's could be enough. Something not quite right about it, but hey, that'll do for now. I'm going to show you actually, wait there. I keep saying wait there. And we jump around and do some more. I'm going to show you how to build on some of the other things. I want to a shadow where it goes around the corner because it doesn't look quite right. What I'm going to do is just I'm going to grab my shift for my upward. Duplicate of this holding down option or t. The background is actually locked. I'm going to unlock the background layer, duplicate it across, so I've got one to go back to in case I this. What I also want to do in this one is I'm going to duplicate that. What I want to do, envelope meshes can be really weird. We talked about them before. They're just a bit strange. What I'm going to do is I'm going to go up to object, I'm going to go to expand. I'm going to expand it all. Then I'm going to try and group it all. Ends up with this little line in the middle. It's not going to matter to me. See if I did it with the shape builder tool. And it's still left little bits. Smush them together. There's a line through the middle. I'm going to ignore that. There are just weird things that happen with the envelope distort. You can go through and delete all the anchor points. It's not going to make any difference to the thing I'm doing. One thing that might do is let's tie together. Seal these anchor points from the edge. Who remembers the tool? You're like, I know how to get rid of lots of anchor points that aren't necessary? I've got it selected. Let's go to object. You know where it is. Get a path, and there's one cord. Simplify. Let's have a look. I'm on my direct selection tool now. That, just a couple of anchor points. What I want to do now is with the selected, I'm going to add a gradient. Who remembers the shortcut adding a gradient? Nobody. But remember down the bottom, you've got Fd slash, which gives the fill nothing. Make sure the fills at the front, it's not had the x key. Fills at the front, and you've got those three keys down by the M. Is the com period and ford slash. That's not that one. The second one. The period that adds a gradient, or just use a gradient tool. What I want to do is I think flipped around. He, the purples on this left hand side and it's over here it's on the right hand side here. I'm not worried too much. I just want to go through and say, I want you to be black, I want this side to be black. That's a little trick. I want one side of it to be the opacity right down. There's transparency through it. I'm going to overlay it here. See what I'm doing here. What I want to do is, I want to do a couple of things. I want to grab my gradient tool. GK. Drag this out, I just want it to be smaller in the right angle. What you might do as well is with it selected, you might play around with the opacity slash blending mode. Mine is not going to do much because I actually quite like it at normal. Maybe you might end up playing with the blending mode or play around with the opacity of this thing in general, as well as the gradient opacity as well. Find something that you like. What you're going to notice is, I'm going to pretend I did this on purpose. You see this gap here like ignoring the giant flurecent, pink Any guesses why that is there. Have a little think. Pause the video, where did that come from? If you paused it and you don't know. Congratulations if you do, it's simplify. I'm going to go I should go back in time and say, don't you simplify. It just adjusted it right.Rmemer, I got rid of a lot of detail and it's trying to smooth this out, and that is one of the, this is the problem where it comes into here, where you're trying to exactly match the thing underneath. It's removed a lot of that control. Yeah, don't you simplify, especially if you want this thing to blend over the All right. That is it. Looks cool, except we're going to ignore the glowing ts around the corner. You might add one at the end there, another one underneath there in terms of the dark gradient. There you go, my friend. That is the envelope mesh. Gives you full custom. You can decide how dense that meshes, and you can do some pretty cool stuff. There's something wrong with the bottom part of my ribbon, is it? Oh, yeah, it needs to be thinner. That's what it is. Can I cheat? Oh, it's cheating. Totally cheating. That looks better. Actually, one last little tip before we go is, sometimes you're trying to work on this thing behind here, it's hard to grab that anchor point because this top one. Remember the tip we know before, I'm going to select everything. The background in this top bit and just hit command two or control two on a PC just to lock that part. Now I can really easily work on this thing underneath it without accidentally selecting the top. Remember if you want to unselect bits of it, you can right click this and say, Unlock The compound path, which is the gradient over the top. I can right click and unlock and say unlock the envelope and leave the rectangle, which is the background. Look at us, adding lots of the tools together. I love this part of the course. We start combining stuff. Power moves. Ignore all the bits coming around the side. That's it. I'll see in the next video. 78. Class Project 21 - New Ribbon: On this class project, we're going to use the ribbon technique or using the gradient mesh technique to make a little new badge or new ribbon thing that's going to be added to a product in your shop, or onto a packaging, something like that. Something that is new with a wavy thing on it. Doesn't have to be like mine, doesn't have to have the stripes. Doesn't have to have the gradients. I just want to see that blend, could be a different kind of movement with that wp. I'll leave that up to you. Now if my one, the text is actually part of it, I grouped it together and warped it. You can't really tell, but can you see that's the original text, the blue, and it's warped around it. I've done the gradient as well, around the edges. You can experiment with that. That's not essential. It's more about ing with the WP. One thing you might run into when you're working on it yourself is I'll show you. I made a duplicate of this back one, and what I did was is remember earlier on, we use the path finder to either join them or use the Shape builder tool. That's the width tool, Shape builder tool to combine them, and sometimes they don't, and sometimes they end up being two pieces. In this case, turns out I could have used the width tool. To combine them because sometimes you end up with, I get the G K and more than one gradient, the envelope tool is just a bit strange sometimes. There's a couple of ways of doing it. Clearly the width tool works great, just drag across them. What I'll do is I'll go into the group and just forcibly overlap them a little bit, use my down arrow, slick them both and use the pathfinder just to squish them up. Sometimes that's an easy way as well. I just wanted to let you know that sometimes just exports, let's call it the junk. You got to tidy it up a little bit, and sometimes it's a bit hacky because envelope dtort is weird, but they're cool and useful. Right. Doesn't have to look like mine. Hopefully, Mine doesn't look great. I had visions of it looking really awesome and it looks like that. You can do a third whip around. Oh, I'm thinking, I can't wait to see what you do. Give it a go. Play around with envelope warp and make a little new badge for your store. It's in your class project files. You can see there. Make a ribbon with new on it, and then share it with me. I've got to change that as well. Your new graphic. Enjoy making a ribbon, or get really frustrated like I do. See the next video. 79. How to Blending Lines together in Illustrator?: Hi, everyone. In this video, we are going to blend stuff together. We take two objects and let illustrator fill in the gaps. It's super cool, especially when you add eighty's gradients to it. Okay. Oh, look at it. Hypnotic. Then we go and crop it into a business card because it looks cool in the background. Let's jump in and blend stuff together in Illustrator. I've got a file called blending open. You don't really need it, just got a dark background. We are going to grab the rectangle tool, which is the M key, and I'm going to draw a rectangle. What I want to do is have no fill just for this particular one. I'm going to hit x to bring the fill to the front and then hit the Fd slash to get rid of it, bring x to the front to be the black stroke. Actually I need the stroke to be white, and I'm going to make it one point. And I'm going to do the same thing with a circle, who remembers a circle? Is the key. I've got two shapes, and they can be the same, they co be different. I'm going to select both of them. I'm going to grab the blend tool. It's over here, the WQ. If you can't see it, it's the blend tool. What you do is, if you've got the selected first, hit the blend tool and then say us the asterix, u plus u equals blend mode. Like, it's not good. Now, everyone's will be slightly different. If I get my black arrow and I click off, click back on this one, actually go into it because now it's a group. If I move it further apart, can you see it depends on yours, how far apart it is? It'll try and blend them together. That's cool. What I want to do is double click to come out is we can force it to put more options in here. With it selected, you can either double click the blending tool and you get to this or with it selected, you've got the one vehicle blend options, either way. Smooth as default, I like specific steps. You can say, I want it to have not just two, one, two, I want it to have 20 C. The spiral graph feel to it. Now, you could use specific distance. If you want them to be 20 points apart, whatever the measurement you're using in your document, you can decide how the spacing goes. Going to go that many steps. Cool. Now, a couple of things. The two first shapes are still editable. I showed you how to do it. Go back arrow. Double click to go inside and you can work around with this first one and this last one, not the bits in between. A nice way of working though is if you go into outline mode. Remember, command y, control y, just like, there we go. Then you can mess around with this and go, I want this to be squished down for whatever reason. Command, control y to come back out, and you can manipulate both the beginning and end. I'm going to undo that. You can actually just while we're in here, I'm going to grab the direct selection tool. You don't actually have to go into it to adjust it, you can just use the direct selection one. I'm going to go stroke and little known interesting fact. Forget a stroke. I've made some gradients here. If you don't, you can go to the window color swatches and find some gradients or make your own, but you can actually add gradient to the stroke. I've got the stroke at the front, and I can do some cool things when you are blending across because it tries to go from this gradient all the way to the white. I'm going to slick on this one and pick a different gradient. And it does some interesting things. The other thing to note about these is we're going from left to right, obviously, you can go. I'm going to go inside of it. And you can go left and right top to bottom, but you can actually overlap them and you get some really cool shapes going on when there is a bit of overlap. Can you see? Wow. Oh, this is cool. Stop it then. Then we click it. Come back out. Other useful things is let's say that you do want to start pulling this apart because you want the individual parts. I'm going to go inside this one and move the shapes. I'm actually just going to separate them out to make it a little easier for us to work with. What you can do is select it and you can say, I want to go to object, and we can go down to blend, and we can go to the one that says, release or expand. Release puts it back to how it was. I want the expand option. I'm going to say expand and now the they're grouped. I'm going to ungroup them. These are all individual parts that you might want to work around with. You might do something different. Let's do it with the whale. I'm going to move actually grab this individual bits, I'm going to undo it till it was back together. You go over there the whale. You go over there too. I'm going to have, I'm going to have one version here. I'm going to duplicate them in one version over here. What you can't do is you need to have them grouped to work on this properly. Because if I try and use slick them and grab my blending tool, which is the key, and go u plus actually it's not the M key, it's the WQ. I'm going to go to u and it on does what you click on. I'm going to undo that. I'm going to group group. Group. I'm going to add gradients to the two. Make sure the fills a front, remember the X key toggles the filled to the front, U, U, and I'm going to do the transition with a gradient as well. Sect both of these and instead of using the blenol, that totally works. I'm just going to show you that another way. Command option M, is it? No, it's mesh. Command option B. Oh, it is. Thought you had me. I know all the shotts. I know a few of them anyway. That's control option B on a PC. And what people normally do is they don't use it enough and they describe to object, Blend and make. You can use the tool like we showed at first, or you can do it this way. It doesn't matter. You're nei in the same place. Like before, you can either go to blend options, double click the blend tool or go to object, blend and go to blend options. All the same place. I'm going to put in specific steps. If you type in 100 now, don't. Your machine will roll over and die. It finds it tricky to do, especially complicated stuff. This is not too complicated, but be prepared if you start going 200, let's just do it, then, do it. I did it. Don't do 2000. Oh, I won't let you do it. But let you do 1,000, look at that. I think the last time I did this blending tutorial, I was using my old computer and for whatever reason, it killed it. Don't try this at home people. I'm a trained professional. That looks really cool. You can get that really cool blend. We've learned something together. I want the steps though because what I want to show you is something called a spine. If I click, if I go to outline mode again, you'll see that I have my two shades. What's that thing in the middle there? That's the spline. Basically, it's going to follow that and it's straight by default, but all you can do is you can adjust it. I grab my direct selection tool, click on it. Going to grab my pencil, and I'm going to click once, and I'm going to say that is a curve to get some handles, go back to my direct selection tool, and jiggle it around. You're like, It's doing nothing. You're like, wait, come out of outline mode. Look at that. We got a spine and it follows it. It's jumping out of the water. Look at our happy whale. Now you can adjust this a bit. With it, selected with the black arrow, go to your blend options, and in here, this is what this is. It doesn't do anything unless you've got a bent line, a bent spline or a curve s line. Let's go to this option here and look at that. He follows the orientation of the curve. Then you can go right, I like this. I'm going to go maybe down to 12. What I'm going to do is. Sometimes you like, that's not quite what I hope to do. You can go into this option. I don't want to go to outline mode. I do, actually. I'm going to double click it to go inside, I'm going to grab the whale. I'm going to have this guy. What is he? He's diving, but guys diving too. Let's change. Let's change this so he's doing this thing. Here we go. That's what I wanted. But you can grab him and go, right, this guy to follow the line a bit more. I'm just grabbing with a black arrow. I'm inside of my blend. Double click it to get inside, and you can make adjustments afterwards just to move it around. Double click it to come out. Y. Look at him. There are some other options under object. Come down to blend, and that's what these are. You can reverse this mine, so he's going the other way. That's not what I wanted. I can go to object blend and at the moment, this final guy is on top. So you want it the other way around. I can say, what did I want? Reverse front to back. That's not what I wanted. I want to go to object, blend, and go reverse spline. It just means that now this guy is at the top, and this guy is hidden underneath it all. There are some little bits of adjustment you can do. That's the big bits for the blending mode. Let's do that business card thing. In your exercise file, there is a business card. This is a free template from Adobe. You can have a look if you got a file new and you can go into let's say print. That's where I found this one, and I into all presets, actually not all presets. Down the bottom here, there's some templates. I found one, or is there, I clicked on it and hit download and then click open. Just the simple business card layout. What I'm going to do is maybe back here, I going to create that sine wave like you saw at the beginning. You can go now, I'm just going to make a cool design and crop it in. I'm going to grab my pencil to, the key. I'm going to double click my pencil to make sure my fidelity is right up to smooth, so it makes me look good when I'm drawing. I'm going to do a sie wavy type thing, one, and I'll do another one that goes slightly different. Mine don't have strokes on them. They're actually made. Command y. I just have no stroke on them. I'm going to slick them both. I'm going to bring my stroke to the front by heading x and then I'm going to had my coma que to add a gradient. Now, my ones just from the ones that I pre made, I'm going to pick some actually, what I'm going to do, pick this first one. I'm going to say you are going to be this one and this one down the bottom is going to be the blue green one. Now, when it is blending, you can blend between sizes. You might decide that the top one is thick and the bottom one is thin and it will blend between those. What I might do is make sure KC has got this weird end. You know how to do it. If I slick them both and I go to stroke, I want the brown caps. Let me go. You could add a stroke as well. I could select this and say actually under stroke, I want to add a profile of this wobbly one. G, get on with the Dan, let's blend it. Slick both command option B, or control B, and I'm going to go to my blend options, and I'm going to go steps, and I'm going to go that many. That looks cool, except this top line up here. I don't really like I double click the top line and say you are one point. There you go. I can see the gradient. A looks ally. Sweet, what do you call it. There you go. I can go through and mess around with this now and it's quite hypnotic again. When you are adjusting this thing here, you can start messing around with it. Oh. I'm going to overlap a little bit. I'm going to do some of the, look at that. That's cool. Now I'm going to grab it. Is it cool? It is cool enough. That's cool enough. I'm going to select it, grab it, and I do like it when these sine waves are cropped in stuff. What I'm going to do is I'm going to paste it in here. Is that the right size? That's cool. I'm probably going to mess around with a stroke down to a hair line 0.25. With that looks cool. And I'm going to adding my arm so good. It's a good then. Anyway, I like it. I'm going to create a mask. So I'm just drawing a rectangle the same size as my business card. I'm going to shift click them both. I'm going to go command seven, Control seven, I'm going to move it to the back, something like that. Oh, look at us. I do feel like we should be some sort of music producer or maybe some sort of geology seismic thing. Anyway, curvy lines that are blended together with gradients on them look awesome. And hopefully that gives you kind of a good overview of the blend mode in Illustrator. It's super fun to experiment with. Yeah, that's it. I will see in the next video. 80. How to make a Linocut Effect in Illustrator?: Hi, everyone. We are going to use our blending mode skills to make this linocut effect. This is meant to be like a flower bud ready bursting for summertime. But now I'm looking at it kind it looks like a cactus slash, waterbound slash, mountain range. But anyway, it's linocut effect, and it looks cool because I said so. Let's jump in and I'll show you how I made it. Right. To get started, I've got a file called lino cut open. You do not need it. It's just a background. Use my pen tool to draw my first shape A and I'm going to draw something that I'm going to click and drag down? You could use your curvate tool. You could use your pencil tool drawing some leafy shape. Now the trick with it is the blend tool won't work if you'd like try and complete this. It needs to be two separate things you join up. This first one. Now separately, use a pen tool. Join up this side. I can't obviously. I can't start up here because it just joins the line. What I'm going to do is deselect command shift A. Control shift A, deselect. I'm just going to start close to it and get it close. How many points do I want? Maybe just two. Can I do it Yeah, it looks. Then afterwards I'm going to go to my direct selection tool. I can get them to look like the overlap. See the snap, but I don't want I want them to be two separate objects. That's what makes the magic happen. Let's select it. Before we make the magic happen, let's change the stroke. The one thing is if you use the width tool, I love the width tool. Grab it and you like mess around with these. The only trouble with doing this is that if you leave it as the width tool and then try and blend it, it can sometimes work, but can also cause lots of problems. If you are going to use the width tool first, my advice is to outline these strokes. Got a stroke, expand appearance, and just make sure they're just shapes and blend those two together. To undo mine, and I'm going to use a cheaper trick, and I'm going to go to stroke, and I'm going to go down to profile. I'm going to use this one. No, I'm going to use that one. Cool. In terms of the width, not sure yet. Let's crank it up a little bit. A little bit more. All right. Now let's blend them together. We did this in the last video. Command Option D. And when I say D I mean B. I say the wrong letter, but I click the right letter. Command Option B or Control Alt B. To blend them together. Let's click them. Let's go to blend options. Let's go to specific steps and let's go to 20 and see how it goes. Not sure what that noise was. It was too many. Let's go to 15. You can continue playing around with a stroke width, depending, it's all still editable that way. Now, where it gets un edit, I'm going to rotate mine around is I want to put basically, that's it. It's just something a bit more specific we did in this video than the last one where we just made some cool stuff and got used to blending modes. What I'm going to do is show you how to build the other parts to that acorn, flower bud thing. One of the tips with it is is that you need to really blending mode while it's still on can cause lots of problems. What you need to do is expand it. What I do always you doing over here? I already done this video. That's the evidence that I've done this video, and I didn't have the microphone to end on. It was a big blank video. When I got to this point, I said, drag a copy out. That's what I do. This one still got the blending mode, so I can come back to it if I need to. This one here, I'm going to wreck. I'm going to U and now object blend, we're going to go to expand. Now it's just shapes. Remember we can go inside of it now and move these shapes around. It's no longer an active blend. I want that and I want this other side. I'm just going to duplicate it. I'm going to flip it up here and I'm going to line it up how I want it. You can resize it, you can rotate it. I'm going to go something like that. What I want to do is that might be cool, this lattice effect. I want to trim mine along here. I want to. What I'm going to do is I'm going to go inside of this shape, and I'm going to go in here and I want this. I'm going to use that like a cutting blade. I'm going to copy it, come out, I'm going to paste it in place. Command F will control F to get it back where you got it. I'm going to change the colors you can see it. And I'm just going to use it I'm going to drag it out here. There's no longer part of this. It's just going to be used to trim off all this bottom stuff. I'm going to grab both of these, put it over here, and I'm going to trim off the bottom bits. Guess is one we use to trim off the bottom bits. He's going to use the shape builder tool because all he uses. Tally right. G a slicked all, grab my shape builder tool, shift M, hold down the option anomic PC and play the harp know. It feels like it put and cut all those off. I grab my black arrow, delete this green thing, click off, click back on, delete that thing. We get this cool pointy bit because the stroke still has this profile applied. I'm going to have to play around with the weight to make it fit. It was a bit thick compared to everything else, a bit stubby. Yeah, that's how I'm going to do and build this thing up. Move along a little bit. And I'm going to do the middle bit. The middle bit is going to be the exact same as this. You are dismissed if you want to move on to the next video. Otherwise, let's go up the pencil tool. The key, you stick of the shortcuts. I know. I got my smoothing on remember. Fidelity is right up, so it looks good. Actually that's not very good. I do both of these on something like that. Remember, just like before, they have to be separate shapes. This is where a tablet would be good. I don't use one often because I'm jumping between programs quite a bit. But if I'm ever doing illustration in Illustrator for any length of time, I'll go and pull out a tablet out of my drawer and get it going, often though I just fudge it by using the smooth fidelity. All I'm going to grab the direct selection tool and just make sure they're lined up. Meme they can look like they join, but they need to be separate still. Okay But select both of these. Oh, those aren't very good shapes. We'll see how it goes, eh. I'm going to use the eye dropper tool to steal sel steal that one. Maybe lower it down a little bit more. Blend them. Command option B, control option B, and it is totally not working. That's where it. It's going, Oh, I know why. For people that bother to hanging around, I know why. Oh. This is a really good, let's see if I can fix it, first of all, Blend, can we rest to B? We can't. Cool. The reason this is problematic is because what I did was, the line knows which way you drew it. I I grab my Penza tool again, I drew one doing that way and one doing that way. That's the beginning of this line, but that's the beginning of that line. It's going, I got to go up there. That's why it's doing this wed flip. Whereas, y do the same thing, go top, Top, the two beginnings of the lines are at the top, and those are going to try and match. Select them both. Blending tool. Aha. There you go. Something I didn't really know. There you go. All right, let's get it looking good. Can you flip these? I think you can actually, you can go to this, select this line here, and I can say, Hey, illustrator, I'm guessing here, you can go to Path. I'm pretty sure. You can say, reverse path direction. I was looking that for a little while. The editor jump cutted to me look like I don't know was doing. Reverse Path direction. We did it. That, mean you. I don't need that one. I need this one. What I'm probably going to do is make it a lot bigger. I want to get it to overlap, and I'm going to trim it off like I did the other one. Like that, maybe a bit wider. Not happy with my drawing. It's there. Now let's go and add the steps. Again, how many steps. Let's get 15. You don't actually have to click. You've got to hit tab. Watch this. I go ten tab. I just tab down to this thing. Basically, if just leave and click it you can't click out. I tab out and that will show you the preview. I think that Let's get a 15. I'm going to make mine a bit bigger again, maybe just a bit taller because I want to trim the bottom. Now I could grab a piece of that and a piece of that and trim it, or I might just grab my pentil and do a manual trim. As in, I'm going to just create the shape myself by going hold down the option oma PC to break it. Drag out that one there. That'll be good enough. Nobody's going to know. Again, I'm going to select all of these. Drag them out this way, and I'm going to grab my shape builder tool, shift M, and go option key down Ok PC, and just drag across them. That's not working. Why doesn't it work? I going to give you a second. You pause the video and have a think. Pause over. It is because this is still a blending option. I just told you the beginning is like blending causes problems. As in just won't work now. I need to probably keep an option of it. You stay over there, and you, my friend, are going to be under object. Blend, and we're going to expand. Now I should be able to select it all. Shift, shift. Hold do my option key k a PC and that. Imm and black arrow, get it to U, and I've got that cool pointy effect thing. Look at us. We did line of cut stuff with cool kind of depth. I don't know. Remember thinking, Look at me. I'm awesome. Although I mean to be a flower. Looks like a walnut or some sort of hard rock seed. But anyway, it's a cooling seed. So a couple of things is, you know, that the two lines for a line of cut or this kind of effect needs to be two separate lines, and that when you are starting to work with them, you need to expand them. Those are the two big takeaways. Alright, my friend. That is it. We made a giant acorn seed thing from a tree. I'm going to spend some time now making it look really pretty and then double back and record the intro with a better looking one. You watch, flip back to the beginning. I look keeps cooler. Al right. That's it. I'll see you in the next video. 81. Class Project 22 - Blending Charity: It is class project time. We're going to be creating a sticker slash badge for a charity. I see that badge is going to be probably a flower or something you can use your imagination. Just something that utilizes the blending techniques we've learned over the last couple of videos. I told you to make it look less like an acorn or more like a flower bud, does it? Anyway. The restrictions are, or the requirements are is you've been asked to make a sticker badge for a charity fundraiser that your business has created. It doesn't have to be completely on brand like shaped like a donut, something more appropriate to charitable cause. Use the blending techniques you've learned to make a line of cut effect. To use type on a path to create the fictional charity. I just call bind the hospice fundraiser and I've put the business name in here. Do something similar. It's up to you. I don't mind what kind of charity. I want to in this circular thing sticker thing. But remember, the main point of this is to practice the blending mode. Doesn't have to be beautiful or perfect. But I think these class projects where there's something to actually build for helps us build of real world projects and add some blinkers and some boundaries to what we're doing rather than making anything we like. You have to make a fundraiser sticker. Make it, share it with the assignments and share it with me on social media. Will yours look like an acorn like mine or a beautiful flower? I feel like beautiful flowers come in my way. I'm not sure why I settled on the shape for the course. Anyway, enjoy the class project and I will see in the next video. 82. How to make 3D Gradient Lettering Blends in Illustrator?: R Hey, it is time to take really simple lines like this and Bam, apply cool 1990s gradient goodness. It's like three D, but it's really just a fake. We're going to use our blending mode skills plus some sweet gradients. It looks cool and it's easy to do now that we've got our sweet blending mode skills. Let's jump in. All right. I got a file open from Exercise files. It's called three D type. Basically just a gray box. I've put some gradients into the swatches for you if you want to use this. Otherwise, you can make your own. The way this works is we need to create a blend and then get that blend to apply to a spline. On their weight one sec, I call it a spline. I always thought it was a spline. Turns out the editors come back to me and said, It's not a spine at all, Dan. It's called a spine, which makes more sense. There you go. I've called it a spline all the way through this video, but whenever you hear the word spline, think spine. There go, carry on. We've looked at those earlier in the course, but this will probably explain it even better. I'm going to start with an ellipse, and I'm going to draw one, and I'm going to duplicate it across. Two. I'm going to have this to have no strokes. I'm going to hit x to bring the stroke to the front and hit my Ford slash, to get rid of it. I'll do the same for this. I wanted to have a fill. I'm going to hit x again to bring the fill to the front, and I'm going to say U. I'm probably going to use the same color. Actually let's change it. You can blend between two gradients. What we need to do now is get this to blend across. We'll use a shortcut command option on a Mac, Control B on a PC, and we need to increase that blending. The steps are quite cool like this. You can play around with the effect you like, to go to properties, let's go to blend options, and let's go to steps. Don't worry too much about what this is at the moment. Can you see the band Yeah. That is fine for the moment. Don't worry about it at the state. We can worry about it in a second because we need to apply this and we'll have to change it anyway. But just put in something that looks quite cool. We need a stroke, AKA, the spline that we're going to use. I'm going to use the key for the pencil, double click it, make sure my smoothing is right up. I'm going to turn keep selected off in this case just so I can draw multiple stuff. Let's just draw a squiggle. That didn't go well. I go to delete that and d another squiggle. I don't like that squiggle either. Wait there. A giving up. That's a good enough squiggle. What you'll notice is mine has no stroke, no fill. It doesn't really matter. I'll add a stroke here just so you can see it. What we're going to do is we're going to attach this to this. That's the magic. Let's slick both of them. We're going to go to object, we're going to go to blend, and we're going to go to this one that says, replace the spline. What we did is we replaced that spline up the top with this spline. We go. Even that looks quite cool. I don't know. Something hypnotic about it. What we can do, I'm going to shrink mine down and have a version of it because I quite like the pearly version of it. But this one here, what we can do go to blend options and we can crank it up. Now, you can go up to a maximum of 1,000. Your poor machine might not like 1,000. I'm going to try 500 and it looks good enough. I'm going to leave it at 500. You might go up to 1,000, but you know your machine, if it's temperamental and very old, then you might need to just keep it at a low number, just know that your machine might be freaking out a little bit at this stage. C. I love gradients, blend to other gradients following curvy lines. Oh, hypnotic. That's the basics of it. The one thing I did forget to do is that you notice that blend at the top there? I want to reuse that. It's gone. I yanked from down here and added to this. What I'm going to do is I'm going to copy these, just go copy. Ddd and till it's back. Then I'm going to delete that and go paste. I come back to this. What you want to do is just have a few versions of this. I want to be thinner because mine was too thick. I'm going to go, I'm going to make a couple of duplicates, command, control D NPC because they just get pulled out and added. You need some leftover ones. Awesome. I love that. Let's do the text thing I saw at the beginning. Now, I should go and grab my tablet and start drawing this, but I'm going to try and do it with my mouse. I'm going to try and draw my own name. Let's go. And I'm going to start drawing with a stroke, so you can actually see it. That's my very busy D. Now, you can do this all in one go. I like to do it in little bits because you can do a good. Bad en is going to do for this video. You can try and do it all one big fluid go. I like to have it in separate bits just because it looks cool you'll see it when we make it. I like to be able to control and maybe the letters a little bit more, but one big fluid go would be good as well, except for that A. You ad that. That's What we need is at least one, two, three up here. If you've got ten different bits, you're going to need ten different lines up here. What I'm going to do is pick some different gradients. I'm going to say, now it's locked up, and I can go inside of it, I grab this end and go, I'm going to pick this other color. Interesting. I grab maybe this one as well and go. A, what am I doing? Dan's applying the C you see applied the I add it. I was like, Oh, that looks weird. Oh, well, I actually applied the gradient to the stroke. That's not what I want. I'm going to hit x on the stroke, and I'm going to hit x to toggle to the fill, and I'm going to say that one there. Actually I had them both selected. Come on, Dan, go inside, u. We all get lost sometimes. I'm going to go inside this one. Let's do one more. I'm going to say, the fill is going to be that. Now on this end it's going to be that one. All right, they'll do. I've got some gradients to work with. If you do need them for something else, maybe duplicate them, and I'm going to say, blending mode, U, we normally call you a path, but some reason you're a spline now. Let's go to object, blend and replace. No, not reverse it. We're going to go to object, blend and replace the spline. We're going to go to blend. Actually, I'm going to do them all and then go and do them all, but go and change the steps. This one with this one, object, blend. Let's go down to replace blind. I'll jump to when I'm done. That's really cool. I like the little dots. But I'm going to explect them all and realize you can't do it all of one go. You got to do blending options individually. Good to know. I'm going to crank it up to 200 because my machine can hack it. And I'll jump to the end. I think thousand is as many as you can put in there. What we'll do now is, let's look at a couple of little things to go a little bit further. You'll notice that where I started my drawing is out front. With it selected, we looked at this earlier. But let's go again, let's go to object, and let's go to blend. Mmember we can go and say reverse front and back. See, that's more how I want it to go. That goes down first and this goes over the top. I'm going to do it for all of these. That's more what I wanted. I like the colors for 90s, Miami. That's what I'm thinking. The other thing we can do is at the moment, we've got a similar shape beginning and end, and we're using a circle. What we can do is we can actually use any old shapes. We could use a square, a triangle, we've used circles. You don't have to stick to the size of the circle. I don't have to be the same in each end. I'm double click it to go inside and I can grab this and make it a lot bigger. And can you see it's going to start at that small one and move its way around. Same with the spline. I can sometimes it's easier to work in outline mode. Remember, command y, control y, and you can start going k. It's a little bit computer freaks out less. When you're in this view, you might say I'm going to go nice and big here. The spine here want to be curve. I'm going to grab my direct selection tool, grab and go Jo. Okay. Come under Control, Y. Look at that. I need to come back out, double click the background. C. It's not much of an in now, but there is something lovely about the blends here. You can also mess with a gradient. Still. You don't have to commit to it at the beginning. If I slick on this, on my hit error. I've clicked on this last circle, I can edit the gradient, and I can say, let's add a new swatch, which is just underneath it. Double click this one, and I'm going to say you. Oh. I'm impressed with myself. You can edit this. Again, your machine might be having problems. That's okay. Let's look at this last one and maybe grab the dir selection tool. Actual going to grab the penil. I'm going to say, let's add another few anchor points. It's no longer a circle, but I can grab it with my direct selection tool and I can mess around with it and it will do funny things to the shape. It's now more of a star go and thing. See? Interesting. All right. Other things you might want to do is with it selected. Actually I'm going to have a duplicate of this because I want this one just in case, come on machine is that if it's an active effect, blending and it's a little bit tricky on computers. What you can do is you can expand it. You can go to object and go to expand, and we're going to go to k. Now, it looks pretty dense and it is, but it is less stressful on your machine. For some reason that is a whole lot less stressful than the active one. Vice is that when you are finished doing the cool blending thing is to expand it, have a duplicate somewhere else like over here. But the thing that you're going to go and put in your print document or print with a printer, blending mode, the actual active blending mode can cause problems. There you go. Expand it. All right. That is it. I love making I call it 2.5 D. Not quite three D, it's just a trick with a gradient, but visual trick that looks really cool. I think this gradient screams 1989 02 and anyone. That's what I feel like. Anyway. That's it. I will see in the next video. 83. Class Project 23 - 3Dish Gradient Text: All right. It's fun class project. We are going to use the three D gradient text style that we lent in the last video. What I want you to do is you've been asked to make a sign for the back of the shop door when people leave. It's one of those. Please come again. Here you go, thanks. Come back soon, farewell. Good day. Some goodbye salutation, feel good thing, and I want you to do it either with pencil tool or pol in the same way I did in this video here. Use gradients. Use the blending mode that attaches to the spine and do something like that. Use the gradients from the exercise files, or you might use this opportunity to go and find some other interesting gradients. Yeah, create some texts using the Col three D gradient effect, and share it with me, both in the assignments and on social media. I'd love to see these texts in the wild, so please do share. All right. Enjoy the class project, not homework. I want you done? I'll see you in the next video. 84. How to Spin Text Into Ring in Illustrator?: I. Hey, everyone. Hey, we are going to spin text round in this ring. I flat ring graphic thing. I like it. It's easy to do. Now that we've got some skills that we can snack together. Let's jump in. I've got a blank document opened with a hint of a gradient in the background for no good reason, sick white, sick gray. You need to type out some text, doesn't matter what kind of text. All you need to know is that you need a few of them side by side to wrap around the ring. It doesn't multiply it. You decide how many versions of this is going to be. I'm going to have a guess. Do it, test it, maybe make it again. I've already tested mine and about four works for my locker. Going to make sure that evenly space for no good reason other than it'll look better. Where we align fly out menu, distribute centers. Now the trick is here, we need to go to window. We need to go down to symbols. We looked at symbols earlier. One of the many use cases is that, in this case, where they're all selected, I going to pretend like I give them names, but I don't just click. Let's grab that and stuck it in there. We don't need this anymore. Just like a weird trick to make this ring project work. It applies symbols around the edge. We've got a symbol that's done. Let's grab the ptol, the alka, draw out something. Now, this works better when there is a stroke and no fill. I've got a stroke and no fill. Member shift x toggles them. Stroke, no fill, don't worry about what color it is because it's going to get removed. You can keep it if you like. If you do want to keep the color, make sure it's different from your text that you've used in your symbol. I'll just change it now. Let me go. C. Now we need to revolve this. We're going to use the effect and three D, we're going to use the old classic three D, just works for this particular exercise. Affect three D and materials and go down to three D classic. We're going to use the one called extrude. Preview should be turned on. Make sure it's on, yourself a position, and don't worry too much about getting it. You can move this around in the sec. Let's add this thing called map art. It will map the art in our case a symbol to the edge of this. If you have a fill on your circle, we'll try and map it across the front, which is fine, but we want that ring effect. The symbol, and there it is there, new symbol, very well named. Actually, what ends up happening is you've got a couple of different surfaces to map to. I'm going to clear that because at the moment, it's applying to the front of this, which we can't see. I'm going to clear that. What you have to do is in this particular case, there's four faces, there's this face, there is the back face of this, and then there's the inside and the outside of this ring because this ring has two sides. Go to number three, in this case, play around with the fourth one or the first one, if you've got a fill, but what I want to do is I want to say symbol, new art. That should be fine. Let's go to invisible geometry and there it is there. C. You can keep the disc if you like, I want to get rid of it because I want to be able to see the back side of this and reverse. What I might do is I'm going to scale to fit. Scaling to fit. Can see what it's done with my text. Stretch it out. You're going to decide how much of a type problem that is. I'm going to just shrink mine down. You might play around with how long the type is. You might get rid of one of the granada donuts. This will come down to what texts you use. But here you go. We basically got it. There is a bit of trial and error. Other things that we might do, you can hit shade artwork, and what it'll do is it'll try and add darkness and lightness depending where the lights hitting it. I'll leave this on just for the moment. I don't want it on for my final, but let's click K because when I wrote it, there's around, grab one of these edges. This is three D in the space is easy. I like to grab one of these edges. You can grab just anywhere and try and drag it around. You end up in all sorts of place. You see that gradient, or at least the darkness and lightness, depending on where the lights hitting it. That is under Map art, and you can turn shade artwork. I want mine just be nice and flat. You want to go further into that. You can click and you can go down to the options. It says more options and mess around with where the light is hitting this thing, you see? Up to you. I'm going to turn mine off. Be I'm looking at that flat look. Now, things you can play around with mine's quite thin. M extrude by default is 50 points. If you've got grenada donuts stacked on top of each other, so you need some more height, you can increase the height. You can't really see it here. Well, I went way too big. Let's go to something like this, and I'm going to go to Mapp just to show you the outline. I turn off in visible geometry, can you see you might need that width or that depth to have whatever graphic you need to fit in there. It's up to you. I'm going to click, I should lower the extrude depth. I doesn't really matter. I M case I can't see it, so it doesn't really matter. Things you can play around with is perspective, Os are zero perspective. The back looks exactly like the front, but watch this if I crank this up just a little bit. It starts playing around with the perspective. Let's click off. I'm getting a bit of distortion. You can play around with what you like. You have to adjust this, then play with a perspective, or I wasn't going to do it, but I quite like that now. You will have to play around with what words at the front, and you can either mix around with a symbol or just keep spinning this around until you get one of the words close to the front that you want. I want mine to read granada donuts. All right and that's going to be it. What I'm going to do is I'm going to leave that there. I'm going to duplicate it because you can go back into it. Remember under effects or under your appearance panel, you can open it back up. But I want this one. I'm going to destroy it because I want to play around with the background colors. I want to show you what a mess it creates. If I get outline mode, command y, control y, it's like wed disc that we can't really see anything. I want to be able to grab the letters and mess with them. If I click on it, over here, we can go to expand shape, or we can go to object and expand appearance, and you get the bits of it. They're still locked, watch this. That's still locked. I'm going to hit group group. Then I'm going to hit ungroup 1 million times. Still locked, group. All right. There's that shape. I'm going to go command Y again. There's bits left over. That's all connected. I'm going to have to ungroup that again group. Still connected. I'm going to hit Command GGGGGGG. That's control GGGG on yours just to say, everybody, group. Still probably not going to be perfect. What we go I've still got some stuff. This one here looks like a clipping mask. I can see here, it says release mask. We're good. Are we there yet? Let's go. Look, it's finally separated. Yeah, I leave this in because I don't know. It's just part of it. I'm going to release mask. When you're using three D and any of these fancy effects, often, there can be just lots of stuff leftover. This bottom one is quite good because it's all the bits I need. These are now individual, so the ungrouped. When I'm unpicking something, I'll be mindful of, this isn't a good group. What I'm going to do is release the mask. Hold shift, click the outside. I've got everything in here and go group. Now I can p, I can lick that part. I got this and all of these are individual bits. What I might do is select them all. Actually come out of this now. All of that hoopla was for this. I want to be able to go all of you. Hold shift. Grab that, group the front bit. The back bit, I just want to grab my filter to the front, which is x to toggle it to the front, click in here, and I'm going to say you are going to be just a darker version of that color. Layer order looks good. Look at us. We made a cool donut ring thing. Stack in our skills. We are using symbols. We learned way back in the beginning of the course, some of the older three D effects, and we've learned sometimes things are just grouped and then grouped again and then grouped inside masks. But don't worry, with the powers of things like the outline mode and mashing away at the ungrouping, we can get it to do what we want. There you go. That is how the spin techs around in a ring. Is he going to make us do a class project doing it? He totally is, and I'll see in that video. 85. Class Project 24 - One Ring to Rule Them All: Right, it is time to build the ring. The one ring to rule the ball. It's my bad Lord of the Rings reference. But basically take your business name and wrap it around like we did in the last video. Yours is going to look something like this. Pick some colors. I tempted to do something I haven't done before, but then I realize I've just picked colors from earlier in the course. There you go, Dan. Very predictable. All right, add the text, spin it around, pick a font, pick colors, and share it with me, both in the assignment section and on social media. All right. That's it. Have fun, and I'll see in the next video. 86. How to Text into a 3D Donut Shape?: Hello. It is time to wrap text around this tasty doughnut. We'll even add this really fake shadow down the bottom here, super easy to do and a very cool effect. Let's jump in and do it. All right. To start with, I've got some text on the background, just type it out. Now for this one, because it's a bit more three D than the ring. There needs to be a bit more depth in terms of the height to wrap around. Don't spend too long here at this type stage because the dout ends up racking it all. And you end up coming back and forth between the symbol that we make and the dout To get started with, let's create kind of a stack of them, and then a few of them side by side like this. What I actually might do is get the doughnuts down the bottom here, I'm going to hold option key down and hit my right arrow on a mac and that's t right arrow on a PC, just to get the tracking out. Does the kind line up? The big gap in here as well gets exasperated when it gets exasperated. Extenuated. There's a word. It's none of those. Exaggerated. That's what I want. That's exasperated. So I'm going to slick all the bottom and hold my option, and use my up arrow on am and that's t up arrow on a PC, just to tighten everything. Now, I'm going to make a stack of maybe one, two, three, just guessing. When I say guessing, I've done this already and I figured it. This works. If yours is a little weird, you might find that, you just need to go back and forth a little bit between this symbol part and what it looks like wrapped around the donut. With so selected, we're going to convert it into a symbol. Let's open window. Let's go down to symbols, and let's add it. I might do as well is actually copy and paste it, so I've got another version, always with copying and pasting first. Hit new symbol, give it a really good name. Now the trick is to create the doughnut. The dougut is literally just an key for an ellipse. Draw it out. I'm going to pick a color. We made the ring invisible earlier on. I'm going to actually make this one darker because I'm going to try and keep it actually's go a little bit darker. Now to spin it into a donut. We just go to effect. Go down to three D materials and there's one called three D classic. L's go the once is revolve. Instant, a tiny little doughnut, shiny doughnut. The way to expand or contract it is this offset here. I'm using my app arrow, how do I want to be. I'm holding shifting up to maybe about 50, and I had enter, which closes it down, you can open it back up on my properties panel by clicking the effects, and that's probably good. You can rotate it around. Do you want to see the inside, the holder doughnut or not? This overlap look. Grab the side. We can adjust this afterwards. So stop messing with it, Dan. No missing. Now, just like the ring, wrapping it around. It's the same thing. Let's go map out, but you can see the surface is different. There was one, two, three, four, for all the different sides. Now, it's just one continuous one that wraps around. Let's do the same thing. We say, what symbol did I made? New symbol three? You can scale it proportionally by holding shift. This is where you might go back and forth with that symbol and go, I might put two more rows in to get it to wrap around. That's probably what I'm going to have to do because can you see over here, it's got some big gaps. You can hit scale to ft. That works, but you can see there's a gap there. Where does that gap come from? Can you see my symbol actually has space down the bottom? Let's click. I want to show you this is my symbol. It's called this gap down the bottom. That just comes because that's type. I go into my type, I go into the symbol by double clicking it. You see this type has this stuff down the bottom. You could expand it so you can get rid of that chunk at the bottom. What I'm going to do is just fudge around it. By that, I'm going to slick on this, go to three D map and down to map art, and you can see actually just drag it down further. And you're going to keep what's actually in that grid pattern. You can drag your symbol over that, you'll see get rid of that gap. You can even get it so it half cuts off. Can you see that gap there? I'm going to say in blower, I want to connect really. Go. I do like myself, a donut. I'm doing grana donuts. Yours is different I know, but this is just the cool text effect. We've got some mad skills now and we're flexing them. Visible geometry, if you want, it does have a really cool look harder to read though. I might do one with and one without, Decide whether you want the three D shading or not on and off. There you go. What I'll do is I'm going to actually change it from plastic shading to diffuse shading. I like this like flat look. Let's click. Let's say that it's just not quite right. We can go through and go into our symbol, either make a new symbol and rewrap it or you can go into the existing symbol and go, right, what I want to do. Maybe you want a bit of space between them. Maybe you want another level in here. I'm going to grab another level. Actually, I might do it to all of them. Shift click all of these, grab another one of these. Arki down. Adjusted my symbol now, the thumb now didn't instantly update, but if we go three D revolve. That looked like it updated, didn't it? Let's go to Map art. It's adjusted in here, so I'm going to have to go through. I'm going to go to Scale to Fit and then do that little trick again and snack it back out again. If you update your symbol, you got to jump back into the three D revolve to say, Hey, take another look. There you go. I feel like that's a bit fit for the doughnut. There you go. I like it. Now that old three D doesn't have very good shadow. What I'm going to do is actually just grab an ellipse and put it here. Pick an appropriate color. Dark brown is good for me, and I'm just going to do a cheap one. I'm going to go to effects. I'm going to go down to Blur, and I'm going to go down to good old Galsiu blur. Pick something appropriatesh. And then probably play around with the pacity to get it how I want. There you go. Look at us, fake three D, but with bits of actual three D donuts. Just remember though when we are exporting. We looked at this earlier is look at this, three D on that's really good. But see the blur down here, you can start to see the pixels. Can you see the giant cubes of blurring? Remember when you are exporting, you can go up to effect. Go to Document Raster settings and just check. Are you at 72 or you're the nice high 300. 300 if you can export for print, if you're going out for digital or social, just leave it at 72. Remember cranking this up makes quality better, but it makes the machine run a little slow. So I'm going to leave mins. So that's it. There's how to make delicious coffee, doughnut shaped text in Illustrator. C. A little bit of fake shadow going on. All right, that is it. I will see you in the next video. 87. Class Project 25 - Donut Text: I. Hello. Super simple Good fun class project time. I want you to do this. But with your own either company name, you can use your own name. It's a little hard this one to get to fit into the business plan other than the Grenada donuts. But I want you to have fun and experiment with the tools. Spin and ellipse around using the revolve technique and create a symbol using your text and see if you can map it to it and get something looking cool. Pick fun, pick your colors, and then share it with me. You'll see there is a class project in here, but basically just says, wrap the texts around in the doughnut, and send us your image. Upload it to the assignments and share it and take me in social media. All right. Enjoy have fun, and I will see in the next video. 88. How Make Text look like it's Cut into a Hole in Illustrator?: Hi everyone. In this video, we're going to cut a hole in the ground using text and an arrow. It's another one of these fun effects where we're using all the skills that we already know, just reshuffling them, stacking up the skills. Let's jump in and cut a hole in the ground. First up, type some text. It looks good with a really bold thick font. I've got something called basic Sands, which is my new favorite Sands Sera Font. I love it. And a drew arrow. It's actually just a rectangle and a triangle, but I use the pathfinder tool to smash them together. What we need to do is first of all, I'm going to make a duplicate of it. Always do that just in case things go wrong. I'm going to select this. I am going to do have to group at first. I think I might have to. Let's get it a double check. Let's get effect down to three D materials. Now, we're using the classic ones for this trick because the extrude bevel here doesn't give us the vector that we need. It Looks really cool, but it's not going to allow us to do the whole cut in the ground. We're going to go to the old one and we're going to go to extrude bevel. Why I know if it needs to be grouped or not is when I turn it, do they all go together? Can you see it's all doing some weird stuff? The arrow is now way back down here. I'm going to cancel that. Group it, Command g, or Control G, go back into it and do it again. That'd be true if you have different chunks of type in separate type boxes, you want to group them first. Effect, three D materials, three D classic. Strewed. What you'll find is laying down on the table, there's some presets in here. Under position, Dn this one isometric top will give us what we need. How deep do you want it to be? I want to mind look like an infinite hole. It needs to be enough that we can't see the bottom of it when we clip it in. The other thing you need to make sure you do is draw hidden faces. Basically, you can't see it, but it's actually drawing all the backs of the text, and that's what we need to see. We're going to remove this top bits, and we need to be able to see through it. Anything else? You can play around with the perspective. Let's do that because it does look much cooler. Drag a mine up slowly, but surely. Let's cool. Let's click. Okay. Actually, before we go and clip it, you do want to spend some time getting a good contrast because remember, see these shadows in here. They're not going to be very visible. I'll show you some of the ones that I played around with before and didn't get a good example. So I'm going to get rid of ambient light. Just so that there's a high contrast, can you see what I mean? Just play around with all of these. Where is it coming from? Drag this around. I can get a really cool bit of graduated color around some of these parts, but there's a lot of trial and error getting it how much you want, depends on the colors you've done, but the only thing you need to remember to do is draw hidden faces. Again, I'm going to make a duplicate of this, and drag it off. You, I'm going to go to object and expand appearance. Now it shapes. I'm going to ungroup loads because I'm not sure how many you need to do, smash it loads of times. Now what we're going to do is we're going to grab shift click all of these top parts. The way I check, I've got them all is give them a wiggle and then hit undo. I know I've got them all. For this to work, I need them all to be attached, but not a group. I'm going to make them a compound path. It's another one of those weird tricks where sometimes stick them all together to get it to act as one unit, you need to make it a compound path. Command eight, or control eight or object. Let's go down to compound path and let's make it. Nothing really happens except, I can select all of it. Because it's at the top, should be at the top, I can go command seven or Control seven and it makes a mask. Look, we chopped holes in stuff. The background is too dark. I've got it locked on my one, but remember, I use my sneaky command two to lock it or Control two on a PC. I can right click and say unlocked a rectangle, and I'm going to play around with the color. That's better, easier to see. There you go. That's how to make it look like there's a hole chopped in the ground using text. Actually you can use anything. I'll show you my vision. I gave that loads of different goes. Can you see it's all about the shadows and how they're cast, depending on that one's got a lot more perspective. This one didn't have a lot of shading, this one went overboard with the shading. There's a little bit of trial and error, a lot of trial and error to get something looking like it's legible and that it's cut in the ground. Am I happy with mine? I think I like it just like that. Oh, I know. All right. L light gray feels better. There you go. Now it looks like things are cut in the ground, and I'll use that for the intro. It's easy to do now that we've got some of these skill stacks. We've got what we know how to make compound paths, we know how to make masks, we know how to do a little bit of three D. We can group stuff, lock stuff. We are illustrator heroes. That is it. Tips go here. The sign totally doesn't work. We're going to have to rotate it around a little bit. Tips go down there. Still works. That is it. I all see in the next video. 89. Class Project 26 - Hole in the Ground: Right. Let's do a class project. I'm going to get you to take the initials from your spa business or your own personal initials. I don't mind. I want you to use the technique from the last video to cut some text into the ground. This one here is going to be interesting because I found what colors did I go get. Here is where I pulled my colors from. I do a lot of like, Okay, the tutorial to do. I'm like, Okay, we're going to get colors. Can't do the same old things. I'm like, Oh, I want to dribble. Found this. I was like, Oh, that green and that tan was I want you to go and do the same thing and go, I'm going to use these colors. Then you'll find like I did, didn't quite work in the way I had hoped. Didn't quite come out the way. I guess, experiment with colors, experiment with type, do that whole cut in the ground. But I just want to give you a sense of sometimes you have best laid plans, like I did with my colors, it just doesn't work out. So I guess that's part of the class projects is that. Sometimes you're like, Oh, yeah, doing like Dan. Yours doesn't look like mine, it might look better. It might look worse. It just sometimes the combination of things make it not work. It might be a chance in this case to go through maybe recolor. Like we did earlier on, find some colors that work with this particular exercise. I'm looking forward to seeing yours, because I don't know. I'm moderately happy with mine, but I'm looking forward to seeing what you make. And then appropriating your colors. I'm doing air quotes. I'm going to steal the colors that you use, the ones that I like anyway. Go, practice, cut some holes in the floor, using text, and share it with me, both in the assignment section and on social media. All right guys, enjoy, and I'll see in the next video. 90. How to make a Duotone Image Effect in Illustrator?: Hello. Hey, we are going to create this duotone looking effect. We're also going to add this like newspaper half tone effect as well. We're going to start with this image here. We're going to round trip to photoshop, which is cool. I show you how to do things like rasterizing vector to speed things up. I love this exercise and a lot of these effects exercises because there's not really any new skills. It's just combining them all in ways we haven't done before to do cool effects. It's a fun time. We've got all the skills. Let's stack them together, and in this case, make a cool duotone. Let's jump in. All right. To get started, I've got a file called Duotone pen from the exercise file. Now, it's just a color background. I've also got some sneaky texts hanging out there. Don't really need it. One thing you need to make sure is that it is RGB document. Some of the things we're going to do need to be RGB, not CMYK. I can tell mine is RGB because it's up in this tap here. If you want to change it, you can go to file, go down to document color set up and make sure it's on RGB. Let's bring in an image. Command Shift P, Control Shift P on a PC. In your exercise files is an image folder and there's one in here. I'm looking for Cathedral of Holy Trinity. There's one with no sky and this one. This is the one I want. The JP. Check it out? It is a very cool photograph. It is of a church that I visited recently in Waterford. I love it all Cathedral. So C. I love the angle of it as well. So with it selected, we can bring it in and I can drag it out to match the edges. I can keep going like this, but there's information in the sky that I want to get rid of you saw at the beginning, had this nice blank area here in just the building. Gives me a chance to explain there's times where actually illustrator just can't do everything. You need to go out to something. Design or illustrator or after effects depending on what you want to do. In case, removing the sky is so easy in photoshop. I'm going to give you a quick little round trip for that one. With it selected, there's an option that says, edit in photoshop or is it up the top there or it's under it, edit and photoshop. I've got it in photoshop now and what I want to do is I want to go to select Sky. There's just really cool things like this in photoshop. If I hit this little mask option, it's the opposite of what I want mask. I selects the sky. I've undone that. What I can do is see this option here. It says, flip selection, then hit the mask option. Cool. Super duper easy. The trouble with what I'm going to do now is that it was a JPEG so that if I save over the top of it now, it says, You can't be a JP because you've got transparency. I can save it as a PNG, which allows for that transparency or you might just save it as a photoshop document. There's no reason why it has to be a PNG. It can be a photoshop document, working between Illustrator and Photoshop works great. I'm going to put this one in here and call it no sky, no Sky, and that'll be ready for you if you're like, I don't want to go to photoshop. Or you don't have it, you can just start with this file. I'm going to save that and bring it in to Illustrator. Because we ended up changing the name of it, it doesn't just update. We're going to have to bring it in again, but we can do some tricks. Let's go and go the little linking icon, and here you can say relink. Let's relink, and let's find that one with no sky. If it's the right size and the right shape, it should just update. Awesome. Let's make it o color first I'm going to stick it to the bottom. There's a couple of ways of doing it. Image trace or use the image trace over here. There is a three color options lost a lot of detail. If I go to these options here for it, you can say, what does one color look like? Actually goes two color black and white. It has to have those two colors at bare minimum at least. L, it's not quite what was looking for. What I find a good result is under presets? Go to gray scale because shades of gray, actually, shades of gray is still only one color. It's black. The shades of that black, forget what I mean. It is just one color mixed with the other color of the pink. The other thing I want to do is probably there's two ways we can do it. You see Ignore color is switched off for the moment. It says, can only be done when you set to this cutout. Then we can do this. Give it a set to redig all. Let's go to ignore color and hopefully, it actually is going to work? Let's see together. Perfect. Nice. You can leave that off and just delete the white sky afterwards, but it's going to work for me. It's going to expand. Super Duper really detailed church, but it's going to allow us to use the recolor. I'm going to slit it all. I'm going to go to recolor or go up to edit recolor artwork. In recolor, what we're going to do is, we're going to jump to advanced options. I go into here very often. It can be quite confusing in their. What we're going to do though is we're going to use it quite simply. We're going to say, grab the colors. Instead of ado, let's just pick one color, please. Of the one color, I find using these down the bottom. What I'm going to start with is grab the saturation up to whatever you need it to be. I'm going to crank it all the way up. Then play with this hue slider, to get the color that I want. You can double click it to type it in if you've got a brand color that you want to be using. I'm just guessing min, I want this kind like purple color, maybe darker, to you, what you think going to work with it. We're going to play around. Let's click, Okay. It is hard to see what's going on. Remember a shortcut to get rid of hide all the edges. It's hold something down and hit HDN. That's where you go smash all the keys on your keyboard. You're like, which one is it? It's command H on a MC? Control H on a PC. Just hides all that lines everywhere. I find I turn that on and off all the time, but I always forget next time I open up the program. Turn it off again. I'm like, Where is all my lines gone? Anyway, if I mentioned it enough, you'll remember too. Let's click on apacity. We've got it select pacity, and work your way through. What is going to work nicely with the image that I've got? I already had a play with this and I quite liked darken. This is where I might go back into recolor and have to spend a bit of time picking because it's changed it quite a bit. Now I can go through and say, actually, I want this to be one color and I want to play around with Is it darker? Is it more saturated? Which color is it? Now, depending on your machine, you might find your machine is struggling. It's cool that this is vector. I love it because it's scalable forever, but there are times we like it's killing my machine and passing it on to somebody in the office and it's killing their machine. What we might do is just quickly show you a little thing you can do. You can say, object, I would like to rasterize this thing. We did it. It was Raster, which is all the pixels from Photoshop, when it was its original cathedral we went, let's turn into vector. We can do this color thing. Now we're going back to Rusa. Raster just means back to pixels. I'm going to make sure the resolution is nice and high, but your machine will be able to hack this a whole lot better than sometimes. Loads and loads and loads of different paths and points when it is vector. You can decide this is not essential. It loses its blending mode when you do that. Let's go back into here and go in and prick dark again, where are you du and dug and The next thing I want to do is add that half tone, that newspaper print looking effect. This doesn't matter if you're doing it with the vector version or this size version. It'll work the same. Let's go with it selected. It's go to effect. Let's go down to Pixelate, let's go to this one called color half tone. Same for some reason there's no preview. This is just click, first of all. It's cool. I love that offset newspaper printing type thing. But I'm going to undo. Actually, it's an effect, you don't have to undo it. It's an effect that is applied. You can open it back up again here in the property spanel. Then just mess around with what looks cool. Let's try four pixel radius, gives you a bit more less blobby, but still I love the little offset parts that are all part of that. There you go. The last thing we're going to do is bring the text over. I've got some text going on on my one, and I'm going to have to make sure that my text is at the front. That's the vibe where we're going for. There we go. A two column background thing. Can you see the background there? Mine's gone a bit weird around this. F I Zoom in Zoom out. You see it went away? Sometimes it happens some effects. It just had a color bar down the bottom there. I just went away when I have a different zoom levels. There you go. Magic. All right. That is a e tone effect. Plus some other cool things like rasterizing images and the little half tone thing going on. Plus we round tripped from photoshop. Tie all the skills together. Skill stacking. All right. I hope you found that useful. I will see you in the next video. 91. Class Project 27 - Duotone Poster: All right, you've been asked to create a poster. We're going to use the same atone effect that we did in the last tutorial, but for the neighborhood from your small business. Create a one page poster. It's to help educate tourists that are coming into your store to show interesting things that are in the neighborhood and to show a connection that the business has with the city and neighborhood. Go out and find a distinctive building. Mine's Granada. I should be looking at like the lumbra or some other I'm sure there's another cathedral or two there that I could use, but find an image and then I want you to use the uatone effects that we learned and change the image like we did. Do you have to cut the sky out? Not essential. What I really want you to do is get this duotone effect. You can use the half tone or not half tone. That's up to you. The requirements it needs to be two colors, not including white. White for the text, if you want, black for the text. It depends on the colors that you're going to pick, but I've used this pink in this purple. The very similar I know. You might have really quite contrasting colors, that's up to you as well. I want you to find some texts online. The name of the thing where it is, I got some texts online. You could use AI to generate the text, you could use place order text. I'm not particularly worried just some composition doesn't have to be like mine. Could be a lot simpler. I think probably the image that you find will probably dictate the layout. Again, it's not a text layout project. It's more just practicing our What you're done, save a version of your one page and share it with me. Share it with the class assignments and share it with me on social media, like normal. You can have more than one version if you like. You can do it with more than one image if you like. Oh, you can do a trip tit. Is it a trip? Whatever it is, three of them in a row. That maybe use similar IC. I'm getting away from myself. You might practice with different things. The rules aren't really strict. It's more about just playing with them. Some of you had a lot of time so you can do a few more, and some of you will just do the one basic one and get on to the next video. Speaking of which, when you're finished, I'll see you in that video. Bye. 92. How to make a Roughen Stamp Vector Effect in Illustrator?: Hello. In this video, we're going to make this cool stamp grunge roughen effect to what is vector graphics. It's scalable. We're going to start with this really sharp edged graphic here and turn it into this. We'll also turn it into some presets that we can redo it over and over again and get some consistency. I love this tutorial. It ties together lots that we've learned in the course. We'll get a cool effect at the end, and we start stacking some of the skills that we've learned throughout. It's a really good way like, that's all it all goes together. The Talkie Dan, let's jump in and make ourselves a rough edged stamp vector look. All right. If you open up the file called stamp effect, we've got this. The first thing is, I forgot to lock the background. I thought it was a good reminder of command two control two on a PC, just to lock the thing you have selected. Have it selected, lock it. The next thing is it's better if you group everything you want this effect to work on, you can do it without, but it just causes a little bit of problem. Let's select it all and go command G, or control G on a PC. Let's step through the different effects. Lots of these steps are optional. You'll get a feel for what you like. It'll depend on how thick the lines are, how big it is. Everything is a little fuzzy in terms of what you want to do? I've practiced this on my version and it roughly works the same way, so you will be slightly different. The first thing I like to do is especially with texts, there's too much like sharp edges. What I want to do is smooth it, so I'm going to slect it all. Let's go up to object, let's go down to the path and let's look at smooth. Then just crank it up as much as you can hack. As in does it destroy the text? Do the details disappear? Is it still looking good? Do we just smooth the text? That might be something you do as well, but I'm going to crank it up so get rid of the hard edges because that roughen stamp effect. I feel like the edges of all worn off and gone. What I might do is hit escape, undo, and I'm actually going to save a copy. Just good habit. Same thing, object, path smooth, and let's just find something that works. Smooth it if you need to. With it selected, we're going to go to the effects panel. There's lots in here. Let's look at using a few of them, get a handle on them. We're looking for inglo I'm always like, can't remember where it is. Remember, you can go to help and illustrate a help and type in inglo Hopefully you should be able to find it and there it was under stylize. I just jump straight to it. It's under effect, stylize. There's bottom one here and there's one called Inglo. It will depend on how thick your lines are. These are quite thick and these are quite thin, so there's this average. We just want to fuzz the edges up. Similar to what we did with the smoothing and be on edge, capacity at 100%, just make sure the mode here is on normal. We've got this white edge here. Again, you can play around with this how much works for you. It breaks this line, which is quite cool. We're going to end up with some interesting cool things around there. So four. Four it's good for me. Let's click. The next step is under effect, and it is called Pixelate, and it's called mesotint. It's quite cool. I think the default is fine dots, and you just work your way through to get something that works for yours. You might just experiment with a couple of different words. I'm going to the next cool. I'm going to go for course dots because that's what I practiced. But there is no, again, no rule here, find something that gives it a grungy broken up look. Let's click. Now the next step, I skipped and then I didn't skip and then I added it back in. Again, no hard and fast rules, but the one I ended up deciding that I liked it is under effect under sketch, and go down to Step. Again, depending on you might zoom in a bit. I'm going to hit plus plus just to give it a look, see what it's doing? It's blending them of, but it's leaving a few of the dots. This will depend on the slider here. Drag it back and forth to decide how many of the dots you need. You need more than one and see if I raise it up, some of these dots inside the A disappear. Do you want them all? Is there too many? Yours will be different. I find something that works. I basically want all of mine, and then the smoothing again as well, just drank it up, drag it down like what do we want to do here? I think I like mine at one or two. Not much going on here. Just cleans up all the dots and gives me these nice little cut out bits. I don't know. I like. Cool. That's the effect. Now, the trick is, though, we want this to be vector because at the moment, if we zoom in, can you see it's made up of pixels. I'd like to vectorize it. The other thing I'd like to do is there's a lot going on here. I got a window and go to appearance. Mine's handling it quite well, but what you'll find is if it's quite detailed, all of these effects, they can be adjusted afterwards. I can sliect on and say, actually I want to adjust the end of glow and go blue wasn't great. Let's crank this up a little bit. That's more like it. We can work in and out of here. It's handy, but it can cause lots of drain on the system. We want to do two things. We want to make it into vector instead of the pixels, and we want to clear out bake in these effects so that are done forever. It's a graphic getting exported. We don't want to have all this control, first of all, and it's slowing down our machine. But if you're happy with it being pixels, you're done. The other thing I want to do is make it repeatable. We're going to stop here and go, right, let's make it a style. We haven't done a style for a while. Let's open up our window graphic styles. We can repeat this over is let's have it selected. Let's go to new style. You see I already practice this already. I'm going to double click it and call it Step. Awesome. Next thing I want to do is do like a live trace. Now at the moment, it is pixels. Can you see it's made up of pixels? But unlike normal pixel based images, I can't use live trace. It doesn't work. Why can't I? Is because it's an effect. What you can do is you say object, and let's expand appearance. Remember, we've got this appearance applied, all this stuff. Can just expand it and say, bake it in. I fixed it's done, now it is truly pixels, but it doesn't have all those effects going on. What we can do now to remove the white chunks and to turn this back into vector instead of pixels, we can use the live trace. Either one, let's go live trace, and let's go to let's just go to the default one and then open up the panel and decide what we're going to do. First of all, let's go and use the ignore color. Let's clear it off the white. Then how you might decide that that's perfect the way it is. Under advanced though, the two that I've seen work very well are paths and noise. Paths up, want lots of them to get that grunge back in and I want the noise to be included. You see the little holes that appear quite like that. Play around with it, you decide what you like, and once you have decided, you can create a preset, so we can do this again. We can get this a little managed preset and I can say, save me a new one. I call this one my Stemp Just so I can come back to it and I have to drag these up or mess around with them, you get it how you want. Live trace is done just to finish this off. It's stuck in live trace mode, let's expand it. Now that is one finished vector graphic that looks like a stamp. Now for me, I've got this bit of paper over here, so I'm going to duplicate it, bring it over, move it to the top, and I'm going to strik it down a little bit and play around with the blending modes. I don't know. It's one of those nice little steps of the end potentially, with that selected capacity normal, and you work your way through to see if you can find something that connects nicely with the background. For me, I've already played around with it and overlay looks good. Oh, it's not that good, Dan. I find it's good if I copy it and paste in front, which is command F on a Mac Control F on a PC to paste it back on top of it. So basically I have two versions now. But when they double up, they have this, I don't know, really cool chocolate coffee version of it that interacts with the grain in the background. Go. How to add a stamp grunge effect to your text and images while still keeping a vector. The other thing we've done is we've made it repeatable. Let's actually go and make it repeatable. I'm going to grab the type to click once, and I'm going to type my name and capitals, and I'm going to just run through the same thing. Pick any font, I'm picking quite a thick font, and I'm going to save a copy, always save a copy. Slick this one, I'm going to outline it. Command Shift O, Control Shift O on a PC, or go to type and come down to create outlines. It's just a shape now. We're going to step through the same things. I'm going to say, object, I would like the path to B, smooth to round off the edges. How much? Can you see it there, I can go lots. Too much. Yeah, something like that. We go. Make sure it's a group's already a group. The cool thing about it is, I don't have to step through that like. What was the effect thing again? What was all those? You can go to your Swede graphic styles and go there you out. Lo it applied it all. If it's not quite right, Feel like, it's there. But if it's not, it's an effect, I can get to my parents panel. I can go and adjust these by clicking any of them and going, I want to mess with these a little bit. But we've got it how we want and we want it to be repeatable. What was the last steps. It was object and expand appearance. Now it's pixels and not in effect, and now we can go to live trace. The cool thing about is, can you see stamp, don't worry about stamp effect? That was my practice this video before I actually make it version. Some reason it's stamp. But you can see that's the preset we made. Look at that. I just done. We don't have to go through, drag the slides. It's done. We can expand it, and you, my friend, are making stancils all the time that are consistent. The last thing I might do is I might go through and play with pacity of blending modes. Now, it's going to be different depending on what it's above. I'm going to go, does overlay work again? Copy paste, don't copy paste, copy paste in front and have two overlays. You might be like, Yeah, that's it. There's not a lot of grain going on the background, so it's not great. But if I go over this image here, look, not working, not working, really working. So you go. I love this exercise, mainly because we get to tie together lots of different things. We start experimenting some of the effects, and we tie in some of those really important things like the appearance panel, you're like, Yeah, now, I see why it's so important and graphic styles. We've done some and we can save them. Image Trace. Who knew you could save a template version of a live trace? The other thing I want to point out is that I did this, I practiced and gave you some tips on like, Oh, it should be at three, and this should be at seven, but it'll really come down to what you want it to look like, what your actual object is. There's not one way of doing it. You might decide that I don't use that stamp effect. Don't like the end result of that or I don't add as many grains or I use the stropy line thing so many different ways. Don't think there is a right way of doing stuff. There's a little bit of creativity in tongue out looking at it going that looks good. That is the rough and stamp vector thing in Illustrator. I'll see you in the next video. 93. Class Project 28 - Stamp Effects: Hello. It is class project time. If you are not doing the class projects, don't skip this video. There's some good learnings at the end, that's why this one's a bit long. I'm going to deliver the class project first. Then I will go in and show you because I'm going to set this task, especially if you using text to vector, I feel like we're at a point now where I can show you all the works and quicks and bugs and things you might run into. At least the ones that I run into, especially making this tutorial. I'm like, I'm going to share that with everybody so that you're better equipped now with some of these more advanced tutorials. Stick around for that. Let's look at the class project. Basically, you've been asked to make stamp style using the techniques we learned in the last video. Because you're making this graphic for it's going to go on recycle paper bags used in your store. Experiment with a bit of text and graphic, make sure you outline the text, otherwise it doesn't really work. Does, but you can't do the smooth option. Use those techniques. When you're finish, mock it up on a bit of either textured paper on a paper bag like we did in the Slas video here. There, make it look. An image of your mock up and share it with me in the assignments and in social media. That's a class project. We you might run into problems is like making the graphic. You can draw it. That's fine. I want to show you what problems I ran into when I'm using the text vector. It creates quite a messy document. At least messy graphics. I'm going to show you I'm going to duplicate this. Two them. I'm going to show you where I run into problems. The first thing I wanted was, is I wanted quite a line. I wanted this really simple lines, and this doesn't have it. There's no layers and lines. What I ended up doing is grouping it. 1 million times. Group group group. And with this selected, I shrunk it down and this line appeared for me. I'm like, perfect line done. But let's say that we want these down the bottom here to have a hole in the middle and a line around the outside. I'm like, Okay, I'm going to add a stroke to it. I'm going to make sure the stroke is on the outside. Stuff we've all done already. I just want to, I guess, show you where some of the quirkiness pairs. How big is the stroke? Looks good. I should be doing to all of them. Away, just imagine what I'm doing for all of them. I've got this. What I want to do is with this effect, this graphic style, it really wants to do it to the fill, not the stroke. I'm going to have to turn that line around the outside into a fill. That's when we can go to object. We can go to expand appearance, ungroup it and I can grab the middle chunk and delete the middle part. There's a few other ways of doing that. You can go I'm going to do go to object, and go to path, and you can go to outline stroke. You end up in a similar position, I'm going to ungroup it again and I can work my way around. I should have done to all of them, and it's a way of adding strokes where there might not have been. But earlier as well, we did that technique where we selected it all, and we grouped it and then put a stroke around the outside of the group. That might be a way of getting that effect. Remember the stroke goes, where is it under the content, so it's a liner on the outside. I don't want that for the moment, but there you go. Those are the things that I'm considering when I'm making this simple graphic. Next thing I want to do is get rid of the colors. With it all selected, I'm going to go shift M for what was it called the shape tool and I'm going to both course and problems and clean it up. Let's look at cleaning it up. Hold down the option kanamC. I'm going to get rid of these lumps. And I'm going to click and drag without holding it down to add some stuff. That's weird grouped it with a no fill, no stroke. Don't know why. So let's go to that one. And let's look at some of the. I'm going to cut that bit out. Don't want that to be black? Sure. Let's have a look at what happens to these guys. Look, I I ungroup it now, and I go you, you're like, How did I get double of those? It's because there was like that really pink solid center, and we kind of sliced it out, which sliced out everything, but left a kind of a gap underneath these. So I'm going to show you what I do. I go through and go Shift click, grab them all. Sometimes they're rely grouped. You go to ungroup, lots of the what do you call it text defectors. Once I've grabbed them all, I can't use the slick same because they are all different colors, but watch this drag them off and go, did I get everything? Did I get everything? I did in that case, I'm going to cut them. They're all gone. I'm going to slick on this group and get rid of these. There's even more versions of it. Dragging across them, doing it the long way. There we go. Those are all gone and then I'm going to hit my paste in front, to put them back where I needed to be. I'm going to make sure they all have the same fill. Now, this effect that we just did won't work very well when you've got a white fill or anything not dark. Lot of the effects need the graphic itself to be dark. Now, the other problem I ran into is compound shapes. Compound shapes we've used a few times. That's when this gap is cut into the back, and that can cause problems like I select this, and I go to my graphic styles and apply this and you're like, that didn't work. Why didn't work? That's a very good point. Let's fill it with black. Actually, it did work in this time. There you go, that might be actually my solution is just converting them all to being black. What I found was is that I was releasing the compound paths, and then using the shape builder to cut the holes out, and that was my work around. But it looks like it might just needed to be all a solid black color. Try both. Try releasing the compound path and then cutting it out. I have run into problems and other things when I'm using the text vector. There might be a compound path inside of a group inside of a compound path. Sometimes just like either breaking it apart or releasing it, and then just remaking it can fix it up. Cool. All right, so we're there. The cool thing about it is that remember because it's a graphic style, we can go to the parents panel. We can go through and say, actually, I want to play with the blur a bit more. Because they're all applying, you can get a better sense of where it's going to end up. I didn't have to simplify mine before I added my graphic style. I can go to object, and I can go to expand appearance. Realize there's lots of different shapes. Who knows? This is a good use case, now what do we do with all of these? You can live trace them all? If you could pause now and you get like, why? What didn't he do on that little setup? What did Dan say in the beginning of the last video to do first? Otherwise it causes problems. I'm going to pretend I did this on purpose. We could go through and live trace these all and expand them all, that'll work. It's because I should have grouped them first. Good work on you for remembering. I'm going to do and do and do and do and do and make sure that these aren't individual parts. Select, group, then go through and do the same thing, a stamp effect, object, expand appearance, go to live trace. Now that it's all one image, it is so much easier. Go. Expand it, and we're done. Why is it so hard, Dan? Just sometimes, especially when you're working with graphics that maybe you didn't create or some of the text of vector stuff, where it just comes messy. Alright. I hope you found that helpful. It's kind of like a big add on to the class project, but it's those types of problem solving that will make you a really good illustrator user and a really good designer. Alright, my friend. Time to go do your class project, and I look forward to seeing what do. Make sure you share it in the class projects, make sure you share it on social media and let me know if you did run into any other problems and how you solved it. Because it's bound to be somebody else who gets kind of a little bit lost as well. You can help them out. All right. That is it. I will see in the next video. 94. How to make a Neon Sign Glow Effect in Illustrator?: On, in this tutorial, we are going to look at creating our very own neon effect in Illustrator. It's great way of combining lots of the skills we've learned already in this course into cool neon effect. Let's jump in. All right, neon, go time. Open up the neon file or just find a font that looks neonsh. It's going to be on a dark background. I'll show you how to do the brick work at the end, this like faded effect. Now, there's lots of different ways of doing this. There's some built into Illustrator. I'm going to duplicate this and show you it. You could just go window and actually go to help, go to Illustrator help. And if you type in neon here, neon, you'll see that there's a few different options. The neon glow artistic doesn't work very well. There's a graphic style built in, you're like awesome I love graphic styles. These ones, you might be done. I feel like, that is it, we love it. There's nothing wrong with it. I guess I get a bit It's not custom, it's not good, but these are perfectly fine. We'll leave this one over here, and that's perfectly fine. Let's make our own graphic style with a lot more work, but I think it looks. The interesting thing to look at. If I click on this, can you see what they've done under the parents panel, at stro stri, stri, strike, struck. There's just lots of strokes and they've lowered the opacity of them. That's all they seem to have done in this one. What we're going to do though is something different. We are going to add a fill to it. Now that remember with text, we looked at this earlier. You have this overall parent thing called the type. If you go inside the characters, it has its own fill. We're going to leave that alone. We're going to come back out to work on just the overall, and we're going to throw over the top. Fil, that fill is going to be any color you like. We're going to expand that. I'm going to use a gradient because I quite like it. It's my little hack on the million tutorials out there on Eon glows. I'm going to start with this. It's in your exercise files. Otherwise you can make your own using the gradient tool, or just pick a plain color. What we're going to do is with this fill. We don't want to fit the fill color, we want it to affect the glow, or the blur in this case. We're going to have it selected, and we're going to go to effect. We're going to say, I'd like to add a blur to this fill, galsiu blur. You get the hint of what's going This is basically we need two or three. This will depend the radius and how many you need will depend on the kind of on glow you want and the kind of font you're using and how big the actual document is. Just play around with this. Start with something small. Can you see the hint around the outside? Let's click? I'm going to have it selected and I'm going to hit this option here that says duplicate that fill. I got two of them. Grab the top one by clicking on Gaussian blur and have another one on the top. That's in the medium. A range of glows. Click, do you need another one? That's up to you now, I'm going to do maybe one more. Click on this. You can actually have two gaussian blurs. You can duplicate the gasium blur, but they end up canceling each other out when they're in the same fill. I'm going to undo that. We need two fills. In my case, I'm going to do three. This top one is going to be quite big and kind of expensive like that. Now, the layers in the appearance panel here are quite important because watch this. I'm going to say characters, which I know if I go inside of it has a fill color, but I can't see it. It's not white. You can say I you guys on the top. Now we get that crisp edge that makes it more legible. If we want to maybe tone that back again, we can add a new fill, actually this duplicated old fill. Let's have this one above my characters, and let's have a fill color of white. Only because I want to blur it as well. I'm going to say have al calcium blur of actually already have it applied. I don't need to apply second one, go into here, and I can say, just to fuzz up the edges a little bit. C. Now, you might be running into a couple of problems. Now, the pixelization, you might be like, Why is mine pixelated? With it, actually, don't need it selected. Go up to effect and go to document Raster settings, and you can have your resolution down at 72 if I click, it's really Yuki, it's fast, but it doesn't give us the true effect. Let's go to effect. Document Raster settings, let's go to 300. The other problem you might have is you might have some clipping. Let's have a look. I think I have got mine off by default. Let's go to effect. Let's go to Document Russa settings and let's create a really small clipping mask. You might find that your edge is getting clipped on. You can see the globes getting trimmed off. Mine is actually okay. But if you're getting a line around the outside, you can see it there. It's quite hard. Can you see the line there? Banged up against the edge you're like, how do I stop that? What you can do is you can get it effect. You can say Document Russa settings again. You can say, actually, I want to clip the blur, but I want it to be massive. Just crank it up to a really big size. Tip it to 500. And nothing happens. The weird thing about it is, you need to give it a jiggle. Do I need to resize it or just move it? Resize it. There's a line gone. I'm trying to look around, plea my screen. Yeah, it's gone. Sometimes with those raster effects, you need to even with the resolution, you might need to give it a resize or a move, just to tell illustrated go and look at that again, please. Can you play around with it and redraw it and that new clipping mask setting we just did? That might be us. I'm digging it. You can play around with different gradients. One last thing you might do is I might actually with this top fill here. Actually, this two top one is I might add another effect that says, A stylize and do an in aglow. For me, I've picked this like yellow that's not quite yellow, not quite white, just like, I feel like it's a cool neon effect, and you can decide whether it's edge or center. Depending on your text, you can decide on how blurry it is as well. A bit of experimentation. Now you can see mine, or you can't see mine, but my computer is struggling a little bit. It's because I've got my resolution to my rust the resolution up to 300. What you might be doing Especially if you're in maybe an older computer, you might be doing a lot of this under maybe 150 or 72, and only at the end, switching it to 300. Get it close and only when you're finished, you want to give it the full noise to really see how it finishes. Now, the cool thing about it, though is there's a lot of work and a lot of fudging around. But we know that if I select this, I can make it a graphic style, reusable. I'm going to add one in here. I'm going to double click it and call it neon. Now, it means that I can grab my type tool, type something else. I'm going to make it bigger. I'm going to make it white, I should pick a better font, but I can just set my graphic style. Hopefully, it should go through and add the neon glow to it. No the greatest font. Let's go back to Lake House, Lakeside. No, Lake something or other. It is, Lakeside. Cool. All right. Before we go, I promised I would show you how to do the vignette against the brickwork. And what I actually did was, let's right click this and unlock the rectangle. The only thing that's happening is there's a rectangle on the top with a transparency gradient on it. So nothing really to do with the brickwork. So let me show you how to recreate it. Let's grab a rectangle, just filled with black. In your swatches panel, there is a soft vignette already in there, and that's the basic. I don't really like that one for some reason. You can adjust it by hitting the G key and clicking on it, G key even. You've got this transparent swatch in the middle, that's black that they've pulled out, add a hole. C through hole, and you can they've got these different ones in here. I prefer just making my own because I'm cantankerous. I'm going to grab black rectangle, I'm going to have it selected, I'm going to go and pick black to white k gradient, and I'm going to pick radio gradient and you can see where I'm going and hit G, this middle one is going to be black. For some reason in this document, I've reset my black to not be full black. I don't know how I did that. I've never done that before. There you go. This one here on the outside is going to be full black as well. What I'm going to do is this inside slider is with it slited. Double click it. I'm going to say the passions and one is zero. That's how I did it. There you go. What I did was is you go there. You go there, I'm going to resize it so it fits. I'll show you one last little trick while here. Is you can have that fuzziness over the top, that might be cool. You can play with a layer order and move it back so that the text is above it. The other thing you might do is with it selected, you can get a opacity, and you can say actually, let's find dark and normal, something that's going to interact with the image quite well. Anything? Light screen. You write down. It's going to go through the more. All right, the one I liked was soft light. You can see it. I don't know. It's very cool. And on off kind of has a bit more kind of interaction with the background. There you go. That's why I do a kind of a fake vignette effect. Alright, my friends. That was Neon Glow in Illustrator. I hope you picked up some new tips and tricks and kind of working out that a lot of the effects that we're learning are just all the techniques we've already learned in different combinations. All right, I'll see in the next video. 95. Class Project 29 - Neon Effect: Hello. It is time for your class project to make a neon effect. So you've been asked to make a neon effect graphic for social media. Pick the text in a font, suitable for your small business. When you are thinking of the text, think of something that's relatable to you. You're the coffee shop. It might be caffeine 24 sevenths, F the tattoo studio, might be tattoos inside. Best coffee in town. Think something like that. I'll leave you to pick it. You could just write the word open. As well. It's mainly about practice the neon effect. If you follow me exactly, you'll probably get exactly what I do, but if you go off the rails a little bit and do your own thing, you might bump into issues. Let us know what happened, how you got around it, what didn't work, and make sure when you're finished, mock it up on top of a photograph in like we did in our tutorial, against the brickwork. I can be a wall, can be anything you like, a table inside of a store. But just mock it up and see if you can get some sort of blending mode thing going on, Maybe practice the vignette. But that's not a requirement. The recinment is mainly just the neon effect. W you're finished, share it with me. Put it in the assignment section and make sure you share it on social media. Alright. Have fun. Benge this one is going to be a tiny bit frustrating. I know when I was making that Tutorial. I was like, Oh, is that good? Is that good? No. There's bad ways of doing that. Okay, there's a little bit of messing around in the appearance panel, playing with gradients, trying to get everything to work. How much blur, H little blur? It's a good practice exercise. And yeah, I hope you have fun. I'll see you in the next video. 96. How to use a Halftone Effect using Plugins in Illustrator?: Hello, and welcome to the Plug ins video. What is a plug in? A plug in is something that you can add to Illustrator from generally third parties outside of Adobe that make special tools for Illustrator. There are lots of them. I'll show you where to get them and we'll run through just one of them in this tutorial, just to give you an experience of like installing one and what their potential benefits are. I'm going to show you my favorite one. It's from a company called Astute Graphics. They make cool plug ins, and there are cool people over there. Shout out Kim Callan. They do many plug ins. The one I'm going to show you is doing this half tone effect. Makes things really cool. Adds dots to stuff. Give you a quick demo of another one here. We'll use the graphic and the stipple effect. It's very cool. Let's jump in. Now, to find plug ins in general. The best place is probably the exchange. Exchange adobe.com. I went to creative Cloud plug ins, I went to Illustrator, and there is a lot to have a look at. The one I'm going to demo today is from a Stop graphics. Stop graphics make a bunch of different plug ins. The one I'm going to show you today are paid. There is a free trial. If you do want to follow along, you can use the link here on screen. They all install relatively the same. Any of the plug ins, you click them, download them, restart Illustrator, and they magically Now, to get started, if you are following along, open up plug ins from your exercise files and creepy dans waiting for you. I showing this one. Member, just an example of what plug in what a powerful plug in can do for you in terms of time saving and the effects that you just can't do inside of illustrator. The one I'm going to show you is both good for images and vector, so we'll do a bit of both. Let's get started. I'll show you some cool half tone effects. With this image selected, I think you have to have the image embedded, but we know how to do that. We're going to go to effects and down the bottom here, I'm going to show you this one here, call fantasm. It's got lots of different options. I'm going to show you one because I'm like, I can't do this is the super long video. It's already going to be too long. Let's have a little run through of, say, half tone. I love the half tone effect. How cool is that? Now, the one thing you will find is some of the effects, there is a half tone under. Let's click K. Let's go to effects. There is a half tone under photoshop and there's one under pixelate. The only problem is this color half tone, there's not a lot of control. Let's give it a demo. You effect pixelate and half tone is that there's not a lot of control here. You can bump it around a little bit. And the output unfortunately, is pixels, so not vector. You see the little pixels. It's a rust image. Okay, but not great, plus, not the cool effect that I was looking for. That's the standard half tone effect. So look at this one here. Let's go back to effect. Let's go to phantism, let's go to half tone. Now the main things in this particular plug in, I find is nice work around monochrome and sampled. Sampled is from the actual image. It's using sampled colors from the image or monochrome, depending on what you're looking to do. And the other one is what kind of pattern it is, is it a grid, FM or radial, all give you different looks, and the DPI. How many of these dots are in an inch? The higher, the more density is, the lower, the simpler it is. You might find mines keeping up. You see a low DPI makes the computer run a bit faster. If you crank it right up to something high, 20, going to say, Hey, it's going to take a long time. I'm going to say, proceed. It's cool A. Let's click. Zoom in. A couple of things with this particular plug in that I like is with it selected, can go to object and expand appearance to get rid of any effects, and it's all. If I go command Y, Control Y and PC. Look at that. It's all glorious vector. Like it. I'm going to undo so my effect comes back. The other thing to know about this plug in is with it selected. Can you see it's over here, it's editable afterwards. You can click on it and it will reopen up the dialogue box, so you can go and make changes to it. What I find really useful is let's clear account this one. Let's do this guy. I'm not sure which is more creepy. Probably this guy, my serious face. With it selected, we're going to go to effects. We're going to go Panis, go to half tone again. There's a lot of control in here? I'm not going to go through it all, but I do like playing around with it. What a good starting point is? Can you see this like a little thing over here? Under sittings Manager. There's one's kind of built into it, so I like abstract. Check how cool that is. Let's crank it up a little bit. Oh. Duff punk, Dan. Okay, click Okay. Let's look at just a couple of the other presets, just 'cause I'm excitable. Let's go to Phantasm, let's go half tone. I'm just going to actually jump through these. Let's over a look. Dot metric. Anybody have that printer back in the day? The big grinding noise printer. We had one at our house. It's awesome we got Actually I'm going to close this and reopen it on a few different images. You wait there. I'll just do some jump cuts. This is another interesting one that is inside the half tone is I use this one here called Quick Brown Fox. Basically, it switches the dots out for text. I see the dot characteristics. Instead of being round, you can pick character. Under options, I can say OL. And I can click, and it's using the sampled color from my image because monochrome doesn't quite work. But it's sampling the color and mixing with the text, you can see what's going on. Cool. I do love me a good plug in, especially when it does a lot of the heavy work of something or an idea that I have. I do like doing that half tone effect to just chunks of the drawing. I've got this chunk here. I'm going to ungroup this. Grab that bit. I'm going to copy it and paste it in front. Remember copy and then command F on a mac, Control F on a PC. I've got two versions on top, the top one here I'm going to change the color. I'm going to say, just make it a bit brighter. Saturated. Just so it's like on the top. Give what I've done, that is on the top, then I can go effect and just do that half tone to just part of it, just to enhance it. Like, even black is cool. Remember, type we can go samples, so it's going to use the color that we had selected as the dots, and then you can just play around with how much DPI you want to use. I actually want to go less. Do love that effect. I love how the dots wash out near the edges. Thing you can do with half tone is you can start with a gradient. We did a flat color. What we can do is on the whe here, we can say, I'm going to copy and paste in front again. I've got two versions of it. The top one here, I'm going to add a gradient to G key on the keyboard, click and drag, click once, actually, and then we can decide afterwards which way the gradient is going to go. Let's start with something like that. Then with it selected with the black arrow, go up to effect, go to half tone, and now I'm going to mess around with mine and say actually, I want a color, and I'm going to pick some dark green. Dots. I'm going to lower it down a bit. Then the cool thing about it because it's an active effect, you can go to your GK again and just go actually, I want to drag this a bit further along or around different way and get it a sense of it. A, that is. Once you got it, you're awesome. You probably a bit further out like that. Do the same thing down here. I can go copy and paste in front, and then I'm going to use my e dropper tool to steal the graphic from there. To steal the style and color from that one. I guess that's where the power of any old plug in is useful. It's that be able to do something repetitively, consistently quickly. Let me show you just one more useful one from astute. Let's go to effects. This is our donut plane from earlier. That's a very text vector look. What I'm going to do is click just the background, and I'm going to go to effects. I'm going to go to this one called text reno. Got one called texture. I really like it for adding a bit of photoshopess grungess. That's typically a flat vector, but retaining the vectorness of it. That's the key Good example of how different this one works. This one here, we are allowed to say on to add noise, O to add a second texture of I don't know, fine specs and you can hit plus and add it to it. I'm going to undo that. I've got noise applied and you've got this little triangle thing here. You can slide it in lower shrink the texture and you can play around with different blending modes. I've built it into this little app here rather than using opacity like we did earlier. Find one I like. Olay looks cool. You can see we just a couple of clicks. We've gone and I'm going to close down picture. We've gone and removed or gone and changed. What is quite It's got that noisy kind stippled look to it now. But it's still vector. Actually, there is a stipple one actually. Let's do it to the plane. Let's go to effect. There is one called stipilsm. And go to stipple. Stiple is kind of like half tone except that it doesn't have the kind of faded dots. It's just looks like somebody attacked it with a ballpoint pen. Let's turn preview on, and sometimes like, H. But when you end up playing with it for a little while I'm going to go up to 80%. I do like it when it's sampling the object. Oh, instantly. Look how cool that is. Play around with a dot size. There's lots you can do and actually, let's go down to four. That's the one I played around with. Click. You can see how quickly it goes from being quite the vector AI generated image to something I don't know, special. Call it special. Do you like it. If you do want to play around with the Astute graphics one, use the link on the screen here, I'm an affiliate for them. If you do end up moving onto a paid account, I get a small cut of that, but I wanted to show you a kind of a plug ins video mainly to show you there's just other things illustrator can do when you bolt on other people's plug ins. You quickly, especially this donut plane here, how we got from something to something quite special quite quickly. Don't feel constrained about following some online tutorial where there's one bazillion effects to go through and you add ten of them to it and you get something quite different from the tutorial creator because the image was different, the size was different. Sometimes there might be a plug in that'll just super duper help. That's it. We're all going to pretend we never saw this guy or that guy. Move on to the next video. By creepy Dance. 97. Class Project 30 - Plugin: Class project time. I want you to find a plug in and use it. I don't mind what plug in it is. You can check it up from the Adobe Exchange. You could use the Astute graphics one. We used in the last video. I don't mind. I don't mind what you apply it to could be an existing graphic or could be something new. I just really want you to experiment installing and using a plug in. Pick something that's quite a visual plug in so that we can actually see it before and after. Take a screenshot of that before and after. Let us know what plug in it is, what settings you used, any pros and cons for the plug in. It's cool to see what people make and how they made them. Add a comment just so that we can see what you've done. Upload it to the assignment section and share it on social media. All right. That's it. Enjoy messing around with plug. 98. What's the difference between Save As vs Save a Copy in Illustrator?: Hi, everyone. Exporting from Illustrator. There's a lot of different options, and let's want to clarify them all because you're like, there's a save as. Why is it a safer copy? Seems to do the same thing. You're like, Oh, what is this magic one that I've never clicked? I'm going to show you that one next as well. Then you're like, Show Busing Export or Save as. All will be revealed in this video. Jump. Let's start with packaging documents. This is useful when you're sending a file. I'm using exporting AI, if you want to open it up. I've actually just brought in an image separately and it's linked. Instead of having to embed all the images, packaging is quite handy because you can get a file, get a package, and you can say, actually, put them in this folder, and I want you to copy all the links in any fonts that you use. Fonts don't really work because it says except Adobe fonts. All the fonts you used are not going to get exploited. They just don't want you sharing them around. That's not that helpful. What is helpful is it'll copy all the links into a folder. Let me show you, Let's click package. Give you a warning about not sharing fonts, kiki. Click Show package. You can see it's exported my AI file, but all the links have been brought out. Now, your file might be a lot bigger and with lots of different links, and it just chucks them in nice little folder, nice and tidy. You can e mail it zip it. It's just a handy unknown feature in Illustrator. Another unknown feature in Illustrator for exporting is, let's say I'm using my library panel, and I'm adding images or icons or artwork to it. Somebody ask you for it. You don't have to go and find the actual file. Let's close it all down. Let's say somebody's asked me for the donut and you're like, which file is the donut in? You know it's in your CC library is like, how do I get it. Often you end up back at L earn or home or some file, and you're like, we get to it. You can actually just go to Window and open up the library, and find the library you're working on. W whichever one it is, you can go to it and you can actually just double click it and open it and you open up that actual file, then you can go to file export. You don't actually have to I guess, find the file that it was in to go what it means. Sometimes it's easy just open the library, find the file, and then just export it directly from Illustrator rather than finding the originating file. Next, does this conundrum. What is the difference between save as, save a copy, export. Let's look at these two. Basically, they do the same thing. If I go to save az. You use Save As and save a copy when you are working on the working file. You're not exporting it for the printer or the website. This is the working version, and this little drop down gives you different options for it. Most of the time, it's best just leave it as Adobe Illustrator. There's a few formats or a few post processing things that require EPSs. They're big, they're not very editable. If you save a template, it ends up being something that other people can open, but they can't replace. It's something that creates a new document. We know about in SVGs, it is better going out via export. The Save A or save a copy is for the working document, and basically leave it as AI if you can. What is the difference between Save A and save a copy? The difference basically is what happens afterwards. If I save a, let me put it in a file, let's call this one Save A. Giving a new name. If I hit Save and I click Okay, see what happens. The original file still there, the exporting to AI, I've done a save as. It's opened this new file. There's two files going on. The original one that I left behind, to now have this new one. If I save a copy, let's do this, save a copy, and I say, actually's open the original one, so not get confused. I'm at exporting. If I go file, save a copy, and this is the Save a copy version. Look what happens. I've got Exporting open, it save a copy, I click Save, I click Okay you see I've still got that original open. There is that new version called Save as a Copy. It's on my machine. It's like creating a version of it, but it's left me with the one that I was working on. That's the difference. Weird. You might find that useful. What I tend to do is just save to the Cloud because there's a history, but there'll be people that need one or two of those. Now one of the common save as is file. Let's go to Save As or save a copy. Remember it doesn't really matter is people will go to PDF. There's a couple of ways of getting PDF. I'm going to show you the Save as version and the exporting version. There's no real difference, so it doesn't matter. It's probably more common going file Save as PDF for my printer. I'm going to put mine in my exporting folder, I'm going to save. The big thing to know when you are in here is this option. This option, leave it on and it basically will be an illustrator file with huge like all the dibility. It's nothing real different. It's just an AI file, but it's called a PDF because it's preserved all the editing capabilities. The trade off is that your printer probably won't like it. Why? Because they don't want all the illustrator stuff. They probably don't use Illustrator or some ancient version of it, or they're using Corral or something else. They don't want all this extra stuff. Turn it off if you're exporting a PDF that's going out to print or if somebody's asking you for a PF. We're not going to go through all the presets here, but generally a really good default. If you're unsure, it's just high quality print, make sure that's off it save. A lot of people will use that for the File Save as. The one other version is File Save as and we can go to Illustrator, but let's say we do this one. I'm going to give this a new name. I'm going to say exporting legacy. In a ad save. Before I finish this part, you can go back to this one here. That's if you're sending this to say in my office here, I've got some old stuff like a vinyl cutter plotter, embroidery machine. There's lots of old technology that don't want fancy new illustrator files. They'll accept legacy stuff. That generally is if you are finding your illustrator files in not opening or working on some machine that is maybe a bit simple or is just a bit old, just go to File Save As, give it a new name, and go to CC Legacy. It shouldn't break much. There will be some new stuff in Illustrator that it won't like. If you are doing some fancy stuff like, remember the free form gradient, that won't work in older versions of illustrator. It will convert to something usable, just won't be editable anymore. People will use file Save as for that. Next, let's look at the one that I use the most. It's the export. We'll look at export for screens. Export for Screens is basically a really good alternative for SaveAs, for most use cases. Let's go to file Export for Screens and in here, we've got these two options. We're going to stick to upboards, and the next video we'll do assets. In boards, you can say, this whole board, I would like to export as down here. I want to go to PDF. It doesn't really matter whether you use this PDF or file SaveAS. I just do this one here because there's a bit more control in here, it's simpler, but there's no real difference. If I go to export up board and I stick it in there. I've got this PDF here, and it's just guessed it for me, not guessed it, but it's done a really good job at deciding what the PDF should be. If I go to file and you want more control over that, export export for screens, you're like, Hey, tell me all about the PDF. You can go into here and see this like little, which one options is one of these two. Let's click both. No this one here, the cog. You go into here and say, when I export PDS from here, I want it to be not the default small file size, I want to be maybe high quality print, or some new one that you've made or imported from the printer or the one that you like the most. Maybe it is press quality that you like using. You can save that and that will be the export setting for F. That's the differences between exporting from Illustrator. That's why this one can be a little confusing, save as basically keeping a working document or exporting a PDF. Basically, these do the same thing except one keeps the original open and one will keep the new version open. Either way you get two options, just what's left open for you to work on. The other one is export and export for screens. They call export screens. I don't know. It's a great way of getting actually PDS, but also going through and adding what they call scale button here, maybe it's not PDF. You want a big giant JP, a really good quality one at AD, and you can export. Go into this in a bit more detail in the next video because it's a bit more appropriate when we're dealing with assets. That is it confusing, but hopefully we know now which to use where, and I'll see in the next video. 99. Advanced Exporting Assets Tricks in Illustrator?: One, we're going to dive deep in the asset export panel. Sounds lame, but it's super useful for getting any old file out of Illustrator, print web, any sort of digital experience, as loads of perks. It's going to be exceptionally good for the people who are still fighting on using the export, Save for web legacy. They couldn't say stop using it anymore. Today's the day, we go for the asset export panel. Let's get nerdy. All right. Advanced tips and tricks for exporting. Let's say go this logo here. I want to right click it, and we can go to this option. Here is collect for Export. This is three parts. One, two, and three. I'm going to slick them all and you can right click them and say actually, let's collect them as a single asset. You can group them first, that works as well, but you can just click single asset. I'm going to give them a name because you're watching. Normally don' name anything. Now, the other option in here is you can right click and say, click for export multiple assets, and break them into three parts like the three different bits. I don't want it for this case. I'm going to undo that. It's really handy for these guys. These icons here. That's a single shape. That's a single shape. This one here is broken on purpose. Let's grab them all, right click it and say, let's export them as multiple assets. You'll see that this comes through, one, that one is good. This one here is broken into two bits. If you do want to export multiple assets, make sure they're grouped. I'm going to undo that. This guy here instead of being two parts, I'm going to group them, and now I'm going to go. Click for export and go multiple assets. Super handy. I'm going to rename them, you wait there. Rename them. The nice thing about this now is we can go down and say, I want them all to be, what do I want? I want them to be PNGs or we can go through this list here and say, actually, I want them to be maybe SVGs. Maybe they need to be PNGs as well, I can say at a scale. They say scale, which is really comes down to when you're exporting for mobile web development. I end up using it more for just exporting files to my web developer or to the designer or to some other place? I can say I want PNGs. I want them to be four times the scale, I want them to be the same size, but as in a PNG for. Let's have a look at maybe doing it for a JP as well. I'm going to go U, maybe 80, going to keep it the size it was, and then the cool thing about it is I can hit export. If it's grade out, you're going to say, I want this one to come out. Or I'm going to click this first one, hold shift, and grab them all, and I want to export them all. I'm going to dump them all in my exporting folder, H choose. In here, you have what is quite a messy but useful. I've got SVGs. I've got the donor and the three icons all ready to go. I can go to one x, and one x is like the size that I picked, but it's got my JP in here, my PNG, my JP, my PNG, of the it's the same thing in two different formats. I can now go through and say, do I need this to be a PNG or a JP? And it might be that you need transparency, so you can go for the PNG. You're like, is the PNG smaller than the SPG? What's at 13 kilobytes? SVG for the location is a lot smaller SVG, and SVG is that vector format. It is scalable, it is smaller. It does really well on websites. It prints really well. I'm going to say, I'm just going to use SVG. Now the real power for the export panel above you like, I'm still going to use the export safer web. The perk is in the actual naming is helpful, but where it gets really helpful is if I go in here now and I say, actually, we've changed the logo, we've picked a different font, the clients come back, everything's adjusted, now going to be this font. Did you see or you didn't because I didn't point it out Pages here. This is actually adjusted. It's actually a dynamic connection. Let's change this thing down here. Boom in. You keep an eye on the asset panel. I'll make it here, so it's easy. We go in here and say, actually, I want this to be longer. C you see this adjust. You don't have to re export it or re name it, or group it, put it in its own upboard, all that painfulness. The asset export panel is super easy. I can just export again, and it's just going to go over the top of all of those things and everything is brand new. If I get a location, it's that weird looking one. That is the perk for the asset panel. You get to name it and when you update it, this update. Let's do a quick little runthrough of these options. You probably know PNG. It is Raster format, so it's made of pixels, let's have a quick look. There's this one here. It is made up of tiny little pixels. I can zoom in on my mac here and you can see it's made of little pixels, but from far away, it looks sharp and it has transparency. It is good for anything that is transparent that needs to be raster. Generally images that need to have a transparent background. It's an image that doesn't need a transparent background, JPEG is the go, because it's a lot smaller when it comes to images, but it doesn't have transparency. We probably know those two already. What is less used is let's go to at scale, but really we mean format. You can go into here and say, actually, I want SVG. SVG is vector, scalable vector graphic, and it is what's generally used for anything that is this vector format from illustrator that needs to go to a web or like I use it for my vinyl cutter that I cut stickers out for T shirts and stuff, and the embroidery machine follows the path well, SVG is perfect for that. Scalable vector. One format that you might not be aware of is WebP Soong going to make another scale, but really I mean I want just a different format. WebP super useful. It is Google's image file format and basically it's the best of PNG and JP combined. Compared to a JPEG, it's very small and very good quality. Probably on par with it, but it can get a bit smaller than JPEGs. If you're going for a website, web P is the format to go for. There called bonus for it is that it has transparency as well like PNGs. It means if you've got something like this that needs to be seen through into the background, you can use web P, but you can also use it for, let's say this big image here. Actually grab this one. Let's add it. You can bonus rounds. You can just drag it in, rather than right clicking and saying click for Export. Let's say that I do this and let's export this, and let's go to there. Have a look. I've got this image here, JPEG PNG web P. A really high quality JPEG is 64 kilobytes. PNG here is just as good looking, but it's bigger. WebP though, can you see? He wins in terms of file sizes and the quality is comparable to a really good JP. Everything that I do for my website is always web P because it loads faster, Google likes it. AKA search engines like it, so I use it quite a bit. There are a few other options in here. These ones here, if they're grade out, these are used when you're creating three D in Illustrator and exporting it, you can use some of those formats. Some of the tips and tricks for the export panel is that I hate when they all end up in folders everywhere, especially the sizing folders and it gets a bit messy. I'm going to delete that and delete that, and I'm going to delete all this as well. I delete everything then. Let's go to Illustrator. I like to go to the options. No, not there. I like to go to this little option down the bottom here and say, do not create subfolders. Open the location after export. I'm down with that. Brings me to an interesting window. Basically the window for actually we can't do it. We're in the export for screens, and you can switch to assets. Basically you get the exact same screen. Let's close that down as this. This is the window version of it, that's always open. Then there's the file export for export for screens, and then you can switch to assets. But you end up doing the exact same button thing. They have the same controls, except there was that extra option in there that said, Don't put them in folders, but they're the same thing. Let's have a look. You see, it's put that thing I had selected, and let's just put them all in one folder rather than all these subfolders. You will find Depending on what you're doing, sometimes folders are good, sometimes they're not. What I like to do often is, I know that they're all going to be web ps, I do that and I just grab them all, export them, and they all end up in the same folder. Another helpful tip is that, let's say that you do have the thing that you do the most. SVGs in web ps. You do them twice the size they need to be just for some scale. What you can do is you can say, instead of opening up a new document and going through and turning it on and off, you can go into here and say actually, I'd like to save a preset, and I can call this my Dan preset, and it just means later on, if I close this down and I change it to something, I can go back in here and say, actually, let's go to the Dan preset and just gets it back to the web p and SPG. The last little thing about this is sometimes, let's have a look at, let's grab the big donut. Let's say that I do mask this. I say you are going to be masked inside of this. If I do export this, you can hit plus, drag it in, or right click and hit export single asset. It's got this and it's cropped. But if I export it as an SVG, just this one here, let's call it Donut. And let's export, click, choose. You can see here's my donor SVG. What you'll notice is that well, you won't notice. Let's open up an illustrator. Don't worry. I've opened that SVG in here. You'll notice that if I get a wireframe mode, can you see the stuff is all in there? If you're cropping it down for say file size for a website and you're like, I want to get rid of all this stuff, you will see that it's actually not cropped. It's actually kept it and it's just like in a cropping window, which you can do a couple of things. Sometimes I export SVGs to go into fusion 360 that I do my three D modeling in, and it hates cpt. It hates this mask. It just freaks out and goes, the heck is this maske thing from Illustrator, and if I send this to my web developer, he'll load it, but it'll be a bigger image that it needs to be. What ends up happening is you need to do it a little bit more purposefully if you are in the hunt for file image size savings. Let me show you the rectangle and instead of doing a clipping mask, let's select them both. And I'm going to go to my pathfinder. Let's open up the bigger path finder. There's one in here called crop. I don't use it very much because it's what do you call it destructive. It's going to trim all the outside of it off. If I click off, click back on and I go to y frame mode, can you see it's not a mask inside of this. It's not a donut inside of a mask, but the bits cropped off that I can't see. It's actually got rid of them. It's very destructive, but now when I add it, and I say, you get over there and I do donut two. And I say you are exporting. Let's go. Let's have a look at the difference. Let's open up both of these in Illustrator. Donut one has all the stuff, Donut two, doesn't have all the extra stuff around the side. Smaller doesn't freak things out, just a little handy tip if you are using SVGs. Oh, my goodness. That was quite the asset export panel experience. I hope you found some tips and tricks in there. Yeah, the asset export panel for the win. Definitely don't use the safer web, even though I know you probably still going to use it. Don't let me catch you. All right. That is it. I'll see you in the next video. 100. How to use the Dimension Tool in Illustrator?: Hello. It is time to look at a tool called the dimension tool. Does exactly what it sounds like adds dimensions to stuff. Angles, radiuses, diameters. We're going to use it for this trifol brochure. We need to indicate what the size is. We'll do it to this logo at minimum widths and heights and stuff. Super useful adds arrows basically in text and one foul swoop. It's a dream come true for anybody that's been doing it the long way with the Pen tool and text tool and all the pain that comes with doing it that way. Jump in and look at the dimensioning tool. Open up the dimension tool file from your exercise files. Let's look at the basic runthrough and then we'll get a bit more detailed. The dimensioning tool looks like this, looks like a dimensioning tool. Very good. The thing is you need to have the thing selected first that you want to dimension. Let's go with let's say this trifold file here. We need to let the printer know the widths and dimensions. I'm going to click on the thing that I want to measure. Then I go the dimension tool. Then I'm going to start with this first one here, which is linear dimension, and you can just click on something once and it puts it in there a little bit Willy Nilly. I'm going to undo that. I'm going to click hold and drag it out to get it to where I want it to be. You can dimension stuff. Let's go through the other ones real quick. Select this first, then go the dimension tool. Then go this radius and diameter. It's a bit weird. Watch this. If I click. Actually you don't even click. You just it just knows. A hover here, gas. If I click once, it gives me the radius. If I have the thing selected and go to the edge and click and hold and go back on itself, it gives me the diameter. A little bit quick. Let's do angle. Select the first, grab the dimension tool, and let's go angle, and point it in the corner here. I'm going to click and drag out and you get the Go. Now, the first thing I often want to do with the dimension tool is go and change the units because it's used the document units, which in my case is pixels. And we can do a couple of things. If I click on this, I can say, Hey, dimension, you got this interesting properties panel. It has all this dimensioning in here. It's like dynamic. You can adjust it. It's not just a one and done. It has some options in here. The units is the first thing I want to do. At the moment, using document units, you might go and say, actually, don't use document units, use millimeters. I'm going to turn off hide units and it's going to show me 99 millimeters. Or what you could do to undo that. It's using document units. What I can do is have nothing selected and say, actually, I want the document units not to be pixels, I want it to be millimeters. Nothing actually happens. What you can do is you can say, I've changed this, maybe this update, it's a newish tool. With it selected, instead of document units, while it is document units and I've updated it. What you can do is say just apply to all and hide units. Off, apply all, resets it and everything starts working in millimeters. There's a little quickness to it, but we've got our units updated. Another thing we can do is it's very hard to see the black against the dark gray here. What you can do is you can change either individually by having this selected and going and changing things like the dimensioning line to something else, something you can see. Or you can select them all. You can go to your layers panel. What you'll notice is that we only had layer one when we started. As soon as we use the dimensioning tool, we got this whole other layer. Who remembers how to select everything on a layer? This is like weird option here. Click that indicates select art, click to select art. Everything on that layer selected. Now if I go back to properties, I have overall control and I can say I want the dimensioning line to be a CN is. Copy that, and I'm going to put it, the dimension text as well, is going to be the same color. I'm going to change the arrow style to something ugly, I'm going to go change the fonts to something bit more corporate that and make it thicker. One of the other things that I want to do as well is I want to go through and sometimes let's say I want to change what it actually says because at the moment it's quite dynamic. It's reading the units from the docket. I just want to go and change it and break it apart. You can go to expand. You see it's no longer connected to that dimension. Now you're allowed to go through and say, right, that is not what it's meant to be. You've drawn it Willy. Say that in illustrated and it's actually not that at all. It's actually 5,000. You've drawn it to scale. You need to scale it up and you just need to use the dimension tool to get the cool arrows that it can be a pain in the butt to draw. You just want to then expand it and go through and change it as you want. Like this logo here. We want the arrows and stuff and we don't want the actual measurements. We just want We want to go and change it. What I did with this logo here is, you notice I put a rectangle around the outside of it with no stroke, no fill, so that the dimensioning tool has something to grab onto. Other thing you need to make sure is working is your smart guides is turned on. Go to view and go to smart guides and make sure they're on. Then with this rectangle selected, we can add the dimensioning to it. And go you can't work if it's on the angle, you need to be on the right tool, and then you can drag this up. Then you can either hit the expand option over here, then you can click on the dimension itself and either right down the bottom here, say expand or we can go to object. The same thing we've done in the past, expand appearance. It's the same thing as broken that connection to the dimensioning tool, but now we can do things like double click to go inside and say we wanted this just to say minimum minimum width of 200 millimeters for whatever you're doing. It's very handy, quick, and a very welcome new tool for Illustrator for those of you who have been doing it the long way for a long time, especially for brand guidelines or maybe packaging, super useful, super quick. And that is the dimensioning tool. All right. Happy dimensioning. I'll see you in the next video. 101. What's next after the Illustrator Advanced Course?: Hello, my friends. It is the End. You made it to the end. Hurray. We're here. It's kind of bitter sweet. We've spent loads of time together, but now it's the end of the course. But don't worry. There's lots more to do after this. But yeah, I just wanted to congratulate you to make it to the end. You need it a man, there's like 100 and some videos, quizzes, and all sorts of stuff. Yeah. Nice work. While everyone else is doom scroll, you're out herein stuff. So, congratulations. There's good news. We get to carry on more because there's lots of other courses. So you finished Illustrator advance now. So the next thing you might go and do, depending if you've done it already or have skills in it is there is kind of the design trio that generally go together, photoshop and in design, go with the illustrator quite well. So Photoshop is obviously photo manipulation and in design, if you haven't really used that much is more around larger documents, newsletters, manuals, books, anything that's a bit larger and generally print. That is another one, you know, kind of another part of the gang. And the courses, there are essentials in advance for both of those as well. Other things you might do. Light room is a fun course for for getting into photography, even amateur photography. You might go down the web route, and you might go the UX design side, which is Figma or XD, or you might go down the k Design web side, kind of a bit more actual not quite coding, but designing websites, actually making them, using something called Webflow, or you might go down the full coding side, and I do Web Essentral course, kind of H two and CSS, and a little bit of script. So that might be something you do. Video might be the next thing you're interested in. I got a premiere pro course and an After Effects course. You might check those out there. There's loads of courses. So hopefully there's something else that you might continue on, and we get to hang out some more. But for now, That's kind of it. Hang on. Sorry. Brain went foggy there. As only so long I can keep these monologues going without Giger M notes. I've checked the notes. The next one is I wanted to thank the editors that spent a lot of time on these courses. So Jason Hamels and Taylor Coman, they spend loads of time and Tayla Sloane as well for doing the reviews. So thank you to those team, plus all the bigger bring our laptop team for all the work that goes into these courses. Now, I've got an ask for you. If you've enjoyed this course, you're like, Man, that was really good. I would love a referral. So that's what keeps my business alive and keeps me doing this and making new courses is referrals from you. So everyone's a little different, it might be a block post. It might be not a block post, but a link or rid it post or a social media post of like, This is a course I did. It was brilliant. You should go check it out. Anything you can think of a back link, trying to think of other things. That's probably it. But if you can think of something that you can send people my way, That would be great. Let me know the comments as well, how you enjoyed this course. Okay? I love to read the comments at the end so do that. And that will be it. That is us. The sad time, goodbye. I might see you another course. I hope you enjoyed the course. I love making it. I can't believe I get to do this for a job, and let me know the comments what you thought, and I will see you round. No doubt. All right. Fade to black. We do a fade to black spin, really? Goodbye.