Adobe Illustrator CC – Essentials Training

1. Introduction to Adobe Illustrator Essentials: Hi there. My name is Dan Scott. And in this course, you are going to learn how to make beautiful graphics in Illustrator. Now, you won't just learn how to use the tools. You'll learn the while creating beautiful, real world, portfolio ready projects. So who am I? I'm Dan, and I'm an Adobe certified instructor for Illustrator. And I've been a professional designer for about 16 years now. I've won multiple Adobe teaching awards, and both in person and online courses have been attended by more than 1 million people, just like you. We'll start easy and fun by learning how to draw with simple shapes. You'll then learn to start combining and subtracting those shapes for more advanced logos and graphics. You'll finally master the pentel giving us amazing creative freedom. You'll be given your own unique mini brief for your very own farmers market product, and you'll create all sorts of graphics to bring that brand to life. You'll explore creative brushes, lines, and strokes to enhance your designs. You'll be empowered to create seemingly impossible illustrations, using the latest tools, including some of the new generative AI features in Illustrator. So cool. You'll master how to create and manipulate type like the professionals do. You'll finally learn where and how to pick grey type and color combinations. I'll share with you all of the design secrets. Once you've mastered the tools, you'll have fun putting your new knowledge into creative action, learning how to turn any old thing into beautiful vector illustrations. In seconds. And you'll learn how to get your designs out of Illustrator ready for all sorts of different applications. So if you've never opened up Illustrator or you've opened it, and you struggled a bit with it, this, my friend is the cause for you. We're gonna start right at the beginning and work our way through step by step. Alright, it is time. Don't miss out. Sign up and go from Illustrator Zero to Illustrator hero. Alright, the glasses. Yes, they are new. Yes, they look like safety glasses. But they didn't when I bought them online. I bought them online. There was a handsome man in the photographs wearing them, looking all cool and trendy. And yeah, they arrived. And it looks like I should be doing some metal work. Here you go. 2. Getting Started: Everyone, Hey, it's time to get started. First thing we need to do is you need to download the exercise files. There'll be a link on this page here. So download them and unzip them. You'll be ready for the course. Inside those exercise files, there is a handy dandy, What is it called? Shortcut sheet, That's what it is. So, I've made a shortcut sheet for us, so print that off. Stick it next to your desk, and be ready to circle the ones that are really important here. Download exercise files, print off the shortcut sheet. What next? Oh yeah. Download the software. So go to this link here. Download Adobe Illustrator. Okay. There is a free trial. If you do use my link though, Adobe gives me a small reward for sending you there. Or you can go to Adobe directly up to you. Either way, make sure that Adobe Illustrator is installed. The other thing is, is that I can get quite excitable and talk really fast, especially in the morning after coffee. So if you find me too quick or too slow, that happens. There is a cog down the corner, Click on that, find it, there's like a playback speed in most players and set me to a slower speed. I sound a little weird, but you will get used to me or you can speed me up up to you. Lastly, the software updates all the time, really fast. And just check, might be a pop up like this one. Okay, Over here, Taylor does pop ups if there is just a small change. If it's a big change I'll re record it. If it's super new you might check out the comments. The comments is a great place to see if, you know, I might have left a note, another student might have left a note. You might have a really unique problem, and one other unique person might be down there having the same problem and found a solution. Check the comments, but for now, let's get started with the course. 3. What is Illustrator used for & when to use Photoshop vs InDesign: Hire. Hey, this video we are going to talk about what Illustrator is great at, what it's kind of mediocre at, but still gets used for, and what it's not good at. And when you should maybe look at some of the other products to go and use the things that are really good at. I'm going to check my list before I get started. Wait there. Okay. Hopefully I've memorized them all. Okay. The big ones are things like illustration and drawing. Perfect logo design, branding illustrators, perfect flyers, posters, stationery stickers, icons, fashion pattern making. All I'm gonna have to check the list. Wait there. All right. There was posters and sign writing that I didn't say got close though, so you get a sense of what illustrators for, what it gets used for by lots of people and you can totally do it, but it's probably not the right tool for it to see. You know, is say web design and UI design is one of them, mainly because you can do it and there's lots of features in here you can do for that sort of stuff. Okay. But there are products like Figma XD or Envision Studio. There's lots of other products that are just more focused on doing it. You can design them in Illustrator, but adding all the interactivity can't be done here. So it's better to go to those tools. And the other thing that it's probably not good at that gets used a lot for is newsletters and magazines, and books. Okay. But earlier on I said it's good for newslitters. It's great for newslitters that are really small. Okay. Not physical size, but more two pages, 4 pages, maybe eight pages. The problem with it is illustrated is designed like under the hood. I don't know why, but it's designed to do illustration amazingly quickly and beautifully. And it's great. But as soon as you add lots of volume to it, like lots of pages, it starts struggling. Especially if you start throwing in lots of big, high quality images or it gets tired and slow, you can do it. But you will eventually go, oh, okay, And that is where something like Adobe in design. That's what it does. Okay? It does a little bit of what a illustrator does. Okay? But it allows you to do multiple pages load. You know, you can throw in design and say open a 300 page document and in designer go, okay, now you're open. If you say that illustrator, it kind of kills over, dies and steam comes out of its ears, like it just can't do it. Okay. So a few pages fine Illustrator. Lots of pages. You need to move to design. The other big thing that's in the gang of illustrator, okay, he's got design by his side. Often you'll be back and forth with those if you're a designer or a book publisher or those things. Okay, On the other side is Photoshop. Okay, where does that go? So Photoshop is for retouching images. You can do tiny changes, you can do tweaks and color shifts, but you can't mask anything. You can't cut anybody out. That is Photoshops job, kay. So any sort of photo manipulation, masking and cutting gets that in Photoshop Illustrator does all the illustration and creating lots of little elements, K icons and buttons and titles and drawings and all sorts of cool stuff. And then end designs over here, if it gets published in a larger book. Did that help? Hopefully, it helped anyway. That's what Illustrator is really good at and average at, and can't do it all 300 pages. Steam. Al right, that is it. I will see you in the next video. We'll actually open the program. Let's do it. 4. A quick tour around Illustrator: Hi everyone. Hey, in this video we're going to do a quick tour around Illustrator, do some of the basics to get us going. All right, First up, let's open up our file. So with Illustrator open, let's go to file. Let's go to open, and I want you to find the exercise files that you've downloaded. One thing, sometimes people try to open up the zip file that comes down. You just need to double click that, okay, And open it. So in this case, I double click the thing I downloaded and this file has everything that I need in it. Okay. If you don't know how to unzip, double click it. If you still can't do it, just Google un zipping on my computer. You'll get there. All right. The file that I want you to open is something called Getting Started, so open up that one there. It should look something like this. Everyone is going to look slightly different. A couple of things I want us to do just to make sure that we're all the same when we're walking through it. Yours doesn't look too different from mine. Is up here at the top, it says Window. Want you to go down to Workspace, And you should be on Essentials. Give that a click okay. And then go back into here and say Reset Essentials just so that everybody's is the same and looks like mine. Hopefully next thing is that some people are centimeters and millimeter people and other people are inches with nothing selected. What I've got is I've got my black arrow. This is like the default thing that we normally go to as a tool. Click on the background, in this gray area. Okay, so that means you've got nothing selected. Over here under the Properties tab. Depending on where you are, click on the Properties tab, And here it says Units. Look at that, Pick your unit of choice. The next thing I'm going to do for this course is I'm going to make my UI bigger. Everything's quite small. I've got a lot of space, but it's not good for these videos because you need to see everything. And you might find this quite useful if you find everything's just too small to read. Okay, So go up to Illustrator Preferences on a Mac. Okay, if you're on a PC, it's in a slightly different place, it's to edit. Okay? And down the bottom here will be Preferences. So whichever one you want, I'm on a Max. I'm gonna go click on Illustrator and go to Preferences. And I'm gonna find this one that says, where is it? User interface. That's it. And what I'm gonna do is I'm going to go do I want it small, medium, or large? I'm going mega large. Just so that you can see it easy. You pick the size you like. I'm gonna have to restart. It'll say you need to restart Illustrator for this to work. And I'm gonna say, okay, and I'll be back in a second. There you go, Giant Illustrator, for your viewing pleasure up to you stop. I'm gonna go back to file open and actually I'm going to hit cancel. I'm gonna go to file open. Recent there he is, getting started handy. Okay. So everything's bigger. I'm pretty sure this will work for the course. It's pretty enormous. But hey, the other thing that's going to change depending on when you start this and what version of Illustrator you have, is this tool bar changes quite a bit. They add bits to it, they move them around, they cut it down. So let's have a look at it. So see these little dotted lines right down the bottom here. Okay, I've got these. Currently. Illustrator or Adobe have decided that these are the ones that are going to be really important. And then they go, ah, then we're going to move this one off and shuffle them around. What you can do is if something's missing through this course and you're like, hey, he's got this tool, I don't have it, or I have too many. What you can do is click on these little dotted lines down here. And there's all of the tools we've ever made, loads of them. So have a little look. You might be like, oh, there's that one he's using. Okay? The Polar Grid tool, which you're not going to use. You can click on it. There you go. You got the tool. Click the whole drag and you can kind of find a spot for it. There you go. Now you got the Polar Grid tool. I'm going to drag it out, but if you do lose a tool, it's probably in these little dots down the bottom here. The other thing about the tool bar is that, see this, depending on the size of your computer that you're using, the monitor. Okay? Small little laptop, big screen. It might be in single or double. Okay? So see this little tiny little chevrons here. If you click them, two columns, one column up to you, I'm going to leave them one column. Next thing is the page size. So we call it pages. Everyone calls it a page illustrator. Call them artboards. Okay. So pages are artboards. I want to change the size of my artboard, KA page. Okay? To do that, you've got a tool for it. It's this one here. Okay. If I click on it. Okay. I don't know how to describe that rectangle with little slashes off the side. Okay. It's the artboard tool. It just selected my artboard. I didn't have to do anything. And over here, it gives me things like what's the width, what's the height? And you can go down here and say, actually I want it to be like US letter, but I want it to be portrait or landscape. Okay? Or I can just type it in up here. I need it to be, I don't know, 10 centimeters wide now. Okay. So that is how to change your page sizes. I've gone and wrecked mine. I want to put mine back to that postcard size. This gives me an opportunity for this tool. So I go up to Edit, and there's undo, undo, undo, undo. And you can click that like a madman. You can go to edit and see the shortcuts here. All the shortcuts are listed next to it. I'm in a Mac some mine's command Z, so I never go up to edit, undo. I just said command Z repetitively to go back. Okay, on a PC it's control Z. Here you go. Undo forever. A good point, Mac versus PC. You can totally do this course with either. I'll try and give you the shortcuts for both of them the whole way through, the same same. There's no better using one or the other. I'm using Mac for this course. You can use PC, no problem. Okay, a couple of the basic tools just so that we can get them out of the way. There's the two arrows at the top. I call them the black arrow in the white error because that's what they are. But there's the selection tool and the direct selection tool. Okay, so we're going to start with the black arrow, the selection tool. And it does what you think it does. It's the main tool that you'll use. You'll click on things, okay, and move them. So click it once and then click hold and drag with your mouse. That is the selection tool. Move stuff around. Best Buddy that we use. Lots, but not as much is the direct selection tool. This select parts of parts. Let's click on this part here. You'll notice that actually we're going to jump to another shortcut. Actually, no, no, no. Hold off on the shortcuts. Then the direct selection tool means instead of moving this whole thing, which it can, you got all this other detail. What means is, let's click this top point. Once he sees a dark blue and all the rest of them are white, I can click and drag that direct selection selsarts within a part. They're called anchor points. You can click on this one, click hold, and drag it over. You get into the details. So I'm going to hit undo hands up. Who knows what the undo key is. A good work command on a Mac. Control on a PC and Z. Okay, I'm going back to those, a couple. There you go. We're going to use these two loads. If in doubt, be on the black tool, be on the black arrow. It's like you default not sure what tool to be in, be in that one. Now the shortcut I didn't want to give you is the zooming in and out. Because there is a way, there's a tool down here. It's the magnifying glass. You can click on it and then click, wants to zoom in. Okay, hold down the option a PC and click once to zoom out. Okay, Click twice, okay. So let go of any key. Zoom in option on a Mac OlerPC and click to zoom out. Nobody uses that. You can though. There's no rules. But the shortcut is. And I'm not going to go into too many shortcuts because this is the essentials course, just the basics, kay, is hold down command on a Mac, control on a PC, and it's a plus key. Hey, go in and then the minus key. Okay, so hold down command on a control on a PC plus a minus to zoom in and out. There are many other ways to zoom. If you know them, you're awesome. Leave them in the comment so other people know the ones that you prefer. If you do get lost like this, like I just did, I was clicking away and I don't know where I'm at now. You might be over here and you'd be like everything's gone. Okay. To get back. Okay, you can go to view. Okay. And there's one called fit artboard to window. Okay? That's the kind of get everything back on screen and I'm lost. Okay. View Fit Artboard to window. You can see there's a shortcut there. I want to tell you that one. But no, let's save the shortcuts for a little bit later. The other one you'll need is, let's say we zoom in. What was the shortcut? You remember? Command control plus on a PC? So we get down here, you're like, oh awesome, I just want to go over there a little bit. You can use these guys. See there's little scrubber bars. We know these ones. All right. Everyone knows these. Okay. It's easier though, to learn a shortcut. Remember, not too many, just the real ones. Just the essentials we need. Okay, hold on. The space bar key on your keyboard C. My cursor changes from an arrow to a little hand, and we can click, hold, drag around. Look, grabs it, grabbing, clicking, and dragging around. Okay, That's how we navigate or drag these. Next thing, let's go to file and let's make a new document. Okay? It's a file new. And you can pick, Let's just pick whatever is first. In your whatever one you can see anything everyone's will be a little different. Okay. I'm going to pick US letter and I'm going to man, this UI is actually maybe too big. I'm going to have to make it a little bit smaller. Co, let's ignore that, and let's go to Create. What happens in Illustrator and most Adobe products. As you end up with two tabs. Look, this is the document that I made and this is the old thing I was working on. You're going to have lost them open, and you can get between them by just clicking the taps. The last thing I want to show you is where everyone gets lost really early in the course is something called isolation mode. Okay, So I'm going to go back to view and let's go to fit upboard to window. What I'm going to do is I'm going to group a couple of things together. Okay? And then show you where you're probably going to get lost. Okay? So I'm going to go to my black arrow areas there. I'm going to click this once. Okay? I'm going to hold my shift key down on my keyboard. Okay? And I'm going to click this once. And I can click multiple things this way. So I'm holding Shift down the whole time, just clicking a bunch of stuff. Okay. And I can move, what's that? I'm not sure where that is. Let's ignore that. So what I've got them all selected. I'm going to go to Group. Over here, my properties panel. There's a group, okay. Or you can write, click it and there's a group. They are grouped. Nobody's lost. Ah, but if you're a double clicker, if you love double clicking stuff, okay, you will get into this area. So if I click on this, look, it's one unit. But if I double click it, everything else goes washed out. And like I can't click on this, it's not working well. I can work on this, okay? And little bits, but I can't work on this. How do I get out the easiest way to escape isolation mode? We'll do it properly later in the course, but just to head anybody off, if they do get stuck, you can double click the background. Okay, That gets you back out of it as well. Okay? Double click to get in. Double click to get out. Double click to get in. Or you see this little arrow here. You can go back and it just takes you out as well. That's where you might get stuck. I can go back a couple of arrows. There we go, all the way out. It's called isolation mode. It has to do with things that are grouped and if you double click stuff, you'll end up in there. But that is it, boring. Walk through, done. Let's get into some exciting making stuff in the next video. And in between video though, I'm gonna make my UI a little smaller look out, gigantic. It is. Seemed like a good idea, but I can't live it this way. Too big. Let's find a middle ground. And I will see you in the next video, see there. 5. How to draw rounded rectangles triangles & tracing images in Illustrator: Hi everyone. In this video we are going to draw this Sleeping Fox. Okay, we're going to draw it with simple shapes, rectangles, triangles, stars, lines, curves. Just basic stuff so that we can learn the fundamentals of Illustrator. We're actually only going to get about this far two triangles and a curvy rectangle, But there's lots of foundational fundamental stuff in this video, so don't skip. Plus, we'll learn how to bring in images and lock them in the background so that we can trace over the top. All right, let's get going. All right, first up we are going to create a file. Either click this button here or file new up to you. There's a bunch of preset sizes along the top here, okay? We're going to go to an easy one that we probably all know in love. We're going to use US letter. If you're a metric person, just use letter. Okay, sir. I'm going to use letter. And over here I'm going to go portrait. I'm going to go landscape. Okay, and get started. The other thing we're going to change is under color mode down here. Okay? We're going to change to RGB. Okay. We'll talk about color later on in the course. Rgb is kind of more of a computer screen color, and Y K is more for commercial printing. Ours is going to stay on the computer. You have more colors in RGB, so we're going to keep that things are brighter and nicer. We're not worried about rust effix at the moment. Leave it whatever it is. And then let's click Create. Next up, we're going to all draw from a pitch that have drawn like a hand drawing. We're going to bring it in and trace over the top of it just to keep everybody doing the same thing and not getting too lost. We're going to go to File and we're going to go to this one called Place. File Place is the same as File. Import Illustrator likes to be different. Like the only program ever, File place. I want you to look in your exercise files and there's one in there that should be called Sleeping Fox. Before you bring it in, what I want you to do is there should be some stuff on the bottom here. On a PC, Anim, I'm not actually sure if it's on a PC as well, but if you can't see the stuff in the bottom, here's a little options button. Show us the options because we want to do this template, I'll show you what it does instead of just bringing in an image. Okay, what it'll do. It'll do some fancy stuff for us. Let's click place. Okay, what's fancy about it, Dan? It is kind of washed it out. So we can draw over the top of it. Normally this would be solid black. If we go to our layers panel over here on the top right. Okay, let's put it on its own layer. That's this one here. It's locked it so we don't wreck it. Okay. And we can turn up visibility on and off so we can see it but see that little lock there. It's locked it and it's made another little layer for us to draw on. So it's just a tracing layer. That's why it's good. They call it a template. Thank you, Illustrator. Okay, go back to properties and we'll start drawing. First thing we're going to draw is we are going to draw a rectangle. Very exciting. There it is there, Click on it. Okay. If yours is somehow on something else. Okay? Any of these tools that have see the little chevron or the little triangle in the bottom corner, that means there is, if I click, hold, hold, hold my mouse down, there's stuff underneath it. Some of them don't have it, but a lot of them do. Okay? So if you've got something other than the rectangle tool, click it, Hold it down, Pick the rectangle tool. Okay? So what we're going to do is draw the body here. So I'm going to start at a point. I can see click my mouse down, hold it, and just kind of cover it. We're going to be really rough here. We're not going to be like surgical precision, but you can kind of see that looks like it kind of covers the body. Nice, once you have drawn it, if you've done it terribly, what we can do is we can resize it. And that is the black arrow. See this one here? Okay, remember this has like really big movements and the direct selection tool does little parts. Let's click this top one. And you can grab any of these squares in any of the corners to go and move it around and get it close. And drag it along there. You can grab the corner ones and resize it. Okay, there go get it something like this. It doesn't have to be perfect. Now what we want to do is play around with the stroke in the fill. Depending what you last drew, yours might look different from mine, yours might look the same. We've got over here a fill of white and a stroke, which is the line around the outside of black. I want to give it a fill. Click on the little, this little square here next to the word fill. If it's not there, okay, grab the black arrow. Okay? If it's gone, you got to click on the object, okay? And if you can't click on the objects, maybe click on the edge of the object. If it doesn't have a fill means you can't click the center. So you might have to click the edge black arrow, have it selected. You should see the fill over here. And we're going to pick a fox color. Is anything you like, you can have a green fox. A blue fox. Okay. Next thing I want to do is I just click off and that little panel drops back in there. I'm going to get rid of the stroke at the moment. If I click from the background, can you see there's a black stroke around the outside? If I select on it and say you, my friends, click on that box there that has the stroke color. Okay, You might have this one here, you might not. This is the nun, the little red line means I have no stroke. You can do it with the fill as well. I can have no stroke and no fill. It's not very useful. It's a rectangle. Okay. And it's really hard to select afterwards, so don't do it. You can't go at the edge though. Okay. But I'm going to have a fill and I'm going to have a stroke of non. There we go. We've done a rectangle, only took us a couple of minutes. We'll get faster as we go. The other thing about fill and stroke, we're using this one over here. You can totally use this one over here. Same, same, okay? I can click the fill. Actually got to double click it. And I can't drag this slider up and down to pick different colors. I can move this little circle around to pick colors, shades within that color. Okay. And same with the stroke. I can click on this one here, the stroke of the background double click it. Okay? And the same thing here. I can drag this around and drag within the hues of here. To pick a stroke in a field color, I'm going to hit cancel. And to get rid of this, I can go up to here and just pick orange. That'll work, but I can use the Undo. Undo is under Edit. Undo the short cut. It's one of those short cuts you're going to use a lot. Okay, it's on the shortcut sheet that you've printed off or write it down. K on a Mac, it's Manzi controls on a PC. Okay, you can go back loads. I don't think there's a limit on it. Okay, so just keep hitting undo, either coming up here or using the shortcut to go Edit Undo until it's back to where we didn't break it. All right, the next thing we're going to do is the radius of the corners. Let's do something fancier now with my black arrow. Okay. I can click any, see, these are like little targets in the corners. If I click hold and drag it, look at that. Look at rounded corners, look at us. But you'll notice that if I move this other way, I only want two corners done. So I'm going to undo, undo. Okay, remember Mines commands on a Mac. Controls on APC. What I want to do is actually just do one corner. Okay, So I can click on this once you can kind tell. Can you see the target looks a little different? Yeah, it looks different. Click hold, and drag that one. Look at that same over here. Click them on once. Drag that up. Cool, don't worry for this video. We're just making it good enough. But if you did want it to be perfect, I'm undoing again. You can click one hold shift and click the other. Holding shift and clicking multiple things, we'll kind of slick both of them at the same time. Now with nothing held down, I can click and drag one of them. Look, they're both perfectly the same. And my drawing is not perfect, so don't sweat it if yours isn't okay. I'm sweating it because I want to move it out there. Go go rounded corners. Awesome. Next up, let's draw the head. We're going to use the polygon tool which is a triangles. A polygon. There's no particular triangle tool. Okay, we've got the polygon tool, remember to get all these other tools. Just click, hold it down, hold, hold, hold, and pick polygon. Now, by default, it probably picks this I just clicked and dragged out. Okay. I don't know octagon, no, that is a pentagon, hexagon pentagon, I think so. Anyway, what we can do if we want all the options, because we want triangle, we just want three sides, okay? What you do is with the tool selected, just click once and you get given things like the radius, which is the size of it, and how many sides. I'm going to want three because I want a triangle. Whatever gets drawn, we'll do, okay. It doesn't matter if yours is bigger or smaller or if it's crooked or not crooked. Okay? We have got a triangle. What I would like to do now is scale and rotate it to sit over the top of this. Okay? So what I'm going to do is show you how to scale and rotate. Grab the black arrow. Now you can do it over here. Look if we want it to go 90 degrees, you can just type it in 90 degrees. I didn't want it to go 90 degrees. You can get it to go -90 or 270, whichever you prefer. Okay. So that's one way, the most common way of doing things is actually just doing it with the black arrow tool. So look at this. When I'm hovering above these corners, there's two options. There's this one, the little double arrow, and then the one just a bit further out. There's like no man's lane. Right, Like this one here is actually scale. We'll do him in a second. But the rotation one is not there. But just a little bit further out, but not too far because it goes back to the error. Somewhere in here is this magical land of rotation. So what we're going to do is click hold. Once we see it, okay, If you can't see it, remember have this selected, find the magic zone. Click hold and drag it. You can drag it any which way you like. Okay, What I want to do is get it to lock in to kind of commonly use angles which is holding the shift key down. So I'm still dragon hold shift and it goes in 45 degree angles. But there you go. So I want to. Pointing that way. Okay. The next thing I want to do is play around the size. Okay. And we kind of saw it before any of the corners you can rotate or do size doesn't matter up to you. So I want this little stretchy arrow thing. Okay? And I can drag it any size I want. Okay? If I want it to be like I don't want it to distort, okay? You can hold down the shift key like we did with the rotation that really common that shift key, okay? To get things to go to normal sizes or in this case it constrains the height to be the width as well. So it gets proportionally bigger, get close. Move it, I'm going to grab the center of it. Sometimes you need to grab the edge of it. If you don't have a fill, I'm going to get it close to it. Hold my shift key down. You can hold shift before you start dragging or afterwards get it close enough. Alright, so go ahead, it's a big triangle. I want to do a couple of things but I need to be able to see the thing in the background. We've added fill and removed the stroke and all of this. I want to select this hold shift to select the head as well. Okay, so we've got them both selected. And then I'm going to say that fill that we just picked, I'm going to switch you to none the stroke. Okay, I have to kind of click off to get the little box and close up. Okay, So I'll just kind of click off in the background. If you do click off in the background like I accidentally did now, kind of on purpose, not really. Okay. Even though I can't see it, it's got no stroke, no fill. I can kind of hover around and eventually there's this thing that says, hey, there's something here. It's got no fill or stroke. But I can click on at once, hold shift, try and find that one. Now I've got them both selected. They both have no fill, both have no stroke. Let's give the stroke black. Okay. Just so I can see the outside of it. And clicking off the background. Because what I want to do is get this to be the right size. Okay, I pretty much got it before it's close enough. Okay, I want to play around with the corner options down here. So I'm going to click off, Click here. Now I want the corner options down here. I want to round this one. It only has one target at the moment. Okay, So what I can do with a triangle is we've been using the black arrow. I told you that you use that mostly. And use the direct selection tool, which is the white arrow, for little pieces. Okay? Because what it really wanted you to do is just do all the rounded corners. Just ignored these down here. Okay. Just didn't have them. So if I go to the direct selection tool, which is like the details tool, it gives me more details. I'm going to click on just this target. Okay, and drag this one up. Nice. So you end up toggling between these two loads on back of my black arrow. It's my default tools, the one you end up falling back to. Now let's draw the nose. We're going to do another triangle just to practice. So we want the polygon tool. Okay? I'm going to, if I click out and drag you, notice it going from a pentagon to a triangle automatically. It just remembers the last thing you've done. What I want to do is that I want it to come out at some random shape and angle in size. I'm going to hold down, remember the key that kind of constrains things. Do you remember what it was? That's right. I hold down shift key and you can see it kind of locks it into position and I can pick a rough size for good measure. We are going to look at the black arrow and we are going to get in that, no man's land, not size. We're going to rotate it, hold down shift, so it kind of gets it into the right angle that we want. Now it has no fill. I can see no fill, no stroke. It remembers the last thing we did. Okay. And I'm going to drag it over. You can either I end up dragging the line, you can drag the.in the middle. Okay. If you find that more handy. Okay. I end up dragging the line for some reason. We're going to get it down to kind where we need it. And then we're going to zoom in. Who remembers what zooming in is? It's right, plus, that's right. Command. Plus, on a Mac control, plus on a PC, come in nice and close. Remember, hold down the space bar handle just to kind of get it in position. And what we want to do is we want this. I've got nothing selected, so I just click in the background. I want this to line up perfectly with this. Sometimes if you try and do it, if I grab the edge here, so this is what happens. It's easier to have it deselected because I want this point to line up with this point. If I grab it to start with, what you'll notice is there's all these words, right? Okay. They're called smart guides and they're helpful. It says, do you want to grab the anchor? And you're like, yeah, do you want to grab this path, which is the line? I want to grab the anchor. Okay. If you can't see any of those words, go up to view and make sure your smart guides has a little tech next to it, okay? And what we're going to do is grab the anchor and say you go and match the anchor. It gets close to it and it should snap in. If you're zoomed out, which is command or control minus, it's a little hard to do it. Watch this if I try and do it out here. And that's what can frustrate people in Illustrator. But if I zoom in, it says, I'm really focused on this area. Okay, So I can drag you and it's just a little bit nicer to work when you're zoomed in and you see in this case what it said was intersect. Would you like this anchor to intersect with this one? Yes, please. It's a bit big. So I'm going to hold down my shift key and make it smaller. Then grab it again. Remember I deselect it off and then just grab the anchor. Get it in there. Look at that. What I'd like to do is give it a pill of black. And does it need a black stroke? It can. It can't. I'm just going to turn it off. Okay, so it has a pill but no stroke command or control minus to zoom out. There we go. Got a head with the nose. All right. It's a long video and we haven't done a whole whole lot. What we can do is we go to our layers panel. Let's turn the visibility of our template off. And this is it, we'll hit the big time, but it's giving us a sense of the tools. Let's get onto the next video. We'll draw the eye and the whiskers, and the stars and all the rest of it. And start coloring it in and making it look awesome. Alright, I'll see in the next video. 6. How to draw lines arcs & stars in Illustrator: One. In this video, we draw all the rest of the stuff. Stars and grass and ears and whiskers and things. Okay, we're going to learn primarily the line tools, the Arc tool, the Star tool. But there's just so much other foundational stuff that will cover in this video. So let's jump in and draw more folks quickly. Before we get started, I was looking, just about to get side, and I was like, my pencil has a line through it, I know it's wrong. But if you were following me, kind of fiddling around with your layers, like I was in the last video, actually, I did it for the intro and it was because I had locked that layer or turn the eyeball off on it. Okay. I can't draw on it. It goes, well, I can't see it. Okay. So you can't draw on it. So if you do find yourself locked like this with a pencil that says, uh, uh, okay, make sure the layer is turned on and you might have to click on the word as it goes. Blue means that I'm working on that particular layer. That's more important when you have multiple layers. But there you go, you know. All right, let's actually get started. Okay, my properties panel, I am going to draw the whiskers. Okay, so what I want to do is let's grab the line tool. The line tool is hiding underneath the all the rest of these ones, okay? So rectangle tool, hold it down. Line segment tool. Just drawing a straight old line. Okay? I'm going to zoom in again. So command or control plus space bar. Hold that down, move it around. Or remember if you prefer, you can just drag the little sliders and I've got 123 little whiskers to draw. All I'm going to do is click hold and drag down there. Okay? So click one, hold and drag. Mine looks weird because it has no fill, no stroke. See there, it remembers that, because that's the last thing I did at the end of the last video. I was messing around with fills and strokes. Okay, so what I want to do is I've still got it selected. If you've lost your selection. Okay, It's a member of black arrow. Okay. Click off in the background. I click on my line that I can barely see and I'm going to say you have a black stroke. Okay? No fill. You can have a fill on a stroke. So this line here can have a fill, but you'll never see it because it's just one single line. Okay, So I'm going to go back to none. The next thing I want to do is, with it selected, I want to bump up the width the moment it's a bit thin. One point. Okay? A point is the default the illustrator uses. Okay? So we're going to go 123, I don't know, 4545. Okay? I'm going to use five points for this. Okay? I'm going to grab my line tool again. Okay, I'm going to click hold and drag this one. Remember it remembers the last thing I did. I'm going to try and do this one as well. It's kind of overlapping this. That's okay. Now, one thing I've done is I've made sure to draw these separately just to make this exercise easier. Because watch this. If I try and get them all from the same 0.01 and I go 22, I'm trying to draw from that corner there, but it just keeps moving it. Okay. If you do want to do that. Okay, grab your black selection tool. Click off from the background, it's called deselecting back to your line tool. Then you can click and drag. Okay, black arrow. Click off line tool. There are quicker ways of doing all of this. We'll get into them in the course, but that is the easy, easy way to get them all going from the same point. But I just made them all separate. Okay, so 123. The next is going to be the eye. We're going to use the Arc tool. The Arc tool used to be in the tool behind knoll here, but they've gone and moved it. Like I said at the beginning, under these three little dots, lots of tools. It's shuffled over here because not many people use it once they've learnt the pentool. The pentool, which we'll learn later in this course, is a little bit trickier to learn than the Arc tool. So getting started, scroll down, scroll down. Where is the Arc tool? I can see it. There it is there. Okay. So I'm not going to drag it over into my tool bar 'cause we'ren't gonna use it much. But it's really handy to get started to draw simple things. I'm going to click on it, okay. And over here I'm going to click, hold and drag something. Now, it's not going to line up perfect, and I'm okay with that. Okay, so I'm just going to draw something that kind of resembles the right arc. And then I'm going to rotate it. The right arc is up the wrong way. It's okay. Okay, so maybe what I'll do is I'm undoing and I'm going to start over here and get it kind of right. It's closer, but now I need to rotate it. But we know if we go to our black arrow, okay, and we grab this random area, we can rotate it around and get some sort of Archie, goodness, there we go. Perfect the Arc tool. Now we're not going to do it in this video 'cause I drew no circles, but your eyeball could be open. And we could just use the lips tool, which is hiding in that same group. And we could just drag out a circle if you want it to be a perfect circle. Imagine what key we could hold down. What could it be? It's the shift key. There you go. You could draw open or a wake box. That's not what I want. Okay, so I'm going to grab this, drag the stroke over here. Here we go. If you are finding it hard to move, remember grab the actual line here. Maybe not these edges. Okay, These will just resize it. But if you grab that line part, you should be able to move it around. Making sure you use the black arrow. Who? The next one we're going to do is the star tool, Okay? So the Start Tool is mixed in with all of these fun guys there is there Start tool, okay? And I'm going to click, hold and drag out and kind of get it close, knowing that later on I can grab my black arrow and I can resize it. Okay, holding shift so it doesn't go all Squidgy. And I can rotate it by clicking in that kind of like no man's Len practice during the first two stars. My stroke remembers the thick stroke I had here. I'm going to switch him back down to one for the moment. Actually no one of them up for five. There we go. Grab the star tool, click and drag this one. If it gets in the wrong position, black arrow grab the edge, not the fill, because I don't have a fill and just get it close. Just a quick little note for the star tool. If you want something other than the traditional star, okay, like we do the triangle, just click once, okay? And you can get how many points? If you want your stars to have six points. There you go. If you want to click once again, if you want to be more spiky, you can make the distance between these wider, okay? At the moment these are 2.5 12.6 Yours might be 7 ", but it'll still be half. If I make this 20, KC gets more spiky. The inner radius is that one there. And the outer radius is that the further apart they are, the more spiky it gets. You can do the same way if you get this pretty close. If I make this 18, you get a pretty lame star. All right. Click on. Go back to, I had 12 by six and I'm going to do five stars. I use the tab key to go through these little fields. You don't have to, but I did it and I forgot And I assume you're going to go. How did you do that? There you go. So there we get, we've got one to do, the third one, rotate it around, and then I'll show you. Another thing we'll do is instead of just using the Star tool, we can copy and paste these with it, selected with our black arrow. Copy and paste. On a Mac, it's command C, command V. On a PC it's control C v. Okay, your normal copy and paste. I'm going to go a copy, I'm going to get paste. And then you can go, yep. Okay, and make your own sound effects. Doing it. Okay, copy paste. And let's do this last one, another one. All right, let's zoom out. Sometimes it's good to just zoom out completely. Instead of going command minus minus minus, you can actually just go command and hold down. That's control minus minus minus on a PC. Instead, you can hold down the command key or control key on a PC and hit zero on your keyboard. See on the top layer there, there's 123. Hit zero. Command or control zero just goes out to the full screen and then we have our stars. Who? All right, let's start coloring this thing back in. So I'm going to select on the edge of this and I'm going to have a fill of that. You also have all of, maybe just a lighter version of that. Okay. I'm going to have no stroke. I want to do it to both of these. I'm going to select the first one, hold shift, grab both of them, and say the stroke is none. You see this is fill. The Phil says, I don't know why is the same question mark? It's because I have two different fills, a lighter orange and a darker orange, and it doesn't know what to display. It doesn't matter. Okay, But that's what that is. Next thing I want to do is everything's looking alright. Let's do this air here. I want to use my triangle tool again so it's under polygon. I'm going to click once to make sure it's set. Three perfect black arrow. Okay, I'm going to move to my shortcuts for the black arrow. If I hover above this tool, can you see? It gives me a little example of it, but it also has the shortcut key. Same with the direct selection tool. It's a, so I use V and A loads look at my toolbar over here. Okay? If I go V and I go to A, and I go to V and I go to A. Okay. Just toggles between those tools, just save some time. You don't have to, it's on your shortcut sheet, but there you go, some of my V key and I'm going to go op, I'm going to drag you close enough. I'm going to give it a fill. I'm going to give it a stroke of that light orange that I'm using. I'm going to give a fill of white. Because that's the kind of thing I want. I want the stroke size to be up four, looks good. I'm going to zoom in command or control plus. And I'm going to resize it to make it look like the air that I had. To make it a bit bigger so it sits behind the head. Now we're going to bring up a very important point, layer height, or they call it a range. Okay? At the moment, the last thing you drew is on top. And that's worked out so far, but now I want this behind the head, so I've got it selected. I'm going to go to this one that says a range. And I'm going to say send it to back. Okay. And it will send it all the way to the back. Okay, so it's at the bottom of everything. There we go. You can select it and right click it and say the exact same thing. Range. Okay? There's a few different places you can get to it. Even shortcuts eventually, that you'll get used to. All right, so my ears behind it. Let's finish this off. Basically, we're going to kind of use flavors of what we've already learned now. So you can skip ahead if you're like I can make that tail go. And make the tail, if you want to watch and do it together, let's do it together. So I'm going to go my rectangle tool, click and hold down. Okay, grab my rectangle tool, draw them out. Okay, remember with smart guides on it should snap Ok, can you see it snapping to the bottom of the tail there? And I'm going to do a couple of things. I want it to have fill of the orange that I'm using, that orange, I'm going to have a stroke of none. I'm going to play around with the corners because I can't remember black arrow. That one and that one. I'm going to go, you hold shift and grab that one and drag them both up. Perfect. Now I've got two options. Now I can draw another rectangle to get this kind of Centi bit and do the exact same thing, but I'm going to go copy paste. And I'm going to shrink it down. And I'm going to put them in there. I'm going to give him a fill of white. Okay. 'cause this is what I'm looking to do. And get him kind of in there, drag them this way. Oh, snap there. Weirdly, watch this. I can't make it any smaller. Okay. And I was like, huh, it's because that big radius. Watch this. Want to get down to here. You can see the radius. Kind of forced and it won't go any further. And you're like, why wouldn't that go any further? Okay, so I'm going to say you get smaller so that I can shrink this smaller. What I mean, that radius is still holding it open, but not as far now. So I'm going to do something like this, something like this, something like that. Good enough for me. Now while I was drawing it, I'm thinking, does a sleeping fox have his tail up? I think he should be like this. Holding shift to click both of these. Generally what I do is I go click once hold shift, click the second one. Give him a wiggle. That way I know I've got both of them selected and I can use my rotation. I totally missed it. Give me a rotation holding shift so it locks down. Like is that a better sleeping fox to change the color of it. But maybe that's better sleeping anyway you decide my ones are like alert. Sleeping going to be. I'm going to under a few times, it's back to where I got it. All right, there's the tail. What else do we need to do? We're going to change all the colors of these. You can go click once, hold, shift, grab the edge, grab the edge. That works totally. But sometimes with the black arrow, you can just drag a box around stuff. It's easy because there's nothing else in the background. If you drag a box around all of this, watch that, We'll grab too much of the fox. That's bad. So I'm going to grab all of these. I'm going to hold shift and grab these two. That can be a little bit of a time saver. Otherwise Shift. Click them all to select them all. I'm going to make this stroke orange. I'm going to finish off these guys, Okay. My little grassy things in the background. So what I might do is actually I might just pop him over there. I'm going to grab my polygon tool and I'm going to draw out a triangle hold shift to get it perfect. And then you're going to go hit the V key to go back to my selection tool and just make some grass parts. Okay, So I'm going to go something like that. I want to make mine like an off gray color. It's going to be like that night time scene you saw at the beginning. Oh, I'm going to go copy paste. So I've got two of them. Okay, rotate. Actually, I might shrink it down first up, then rotate them around using any of the corners. Use your own short cut voice sound effects. Okay, I'm going to get mine to overlap. Same here. Sometimes it is tricky to get the rotation. You can see me, Master of Illustrator, clicking and dragging and missing. I'm going to shift, click all these, copy and paste them. I've got two copies and this one can be over here. And we're just going to shrink the whole lot of them. Okay, holding the shift key down. It's just the smaller one there. Okay, Next thing I want to do is command minus control minus zoom out. Put this back. When I wanted to put this back, I wanted to snap in there. So I'm going to go snap in there. Remember, if it's not snapping to stuff properly, you need to double check that view and the one called smart guides is on. All right, last thing I want to do is put a sky in and a background. I'm going to do is I'm going to grab my rectangle tool. Okay, there it is there. And I'm going to start in this bottom corner, drag up. I want to kind of get it, so you'll see it kind of like sneaks to the bottom of my fox. It's pretty good at snapping to the edge. I'm going to go fill that same light color. Okay? And now I'm going to do another rectangle, okay, That goes up the top there, covers everything, and ruins it. But we know that I can say, let's give it a fill color. I'm going to give it a dark gray color. I'm going to go range San. Back here we go, look, it's our fox. Just some simple shapes and lines. And I don't know, you can get quite far in an illustrator just with the basics. A couple of takeaways before we move on is that it can be easy to draw over the top of something, especially if you don't have maybe a history of illustration. It might be easier like me to draw it first. Trace it, use an image as a reference from don't Google images. Okay, and draw over the top of that. Stay tuned to the end while I show you my actual drawing. All is not what it seems. The other thing to remember is that we are sticking in this course just to the basic shapes you'll end up doing, kind of combinations of tools to get the desired results. Some shape, some pen tool, some shape builder. All the stuff we're going to learn, we've stuck to just the basics here, so there's loads more to come. And the other thing is that if you have got lost, okay, like I said in the earlier video, if you double click anything, you end up in isolation mode. Everything grays out. You can't click on it. Who remembers how to get back out? You can hit away at this arrow for a while or just click, double click on the background anywhere, or hit the escape key. Okay, That'll get you out as well. So if you get stuck in isolation mode, escape using the escape key, there you go. Well, one thing before we go is that we've covered our background. So under our layers panel, if you do not have this, I'm just clicking it and hitting my delete key. You can see all the lines poking through in the background to turn it off. This is a like visibility icons. If I click on this, okay, it will remove that template that we're drawing over the top. Remember if I turn it back on, turn the top one off is my drawing on. So I don't need this now. But because if I go undo a few times, undo, I've covered mine. So it can be on, it can be off. Nobody's going to see it. But if you can see the background, you might want to turn it off. And last thing I said I'd promise is that we've been following this drawing here. Oh, look how sharp that is. It's not sharp but it's very clear. Right? The actual drawing that I would have drawn from was this one on screen. There it is. Look at that gem. That's the design I was going for. So often what I'll do is I'll draw it by hand. And then would I scan that and redrawn it? An illustrator, probably not too rough. Okay. This one could have. Okay. Could have easily just scan that one or take a photo of it. Bring it into illustrator as a template and drawn over the top. This one here, not quite a little bit rough. Alright, so that's it. You don't need to be a great drawer to work an illustrator. I just rough it down on paper. You don't have to, you might choose to. Sometimes I go straight to Illustrator. But yeah. There you go. That is it. I will see you in the next video. 7. Scaling Stroke & Effects & Corners: One, welcome to the exciting world of scaling, stroke and effects, and corners. Woohoo. I show it to you early because this is going to happen. You're gonna select your fox, and you're gonna want them to be smaller. And you're like, okay, cool. What's happening? What happened to him? K The stroke stayed the same size, but the actual object got smaller, so they just end up with these big chunky lines. And I'm not sure what happened to his whiskers. They're the exact right size they were, but they didn't scale down. How do we fix that? Sometimes the opposite happens. You've drawn this K to try and match this, but it's the wrong size. This, make it bigger. Okay? I got it the right sort of size, but the lines got really chunky. Now I want the stroke not to scale. How do we do it? Let me show you. Al right, to find the settings, you have to have nothing selected. Okay, so either just click in the background like we've been doing there is the long way. Select Deselect. Okay. If it's grayed out, means of already deselected, it's done. Okay. And if you've got nothing selected, you'll notice over here in my properties panel there is these two scale corners and scale stroke and effects. I can't think of a time where I have only one of them on and just the other one off. Okay. I turn them both on and both off. I'm sure there's a really good use case. I don't know what it is. And what we'll do is let's with it off. Okay, let's just move this background over here just so it's a little bit easy to select. And watch this if I scale it down a little bit, so I've selected everything, black arrow, grab it all. And over the top here, I want to scale it proportionally. What do I hold down? It's right shift. Okay? So it scales down. And if you do this, you'll probably not notice. I'm going to turn the background layer off just to tidy things up. Okay. You'll probably just notice it looks fine. But once you get down to this, look what happens. Look what happens to my poor fox as a command or control. Plus, plus, plus, okay. And oh, no gate. So it is keeping, it's not scaling the strokes and it's not scaling the radiuses as well, the corners, Wheatley, it's clearly scaling these ones, but not this one. That seems to happen when we do just two of the corners, not the whole thing. If it did all four corners, it'll scale like this one here and it'll try and retain the original corner radius. Okay, so we want to turn that off, so I'm going to undo. So it goes back to giant version command, or control zero on a keyboard to see it all. Okay, to scale this properly, we'll have nothing selected. Okay, and go over it here. Scale, stroke effects and scale cornets. Now when we make it smaller, okay, it all comes along for the ride. Look at you command plus, plus, plus, plus, plus, or control plus on a PC. Okay. So there'll be times where you need it on and off. When do you need it off? Because most of the time you'll have it on. That's the good default. Just have it on all the time. The time you'll need it off. Let me show you for instance, I'm going to undo till it's big command or control zero. And I'm going to grab, or you can all do it. Go to file open. Okay? And in your exercise files, there's something in here called the icon heart. Okay? So open that up. Okay? And I've got it here. I've drawn a little heart for us. We'll draw hearts later in the course. But let's say that using our current tools, we've got this icon. I need a search icon, which is going to be, we're going to use the ellipse tool. Okay? And I'm going to draw out an ellipse, actually I'm just going to click and drag it holding shift so it's a perfect circle. Okay? And I'm going to get it to about this, I'm going to do mine a bit weird, like let me just do me too small accident. Okay. So you're either drawing in different documents, bringing people's different icons together. Okay. The other tool we know how to use, line segment tool, and I'm going to go click and drag. There's my fancy search icon. So why did I do this? Because icons, they need to have the same width to be consistent, right? The stroke width has to be the same. So if I select this and go or have nothing selected. Okay, And say those are both on. Okay, So I Dan said leave them both on most of the time unless I select both of these and I go, oh, I need you to be a bit bigger. Can you see it's scaling the stroke and now they don't match. This one's got a big thick chunky stroke of 76 and this one has the appropriate 40. Okay. You'll be like, ah, how do I do that? It's because I can select them, They've both got 40 now, but I can say nothing selected both off. Grab you and scale it up. And it keeps the stroke width. Okay. Doesn't change it over here with it off. It's a pain in the butt. Okay. Things get smaller. Well, let me go select hold shift scale. Okay? It kept the stroke size and the rounded corners and we didn't want it. Okay? Whereas in this one it's handy to have them off because we want to get it to the right size, but keeping all our strokes and all radiuses so that things match up a bit advanced. But I guess I can't show you one without the other. And people run into that problem all the time, okay? By scaling things and things just not doing as they expected. Let's play it out a little bit more, just to drive it home. So I'm going to slick both of these, copy and paste it from this document, which they're an appropriate size, let's say to our Fox. Paste it in here, you're like gyormous, okay. And if I have this scale stroking effects off like it was okay to select all three of these. Quite tricky. Okay. And scale it down. Oh no. The thing that was useful in this document matching them, is now painting the bit. Okay. So I'm going to do, turn this off. Okay. And there's actually two ways to getting to that scale, stroke and corners. Okay? There is the way I've already showed you. By having nothing selected or see and transform under this. Because I don't really want to deselect. Because it took me a little bit of ninja selection to grab all three of these. Okay, so what you can do is go into here. They're hiding in here as well. In the properties transforms because I've got some stuff selected. I can do the exact same thing. There's no difference. Okay, just means I didn't have to deselect and try and re, select these A perfect. Now they're going to be great icons for my I don't know Fox app. Okay, there you go. Scale Stroke in Effects. A couple of things I wanted to point out is you can get to it two different places. You often tune them both on together. And actually that's all I wanted to tell you. I'll show you one other example. We do this later in the course. Okay, We redraw some famous logos. Okay, So with it off. So with it off, we have massive problems, okay, with it on. There we go. It works perfectly. So there's lots of occasions where you actually just want things to scale so you have them on and there's occasions where you want to turn them off. Wow, long winded version of this, what I thought was going to be the video. There you go. Hopefully got a good understanding of scaling, stroke, and effects. Let's get on to the next video. I'll see you there. 8. Saving to the Creative Cloud versus locally on my desktop: Hello. You've been holding your breath. So have I. He's, like he hasn't saved his document. In this whole video series, it's still Untitled three. What will happen if it's computer crashes? That is a very good point. I've been not saving just because I wanted have this video in the course. We're going to talk about saving to the creative cloud versus just saving locally to your desktop like we normally do or have done. Let's talk about the pros and cons and let's get it done. All right, so let's save it. I have been holding my breath. It's been a few days. Kind of over making these videos. Like luckily the software and my computer have played ball and nothing has crashed. So don't do this. I just wanted to save it for this particular video, so we didn't have to cover it too early in the course. Okay, so I'm gonna hit Save, which you should do just after making a document. And you'll get this option which you might have bumped into already. And you're like, hey, I'm going to save it to my computer, go away. So the thing you can do is don't show again. And it'll remember the setting that you want. Okay, but this little thing is a good talking point. So let's talk about why you would save to computer versus Cloud. When this first came out, I just went saved to computer because that's what I knew and loved. Now I only saved to the cloud. Okay, There's very few times where I saved to my computer. And so why is the cloud so good? You can still safety computer. Okay. No big deal. It's the same as it's always been. Okay. But the cloud has some perks, The big per, well, the big drawback, what people think is the problem is if I'm offline and I've saved to the cloud, I can't get my file. That's not true. Okay. There's a special file on your computer that'll be up to date that you can open it even if you don't have an Internet connection. And when you do get your Internet connection back, it syncs it up with the cloud version. Okay, so it works like exactly like working off your computer. Okay, this one here, it's great. I don't use it that much. So syncing to all devices. If you're using more than one computer, okay, you can have access to this file without having to share it with them or put it in Dropbox, or it's just available in your Creative Cloud account. So if I've signed into my Adobe account on my, I'll get a PC as well as a Mac. I'll have access to both files, which is handy. I don't use it that much. You might be switching between computers and that might be super handy. This is probably the biggest one is it's always auto saving. So, you know, if you save it to your computer, if you haven't saved for a few hours and it crashes, you're doomed. Whereas the creative cloud one is always syncing and always updating. And it's not like if you've got a really big, say, Photoshop file open or illustrated file open, it isn't trying to upload that huge thing every time. So if you've got a really weak Internet connection, it's pretty clever. It only updates the things you've tweaked. So only the layers that you mess around with or it's only updating the new text layer that you've added to the file. So it's quite precise. Version history we'll talk about later on. You can go back through your documents. We know, well you might not know, but with the disktop version, once you've closed the document, you can't go back and go Undo. Undo, Undo, undo. Okay. You can do it while the programs open, but with the Creative Cloud version, you can keep going back till when it was first created. All the different stops, anything that was accidentally deleted, you can go back to. For me, one of the big perks is sharing. Okay. It's called invite to edit. I can share it with other team members, colleagues, people, and I can share this document. I don't have to e mail them a link or I don't have to, you know, e mail the file or try and zip it up and send it to them. You can just share it. There's an option up here which will cover later in the course, so there's loads of perks. What happens if you fill it up? I haven't filled up mine yet and I use it. You know, I'm pretty heavy user with the creative cloud. I think I've got 100 gigabytes. Check your plan, how much you've got. It'll be around that sort of number. And yeah, if you're on teams or an enterprise license, it'll be a lot higher, you get terabytes. But for me, I still haven't bumped into my 100 gigabyte limit. You can pay to upgrade that. Okay. Or clear it out, but I haven't had to worry about that just yet. So there's loads of storage. So I'm going to save to the cloud. Actually, let's put the don't show again in case you've done this already. And if I go save the cloud and you're like, oh, I want to save to the cloud. Now there's an option to say save on computer. Okay. And over here, switches back to save the cloud on your computer, save the Cloud. It's a bit kind of confusing, so if you have ticked that off going I'm never saving to the cloud. Okay. You can get back to it there. Okay. And back to cloud document. So I'm going to save mine. Mine is going to court sleeping Fox one. Okay? And I'm going to save it here. Now, in our case, we have a document that is linked to this document. And in our case here, we have a file. Okay? The traced image with a hand drawn one that is actually linked to this file. And it's just saying that this is on your computer and not in the Cloud version. When we get to the end of the course, when we're a bit more handy with Illustrator, I'll show you how to embed them so you don't have to worry about this. But for the moment, it's just letting you know that we have a file on my computer. Okay, that is currently not saved with the Cloud version. Let's click Okay. If you did then okay, get to this, and I don't want it to be on the Cloud. You can go to file, Save As, and save it on your computer. Now the last thing with the difference between desktop and Creative Cloud is when I close, either hit the cross or go to file close. Okay. So we're kind of out of that. You've got a couple of ways of opening documents. Okay? Often I'll be at home. This is probably the easiest way, because down here you'll see stuff that I've worked on. There you go. Okay. It doesn't matter if it's on your desktop or if it's in the creative cloud. Okay. That little tick means it is available offline and it is a cloud document. This one here is just something on my machine and this is one of those things where you're like, hey, why is he saved it to his computer? There are times where I do it a lot of the time it's for your exercise files for this course, okay? Because I want to give you a nice handy zip file and often I'll do things like that. Is actually something that was three D printed and needs to go off to my three D printer here, so it can't be on the cloud because I need to actually stick it onto your USB stick and carry it over to my three D printer. Okay, so home is the best place to open these things. You can get it open K like normal. And it can go to your desktop, okay? Or you can open Creative Cloud Documents. And it opens up. This one again, on your computer, opening Creative Cloud documents, and you can see stuff you've been working on. Another way of opening files that you've been working on is actually probably the handiest one of all is file open recent files. Okay. And it's got stuff that I've been working on. Okay. And there it is, there many ways to open files. All right. Let me know in the comments. Are you a creative cloud person? Were you old school and want it on your computer all the time? Let me know if it's just habit or whether there is some special things you need to kind of be aware of or in your job. And if you're watching this video, take a look at the comments. There might be something that is useful to you to know about the differences. Alright, saving files. Who'd have thought it'd be such a long video? And now I can finally close Illustrator. It's been open for a few days and cause I've finally got a save file. Al right onto the next video. 9. Exporting your images 101: Good morning. It is time to talk about exporting. I've had lots of caffeine and I am bursting with enthusiasm. Luckily, we're talking about exporting which kind of teams it down a little bit, but we need to do this early on in the course. We're not going to get too deep into exporting now. Okay, we're going to do that at the end of the course. You'll see there's a big chunk on getting really good at what and how to export. And for the moment though, early on in the course, I want you to share your files. I'm going to have to show you how to share files. So we'll just do a little run through of exporting. So let's jump in, okay, to export, just go up to file, go down to export. We're going to use export As, okay, and there's a few formats down the bottom here, okay, That you should be able to go to the drop down. And there's some that you'll recognize, some that you won't. The main food groups in terms of exporting images is P and G, J Pig and Web P, which is the new one. This is the one I'm going to encourage you to use through this course, okay? It's new, it's great, The quality is great. The file size can be kept very small and it's the new kid on the block and it's really well supported. Now let's do this one first and then we'll use PNG as a backup. So do Web. Okay, I'm going to put mine on my desktop in an exporting folder that I made. I just made a new folder to stick stuff in. And I'm going to save this now in terms of these settings here. Okay, from Illustrator, we're not going to get too much in the weeds here. We're going to go loss less k, down to resolution. Ok, screen tends to be too small, Medium is great, high is too high for what we need in this course unless you're going out to print again. We'll cover it more detail later in the course. But the basics is lossless and 150 leave you everything else alone and you will be perfect. Let's click okay. Okay, We have a web. The file size is nice and small. It looks great quality, Okay. The other one, web is newish. If you're like, oh my goodness, I'm not using web. It's too new. We can go to file, we can go to export. There will be stuff where you might be uploading it. It'll go, I don't understand what a web is, okay. In that case, go to export as and go to the alternative that is almost just as good a PNG. Do the exact same thing. Let's go to export in this one, use medium as well. Often screen is too small, high is too big, print. Really crappy version medium is great right in the middle. Again, leave everything as is and you'll end up with very similar files with very similar file sizes. Can you see the PNG is just twice as big and the quality is indistinguishable. That's why we'd be like web, especially on the Internet where file size is super important. If it's going out to print your T shirt printer, your sticker printer, it won't matter. And you might find that web is not accepted because I don't know, it is really commonish. But you'll find some systems that are old and just go, no, I don't know where that is. I don't want it give them a PNG instead, uploading files for this course Web, unless you get stopped somewhere and then use a PNG. All right, so we'll cover again this later in the course. There's an exporting section. Okay, we can get nudy on this. I love getting nudy on it. Trying not to get too nudy now 'cause we're trying to keep you enthusiastic about Illustrator and we're not going to talk about Rusa settings and lossless and all sorts of other good stuff. Later in the course, we can nude out together for the moment. That's it, that's how you export from Adobe Illustrator. Let's get on to the next video. 10. Class Project 01 - Your First Creature: Hi everyone is class project time? That sounds like homework, Dan. It is not homework, It's a class project. It's very different. It's not very different. But I promise you, the people that go to the trouble and bother doing these small little class projects that are throughout the course are the people who are going to remember the tools better. Get better at their creative work. So how do you get started? So in the exercise files, you will find a PDF in there called Class Projects. Open it up, it'll tell you what to do. I will walk you through now. Okay. So if you haven't signed up for Illustrator, the software you should have by now. But you can do it, there's my link. Then I want you to go to this thing that me and the team created called Random Project Generator.com Okay, You end up here, go look for the one that says Illustrator essentials. Click that and then enter these two things. And we're going to give you a brief to work from. Why is this useful? It means that we're going to all create stuff throughout the course. That's not the exact same thing, we're all drawing the same fox. We'll build on top of things as we go through the course so that you've got something for your portfolio at the end. So do the class projects. That's my advice. To get started with your own very unique random project. Enter your village. I live in a dear, okay. Or very near a dear. It's my little village. Town. Suburb. And then pick a name. My hint down here, you can pick anything you'd like. I've said use your own name. Use your grandmother or grandfather's name or your child's name, your dog's name. I don't mind. Okay. So I'm going to use my Nana's name. Her name is Rl, She is awesome. And we're going to create my project. And there you go. Kind of made something kind of unique, but we're all doing the same thing. So we have been asked to make our farmer's market product design. So Rl has come to you. We're at least the person who is making Merl's special sauce. Okay. Yours will be different. It'll be your name, plus random farmer's market product that I've put in there for you. So I've picked all the ones I could think of that's will make your branding unique. Let's talk about what we're going to be asked to do. So, you've been asked to create a brand for a new business called Mill Special Source. You can read, I'll read it to you. So the client is a small company, they're looking to sell their product at your local farmers market, okay? They make and package everything themselves. Hopefully get the vibe of what it's kind of like small time stuff, right? Making in their basement or in their kitchen, whatever it is. I've got a target audience, okay? Women, higher average income levels. That's the generic age for people going to farmers markets in general, okay? And a little bit more about them. Have a little read now. What they want is they want from you a logo of flyer product, sticker, business card, and some social media stuff. We'll do that through the course together. Now for this video, this is the main part, is they want you to pick an appropriate creature. Okay, so think of something not a fox, because that's what I'm doing for my special source through the course. So pick anything, and we're going to use it to draw and practice throughout the course. And we'll use it in the branding, so save it. Down the bottom here, we've got a download as PNG, should be Web, okay, but download as a PNG. Save it so that we can use it as part of the course, so you remember what product you got. Don't hit retry and what I want you to do is just use whatever you got as my farmer's market product. It's great to push yourself outside of things that you might not know. And so, yeah, don't hit retry, definitely don't hit it three times. Whatever you do, you've been warned. Okay. So we've got our brief and let's have a look at the class, this class project. So it says do that. We've done that. Okay. Into your name location. We've done that. Save it to your computer. Okay. Drawing your creature to choose a creature. Don't spend too much time. Don't spend half an hour searching the Internet for creatures you might use. Just pick one doesn't have to be particularly well aligned with the brand. It's not really what, That's kind of more of a technical course. Okay. But I don't want you getting hung up here. That's what I'm saying. You can change it later on. I'm not going to know. Cool, and your actual project that you need to do for this one is you need to draw it. So I want you to create a new document, An illustrator. Okay. Save it. Give it a name. And I want you to use the basic tools we've done for our sleeping fox. Okay? So no more than what we've learned here, some basic shapes, some rounded corners. Add some color. Don't get too deep into it. Okay? Just limit yourself to the simple shapes that we've used so far. Even if you know a bit, a little bit more of illustrator, just keep it simple. Now, in terms of drawing your creature, that can be tricky. You might do. What I did in this is I drew it first. Okay. And then traced over the top of it. An illustrator, you might do it that way or you might find an image on the internet. Okay. Find it, download it, and do the exact same thing. Bring it in as a template and draw over the top of it. At least get the basic shapes in there. Or just make it up, wing it. And this is the big part. Don't stress if it ends up being an awkward animal, just leave it. Just pick one. It doesn't matter if it comes out not your most exciting, fun, amazing thing that you had planned. Get in there, do it. We will get better as we go as well through the course and you can come back, pick a different creature or just live with the crazy creature that you picked. What I don't want this project to be is a kind of a roadblock for you doing any other class project through the course 'cause they're really important. So when you've done it, I want you to save it. Okay, remember we did the file. Save as in the last video. Save it as the web or PNG. Just save it as a web if you find it troubling, trying to upload it to places, most places except Web now you can do a PNG, then what do you do with it? Two things, okay? There is, there should be a class projects, okay, or comment section on the page that you are now, Okay, Upload it there, okay? And the other thing is I'd love to see it on social media, okay? Good, bad, ugly. Do this, 'cause I bet you, you will find if you put this one in, especially if it's not your best, it's okay. Because you can say, this is my first ever thing an illustrator. And you can kind of diffuse the tension of like, oh, this is not amazing, why is everyone else is amazing? Get yours up there and if yours is bad, guess what? It helps other people who have bad ones go, huh? My, mine's not as bad as that one. Okay? So get your bad ones up there, share it. And the good thing about it is later on in the course where you do get a little bit better, you'd be like, look at that one, look how much better I've got. There you go. Share it with the assignment section and on social media. Here's my main places. Follow me, Okay. Instagram, Twitter, those are great places. Make sure you tag me okay. Or put it into these groups here. These public groups. So there's a Facebook group here called Bring Our Laptop online. There's a linked in group with the same name. Whichever your flavor is, upload them there. I'd love to see them. One thing is though, is I can't respond to everybody's questions. There are hundreds of thousands of people doing the course. It's mad, I know. So I can't get to everybody. So there's a rule for doing the course. Okay. If you upload something, one thing, you upload your little creature. Okay? I would like you to comment on two other ones. That's the way this thing can work because I can't get to them all. And the comment can just be, positivity, can be love, what you did here, great colors. And if you're new to illustrator and you're thinking, what have I got to say? Use that kind of the commenting as a really good excuse to practice your critical feedback. Okay? And it doesn't have to be bad or like I don't like what you did here, okay? If you're going to have something that's maybe critical and say, I love what you did here. But that often is a great way of framing, especially at this kind of level where everyone's quite new. So I love the face, but I think you should try the legs using the oval tool, or you might experiment with using, you know, triangles for the ears. So try and diffuse a little bit of your harsh critiques because everyone's just getting started here. But everyone loves feedback and comments, so a bit of positivity, maybe a little bit of critiquing, keep it positive, keep it in what you might try rather than you've done that wrong, get the vibe. So we're all going to have to chip in. I chip in loads for the comments, but I just can't get to them all. So you help me upload your stuff. Don't be afraid if it's bad in your eyes, that's okay, we're at the beginning, so go get your brief, create your crazy creature and post it. It's probably my funnest part of a whole course, is seeing all the different creatures that come out, good, bad, ugly, beautiful. Get it out there. Love to see it. Enjoy the process, and be comfortable where you're at. We will get better through the course, al right, That is it. I will see you in the next video. Of course, only after you've done your like not homework, okay, go do the project and I'll see in a bit. 11. How to draw using the Shape Builder tool in Adobe Illustrator CC: One. In this video, we're going to cover something called the Shape Builder tool. It is by far my most favorite tool, or most used tool in Illustrator. It's going to let us go from this kind of real basic shape that we start with to these things super quickly, super easily joining bits, breaking bits off, coloring them. And if you wait right to the end, I kind of find some mystery shapes in that same shape. Look at it, looks like a heart and leaves. And then somehow I think I found a, a lion, kind of monkey thing. Can you see It could just be me. Anyway, loads of shapes to find in these few circles. Let me show you how the shape builder works. All right. First up, let's close our sleeping fox down. Let's go to file. Let's go to open and then you exercise files. You're looking for one called Shape Builder One. Open that one up for me. Now I'll show you how I made this at the end of the video 'cause it's not really the purpose of it but. And we ahead l in the shape builder. Okay. So just, it's just a bunch of circles. Alright. You can pull it apart. Okay. But at the end I'll show you how I made this. It's not very exciting. What is exciting is the shape builder tool. So what we're going to do is the shape builder tool needs everything's selected. So I'm using my black arrow because there's nothing else in the document we can go to select all. Okay. Or what I tend to do is just drag a box around the things I want selected. Great. Then we're going to go to this tool, this is one here. It's the most magical, best one of all of Illustrator. Okay. And we're going to click on at once. And what it allows us to do, there's two modes. There's the ad, can you see the little arrow has a plus next to it. If we hold down our option key, there is a minus, plus, minus. Okay? It has one other secret power. What are we going to do? We're going to join some stuff up. Okay? Because at the moment they're separate shapes. I can't color them. There's lines in between everything. So what I can do is watch this. I can click, hold my mouse key down, click, hold, and drag a line between these 20 and join them. Look at that, man, this tool is cool. Okay, and you can decide how you want to join them. Okay, I'm going to draw all of those. Look at that we've made. I'm going to deflect on the background. Click this age, drag it out. A giant apostrophe or a tadpole. Okay, I'm going to under a few times member or shortcut command Z. What do I want to make? I got a rough idea. So back to the sheep builder tool. Okay. And I'm going to drag, I'm going to make that little I showed you at the beginning. Right. So I want to do, it's hard to visualize it right, like let's do that one. So we're going to start down here. Go UUU, yeah, let's do those ones. How many do that? Four. Let's try and do the next 11234. We're doing it, We're doing it cool. Hey, we've got this kind of like, I don't know, Photo Lens, Microsoft Edge logo thing going on. Let's undo it a bit and show you one of the other ways we can use the Shape Builder. I'm undoing, undoing. So I'm going to go back to my Shape Builder tool. Okay? And I'm going to delete these ones. Okay? So to delete them, you hold down the option A, a PC, and my little arrow goes from a little plus to a minus, plus, minus. I can just click, Once I got that gone, gone, gone. I can click and drag a bunch of them, get rid of them. All right, I'm undoing again to go back to the beginning. Remember I'm using the shortcut. Edit. Undo. Okay the shortcut, I'm using command Z on a Mac, control Z on a PC. I'm actually going to copy and paste it. So I've got two versions of it, black arrow, And try and move just one of these over. Okay, grab all of these and drag this one over. I'm using my black arrow and I'm going to have two things, okay? Go two different directions. The short cuts along here. Okay. I use Shape Builder all the time. Can you see the shortcut? It says Shift, so that's the one I use. Loads, hold down shift on your keyboard and hit M, and then I toggle back to the V key, which is the move tool. Okay, use these ones so often. Can you see the selection tool it says is the short cuts V. This one has the shortcut of shift M. There we go. So shift M, I've got everything selected. I'm going to go and do two different options. You play around too. Okay, I'm going to do this one, this one and this one. And I'm going to delete all this chunk. So I'm going to hold on my option key. Okay? All key on a PC. Okay. And I'm just going to drag all of those, they're gone. Look at that. It's like a surfy wave thing. Now, I was playing around with this before and B Space bar to move around. Select them all. Shift M for the Shape Builder tool, Best tool in the world. I'm going to delete these 'cause I ended up with something that looked like a croissant. So let's go. You drag, drag, drag, drag, trick, trick. Man it's hard, right? It's like spiral graph. Anybody hands up who remembers that? Let's delete this bottom one. Delete that one I'm holding option and I just, in that case, instead of dragging across which works, you can just click once as well. If you just want one chunk to go away. There you go. It is a cloud. I thought it looked like a croissant. Now it's more of a cloud. But have an experiment with that. Okay, get to a point you're going to end up undoing because you're gonna get rid of too much or it's going to not work out. It took me a little bit to practice, to make two things that looked kind of interesting. And once you're ready, let's show you the other secret ingredient for the shape builder tool. Let's do it with this one. I'm slicking it all with my black arrow, which is the V K. To go shift M. Okay. Back to my shape builder tool. And I'm going to go over here and it's really good at filling things in. So I'm going to say I would like you now for whatever I click on to be a color. So I'm on my swatches, you might be over here. Pick on your swatches and just pick three colors. I'm going to go 43. Actually, I'm just gonna pick three random colors. When I say random, I'm gonna pause the video and try and pick three great colors. Go start with this one. We're gonna hope for the best. Okay, The cool thing about it is this little thing that pops out needs to kind of go back into its home before we can actually do anything often. What I do is just kind of click here in No man's land of the tool bar that closes down. Now look, my tool has special powers and I'm going to go boom, Click once, cool. Hey, click once, click once. I can start. Oh, why can't I fill this one? You know, 'cause I didn't select it first. So if I undo, undo, undo. And I want to do all of these things, have them all selected. Shift M to go to my Shape builder tool. Pick my color. Okay. And then I can go, bam, bam, bam, bam, nice. Alright. I'm going to go through and pick a couple of colors. You wait there, okay? I'm blaming the limited amount of selection in the Alright came out. All right. Cool enough colors. If you want to get rid of the lines, you're like hot. I like the black lines. Select it all. Okay, We looked at this earlier. Over here, it says stroke. Click on the little stroke icon here. Okay? And say you, I would like no stroke, which is the little red line. Okay, do we do this already? I can't remember. There's been a small break in between making this video and the last one. So let's go to none. So it's got no stroke. So click on the stroke and say you have none, which is the little red line. Then click off on the background. Click off in the background. Again, we've got nothing selected. Look what we did just with some simple shapes. Practice coloring this one as well. If you have used illustrated in the past and you're kind of like doing a refresher and you're thinking, could we just use the pathfinder? This is kind of the replacement for pathfinder. There is a small use cases where the pathfinder is still good. If you have no idea what the pathfinder is, don't worry. For those of you, do you know it's the click undo? Click undo, click undo, until you find the right setting. But the Shape Builder does pretty much all of the jobs go to the Shape Builder. All right, we're gonna use it more in the course, but for now let's leave this here. And I promised at the beginning, I'll show you kind of how I drew the parts. Just you can skip on, but just I'm going to draw some circles. Line them up if you're like I probably got that. Move on to the next video. If not, I'm going to show you how I got to that point. So I'm going to grab my lipstol, the point of when you opened it up. Okay. So I grab my lips tool. I had a white field by default. That was what the program kind of came with. So I drew out a circle, who remembers what I hold down to get a perfect circle. That's right shift. Okay. Then I drew another circle. Okay. And I just guessed it went about that sort of size. I want them to overlap. It needed to be a little bit bigger than this. So I remember I can hold shift, grab one of the corners. There you go. So now I'm going to go back from my ellipse tool to my black arrow, which is the V key. You got it. And what I'm going to do is click off from the background and you'll notice that when I move around here, can you see path path, path, path path anchor, path, path, path anchor? These is like the tippy top has an anchor point. This tippy side has an anchor point. Okay. What's this? I can go to this one. Here's my anchor at the top. Okay. I can click it, hold it, because smart guides are on, it'll do things like Intersect. Okay. If your smart guides aren't on, go to View, go to smart guides, make sure they're on. And then I went copy paste. Clicked off in the background, found that anchor point and then found there copy paste. And that's what I did. There are fancier ways of doing it, but probably just as quick to do it this way. And we haven't covered that in the course yet. This is how I got almost to where we were at. All right. The only other thing I did was I selected at all with my black arrow and went, you have no fill, which is none, which is a little red line. And that is the thing that you saw when you opened up this video. There wasn't anything special other than just a bunch of duplicating circles. But if you do it with the smart guides on, you can line things up. Now, Slate that all grab shift M and we can start destroying it. Oh man, look what we found. There's a cool shapes in here, not you. Oh, we found loads of cool shapes. Why am I so excited by the shapes? Kind of like a leaf heart thing. Anyway, all right, that is it for this video. The shape builder tool is awesome for making things, but loads more to go in the course. More awesome tools. Let's get onto one of them. 12. Class Project 02 - Icons Using the Shape Builder: In this video. It's a class project time, not homework time. Fun drawing icons time. What I've done is I've drawn, like, hand drawn some icons. Okay. Just so that you can redraw them using the skills that you've learned so far. Mainly the shape builder tool. Okay. And I want you to redraw over the top and they'll lend up something like this. They don't have to look perfect, okay. I'm not worried about whether things are balanced and perfect. And there'll be a little notch probably in this. And this kind of looks more like a beach hut. And this is a phone. I had to add the little rays here 'cause no phones look like that anymore. And I don't know, I simplified mine for this task. So it's a phone. I want you to try and redraw it, but they go from easy to hard. Don't worry if you don't get the whole way through. What I've done is the very next video is the completed version of this where I just go through and redraw it. But I don't want you to skip there. I want you to start here. Make sure on your layers panel, you're on the drawing layer, not the background layer. Sometimes that happens and if I use my line tool on the locked background layer and didn't work, it's got to make sure we're on our drawing layer back of properties. Start using any of the shapes, okay, like we did with the sleeping fox. Rectangles and triangles and lines. Okay? To start drawing it. And then start kind of like adding and subtracting so that we can, sorry, using the shape builder tool so that we can get to here. But again, it doesn't have to be perfect, you don't even have to get the whole way through. You might give up halfway through. It's totally okay. See how far you get on your own. Then in the next video, you can compare your way of doing stuff to my way of doing stuff. It is in the class projects. Okay, where are we? There is class project doc, so open that document. Use any of the tools we've so far, especially the shape builder, give them colors. Pick one color from them all. And the deliverables, I'm just going to say save an image. Now I'm going to assume that, you know, web PNG export as okay. So save an image like we did in the last one. Upload it to the assignment section. You don't need to share this on social media because they're all gonna look the same, okay? So if you're doing the class projects, do that, okay. Upload it to that section, but don't post it social media. You can if you want, if you're really proud of it or you do it better. But for the moment though, it's just a practice for us to do on our own. Alright, my friends, good luck drawing icons. Take as much time as you need. And I will see in the next video where I reveal what I did. Alright, see a bit. 13. Completed - Class Project 02 - Icons Using the Shape Builder: Hello. Hey, how did you go in the last video with the class practice of the Sheet builder tool making the icons? And this video, I'm just going to do the exercise that I set for you so that if you got like, I don't know, only a little bit way through it and got stuck, I can show you the solution. Or if you got to the end, it might be interesting to see the different ways of doing it. Because I betcha, whatever way you did it, I did it slightly differently. Okay, so here let's jump in and let's build the icons together. All right, so I hope you tried it on your own. You shouldn't have run into this problem, but sometimes I've got a background layer that I've locked, that's got my drawings in it, and then I've got another layer on top and where we can draw from. It shouldn't be a problem, but it might happen in the future where you've got the background selected, you grab your first tool and you get nowhere and it just won't draw. It's a bit advanced, but I guess it's might happen. So I just want to mention that. So make sure in your drawing layer that's what I should leave it on. So when you open the file, it's ready to go. All right, next thing, zooming command space bar, hold, hold the space bar down. And just click and drag the mouse. And let's check out this guy. All right, we're going to start with the, let's do the rectangle tool. This is an easy one. I'm going to click hold and drag. Dan's drawing is not perfect, so it's a bit wonky. All right, we're trying to draw these, I don't know, Perfect. Okay, And what I might do is to see the center of this. Okay? I want to turn the fill to none, just so it's a bit easier to see. Okay. What I want to do is grab any of that. I need to close this down. Click off in the background. Okay. And I can grab any of these targets in the corner. I can just drag it till it gets close to my drawing, good enough. The next one is a triangle. Okay, so remember it was the polygon tool, if you're like there was no triangle, Okay, there it is there polygon tool, who remembers, did you remember how do you get it to go? Because like when I draw it, it goes pentagon. Okay. Who remembers how to get it to a three side? Oh, you remember good work. Click once. Okay. Sides, three radius. I'm not worried about because I'm going to change it back to my black arrow. Okay. And I'm going to do the rotation in member is just outside here, so not that dear. And drag it around, how do I get it to lock into kind of like even increments hold shift. You got it? Okay. And it goes in nice big blocks. I'm going to scale this one down. Okay, I'm holding shift again. Okay? But I'm using that little stretchy icon Okay, to get it down to something appropriate. Grab If you're finding it with no fill as well. And you're like, I can't drag it. It's not dragging. You can either grab this dot needle. Okay. Or I end up just, you'll see in this course, I just grab the line. That's what I end up doing. All right, shrink it down, move it into space. A little tip for you early on the course with something selected, you can just use your keys, just kind of like nudged around, there we go, close enough and that is good. Next I need to sheep builder it. Okay? So I'm going to select both of them. This is where everyone might have done something different. Okay. There's lots of different ways of doing this. I'll do it one way. If you got to the end your way. Hi five. Let us know in the comments that the way that you did it was different from mine. Yours might be better. Okay. So I've got them both selected. Remember I can fill with a color if I just go to my sheep builder tool. Okay. Where is he there? I'm going to go fill color of I'm going to pick a color for all of them. Pick that one. Okay? Remember click off to close that thing, then you go there. What I'm going to do as well is I'm going to go stroke, stroke. That is totally optional. Why didn't it work? Okay, It didn't work there. I didn't even realize it didn't work in that case. Okay. So I went stroke no stroke and didn't disappear. It's 'cause I'm using the shape builder tool. I'm doing something a bit different. I'm trying to mess around with it. So if I grew up with a black arrow. Okay, black arrow. Select it all and then get a stroke. No stroke. Here we go. We've got a little icon and I can see through it. Look at that. All right, so there's my first icon. Let's go on to the second one. How do we do this one? First of all, it's a bit wonky. It's okay. Wonky roof. I'm going to start with my polygon tool. I'm going to probably click and drag. You don't need to click once because it's already, you know, a triangle. I've already changed that setting. It resets every time you close and open the document, whole shift to get into the right spot. Then what did you do? How did you get it to be like this? You do what? I'm going to do hoop. There we go, good enough. There's a rounded corner at the top. How did I get a rounded corner at the top but not the sides? Because if I do one of them look shop, they all go and I also want to go fill no feel for the moment. I've got no fill, no stroke. I'm going to have a stroke that is, I'm going to pick a crazy color. It tends to be what I do. I pick one of the neon fluorescent colors so that I can see it against the background. Sometimes black's not a very good contrast. So if I click on the background, I can see green. Easier. Kate, next thing I want to do is I want to get just the curve at the top. So I'm going to grab my black, white arrow, the direct selection tool, and I collect just this top point. Now I can just work on one of them that might have caught you out. It's right, we know now. All right, how do we do these two? I'm probably going to grab the rectangle tool and I'm going to go at your own sound effects. I can probably do all of the corners because I'm going to slice that off and I'm going to copy and paste it. So I've got another one. Back to my move tool which is the V key K, and I'm going to try and line them up. If yours is not like doing cool stuff like this and dissecting and lining up member go to and make sure smart guides is on the handy shortcut command you I'll control you on a PC. Okay. What I find as well is when you're over here, it's going to try and line up with his buddies, but if you find it doesn't, okay. I kind of move it closer and it gets more easier to know. It's lined up and also Illustrator knows a bit better about like, oh, you mean this guy that you're really close to? This thing that's all the way over here. Okay. To line up. So if I get it close, can you see it Kind of like locks in. And then I can just drag it straight out. Straight out, straight out. If you spent ages getting these perfectly distanced apart, we're not doing that today. You could draw a rectangle on this side and use it as a spacer on this side. We're not going to, I'm just going to close my eyes. Well, squint my eyes, poke my tongue out and go a close. Why am I following the drawing? Because I have a teeny tiny ledge of this side and a big one that side. This top one here is nice and easy rectangle tool and I'm just going to draw something like that. Now we're going to grab the shape builder tool. Okay? Black arrow. Actually select all of this. I'm going to go to my shape builder tool shift M, and I'm just going to color it all in. I'm going to pick my fill color again. You can do this afterwards or before. Okay. What's going to go? I'm going to get rid of the stroke, which we know I have to go back to my selection tool, say you have a nice stroke buddy. Here we go. What you can do as well is go to layers and turn the eyeball off on the background layer so you can say how does that look? It looks not much like a house. What it's going to do for this video in our business card. All right, so let's have it on. Let's go back to properties. How did you do this one now? I said in the last video, doesn't have to be perfect. I'm not going to do it perfect here because we don't quite have the tools yet, or the skills yet to do it. Absolutely. Perfect. We're going to get it perfect dish. So I'm going to start with the lips and I'm going to drag it out. Holding shift to get it perfect. Circle black arrow, get it in the right spot. I'm gonna go, Phil. No, Phil, stroke Neon green. Okay, that's good enough. I'm going to copy and paste it. Oh, what? Did I copy and paste? I didn't copy it. Copy paste. Okay. I'm going to line them both back up. And I want it to get bigger. Actually, I'm going to make it bigger first. Grab the center of it, okay? And try and get it close to that guy. Is that good enough? That's good enough, Dan. Now, how did you do this? Did you do it with a triangle? You can so do it with a triangle. Okay. Click and drag. Get something perfect, roughly the right size. Rotate it around. Go to my selection tool, okay, which is V on the keyboard. Hold shift to get it to be pointing down, and this is where it gets a bit tricky. Okay. Getting this thing to line up perfectly is where you might have spend a lot of time. Okay, I want mine a little bit more stubby. It is tricky. Can you see? I can get it to intersect. It's not going to be perfect. There is a way of getting these things perfect, but it's some hardcore skills we need later on. You might have spent some time just getting it a little bit taller, a little bit out. Can you see this? You might have just done this. Can you see if I drag this out, but also be close to this. It still goes to the right point because I'm still dragging this right hand one. Okay? But if I still drag the right hand one, if I follow that line so you can get it to where the apex is, come on a big, so this one here, good enough. There we go, good enough. Now, in terms of the rounded corners, I'm probably going to grab my direct selection tool. We're going to end up going back and forth between the selection tool and the direct selection tool. This one is V, we kind of know that now. This one is A A on my keyboard, V on my keyboard, VV Av toggling between those two tools, I'm going to be on a click on just the bottom one and go roughly to what I had in the drawing. Now what do we do? Select it all with the black arrow. Go to your Shape builder tool minus these two. I'm holding down my option key on a Mac Olkin Pc. I want to join of these so don't anything down and we're kind of there. You might have cleaned it up. I remember saying in the last video, don't worry if there's bits left over, but let me show you what we can do. So we'll go to layers. Let's turn off the background so we can see it a bit better. And you'll notice on my one, you know, zooming a bit, like little bits hanging off. Okay. And what you can do is grab your black arrow, click off in the background. They probably are just click on the once little bits kind of hanging out. Now mine looks perfect. It shouldn't, if yours looks like it's got a big, kind of like donk in the side like this, Probably not that bad. But like if there's some sort of weird bend in the side, that's what I expected. And that's when I'm practicing. This lab happened some reason today, I made a real good one, but don't feel bad. If yours has a bit of a ding in the side, don't worry. We'll fix that later on when our skills get better for the moment. Something roughly like this. All right. What I'm going to do as well is I'm going to zoom out a little bit. Now I could slick it all and grab my shape builder and fill it with color. Okay, Like we've done in the last two. But because this is kind of a solid shape now, let me just slick with a black arrow. Let me see if I can just fill it with my color. There we go. Give that a try. Yours may or may not be able to do that if it's not a complete shape. Should be, or just use your shape builder tool. That's a good way of coloring any old thing. And also I'm going to go Stroke No stroke. There we go. I'm going to turn my background on and let's do this last one. Oh, how did he do this? Okay. This one, you probably spent ages of any that gave up. And actually, I've got mine crooked here. And what I'm going to do actually now is now I'm thinking, I'm like, man to draw that crooked. You'll notice in the last video it was kind of perpendicular, straight up and down. So I'm gonna go and do that now. And be right back. Fix the file cause drawing, to draw it crooked, you do it at the end, you kind of just rotate the whole thing. But let me be back in a second. Alright, we're back. I just kind of moved it around in my little Photoshop scan. So, this one, how do we do this? Let's just get started. Eh, let's start with the easiest bits. Okay, let's go the rectangle tool and draw this thing. Remember the last fill and stroke you have, which is these mine keeps going back to the, even though I go and change it here to these ones. If I draw something now it'll remember just whatever the last fill and stroke you did. Let's have a look. I want to do just this side, it's roughly this right size. I'm going to grab my, a tool for my direct selection. Grab the U plus U and some holding shift. Okay. To grab both of those. And then just drag one of them and get them close. Now I'm going to go back to my black arrow. This might have been interesting, which you might have bumped into this problem where if I have that selected and I go copy paste, kind of worked but left chunk of it behind. It was only selecting those anchor points that we selected with the direct selection tool. If I have just one thing selected and I go copy paste, I end up with just the line. So whenever you're copying and pasting, make sure you're doing it with the kind of default tool, the move tool, the selection tool. What do they call here? Selection tool. Okay, so copy it. I'm just selecting it. Copy paste, And I'm going to have two of them. Okay? Remember space Spider, to move along, make sure the lined up is when you are dragging them. Okay? When you're dragging them down, you can't hold shift. So I get them lined up on top of each other. Right? You're lined up on top of each other. Okay? If I drag it down, it'll probably line up. There we go. Actually, it perfectly does. It is a pink arrow. You can't hold shift while you're dragging things. Remember, shift is like resizing things proportionately, drawing complete, perfect circles. It's the same when you want to drag something in a complete straight line hold shift while you're dragging the edge of it. And that's going to be good enough. Now this parts, so let's grab the rectangle tool. I'm going to draw a rectangle here. Is that what you did or you do something different? Because you could draw rectangle, add circles. It could be an ellipse in there. I don't mind. Okay. I'm going to do that is I'm going to go, here we go, I'm just drag them all because I'm actually going to bend all this stuff. Next thing I want is the ellipse or the circle. I'm going what is going to be a perfect circle. Probably not, because I want to try and get that edge there. Dragging it with the selection tool going too fast. Otherwise this video will be forever. You might have got through really fast or you might be struggling. And you can pause the video for the bits that I did. Probably needs to be just a little bit, little bit bigger that way, using my key to line it up, probably going to be good. How do we do this? There's two ways of doing this. Gap here, you can grab a rectangle and it should line up. I'm going to copy and paste them. So got two, okay, one down the bottom as well. Or you could do it slightly different way you can use the line tool. This is a secret bonus for watching this epically long video is I could grab the line tool. Just remember how do I get it to go straight hold shift and I've got that work the same way with the Shape Builder tool. I can grab my section tool, I can grab all of these. I can go to my Shape Builder tool, I can say option on a Mac, alternate PC. Wait, wait. And I'm going to say you go away as well. And there's a line at the top here or a rectangle. I can actually just click on these lines to get rid of it. Holding Option key down the whole time or Alt on a PC. These words here I don't really want to mess with. I want to see if I can go back to my black arrow. You get rid of that. I don't want you. What's the stuff down here? Get rid of you. Get rid of you. You might have run into that problem, like what to do with all these extra shapes. You could join them all up and delete them. That would work too. I know that there experience that I haven't messed with them. The good stuff is probably still underneath and I can just peel it off. Or again, you could start hacking away with the shape builder tool. It's up to you now. How did he do these? You're like, hmm, you worked it out. Did you do it with ellipses? That's the long way. The quick way is we looked at it briefly earlier on. Remember the sleeping eye on the fox? Ah, you're like, oh yeah, I forgot all about that. Where do they hide all those weird tools that we don't really use very often? Under the Edit toolbar, little dots down here. Click on this one. There is my Arc tool, okay, and I'm going to try my very best to draw an arc. That'll do. Remember, it's hard to draw stuff. I got it the right arc. Now I'm going to grab my black selection tool. I'm going to rotate it around, s' going to make it a bit longer. Squish it up a little bit. Actually not going to use this side, squish it up a bit, rotate it around. There is better tools we're going to use later in the course, but we're using what we got. What I want to do is give it a stroke of the color that I'm using. I'm going to give it a nice big thick stroke to match what I've got there. And then I'm going to go copy paste. This one's a little bigger, probably a lot bigger. There we go. One more copy paste and make this one bigger again, too big. All right, that'll do. How'd you do the rounded ends? I wish I didn't draw them 'cause it's a later part of the course. Ma, that's alright. Let's do it now. Select all the strokes. Go to Stroke, Advanced stuff, don't tell anyone, but under stroke, if you click the word, there's this one here. Okay? Click on round cap. By default we're on this unfortunately named capping, okay? Have moved a round cap and you'll get that in there. You had no chance of figuring that out. It's all right If you did do it, let me know. Okay. You might have done it with the circles. Oh, I'm not sure how you might have done it, but let us know in the comments, if you did do it, I'd be interested. Okay, with these ones here, I'm going to select them all and I'm going to go to fill of that or a stroke of none or you could do if you're not sure is you can select them all, Grab your shape builder tool and then pick your fill color. Where are you, Phil? And if you go No stroke here, you can say, bam, bam, bam it doesn't remove the stroke though. Go back to the black arrow, then remove the stroke. All right, let's turn the background layer off. Gaze at our amazing icons. Remember command or control zero on your keyboard to go all the way out. See everything that your OCD? Kind of line everything up a little bit better, Dan. There you go. Ocd's not quite there yet, it's just ignore it. It's laid out good enough. So, how did you do other than this looks more like, I don't know, some sort of beach hut than a house. I think we did good. Hopefully you figured it out. You might have done it a different way, you might have a different look. That's totally okay. I don't mind it's practice. If you did run into other troubles, let me know in the comments. Because other people will be having similar problems and they can check out your problems and solutions. And if you see one down there that you worked through, chime in answer their comments say, hey, I was doing that. And I tried this, but this is the way I figured it out. All right, my friends, we made some icons. I hope it was helpful seeing me make the icons. We'll see in the next video. 14. How to use layers in Illustrator: Hi everyone. We're going to talk about layers. Is this little tab here, I'm going to start off by saying we just don't use them. And in the original version of this course, I just ignored them because we don't use layers very often in Illustrator. But it confuse lots of people because they really want to touch them and click on them and add them. So this will be a little kind of like overview of what layers are when you use them, why we don't use them a whole lot in Illustrator and we use things like a range instead, but we'll make some layers. We'll get them working, we'll lock some stuff, move stuff around, and I'll try and convince you why we don't actually use them that much. Great video, Dan, show people how to use a tool they shouldn't use has to be done. Let's jump in. All right, to get started, let's close down anything you've got open and let's open up a new document. Okay? When I'm opening up a new document, either file new at the top or click this button over here. Okay? And just as a good starting point, let's go for something that's 1,000 pixels by 1,000 pixels. It doesn't really matter about the size at the moment, okay? But getting a new document set up, probably the main thing is to make sure it's on RGB. We'll cover that later on in the course properly. But basically, RGB looks better on a screen than M Y K. This is more for print, more for screen, all right, 1,000 pixels by 1,000 pixels. Let's click Create. Okay. So we want to draw three things, the text, the circle, and the background. We're going to make the background color. By default, you get given one layer, and often with Illustrator you can just leave one layer and just never do anything else unlike Photoshop. Let's check out Photoshop. Okay, I've got my layers over here. If you've come from Photoshop, you'd be like, we have multiple layers. Illustrator doesn't really use layers that much where it's Photoshop. Let's add something real quick. Okay, bit of a cross sale for my Photoshop course. If you haven't done it, go check it out. I'm going to put in a classic car. Some of the generative fill stuff is pretty spectacular. Wait that, it's pretty amazing what it can create. But in creating that created a new layer for us. And by the end of a large document you might end up, it's not uncommon to have 2050 layers. Okay. Whereas an illustrator, before I go, you should check out my Photoshop Essentials or Photoshop Advanced course. Good, do those. All right. A can illustrate it though. Often you can have one layer and that's it. I'm going to show you for instance, where we don't just you get a sense of layers. You might open somebody else's document. I don't want you getting lost. So let's do a couple of things. So let's go rectangle tool and go back to our properties. Let's make sure your smart guides are on. Okay. A little tech next to it so that when I'm hovering in the corner, it says Intersect and I drag out this nice big box. Yours is probably going to be white with a black border. Whatever you want. I'm going to pick, actually, I'm going to grab the fill and I'm going to give it this kind of gray color here. One of these gray colors, that one there, it doesn't matter which one it is. Make sure if you're on color mixer, go to Swatches. Pick a color, going to have no stroke, going to have some type. Okay, We're going to type more detail in a bit, but for the moment, click the type tool and just click once. Okay, this is going to be the impossible triangle. We're going to do this more in the next video. We're going to actually create the triangle for the moment though. Pick a font size, you can see it. And with the text selected, go and pick a fill over here. All right, we've, okay, let's draw a regular triangle. That's not so impossible. So go to polygon, how do I get? Because at the moment it's going to do that. You know, click once, pick three sides. Okay, This is an impossible triangle. Just a regular old shape. If you're not sure the impossible triangulars, don't worry, we'll do it in the next video. But for the moment we're looking at layers. And I'll show you this because I probably wouldn't touch layers for most of this course. The only time we've used layers is when we're tracing on top of stuff. But when we're drawing stuff like this, there's no need to have lots of separate layers. Just the one what's tricky about Illustrator is that see this a little chevron here, a little arrow? Click on that, Look at that. We've kind of got layers inside of there. There's my polygon, okay, to my eyeball, on and off. So that is, that is my triangle. There's my text saying impossible. And there's another rectangle. So they do have layers. Without you asking, what you tend to do and illustrate is you forget about layers. Never go to the layer, never go to the layers panel. And what you do is actually I want the, let's change the color of this. I'm going to change it to some other hideous color. And let's say that I want it behind the text, Okay, In Photoshop, you'd have to go and arrange the layers or as this one you just go right click okay. Or actually over here is probably the way I've shown you so far. You go to a range, You can either do two things. You can send backwards or send to back. What that means is back is all the way at the back. So it's going to go behind the text and the rectangle which is maybe what you want, I don't want it in this case. I'm going to go to Edit. Undo. There we go. Okay. I'm going to go to the other one where it says arrange and I'm going to say send backward. What that means is it's going to go back one step instead of all the way to the back. It's going to go just behind. One thing, nice. If I have this one here, I've got a lips now, that is another color. I say arranged backwards. Where is it going to go? If I say back, it's going to go all the way to the back. Right? I'm going to say backwards. And it's going to go behind the text, but not the triangle backwards. Is that where I need it? Maybe we need it a little bit further back, backwards. Do you get the idea? It's just one step. Okay? Like a stack of cards on top of each other. Back is all the way to the back of the pack, whereas backwoods just goes one down. If you've got like 1050 layers, you can be hitting backwards quite a lot. If that is the case, there is a shortcut. K under object a range. So the exact same thing, you can use this version or this version here you can see the shortcuts there. Backwood is on my Mac it's command in the first square bracket and on a PC it's control in the first square bracket. All right, so layers. You don't use them very much the times. The way I would use them is this background. It's a pain because you're like, I just want to deselect the background. No, I've clicked the background. Oh, that's why you moving. Okay, so what I do is let's go to layers. I want a layer. Okay. The layers are all the way down the bottom here. See, way, way, way down here. Hello. Let's go to create a new layer. Okay? And let's go over here and double click it and say, let's call this one background. I've got a layer called background. There is nothing on it. How do I know in the eyeball On off? It's because I do everything on layer one. What I want to do is two things. I want to move this thing to the background layer. I can do that two ways. Let's select it with my black arrow, you. Let's go to edit Cut instead of copy. Cut means like regular cut and paste, right? So we're going to go cut in my clipboard. Now I'm going to say on the background layer, make sure the blues here and this little triangles here, can you see it moves around? Okay, we click it, Click on the background, and then just go to, we're going to go to Edit, Paste. And now it's on the background layer. Excellent Trouble is the background layers on top of the layer one, you imagine you're a bird looking down from the top of my computer or from the sky. You see the background first. Then layer one, we need to grab this. Click, hold, hold, hold, hold. Can you see? I don't want to drag it inside of layer one. That's bad, I want to drag it underneath. See the little line there? Now it's underneath. If it goes into it, go edit. Undo the cool thing about this now is that all of this, Okay, I turn the eyeball off. On layer one is on its own layer, this is on its own layer. And I can lock this layer. For some reason You meant to know that this magical empty spot here is the lock. You know now. But yeah, this empty blanket, there's a locking icon. What does that mean? It means I can't move the background anymore. I can select on this other layer. Let's give it a better name. Let's call this one Triangle. Triangle, Okay, and that's good enough for me. Or maybe it's just foreground because I'm going to have everything on this layer. You could have another layer that's called text. I double clicked it instead of just, yeah, I double clicked it often I double click it over here and getting the word and I just type it in there. Text. If you double click any other area, it opens up the bigger version. You can type it in there as well if you want. Okay, let's grab text. I can cut it and I can select the text layer, and I can paste it, so it's on this layer. A handy trick because it puts it back right in the middle of the layer. So you notice it was there and I cut it. When to text and paste it, it's stuck right in the middle of where I'm looking. What I want to do is instead of just pasting it, we're going to use this special one says edit, call, paste in place means I'm going to get it back in the place where I got it. There you go. It's on the new layer now, but just in the right spot now. I could lock that layer if I wanted to and only mess with these guys. Okay, my shapes in the foreground. I guess I'll show you this because A, I want to prove to you that we don't use layers very often, but you're going to get other people's files, you're going to wonder why we aren't doing layers and yeah, there you go. We do use them sometimes. One last little handy or two last little handy things is we've done a lot of cut and pasting in place. Okay. To go from layer to layer. Another little trick is I'm going to unlock this one. Let's say you want the text. Okay, which is on its own layer to go back to the foreground. Okay, I can cut, click on Foreground and go Edit Paste in place. Okay, there is a sneaky trick. Wash this a little random dot, I've got the thing I want to move, got it selected. Okay. What you can do is say, I want to move it to the foreground. Watch list. You can just drag that, he moves across to what is the blue layer. Okay, that's the other thing I wanted to show you moving from one to another. I'm going to unlock them all. If I want this text to be on the background layer, I just click it. I go selected drag the little do you Now he's on the background layer and he's underneath the foreground, which is the triangle in the circle. Get in the hang of the layers too much information. Let's get it back to the top. The other interesting thing about layers is they get given their own default colors. If I select this, can you see the copy has green triangle around it? Watch it. If I move it to the blue layer, it's still a text, but it's got a blue. Let me move it so it's closer. You see it's got a blue thing around it. See the red layer which is the background. If I do that, it's got a red thing around it. Just so that when you're clicking on stuff. What layer is this one on the blue layer? What is this one on the red layer, which is the background, gives you just a visual cue of like what layers things are on. All right, so if you do nothing else, I want a big rectangle that is gray in the background. I'd like it locked and I'd like a foreground layer. I'm going to get rid of my text layer because I don't want to confuse things. I'm going to move him to the top and yeah, you guys can stay there for the moment. We're gonna delete you in the next video when we make the actual impossible triangle. All right, so let's layers one oh one hope was useful. Let's get into the next video. 15. Align distribute rotation & math in fields - Impossible Triangle: Hi everyone. In this video we are going to learn how to align, distribute, rotate, do math in some of the fields which is super handy an illustrator. Okay? All the while making this super cool impossible triangle. We're going to start with these. Just simple, just a whole bunch of lines, but we're going to use the shape builder to convert it into this, the impossible triangle. And in all honesty, I get so lost in this video breaking stuff, things not going the way that I'd planned when I prepped for the video. I want to re record it, but I know that you're going to probably stumble into these problems, so I'll leave all of it in there, but it is going to ruin any illusion of Dan's awesome can't be failed in illustratedness. Which I don't know, at least in my head I see myself as the illustrated master. But anyway, we get lost. We fix it together, you will learn. I get humbled and we get to make a cool triangle. Alright, let's jump in. And by jumping in, I mean we get lost straight off the bat. Let's go draw an invisible line. Good work Dan. Al, right to get started, and if you've skipped the last video, just make a new document, Make it 1,000 pixels by 1,000 pixels. Make sure it's RGB. And click Create. Okay, I've already got one of those. And the only other thing is that I've made a background big gray rectangle. I've locked it and I've got a layer on top. Okay. I'm going to delete these guys. Leave that text there. All right. I'm working on my foreground layer. Remember if you're working on your background layer and then you grab the tool that I want, which is the line tool. Remember, hold, hold, hold down, that one, whatever it is, rectangle or ellipse. Grab the line segment tool and it won't work. You've got to be on the layer that's not locked, which is the foreground. And go back to my properties, I'm going to draw, oh, this is going to be good. Okay, Accidental learning. Okay? I want to drag out a line. Who knows what? I hold down on my keyboard to make it go straight. Okay? We've done this particular thing before or similar. Okay. Hold shift gain locks it into n specific directions. I want to mine to be nice and straight. How big something looking like that? And this is really interesting. Have a look at this line. If I'm going to go my black arrow click in the background, it's gone Mystery. Where did it go? It's because when I was drawing with it, the last thing that I drew, Kay, had I think a white fill and no stroke. And I'm drawing with the line which is the stroke. So it just went, alright, I'm a line with no stroke. Here you go. It's there. This is mysteriously there. Okay, so if you are drawing lines and like you can be using any of the tools, so let me grab another one. If I grab the pencil tool, which we'll do in a little bit with no stroke and I draw something, I'm like, oh yeah, look at that And I click off on the background, it's gone. It won't print. You won't see it. It's there. There it is, there. Just make sure when you're drawing that you draw with a stroke or afterwards you can drag around, select it and say you are a white stroke. I'm going to bump it up to 123, so it's a bit thicker so that we can see what we're doing. What do I want to thick? Two pixels. Two points. Okay, I'm going to zoom in. We came here to align and distribute then, but we figured out how to accidentally not draw a line and we fixed it. What I want to do is select the line with a black arrow, copy and paste it. So I've got two of them. Mine it up on top of each other, paste it again. I've got 123 of them. And what I would like you to do is I'm going to zoom in. I want to get them kind of, I'm going to not line them up on purpose. You can use the smart guides and try and line things up. I'm going to do it on purpose. A little bit wonky because I want to show you if I select all three lines. You notice when I'm selecting, I use the black arrow. I don't have to go around them all. I can just grab all the ends. I can go just grab the ends of them. Okay. Got all three. What I want to do is over here my properties panel, you'll see the line panel. You got some of the align. Okay, so we're going to look at the first one which is lining left. In this case because they're all the same size, we can align left a line center or a line right. They're all the same length. What I want is I want to find some of the distribution I don't want to align top. Okay. What I want to do is distribute them because at the moment the gaps are uneven, I want them to be exactly the same. The align panel, like any of the panels here in the properties panel, see these little dots. There's so much more hidden in there. They try to make them nice and like, I don't know, make the Y easy to look at, okay, Rather than having every single setting available. But you can dig into them easy enough. In here, I want the one that says distribute objects. You can look at the little icons or do what I do and go that on that one. That's the one I want. Okay, I just keep clicking them until I find the one I want. There's a lot of clicking and undoing. Anyway, we've aligned them up center, we've distributed them. Excellent. Next thing I want to do is I would like to, actually, I want them a bit tighter. Watch this. If I drag this one down, this one, and this one will define where this one goes because it'll all twice be the center. If I wanted to make them really far apart, click them, Go to my dist distribute centers, whatever the one is on the outskirt. Okay. We'll define how far apart they are. You got it. So I'm going to say Align Center and distribute these guys. I'm going to copy and paste them. Okay. Act I didn't copy and paste them, I'm going to slick them. Copy paste all three lines. I want to rotate them around to be that triangle that you saw at the beginning. Now. I know it needs to be a triangle. And this is where math in the fields really helps me out. I'm terrible at working out numbers, my brain just mixes them all up. What I can do though, in rotation, I can go in here and say, oh, I know it needs to be 180. No, flips it upside down, 91, 20, Okay. I can click on these and try and guess it. You probably know what it is. I'm going to go back to zero. What I like to do is I know 360 is the full thing, but I can do math in these fields. I don't want to flip it all the way around, I want to go 360/3 Here you go, it's 120. Then you can do math in all these fields. So I'm going to line this up here, I'm going to go copy and paste again. I want it to be what, 120 times two because I can't add either the times. In this case the editor would have zoomed in. You can see this often uses like an Asterix. That's the computer version of times you can go plus two, you get plus two degrees. Plus two degrees. It's not really what I want. I want it to be times two. You can minus, you can divide. It's awesome. Time stop. Okay, so we've got all this. I want to kind of line these up. It doesn't really matter how much they line up holding Spacebar to get my hand tool moving around. Okay? It doesn't really matter actually. Okay, So that is the core of my impossible triangle. You can see it in there now. Right? And again, even though this is a line in dispute, we're going to end up doing some combo skills, stacking, okay? We're going to do some rotation and also grab the line tool and do some shape building. So what I want to do is where are we're going to draw? I'm going to try and connect there to there. So make sure you smart guides are on Click, hold, and drag. Okay. Go to a nice okay, Spacebar. Click and drag. Space by click and drag. You, you're looking for the Intersex, That's what you're looking for. Okay, so we're nearly there. Now I'm going to grab my black arrow. And this is the important bit that I might have not highlighted as much, is everything needs to be selected for the shape builder to do its job. If you miss a few bits, it's going to leave these lines out down the bottom, even though they kind of look like they're selected. Watch this. See, not selected. So grab everything. Grab the Shape Builder tool shift M. I'm going to start trimming it up and it's really cool. Watch this. If I hold down my option key on a Mac, a Pca minus things. Watch this. I can just drag a line through all these lines. Look at that, Cooley. I love just kind of trimming it up that way. If you've used the scissor tool in the past, or the trim tool, oh man, it's a pain. Whereas this, I can just start dragging these things. I can click on the Al right. I kind of had a bit of a melt down there and I was like, why isn't it working And I was like, do I re record it to look like a professional or do I show people 'cause you're going to run into the same problem. So let's diagnose what happened there. You don't even know what happened. Let me explain it. So I'm using my shape of the tool and I'm like, oh, I'm just gonna like, what's going on here? Why is this thing doing some weird stuff? And what I'm gonna do is I'm gonna zoom in. And what I didn't pay much attention to the beginning. Okay, Is that, see my line there. I didn't draw the line across, you know, from that point to that point. I just kind of draw an arbitrary line. I just went jock and I wasn't really paying attention. I was too busy trying to sound professional on the video. Okay, so it's kind of just not working very well. So I've got it all selected. My shape builder tool. I can kind of delete it, but it's kind of not working okay just because I didn't line up the lines properly. So there's a couple ways of getting around this. There is going back in time, hitting Undo 1 million times and just lining it up properly so it'll work. Or double click this option here, K Shape Builder, double click the tool. There's this thing called Gap Detection. Mine's off at the moment. I don't know. Normally it's on. I'm using a new, new version of Illustrator. It's normally on. If yours isn't on, go into gap detection and say gap length small, okay, or large. It depends on how badly you drew it. If you've got like the line nowhere near touching, you might have to crank this up. The larch gap detection, I'm going to leave mine small. Okay, let's click Okay. It means now that tiny gap, where is it the problem with zooming with something selected? It goes right into the middle. Okay, it's a little bit of a pain space bar is there's a tiny gap in there. Just the test tiniest one. I'm going to use my zoom tool and drag around and drag around and drag down, look at that, the ties tiniest gap. And by default that's normally on, check yours. Now just see, let me know when the comments is yours on. If it's not okay, turn it on. And if the gap is way out here, you might be able to get away with medium and large. This is really good when you're doing more hand drawing stuff. Okay, and illustrate Later in the course, you can actually turn this gap detection up quite high to fill in big gaps. There you go. A little bit more advanced for this video, but here you go. Now we can do what we want if you get lost. Like I just did was I zooming in. Zooming out, I wasn't sure. Command and control zero. This video has gone a little bit sideways. I'm not going to lied here. Okay, so got them all selected. Got gap detection turned on to small. Okay. I'm going to hold down my option key O a PC. Get rid of that one. All right, where were we now? We're going to make that little impossible triangular thing. Okay, so this is quite the tricky brain teaser basically. Start from the inside, go all the way to the outside, and then along, that's how I remember it. Anyway, so again, start from the inside all the way along to the outside and up, start from the inside. This inside all the way up and down. That's it, right? The last things we need to do is just click and drag across these two. I'm not holding anything down. Just join these up, Thank goodness for gap detection E. All right. I'm going to leave it there. We figured out a line of distribute, lots of extra settings are hiding in the little dots we worked out. We can do math in here. Okay? I'll do one more bit of math before we go. This is at x and Y coordinates. If I want to move it across maybe ten pixels, I can say plus ten, and it would just move over ten pixels. All the math in any of the field, you need the stroke to be twice the width or three times times three. That did not work because we didn't have it selected with the black arrow. We were on the shape of the tool, you didn't know what to do. Another good tip, man. This one's full of getting lost, but we're all working it out. Okay, so we tripled it, don't worry about the little points. We'll talk about strokes and a bit more detail later on. So math and fields a line and distribute getting lost. We needed to upgrade the gap detection. I bet you yours is probably on and fine. And there you go. Actually, before you go, if you have been drawing with me, save it, call it impossible triangle. I'm going to save to the cloud. And the next video, we will actually color it and set it as a little class project. So let's do that next video. See you there. 16. Class project 03 - Impossible Triangle: One. It is class project time, the impossible triangle. I want you to draw it, okay? And then I want you to color it. Okay? Change the background color. Change the color of, or at least add color to the impossible triangle, and then submit it. If you do have time, you'll see in the notes here it says add some creative flare. It's optional, but when I first created this tutorial many moons ago, okay, I'd assume people would just color it and submit it and then everyone went crazy check it out. These are just a couple of examples I got from the class projects. I just went through and grabbed the last few of them. Just amazing what people went and did with it. So I figure give you the license to go a bit mad with it as well. Can be subtle, can be crazy. Up to you basics are I just want the color triangle. But if you do have time and you do want to tink around with it, go nuts. And once you're done, save an image, upload it to the assignments and share on social media. I love to see what people do with these things. Now, the expectation is just to use the skills you've learned so far in the course. If you do have other skills, you can go do that as well. But don't feel like, oh, I don't know how to do gradients. Don't worry, we'll do gradients later on. Just a fun short exercise. All right, go do that and I'll see you in the next video. 17. How to use Text to Vector in Illustrator: Hi everyone. In this video, we are going to explore some artificial intelligence inside of Illustrator. This is called Text of Vector, where we type stuff in and it generates stuff for us automatically. None of this was drawn by me, it was all drawn by the computer. You can kind of tell 'cause a lot of the foxes have five legs. The visual styles is great, and it's a great starting point for creativity in our drawing. So I want to get into that now and early. Let's jump in. All right, let's create a new document. Okay, It doesn't matter which one it is, I'm going to use art and illustration in 1920 by ten, 80. I like that size just to spice things up. And it's actually not spice et al, it's just a rectangle. Okay, so you've got a blank document. We're going to start with a blank one in this case to do this tutorial, so make sure it's an empty one. And what we're going to do is we want to be able to see the properties panel and there is the text of vector graphics. I find it's a bit messy inside of here and I'm scared they're gonna move it. So we're going to go to window and we're going to open up the text to vector graphic panel all on its own. Same thing. I just find it's, I don't know, just a little clearer when it's like this. We're going to close that down so it's a little bit tidier. Okay, and I'm going to type, let's remember the last thing I typed. I've already done this video once and it didn't go very well. So I'm doing it again to be clearer, Dan. Okay, so I'm going to have nothing selected. I'm going to be on subject and I'm going to go, I'm typing in chili pepper because it kind of matches the brand that I'm working on. And I'm going to hit Generate. What ends up happening is magic. This is being generated by artificial intelligence. Okay? And it's pretty brilliant. Okay? What you can do is I've just clicked off in the background. I can click back on it and go by default, gives you three variations. 123, okay for you to pick from. It doesn't matter whether you're clicking it over here in the little thumbnails or you can hit this little arrow here to go through them, it doesn't matter. You can type in this prompt here or in this contextual task bar prompt. It's up to you whether you like doing it up there or in here. The next thing that you're going to have to learn as a designer, as a creative, is how to prompt this thing to get it to do what you want. That can be really tricky. I'm still finding quite frustrating. Like if I want it to be less colorful, I want it to be more, I'm going to say line art. I want it to be like, I'm trying to work out the language in my head of like, is this what I want? This is going to be a big part of what we learn together as generative AI comes along and makes all these things is like how to do what I want. And that is exactly not what I wanted as I'm going to have to think. Alright, so I want black and white sketch. The cool thing about this is that it's pretty amazing what it makes. It's at its worst point ever. It's only going to get better. I'm being quite prescriptive and it has gone and got closer to where I want to go. That's cool. One of the things with text defector is that if you have something already selected or anything on your artboard and not a blank document, keep seeing it here under style and settings. If I say that's on by default is match active artboard. What you might find is if you've got stuff already on there, it's going to try and match the style and color. Turn that off, okay, If you have got something else on and what will happen is when you generate something new, it will generate like a fresh go at it. Not try and mimic something that already is there. The other thing is don't be afraid to keep clicking Generate to say actually give it another go. You'll get not wildly different ones, but it might give you the option that you're looking for. There you go. Cool. Huh? It's amazing what it actually makes. The other thing you might do is over here in this actually let's switch it from subject to icon. The subject is going to be more like an illustration style. Icon is going to give you an icon style. Let's see the difference. Okay, it's not huge at the moment. I'm hoping to get like a logo kind of graphic, like an icon for a website. I don't get that. I get something that is very still illustration style. It's pretty good though, I bet you, if you're doing it with me. Okay, yours all are completely different. It's amazing how it, you know, and I said black and white. That's not black and white, it's very monochrome. So let's leave that guy over there. I'm going to have nothing selected and go back up to subject and it's amazing what you can do. Like, it's kind of like describing a scene. So let's go. Chili pepper with, This is the one I went, I went Chili pepper with fire coming from the top. Help by Fox. That's where I ended up. Watch. Look how cool that is. Oh man. Okay. So it is brilliant at this illustrative style. Okay. Especially when animals involved people not so good at, but foxes and flames. Ah, did they not go so well together? Click on it. Excellent. So that's not what you want. Okay. As awesome as it is, you want this kind of like icon style. Okay. Now that we've got some basic Illustrator skills. Okay. We can go with the direct selection tool. Actually, my tool bar has changed, hasn't it? I've kind of come back. I'm going to go back to the basic one. I'm doing the advanced course, don't te okay, I've come back to do this because it's new. So I'm going to go to the white arrow. Okay? And I'm going to say I like this color. I'm going to hold shift and grab that color there. And that color there. Okay. Wow, Let's say I don't like that color when I got them selected. I can go to here in my Properties panel and kind of down the bottom text to Vector gets kind in the way here. I don't like it there. Okay, I like it in its panel. So I've kind of closed it up. So now I can go to my field color and say, actually I'm going to pick a different color. Okay? The cool thing is not only can I change the color of this because it's vector, okay? I can use my white arrow and go, actually I like this bit, but this just needs to come out a bit. Or actually click on the actual anchor point. Then you can see, I can say move that around a little bit. We're going to go through how to do these handles and anchor points later in the course. But I wanted to get this in early because, ah, it's super exciting. And also there is this like, oh, do I need to learn Illustrator? If I can just, you know, use some of this generative AI stuff to create these vectors and totally do, because if you need to change anything, all needs to be changed. And like this here, it's kind of a chill ish, I'm not sure what these pearls are doing. Oh, I'll edit it. And then we're straight into learning how to use Illustrator. So it's more of a supportive tool for creatives. Okay. So yeah, it's awesome. I wanted to get in early and as we go through the course, you'll be able to manipulate the things that it creates more easily. The other cool thing is that I call it generative AI. That's the name in the background. This one's called Text Devector. Okay? But this Text Devector is using generative AI. And that content that it creates, this fox and this chili pepper here is commercially usable, which is super cool. I get to use this for my paid products for my company. All right, that is going to be it for this one. We'll do some more artificial intelligence powered illustrator stuff later in the course. But for now, goodbye to you and the Spicy Fox, who's got 12345 arms and legs, or does a Fox? No, Fox just says five legs. All right. I'll see you in the next video by Mutant Fox. 18. Class Project 03b - Ai Creature: One. It's class project time. We're going to use the text of Vect to feature have a bit of a play with it. And what I'm going to get you to do is remember, keep your kind of small business in mind so you've got a creature that you're thinking about trying to include the products. So basically what we do with the fox, right, Your creature, your product. And pick a visual style, I want you to experiment with that. You can see my example here, Happy Fox holding fiery pepper in steam punk style, okay? Basically gets a hat and a trench coat. Kind of steam bunky. It can be hard to know how to go with prompts. I've given you some just examples to kind of get, I don't know, creativity flowing in terms of prompting. Yes, you can be creative with prompting. There are prompt designers, there are people that are really good at prompting and that's something that we're gonna all have to get good at. Okay. So here's some things that might help. Like, you know, art, movements, colors, composition, emotions, styles, okay? Have a little play around with these and see if you can get to where you want. And once you've messed around with a bunch of them, I would like you to pick your favorite one. We don't need 1,000 of them. Just pick the one that you've kind of like. This is the one that kind of, that I really like. Save that as an image and upload it to the assignment section and also share us on social media. Love to see what you make. Can you include what you've actually written as a prompt as well? Just to help other people like, oh, didn't think you could write that. Yeah, just make sure it's clear what the prompt is so that we can all learn a little bit better in terms of how to talk to the machines. So have fun experiment and looking forward to see what you make. 19. How to draw anything using the Curvature Tool in Adobe Illustrator: Hi everyone. In this video we're going to take this simple line drawing and redraw it using something called the Curvature tool. It's really good at drawing curves, hence the name. Also if you're one of those people who have used, or at least tried to use the pen tool in the past and gone, it's too hard not doing it then. This tool is for you, it's like the pen tool, but easier. So let's jump in, Start using the Curvature tool which is super awesome, super easy, and much better than the pento. If you have no idea what the pentool is, we're going to do that later. It's fun. Don't worry is all right. Alien time. All right, first up, close everything down. Let's go to file New. And just to be different, we're going to go to print. We're going to use either US letter or a four, whatever zone of the world you're in. Okay. I'm going to use US letter. I'm going to go landscape. Okay, So it's like lying down. I'm going to leave everything else and click Create. Okay, let's bring in an image that we're going to trace. It's got a file that's go to place in your exercise files. There's one called re draw image. What I'd like to do is let's make sure it's a template and click Place, puts it in the background on its own layer. That's locked. Helpful. I'm going to zoom in a bit command plus, plus, plus, plus, plus space. That's control on a PC hold space bar down on either MaclPC, click hold and drag. We're going to use the Curvature tool also. This thing here is kind of a new thing that's just appeared in my version of Illustrator. I bet you it's been there the whole time for you. I'm just going to move it by grabbing the corner and just pop it down there. You wait there. We'll talk about you later. Alright, let's grab the curvature tool. It is the fourth tool. Down at the moment these change. So look for the one that looks like a pen but with a little tail coming out of it. Okay, so that's the one we want, the curvature tool. If in the past you've tried the pen tool and you're like, oh man, that was too hard, the curvature tool is your savior. It's the one I teach new people first because it's just so much easier to understand and work with and make stuff. We'll do the pen tool, it's a bit more advanced and you can get by with the Curvature tool most of the time. So how does it work? Let's just give it a demo. If I click once on the top of his head there, nothing really happens except you get a blue dot. Let's go around to the cyto his head and click once nothing really happens until you move your mouse and you're like, look there, not doing anything just starts appearing. Tries to connect them up with a curve. That's what it's called, the Curvature Tool. Now we're going to go around and start adding dots everywhere. First of all, what we probably need to do is can you see this like weird white line? If I go over here, can you see this white thing? Okay, it's the Phil I'm going to undo and I'm going to say, Phil, have no, Phil, thank you very much. Click it to go back in there. Now, where did these little dots go? Okay, because where do I put them? Like, I don't know, undo, undo, undo, undo, undo, undo, undo. I'm going to show you the technique first. I'm going to say, Phil has no Phil. Okay. I got my first dot at the top. There he is. Okay. And then I do my second dot and what you're looking for is the apex. Okay. Like the biggest change of direction. See here, if I say that's a curve, okay? Look for all the curves. Where's the highest or the most direction change? It's somewhere about here. Doesn't have to be in the middle. Okay? Just somewhere where it seems to change the most because I'd consider there's a different curve because it's bending the other way. Okay. Just see if you can spot the big turn. Somewhere around here. There is, feels good. Now there is a little bit of just click, getting them in there and then fixing them afterwards. Where's the next big apex? Let's say that's curve somewhere in the middle here. Click once and you're like, that's not working until not doing anything. Just move my mouse out. If that's that curve. There's another curve here. Where's the apex at this point here? Right clicking once, seeing how we're doing here. Okay. The top's not quite right, but that's okay. We'll fix it up later on. There is just getting the apex, they're called anchor points. Getting those in, fixing them afterwards. Where's the next apex, say that's a curve. Probably somewhere there, Then this one here, probably there. You get in the flow for like if that's a curve somewhere in the middle, that's a curve somewhere in the middle of. If that's another curve, it takes practice. Like, that's the one thing I can't give you in this course is experience during lots of mad things. I'm going to try to, okay, And there's an advanced course to go to after this to get your skills right up, but it just takes time to kind of go. Alright, that's a good place for anchor point and that's a good point and I need one there. I know that you might be like, I'm just going to go there and you're like, oh, okay, but after a bit of practice I'm going to undo you. Go, okay, I probably need one there to kind of keep it out. There's another curve there, but it does come with a lot of practice, okay? So I'm hitting all these apexes, boom, boom, boom. After a while though, once you've got a bit of experience, it's amazing what you can draw quite quickly. Okay, let's go all the way around and get our not quite finished. We're getting back to the beginning here. This is important. So it'll just keep adding stuff forever until you get back to where you started and watch the icon change. It goes from the little squiggly line pen thing to that. If you've got this target the whole time, you're like mine's a target, it's not a squiggly line. Okay. It's your capslock on your keyboard. Everyone Tapplock makes the go upper and lower case on your keyboard. That's the difference between yours and mine, potentially. This is just more accurate. A little target, but it's not very fun. The fun icon, look at that. To be honest, I don't care which one it is, whatever one happens to be on. But if you are concerned, hit the Capsloc key. All right, next thing is, what do we do see when we get back to here, the icon changes from the squiggly line to our squiggly line with a circle. It's going to kind of complete the circle. Complete the path path is another word for the stroke around the outside. Okay, So I'm going to click once you're like, that didn't work. It's got a pointy head. It's not exactly what we want but it's okay. We kind of got the basics in how do we fix this. Okay, so what we're going to do is stay with the curvature tool. Sometimes it's just moving them. Moving again. Okay. I'm going to say this one here probably just needs to be up there a little bit. Okay. So once you've made them, you can move them around. The other thing you'll notice is that it's trying to snap to stuff, which can be good. But in this case, at the moment, smart guides need to be turned off because I actually want to be quite precise. I don't want it kind of jumping around. So that's why that shortcut is quite a handy one. Command you on a Mac, control you on a PC, so now it's not going to try and jump around. It can be quite fiddle with it. And this one here probably needs to be down here somewhere. And this one can be down here somewhere. So you can adjust this by moving them around, but you can only get so far by moving them around. It's trying to like average between them all. There's only so far you can get, but depending on your drawing, you might actually go that's enough. Or let's say that you want this, but you think you just need a little bit more control. Maybe another anchor point somewhere. So I'm going to put that one there so there's one, another anchor point here to drag it down. All I need to do is same tool. I've make sure I've got the line selected. Okay, go back to my Curvature tool and you'll notice that when I hover above the line, it goes from being this to a little plus. A little plus there. Okay? I can say add one there, and then I can click and drag it. Okay? And you can get a bit more detail. What ends up happening is the more anchor points you have, the more control you have. The problem with more anchor points though, the tradeoff is more control comes with not as smooth. Can you see this is nice and smooth. If I try and do this look okay and we're getting there right. But if I slicked off, you see it's a little bit janky through there because it's trying to go through a lot of points. It's not too bad actually. Okay. But the more points you have, if you're looking at yours going, mine doesn't look very smooth. It's probably just got way too many anchor points. You can get rid of anchor points by using the Curvature tool, hovering above them, clicking one of them, and hitting Delete. Kaine could say, okay, get rid of these guys. And I'm going to go back to just having a couple of points. The least amount of anchor points you can get away with the more smooth it'll be. Sometimes though, you just need more like this one here. Probably needs a curve in here. Now curvature tool is great for just kind of like throwing things in where the most control er, adjustment comes from afterwards. As you throw in all your points with your Curvature tool, then you switch to the white arrow, the direct selection tool, and click on any anchor points. These magical handles pop out and mom out a little bit, these are the kind of hidden things that are controlling that line. The curvature tool just says, let's just do it nice and safely. Nobody's getting in trouble here. It's not too messy. It's not very confusing, but we want to get confusing because we want the control go to the direct selection tool and go and kind of you can drag the anchor points, you can drag these things around, okay? And what happens with anchor points is, first of all, if you've never done them before, don't be scared of them, okay? The anchor point is where the line has to run through, that's the anchor. These things called handles kind of help direct the way the line goes through it. Grab any one of them, okay? Of any of the anchor points. And just give it a wiggle. I want you to experiment with like what it does. Two things you can do with it, go round the clock, okay? To get it to go different angles, okay? And also watch this. If I go in, it's quite a sharp and if I go out, it gets more smooth through that point. It's smooth out that side, but it's a little inky bit. There goes, okay. It's because this is very tight into the anchor point. But if I smooth that out, see it goes through there a lot smooth. It's a bit of a balance. Watch this if I d, because this is too high. It's, this is forcing it down. This is forcing it up. And there's this kind of like balance going on. The illustrator is trying to find. What you want to do is say, okay, want you? Maybe it's a bit of, maybe it's a bit of you Go up, now there's a little bit of W, this check that. This K, that same with this one. How do I get this line? I'm going to go anchor point. Are you in the right spot? That's about right now. These two guys are fighting this line. And I'm going to say you go maybe in and maybe up a little bit. But when you are adjusting it, learning like this, wiggle it around, see what it does, okay? And then kind of slowly slow down your wiggle. Slow down your wiggle until you find something that might work. And if you can't get over that line, it might be this one. Oh, didn't click on them. Got to grow those tiny little dots. These little anchor points are quite hard to select on as well, the anchor points. I leave it at this because I'm quite experienced with it, but I find when people are new, it's better to go up to under on a Mac, go to Illustrator, go to Preferences on a PC, Go to Edit to Preferences. It should be around here. Okay. And we're looking for the one that says can't remember, I think it's user interface. Click on that one. Okay, And there's one in here that says actually a lie. It's selection and anchor display. The moment they're at default we can make these bigger. I'll make them ginormous. Just to show you what this let's go anchor points. Look how big they are. Do we leave it on for this course? They're a bit big for my normal using, but hey, they look kind of cool here. All right, last thing we're going to do is we're going to fix this one here. Because I want them to be a curve, not a little pointy head. So I can select it with my direct selection tool, the white one. Okay. And over here it says Convert. Would you like it to be a corner? A corner means the two handles, kind like a broken in the middle curve. Boom. They a saw. We can't have one without the other one being influenced. You can go to this one and say, I want you to be a corner, I want you to be a curve. Now I've wrecked my side of my head. I want you to work your way around. Okay. Courage a tool to get started, then use the direct selection tool to start editing things. Well, if that happens to you, like I just did to me, it's best to grab the handles, to wiggle them. If you grab the line, it kind of works, but it's a little bit tricky. Grab the dry. Now are massive meatballs now. Okay? 'cause I increase the size, grab those handles anchor point. And actually we'll do two more things before we go. We're going to do this eyeball. So I'm going to grab the curvature tool. Now what you might be keen on doing is going 12, okay. So you can't draw a circle with only two dots because you can't, you can try and do it with 3123, you'll end up with a really strange kind of circle thing. There's just not enough points, basically, with anything that's kind of an ellipse, okay, doesn't have to be perfect, like the Syeball. It really needs four anchor points. I'll show you an illustrator if I draw an ellipse and I draw it out and then grab the anchor point tool. Can you see 1234? Okay. They have four anchor points with the handles all equal, that's what makes a perfect circle. That's the minimum for a round thing, for a good control. So I'm going to go Votre tool 12345. Nope. Didn't click at five? Nope. Still not clicking at Why is mine not going to the end? Weird. My wouldn't connect up a second there. I don't know if yours does it, it shouldn't. It's never done that before. I just went undo and then clicked it and it joined up. You can see there pretty reasonable one. Now I could grab my direct selection tool to adjust this. Okay. But I can use the Curviage tool as well to the adjusting. One last thing that kind of is annoying for me and people that are new is the zoom. If I have nothing selected, it just zooms in. I'm using command or control. Plus in a PC it just zooms into the middle of the screen. And then other times you're like it's zooming in and like adding over here, you see it zoomed into the alien. Okay. It depends on what you have selected. If you have nothing selected, it will just go see that kind of. I've moved it so the owl's right in the middle. It'll just go into the middle of the screen Undo. If I have something selected though, it doesn't matter where I am. Was this. If I hit command plus control on a PC, it zooms into the thing I have selected. So just be aware of that. Often it's good to select the thing and then hit zoom. Otherwise, it kind of just zooms into the middle of the screen, but now you know. Alright, so what I want you to do is I want you to finish off our alien. Okay, get it as close as you can. If you're struggling, don't worry. We're going to use civture tool and lots of the other techniques throughout the course, but have a practice, get the alien going, draw both eyes, fill them with the color. And I'll see you in the next video. 20. Mixture of curves and straight lines using the Curvature tool: In this video, we're going to use the curvaged tool some more. We've done straight curves in the last video. I'm going in this one show you how to do straight lines and then show you how to combine them. We're going to do straight lines and curves look straight bits, curvy bits. Awesome ninja drawing. I hope you're ready for this. The Curvature tool gets more awesome. Jump in. Alright, let's start out by zooming in on the crown. Okay, we're going to use the Curvature tool. So the curvature tool naturally wants to do curves, hence the name. Okay, So if I click on all these kind of light edges here, I get this kind of like kind of works okay? But I end up with a bit of a wonky looking crown comb. I don't know what that is. Best description in the comments get, I don't know, a thumbs up. I'll check what is it. But anyway, a couple of things that might be happening to you while you're drawing is you might be getting this, doing this weird stuff. If that's happening while you're drawing, it means that you've got a fill. Okay, that you don't really need a fill right now. Okay? So I'm going to turn the fill off. I'm going to click on film and say no fill. I just want to stroke and I'm using kind of this slimy green color. So how do we fix this? I'm going to grab my black arrow, select it all, delete it, grab the Curvature tool. And the way to make it go straight is just to double click. So instead of clicking once for a curve, okay, I double click. Double click for a corner, Double click for a corner, Double click for a corner, Double click for a corner, you get the idea. Just keep going. And double clicking, there will be times where you forget you go click once and click once, get you. It's curve. What do I do? You just go back. You can undo obviously and just use the double clicking. Or you can go back and convert it to converting it. Just double click it and it goes from being Cerner. Okay, so if you do forget, you can just go back and double click. Remember I want a corner, what is it? Double click, I want a corner. Double click, double click. Eventually we double click enough. Come back to the beginning. This last one is a weird one. If I double click for that one, it kind of like connected it up and then I clicked it again. So that's the only wonky bit about this. It's a double click for all the corners. But when you get back to the beginning click once, how will you remember that? Don't worry, because if you don't remember, you double click, you end up with a curve. Okay? So there you go. That is the curvage tool doing straight lines. And you're like, why are we using straight lines? I could use a straight line tool. It's because most of the time we're going to be doing a bit of both. This is ninja time, okay? It has straight lines and curves. This is more indicative of the work you'll do. Okay, so let's work our way round. Let's start with an easy one corner. That's clearly a corner. How do we do corners? Is it a single click or a double click? That's right. Double click. Double click for a corner. Then you go, okay, I'm going to go up here. No, look there's a curve in there. So what do I do for a curve? Halfway through the apex, I click once go, I got a curve. Then what do I do here? That's right. Double click for a corner. And then up here, do I need a curve? Nope, just double click here. Double click here. Double click here. Don't be tempted to go there because it's not a straight line. There's a curve click, once double click for a corner, you get the idea. Let's keep going kind of a round circle. Okay, So we know kind of from remember the ellipse that I showed you before, it's kind of like 'cause it's a curve click once and then 'cause that's the weird thing. You click once, you're like, I've done it wrong. And then you kind of move your mouse over and you're like, oh, I did it right. Click once again, you're like, oh, I did it wrong. But kind of coming over here. That's why there's a little bit of like doing it 100 times and you'll be like knowing where the anchor points go, where they'll stick out. But while you're learning there's a little bit of just following Dan and trusting and just getting better and better, I promise you. There's nothing you can do other than draw lots of stuff with the Curvature tool. So where are we corner or a curve? Click twice. Remember if you do it wrong, okay, And you click once and you go over here and you're like, no, double click it to try, convert it back again. Click once for a curve. Double click, double click. Now this one's tricky. What do we do here? There's a curve and R straight. So what do we do? And there's a curve that ends there. Do you see that's the ending of the curve, right in the middle of that, The apex going to click once from my curve, then this is where the straight line starts. So I'm going to double click for a corner, or at least, yeah, it is a corner. Double click again for a corner, click once for a curve, double click for a corner. And then down here, we should be able to just click once. Here we go. Let's look at this one here as well. Let's do this. Run the ice. Okay, Where should we start? Let's click once for this corner. Point here. Sorry, curve, okay, Down. Here's another tricky one. This is the same kind of idea as this, Like should this be a corner or a curve? This is a corner because it's going into a straight line. So I'm going to double click and you're like, that doesn't work. It's not working. Dan, have Faith, my friend, watch this. Double click for a corner. Click once for a curve. Double click. Oh, look at this, it's working double click for a corner and then back here, click once, it all comes back to life. Here you go. And if you're like, why didn't he just grab a rectangle and then grab all the corners? That's what he should have done. Okay. And that's what I do normally, but we're learning the curvature tool. Same with the circles in the middle. I'm going to go a curvature tool and I showed you before, they tend to look better when there's a curve point in each four quadrants. Okay. So 12345. What's the May go to the curvature tool. Okay. Yes, I just use the lips tool again here as well but we're learning. All right. Give that a go. And the problems that you'll run into, okay, is when you've got a corner, when there should be a curve, we know how to change those. So we'll select it first with a black arrow. So grab the liner on the outside. Then grab your Curvature tool. And let's say that you just forgot that point. Well, you've got too many points you want to get rid of. It had delete, but now you want to add one. You just click once you want it to be a curve, not a corner, that's kind of a curve. I just click once. It's just not out far enough. Can you see it goes into a line and then we're not doing anything. Just, yeah, a curve needs some sort of like trajectory. It needs to go from this point out to something, okay? But let's say it's now arm spikes. We want to convert it. There's two ways we can do it. We can double click it, or we can do what we did earlier when we're working with the alien, grab our white arrow, get into way too much detail. Click on this, I want you to be a corner. Okay? And you know, arm spikes. The cool thing about the direct selection tool is you can grab stuff. You've got this like finite control. Okay? So really tight and close. Don't be afraid to move the anchor point. If you're trying to fix something and it's like this, you're never going to get it because it's not actually on the line. So grab the center and move it across, or using the Curvature tool, you can do it. Okay. The Curvature tool has a really weird shortcut. I use it all the time. See this is shift and then it's that apostrophe. You can see that there. The editor, thank you very much, will be zooming in. Okay, it's shift that we key. Hopefully if you're on a non English keyboard, you can find that one or it might be different but should be there listed. Okay, what it is, shift apostrophe near my escape key on my keyboard, but I know it's different on lots of different ones. So shortcut key, you can move this around here. All right, we're going to call that one done. So mixing curves and lines together. You can get a ninja if you are struggling, don't worry. Everyone struggles with the curvature tool at the beginning. We're going to introduce this a few other times through the course get better and better. I'm going to show you tips and tricks as we grow and move through the course. So if yours is a bit of a wonky ninja, that's totally okay. Don't worry, we'll get better for now though. Let's wrap this one up and I will see you in the next video. Will we start doing our stuff or at least I'll make you do it. All right. I'll see there. 21. Class project 04 - Curvature Tool: One, it is class project time. I want you to practice your Curvature tool. There's like two projects in here, snuck in. Two for the one class project, sub project. One is I want you to redraw the owl, okay? To just go through and using the tools that we've got so far, redraw the owl, give them some color. Color, all of your little characters as well. Curse a little bit because it's not doing what you want. Mess with it a bit. Get it close enough. If it's not perfect, don't worry. We're going to be doing the curvature tool a few times through this course. Once you've done that one, the next thing I want you to do is I want you to sub project two. I want you to find an icon version of your creature that you pick for the course. Okay? So remember in our brief, you picked a character or creature. I'm using a fox. Okay? You can use whatever you like. You can change it if you find the last thing was hard to find. Okay? So pick your creature and I want you to find something you can draw over the top of. Okay. Basically we're tracing other people's work here. And while tracing is, you know, we don't want to copy people's work and use it. Okay? But in terms of practicing, it's the best way. It's good to find other people's work practice, practice, practice, redrawing over the top of it. But that's why in the deliverables for this one is that I don't want you to share it on social media because we're copying other people's work. Upload it to the assignments for sure. But because we're copying somebody else's work, I don't want you sharing it around. And if you do want to use it for anything, you got to make sure that you go and get the appropriate license. But the way to find something good to draw is, okay, go Google Images, type in Fox or whatever your creature, if it's a cat, type in cat, and then put it in either icon or logo afterwards. And it should give you some results. And what you're looking for is you're looking for something simple. Don't go and think. I'm going to make that okay 'cause that's way out of our league right now. We'll get to there. What we want is something that only has one color and just simple shapes. So I'm saying no to that. No to that. What am I saying Yes to Dan? Wait there, That's doable. Okay. Probably not the two half tone. You could definitely do the two half tone. This one here, really nice, easy shape. Okay? I'll pick this one. This one's getting pretty tricky. One of these could work, okay? So just have a look. And just keep it simple. Don't bite off too much at this stage. This one could be done, but tricky, that one there. Perfect, nice and simple. So find some stuff, do some practice, upload it to the assignments if you are doing the class projects as we go along. Another good word is silhouette. So a word that I can never spell, silhouette K might be a better way to go. The trouble is it can be quite detailed. So use those terms, either your creature's name and use icon, logo, or silhouette. And you'll find something, hopefully that is drawable. Something like that looks drawable. Practice it, upload it to the class projects. The one thing I will say before we go is we might run into problems. We looked at this way back at the beginning of the course is the dreaded isolation mode. You're like, what's happened? I can't click on this. It's grade out. Okay. And I why is this on top now? Everything's lost, the world is ending. What do I do you remember? You either just double click in the background to get out of isolation mode or double click to go in. Okay, hit these arrows a few times and come out. Okay, that's one thing. You might be getting lost than already, but there you go. Use the tricks we've learned so far using the Curvature tool. Draw the owl, re, draw your creature for a better practice. And then I will see in the next video, don't skip the class projects. All right, next. 22. Combining shapes curvature & shape builder tools into Fox shadows: Hello? Hey. In this video we are going to take our previously sleeping fox and put them under some moonlight on. We're not going to do a whole lot, right? We're going to add a moon, but we're going to start using a few of the tools in combination. I call it skills stacking case. We're going to draw simple shapes. Then we're going to use the Curvature tool to draw curvy lines and stuff. And then we are going to use the Shape Builder tool to kind of slice sits out and recolor them. It's definitely more of a real world use case of Illustrator. Rather than using all of these tools in isolation like we do in the videos, we are gonna combine them, stack some skills, make some shadows. Alright, let's jump in and make some moonlight. Alright? To get started, open up the sleeping fox that you've drawn. If you haven't drawn it or it went horribly wrong. Okay, You can open up the file, call catch up one in your exercise files. Okay? And you can open and work with my one up to you. Alright, So you're ready to do some skills stacking or combo tool doing stuff. Okay, So we're gonna start with a really basic one, shapes. That's what we started this course with. If we drew lots of shapes, I'm gonna draw a moon that has no stroke and a white fill because it looks kind of like a moon. Now we're going to use a curvature tool. We're going to say I want the sun kind of hitting at that side and you know the shadow of the moon on this side. And I'm gonna say click once for a curve. Click once for a curve, click once for a curve. Now we could keep going around like this to make the shape okay. Or we could just leave it actually. And what I might do is give it no stroke and give it a feel so it's a little bit clearer to you what we're doing. So I've drawn that curve. I don't want to finish it off. If you're like, what do we do now This thing's attached, that is a very good point. Dan, hit escape or just go to your move tool. Okay? Or your selection tool. The black arrow. Okay. Either way, you'll disconnect it. And we've got a line, a curvy line, and now we get to do the third part of the things we learned. Shape curvature tool, select them both, not the background, so we should lock the background. We should, I'm not going to, what I'm going to do is click this first one here with my black arrow. Hold shift, grab the line so they're both selected. Go to my Shape Builder, and I'm not going to trim them off, I'm just going to color it. Watch this, I'm going to go darker gray color and I'm going to go, poof, there we go. Now what do we do? All this junk that's lying around, the exact same thing we did when we did the impossible triangle. Look at us using all our cool tools. The Shape builder tool men hold down option on a Mac, on a PC and you can get rid of the lines. You can draw a line through them. Okay. It's what we did in the last one. Or just click them up to you. Look at that. It's a moony shadowy thing. I want to do that better. But that'll do for now. Let's do another one with the head, kind of a shadow cast down the bottom here. So I'm going to grab my Curvature tool and I'm going to, instead of just doing a curve, I'm going to do a curve in a line. You ready? I'm going to show you one of the problems that happens when we do start combining tools. Okay, you might run into this where we go. All right, click once for a curve, click once for another curve, then I want to start a straight line. So I double click and great, got a straight line. But then if you get close to the edge, watch what happens. It kind of selects the shape underneath and you're like, that's not what I wanted. Okay, so that's one of the quirks for it. Okay. So I'm going to undo. And often it's easy just to go past where you needed to be. Okay, so I'm going past there and that's going to work. I should probably make that double click. It doesn't have to be. Again, I could fill it up, but I'm actually just going to switch it from being no fill to having a black stroke B to let go of this. You can hit escape, okay, disconnects it or you can go back to your move tool. Okay. Or selection tool. I call it the move tool because it's called that in the Photoshop, they call it the selection tool here. I call it the black arrow. Lots too. All the same thing I'm talking about. So black arrow. And I've got my line selected, hold shift, grab this and I'm going to color this part of the drawing. So I'm going to say I would like it actually. I'm going to go to my shape builder tool Z. I'm going to pick a fur color to go in there. Okay. I'm on my swatches, I'm going to pick something kind of in this swatches, the foxy colors that I've got. And I'm just going to click once, there we go. Now I don't want it to be that kind of orange color. I want it to be slightly different. So I'm going to finish with the Shape Builder tool, so I'm going to hold down to delete these. So I'm going to hold option key, Ol key on a PC and delete these little lines. And what I'm going to do is go back to my selection tool, the black arrow. Okay, deselect off, grab this. Now he's like one chunk by himself. I'm going to show you a trick that I do all the time for just changing the colors of stuff. It's a bit advanced, but hey, why not? Let's go to this one here. So we've been using Swatches. Lots. Go to color mixer. Okay? And yours, by default will either be on RGB or Y K, depending on the way that you started this document. Both of those are not very good. The best one is HS. B doesn't sound very sexy, but H is is saturation and B is brightness. It's really useful. So I'm going to, the hue is changing the color, okay? The saturation k is how bright that color is. You can wash it out, make it super strong and saturated. And brightness is how dark it is. Okay, I find that good. So I'm going to undo, because I ripped it. What I'm going to do is I'm going to say you are that original orange color. Then I'm going to go to this, my HSB and just make it a bit darker. So that's what I'm going to do. It looks like he's going to bed. He's sleeping. All right. Let's do some more. Let's put a line across there so it's grab a bowl shape builder tool. You can probably skip the rest of this. I'm just going to work my way through, make a few shadows. It's not particularly new and exciting. Watch me on fast mode if you're keen, otherwise you can skip along. Okay, so it's going to add some more shadows. So this one here, I'm going to add a line, no curve, just double click, double click, scape key a couple of times to disconnect. Grab your black arrow. I got this selected. I got this selected. And you notice I didn't bother going and changing the stroke in the field to be black line. That's not essential. I just did that because it looks better on screen, but you can just leave it like that. I have a line with no stroke and a film means I can't even see it, but it's there and the shape builder recognizes, it's the most important part. Shape builder, I'm going to pick a color. I'm going to say for my swatches, I'll probably pick just a slightly darker color out of there. Actually, going to pick the same color I used before and just go through and say I want that color, but I'd like it to be schmid darker. There we go. That's going to be my shadow thing going on. What do we think it's a shadow. There we go. Let's do his back again. Let's go to the Curvature Tool. And I want it to be a curve click. Click once again. Double click here. Double click here. It is a bit tricky to know what we're doing, right? I use my shortcut Viki to go back to the black arrow, grab you. Got them both selected. Shape builder shift M. Okay. I'm going to go to my Phil and I'm going to say actually whatever color I've got to make it a bit darker and go M. There we go. The one thing I've got though is I've got this leftover that sometimes happens. I'm just going to delete it on my keyboard. All right, next one I want is this tail. I could use my curvage tool again, but you might be like, why don't you just use a copy of the shape? That's a really good idea. So I'm just going to copy and paste it. So I've got two of them, make one a bit bigger and then kind of lay it over like this. Let's change the stroke so you can see. Not necessary, but let's do it anyway. So no fill, I've got a black stroke and I'm going to get it. I don't know. Kind of like that. Maybe like that. Okay. Shift click, both of them, so they're both selected. Go to my Shape Builder tool and I'm going to fill this one with one of those oranges, but a slightly darker version. There we go. Now all of this stuff seal these lines, we can delete with a shape builder tool which we happen to already have selected. So I'm going to hold down option key and go, bam, there you go. I ended up with that stroke. Okay. Like I said before, sometimes you end up with a stroke depending on what your original shapes were. No, I'm just going to select on it with the black arrow. Say you actually do, I need you. I don't. You're just sitting on top. There you go. Let's do one more. Let's cast a big shadow off the fox. So I'm going to grab my shape builder tool. We could use the line tool here, because we're only just going to draw a line. But let's practice using the Shape Builder tool. What do we need for a straight line? It's right double click. Oh, when it did it look. It's connected this up so it's added point to my rectangle. So the Curvature tool, just so you know, can be used in conjunction with like let's say I us an ellipse and then I can grab my Curvature tool and go and add a point to it and start messing around with it. Okay, that's not what I want right now. Okay, what I want to do is actually grab my Curvature tool. I'm going to Deslick in the background, so we got nothing selected Curvature Tool. I'm just going to start quite far out here from nowhere near the edge of that line. Okay, Space bar, click and hold and drag. Okay, and I'm going to cast a line maybe down here. O, double click for a line that's good enough. Escape to disconnect it. Grab my selection tool that selected. Hold shift, grab that selected. Now I'm going to switch to my Sheep Builder tool and I'm going to say a fill of the slightly darker version of that. Fill that in hold down the option key key. I can delete it or I can grab my black selection tool and afterwards go and find it and delete it. Doesn't matter which way you do it. There, this my friend is my finished fox that now has a moon casting moonlight on them. I'm selecting all these because I don't like them. With that line, I'm going to make them white with no stroke. That looks nicer. All right. I hope you find that useful. A little project for you to do. And the cool thing about it is that it is what tends to happen when you're drawing an illustrator. Use shapes. You use the curvature tool, use the shape builder tool, use all the other tools we learn in the course. And last thing I'm gonna do is that seemed like a good idea, but it doesn't seem that great now 'cause it looks like he's just got like, is it a 05:00 shadow? Okay, so what I'm gonna do is I'm gonna click both of these. So black arrow shift, click them both. And Shape Builder tool shift M. Okay, and I just gonna drag a box across them both. You're back to being one thing. Look at that. We broke it apart. Put it back together. Look at us doing cool stuff. All right, that's it for this video. We stacked some skills. We combine them together, doing awesome stuff. Right. I'll see in the next video. 23. How to draw using the Pen Tool in Adobe Illustrator CC: Hi everyone. In this video we're going to redraw the same shapes, but we're going to use a different tool. We're going to use the pin tool instead of the curvature tool. For some of you, the pin tool, you might have shuddered there when I said the word you're like, I hate it. Why do people not like the pin tool? It's because it is trickier to learn. Why do we bother using it when we go at the Curvature tool? The curvature tool is great. It does a lot of thinking for us, but it's not as much control. And you will find in your eventuality of career and Illustrator, you're going to need to learn the pinto. So we're not going to shy away from it. We're going to get involved. We'll learn about the pros and cons between the two tools. But if you find it tricky, it's okay. It's a tricky tool, but one that will bring you much joy once you've learned it honest. Alright, let's jump in. Okay, to get started with this one. I have kind of got it ready for you. If you go to file open, in your exercise files, exercise files, there's one called pen, where is it? Pentel open. That one for me and you should have everything ready to go. Okay, And this one, we're going to start with the crown. Okay? Zoom in command or control plus, plus. Okay, We're going to redraw this one. So here's our two tools, right? Coverage tool we know and kind of love pen tool, we don't know and you probably won't love, why are we doing it? It has way more control. It's what people use in Illustrator. You're going to find tutorials on it and it's the one I use. Okay, so we need to kind of a, we need to learn it so that, you know, we can either appreciate the curvature tool and never use the pentool again. Or more importantly, is probably just a little bit of practice with a pental, sees it, pros sees its cons, and eventually you will grow to love the pental. Let's go in and start. So grab the pental by default. Remember the curvature tool? If you click, once you got a curve, right click a couple of times, you got a curve. It's the opposite for the pental of course. Okay, So I'm going to click once, and click again. And click again, and we get corners by default. Okay, What happened here that might have happened to you already? Can you tell? Because it's got a fill. It's got a white fill here. Can you see? And it's trying to fill it in even though you haven't finished. Can you see It's trying to put a white fill in there. So what I'm going to do is I'm going to go to Phil and I'm going to say have no Phil, please. And black stroke looks fine. Going to continue on my merry way. Click once, click once, click on, click on, click once, go, go, go n. They're watching. All right, we drew a crown. So by default the pental click once, get our corner. So we want now do a curve. So I'm going to go over here to our alien blobby thing. So let's do curves. So we're going to start at the top like we did in the last one. So instead of just clicking once to get a curve, the pentel, you click and drag and you get a little handles. So that's one of the perks for the pental is the handles are seen straight away, whereas the curvature tool, they hide them away to make things a little easier. But we're hardcore illustrator learners and we want to see all of the goodness. Okay, so again, exactly like the curvature tool, we are looking for the apexes. I'm going to click hold and drag it down and you can see all these, my line, okay, and it comes out and I've just got a bit more control as I'm drawing. Whereas the Curvature tool, there's a lot of just clicking once and kind of moving around and getting close, and then adjusting afterwards. What we do with the pen tool is kind of adjust as we go, which is more advanced, a little bit more tricky. But this is, I guess, the end goal is getting you good at the pen tool because we do eventually need all the control. So we're looking for the apexes now, not clicking Once we're going to leave that actually work, we'll do curves. So we're going to click and drag, and you're never going to get it perfect. That's just the way it is with both the curvature tool and the Pen tool. So we are going to continue and go that one there and you're like, oh, what you'll want to do is go and fix that. The problem with fixing this one on the fly is that it's making this one harder, but don't worry. Okay? I'm like, oh, there's an apex there. It does the apex go on that or does it get over here? We can figure it out. It's a bit of experience. So let's go over curve here and we can't get it. You can try and fake it, but don't worry, Remember, we can come back and fix this afterwards. I'm going to kind of line it up as good as I can. Find the apex here. Click and drag. Click and drag. And what ends up happening is the closer it is, I've still got my mouse down, I'm holding it down. The closer it is to this center anchor point, the tighter the corner or like the curve gets really kind of angular and out here it passes through in a really kind of, you know, straight through kind of way. I'm going to leave that there because I've already broken it. A couple of things that you might do, like some of the other tools, is you might accidentally get close to the edge and it does this actually, let's drag this. And you're dragging it. Dragging it, and I go okay and you're off and you're like, where am I? Okay, the trick here is let's go to undo and let's go command or control zero to get right back. Basically, we just zoomed off down the bottom. Okay, it happens to the best of us and zoom in a bit. The other problem you might have is you'll get to here and you'll be like, oh excellent, Just leave that there, because that was perfect. The problem is the next curve, because we made it really, really small. Because we wanted like, oh yeah, that's perfect. Okay. We kept it nice and small. And then we got to here and we're like, there's no curve. And try and fix that one. What ends up happening like that, seesaw. Okay? And the Curvagure tool, when we're looking at it, even though I don't really want it for this curve above, I kind of need it for the next one, okay? Because I need that to be flowing through and I can adjust the other one afterwards. Am I making any sense? The Pentel man? It's tricky. I'm going to work my way around. And what you'll find is that when you meet another designer and there will either be I hate the pen tool or I love the pental. There's no middle ground. People either hate it because they haven't made it work or they love it because they have finally mastered it, which took a lot of work. And the work is, you need a little bit of a tutorial help like this, okay, from Dan. But then you need a lot, and lot of practice just comes with practice. Okay. So I've gone all the way around, we've got an average looking thing, a little weird thing about the pent tool as you come back here and the curves is all just click once and we've got this lovely curved color line. Whereas now I'm going to undo, Okay, I get here, I still want it to be a curve. Okay. We know if I click, once I get a corner and what I want, I want to click, hold, and drag, and then we get that out the handle. That saw Excellent. The other thing just remind you, might have capslock on. Okay. Some people love caps lock. It does nothing different. It's the same pentile. Okay. Just with a little crosshairs. Instead of I turn capslock on my keyboard off, you get the little pen. It used to be all about the target one, I don't know, and then I gave up caring. Now I just use the pen, don't care. But you decide. I've had students restart, reinstall Illustrated to get rid of the caps lock. Turns out was just capslock on, so don't do that. The other thing that can be handy when you're drawing is view. Make sure that smart guides, I like them off when I'm drawing with a pen tool, but when I'm using anything else I turn them back on. The other one thing is that sometimes you end up doing something and you're like, oh, get off, get off. Who remembers how to detach it? Escape key. Kind of just like if you keep hitting escape, okay, kind of gets rid of that connection and you can kind of start again. The other thing is, is if you deselect off, let's go. I haven't finished it, right? I've grabbed my black arrow. Click off on the background. Then I go, how do I get this started again? So I grab the pental. Okay. And I hover above this. Can you see the little icon there? The little Asterix start a new line. Okay. It's going to start a new line, but if I grab the penal and get close to the end, can you see it changes from the little Asterix to the little line thing just means, hey I'm going to pick up where we left off before. Okay, with mine, it's picked it up because I clicked it once again. There we go. Let's start back penal if I click once to connect it up. What does clicking once to do with a pental right corner? So what I'm going to do, so I'm going to draw that out. Go back to here, grab my pen tool, see the little line. Click and drag, makes it a curve. And I've connected back up again again, we don't click once, we click and drag and we get it all nice and fill. All right, so now that we're done, we're going to go back to the direct selection tool, which is the white arrow, which is the key on keyboard. And I'm just going to drag it out. And remember, make sure that it's on the actual line, the anchor point, these little handles. Now we can jiggle around and you kind of fix this one. And this one is not quite right, it can easily come out. And then what's going on over here? I'm doing really subtle movements because I kind of know what's going to happen, but for you don't be afraid to goggle, juggle, jiggle, okay? And kind of figure out what is it doing? Am I making it? Should it be in, should it be out? Should be in, somewhere in between. And if you can't make it happen, maybe it's this other one. If you still can't make it happen, grab the pencil again. Okay? And watch this. If I go over the line, okay, let's find a place that I might need it more. I need a lot of places. Let's say I want one here because I can't get it over. Say if I hover above the line that already exists, can you see Asterix new line? Hover above it. Get a little plus white arrow. And I've added extra anchor point. The more anchor points, the more control I have, but tends to be not as smooth a lines. It's a nice balance of like, do I need just these two anchor points or do I need this extra one in here? Let's have a look. What do I think that one in there is needed? I don't know. Up to you. Cool. So we've got a few bits that need a bit of fixing. Like this one here. Okay, remember we couldn't quite get it earlier on, so now I can come back with my white arrow, click on the anchor point, and go you're in that way and you maybe go more on the anchor point, you know, on the actual line that I'm trying to trace. Same with you, you definitely need to be a bit tighter. Same with you. And you come down here, you go down there, you go there. Alright, we're getting there. Okay. And you just work your way around moving these little handles, maybe adding some, maybe removing some. How do you remove them? Go back to the Pintol. P is the shortcut to the Pintol. Okay. And you might say, actually, I don't want that anymore. C plus, and if you hover over an existing one, you can minus it and see if we can do it without it, we can't need the pentel back in pinel back in. Grab the direct selection tool, which is the key. Okay, The white arrow and we can fix it. There you go. All right, let's click, drag, Do this eyeball. Okay, let's give this a go. Good enough. Maybe dragging out on that last one is quite important, and I'm going to cheat. Grab my black arrow. Click off, Click on this thing to make it all selected. Copy and paste it. And then I'm going to hold Shift, shrink it down, and going to cheat. Though we're meant to be practicing the pentel done enough. All right, let's have a look at now the ninja. Okay, the ninja, we did it before, let's do it again. The only other difference here is we're going to convert some points. Okay, let's start with this because it's nice and easy. Do I click once for a corner or do I click and drag for a corner? All right. Click, click, click once, find the apex. Click and drag down. Click, click, click. Let's say we click and drag. And accidentally get a curve where we want a corner. What do we do? We can undo, which is probably the easiest option. But we can come back to it. I want to show you later. Okay, here I want this one to be a click on. Click on. Click on. Oh, that's an interesting one. This one here. Let's say I start up here too far and I go back past it, okay? And I try and come back here and it doesn't weird stuff is because the handles trying to pull it so far out but you put an anchor point here so it's going up and then like gravity, like being forced back to the anchor point where we can fix it up afterwards. So we're going to leave it, we'll tidy it up. Okay, Click on click and D for a curve. Click once for a corner. Now I'm going to draw this a little wonky on purpose, not because I can't draw very well with a Pintol. It's a bit of both. Okay, Let's say I want to make this nice and symmetrical. I'd use the ellipse tool, that's what I would do. Okay? But let's say why is this not looking good? Okay? The big reason is, is that for something to look symmetrical like this, top one here needs to be flat because it wasn't. Okay. How do I get it to go flat, Hold shift. Okay? So it's nice and flat. These need to be roughly the same length. Okay? So it's never going to be good when one's short and one's long. Kind of get this. And these two need to be perpendicular, parallel, whatever the one is, these need to be straight and these need to be up and down. Okay, so you can see this one's kind of poking off to the left. And this one is mostly straight, but way longer. If I draw an ellipse for you, just get a sense for this one. So I'm drawing ellipse holding shift to get a perfect circle. Grab my direct selection tool, click on this, can see what makes it go perfect. These are the exact same length as these. They both run parallel, perpendicular away from each other. What are the words? Okay, so that's what I can try and mimic here. I can hold shift so it goes straight up and down. I'm going to try and make them the same kind of length. I'm going to make sure that there have a look at this one. These ones are way longer, shorter, shorter. This one here needs to be long, That way longer, that way. Can you see how just with a few like tweaks, it's not quite perfect yet. But I'm using my rake to move it around. It's way more symmetrical. All right. I'm going to do this last one here, So I'm going to say click once click and drag for a curve. While I'm dragging, I'm actually going to hold shift because I get that straight up and down. Rather than fixing it afterwards, I'm going to say, yep, I'm going to get you cliffs. Get hold shift again. Can you see holding shift? If I click once there, it will join that one to that one in a straight line. We're getting a bit advanced here. Ignore that bit. Maybe I'll look at us doing reasonably symmetrical stuff. These things here need fixing. Okay? There need to be longer, better. Should be like roughly the same thing. This one should be roughly in the middle. This should be a little bit further down. Up or down. And then you spend half an hour getting it perfect. Grab your black arrow and then you drag it over there. Grab your lips tool, because you can't stand it anymore. Grab your direction tool, and that's what we do, right? One last thing is down over here, can you see This was a corner, but it was meant to be a curve, so there is a tool for it. So if you hold down the pen tool underneath it, there's one called the anchor point tool. Okay? So I'm going to grab that. Okay? What it does is it converts anchor points. If I click at once, it goes from a curve, I'm going to undo it from a curve to a corner. If I want that to be a corner, I click, hold, and drag handles out the wrong way. If you do end up in a knot or it's doing something weird, you're like, what is going on? Give it a wiggle. Don't be afraid because sometimes giving that wiggle you're like, ah, that's what I'm doing. But I want to be a corner. Same with this one here. You can be a corner, you can be a corner. Oh, that one was neither a curve nor a corner. It was this handle here was the problem. A key on my keyboard for the direct selection tool, and I'm just going to move you down there. Don't be afraid to move the anchor point if it's causing your trouble right in the middle of the apex is better for him. Here we go. All right, that is the penthol. It is tricky. We're going to do it more in the course, but you will find eventually that the curvature tool will get you most of the way. And then after a while you'll be like, oh wish there was all this more control and then finger Penthol is ready for you. So start with the Curvature tool, but be ready that the pen tool is both very useful in Illustrator, but it is the same penil that's in Photoshop. It's the exact same penil that is in design and it's in lots of Cad and three D and drawing applications. The penil sometimes called the Bezier penal is everywhere. Alright, my friends, that is it for this video. I'll see in the next one happy pentooling. 24. Class project 05 - The Dreaded Pen Tool: Hi everyone. It is class project time. I want you to do basically a repeat of this project, but using the pen tool, we're going to draw the owl. Okay, and what I want you to do is draw the owl and then put it next to the version you do with the Curvature tool. And let me know in the commons which you prefer using. We'll do it both for the owl and the creature that you redraw. Okay, from the last project, remember you redraw over top of an icon or a logo. Do both of those. Put them into two categories. Tool, Curvature Tool. Put your creature under here and save out the image. Okay, probably put it on a new document. Copy and paste it, or just take a screenshot of where it is. Yeah. And post both of those things. And let me know in the comments coming around. A pen tool, what do you think it'd be, Curvature Tool for a while longer? Don't worry if it's yours. Looks a bit messy or not as smooth as mine. I've got lots of more experience doing it. There you go. All right, Unlike the last one, because we are copying other people's work, share it to the class projects, but not to social media. Just keep this one between us. So draw the, I'll redraw your creature using just the pen tool. I'll so color both of them and then basically put them side by side, upload the image, and then share it in the assignments. Alright, that's it. Enjoy pen tool practice, and I'll see in the next video. 25. Dan tidying up students work: Hey everyone. In this video we are going to take some previous students, pental owls, people that found the covid atal amazingly easy. The pental, a little bit more tricky. Kay? They have been super kind. And it said, you can use my example. Okay. One that has maybe some more challenging edges with the pental. And I'm going to show you how I would go through now and fix them just so that you can. If you've got some trouble with a pin tool as well, how you might go to that next level, You got all the anchor points in, it looks like now. Just got the edges. I need a little bit of tweaking and a big thanks to these students here. Rob Thompson, Tedrial Eubanks, Teresa Dignan, Valeria Bolslava. These are the four past students that I reached out to. And every single one of them said anything to help future students. So thanks team. Alright, so let's dive in and make some pentool magic. Okay, to get started, I've actually included them in the exercise files just so that if you want to play along. Okay. You can kind of tidy them up with me. Okay. They're in a folder called Pin Tool, tidy up. I want to show you a trip. Before we get started, you can open all of these up all at once. Okay? So go into the folder and click the first one. Hold shift, grab the last one and just drag them all into. Can you see illustrators open in the background? I'm going to drag it on top, and they should all open up. Okay. And they're all open in tabs along the top. We'll start with this first one, we'll look at Rob's one, and you can see Curvage tool. Basically, everybody had a better time with the curvage tool, so I want to just so you had to go through and get the points in and how do you tidy it up with the Penol. Okay, so I'm going to zoom in and we're going to go, I'm going to click on it, and there's this new thing down the bottom here. You can click Edit Path. Okay? And then all it does is switch from your black arrow, edit path, to your white arrow. To make it a bit simpler, we know that we can just tog all the tools over here or use our sweet shortcuts, V A, V A, up to you. Okay? So we're going to look at one of the most obvious ones, this one here. Okay? Let's have a look, basically we're going to have a look for anchor points. So there's 12345. These are the little handles that are poking out to get this curve. What Rob's done is he's got one that doubles back on itself. That's this one here. So have a look again. If I untangle it, can you see? It's to get the straight line. Okay. Just sometimes when you're drawing, you end up doing this and drawing it out and it looks perfect. But then it can look, it's not perfect. Okay? You've made it look good enough. But if you untwirl it, you'll find that actually. Okay. We can tie that up. And the other thing I want to do, and the big thing with this one, is that there's just too many anchor points. This one here. There's another good example. See this handle is just these little things are like little gravitational moons. They pull the line and if you pull it past each other, it eventually says, I'm going to go this way. No, go back that way and then try it this way. When you do it just a little bit, ends up with a little crooked bit. So what I'm going to do is say you go back there, you go back there. And I'm going to do it with the points he's got. And then what I want to do is remove a bunch of the points. Okay? Because it's just really hard. But you will find it really hard to get it perfectly smooth with so many anchor points. That's a good enough go. Okay. But if I grab this, grab my pentil, hover above any of these anchor points, you see it changes from a little Asterix or a plus to a minus. I'm going to say don't want you and I don't want you and I don't want you. That's just their experience. I know that the least amount of anchor points the better, probably just one here in the middle. You might notice he's got anchor points off these corners here. It's a bit more advanced, we won't cover that right now. Another little thing to tidy up is I notice here that that's actually not joint. How do we join it up? That's a very good point. Okay, grow the pento a key on my keyboard, like that'll work fine. Most purposes is fine, except for that little notch that's out of there. So what I'm going to do is move that out of there. Grab the pentool, be very obvious to join them up. Okay, So the pental, when you're at like a beginning or end point keyset changes from a star to the little, say joins to you and we'll join them up. So now it's complete path. Now pental, I don't need you. Okay. So you like force them apart, connect them up, dilate the one you don't need. The less anchor points, the better. Okay. So let's have a look. And any other big obvious ones. So what I'm going to do is Pintl, I've got it selected. I'm going to say get rid of you, I'm going to get rid of you and I'm going to get rid of you. Okay? And you can see I did nothing else other than remove some of the anchor points. The more anchor points you have, the more control the more like fiddly you can be. But when you're looking for smooth, the less anchor points better. Same with this one. Selecting it, pinilooop, Use your own book. Noise This is always tricky, trying to get that to flow perfectly with this. I'm going to have my K, I'm going to bring it down, and I'm going to do something like this. Oop, Mm hmm, Mm hmm, hmm. Weird noises. Okay. You get in the vibe for it though. Okay? This one here, what you'll need as well is to get these to work perfectly. See this anchor point? See the angle that it's on. And this one here, they're at totally different angles. I'm never going to get imperfect. So what I'm going to try and do is get them closer to each other, so these two are closer. And get them at the same kind of angle. That angle. That angle. And you'll notice that when they get closer to the same sort of angle and the same sort of length, they end up flowing better as a curve. It's better, right? Okay, I can work my way around the same thing, A lot of just removing anchor points. Let's have a look at this next one. Okay. Another interesting one, curve tool Pent. Okay? You can tell without even being labeled that the Curvature tool is just so much easier but doesn't have all the control. We do want to get better at the pental. Let's have a little look. I'm clicking on Let's have a look at this one that looks like it's a corner point. That's right. That is one of the trickiest ones where this comes down and you're trying like she's done it perfect exactly how I said, right? There's this curve in the middle, in the apex, and there's this one. How do I get that to flow through really nicely? It's a little bit of advanced with your current skills. You should be doing something just like this. You kind of pull it out so that it lines up and kind of smoothes out that this bottom one here, I don't really want to get advanced, but I've already said some stuff, let's do that. What you can do is you can actually make this a curve. So I'm going to click on it, go back to my properties, going to make you a curve, basically handles sticking out of it, even though I want it to be a corner point, you can actually have it so that as long as this one, okay, this back one is going completely strap and down. How do I get it? Go strap and down. Shift key. Okay? It doesn't really matter where it goes up here. But it does have a handle out this side which helps ease that flow. Okay, there is one out here already. Over this side, there's this one in the middle. I'm going to go something like this. And this handle here holding shift again, it helps force the line out. Advanced stuff, how would I tidy up this one? Let's get that one there. Also, I'm looking, this anchor point and this anchor point, and I'm looking to see the same angle and the same kind of distance. See that little change there makes them are parallel. What's going on over here? I can see this one. There is an anchor point here. That is the handle here, like the moon. Okay? It's trying to force itself to go follow me. Follow me. And then has to make a really hard right turn and ends up going up there. What it'll probably do is pentile minus. Okay? And do the work with this one and you're like, how am I going to remember how to do that? That is the thing with the penol and anchor points and handles. They're tricky and a lot of his experience. Alright, let's zoom out, see what else we can keep working through it. And what would you do now based on what you've seen, how would you fix up this line? What was the first thing you do? You got it. Okay. Now that at the top one curve, whereas here there's this one. This one and just too many over here. And you can see why, right? You're like I need to add anchor points here. Because they need to bring it down to my, a tool for my direct selection and that kind of works. But more anchor points means it kind of more of a wobbly wiggly detailed line. What I need to do is grab my, a tool for my direct selection and grab this guy. And to say, you come out here, buddy, there we go. It's looking great. Let's have a look at this one. Actually, I ask, this is an example and it's actually really nice. Go Tressa, what would I do? I'd probably click on this and have a look. There's just one thing that bugs me. This one here. O, okay. Oh, it's this old chestnut. Look, So that one there, the moon's going come out here, line and this one saying no, you go over here and because they're kind of going past each other, okay? They're fighting it out. So if I just go, you ease back that way. Ease back that way. Just ease up on your controls there, guys, and just smooths it out. So look at this last one, okay? Curved tool. Nailed it. Pentile a little bit. Squiggly lines, okay? And let's have a little look. This would be a good example. This one here is a broken anchor point. So you can see it's kind of, she probably had a bit of a problem. Who was this one? Valeria, okay? And this one wasn't connected up. So this is a very good example of what do we do here. I could just delete it and put it back in. That's the easiest way. But you can actually click on this anchor point. And over the top here, okay, it is. From a corner to a curve. Okay, let's go this one poop, there we go. Okay. Now we've got something that's more like a sal, you know, you drag one side, the other side gets fixed, and what shall we do? Let's tidy them up. Let's go over my P from my penilay. Okay? And I'm going to drag you down, and I'm going to drag you up to get it to look like it flows out of that line. Remember we can do the tricky thing where we say you can be a curve point, okay? Remember, this is a bit advanced so that we've got these extra handles that poke out. Okay, if we hold it shift, okay, While we're dragging it straight up and down means this goes line straight through here. And straight out of here gives me a little bit of control this way I can move him in over here. This looks like it is broken into a corner point as well. Okay, let's go curve. We'll just leave the anchor points that they've got. There's one here as well that looks good. I like that one. You probably going to go move it across sometimes as well. I've got my smart guides off. Okay. I like it, I prefer it off. Smart guides are ticked off. In this case, what I'm going to do is I'm going to sometimes use your Erik. Just click on the point and just tap the key around. I'm using the errors on my keyboard here. I've done a pretty amazing job here. Can you see? But let's have two before which looks perfect, but probably spend a lot of time getting all of these lined up nicely. Okay. Whereas over here, which I do it with just one anchor point, pin tool, go to this one and just drag that out and then drag that one down and you're like, ha, I need more control. It's actually probably just needs to be moved around a little bit around there. Actually, it needs to be a straight, because there's a straight chunk there. There's no straight chunk on this one. So what I might do is grab my pentool and add one more point back in hold shift. So these things go straight up and down and kind of move them underneath each other. There we go. Now this can probably go down here, so that's kind of pulling it through there just with one, actually two anchor points. Now, does that look much smoother then? Not really. A little bit of this one. A little bit. That one. Oh man. Pinol's tricky, huh? Has he made it better? Has he made it? I'm not sure. Singing to himself, I think it's better. Can you see the little just sort subtle kinks in that one And let's have a look at this one versus that one. What do you think? They look the same. Yeah, I agree. I think because so much time was spent on this one. But can you tell what the anchor point is? Look, there's got be one there, right? Is there not? There is. You can see just the little bump in there. All right. That is it. That is kind of what I look for when I'm helping students, when I'm working on my own work. That just needs a little bit of tweaking. Most of the time you'll see that it's just less anchor points and getting the handles from those anchor points to do more of the work. A lot of what makes it look good is when this anchor point is in a similar part. Can you see This one here is in a similar angle and a similar part of the curve. Okay, That one's not too close, but close enough. Especially because it's running the same kind of like angle in the same kind of lengths and things kind of run parallel and look nice. All right, I hope that was useful. I threw it in the, in the course. Anyway, there you go. So that'll be it. I will see you in the next video, another class project. 26. Class project 06 - Pen Tool Redemption : Hello my friend. Are you ready for pen tool redemption? The basics is, is that I want you to take the creature that you have been drawing. Okay, with the pen tool. Okay. Maybe got frustrated with duplicate them and redraw them, or at least tweak them like I did in the last video. So the sub project number one is have a practice with the examples that our lovely students have shared with us. Okay, so go through those and see if you can tidy them up like I did. Okay, And then I want you to work on your own creature. Okay? So remember, mine would have been the fox, whatever creature you're drawing on top of from the last exercise. Okay. So the pen tool version that you might have, I don't know, might have found some trouble with, let see if you can make it better. Before you go and make it better, I want you to grab your creature, a duplicate of it. Okay, us a copy and paste. So you got two of them. And then leave that one so we can see an example. And see if you can tidy it up. If yours was still really good, that's okay. See if you can make it even a little bit better. And once you've done that, I'd like you to do this like have a before original pentool and then your pen tool redemption version and save a copy of this. I don't mind if it's just a simple old screenshot. All we're doing, remember from earlier in the course, file export. And just see if you can make it just a little bit better. Even if it's like it's still really bad, but it's better. That is the right direction. If you have made it worse, that's bad. Okay. But hopefully we're making it even just a little bit better. Some of you will really get into the penile and others will struggle. I've taught thousands of people and it's tricky some pick it up faster, but the only way to get better is to keep doing it. So give it a try. Practice with the examples, update your creature, see if you can make him better. Share it with the projects and assignments. And we won't share this one on social media, mainly because we copied our creatures. We'll get back into sharing in social media in a sec. Alright, Have fun redempting yourself. It's not a word. See the next video. 27. Awake Fox Combining Tools & Skill Stacking: Hi everyone. In this video we're going to start with a drawing of a fox and then, bam, color them in. What tools we're going to use? We're going to use all of them. Everything we've learned so far in the course. We're going to use the Curvature tool, the pen tool, the Shape builder tool, the line segment tool, the ellipse tool. We're going to add some new stuff like Outline mode to help us with our re drawing. It's a little bit of a long video but I don't know you'll find it useful seeing all these tools and how they get used together, rather than how we've been doing it so far, where they've been all on individual videos. Let's do some skills stacking. Let's jump in al right to get sided, let's go to file new. And I'm just going to the one I pick mostly weirdly is web, okay? And I pick common, it's just this one or this size here. Normally this size here, okay? It's just a good rectangle size. It's always defaulting to RGB, which is the bigger color space. I want mine to be portrait though. And let's click Create. Okay, let's bring in the image. Okay, so I'm going to go File. I'm going to go to Place, and I'm going to go to Exercise files. I want awake Fox v Two. It's making a template, So it goes on its own layer and gets graded out a little bit. Okay, So this is my drawing, and we're going to combine all our skills here. So get it in, and let's start building. I guess just get started. Then we're going to start with some simple shapes 'cause they've got all these easy curves that I could do with some basic shapes. Hold down the rectangular tool, grab the lips tool. And which one do I start with? I don't know. Draw a big circle now, do these need to be perfectly round? Probably. Okay, I want to get to a nice big one. So hold down shift Okay, to drag it out. Okay, And I'm going to say no field, please. Thank you very much. And I'm probably going to pick a stroke, so click off to kind of close the field, get a stroke and pick neon green just so it's easier to see. That's not very easy. Okay, And I'm going to drag the edge of it, not using the ellipse tool, got to grab the black arrow. Okay. So our selection tool and kind of line it up, it's not big enough. Space bar tool, drag it down. And I'm going to hold shift here. Okay? And just drag it a bit bigger. And then there's a little bit of just like jiggling around, you needs to probably be a bit bigger. I'm holding shift so it stays a perfect circle. All right, And that's kind of about it, So we'll start with some shape builder circly stuff. So let's do that one. Let's just duplicate it, copy paste. Okay? And I'm going to grab it, grab it on the edge. Okay, with my selection tool, this one is even bigger, holding shift. Okay. There's a hand drawing, so it's never going to be perfect. Okay. Well, I kind of got pretty close there. Okay. There we go. Maybe you can use Erik's just to tap it around. That's good enough for me. Let's get this back one. Let's duplicate the sky again. Copy paste. And I'm going to say not the right size. I'm going to copy and paste this one. Hope it's close to what I want it to be. Still not big enough. Hold shift on any of the corners. Make it bigger. Close. There we go. Let's get it close. Let's do the ears in the face, and then we'll do these other ones using the curvage tool or the pen tool. Okay? Do I just keep copying and pasting rather than during new ones, maybe? Okay, holding shift to make sure it's a circle, get this close. Going to show you another little trick when we're holding shift. Okay, we can drag it, that's fine. But if you hold shift option on a Mac Alt, on a PC shift that key as well. Watch this. It drags from the center, which is really handy because we've been dragging from the side. And that's fine. But sometimes it's nice to hold both of those key down. So it Shift an option on a Mac, and Shift and Alt on a PC. And it goes from the center. It's what I generally do by default. Okay, another tip while you're here is that we've been copying, and pasting, and copy and pastings. Weird. It just like, plops it right in the middle of the screen. If I'm over here, watch and I paste just right in the middle of the screen. It's never where needed to be. Another little trick for you is with your selection tool, start holding. I'm just dragging it right. So that's moving it. But if I do that exact same thing, start dragging it. Hold down the option KakaPC. Can you see the original one still there? And see my little curses change to a little double arrow. That means like while I'm moving it, I'm going to make another version which is brilliant. Now where I get it to where I want, the trick is you've got to let go of your mouse first, then your keyboard, Okay? If you do it the other way around, if I start dragging and let go of the keyboard first and then the mouse, it just moves it. Okay? So just make sure, start dragging, Hold down that key and just make sure you get the mouse first. That is like dragging and duplicating at the same time. If you're like, that's way too hard, just copy and paste. It's totally cool. All right, we start to get pretty complicated, so I'm going to Alt or option drag to get this part of the ear, and now we're all lost. Good work then. Okay, that's going to be good enough for the moment, so get this far, have the big circles in for the neck. Okay. And then all of these ones for the head and ears. And now we're going to use our shape builder tool. Okay. We can go the long way or shift M. Okay, on both Mac and PC. We'll grab that icon there. And now what do we do? It's not working. Why is it working? Because I haven't selected it, so I'm gonna go my V key back to the selection tool. Okay, the first tool in the tool bar, select them all. Then I can go to my Shift M for the shape builder. And now there's a lot of like I'm going to hold down the option key on my MackPC to delete stuff. I'm going to say don't need you start with the easy stuff 'cause it's confusing. You're like, what do I keep in here? Start with the stuff. Like, I definitely don't need that. All that, all that I'm just dragging across. I'm gonna leave that there. We'll tidy that up with the pin tool. I don't need that bit, don't need that bit. And just kind of like drag across and work your way in and then go deleted the bit I need, sorry, he undo. Okay, so let's draw all of this. You click in the middle of them. Okay, we're there. So one of the things with the Shape Builder tool is that you might end up with what's called artifacts or just junk. We'll call it junk. Okay. Stuff lying around, like what is that? What is that? So let's look at it first. Now, if I click off, actually go back to my black arrow, sometimes you can't even see it, okay? Sometimes it's just junk that has no fill or no stroke. So let's go No fill, no stroke. Okay. And you're like, I know it's there, it's causing me problems. Maybe when I'm going to my like vinyl cutter I've got here or my printer or it's like it's just stuff that's getting selected and messing with my life. So how do we get rid of it? First of all, we need to see it, okay? Even these small bits are quite tricky to see. So what we can do is we can look at something called Outline Mode. Outline Mode is a way of looking at your document and x ray vision. Okay, There's the long way. Get a view and go to Outline. You'll notice that it has a really super awesome shortcut. If it has a super awesome shortcut, it probably means people use it all the time, except I never use that one. Okay, But command Y on a Mac, control Y on a PC is a really handy one. Can you see it goes from all these lines, look, it goes from lines and fills to X ray mode. Command Y and like theory is cart sum them. So it's really handy as well. If I've got like if I select all this and give it a big strange stroke, we're going to do this later on. It's a dash stroke and it's all just looking a bit weird. Command Y just shows me like a lovely little outline mode. And if I turn my layer off back here, okay, everything just becomes a little bit simpler to work. So when you're doing technical stuff, command or control y can be a real lifesaver. Because it allows you to do this command Y and say black arrow. Select that. Delete it. Select you delete it. Select you, delete it. You might end up with Jung all over the place. And you can click on it and say, get rid of you. I needed that. So I'm gonna leave it back there. So command Y is outline mode and it's super useful I need to select all of this code on my properties. We're going to do strokes a little later in the course, so I'm going to turn my dash line off. That'll be a fun project for later on. And back to a one pixel stroke. All right, let's turn our library on. Let's turn this on. Let's have a look, what do we need to do here? I'm going to select it all. Shift M for my Shap builder tool. And I'm going to say that I'm not holding anything down member. I'm going to connect all of this up to be one shape. This is going to be one shape plus that, that's going to be one shape. Just, I don't know, reckon, we're getting there. Command Y. There we go. So we use simple shapes to get started, mainly all circles. Then we use the shape of a tool to tidy them up. So we're stacking our skills. Okay? And then we used Outline Mode, which was a new one. Okay, next thing we're going to use is I want to join that up to here. From earlier in the course. I have my smart guides off. It's another handy shortcut command. You control you on a PC. Because what I want to do is draw a line from there to there. And I've got a line tool. I could use my penal here. Okay. Penal is great at drawing straight lines. Okay. Or I could use my line segment tool. I never use a line segment tool, FYI. Because it's good. But the penal does it plus much more. So I end up using the penal. You could use the curvature tool. The problem is lining this thing up, it's kind of working. Okay. But if I want to line it up with this line here, you're like where's my intersect? Okay, so command you or control you want a PC, is that smart Guides on? You turn it on, turn it off, you turn it on, turn it off. So what I'm going to do is go to you and hover above. And it's going to say, I found an anchor point. You're like excellent. And over here I found a path. Do you want to connect to it? Yes, not the exact nose's looking for but good enough. Now what do you do? You're like get off. How do we detach our pen tool from like get off it, hit escape or in this course, you probably did this. Click, click, click off. Okay. And then you go do, do, do, do, do, do, do, and escape. All right. Now I don't really need to do anything anymore because I can fill this with a color. Because I know that if I select it all with a shape builder later on I can say, you remember we did this fill with a color. Okay, I'm not going to do it now because I don't want to carve it out yet, but that was really easy, right? Pen tool, just join it across. You need a bit of all of the tools. Have a look at this circle here, okay, hiding under the line tool. Another little shortcut is these M and L. Okay? Use a lot. Okay? M tool is the square and I'm just tapping L on my keyboard, okay? To get a circle, M and L, they kind of near each other, they make no sense, F square. And L is definitely for a long circle M now don't make sense. Okay? But we're going to do this, we're going to drive a circle. What do I hold down to get it to be perfect circle? That's right shift. Okay. But remember earlier on I showed you how we could scale stuffing by holding down the option key as well. Watch this. We can do it with making stub as well. So instead of holding shift and going from like PC from the top left down, we can hold down our shift shift for a perfect circle and on a Mac it's option, and on PC it's Olt. Hold both of those down and lock it drags from the center. Often it's easy to find where the center is then trying to guess on the top left. So I'm going to say about here. Okay, holding both these keys down, Bam V, key to selection tool, grab it all. Shift in for my shape builder. I'm using shortcuts, it's probably blowing your mind. Okay? But I'm reading them out. Shape Builder, if you want to go the long way. Okay. There are just ones that are super helpful and we use a lot. I'm gonna go through the loads in the course. You'll know them by the end because you'll be like, stop saying it. Okay. So I want to just join both of these up actually in that too as well. There you go. 'cause I want this kind of cut out slice pie shape for his eye. Okay, next one is let's get these little things. Let's do this down the bottom. We could make loads of circles, but it'd work, but it would take too long. So we're going to go straight to the Pin tool or the curvature tool. Which one should we do? Let's use the Curvature tool. Okay, that's a little easier to use and we'll do the top one with a pentel. So I want to have my smart guides on remember command or control you. I'd love it to be on that path or even outside of that path. That's okay. Because if I'm on the path it's actually going to start adding to that line. Right, Dan? So we don't want that actually. We want to go out here. So I'm going to click once to get started. Click once on the apex, once here for a corner, once on the curve, once on the apex, once. Oh, did that wrong? How do I transfim it back to a corner? Double click it. You got it? Click once on the apex for a curve. Double click for a corner. Oh, I did that one too. Ge Dan click once for a curve and I'm going to go through it again, not joining it up. I don't want to try and attach it. I'm going to go through it and say click, double click for a corner. This one over here, I've done it wrong. How do I fix it? Okay. Click at once. Okay. And just double click it. There you go. Now, how do I get him from being attached? It's right. Skate key. Then I'm going to go to my move tool, select all of it. I haven't grabbed the stuff up here. Okay. Can you see if I move this? Now? Look, I've not grabbed all of that. It doesn't really matter for what I'm doing. I just need really these chunks because I'm going to grab my shape builder tool. Okay, And go minus, and then I'm going to go minus, minus. Then I'm going to go Command or control you. Which doesn't work in the shape builder at all. I did not realize that. Okay, used to. And let's go back to our selection tool. Go command you. It's still not working. What's up? Command you. Am I using the wrong shortcut you? Let's command Y. What is command you? It is it is smart guides, right? I was just smashing that away. It was going Command you on smart guides. On smart guides. Off, whoops, it's a command, Y is for outline mode. Okay, so I can kind of just see it. Is there any like junk hanging off the edge here? Sometimes let's undo. Sometimes you don't really see this until you're in outline mode, let's say it's just like a little, tiny bit there, okay? And you're like, it looks fine. And then you're like command Y or control Y. You can say, ah, there you are. And you can either delete it with the Shape Builder tool or you can grab the direct selection tool and say you delete it, we're going to select it all. Grab our Shape Builder tool and say hold down the option Kamala PC. Well, there's still some junk in there. What is that? Just there we go. There can be lots of little bit of junk depending on how detailed your work is, but we can delete it, the Shape builder tool. All right, we're nearly there. Let's do this last one here with the pento. So P for the pen tool. Again, I'm going to start through it. Okay. So I'm going to go over here. Click once over here, I'm going to click and drag. And can you see the difference? The curfturel just adds these anchor points on its own and it does a pretty sweet job. Whereas me, I want to just click, hold, and drag them out and put them in myself because I don't know. I don't want the computer telling me what to do, at least not now. Okay, Click once over here, Now click and drag over here. And then it's hard to know, right? Because I know that there we go, I'm going to just leave it there. Because you're like that's not right. It's so that I can go back to my direct selection tool, the key, and I know that later on I can go and fix this up and then adjust this around. It's never going to be right, perfectly the first time, okay? But I know with just a little bit of ka points, not too many. Okay. I smooth the one through there, that's kind of what I'm looking for. So let's select it all with the selection tool. Go shift for the shape builder tool. And I'm going to say I'm just going to get rid of the lines was this you're going to say, holding down my option on a PC and get rid of that line there. We're still in command Y, okay? Or control Y on a PC for outline mode and then it's okay. Now I think we can color them. Should we color them? Why not? I'm going to select it all. Okay, so my black arrow slect everything. If you're not sure if you've got everything, what I do is do a selection and then kind of grab one of the lines and move it off and just see if there's anything left behind. Nope. All good. So I've got everything selected. I'm going to go my Shape builder tool. Great for coloring things in I'm going to say, Phil, and I'm just going to use these colors. Okay? You can spend a bit more time looking for colors under here. Okay? Clicking in here. And the rainbow colors, I'm just going to use the premateswatches, these happen to be good enough, Fox colors. And I'm going to start clicking stuff. There we go. And I'm going to say you are a darker color. The face is going to be even darker again. And then the back ear is going to be a little bit darker. Actually, you can go to the full dark red. We got there for this bit here. I want to be like an off white. That's white at the top here. This is just a little bit gray. So I'm going to say you have that color in the bottom. One is just going to be even darker again because it's under its belly. All right, let's select it all. Let's remove all the stroke. So go to stroke and go to none. Can you see the fill nail that are all selected? Has a question mark that just means like you've got lots of things with fills and I don't know what to show here. Question mark means nothing wrong with it. Just like, I don't know, what do you want to show? There's so many colors you got selected. And let's go to layers. Let's turn off our background and you will find that everything looks better on a black background or a dark background. I like going to my remember M and L. Okay. Rectangle. M two. I'm zooming out and I'm going to grab my smart guides are on so I snatch to the edges nicely going to put a big background of darker. I'm going to give it no stroke. I'm going to send it to the back. Remember with it selected over here to arrange. Let's go to back. Okay. I don't know, is it just me? Everything feels better on dark background. I'm not super happy with the colors. Last thing I'm going to do is I want to actually show you at all. But I'm going to go to the mixer and I'm going to mess around with this and probably pull some saturation out of it. I'm not really happy with that orangey color. Remember, if you're on an RGB or NYK, you can switch it to HSB in the corner here and start messing with the colors. I'm going to spend more time doing that, but I'm not going to show you because the video is already long enough. What I'm hoping you're seeing though is a mixture of techniques and tools in Illustrator. Okay. Curvature tool, pen tool, shape builder, tool, simple shapes, the line tool we introduced, outline mode. All these skills kind of build on top of each other and kind of stack our skills as we go through. We're only in like the first quarter of the course. Imagine what you're going to be able to do By the end of it, we've got so many more skills to add to it. We're going to be Illustrator Masters by the end. Or at least not illustrated Newbies somewhere in the middle. Alright, so I hope you're working through the video. If not, start at the beginning, work your way through, see if you can get close to where we're at because guess what, the next video class, project time. 28. Class Project 07 - Skill Stacking Practice: Hello. Hey, it's time for some practice drawing. I have drawn some stuff for you. They're called skills stack 12. Don't check three, that's the embarrassing one. So I drew some things that should be easily drawn with all the tools that we've known we know so far. So there are some bits that I kind of dignore the bit and it kind of looks like Darth Fader. So I'm not looking for like perfect exactness. Okay. I just drew something that I think will be good to practice with and use all the tools we've learned, but you don't have to follow it exactly. So there's this one, there's skills, stack two as well. Started off as a swallow and ended up being generic bird. But check out the class projects, so I want you to bring them in to illustrate or draw over the top of them. Okay? And using things like the basic shapes with the shape builder tool like we did with the Awake Fox Gay, use a pentel coverage tool. I want you to experiment with the outline view. Gay going to the x ray mode and turning smart guides on sometimes and having them off. And just practice drawing these shapes, color them when you're finished and when you're finished, save an image, upload it to the assignment section, and share it on social media. I'd love to see what you made, especially if you get time to color them when you are posting on social media. If there is a chance to say, hey, I'm doing this course, here's a link to it. You don't have to, but kind of helps me if people know where you're getting these man. Good skills with a two can draw vader looking swan thing. It was better in my head. And do you know what was way better in my head that came out really badly? Skills, stack three. I'm not even going to show you. You better look at that one. I drew that one a long time ago for the original version of this course, way back when. And I thought it was great drawing. And as soon as the course was live, I was like the hell, what is that? It's meant to be a swan. So I read in myself, with a different swan, a better swan. But if you get a chance, you can re, draw three as well. You're, you're not allowed to laugh though, just me. All right, so redraw one or three of them if you get time. Number three of you are, you can totally modify it to make it look better. I would be grateful. Make sure you share it online. And one thing I do want to show with you though, is when you are bringing in image to trace, I've purposely not made them the right size up until now. Every time you've imported something, it's being, oh, look, magically the right size. So what's going to happen is, let's say that I'm using my web large and I'm using it horizontal, sorry, portrait. And I bring it in and I'm going to go file place. And I'm going to bring in the new swan, the better swan. So exercise files skill stack. If I bring it in, there's a template, it's going to go, bam, way too big. And if you're doing it, maybe your own stuff and you've got a super duper camera, it might come in enormous. Okay. To resize it here, we just need to go to our layers panel, unlock the template, click on it, and shrink it down. Okay, Now you need to hold shift while you're shrinking it, otherwise you end up doing stuff like that. Okay, The other cool trick is we've learned already, there is another key we hold down, we hold down shift. And what else will go from the center shift? Make sure it's height and width locked. But remember on a Mac we can hold down the option key. On a PC it's the old key. You see it goes to the center, so you might collect something like that so it fits on the page. Then lock it again. Make sure you're working on layer one. Otherwise you stay on this layer and go to, say, your circle to won't work. Okay. So just make sure you're on your layer one and you go to properties and go back to normal drawing. All right? So have fun. Don't follow the drawings too hard. Ignore the bits that look wonky. And not the right size was, I don't know, I spend a good 15 minutes making these things, so I lie. It was probably about 20 minutes, maybe half an hour. Okay. So they're not perfect. You're allowed to take some creative, liberal freedoms with them to make them look a little bit better or how you want to make them, and then share them on social media. Alright, I will see in the next video, looking forward to seeing what you make. 29. AI Generative Recolor: One. In this video we're going to go from this plain old fox too. Techno disco, all sorts of cool colors for the fox. And we're going to let AI, artificial intelligence, not Adobe Illustrator, that's confusing now, but AI do the recoloring by using prompts. It's a great way to bust out of our regular old color schemes and explore new and puky colors. Some good, some bad. All done with artificial intelligence using something called generative recolor. Alright, let's jump in and make some cool and not so cool colors. Not cool. Not cool. Okay, Coo, coo. The ratio is not great, but hey, it's really quick and easy to do. Let me show you how quick and easy it is. Stepping. Alright. First up, open something that needs to be recolored. I'm going to use the fox that we're redrawing the awake fox. I've also got sleeping fox ready to go. And the other thing is, before you get started, it needs to have some kind of color. You can't have it with no color or just one standard color. Can't all be black or, or be white. Some variation of color. Even if you just go through and kind of fill it with any old swatch you feel like, okay. And just need something to kind of grab onto. One thing though, is that it will kind of keep or try and honor the dark colors replaced with dark colors. Light with light. So put some, a little effort into maybe not the color hue, but maybe the lightness, you can adjust them afterwards. So what I want to do is I want to select everything, okay? I want the background to change color as well. And there's a couple of ways of getting to the generative recolor. There's this little thing that pops up, okay, there's recolor over there. You can go to edit, edit colors, recolor. There's 1,000 ways of getting to the exact same tool in Illustrator. So if you do find a way that you're like, why isn't to use that way? Just 'cause I kind of have to cut it down somewhere. Nobody wants to see the ten ways of getting to generative color. You start off and recolor, Go to this one here and have a play around with clicking the sample prompts. Okay, that's easier to do. Just click on one. Give it a sec. I'll speed this up, and what you'll find is nothing changes over here. Until you click one and then it kind of applies it. Okay. Can you see all the different color variations? So I want to get rid of salmon sushi and give you a few for instances of things that I like to type into it. It's one of the new skills I'm trying to develop, like how to talk to the robots. Okay, so we're going to go something easy, Seaside. The nice thing is see, it's generating four new variations, but down the bottom is still those ones, that sushi mushroom thing that was there before. So you can go back. Okay, and you're going to go Seaside. Oh my goodness, so bad. I bet you, if you type in Seaside, yours will be different from mine. It's amazing how, I guess. It's not like this doesn't look like the seaside. It's about getting you out of your own kind of way for choosing colors so that you don't end up doing the exact same thing every time you design a logo, or a brand, or an icon. And if you're new to design in general color, it's tricky to kind of find colors that all work together. And generative color does a really good job of it. What else are we going to tell it? Let's type. I like typing in cyber punk. It's one of my favorite things to type in for making cool colors look oh cool. And you can see even the background color, which is gray, can see it changes. Like that's a really warm one and that one's quite a cool grade. The background retained some of the lights and darks, which is really cool. Okay. Cyber punk. I think I like that one the best. What other things can you type in? So think of art movements, okay, that have distinctive colors. Pop art. Let's see what we got here. Some cool stuff. I hate it. What else? Artists, you know, okay? Now everyone's thinking, Andy Warhol maybe that Marilyn Monroe kind of lithograph kind of print thing. And it's kind of got lots of yellows in it. For some reason I haven't got it. So it doesn't know exactly what artwork you're talking about and I don't remember the name of it. But think artists, think movie like, I'm thinking movies that have really distinct like color casts or color grading something like Blade Runner, that's, isn't that green? I feel like there needs to be more purples in it. But anyway, AI is getting better and we're getting better at communicating with it. As a designer, like the other thing I typed in this the other day, I was like, New Zealand flag. I wonder what will happen? Doesn't know the New Zealand flag. It does. It's red and red, white and blue like the American flag. There's no real color differences. None of these are really close. Close ish, you can generate again say you did bad, keep Cohen getting worse. New Zealand flag, very similar. All lots of flags that I'm going to type in all have the same colors. The New Zealand oh let's go. Irish flag. New Zealand flag, not very unique. Looks like the Australian flag. Almost exactly the same British flag. Same colors as American flag. And the Irish flag though. Oh, I think we nailed it. Think of that Good work, artificial intelligence. Anyway, so you might be way better at prompts than me. Think of cool stuff to type in. Have a play around with this one. Have a play around with the fox as well, right? Little update to the video. A few people having problems with coloring it sometimes. Okay. I just wanted to throw this in. I've got this. There is no Phil, okay, on these strokes. So if I use generative fill, okay, I won't work. It will color the strokes. But because there's no fill, it won't color them in. Because they're all the same stroke color, we end up with the same stroke. Same with this. If I've got a fill and they're all the same color, it doesn't work. You see the variations, okay? It's using the same colors and trying to recolor them, but they're all the same. So all you need is, you don't need a lot, okay? But you do need some variation in brightness. Doesn't have to be color. Okay. I've all got grays here. But look at this. I don't know what they'll all do. Hopefully, it's good looking colors where I got it from anyway. Best. I don't know from my file that it's keeping on me. I love you AI. But as long as you've got tone in there, okay, it will apply color on top of it to an appropriate level. Dark light, that's more me. Oh, okay, it's not more me. But anyway, you get the idea. Just a reminder that you need to have some variation in tone to start with and then recolor will work. Great. All right, that is it. I will see in the next video you can experiment round. But join me in the next video, that's why I've come back and we do this from the next video as a class project. So join me there. We learn some shortcuts and do some cool coloring and some bad coloring. I'll see over there. 30. How to make a Mood Board in Illustrator: In this video, we are going to create a mood board for the product that we are developing. Okay, it's not a particularly exciting video. No real skills. I'm just showing you what I do when I'm building out a new project. And basically the crux of the whole thing is find stuff you like, stick it on an Illustrator artboard. That is it. Why is the video so long? I'm going to show you some places that I like to go to get inspiration for products and how to get screenshots and how to dump them more than Illustrator. But it's actually not that hard, fine stuff. Stick on the beach. Moodboard done for those you want to hang around. Let me show you the places that I get inspiration and kind of how I throw together a moodboard. All right, let's get into it. Unless you're skipping it, then I'll see in the next video. All right, let's do it. Okay? You make a mood board. It's just a page with lots of stuff that set the mood. And so when I make a file, I make sure it's IGB again, for the bigger color range. And I pick anything any size, because what ends up happening is you end up with this like thing that ends up all over the place, okay? Just a big mess. It's not meant to be presented to a client, although you can do, but for now, it is just for us to get our ideas in one place. And Illustrator is a great place for doing this. Now my one member was Mills hot sauce. Okay, so what I went and did is have a look around a few sites to get ideas for what other people are doing. Inspiration, set the mood, things that I like that's out there already. Not to copy but to reference from. And kind of, I don't know, parallel or uses a contrast, you can do something completely different. But yeah, we need to figure out what's out there first. In a couple of places I go to is dribble with three B's. Okay. And just typing in hot sauce. Hot sauce, okay. And going through and finding the ones that you like. Also like using hunts K.net another great place to get ideas from. Now often these are really heavily designed, which are also beautiful but sometimes are not real products. So often I'll go to Google Images as well to have a look at what's out there. And you get a different mix of kind of like some super cool looking ones and then you have some like average made at home. Probably extinct brand kind of stuff as well. So it doesn't matter where we get your inspiration from. If something takes your liking doesn't even have to be hot source, It might be something you know, similar. Okay. Do some search and find some stuff and getting them into Illustrator. And a couple of ways what I tend to do is just do screenshots. I find something and I go on my Mac Command shift four and I drag a little box around it. Okay. And there it is there. It ends up on my desktop and I can add it Okay. In on a PC it's different. You'll to check how it works on a PC, different versions of Windows do it differently. Normally it's print screen, but have a little Google on how to do screenshots. Otherwise go into them, right, Click them and say save as image. Okay? And once you've got a pile of them, what I tend to do, I'll give you some tips for that. Is, let's say I've got a new document, okay? And I've found all the screenshots that I've taken. And what I like to do is just have the finder window, either Mac or PC, open over the top of Illustrator. Then just drag the whole chunk in there. Okay, Give it a second click into Illustrator and you get them all dumped into there. Okay. And then it's just a matter of just kind of moving them around and like we could make them all official and line them all up, but all the screenshots of different sizes. And I think I like the mixed collage look of just everything being a funny size and a random place. And if there are things that you're like, oh man, I really like this, Okay? You can do some sort of biasing with sizes so that when you go back to it later on you're like that was the one, okay? Or when you're working with a client, you can kind of influence like this is a really strong leader of what you think the brand should be heading towards or the kind of style and that's it, presenting to the client. We might spend a bit more time, but for us for now. And in the next video, I'm gonna get you to create a quick moodboard for what we're doing. But yeah, just throw everything on the page if you want to resize your artboard. Okay, remember you've got an artboard tool which is this one down here. Do I show you that already is the artboard tool okay, Or have nothing selected. And you can go to your edit artboards and you can make the size, either the height and the width here or just drag the edge of it to bigger to incorporate everything. Okay. Don't worry too much about it though. Don't worry about fonts and stuff unless you want to do fonts and stuff. We'll do that later in the course. Gain will start kind of looking at fonts and how to get cool ones. And same with colors as well. Just throw in a moment just kind of like products that kind of align with what you want to do, even if they're not exactly the hot sauce. Just things that you think are interesting and would work for your brand. Alright, that's it. Moodboard, one oh one. I'll see in the next video. 31. Class Project 08 - Make your mood board: Everyone, it is not homework time. It is class project time, which is way more fun. This is an easy one. I want you to make your own moodboard, just like we did in the last video. So add whatever the brand that you're working on to the top and then just start searching and finding images that take your fancy. Put them on the page. Save it and upload it to the assignment section. You don't need to share the social media because it's kind of only for yourself and for us to see as part of the assignments. So yeah, make a document, call it Moodboard, research related products and imagery, and stick them on the moodboard. Save an image from illustrator and you're away. All right. That's it. Make your moodboard, and I'll see you in the next video. 32. Class Project 09 - Your New Creature: One. I think it's time. It is time that you take all the skills and you make your new amazing creature. Okay. So the same animal that you've been working with or creature or insect or whatever it is. And I want you to build it out kind of like we've done here where we've redrawn something kind of stylized. Okay, We've done some coloring using the skills that we learned that when we were redrawing the swan. And what is the other thing? The bird. But for your own creature, how do we get there? Start with your moodboard. Okay. And go out and have a look at other K illustrations or icons, or logos that use your animal, even some real photographs of it. K different positions. K kind of iconic looks, Just dump them onto you. Moodboard. I'm just on that same moodboard. Where did I put them randomly up here? That's totally okay. This is our rough place to work. So throw them in there to get an idea. And then you can either start drawing straight into illustrator. Okay. Just kind of like, oh, something like this and start drawing. Or you can start with pencil and do what I did here for the Awake Fox. Okay, there we go. And we draw over the top of it, an illustrator. Bring it in. Now I got to put my hand up. I never draw that nicely. I never spin ages with the curves. And I did this because we need to be able to redraw it. In this class, I want to show you the original image. Where is it? It is in your exercise files. It actually, it's on the mood board as well. It's called rough drawing. Have a look at that. That is Sleeping Fox original one oh one. And that the Sars one down here. That is what I started drawing. I didn't even take a scan of it and start drawing up the top. I kind of looked at, I was like, something's in there And then I started drawing an illustrator. You know, you don't have to be a great drawer. You don't even have to get it perfect in pencil. Just kind of, I find it easier to get my ideas down on paper first. You might be different. Might be using a tablet or something else. Okay. But I like doing these things and then kind of drawing them out. And then kind of getting far enough and going, I'm close enough, and then start drawing an illustrator. Okay, So however you get to it, I want you to draw your creature. Then I want you to go through and use generative recolor to experiment with colors. Okay? And pick one. This is the one I picked, so draw it. Pick a color. And when you're sharing it, share something like a screenshot of like all of this. I'd like to see the final product plus some color variations. I'd like to see any other versions. Maybe you've drawn it twice or three times because they all look, not as you'd hoped. Okay, so I'd like to see all the bad ones as well. Showing the bad ones is really helpful for this class, especially when we're sharing it online. Okay? Other people can see it and you know, there'd be great people out there sharing the stuff. I want the people who did a really, really one, that I'm not super proud of sharing it as well. Like I'm not super proud of this stuff. But it's good to see because otherwise I don't know. There's people, they think, oh man, I'm not amazing. So I'm not going to do it, show the bad stuff so that other people can go. Uh, also my stuff is also bad. Okay. And a little bit of shared confidence in the group. We're all new, we're all getting started. Some of us are better than others. It's okay. Share the bad ones. Share the good ones. Even if you're not super happy with it, you can write that in the comment, say, hey, this is where I'm at. It's not exactly what I'd hoped, but this is where I'm at. And say that you're open to some feedback. There you go. Get it out there in the world. So let's have a quick look at the overview here. So research photographs of your animal plus any existing logos and icons. Okay, in illustrations, if you're looking for that kind of swooshy thing, if you use the search term gradient animals. Okay, I've just Googled gradient animals and it gets you to this kind of stuff that's quite in that scope and we'll do gradients later on, but you can still get all this kind of curly whippy stuff that's really cool up to you can go for any style, but get them all into your mood board. Okay, there it is, there, there it is there. Then draw your creature, Use any of the skills that we've learned so far. Try and mix them up, but use whatever you can to get it working. Okay. Remember studying directly an illustrator or hand drawing. First, experiment with the generative recolor, Define some colors, then save an image. Be great to see your final creature. If that's all you have, that's okay. But if you have drafts of, I don't know, versions of that didn't work out. Okay. And include any Hant drawings. That'll be great. Upload it to the assignment section. And sir, on social media, please, please, please. I'd love to see these sorts of stuff. Make sure you tag me. Let other people know what course you're doing and how amazing it is and they should go do it okay. And yeah, love to see what you're making. Remember, it doesn't have to be perfect. Baby steps. Small steps, alright. Draw your amazing creature. Spend a little bit of time. You might spend 10 minutes, you might spend an hour up to you, where you're at, how much time you've got, you might spend a whole day, You might get readily into it. Either way, that is it. And I will see you after this homework in the next video. It's totally not homework. 33. T-Shirt Making: Hi everyone. Hey, it is me in the real life. In this video, we're getting into the real life because I want to show you how to make a T shirt, not this one. This one's cooled but I want you to show, we're going to take our designs and make it into this one. And terrible jump cut. There you go. I put zero effort into that transition, but most importantly, I got a shirt. Okay, so we make this together in a little bit, but yeah, digital, real world, good fun. I'm going to hand you back to the slightly younger version of myself and we're going to get started making this sweet T shirt came out. All right. Thank you. Future Dan. How did the shirt come out? I'm interested because that was future me. I haven't made the shirt yet. Never looked. All right. If it didn't, I'm going to show you the steps to make it. The reason why is that illustrator is such a gateway, creative tool to so many things. Like we do digital stuff, maybe there's so many practical physical things that Illustrator is like the starting design point for. And I want to show you those in real life and show a few of them in the course. Alright, so let's start making. I'm going to show you the vinyl cutter and iron and stuff that I used to make my T shirts at home. I'll also show you how to do it in kind of a print on demand style. Actually, speak of that. We probably need the files first, Let's something to illustrate and I'll show you how to export your files ready for both of those occurrences. All right. To get our files ready for on demand printing. That's kind of like one off T shirts. I found a few ones that I'll kind of give you a quick run through. Okay. Just companies that you can send your file off from Illustrator and they will send you back one T shirt or allow you to start a store and start selling your shirts. So let's look at that first. Okay? Basically it's the same as printing in house like I'm going to do. But let's get this file working, okay? So first of all, create a new document. Because you might have junk all over this file. Just grab everything you need, not the background, okay? Because I don't want that. I'm going to copy it. I'm going to go to file new, make a new document. I'm not worried too much about the size at the moment because we're going to resize it. Pick again. Web mainly because it goes RGB. Most of the uploading the print on demand sites, they will say you need to use RGB. They don't want to see NYK, not for the kind of one off printing they do. They have special RGB goodness to make the colors really bright. Luckily, bin it, Pixels, just to show you to go between millimeters and inches is not hard. I've got portrait, okay, because I've used it before, I'm going to paste in. First thing we need to do is tidy it up. Who remembers the shortcut to viewing the x ray vision mode? The outline mode? Nice work. You remember command Y or control y in a PC and mine is fine. What you can do is grab it and move it around. We can undo this, but just give it a wiggle around just to see if there's anything like lurking. This can cause problems, especially if you're going to things like embroidery machines or other kind of things that want to follow this path. The shirt, it's probably going to be fine, but it's good to go around. Delete anything you don't need, join all the lines. I'm happy with that being nice. Next thing is I want to get an appropriate size. How big do we want this on? My T shirt. So what I do is let me jump out to the camera. So I grab my handy dandy measuring tool and I go got myself and I go like, oh yeah, about that big and about 180 millimeters, that looks good, 7 ". And then I print it off. And I print it off, and I stick it to myself with a scientific seller tape and say, yes, that is way too big. Look up big Ly. I printed it off in the real world. And then I go back and I make a smaller version and I'm like, oh, this will be good. And then I'm like, yep, that's good. That is about, there's 140 millimeters and about 5.5 ". I Google that all beforehand. I have no idea how to do the conversions, but I'm like, yeah, it should probably be a pocket size, right? Like a cool pocket size thing for the store. But I want it kind of big and bold for this core intro. So that's the size I'm going for. Maybe a little bit smaller. Yeah, that is the high tech solution I come up with. Just print it off and stick to myself. There you go. So I got a size, 130 millimeters, about 5 ". I'm going to put that into Illustrator. It's going okay. So you get at the right size. I'm going to select it all, and you'll notice that we are on a width and height of, we're using pixels. That's not what I want. So what we can do is you can type in over the top, any sort of measurement you like. Okay, So if I type in my original one, 80 millimeters, okay? So MM, make sure the link is on, so the height and width change at the same time. Hit Enter on my keyboard, and that is exactly 180 millimeters. Say you want it to be 5. ", put that in there, hit Enter, don't put 5 " pixels that didn't like that, so I'm going to delete everything off the field 5. ", there we go. That is 5. ". See how close my calculations were, so I wanted to be about 01:30. Millimeters. Yeah, close enough. Okay. So we've got our fox the right size. The paper is not most of the time, it won't cause any problems. But I like to wrap, make sure the artboard is perfectly around the outside. There's a nice, easy trick to do this. Select all of our fox or whatever thing you're exporting, and go to the artboard tool. Okay? This is the artboard tool that helps us resize the artboard. Okay? The page working on what we can do is, over here, there's some presets. Okay? On your property spanel, click on this, scroll all the way to the top, and go to the one that says, I want you to fit the artboard to the selected art. So just make the artboard what I've got selected. Boom. Cool. Now I'm going to go back to my selection tool and I'm going to export it. Before we export, just double check where an RGB, you can kind of tell up there RGB along the top if it says CMYK, we need to change it. Okay? So we need to go to file and go to Document Color mode and go from C, Y, K to RGB. You'll notice your colors change a little bit. When we get to the color section of this course, I'll explain it a bit more. I know I keep saying I'll do it later on, but RGB often lets go in to commercial print is the way to go, and that's what all the print on demand sites want, RGB. So we're in RGB, how do we export it? We did some basic exporting earlier on. Let's do some slightly more advanced stuff. So let's got a file, let's go this one that says export and we're going to go to export for screens. This one's handy because it can export lots of different file types all at one go. Okay, and I've already demoed this, so let's tidy back up. Basically, we've got one artboard and we're going to say, I'm going to put mine on my desktop. I'm going to make a folder on my desktop. Actually, I've already got one. Let's use that same exporting one. Okay, I'm going to click that, stick it somewhere, Open it after export. Fine, create subfolders is normally on. I'm going to turn that off down here. We can decide what we want. Most sites will accept PDFs, but some sites don't. Let's add all the flavors that might be useful and give us a good result from format. Choose PDF from this one here. This one fancy for when you're doing mobile devices, UX design, we're going to ignore all that and just go, I want them all just one size. You don't want them three times the size, just one x the size. We're going to do PDF. The next best is going to be an S G. And then the final one is going to be a PNG, widely used, Great quality, Not as much used PNG and not as great as these ones. Okay? The file format will look and print fine. These ones will look better. But some sites only accept PNGs and that's just the way it is. We talked about web, It's new. Most of those sites don't accept it, so you might export that one here as well. You can add a scale. I want it just one size and I'm going to be a web. Then you had to export and kick back. Relax and look, I've got artboard one, okay. I've got a PDF, I've got a PNG version, I've got an SVG version, and I've got a web version. Just kind of work in that order. Pdf, SVG PNG in terms of what they accept. Let me show you just cook demo. So I use printful quite a bit for work things, personal stuff. T shirts you see in the course that I don't print myself are the ones that I've used that I like. There are so many out there. Look for print on demand. That's kind of the general one, but I've used spreadshirtloads, I've used Vista print loads. I've heard good things about printer Fi and printful. There's so many different versions. Most of them want you to set up like a business to start selling your T shirts. Because they want you to sell like hundreds of them. But pretty much all of them will allow you to order just one. So I'm going to go speed mode. I'm not going to take you through all of print full, it's going to get to the bit where we upload it, but we'll do it in fast mode so you can kind of see, okay, they're all a little different, but eventually you find a T shirt you like and I'm going to pick, I'm going to use Navy because that's the shirt that I've got in the office here. And I'm going to upload the design. They're all slightly different places. I'm going to upload a file, okay, and you should go and check the specs, but I've done it enough. As long as it's RGB and it's the right size and it's one of the formats, generally a PDF, I should be able to go in here and say you actually, let's upload the web, see what it says. Couldn't support that one. That's all right. Pdf is still going to print. Great. I should have named it better. It's called Artboard One. I'm going to click on it and skip to when it's loaded. Ma'am, it's in. There you go. We've got a shirt, we can move the position around. Okay, we can resize it in here. There's lots you can do in a lot of these online editors, They're pretty amazing what you can do. But that's it. We can hit order and print it. I'm not going to be 'cause I'm going to make it myself. But the files are good. Even says look, it's good, it's vector, that's lovely. But again, all of these print on demand sites are slightly different. One of those files will work. Look cool. Things, we can get it printed on at us. All right, let's go and get it ready for the vinyl cutter and we're going to print it on an actual T shirt in real life right now. Okay. So uploading to the vinyl cutter that I've got it like a slicing machine. It's called a cricket and most people it's a pretty common thing. Google it if you haven't seen cricket. Really cool home use thing for cutting out stickers and card and all sorts of crafty stuff. There is a free bit of software called Cricket design space and that's what's going to control the little printer thing. What files does it want? You can see there a bunch of different files. Accepts lots of stuff. Fg is the best one for this kind of work. Okay, I'm going to go to Upload Image and I get to use the SG I've already exported earlier on when we did it for the print on demand stuff. Okay? And there is my SG. Hello, there it is, there. Okay. I'm going to upload it. I'm not going to go through all how cricket works. Okay? The software, it'll change by the time we get there, but just give you a good sense of like how you can take your Illustrator files and I'm going to add it to the canvas. I'm going to say, let's make this thing and I'm going to add it to a roll of color that I've got. I'll show you a sec and because I'm going to print my North on separate bits of color, that's one slice, that's another slice. Can you see all the different parts? They're all kind of rotated around to be as squished in the top left as possible, so not to waste any of the vinyl. Okay, but there's all the different parts to my Fox. Let's jump out to the camera and I'll start printing some stuff off. This is the exciting stuff, making things al right, so we stick it on the mat, shiny side down. Remember the mirrors, the T shirt, I always forget that. Then fire it here. The white stuff's different joint row. Now what we do is what we call weeding, which is a lot of just picking up the stuff you don't need. It's therapeutic unless you've forgot to mirror it or cut the wrong side of the vinyl. Less therapy, now we just have to iron them on and why on them on. When you can invest in a giant blue heat press that does basically the same thing. Let me show you a smoke, those things there. Big blue, a stick it right in the middle. Kind of line it up with this print out kind of there. That looks good. So get it nice and hot and then do that. He's old. Wait for the nuclear fallout siren. Can't wait for it to cool. Hear it off and hopefully sticks to the T ship checkup. Any other ph. Alright came out. All right, there you go. Let's try to them, all right. Oh, we think that looks pretty good. It's not really on brand colors, but, uh, all it's a So awesome. All right. Came out. All right. Huh? And color choices are not kind of on brand, but this is what I had in the drawer. It is what it is. But I hope you found it useful like getting off the software and seeing stuff in the real world. Just a little break in the course. If nothing else but also just this is going to be one of the practical applications we'll do in the course. There's more that we'll make as we go along, so stay tuned for that. But for the moment, we need to get back in the software and learn some more illustrated skills so we can make some sweet stuff. Let's jump back in. 34. Drawing with the Pencil Tool in Adobe Illustrator CC: How are you ready to draw awesome things in Illustrator? Using the pencil tool. Using the default options. Bam, the default options are terrible, but don't worry, I'm gonna show you how to tweak them to make them look better. And bam, slightly better drawing, it's meant to be a chili, it's better than this one. Anyway, let me show you how to use the pencil tool and how to change all the good options in illustrator. Let's go. Alright, to get started, I got a document that is portrait. It is kind of the web large one. Okay? And web large. And it is portrait. And I've clapped, Create and there it is. Let's bring in an image to draw over the top file place or drag it in from your finder window. Okay. In your exercise files there's one called pencil tool. Pencil tool one. We're not going to do the template K, we're not going to link it, we're just going to jam it into this file. It's going to be a bit big. Okay, What you'll notice when you place an image is that once the spinning ball of doom finishes, there it goes is I've got two ways of bringing it in. I can click once and it brings it in at its full size, whatever size it was created at. Which is a bit big for what I've got. Okay. Or you can do that same thing again, which is file place. I use the command shift P for bringing in stuff. It's a good chocut. That's control shift P for import or place pencil tool again, same as before but instead of just clicking once, if I've got smart guides turned on, can you see? I can click and drag and it's Intersect, there we go. Perfect. Great for those really big images that come in. The reason I didn't use the template is actually I want the image part. I'm not drawing over the top of it, I'm actually using it, so I don't want it washed out. So I'm going to go to my layers panel and say lock and that kind of weird area that you just meant to know that where the lock is now, you know, I'm going to be all official and call it background. Okay. I normally just call it layer one. Let's make another layer. And let's call this one pencil drawing. I'm just double clicking on the word there. Let's go back to properties. Let's find out pencil. Yours is probably set to the paint brush tool. So if you hold the paint brush tool down, down, down, down. Grab the pencil tool, make sure you're on the right layer, okay, so it's not locked. And what you might find is when you start drawing, you might end up with like nothing. What is up with this? We've done this before. All right. You're like, hmm, how do I double check? There's something there. Remember command or control y. There you go. That's kind of outline view or the X ray in view. So it's there, it's just got no color. So I'm going to select all of this and delete it. When I grab my pencil tool, just double check. I don't want to fill because you might end up with a fill. You might pick a stroke, okay? But you also might have a fill, and it'll do this actually the fill went away. Don't worry about what the filler is, just make sure you got a stroke. I'm using white because it's going on top of this kind of darkish background. All right, so let's get to know the pencil tool by default, it's not very good. And watch this, I'm going to try and draw a chili. All right. It's going to have this bit and it's going to come over here. We're doing my secret source thing. We'll draw some kind like top on it. I'm going to make the stroke bigger so you can see it. That is my chili. Ah, it gets better, don't worry. So what we're going to do is make the pencil tool better. Let's put that over there. And let's get the pencil tool to actually do our bidding to change it. Remember what we did before? How did we get into some of those settings to be able to change them? Kind of remember what tool we did it for. Okay, But if you double click the tool, it opens up some of the tool options. A quick little edit to the video is in the past you could only get to the tool options by double clicking the tool, which we just did. But now if you select the tool, you'll see over here in the Properties panel. You'll see at the top there, If you've got the tool selected, you can go to tool options. Okay? And I imagine that's there for all the tools now. All right. New and fancy. It doesn't really matter how you get there. You want these pencil tool options open? Let's carry on. Okay, someone else, it's trying to be very accurate. I want it to be super smooth and try and make us look good. So let's do that and let's draw the same thing. So much better. It's not very good. Chili still, but look at that line so much nicer, you need to keep drawing it. But there's another thing that's kind of weird, so the pencil tools chocks, You won't use it enough to remember that one unless you're a trainer like I am, is watch this. Let's say I draw this, I'm going to undo that for the pencil tool and I'm going to draw this draw there. And you're like, I'm going to draw something else and it joins it up. You're like, huh, now it's replacing it. It does all sorts of weird stuff By default, I find it unintuitive. You might love it, but how do I change it? That's right. The tool options, double click it. So we're going to say, I don't want to keep it selected and that does it for us. Or you can turn this one off. You can keep it selected if you want, and say Edit the selected paths. I don't want either one of these on because I don't use them. All right, let's click. Okay. Now when I draw stuff. Okay, come on, Beautiful, Chili. I really want to get a tablet out or a Wacom. Good enough. I have a little stroke there for it. Let's give it a little juggle across there and some nubbin along the top. All right, good enough. The pencil tool is great to get in this obviously hand drawing style. But you can go and edit it like you did the pentile. Grab the direct selection tool and you can click on the path and you can say, oh, look, here's all my anchor points. Look at that. I can go and say, let's have a look at the end here and say, actually I want, that was cool, but this point here was a bit low. Maybe we got too many points. Maybe a pentile, which is the peak. Get rid of one of them just by clicking on them. Maybe we don't need that one either. Go back to the direct selection tool. You can throw in some stuff with the pencil tool and then do your edits like we did with either the Curvage tool or the Anchor point or the direct selection tool, or the pen tool or the combos. Al right. That's the start pencil tool. Well, first, that's why sometimes when you're learning illustrator, you're like, the illustrator sucks. Look at that or suck, I'm a bad drawer. But then you're like, oh, if I crank up the smoothing, nobody will know I'm an amazing drawer. There you go. Alright, let's get onto the next video where we go in adjust the lines. Actually, we'll get you to draw something in a sec as well. 35. Class project 10 - Pencil Tool Drawing: Hello, it is not homework fun project time. I want you to basically do the exact same thing here, but with your own images and your own product. Okay? So everyone's going to have something slightly different. You might have honey, or soap or ginger beer, whatever it is. I want you to do this. Find a photo. It doesn't have to be overhand. It's a good one. Don't use the same one as me and do a drawing over the top of it. If drawing's not your forte, like what I found useful was doing this. I went and typed in doodle Chili. Okay. So type in drawing doodle of whatever the thing you're drawing of. It's not about copying, okay. Just got a sense of like, I don't know what a chili looks like. You know the caricature of a chili. Anyway, so I didn't copy anything. I just kind of used it as a guide to draw my thing. This isn't drawing competition and draw anything if yours looks more like this one. I'm not sure why I'm critiquing that one, but it looks kind of like a smush strawberry. It doesn't matter. It's all about practice. Okay, so we'll check the class project detail. So research the drawing doodle of your product. Find a photo. Now go find a photo like I got mine from unsplash. Okay. There is good commercial use free images there. Pixels is another good one. And Adobe has a bunch of free stuff as well. You don't have to use free stuff, but we're just practicing. So maybe it's not time to be licensing and paying for an image, but those are three good sites to get free images from. You totally can use a hand. Just don't use my hand. But you might get creative and do something else as well. You might spend a just drawing. It's up to you, but import your image. I want you to practice just putting on its own layer and locking it, like we did in the last video, scaling it down, getting used to that sort of thing. Then use the pencil tool to draw your product. But you finish save it and upload it. And I'd love it if you have a good one and a bad one or all bad ones, I'd like to see all the versions of it. Just it's interesting. It's fun for others to see me to see. Or if you just got one beautiful one that you want to share, that's fine too. Upload it to the assignments and share on social media. I'd love to see your product doodled on top of your image. Make sure you go and change the pencil tools to be, I don't know how you want it. You might not have it at full smooth. You might have it somewhere in between. Have a practice, have a play. Enjoy the doodling. Alright, I'll see in the next video, once you've done your not homework. 36. Adjust your stroke corners profile and mitres: All right, it is time to take our boring old strokes from plain old things with stubby ends to exciting lines in strokes that are pointy, they look cool. We're going to learn about corners and profiles and miters to take our boring old lines to the next level. All right? We definitely don't spend ages drawing really ugly ones. Luck this monster. No, definitely professional stuff only. Alright, let's get into it. Alright. First things first, open up pencil tool two. Okay, I've created an illustrator file with the image of the background all locked and ready for you to go. Just to save time, I'm going to zoom in command or control. We're going to draw a little flame like you saw at the beginning there on top of the fingers. Grab the brush tool. It is underneath the pencil tool. I'm going to have a stroke color. I'm going to use the color mixer and just click anywhere down here, I'm going to get like a minty green color. I want the stroke to be reasonably thick, six points. We're going to do two drawings here. We're going to do one continuous line, which is going to be hard to do. We're going to try our best. Then we're going to do it in little pieces just to show you the differences which me like, here we go. I haven't practiced this a few times off camera, promise. Oh yeah. He's now. Wait there. All right. That we better when I was practicing one more time. All right. One more time. Oh, this one feels like it might work good enough. Move this one to this side, so we've got two of them. I'm going to grab the pencil tool and we're going to do the same thing. We're going to draw it in little pieces. I'm going to go like this, and then I'm going to go like this, and I'm going to go like this, and this is going good. Honestly, Dan, just like little pieces. Wow, it came out way better. I got to stop acting so surprised. Anyway, so we've got one continuous line, lots of little pieces. Let's have a look at the differences between the two. I'm going to click them all, okay? And we're going to go to the stroke. Now if you click the word stroke, you get into all the settings for the stroke by default. You just get the basics, the width, the color, and the word stroke. But if you click the word stroke, you get all the settings. The problem with it though, is that we're going to be going back to these all the time. So there is a way of just opening that panel forever. Okay. You go to window and these are all those panels, okay, They're all hiding in here. So what we can do is we can say stroke. Okay, here it is. Same panel. This there it is. See, they match up. Okay? But this one just doesn't close. What you might find as well is that yours is set to this weird mode. You're like great panel illustrator. Okay. It's the exact same stuff, but if you double click this at the top, it gets worse. But if you keep double clicking the top of the tab, it gets, there's all these different settings for it. Just keep double clicking it until you got the full set of stroke options. Looks daunting, but they're all pretty easy zooming, let's have a little look, so the weight we know, okay, we can make it thicker and smaller. Okay, capping. Okay, cap is, see this is a good example down the bottom here, that is what's called a butt cap. It's unfortunately named K. Just kind of like, yeah, it's like a little butt. Okay, But this one here cap, if you go to the second one, the rounded cap, click on that. It gives you kind of like a nicer rounded edge. And there's this projecting cap which I don't ever use, but we're going to use butt cap because it looks nice. Let's have a look at the edges as well. Let's have a look around. Does it change any of the rest them to the ends of these 'cause they're all separate. Ladle little lines. Can you see? It's doing this kind of like, I don't know, more natural with rounded cap. All right. The next one we're going to look at, we're going to zoom out, is this one here, the cornering, mita joining gives us this nice little corner. But if I go to this one, can you see it kind of cuts them off so it makes it rounded, not rounded. Rounded not rounded. Can you see? It's doing nothing to this one, that's all made of little shapes because there is no corners, there's no change in direction. Whereas this one has loads of change in direction. So there's lots of things that will work or might not work depending on the way you've drawn it. Okay, so there's rounded at the edge there. You can kind of like lob them off at the edge. I never used that one, so it's one of these two. Depends if you want pointy ones, you want round stuff. Depending on the illustration style, I want the pointy ends. The one thing with the pointy ends, you might be like, hey, some of them have pointy ends and then some of them don't. And then this one does at the top, and this one doesn't. It's up to this limit here. It's kind of like how much of the direction, like can you see that? It's a much pointier one than this one. That's kind of like a little stubby one. Yours might be all pointy in the ones that you've drawn. If there's one of them that's not, you can say, actually just crank this up, Let's go 20 look at that. Okay. It is kind of decided, just do that one. Now, the only trouble with it is it's so by that it doesn't really know what to do with it and it ends up kind of sticking out a bit far. So what we might have to do is grab the direct selection tool, click on that anchor point there and go into this and say maybe not be a spiky. Can you see what's happening? You're just end up with some drawings. You're like, why is that one really weird? It just needs a little bit of love. A little bit of love in there. Okay, so the direct selection tool, you can go in and edit these points. The last one I want to show you in this video is the profile Profile can be really useful when you are well, makes things look cool. So we're going to go profile and it going to exaggerate the differences between drawing lots of little things or lots of little lines and trying to draw a complete shape uniform. K is a six point line, all the way around uniform like. Click on the next one down. You ready by? Let's have a look at the difference between these two. See, actually let's click on the stroke. Can you see the profile? It's going to start skinny, gay, and pointed, and get quite thick in the middle, and then get quite skinny and pointed at the end. This one here is one continuous line. It starts here, that profile gets smeared across this whole thing, which looks cool. You might love that except for that bit there, pen tool minus that one, direct selection tool. See if we can tidy that bit up. Other than that bit, it looks quite cool. This one over here though, has a very different look because it's made of little pieces. It is getting that profile to go along just that stroke. And then again, just along this stroke, yeah, it's not better or worse, just different ways of doing stuff. One continuous line or one continuous shape. Say with this, if I grab the rectangle tool and I draw out a rectangle and try and apply it. Okay. Does that okay? It goes, starts pointed, gets thick right in the middle, which is there. And then comes back to the point. Okay, there you go. It's complete shape, individual lines, Have a experiment with some of the other profiles. Okay. There's not very many in here, don't it's? Not too exciting, okay? We'll get brushes later on. They are more exciting. But it's just a, that one's not a nice one. Let's have a look. Okay. Just some interesting ways of developing the stroke that's not just a straight line, that's kind of cool. But that exact same thing without the rounded cap. With the butt cap, that's, I don't know, it's still kind of cool. Yeah, have experiment with these. The one thing is you might find flip in there. Flip will only work when there's a profile that's a bit lopsided. Watch this. Can you see? I can flip it from starting here and going here and flipping it so it starts on the other side. It doesn't do anything if they are even both sides. Do you know what I mean? It's it's flipping it around. It is flipping it just they look the same going both ways. There you go. The one thing I might do is this one here is, let's have a look. I'm going to adjust direct section tool. I'm going to adjust this one until my point arrives. Okay, Then I might have to do some finagling to get it to work this bit. Things a little bit of work, you go out there. All right, which one do we like? I'm not sure. Maybe it is a bit of both. Oh, look at me and see one of those. Oh, that's a really good use for that. Remember earlier on, way back in the course, you probably forget it was so long ago. Remember when we're scaling stuff, sometimes it's scaled. And let's have a look at this. I moved it across, it was this size. And with the scale and stroking effects left as by default. Okay? I can't remember what the default is. If I scale it down, it keeps that profile. It's still, in my case, eight points. Okay? But if I, if I can undo that and I go up to here and I scale stroking effects. Watch this, okay? It does, it scales it. But you see it scaled the stroke as well. That's probably not what I want in this case. Okay. I want to scale it down, keeping the stroke and effects as they were. All right. That is going to be some sweet stroke upgrades for us. And actually it doesn't really matter if you're using the pencil tool or the pen tool. Okay? If draw something similar with the pin tool. Okay? And do the same thing. Okay? The same principles from all this video work. Okay? And you too can draw the lockness monster, that was meant to be a flame that kind of looks like a tsunami. There you go. Oh, one last thing. Let's do some skills, stacking. And so we've learned, we can use the Pin tool to do all this. But look, scrabe our direct selection tool, remember that thing? Oh, you can do rounded corners while you're doing this sort of stuff as well. So don't be afraid 'cause my lockness monster looks more like a lockness monster now. All right, get back to work n seeing the next video. 37. How to make an arrow in Illustrator: Everyone, we are going to make arrowheads. Arrowheads are easy to make, they're a little bit weird if you need to adjust them. And we're going to show you how to combine them with some of the techniques we've already learned like curvature tool and profiles and capping. That is how I stretched out adding arrowheads to this whole long video. Let's jump in. Al right. To get started, open up a file called arrows. Okay? It is a map of a castle that I visited on the weekends. Not far from me. K, it's called Bon ready Castle. I want an arrow that points to it. So use any of the tools that we've used so far to draw lines, Pentool curvature tool, line segment tool, pencil tool, anything. Okay. And that's the castle there, so I'm going to click and drag up. Okay. And I have picked a white stroke in terms of the size and keep it at about three to start with. The arrows are hiding under either the stroke panel that you have opened from the last video or click on the word stroke. Okay. And in here, Arrowheads, easy. Okay, Which one goes where There's a beginning of the line and the end of the line. Do what I do and never remember which way the line was created and just go arrowhead, oops, wrong way. So I'm going to go do the way thing is undo, in my case just closes down that little window going have to hit undo again. It's gone. Open up stroke and then do the other way. Or click the wrong way and go bam and then see this little flip back on. So just swap the ends. You guaranteed to get it at the wrong side every time, but there's a flip button. Okay, the other thing we need to look at something weird about arrows in Illustrator. Let's crank up the size. I'm going up to like say size 20, so the lines getting thicker, but the head is getting unproportionately massive. I don't know why Gates Illustrator isn't Okay. So let's get it up to 20 points in terms of the weight. Okay, Down here, this is what the scales thing for. Okay? Whatever that scale, the scale on the left represents the arrowhead on the left, which is what I want. Just half it. Okay? I don't like my arrowhead. Let's change it to something nicer. You can see more appropriate, okay? Just try different sizes. Now, when I click 20, nothing actually happens. What I tend to do is just on my keyboard, hit Tab, and it goes to the next field, and then it gets applied. You can hit Enter. So if I go 50 and hit Enter, it just closes that window. You got to open it up again. You can go let's say 80 and you can just click off into the window to keep it open. All right. Anything else? There's this. I don't really use it a line. I'll show you this one here. It's going to start the arrow at the end of your line and then move past it. There must be a reason for it. I've never used it. I just use this default one where the point of the arrow is right at the end of my path. Okay, I'm going to speed adjust this now. To adjust the direction. Okay. Click on it and make sure you just got one anchor point selected. Not both of them. Okay. If you've got both of them selected, even if you've got the white arrow, the direct selection tool, they both move. Okay, so we're going to go click off in the background, grab just one end and then you can adjust it. Let's stack some of our skills. Let's grab the Curvature tool. Okay. And just click once in the middle to add a point. Nothing really happens, but remember we can now drag it, okay, and we've got a bit of a curve, or go to the direct selection tool. Okay? Click on it now, and we have all the handles to do our bidding. Okay. Let's do the curly one. Like you said, the beginning for the car park. I'm going to show you some extra bonus stuff as well. So we're going to use the pencil tool. Double click it, make sure it smoothings up. Okay, And I'm going to do the loop de loop one. Can I do a loop loop? Nailed it. Awesome. Let's select it with my black arrow. Go to stroke. Let's add an arrowhead. Basically, it's wherever you started the line K will be this left side. And where you finish the line as the right side, try and match the one I've got. I can't remember. What do we do for this one? It was 60% and an 8.60%. Eight point, I can do that. Let's open up the stroke panel because that's driving us all mad, opening and closing that thing. So get a window and go down to stroke. What other things might you do? We've looked at it before. Okay. Remember the capping? Okay. We've got the first one. That one, Okay. We're going to go to the rounded cap just to have a nice little end. You can also mess around with profiles. Check this out, bam, a little curly pointy one. Or let's go down, let's find that one. Okay? That might be the thing you're looking for. And if it's going the wrong way with profiles also you can flip them. So that one, remember look at this using all our sweet skills. All right. I've come back and updated the Altro here because I just remembered and something that would be useful here. So we looked at it earlier on scale stroking effects. Okay, so when I was kind of mocking this up with some text for the intro of this video, kind of I scaled this down. And in my head I was like make sure scale stroking effects is on and off. I should tell people that with it, if I've got nothing selected, I can go to hear scale stroking effects. Okay. So if I have it off, it's going to do exactly what I want. So I'm going to scale this down. Holding shift, okay, gets smaller, but the stroke stays the same and appropriate to his buddies. Okay, this one here and this one here, they look the same. They are smaller, but the stroke is the same. Whereas if I click off from the background, remember there's scale stroking effects. If I have nothing selected or I can click on it and go to here. Okay. And to transform scale, striking effects doesn't matter. Same, same. But if I have that off, okay, it gets smaller, but also the stroke, and the arrowhead gets smaller. So if you are mocking up a technical drawing, make sure scale and stroking effects is off. But there'll be times you need it on as well. Remember the fox earlier on? Okay, It was not useful, but now it is useful, so you end up talking that thing on quite a bit. All right. That is going to be the new ending I will see in the next video. 38. How to Make a Dotted or Dashed in Illustrator: All right, first up, I want you to create a document and import an image called dotted lines. Okay? It is in your exercise files. I'm not going to do it for you. The image is quite big. But it's one of those things that you need to practice. Just bring it in. I've put it on its own layer and locked it. You need any kind of line? I'm going to use the Curvature Tool. Okay, I'm going to zoom in a bit. And I'm going to click once the click once there and click once there. I'm going to get the wrong thing. So I'm going to go. I don't want, Phil, I want the stroke to be white. How do we detach that? Okay, get off, hit escape, that's right. Disconnects it and in terms of the stroke size, click in there once, okay? We're going to move it up to a size like. What I tend to do is just click once in there and use my up arrow to get it to a nice size. And dash lines is really easy to do. So I've got nine points here, okay, Go to stroke, and you've probably seen it look, there's a line dash lines job done. You can adjust the space. If you leave just 12 points there, that's the default. And leave all these free. It'll just assume that you want 12121212 along here. If you want the gap to be something specific, okay, Say you want the gap to be much bigger, you can put in 20. Okay? And I just tab to the next one, then it'll assume 12, 2012 20. If for some reason I have never needed to, you want the first dash to be 12, but the next one to be 30, okay? It'll do that for you. And again, it assumes that the gap is 30 as well, unless you tell it to be one. Okay, Now we're getting mad, so just leave these ones alone. Okay, and Gap are the only things you're likely to use. Dotted lines is slightly different. I'm going to go to my black arrow. I'm going to copy and paste this and put it so I've got my dash one still. So let's make these dots. This is weird. And I'm going to open up my stroke panel, 'cause I'm sick of clicking that little dropdown stroke. There we go. Okay. And what I want to do is there's no dotted line option. You just use dash and do some weirdness. Okay, You might have to come back to this video because everyone forgets. First of all, all we're going to do is let's have a look at our dash. All we're going to do is turn that on, the capping to round. Look at that. That's kind of what we need, right? And you're like, oh, we're almost dotted lines. Okay. Let's change this. Should we change it to, I know zero, which makes no sense. Look, but it works, okay. So make sure you've got it selected. That the capping is set to round, and that the dash is set to zero. Okay? And that's what happens, okay? If you have this empty, it doesn't work, okay? So there are some weird things with dash lines. You need to have round capping on. Dash needs to be zero, gap needs to be something. It can be one, okay? Okay. It can't be one. Needs to be, there is a tiny gap in there. You can see it kind of opening up. I'm going to put my arrow in there and just hit up up on my keyboard. Okay? So you need some sort of distance. It'll depend on how thick the weight is of your stroke to how big the gap needs to be. But the first needs to be zero, the gap needs to be rounded. There you go, dash and dotted lines. I'm going to add, let's add the little scissory thing. So let's go to file. Let's go to place. I have got a free icon for you. It's under icons called Cut. It's an SVG, which is a great vector format. Illustrator loves it. You can get it from lots of places. And there we go. And there it is, So I'm going to fill it with white. And then I'm going to put it in my black. I'm going to put it in a chubby spot. Where should it go? Scaled around. I don't know the, the free appropriate if smart guides are on. That's why it was kind of like trying to snap and kind of fight against me. So I just use my Arra keys just to move it around or you can use smart guides off. That looks cool. All right, dashed and dotted lines in Illustrator. I'll see in the next video. 39. How to use Brushes in Adobe Illustrator CC: One, in this video, we're going to look at brushes and illustrator. That just like strokes just a bit fancier, you can get this kind of like hand drawn effect. Those are meant to be French fries, but it ended up looking like an exploding box. Look at all the cool hand drawinss, okay? And we can adjust it like we do with our pentel doing awesome cool stuff with brushes. We'll do some hand drawing, and then we'll go in and play some brushes to some of the previous work we've done to give it more of a I don't know, real world less illustratory look. It's a long one. The brushes are easy to actually get going. They just have some issues in some use cases. That's why the video is a little bit longer. I don't know, we can master the brushes rather than just kind of throw it in and hope for the best. My excuse for the long video. Anyway, the result is worth it. Brushes are awesome. Alright, let's get go. Okay, to get started, open up a file, call brushes one in your exercise files. It's an illustrator file that I've put an image on the background and I locked it. And I got a layer ready for us to draw on. So we're going to use brushes and the brush tool. Are they different? Kind of. Brushes are kind of like effects that you apply to any old stroke. Whether you've drawn it with the brush tool, the pencil tool, curvature tool. So they're kind of more of an effect. You can draw with those effects, or you can draw first with something like the pencil tool and apply the brushes afterwards. It doesn't really matter. Let's draw with a brush tool. And like the brush tool, if you want it to look good and not be to kind of, like, I don't know, real. You can double click the brush tool and adjust the smoothing here or fidelity, they call it. So I'm going to have one kind of about there. So not too smooth, smooth enough. I'm going to make sure I've got a fill of nothing, and I've got a stroke. I'm going to use white because so we can see it on this background here. And I want you to draw three little footballs. One, two and then a big one at the top. It's going to have our little thing in it. All right. Now, that's it. That's a really plain brush. We don't want plain brushes. We want the exciting brush. I'm going to grab my direct selection tool, select all of these, and I'm going to go find my brushes. By default, there are some basic stuff in here. It's all very exciting. The exciting ones are in here, this option here is like a little bookcase. This is your library, and you've got some in here. Some of the material. Lots of the material. But there's some really cool ones as well. Let's start with my favorites. Let's go to Vector packs and go to Grunge brushes. Vector pack. These are really cool. And if you've got these selected, watch this. We're going to click the top one. Bam. We've got some cool effects. It's a bit thick. By default, even though it's set to one, they're quite thick, it's way a day. You can actually go lower than one, so you can go down to 0.75 0.5, you can count 0.0 0.25. You can go lower than 0.25 by typing it in. I've selected it all, I can 0.0 0.5. You can go teeny, tiny. Depending on what you need, you can just type it in. All right. I'm going to get mine up to something you can see, I'm going to go maybe 0.25. Yeah. Let's do some basic editing of it. Let's say you just click on all these. Look at all these cool strokes. What's may? You got to click on them and then click off to get a good sense of them. That's what I do. All right. Let's pick one. I like that one. That's cool. What can we do with them? With them selected, you can go into your brush options, and it's very similar to what we did with our pencil tool and our stroke options. So let's go to. We only had profile down here for our basic stroke. Brushes is all this other cool stuff on top. Brushes here. Let's go to the brush options. You can get to it here. The main things is flip along. You might decide because this is quite repetitive. Actually, if yours is not previewing, make sure the preview is turned on and then flip it. What I tend to do to get a bit, they're not so repetitive. I click, and I'm going to click off, and I'm going to change the rotation of just this one. Because they all look very smy. I'm going to click on this one, go brush options. I'm going to flip that one. You can flip it along along the length of it or let's zoom in. You can't do it while that's open. Flip this one. Can you see what's happening? The editor will zoom in. But it just flips it from left to right, from one side of the stroke to the other side. Not very different. Mainly this flip along that does it. Make sure your previews on. Let's click Okay. There we go. We've got cool brushes. Instead of drawing and then playing it afterwards? You can draw with it as long as you're using the brush tool. We've got the brush tool. Let's select something we want to draw with. I'm going to pick one of them. I've got a size and a color, and we're going to try and draw. We're going to draw. He's thinking of food, so I'm going to go when you're drawing, what I'm thinking about is what are the stroke going to look like? The cool thing about it is that with using the brush tool, it paints with the thing you're drawing rather than drawing it and then applying it afterwards. What I'm trying to do is like, how many brush strokes do I want it to be one? Each of them like lots of little ones. That might be cool. Or is it one big one? These mean to be French fries. They're going to do that anyway. Or maybe it's a bit of both. There's a start one there, and then there's this one here, and then there's a bit of mixture throughout. All right. This is going to be my fries. You might decide that we can change the direction. We did it with this, but it's another good use case here. I see all these. You're like, Oh, the other way around. How do I do them? Select just those ones, and I'm going to go over to here to my options, and we're going to flip along. This is probably a better example of flipping left or right. It's not. See the tails wiggling, just flipping it from one side to the other. I think I'll like mine that way. All right. Those are French fries, people. Don't judge me. Looks like a box on fire. I'm not a good drawer. Actually, if I put some effort into it, I can be, but there you go. We learned brushes. No how to draw French fries. All right. Let's look at some of the other interesting ones, or just point you in the right direction for them. I'll draw a little rocket that goes around. So let's go to our brush tool, and it's the B is the brush tool. If you're using a lot. You'll learn the shortcut the letter B. Okay. And over here my brushes, let's go to the library. And so the vector packs these are two good ones, under Vector packs. Handrawn brushes is another cool one. And let's have a look at one more that I like Under artistic. Okay? These are all pretty cool to play around with. I'll let you play around with them. I'm going to go for Inc. You'll notice, can you say they all start popping together. It's really hard to see some of them see these tabs. You can make this bigger. See this window. See that little thin strip that moves it around. Then you can hover in the corner and just make it wider and bigger to get a sense of them. So brush til I'm going to get a stroke that I actually don't know if it's appropriate, and I'm going to grab this squiggle one here, and I am going to hold space by move it across and try and draw something that looks like it's going around his head. That looks terrible. Let's get this one. Bitter. I'm going to do a little one that kind of heads that way as well and draw my rocket. I'm going to draw my rocket over here and move it in, and I'm going to do it in fast forward mode because you don't need to see me to draw a terrible rocket. I put it in 0.25 and then stand back rocket time. All right, and some stars for effect. We're going to get to, I'm going to be able to remind you of I want to scale this down. I want to make sure that it doesn't scale and get tiny strokes like that. How do I make sure? You remember when you've got something selected, under transform, we can say you don't want to scale stroke and effects or have nothing selected before that, nothing selected and then turn it off. Either way, we don't want it on because we want to keep that size. We're like that in chunkiness to it. I just drew mine at the wrong site. Draw to the right size is easier. But here we go. Mmm. All right. That is it. One of the things you might have problems with with your brushes is if I got one. There's one there. This is kind of inescapable for some of the brushes. This is just such a funny corner that it doesn't know what to do with this particular brush. So I'm going to grab my direct selection tool. So the white arrow or the Ak. What I would do is I try and go in here and say, actually, let's try and make this less acute, cause I didn't know what to do, so that's better. Or you can try and mess around with things like so I'm going to grab my black arrow, select the whole line. Actually white or black doesn't matter. I've got this one selected, and I can go into my stroke options. Remember this before. You can play around with things like the cornering. Does it want to be mited or rounded or beveled? That might get you where you need to go. It's not in this case. If we're on corner here, the limit. You might say that the moment it's too acute and it's only looking for things that are up to ten. I don't know ten what the measurement in here is. It's ten x, by the way. I don't know what that is. But if you increase it to like 20, let's keep going. Let's keep going up to 30. Eventually, it will find it and say, Okay, I'll let this guy in to the pointy game. The trouble is, it's probably going to be massive 50. No. Let's go even further. Let's go up to 150. There it is there. I just otherwise, that's what it wants to do. Wants to go all the way out and all the way back. This is weird. What I would do is I go and do some finagling word and I'd go and just try and make this less of a pain for myself. We'll do what I did here and make these two separate parts. All right. Next up, we're going to add brush strokes to an existing drawing. So I want you to get a file open, and I want you to open up one and they're called brushes two. It's the fox that we drew earlier together. And we're going to run into a little bit of a problem kind I I selected all using my black arrow, my selection tool. I go has no strokes. Don't worry. I'm going to give it a stroke. You can either click on and give it a color. Watch this. If I increase the size, it kind of just throws a black stroke on there, tend to what I do. Doesn't really matter either way. I've got it up to one point, and you're like, great, I'm going to get brushes. Brushes. How can I change the brushes of it? I'll just go to the brush tool. Boom. Still no brushes. So when you're drawing with the brushes, the brushes appear and you can go off to the library and up in them. Okay. Okay. But to get those open, I've closed mine down is I can select all of these. Actually it doesn't matter if you've selected them. There is the other way to open up the brushes panel. Got a window, go all the way down to from this really long menu. Right down the bottom here is brush libraries. Can you see them all here? There's all my different brush libraries. We've done the vector packs, we did grunge, we did attic. Oh, let's do Inc done in? Not sure. Because I need to show you these as well. Basically, we're back to where we were before, so we can seal of these. Now we can select them on and pick one of these. They're a bit big, so I can go 0.5, maybe. C. C a little ink drawing versions. I'm going to show you a couple of things. Let's explain these. You might find some brushes. Now, we're just going through the default ones. You can download, you can buy brushes, can create your own brushes. But for the moment, some of the brush packs you get have these things. You're like, Oh, okay, great. I'm just going to go to you and you, what is this one? That's weird. It's kind of cool. But kind of weird. You're like, It would be Biff different. I'm going to undo a few times until it was back to that one. What these are used for is instead of applying them to a stroke is just to drag them out and go, bloop like that, you add your own sound effect. They're just like a little cool little graphic that you can put in places. I'm going to make mine a bit smaller holding shift. Use my key to drag them around. Command to get rid of smart guides or view smart guides because they were snapping to everything. I want to be very artistic here, so I don't want them snapping to everything. I might do that and do another one of these. Get a bit smaller. There are some brushes that you just lump in just by dragging out. Go. You can drag these up. I don't do that very often, but these little square ones, definitely. Other thing I wanted to show you is just where you run into problems. There's going to be times where this happens. What would I do? The trouble is I don't because it's my logo or it's going to be my logo is I don't want to go through in with my dx selection tool because I won't get that with the miter. I could play around with we've played around with the limit, but it ends up being a giant spike and not fun. What I'm going to do is I'm going to go I don't want to do this. I don't want to adjust this to fix it because it's part of the logo. I can't just go messing with it. I'll show you what I would do right now. Kind of a. It's not advanced, but I just I don't know. It's interesting to see. I'm going to grab this and get rid of the stroke. So I'm going to go you have zero stroke. I'm going to probably grab the one underneath as well. Do I need that one? That's not really damaging anything. I kind of want it because it's got this stroke down here. It's quite cool. I'm just going to get my brush tool, try and remember the brush that I was using for it and just paint over the top of it. Zoom in brush over the top of it. And then brush over that better kind of worked. All right, you wait there. All right, that took forever. Editor, hopefully sped that up. But you saw there was about 1,000 tries. That happens. The cool thing about it is that these are just separate strokes. Now, I shouldn't have just kept trying to hand drawn it. I should have just drawn it once, grab the direct selection tool, move the anchor points around, and then adjust it this way. So that's what I'd end up doing. Just breaking it into simple lines rather than trying to make this all one thing. Okay. Trying to do it all with just like one stroke around everything. I've got a few extra bonus strokes that kind of help me do what I need to do. Especially on those tricky corners. All right, I'm going to do one more. I'm going to see if I can grab that. Grab my brush to. This will be interesting. I'm going to bump it up so it's nice and big and go like this. All right. That looks cool. I'm going to go to my outline view. So command or control y. I want you. Hold shift, hold shift, shift. And that one, too, and I'm going to go to a range, whereas a range. It's not there. Command. Yeah, really not there in this case. Can you see it? Don't worry. We can get a object, arrange and send it back. Here we go. It's funny. Range works here. I feel like that's a bug. Doesn't work when you're on a stroke. Works for the field though. Weird. Anyway, there it is. We've gone from something quite vectory to something that I don't know, feels a bit more organic. But the cool thing about it is it's still very scalable. We can scale it up, make it massive for a billboard. It's it's lovely vector goodness. But it's got a bit of kind of, like, character to to it and a bit of hand drawnness. I think I want those to be white. Anyway, that is it. Long video. Brushes are important and cool, especially if you're an illustrator. Actually, I take it back. I use it for everything. I'm not an illustrator. I'm a designer, kind of graphic designer, more. And yeah, brushes, big part of my world an illustrator. Alright, that is it. I will see you in the next video. 40. Class project 11 - Brush Doodles: All right, it is time to put our knowledge to the test. We've learned lots more about strokes. And we've learned about brushes and dashed and dotted and mis, and all sorts of good stuff. I want you to do basically what we did in the last video, but for your own product. Okay, So find your own thinking image and do some sort of speech bubble thought thing about your product. Now, if you decide to not do speech bubbles, it's not a speech bubble, is it thought bubble? Okay, and do something else kind of for your product. I'm totally okay with that as well. I just want to see some practice with the brushes tool. So if you've got a better idea or a different idea, go ahead and do it. If you end up spending ages drawing 1 million things on it, that would be awesome too. Go over Look and Google some other doodles. Okay? I don't know. That's a good way to kind of get some inspiration about what you might be drawing all over the place. Hats, glasses, mustaches, those are all good ones. It can be simple. You can go overboard. The kind of idea here is that you've been asked to make a graphic for a social media campaign. Don't worry. As well as you know, like I drove chips. I don't know, I don't know what to draw for hot sauce. I was gonna draw another chili. But then I wanted to show you how the angles work. So it doesn't have to be super brand, something related to your product. So find your own thinking person, okay? Unsplash pixels. There's lots of free stuff on Adobe stock as well, okay? Using the brush tool, draw your product or something related, save an image and upload it and share on social media. Please do tag me, tell people what you're working on, where you got it. Maybe drive some other people to come join me for the illustrated course and have some fun. Alright? Go and brush some doodles or doodle some brushes that came out weird. Ignore that, Alright, let's go on to the next door, do your homework, and I will see you in the next video. Bye. 41. How to Simplify paths in Illustrato: Everyone. In this video, we're going to look at something called the simplify tool. We're going to go from all of these anchor points, which has zero ability for us to control it all to bam. Just a few simple anchor points that we can manipulate giving smooth lines. It's using something called the simplify tool. Let's jump in. It's awesome. Okay, first up, open up three files. I've got simplify O one, two, and three open. We're going to start with simplify one. And we have got this. Something we make later on in the course. But if we look at it, if I have it selected with my direct selection tool, the white arrow, you'll see it has lots of anchor points, which is it's fine because it's nice and smooth. But let's say I want to make an adjustment. I want to move this part out. But because it's got so many anchor points, it makes it tricky to get it out there in any sort of smooth way, too many anchor points. We've learned that so far. The least amount of anchor points you have, the easier it is to update. What if there was a way to remove or at least clean up or simplify that path and all its anchor points. Let's select it. I'm going to select both of them with the direct selection tool. See all the anchor points. Let's go. Let's actually have two versions of it. I'm going to copy and paste it, so we've got a before and after, and I'll move them all over here. Let's adjust this one. Direct selection tool around all of this. Let's go to object. Let's go to path. You're ready? There it is there. I'm ready for the magic. 321. Oh, look at that. It looks the same, but look how many fewer anchor points there are. Down here, I can say, Oh, let's adjust this, and just look how easy it is because I've only got this one handle doing all the work. And this one here, you can just go up op. Now I've got the little bulbous bit that was after. I have no idea why. But it was a good example of anchor points, just a few of them, and it look the same. Let's look at a more advanced option. It's got to simplify. This was a hand drawing that I've scanned and vectorized. We'll look at that later on, of course. But if I go to my direct selection to look how many anchor points it's got. There is no chance of adjusting this nicely. You might get it from other people's work, stuff you've downloaded from the Internet. In my case, something I've drawn and tried to get the computer to vectorize. But luckily, we know if we go to object, Path simplify. It's done nothing. If you only have an anchor point selected, it'll only do that one. So let's grab the whole lot of them with a direct selection tool. Get a object. That was underwhelming. Let's do the whelming version. Object Path ready, simplify. Oh, my goodness. Look at it. Look how nice it is. Well, look how much less anchor points there is. You might decide that, what's going on over here. Actually, the default one is automatic. It's amazing how good that is when it automatically tries to do it. But for us, we can crank sether more smooth, more anchor points, basically, more smooth, more anchor points. It's up to you where you want that balance to be. But look at that when it's over this way. Pretty nice. There's some stuff I need to tidy up because it's getting blop. It doesn't know that it's meant to be a flame. It's meant to be I hope you got that too. But you can look how nice that is, I may be overly excited by the simplified tool. I love it. Let's have a look at this one, the last one, and we're going to do it with this Pentl version, so I'm going to make a copy and paste. Okay. The reason I show you this one is that it's good, but I've got a couple of examples that are really good. Not all examples work as great. So I've got this one from Valeria from earlier. This is the pen tool that we cleaned up manually. Remember, we went through and removed anchor points and stuff. What I'm going to do is slit it all, and go to my simplify Object, Path simplify. And what you'll notice is, it's done a pretty good job, Suman. Can you see it's removed some of the anchor points across there, down to one. It's done some weird stuff over here. It's done right because I don't want the anchor point there. It's not quite parallel there. It's way better than it was. And if I crank it up, D. Okay, it's kind of moved all the definition of lots apart. So you slide back and forth, find out where the happy medium is. I kind of like it with that anchor point in there. I need the edge there. Find your happy medium and then click off and realize there's going to be a bit of work, get it finished. Because it was nice and straight there now, but now it's not. I've made more work in some parts and less in others. Let's go the pentel. I'll show you what I'd do. I'd go through and say, actually, I need an anchor point there. Either vote tool or the pentel. I'm going to need that to be straight up and down holding shift. I need that to be aligned with it, so my smart guides are on. That is much better. This one here. This is going to do something weird a bit. This one here, you see how it's bent in like that, even though the computer said be a curve and you're like, it looks like a curve, but it looks like a broken s saw. Watch this. If I start dragging it, Do you see the other side, just kind of like, I'll do it again. Watch the bottom handle or just kind of goes, Oh, I mean to be lined up. Is it a bug? It would be a bug if it didn't happen all the time and is the way it's always worked. There's just some points that get converted that aren't sure where they're at. They either need to be converted over here to a corner or a curve if they're the wrong thing, or just dragging them sometimes just kind of gives them back to life. This one here, kind of want it to be strap and down, and maybe move this out. So I guess I show you this because I want to make sure that it's if you're using, you're like, Oh, it's not working for me. It might not be working for you because it's gets you close and can tidy it up, but there's a bit of work afterwards. So look at this one. This one's a bit more high core, have a look. We've got some anchor points, but there are these two. This one has the break in it again, let's drag it. Fix itself up. Man, anchor points and handles are weird. I wish they were easy. I wish I had a unifying theory of anchor points and handles and penils, but hey, they're quirky, and that's kind of why we love illustrator. So, I want to point up here because I don't want this, you know, you might like the little rounded end that's cool. But let's say I want the point at the top. What do I do? What I'm going to do is grab the pen tool, and I'm going to click one up there to give myself an anchor point. It's giving me an anchorpoint that has handles on it because it's trying to, like, redraw the line that you clicked on. Okay? It's not what I want. I don't want handles. How do we get rid of handles? That's right. I'm going to convert you to a corner. Perfect. I'm you. And then these guys kind of I can maybe get that work. What I'm probably going to do is say you come down here. You come up here, trying to get the curve up nicely in there. We don't drag the whole thing. Grab that giant handle Dan. Same with this one here. A bit Case, it's a little broken guy, watch this one I grab. Ah. Anchor points and handles and pen tools and curvature tools, drag selection tools. We're getting there, right? We're going to do lots more in the course, but that's why people often get frustrated in illustrator and kind of don't use it very much. It might be you. You might be like, I've had it on my computer for ten years, and I hate it. Or I only use it when I have to. This course, we are going to master it and realize it's not you. It's illustrator. That is the simplify feature in Adobe Illustrator. Let's jump to the next video. 42. How to draw lines with the Width Tool in Adobe Illustrator: Hi everyone. This video we are going to look at the width tool. Okay, we're going to go from just some simple lines and text to bam, look how cool it looks. There's a quick demo. Look, I can make the line thinner, smaller, thicker. And that's what I've done here with these lines at the top. All right, let's jump in and I'll show you how the width tool works in Illustrator. All right. First up, open up the exercise file called width tool, Okay? And we're going to zoom in on this leaf system over here. We're going to add our own third leaf here. Okay? I'm going to grab the pencil tool underneath the paint brush. Okay? I'm going to double click it and make sure my smoothing is way up to look good. Okay? And I need to make sure that I have no fill, got a stroke of white and I'm using this hair line width. Okay? So the width tool, which we're going to learn, works way better when the line is really small. So I'm just going to draw out, I don't know, another leaf way better when I was practicing it. Anyway, they'll look okay. So what we're going to do is grab the width tool. Looks like this, like little bo narrowi thing there. Going to click on that. Just hover above a line. Wherever you want to put the point, click hold and drag. Look at this Click hold and drag it out. If it doesn't go anywhere, you're like I'm dragging it, it's not getting any bigger often, it's just you're dragging it the wrong way. If it's not getting any bigger, drag it the other side, side, side, there we go. And just kind of drag them out. Look at that wrong way. Pretend it did it on purpose. Yeah, it's amazing, the width tool. Let's get into little bit more detail with this one up here. Let's drag it from the end. So we're dragging it at the midle, so you get a point at both ends, right? So I'm going to grab this end here. Remember if it doesn't go anywhere, you dragging the wrong way. Okay? Is there is a nice option where, well, even that looks quite cool, just dragging it from the end rather than midway up. Okay, you end up with this like little, kind of like pointed end. Looks cool. Another cool thing we can do though is select on it, Not with the width tool, just direct selection or the black arrow. And remember, under stroke, remember we were doing things with capping, okay. We can go to rounded cap and look what it did. Oh, Noise Okay, so up to you how you work it. Okay. The way I got it there is with the width tool. Okay? Instead of dragging it here, I dragged it at the end. And if it didn't drag out, drag that the way. Okay. Because this one remembers that he was a butt cap, so now he can be a rounded cap and that didn't work. You'll be on the black arrow, then have the line selected, then change it to a rounded cap. And I'm probably going to have to go to my direct selection tool and just move it off to make it look cool. All right. Width tool. There he is, there. I love this tool. If you ever tried to draw like two lines perpendicular with the pencil tool, the pen tool, that's just so hard to get them to flow together. Width tool to the rescue, so cool. All right, let's have a look at this 11 big continuous line that I drew and simplified like we looked in the last video. But right now I'm going to select on it and I'm going to do a couple of extra things with the width tool. Width tool, again, you don't have to have it selected first. Actually, it's nicer when you don't because you don't see all the anchor points. It doesn't matter. I'm going to start up here and drag out a line that's doing the whole thing. Can you see if I've just got one width tool doing the whole thing? That's what we did for the leaves. But I can add another one. I can say, actually I'd like it big and thick there, but I want it thin here. I'm just dragging out a smaller one there. Look at that. That one's forcing it out. You see that one's forcing it out and that one's forcing it in. And we can say, actually, let's get this one to force it out down here. You can have multiple lines to get this cool effect and say down here as well. The other cool thing you can do is drag it back in. Dragging that corner there is you can do a couple of things. You can move it. Say you don't really need it there. Watch this. I can, I'm just dragging the point that crosses the line right in the middle. Just drag it along. Can you see? I can move it around Drone scientifix. The other thing you can do is you can see it's equally extending left and right from the line. You can hold on the option counter, Mac A PC. Oh, look at that. Okay. You can extend it from just one way. I'm holding down the option Kaka, PC. I'm just dragging that kind of either side of this, Grab that one, drag them out. All right, so now we're going to go through and just kind of like you can delete them as well. Say you've got this on here and you're like, oh, that's not what I wanted. Okay, You can click on them and just hit Delete on your keyboard and just gets rid of them as well. Remember drag them along, move them. You can add them by just clicking. Well, actually you got to click and drag to add them. Okay? Not just clicking once click and drag kin, if you want to get rid of one, just click it once, delete. Nice. All right, I'm going to speed do this one. You wait there. All right. I had bigger dreams for this was a wake in my head mainly. There you go. You got the idea. Lots of different shapes. Yeah, something about it, I don't know, can't work it out. It seems really smooth and I've got all the width things and why I feel is the right place. But the doo, let's do the last one together over here. It's really cool for adding these little extensions K to type, like you saw at the beginning. We're going to do this what's called maybe a ligature. Okay, ligature generally is part of the font. We're going to kind of handmake one K little that wraps around, so I'm going to grab, I'm going to try the curvature tool. Actually just to mix things up so I'm going to try and get it. Down and around. Kind of in that New York Yankees kind of like flip around thing. So click once for a corner. I do not want to click on the actual object, okay, because it kind of added it to it. So what I'm going to do is probably start it out here and move it in afterwards. Okay, I'm going to go to go, I know that I'm probably going to have to adjust this quite a lot afterwards because I want to go there and it's got bits of it in there, right? So direct selection tool, grab you. You need to be, first of all, over this, okay, grab it about there. I want to, heading out in the right direction. I'm going to turn my smart guides off. Okay. Because it's snapping to it. Smart guides off. Were they already off? I think it was weird they were already off. But they were on. I think it's just because I got a pre release version of the software. That normally doesn't happen. All right. So it's kind of heading out in the right direction like that. Nice. And then there's just a little bit of like, do I like it like that? I think I want a bit more of a curve there. Yeah, I don't know, what do you think? Okay, definitely, that's it. Oh, it's going to need more work. So let's grab the width tool. Now, what I might do is I told you this before. Let me show you the one of the problems we have with the width tool is if I drag this out here and you're like, great, that looks cool. Then you come down here at the end. This one here especially, can you see? It's got like this chunk on the end basically because we started with a stroke that wasn't very small. Okay. Let's undo it. Can you see that's the stroke I started with one point and when I adjusted it, it kept that there. It's best when you're drawing. Okay. Either before or afterwards to change the stroke down for something really small, even something like 0.01 it can be really microscopic. You need something in there. Otherwise the width two wouldn't work. But starting with something like that is a great way because then you can go, all right, I want it to be, I want a nice flourish at the end here. I want thick here. How thick? Bit thicker than too thick. Well, I'm just going to mess around with it now. Oh, the one thing I'm going to do is I'm going to do an end on it. Mainly just so that I can get it roughly the right size Okay. And get it to be at the right point. Now what I'm trying to do here badly, is I'm trying to move the anchor point, but I'm on the width tool down. You can't move the anchor point. The width tool, all you're doing is adjusting the width. Okay? So I could fudge it by going holding down the option key, the Ol key on a Mac. And just get that one to be nice and that one to be nice. If I need to move the anchor point though, grab the direct selection tool, click that point, and now I can move that end point. It's pretty good. Good enough. It's cool. Do you think, does it need something across there? It wrong way? I don't know. You decide, but have a play around with it, see if you can get it connected. The big thing with it looking nice out of that is with your anchor point. Nothing to do with the width tool is that first curve K that I've got, see that first curve that I've got with that handle in there, K needs to be flowing right way out of the Can you see trying to mimic the rest of the handwriting? That's it. Don't be afraid to zoom right in as well. Okay. You notice that I went right into line this up. Okay. I got my smart goats off. Good enough. Al right. That is the width tool. I love the width tool makes you don't look at that one, makes things look amazing, gets that kind of like lithograph kind of look. And you get to do these kind of like, I love these like little whips and ligatures on type. If you've ever wondered how people do it custom wise, probably some curvature tool and a little bit of width tool. All right friends. That is it I will see in the next video. 43. Class Project 12 - Width Tool: Hi everyone. Hey, it's class project time. We're going to be using the width tool skills that we learned in the last video. And I want you to make a biodegradable graphic. Okay, don't worry, doesn't have to be too fancy. Just something simple, kind of like what we did with this one here. Okay, something like that. For inspiration, go check out terms like biodegradable icon, eco icon. Just find a shape that you think you can reproduce or draw or get inspiration from. Okay? But I want you to, not a solid shape like this, I want you to kind of use it as inspiration, but kind of do more of this kind of like line drawing so that we can use the width tool. So draw a biodegradable icon, doesn't have to have text. We haven't covered text in the course yet, up to you, but draw the lines using some of the tools we've learnt. Pen, pencil, curvature, embellish the graphic with the width tool and yeah, we'll use it later on. On the back of our packaging, add color basically has to be green. I don't know why biodegradable needs to be green, but give it some color, don't mind what it is. It's just practicing the width tool. I love to see what you make, okay. Share the drawing with your exercise files. Okay. Show your file in the assignments and also on social media. Now remember, some of the class projects go depending on where you're watching this, they're in the assignments or the projects or the comments, whichever is appropriate for where you're watching it and share it on social media. Tag me, be cool to see what you do with the width tool. And don't worry if you end up with something like me where it's kind of like, oh, I should be right, but something's wrong. Okay? That's why we're sticking to no simple lines like leaves or stuff. All right, that's it. Enjoy the class exercise, and I'll see in the next video. 44. How to Join two lines together in Illustrator: Hi everyone. In this video we're gonna join lines. Very exciting. There's about 20 different ways in illustrator. I'm going to show you the best ways we need, about four of them to do exactly every use case we need. Sometimes you need to join just two ends of a line. Boom, easy sometimes though, we don't need a straight line like this. What we need is boom, an average kind of between the two. And it gets even better when there's an actual tool that you can just paint on. What's this scuba scu, scrible, scuba scub, scull too? Good. We'll look at one more using the shape builder tool. But let's jump in now and I'll show you the different ways to join the stuff up an illustrator. Alright. First up, open up file that I've created for you called joining lines. You don't really need it, we just need some lines that aren't joined. So we're going to start with the lightning bolt here. Okay? It's for times where you either need a line that joins them up. Okay? Or who's done it so far, hands up. If you've done this by accident already, you've clicked on a line and accidentally deleted it. All right. Most of you, good work. So we need to connect it up. Okay, so what we're going to do is we can just grab the selection tool, okay, And click on it and go to Object Path and join. And because there's only one join in it, it knows which one to do. Let me just show you. If there are multiple lines, what you can do is you can say, I want you and hold shift and you, otherwise it might connect to random lines. Okay? So I've clicked on both of those. Go back to the exact same thing. Go to path, go to join. And it shows this one. And I can draw a box around these. You might have noticed there was a shortcut. It's command control J on a PC gets used quite a lot. Okay, And that's the join function. If you can't see it, if you're like mine's grade out, why can't I use it? It's because you have to have something selected first, then that should come to life. It's kind of true of anything in here. Okay. If you've got nothing selected, it probably won't work. All right, So I've got a hole here. I'm going to use the direct selection tool like Dan said. Okay, And I'm going to get an object, I'm going to get a path, and I've told it, and I'm going to go to join. And it's kind of kind of work because we've got this like little stair step here and you're like, yeah, that's not what I wanted. So another cool way of joining things up. There's about, oh man, there's about ten different ways. I'm going to show you four. Okay. Because there's different use cases. So what you can do is I can slick both of these and I can go to object, go to path, and there's this other one called average. You'll make a new point in average in between these two ones. That's much better. Okay, The only trouble with average is, is that they're actually connected. They kind of put them together to have a look away. Together, away together. I'm using the edit undo, redo, undo, redo just to kind of show you, but you can kind of see it there. It's a little hard to see, but there's a slight gap in here. Often when you use the average, it's great, gets exactly where we want. But I need to join them up afterwards. The way to do it is just they can stay overlapped. I can drag a little box around them to have them both selected. Then can go object path and use the regular joins. Average kind gets them in an average position and then you join them up. There you go. Nice. What other things let's have a look at. Well, let's slick both of these and go command J. It's not what I want undo, maybe it's average, which is command option J or control OltJ on a PC, it's going to average both of these and you end up with a black hole. Okay. I forgot about that. What I didn't have right there as I didn't have these two selected. Okay? If you have them all selected and use average, you end up averaging every single point right into the center. And the handles bring out the curves and that's not what we want. Select both of these. Pretend like you did that on purpose, man. Dan's good at those learning experiences, mainly me just getting lost. But let's do it properly. Let's select both of these, okay? And let's go to object, and let's go to path and go to average. And both perfect kind what I wanted but it's overlapping. So what do we do there? What we can do is we can use a really handy tool. It's kind hidden under the, this little three little dots here. Okay? It's one of those tools that got made. It was really cool, not many people use it. Got shoveled out and here into no man's land. There's lots in here. Okay, let's use the join tool. Looks like a paint brush with two little lines and, you know, just click at once. Okay. To close that panel down and watch this, I can just kind of like scribble over stuff, no way, yes way. Do this one down here. Oh, and the cool thing about the join tool is that unlike average, okay, it has actually connected these up, They're actually joined, so you don't have to join that afterwards. Cool, Why don't I just use the join Tool everywhere? It just doesn't work everywhere. So if I delete that again and I grab my Join Tool. Okay, where are you Join Tool And I go, it's just too far away, doesn't know what to do. So it's really good for things that are overlapping. Sometimes it's the object path join function. Okay? Sometimes it's the average. Sometimes it's great to use the tool. Do you kind of see the examples of each of them? There's a little bit of like trying one undoing. Trying it, undoing again, I do it even now, being pretty experienced an illustrator. A couple of things I want to show you. You might have been going like, why don't I just use the shape builder tool? Because if I undo all of that, there's no reason this is the key. Okay? There's lots of ways of doing the same thing. I'm trying not to give you too many, but they just want to make sure you get all the tools you need. So I could use my Shape builder tool. We've used it before. It's this one here. Okay. Click on that one and I'll go and hold down my option on a Mac on PC. Drag across those, drag across those, and we're kind of there. Look at that. That's kind of where we were. The only thing with a shape builder is that it's two separate objects. Unless we select both of them, grab the shape builder tool, pick a fill color and fill it. Now it kind of connects them all up and they're all one object. Strange, huh? So I personally use a lot more of the Shape builder tool for everything that I'm doing 'cause it does quite a few things. It trims things off, joins stuff up. It's awesome if you're doing a lot of hand drawn, kind of like tablet, wake on stuff, that join tool is really cool. Why don't we just use the join tool all the time? I would, if I was maybe doing kind of outlines of stuff, okay, Like kind of simple vector stuff, icons. I'd like the Shape Builder because the joint tool will work here. Okay, if I have nothing selected, go find my joint tool. It will work to a point. Okay, join that up. Yes, join that up. Join that up. Join that up. Join that up, It works. Okay. It's perfectly working, except now what I have is if I grab my direct selection tool, I have kind of a line that goes overlaps itself. And that works fine. And I can select on it and I can give it Phil. Okay, let's give it a Phil that works perfect. How do I fill this color? Just this color. There's no real function to do that at the moment because it's just like one line that's overlapping on itself. Can you see it's just like one fill with a bunch of strokes. If I unpick it all, do you get what I mean? Okay. Whereas if I use the Shape Builder tool. Okay, Grab it all. Shape Builder and I can color it in as I go, all sorts of different colors, find what works for you. Okay. And I can use my option Alt to tidy it up. Okay, there we go. Here we go. Have I made it less confusing? More confusing? Probably more confusing. Hopefully we're getting there. There are just lots of tools, an illustrator, some of them are like try like the defaults are often, I go to the Shape Builder tool every time, especially when they're overlapping. If it's just something I've deleted or I need to connect two separate lines, I use the join or average. And if I was an illustrator, which I know a lot of people during this course, will be okay. I'd be using the joiner tool because as long as they're kind of close to overlapping, you can do some really quick joining of things afterwards. There you go. Lots of ways to join an illustrator. That is it I will see in the next video. 45. How to use Intertwine in Illustrator: Everyone, in this video, we are going to look at how to turn these boring old rectangle roundy things to am cool, intertwining overlapping celtic knot type things. The feature is called Intertwine. It is super awesome and easy to use. And if you wait to the end, I'll show you how I drew my roundy rectangles just in case. But let's get into the intertwined stuff. Alright, First up, open up. Intertwine one from your exercise files. You can draw any shape you like. I just kind of drew some rounded rectangles on top of each other that nothing special added some color. Okay, to make intertwined work, we'll work with this one to start with, let's select both of them with the selection tool. Okay. The black arrow then go up to object. And there's a whole thing in here called Intertwine. There we go, click make. Nothing happens. And what you're meant to do now is hover above the bits where they do overlap. And just click them. So I'm going to say it goes over there. And then under this one, Under this one, there we go. How cool is that? Okay, let's do the same for this one. Make sure it's selected. Otherwise, it'll be grayed out and this thing won't work. Okay, select them all. Make and I'm going to then use my squinty brain powers. I don't know if I close one eye I can make this work easier. I'm following this light green line, just going to go on top of that one. Now I'm going to forget that this one exists. I'm just going to say the light green mint one with the dark one. So it goes above there and below that. Above there, Below that. Work clockwise around. That's how it works in my brain. Anyway, you could probably see it better than me. Now let's work with the mint green one. With this, so it's going to go over, then under, under, over, then under. Do what are next? These two need to interact. So the dark line with the mid green. Okay, we're going to go over under. It doesn't matter which one you go first, under or over. I've lost my place. Come on. Squeaky brain. There we go. Do we do it? I have no idea. It looks cool. That is intertwined. Okay, so next, let's say that we want to edit something because we've done something wrong. Well, a couple of things to note is that if I click on this once, okay, with my selection tool, notice if I click and drag the blue line in the middle, it's one unit. Now, it's kind of grouped together. Without me asking, just grouped it together. That's one thing. The other thing is, how do I edit? They say it was meant to be above. Okay, I want to go above, below, above, below. Let's click on Edit over here in the quick actions, or with it selected, you can go to Object and go to intertwine and Edit. Same thing, okay, and now I'm back in that mode, okay, Now I can click on this one and say no, this one's above, that one's below, this one's above, that one's below. Oh, come on, brain. Well, it's not working anyway you get the idea. You can edit it by selecting it. Okay, so when you're finished though, what do you do? Go back to your black arrow and you kind of back out. A few other things you might do is you might, with it selected, okay? Say I wanted to go and adjust, say, the rounded corners on this one here because I want it to be different. Okay. How do I do that? I showed you isolation mode earlier on in the course. Okay? And it means that this is a group. It can remain a group. I can double click it anywhere and I go inside to this area, No man's land, I can't select on this. But everything that was inside that intertwined group is now accessible in individual parts. It's kind of a way of stepping inside of the group, ignoring everything else that's not in the group. And I can actually, I want you to go like that. Say I want it to be a circle. It's ruined my intertwine. That's okay. Can we fix it? Let's check it. So go back to edit. Okay, and yes, we can. Awesome on off, on, off, on off, we're doing it. Am I doing it anyway? Brain teaser. Okay, so sometimes you need to go inside of it isolation mode, okay? And to get out of it isolation mode, okay, you can do one of two things. Just double click the background or you can smash away at the arrows up here, back back, back, back, back until all the arrows are gone. Last thing is if I have it selected, you can release it, and it just kind of goes back to its constituent parts all ungrouped. Again, if you need to do that to leave mine as is. I promised at the beginning, I showed you how I drew these things, not particularly complicated. Okay? I used the rectangle tool, the M key keyboard. Okay? And I just dragged out something. I gave it a really thick stroke, no fill. Okay? And I grabbed the corners and I sent up all the way in. Just dragged any one of them all the way in. Then I copied it and pasted it. And I held my shift key and I dragged it around. And then I grabbed both of them and a line center, there you go, to fill out the middle rectangle. Copy paste. Okay, I'm going to put it actually, actually, it's probably easier grabbing the rectangle tool. Remember we could drag from the center, who remembers shortcut gives us a perfect square, which is what I want. But who remembers how to drag from the center rather than the top right? All you remember it's option on a Mac, Alt on a PC. So if you hold down Shift An option or Shift Alt on a PC, find the middle. If it's not coming up, go to view Smart guides. Okay. And it should find the intersector on the middle. Drag that up, and you got a square right in the middle. Okay. I could probably line that just as easy anyway. Anyway, we are building our skills, stacking different ones together. Now you just got to color these different colors and start doing it intertwined. It's a neat feature from Illustrator, and that's it. I feel a class project coming on you, I'll see in the next video. 46. Class project 13 - Intertwine: Hi everyone. It's class project time. It's fun time. We're going to use intertwined. Or at least you are. I want you to come up with a design and get it to intertwined. Now, we're not going to use this later in the course. It's more just a fun, don't even think of a design, just start throwing some shapes on. Or at least some strokes, okay? And then see if you can get them intertwined. So no restrictions. Just got to use the intertwined feature. Play around with it. Now, if you do want to go down the repeating pattern one, don't do this one. Can I say? This one loops around and joins this one here and loops around. It's kind of out of the skills that we've got so far, Go ahead and do it, but it's a little bit tricky. What's nice is when something doesn't really wrap back on itself, it just kind of like overlays itself, Kind of like over here. See down here, these ones easy, the ones that turn into a knot, which is essentially what a Ltic knot should do. It's just a little tricky to do with our current skills. So also have a look at, it doesn't have to be like a Ltic knot. Just I just did a Google for a repeating overlapping pattern just to get some inspiration outside of celtic knots. Okay. Or just draw something, get it overlap. I don't mind. I want you to color it if you are finding color a little tricky. There's a color section in this course, but I was like, man, they can't just keep using the colors in the color palette. Okay, so if you want to find some colors that are maybe, I don't know, nice together and you're not too sure what to pick, Go to Color.adobe.com Okay, it's a site here. Go to explore, then just have a look through, find something you like. Just finding two or three colors or five colors. You can hit next, next, next, forever. Say you do like these colors here, not appreciate. Click once, okay. And what you can do is say you want that color in that color you click on at once to copy. Okay? And that's the code for that color. Okay. And you can go to Illustrator. This is like a mini course. We'll do this properly later on, but for the moment. Okay. I'm going to go, before I intertwine it, I'm going to go, you click on the color. Okay. I'm going to go from switches to color mixer, make sure my color mix is on anything. As long as it's not on gray scale, you'll be al right. Okay, so I'm going to go to Jib or HSB and see that that's where you can paste it. Paste it. Hit Enter on my keyboard, and now I've got that color and I can grab copy and go to that one. That one there. Paste it. Okay, I've got those two colors and I can start filling it out with the other colors if you are finding it tricky to like pick colors or you're just finding them a little lackluster when you've only got like these swatches here and you is going, there's only so many versions of these you can do. All right, and so have fun with intertwine. Upload it to the assignments, Upload it to the social media, tell people what you're doing, what course the feature that you're using called Intertwine. I'm looking forward to seeing what you submit. Again, like I said earlier in the course when you are submitting projects. Okay, feedback, Gay, Remember if you submit one try and give feedback to two others, practice your critical feedback. It helps other people get kind of more information back on their work. And it helps me because I can't get to everyone. So get out there, submit yours, comment on others, and have fun with intertwine. I'll see in the next video. 47. How to Expand Appearance in Illustrator: In this video, we're going to look at something called expand appearance. Now at the moment, this is a stroke, okay? That is applied to, it's kind of like an effect, but what if we need to kind of smash these things apart? Or we need to detach the stroke from this fill and intertwined. This is kind of something that's all locked up together. How do I pull it apart and start messing with it? And imagine if we could add a stroke to a stroke. That's what expand, appearance is going to let us do. It's gonna allow us to see all the anchor points in this. Okay. And mess around with our stroke. Detach the line around the outside here. Give it its own stroke. Strokes with strokes and this intertwined here, it's actually smashed to pieces, so I can actually start manipulating it separately. A bit of a smashing apart rampage. It is called expand appearance. Join me in breaking everything up and using expand appearance. Let's get going. Okay, first up, let's do this brush here. I know it's a brush applied to a stroke. I made it a second of all if I got to outline mode, command or control y. Okay, I can see that it's actually just a stroke that I had a brush applied that we learned earlier in the course. Okay, I can grab my direct selection tool, click any one of these and it's like this thing that follows along. But there might be a part of it, like let's say we don't like this, but it sticks off and we want to like maybe add a stroke to it. What I can do is let's click it with the black arrow. Okay, so we've got the whole thing selected. Let's go to Object. We're going to go to Expand Appearance. Okay, now what's going to happen is let's look at outline mode. Okay, It's now like that shape. It's actually two parts. It's the stroke actually, it's grouped together. It's the stroke still there plus the brush stroke. But instead of a stroke following it along, it's just like a shape, like we drew it with the penile. Okay, whenever you outline something often selected here, you need to ungroup it. There's an option here. There's an option group. There's an option under object group. Okay, there it is, there. The shortcut that I use quite a bit. Command shift on Am, control shift on a PC. Let's ungroup it and let's have a look at the two parts that get left behind. So there's this one and you're like, wow, look at that guy, Why can't we see him? Is because he doesn't really have a whole lot of appearance. I'm going to add a black stroke. We can see it. It's handy because we've got this. Plus we're left with a stroke which we could apply a brush again to if we wanted to. What we really wanted to do is get into this. Okay, so I can grab my direct selection tool now and go click on this and start messing with it. I could go and clean it up and go to object path. And we could go to Simplify. And say simplify this for me. Let's go super simplify. I only had that part selected so it's not working. I'm just going to select it with my black arrow. I'm going to object path and go to simplify and crack it right up. You can see look at that, smoothed it out. The only way I can get to those parts inside that brush is if I expand it. Cool. Let's have a look at this here as well. This is fill of green. You can see it here with a stroke of blue. It's 40 pixels around the outside. But let's say we want to detach them, so break them apart and maybe add a stroke to the stroke madness. Actually, I want to turn this stroke just like we did up here. I want to turn it into a fill that I can adjust with it Selected black arrow. Let's go to object. You'll notice that when expand appearance over here and expand, don't worry. Just whatever one highlighted. It's technical. We don't need to worry. Okay. But it's either expand appearance or expand. It doesn't matter which one. Okay. Click on that. I'm going to expand these to my fill and stroke. And what's going to happen is, same as up here. I've got a fill, actually we're going to ungroup it. Okay. And I've got my fill. And what's now not a stroke, can you see it's actually a fill. Why? This is useful as I can grab my direct selection tool now. Grab this, you can see it has a line around the outside of its own now. Okay, it's two separate shapes no longer attached which is handy, but also this outline thing here. An object I can start manipulating and look, has no stroke. I can add a stroke and we can do crazy inception things with strokes or strokes, terrible color schemes. But you get the idea. Let's have a look at intertwined. We did this earlier. Okay, let's go to object. Let's go to intertwined. Make. Okay, I'm going to say you behind in front. Behind you. In front, behind. You're behind, or I'm lost. Anyway, it's doing the intertwined thing. But let's say I want to pull it apart and at the moment it's doing some fancy stuff. It's stuck in the middle of intertwining. Okay, releasing works, but it separates them back out again. I'm going to undo that. What I want to do is go to object and I'm going to go to either one of these expand appearance that there are occasions, not many like intertwined, where actually you can go and do it again. Expand it a second time. The reason I know that is because I can still see the release. I can still do stuff with it. If I ungroup it, it's still stuck together. This one here, it happens a bit mainly with really fancy stuff like intertwined. We'll do a few more in the course, we're going to expand it a second time. Now what's happened is I still need to ungroup it, but this is like those chunks, you see that's a hole, It's around the back. And these are all separate. Sometimes when there are more complex things going on, you do need to expand it more than once and ungroup it. Look at this is the width tool. Width tool. Where is my width there? I did this, okay, where we just made the stroke nice and thick. Okay? But let's say we don't want all this adjustment anymore and we want to turn it into a fill, same thing as before. Selected with the black arrow. Okay, Let's go to object. Let's go to whichever one of these is open. Okay? And this one here, I don't need to ungroup this one because it wasn't multiple shapes or wasn't a stroke with a path. Now though, what's different about this is that it's no longer a stroke to undo. It's no longer a stroke. Okay, with width profile. Okay, applied to it. Essentially a brush stroke. It is now, let's expand it again. It's now a fill that I could apply a stroke to stroke. I'm going to bump that up with the strokes. Okay, I can go down here. And I'm just going to say on the inside. On the outside, there we go outside with the corners. We can decide if it's rounded or not, okay, or mited. Okay. We're going to do rounded. So there you go. That's why expanding the appearance is and why you do it. Okay. It turns strokes into fills. And for complex things like this, it pulls them into pieces so that we can mess around with them. Same with the brush strokes K in the width tool, it's converted it into a fill, but now we can go through and make more adjustments to those things. They're no longer out of our control. All right, that is expand appearance, we'll need that throughout the course. But there you go. That is the wrap up video. All right, that is it. I will see in the next video. 48. How to create a postcard document in Illustrator: Everyone, in this video, we are going to start making a postcard. Okay, it's going to be something that's going to be sitting on the farmer's market table. It's going to be a little bit of advertising, Something that people can take away, something we can slip into the bag when they are checking out to kind of allow them to maybe order online or maybe commercial kind of quantities that maybe somebody might be thinking about or a way to contact us. In general, the all postcard, I'm going to show you how to make that. It's nice and simple. We're going to divide it into this kind of like two chunks. Sport out some layers. Let's get going. Okay. First things first, let's make a new file. So either there or go to file new, same, same. And what you'll find is there's a bunch of templates, none of them that are useful. Well, there is under Art and Illustration, there's a postcard. But it's the wrong size for where I live, Even the stuff I've done for the US, it seems to be the wrong size. There are so many postcard sizes, so don't think there is just one. Same with business cards, they're not all the same size weirdly. So what I'm going to do is put in a really typical one, so I'm going to switch to inches and I'm going to put in four by six. Actually'm going to do my landscapes for six by 4 ". In Europe where I am, it's often a six the size, okay, Which is 148 by not inches, it's going to be a very big one. If I go to millimeters, it's going to be 148 F15. To keep it all consistent though, I'm going to do inches and I'm going to do six by four. Check with who you're printing with. Okay? They might have a pre made size. Okay? Because they'll be chopping some larger bits, paper into specific sizes and they might have a size for you. So double check that first. I'm going to leave, mine is RGB. I'm going to click Create. I've made mine landscape as well. If you have made it and you need to go back to landscape, go to Edit Artboards. And then you should be able to toggle it over here. All right. I'm going to go to exit, okay, Or go back to my black arrow. Alright, postcard may let's color it and get it ready. So I'm going to grab my rectangle tool, it's the M keys. A shortcut you might not need. Don't worry if you're too many shortcuts M though, I'll just keep reading them out. Some of them will stick and some of them won't. M for the rectangle tool, I want to have a fill of something. I'm going to go to my Cal mixer. I'm going to make sure I'm on HSB and click on down here. Hsb and RGB are the same down here reference differently. It's hard dragging this thing around to try and get a color. Whereas easy in HSB I'm going to pick some darky green color. If you've done any of my courses, basically everything is green. For the stroke, I'm going to go No Stroke. There we go. I want to divide this up into three parts where at least I'm going to have three columns. I want a box over here that's just like one third of it. I'll show you a trick to do that. I'm going to grow the background. Go copy and paste it. I've got two of them now. I'm going to change this color. I'm going to go to my swatches and just pick a dark gray. Okay, I want to make it one third of its current size. I can do my measurements over here. Width, I want to divide it by three. The first thing I need to do is make sure that see this, this little chain I going on means that when you change the height, it also changed the width locked together. I don't want that because I want to just make the width different. Believe the height. Remember with the cursor flashing just after the measurement, do a Ford and a three. So I'm going to divide it by three. Enter. Boom. Okay. Now, with my smart guides on. Okay, go should snap into the corner there. It's kind of what I'm looking forward to get started. We're going to put an image in there later in the course. Let's sort out our layers. Go layers panel. Let's lock this. Let's double click the word layer one and call up background because we are being very efficient. And let's make a new layer with a little plus icon down the bottom. And we're going to call this one text. Let's save it. We're going to save it to the cloud because clouds are awesome. And we're going to call this one postcard mine. I'm going to put, I'm just going to put in Mills. It's very common to use something like V one and then you can do V two when you've got another concept for the client. And V three, never give it the kiss of death. This will mean it'll never be final 'cause you'll end up with a final final. Anybody doing this? You're laughing, you're like you're smiling knowingly. Then you've got final, final V two. Okay, so just call it v 1v2v3. I'm gonna save it to the cloud 'cause the cloud is awesome. All right, that is our postcard. I'll see in the next video. 49. How to add type in Illustrator us Area vs Point text: Hi everyone. In this video we are going to go from blank postcard to very exciting, just some plain text. But there's some special things we need to learn about text in terms of the difference between point text and area text. Then we'll talk about placeholder text to build on top of this throughout the next few videos. All right, let's get going. Okay, adding text is this tool over here. So click on that one. Once there is two ways of adding text, ignore that you can click on. Okay, Click once you get given a pre bit of what is luraipsum. It's just, it's what designers use. It's just Latin, okay? It's just stuff that looks like writing but has no meaning, so that you're not using actual words yet. It's just a placeholder text, that's what it is. What happens when you click once is you get a type box that types on forever. Okay? And you can just keep typing, just smash away the keyboard. The other way of adding text is, let's go back to my black arrow and deselect. Now the main way is you meant to go select Deselect. There it is there, okay. Or use a shortcut. I just use the black arrow and click off in the background. That's what everyone does to deselect. So click once you get something called Point Text. Not very exciting. The other one makes more sense. It's called the area text box. If I click hold and drag, okay. Instead of clicking once, can you see? I get a box that has still lorinipsum pushed into it. Okay. Mixed up Latin words that don't make any sense, but for me as a designer, gives me something to work on and design and style before I get the text, maybe from a copywriter. Okay, So those are the two boxes. Now what will happen is there'll be times where you want to change one to the other because like this one here is going on too long and you want it to break onto the next line. You could do the caveman way and just hit return. Okay? And just break it over. But let's say we want to resize it. We want to kind of get it to bring it down. Okay. Make the box a bit smaller so it breaks onto two lines. Let's put a couple of spaces in there. Space space now using the black arrow. If I do it on my text area box that I made special. Okay, By dragging it out, can you see can resize it and reflows. It's all very cool. If I do the same with this, it goes okay. So don't want to do that basically once it is, let's have a look under properties. It actually, it's not over here, it is. In this handy new little pop up thing you can see there, I can convert it from point type, which it currently is, to area type. Ready. Bam nothing happens except now when I resize it, can you see it breaks on the edge there, Okay. And if I move that up and when I type sting, it'll break area type is great for paragraph stuff, okay? And headings are generally just point type. You can convert this one as well, this is O type. I want to get this down to point type. You did the same one with this one as well. This is area type. And let's say I get rid of all of this and I want to be able to type on forever, okay? I can convert it using this option down here, okay? And it shrinks around it, you lose all the frame. But it means now we can keep typing and it carries on. There is another way of doing it, just because there's this little weird dot over here. Okay, let's see these little things on the edge here. If I double click that it becomes type, that will carry on forever. And same with this one here, okay? If I grab my black arrow and I double click it, it's now area type. Now if I type, what happened there, went away, Where did it go? That's another good point area type. If there's not big enough rectangle for it to fit it in, it'll just basically what happens is see that little plus there. That means that there is more text in this box that we can see. Watch this. There it is, Hello. Okay. So if it does disappear and you're like, where is the text? I know what's in there. Okay. It means there's this little plus here and it just means there's just more stuff. You just need to drag it out a bit. Click once point type, great for headings, logos, brands, area type, good for body copy. Now what I want you to do is type in some basic stuff for the next video. So I want you to follow along. It's not going to be a class project for this because it's not very exciting. I'm going to type type in yours. Mine is going to be Mel's secret source, okay, With a black arrow. And I want it to be point type, okay? Because I want to be able to just make it bigger and smaller. It could be area types, not a big deal. Let's pick a bigger size. So we're going to pick 24 for this one, okay? And if yours is longer, okay, you can make yours smaller. It can be 21. You can override any of the sizes, okay, because it's got some preset sizes in here. Might decide mine wants to be 18, just type it in. I'm using Myriad Pro, which is the default. We'll look at font in the next video. So just leave it at that the moment and I want you to fill in the kind of next bits. Let me just go do a jump cut till we're finished and then you can copy it. Alright, here's where I want you to get to. I want your brand at the top, Okay? So everyone will be slightly different, Okay? I want it to all be white. I want there to be some body copy which is just lorinipsum. If you can't make it happen again, say you've messed around with it and you're like, oh, how do I fill that box with loronipsum? Make sure your cursor is flashing in there. So I've got my type tool and you can see my cursor flashing in there to type and go to, whereas it fill with placeholder text and it will kind of redo it. I'm not worried about what's in there. Just kind of find the end and put in a full stop or a period. Okay? So body copies in there and put in this at the bottom here. Okay. So yours will be different. Okay. So for online orders, visit your website. You can make it smaller, mine's quite long. Okay. And those are my commercial inquiries, something like that. Then draw a couple of lines. I don't know why those are in there. I like them, breaks up the information. And you can use the line tool, the pen tool, or the curvature tool. You could use the pencil tool. That would be tricky though, but yeah, get to this point. And then I'll see in the next video, we're going to build on top of this, let's pick some fonts. 50. How to pick fonts in Illustrator: Hi everyone. In this video we're going to go from boring old Myriad, which is the default to some more interesting fonts. I'll show you how to go through and filter the different fonts on your computer so you can make some good choices. I'll do some little basic introduction to how typography works and how to pick good fonts. Show you how to favorite fonts for the ones that you have to use or re, use. Let's jump in. Okay, to pick fonts. Let's start with the name along the top here. Okay, we've got this little dropdown menu. There's lots in here. It doesn't matter if you want to use this one or whether you've dragged this off and you want to use this bigger version over here under the Properties panel, you end up with the same kind of dropdown. Okay, which one should I use? Um, let's use this one so it's easier for the editor to zoom in. Okay, so fonts, Pick fonts. Okay. What else could you do other than scrolling through your machine and picking fonts? Okay. What I find really useful is the filters. Okay, let's go to filters. And let's say that I want a seraph font for my kind of heading here, okay? A serafont is the thing that has a little feet, see the little ticks and kind lines that come off the edges. Okay? Those are called seraph. And this one here is a Sanerpk, if you don't know. Sands is Latin for without seraph. With sands, seraph is without those little feet. Those are the two big food groups for fonts. Then the rest of them is things like slab seraph. You can probably diagnose this one. K's just seraphs that are big and slabby. There is what's this one? Hand drawn note, calligraphy. You can tell by the visual. Okay, so have a look through this. This can go through your machine and see what's on there. Like what I like to do is, let's say I want a seront slab seraph, Let's say I also want ones that are quite bold. Okay. I have no fonts. I have no fonts. This is weird. You wait there wed went back into it and went slab. Maybe we did something wrong. I don't know, it's back. Okay. But the cool thing about it is that if I have an idea of font that I want, you can see there, I've got all these slab seraph that are in bold. So instead of kind of like trying to find a font and find the bold version and slow finding a slab seraph, you can go through the filters. The one thing with the filters though, is you'll forget. And you'll be like, oh, where's my favorite? Where's Comic Sands, where's brush script? You got to go clear all you got to clear your filtering. So find something that is in the seraph world. I'm going to go and change these in a bit. I love Museo. Okay. You might not have Museo Go through your ones, see what you've got. I'll show you how to find new ones in the next video. But just as a good tip, often what looks good is if you're going to use a sera font for say, the headings, you use a sand seraph for the body copy as a contrast. Or just use the same seraph or use the exact same font, maybe for the title as well as the body copy. Okay, so I want to go find Museo. Another handy trick is if you know you're going to be using Museo Loads instead of Museo. There is there, once you found one that you like, can you see over next to it, you've got a star icon, so you might have a corporate font that you have to use. Everyone's using, I don't know, Roboto, Open sands. Okay, once you've found it, hit the little star. And let's also go to clear, let's find our open sands that I use quite a lot. Star, that one. When you come into here, you're not going scroll, scroll of Doom. You're going actually just show me my favorited ones, the ones with the stars next to it, so that I can not spend forever scrolling. The other thing, in terms of fonts, let's say that I want to differentiate these, but I want to use the same Sera font, okay? But I'm just going to use a lighter version. Let's say a 300, okay? It's a nice hierarchy of information. The fonts bigger, this one's smaller, but it's lighter, it'd be very uncommon. But hey, rules are meant to be broken. If you go through and say turn the star ones off, let's show me more ser ones. Yeah, I don't know. Without going into a full course on how to pick fonts, it'd be weird to go seraph. Seraph. It's often good to go the alternative. So if this is san Seraph without feet, pick a seraph want down the bottom. Or in our case we're going to keep the seras at the top. And down the bottom here we're going to pick boring old but very useful, open sands. And it's not there. I know that this is me doing it, problematic at the moment because I've got a filter on that says show me my serfs that are favorited and I've got none of those. I've got a slab seraph that is favorited. So all I'm going to do is clear them all off. Clear, clear, clear. And then turn my favorites on, there's open sands. And I'm going to go, I've got lots of different kinds of open sands. You might not have it. You could use aerial. Oh, what's the Windows version? There's one on Windows. I can't remember what it is. Weight there. There you go, Labre. I knew what it was. It's normally a default on a PC and I'm not doing PC. But anyway, so I've got open sands here and I'm going to go for just regular old open sands. Okay, so we've got some fonts and just some basic font knowledge. Hopefully you found it useful. You might be better at fonts and or more experimental with fonts and you can do whatever you like. One last bit of advice in terms of design. Often there's like a hierarchy of information. The thing you want most important people to notice, and then the second and then the third. And often you can separate those mainly with size, like we've done this. I've got 18, this is down at 14, this is down at ten points. Okay? They're just kind of like leading the eye, first of all. It's in the order of like, you know, top, middle, bottom, but also bold, regular. Also regular, but smaller. That's often a clever way or a way of, you know, making a journey in your postcard rather than it all being the same size. Anyway, that is font usage one oh one. Let's go and find some fancier fonts in the next video. One reminder though is that if you are using this drop down, it'll remember if you've got this filtering on clear it, turn the stars off, anything along here, okay, Otherwise you'll be stuck with just the fonts that are filtered. Alright, nice. I'll see in the next video. 51. How to use Adobe Fonts in Illustrator: Hello. Hey. In this video, we are going to look at what Adobe fonts are and how to install them into Adobe Illustrator. Basically, it's a huge library of fonts that we get to use. Free ish, I'm doing e quotes, you can't see. We're going to go through and kind of figure out what font might work for our postcard. There's loads of fonts, either directly through Illustrator or you can go out to the website, which is really cool to kind of get a sample of them before you start installing them. It's super fun picking fonts, designer nerdy stuff. Let's jump in. Alright, so Adobe Fonts, they're kind of free. They're part of your subscription for Illustrator. So you're paying for them, but they don't cost you any extra. So what we're going to do is experiment with the title here, so it'll be your product that you're working on. Let's copy and paste it. And I'll show you what I do when I'm picking fonts. So I've got this version. I want lots of versions of this so I can step through them and pick different fonts and compare them. So what I do is I hold an option on my Mac Alt on a PC, and I drag one down and it kind of makes a duplicate as you're dragging them. So that's option on a Mac, Alt on a PC. Then I hit command D or control D on a PC to duplicate that last action. So I've got a few of them, probably too many. So this is the one that I liked. Museo. If you let's go and find Museo. You probably don't have it downloaded, but it's an Adobe font. So how do you find it? Over here in the character panel, We're on fonts, there's this, think, find more. Basically, it means you can go check out Adobe fonts without going to the website. I'll show you both, got to find more now with nothing selected. And I grab my type tool I can go into here, go to the same place, and it just gives me kind of like sample text. Okay, over here it says sample. Where does the sample, sample sample, All these dots just mean it's busy trying to download a preview. It starts at the top right, so I can scroll, scroll, scroll, and eventually they'll catch up. What I like to do though is escape, escape, escape, select this. Because it doesn't matter if we go to it here or over here. Over here. Got to find more. It's using selected text, which is the kind of thing I'm looking for. Mill, special source. Okay. And you can see whole Hartzell on sample. Let's go to typography. Let's go to selected text. Yeah. Restarted it. All right. So the problem is there's so many to pick from. Okay. How? Imagine if there's a way of filtering it. You already know there is case. If I go to filters and I say, I'm looking for that slab seraph that is a bold one. Okay, You can go through here now and be a bit more. Wait for the previewed update. You normally get a lot faster than this. I think just my pre release copy is just slowing down a little bit. But if I scroll down, you should be able to find Museo slab is there. And what you can do is you can see there's a little option here to say activate min are is activated. And what are all these numbers here? They just the different sizes or the different weights. 700 is another way of saying bold. When we're dealing with fonts, often they'll use this numbering system. Some of them will use bold, bold, and black. Whereas some of them will use this numbering system that is bold and that is black. 900 skips every 200. What is 1,000 What do they call it? Heavy Black. I know this, I can't remember it, but it's just different weights. 1,000 sorry, 100 is light, 300 is medium, 500 is regular, and then it goes bold black in the one I can't remember. All right, that was bugging me. It's extra bold and that's 1001. So where were we? Let's activate a font. So I've gone through to find more and my previews have started working as well. I just shut down. Illustrator opened a back up. It's probably just the problem, But if you ever have problems, shut down Illustrator, open a back up, that might solve it. Did for me. So I'm going to find a font, slab, seraph on Adobe Fonds. I wanted, there was one actually. Speed this up or find something I like. Oh, that's cool. Okay, this one here I'm going to use and to activate it. See this little activate download button. Okay. I'm going to activate that font and now I have it on my machine. What is it called? It's called who? Hellenic Wide. Okay. So I'm going to get to fonts and now it's just on my computer now that I can use So Hellenic Fonts. Where is it shipped? Downloaded. There is some magic going on in the background in terms of the font being kind of like installed on your machine. Downloaded. They try to make it seamless, but sometimes you kind of need to come out, come out again. And I'm just going to type in, okay, trying to find that one there, Hilly, and it's not there. I'm gonna turn my filters off. Okay. And I'm going to type in Helene. Oh, there it is. There Hellenic. There it is. That's 'cause I spelt it wrong. Okay. So that's my next font that I'm going to use, and I just kind of worked my way through looking at fonts on my machine only because I've downloaded loads. But then going to find more. And going, okay, let's look at more slabs. Maybe you're looking for a script you want, maybe that's what I want to do. Okay, just work my way through the scripted fonts. Okay, not selected text. You could go to one of these ones just to show like a bit more of a range of fonts. Because sometimes you'll pick a font that has a terrible number system that you don't like or so you can change the size of it. Just work your way through say, Alpine script regular to download that one, activate it, clear my filters, go back to fonts. What was it called? Alpine actually can't remember what it's called. It brings up an interesting filter. This one here, The recently added filter is quite handy. There it is, there. Alpine script regular. Okay. And I just keep working my way through. So I've got some fonts to kind of compare where I want to go. Now that's doing it inside Illustrator. I do not use it that way. Why do I flip between the two? I like to use the website as well. Okay. So if you go to Fonts.adobe.com log in. Okay. You can do essentially the same thing, load them into Illustrator. But I like it because you can see like trending now. Oh, a new font. And what's best about them is you might be looking at it and you're like, oh, this is cool, but you get to see it in situ. It's got a cool dropshd on this one and it's like, I just like to see it being used sometimes. You don't know you like a font until afterwards. This one here is quite interesting. Look, it's got this kind of like three D base already. So we don't even have to learn how to do that in Illustrator, which we will is an actual font version. So let's do that. Let's, you can add the whole lot of them or I'm just going to add that one in that one because I've decided that's the ones I like. Okay, so I've added that one. Add that one. I'm going to click, don't show again. Actually I can't because I'm a teacher, I have to leave those stupid warnings up that when I'm teaching to other people I don't skip over it. So what's cool about it, is that an illustrator now? I shouldn't have to close it down and reopen it. Okay. I should be able to go in here and say, PF, oh, there it is. Ah, technology. So I'm going to start with that one. I'm going to copy it and paste it and use the other F. There was two F, so what I tend to do is click it over here and just type the word PF 'cause there's only two fonts in here that have the word PF at the beginning. Just to kind of shorten my list, I could go to recently added, maybe to clear the filter because that always gets me in trouble. And I'm going to go to that one, I'm going to make that one black. It's a fill of black. I'm kind of going outside the scope of the class, but that one was a cool font. Look at what we did, making magic, okay? And that was just Adobe font. That's why sometimes looking at it in here is really handy. You can do the same thing. So you can go to all fonts and you can say, actually show me, show me the fonts that have script or maybe hand drawn one, maybe that's something I want to do next. The other nice use cases, you might decide that or I'm not going to spend too long. I like this one. Let's go into this one. Have a look. There is I can type in here miles because sometimes you do it and there's no apostrophe. It might be a font that's quite, I don't know, display font. They haven't spent a lot of time with the glyphs and ligatures. There's no apostrophe or there might be no numbers. Most of the fonts on here do. But you might decide here that I can't live with the one like my client is going to go. What is that? It's not even a one. Okay, so it might be at something to stop me at this stage. But also you can dive into the fonts a little bit more. Okay, You can go to scroll down a look. Okay, let's dive into the details of this font. There's not much in this one. Let's, let me find another one to kind of show you a better example just when you are picking a font. Let's have a look at, well actually let's look at the tags. Because there is kind of like classifications. These are what typographers will call the kind of groups, but they're quite limited. All of these ones is the things that we're used to from, I don't know, more online font selection. You know, do you need a Halloween font or let's have a look. They're kind of basic them into more like visual groups. Luxury, Let's have a look. There you go. Luxury fonts still quite varied, but I don't know, just a different way of tagging them down the bottom here as well. Okay. Some of the useful things is I'm looking for something that is, let's say it's condensed. Okay? Something that's quite thin because we've got a really long name. Okay? Called Mills Special Sauce really long. So be handy to have a font that is quite squished. And I want one that doesn't have the numbers. Can you see sometimes the four land below the baseline of the text? Okay. It might just cause me problems. So I'm going to pick one that is both condensed and has numbers that all sit on the regular baseline and have a look at what we got. Okay. We've got 476 to pick from, so have a look at Interstate. I've used this before and this one has 20 versions of it which is really cool. 36 fonts, you can see there is a thin version, a thin italics, there's a lot more to that original. Remember when we were dealing with this one, there was only like two versions of four versions. Whereas this one, look, there's th, there's light, there's bold, there's regular. All sorts of different versions plus compressed versions. See this? This is the one you might use. I'm going to use interstate compressed bold. Thank you very much. The last thing you might need to look at is way down the bottom here is you can see what languages it supports. So if you are looking for a font that needs to support maybe like Cyrillic or some other kind of like non Latin, is that Latin? I don't know, say Japanese. Something completely different. You might have to go through here and make sure it supports the language that you need to work with. That's what people will end up using, Something like open sands or aerial or roboto, because they support so many different languages. All right, that is it, that is the run through Adobe fonts. I'm going to go through and pick a few different fonts in here and decide on which one I want to work with, and I'll see in the next video. 52. How to make Adobe Font Pairing: Hi everyone. We're gonna talk about a term called font pairing. Just a little helpful thing for those getting started in design. You might be a type ninja already, you can ignore me. But if you do find it hard to pick a font, and then once you pick a font, pick another font that goes with it like an alcase of the kind of like heading and then some other supporting text. A term called font pairing is super useful. Okay, I'll show you how to find it in Adobe fonts to find matching fonts that go together, but also how to go out to the Internet and find things that kind of just seem to work nicely together, rather than you scrolling through every font ever made. We can stand on the shoulders of design giants or at least see what other people have done and copy them. Let's jump in to find font pairings. It's more of an art than a science and so you can just pick one often. Remember if you've got like a sera font or like a special font, like a script font, often you'll pair it with a sand seraph. So something simple like this. And people use things like open sands for body copy, and Roboto and Calibri because you know it has all the funny characters that we might need for different languages. It might have all the science and kind of math things, things like half and quarter and degrees, all those other stuff you might need in documentation. Let's have a look at picking a font pairing more for like creative pairing. We're talking about Museo Slab already. I found it in Adobe fonts and down the bottom here it actually has underneath all the different versions, it has recommended alternatives but it also has pairings. So it says it's use Museo Slab at the bottom and for the heading it's use advent guarde, really common font. I love it for logos. Okay. Especially in caps. So they use it the other way round. Okay. Sera san sera, but this way here. Sera at the top, sanseraf at the bottom. And they use former. I really like that one. I recognize that font from somewhere. I'm not sure where, but I can feel it. Can you name that brand that uses that font? Anyway, here some other ones you can kind of scroll through. Not all of them have it on Adobe. So what you can do is you can kind of start with just typing things like I just typed in Adobe font pairings. There's no specific place, it has kind of clicked on a few of the links. Some of them were good, some of them were bad. Just showing you kind of like how to mix this font with this font and just some examples and you can find the names of the fonts in here. Okay, same with this one. Kind of just lots of mock ups of this font, with this font. Just stuff I wouldn't have, you know, kind of stumbled across. Oh, that's cool. Okay, I know the names now, and I can go find them in Adobe fonts. Alright, that's it. I just wanted to kind of give you a bit of a heads up if you are finding it hard to pick fonts that go together. Font pairing, it's the thing. Do a bit more research on it, find things that go together. I'm gonna go get that former and use it for this one. Okay, install it and get it connected up. There you go. I'll see in the next video. 53. Class Project 14 - Postcard Fonts: All right, it's class project time. I want you to pick the fonts for your postcard just to catch everyone up if you've been watching but not following 'cause they're going to use this postcard a few times in the course. So for now, I want you to go down and get to this sort of stage where you've got two fonts or more, okay? And you know, just to experiment with Adobe fonts and font pairing. So what I want you to do is do what I've done over here and go through and just find some fonty think might work but of mood board font choices, pick one, add it to your heading and then find a font pairing to work with it. It's been too long. What I've done is I've used the same font down here. I've used former. Okay? And I've used, what? Is that? A light version over here and a smaller regular version down here. To kind of break up the information, I want you to do something similar but using your own color in the background. I want you to use your own name that we're doing for the brand. Yours might have to be smaller, might have to be on two lines because it's quite long. You might be all caps. It's up to you. I just want to see your experimentation and what you've done in the end. And then I want you to take a screenshot of all of it in one big go. Okay, so move all of these over so they can be seen. And then take a screenshot on a Mac, it's command shift four. Okay, I can click that. Then let go drag a box around it all. And I'll have a screenshot on my desktop. Check out works on your version of Windows. Or you could pile them more onto an artboard and export at Jpeg. It's up to you. One thing you might do is we've used Lauren Epsom in here, just placeholder text. You might go out to something like chat GBT to grab some text are using all the time instead of placeholder text. Now, chat GBT might not be free. There might be an alternative. I guess just you might go and use AI to create the text I typed in. Something like create marketing message for secret source company and then kick back and let it write stuff and put it in. Lots of emerges, this won't work the exact same by the time you get to it. It's new and fancy. But know that sometimes you can just use AI to fill in place order text. That's too long so you can keep going and saying, make this 20 words or less. Thank you. Computer TBT did they're experiencing extremely high volume. So I grabbed just the snippet out of that big long thing, it wrote it kind of bumped into hyphens. You might or may not have some. You might just go, ooh, look no hyphens, hyphens gone if you want to get rid of them properly with the box selected. Okay. With the black arrow. I'm going to go over it here under paragraph I'm going to go to this and I'm going to say no hyphenate, please. Okay. Make sure it's selected first. There you go. To wrap up, create a postcard, add your text, Kind of what I've done here, name some description and add this details down the bottom of where you can get contacted. Experiment with a bunch of fonts from Adobe fonts. Pick one or two, or three over here and then take a screenshot of it all. Have fun finding fonts. You might dabble with some AI to generate some of the texts, that's not essential. You can just use the lorinopsum and then submit it to the class projects. We're not going to share this one on social media because we'll share it a little bit later on when we kind of build it up. We're going to add some other stuff to it. Images and cool badges and things. We'll share it then. So for now, go pick fonts. I'll see in the next video. 54. How to find & use Glyphs in Illustrator: Hi everyone. In this video we're going to get really nerdy and excited by fonts. It is possible. We're going to look at something called glyphs. Basically, there are alternatives for letters and fonts. Lots of fonts have them. Let's say the boring old. Imagine if it had a cool whoopi squiggly E and the S here. Imagine if we could find one that did, but you can also use them for things that aren't fonts gay. This font here has lots cool stuff and designs that are baked in and hidden amongst the font they call glyphs. Let me show you how to do them. All right. First up, not all fonts have glyphs. Sometimes there's like a regular version and a pro version. The pro version might, some of them just don't have it. Like this one here was. Having a look. There is no good glyphs for this one. No alternative but this one here, beloved. Kay, if I highlight the S you'll see here. Look at all these. Look how many there are. Click on a little arrow because I want to see how many there are. There's so many. Somebody spent a lot of time with Beloved as a font. Okay. You can see all the alternatives for the S. And watch this down here. I can click on that one. Actually, just double click it and it will apply it. Double click it again. You can kind of work your way through the different ones. Oh man, this is exciting. I love when there's a good amount of glyphs. I didn't realize how many were in here. Look at that. S look at it does a very exciting, Okay, let's close down the glyphs panel. And let's say, first of all, let's say this might not happen to you. You might not have this lovely one. You can go and click on. Okay. It might be turned off or it might not work. So let's say if it's turned off, let's go to Illustrator. Let's go to Preferences, and go to Type. If you're on a PC, go to Edit up here. And go down to Preferences around this sort of area, and go to type. Okay, So either way we end up here, you want to make sure this one show character alternatives is turned on, okay? If it is on and it still doesn't work, it might mean that the font either doesn't have anything or it might be that it's just not hooked up. Right? Some fonts just don't have the special ability, kind of like baked in. There might be an older Truetype font or just an open type font. That's kind of lazy, kay? Doesn't have the automatic stuff built in. You can still find it. Let's do it for another one. So let's have a look at this. There are some alternatives. Perfect here, let's pretend they didn't appear. I want to open up the full glyphs panel. So I've got a font selected. I'm going to go to type this one here called glyphs. Okay, click on that. By default, mine is alternatives for current selection. I'm just going to go for the entire font. Look how many cool things are in this font. But are you using selfie is one of the ones I can't on Adobe font. So what I'm leaning towards, I really like. Okay. And what we might do is like this one here to finish the L. We might look at L and see here I can hold it down in all the different Ls. How do I want to finish this one? I probably just want a nice, simple bit there. But then the. I'd like to make a bit of a flourish. Make it a bike. I don't know why the bikes in there, but's have a look. All that is too nice. Dance excited. Okay. By the bike. Okay, so it depends on the font where you're going to have it. And up here, can you see they're kind of all plainly listed out. Some fonts don't have that automaticness. You just have to go through and have a look. So let's say, over, look at this one here. See there are alternatives for it, okay? But not for the S. But there are like, say this, I know that's a different language. I don't know which one. Sorry. If that's your language. Okay. But you might find a letter that has the thing you need. Okay. It might be like an Irish. There's a fodder that's above it, The Maori language has them as well. And you might find these hiding in the glyphs panel if you need them. You'll also find some of the other things. Okay. Like this one here has fractions, which is awesome, has some of the math symbols. Not that I know what they do. Well, look, there's an arrow in there. Oh, that's cool. Look right away. Arrow. Wow, I don't really need it, but it's cool. And they can all be found in the glyph panel. Some of them might be blank, there'll be nothing in here. And unfortunately, there's just a font that doesn't have any extras. So have a look through what else we got. There's not much in this one. Okay, You'll see there's just some language adaptations. This one here, this one here has quite a bit. So have a look at beloved. Oh, beloved, rightly named, I love it. Look how many good things in here. We're designing something for a farmer's market. Imagine if you're doing a wedding invite, look how many as you could pick from. The other cool thing about some of the fonts is they might have some extra ornaments. Okay, like little things you can use on the design. Let's have a look. I think beloved actually does. I saw it here. Okay, so I found beloved. And there's the regular font. There's a sands version of it without the script. Oh, there it is. You see there's an ornaments version. Okay, and this version. It's a font. Okay, All it does is have all of these ornaments. Okay? All these squiggles and curls, and love hearts and stuff that you might use in your design. And you'll find them just as a separate font rather than the glyph. So I've got Lauren Nips. I'll just click once for a point type box and I'm going to bump them up so you can see way too big. That'll do. Let's pick the font so there's another beloved, hopefully now. And sometimes they're mixed in with the clifhs. Sometimes in this case it's a separate font. You can see them all here. And instead of trying to guess what letter it is, like you can't smash away the letters. Okay. But you can just go up here and say, I've got my cursor is still flashing in there. And I can say I want that and that even the heart is still pretty cool. Oh, I want to use that. Okay, so that is glyphs and Dan getting a little bit too excited by fonts. I can see that you're getting a little excited too. I can feel it through the screen. Lucky, because we've got a class project. In the next one we're going to make you go do stuff. Let's head there now. 55. Class Project 15 - Logo Type: Hi everyone. This video we're going to do a class project. We're going to design a logo type for your brand. Okay, I want you to break the name versus the product into two separate fonts and just combine them in some way. We're going to practice our font pairing. We're going to practice the glyphs like, I'm happy with how this one came out, okay, with the kind of drops down and the cool little R thing going on. And special source tucks in there. If you all comes out terrible, don't worry. It's more about practicing the tools here. An illustrator is part of your class project though, is I want you to research what a logo type is, kind of known as a word mark as well. Okay? Do a bit of research, Don't spin too long, but just have a look the difference between a word mark and say some of the other options. Okay. We all know. Say some of the more logos like the Mcdonald's M or the Nike Swoosh. Okay? Versus these logo types. Okay? Where it's stylized text, they can be broken into lots of different subcategories. And it's just pandy to go off and have a little look and start getting a feel for some of the language that goes into what kind of brands are called. What if you already know this stuff, go off and make a logo type. But if you're new to design, go check it out. Have a little red of research around logotype versus brands. Okay. So that's the first step then. I want you to create your logo type, okay? Make sure font pairing, Dobie fonds glyphs and I want you to do three of them. You can do more than three, but just force yourself to get past the first design, get three out, and when you finish number them so that when you deliver them and people can refer to the numbering. So it's easy to kind of go not like, oh, it's the second one to the left, down by the right one. Just give them some numbers like I have here. So when you do submit them and people are giving advice, they can kind of go, oh, I like number two because of this. Or I think you should combine number one and number three because of these reasons. Let me know in the comments which one you're liking for. I'm leaning towards this one. Quite like it, but it never ends up being that pretty. That's kind of pretty. That's kind of my working. I haven't spent a lot of time in here. Okay. And you shouldn't either unless you've got the time. Okay? I just kind of started whacking things in there and just move them around and put them in boxes and gut free together. Okay? This is not a beauty competition. This is more of a doing. It's not a competition at all. It's a challenge for you, just yourself. So create the three different logotypes, submit them, share them on social media. And remember the kind of rule is that when you submit one, make sure you chip in for two others, offer them feedback, what works, what doesn't, be kind. When you are sharing your advice, I like to frame it in, what I would do is X, Y, and Z, not you've done bad and you should change this practice. Your critical feedback, one of those kind of core functions of a designer, just as important to give that feedback than it is to actually do the creation part. All right, that is it. Go have fun making some logotypes. And I'll see in the next video. Ooh, one last thing before I go. Why is angles on white on a dark background? I just like looking it this way prefer than, you know, looking at it. Black text on a white background. It's not particularly typical of doing it. I just like to work this way myself. You might be happier working with black on white. Stay away from colors at the moment we're working on kind of form of the type. Not so much the colors because we've got a coal color section coming up too. So does stick monochromatic. Also, I saved mine as a separate file onto the creative cloud. There you go. That is the true end of the video I'll see in the next one. 56. How to curve text in Illustrator: Hello. Let's learn how to curve text along a line in Illustrator. All right, First up, we need, well, I've got a blank document if you want the big Fleuro thing. I've got a file called Type on the path and that is nothing. It's just a big colorful background. So it doesn't matter where you start. What we do need though is a path to start drawing on top of. So I'm going to use the Curvature tool. Okay, I'm just going to do click once, twice, three times, four times. Just a really subtle slope. First of all, how do we disconnect this Get off escape key. Okay, should break it. My one is a fill. See over here I've got a fill with no stroke. I want the opposite around. It's a little bit more advanced to where we are, but let's do it anyway because it's quite useful is I want to swap these around. I want the fill to be none, but I want the stroke to be black. See this little arrow over here? It's basically the same thing, fill and stroke, okay? But I can hit this little arrow to say switch these guys around. Instead of fill with no stroke, I'm a stroke with no fill. Nice. It's connected up again, escape. Now we're going to put the type on the path. So grab the type tool is an official type on the path tool. I don't know why we need it though because it works without it. You can use that tool if you like. Okay, but what ends up happening is just with the regular type tool, if I get close to the line, do you see the icon changes and not doing anything? It just it goes, hey, you mean this one? Okay, and it changes to the type on the path tool. Okay. The one thing when you are putting type in the path, you got to be a little bit careful about where you actually click the line. If I click the line here, do you see it started at there? I can adjust it afterwards. It's just a bit of a pain. So I'm going to undo, I'm going to start right back at this anchor point there. If that's not working and not attaching, got to view and go to smart guides. Make sure they're on, okay. You should get type on a path. Excellent. Now it fills it with lorinipsum. It's not what I want. I'm going to type in all new recipe recipe. I'm going to pick a font, you don't have to. I'm going to pick a font. I like this one from our last Adobe font in Expedition. It's called C. I'm going to use that one. You can use the boring old Myriad. It should remember the last font you've used, whatever appeared in there to be whatever size and font you've been using. So I'm going to use this one now. I need to bump it up quite a bit in terms of size. Okay, another little shortcut is you can use the drop down. And we've kind of learned through other things. We're going to expand our shortcut. So I'm going to click in here. Okay, In the field. And if I hit the up arrow, can you see it just goes up in one point increments. And if I hold shift down and hit the up, okay, it goes in ten points, up and down, up and down. I do this quite a bit because I'm like, I don't even know what size I need to be. I'm just kind of like looking at it, going oh that. So I'm getting mine. So it kind of fills path that I'm on actually go make mine a bit smaller because I want to show you some of the adjustments and be prepared. They're all tricky. Okay. Type on a path is can be a pain. So I'm going to move to my direct selection tool and there's a couple of things. Mine's defaulted to center. It's probably defaulting on yours to left, so you can decide where you want this to be. Okay. It's using the entire path, which is cool. Let's say I'm left aligned and I just want a little bit over what you're doing is direct selection tool. And you're hovering above, You see you're looking for that icon, See that little arrow? You're looking for this line on the side here. Okay. Can be tricky to find. There's some cases where it's not lining up, you're just looking for that icon. Because that icon, if you click and drag QC, move it back and forth up the line. Okay, so that's dragging that side. You can do the same on this side. I don't intend to, like I've dragged it. There's not enough room now and the line's broken off into another line. There it is there, I'm going to undo. But the side here, you can see it got a whole lot smaller for some reason. Okay. So it's a little bit tricky to grab it and drag it along. If you do it with the black arrow, it works. But you end up looking for, see that icon there. That is the icon you do not want. That is the square with the dots on the side. It's a pain if I click on that end up it takes the text out of this line and connects it over here to another line and I'm going to undo. And if this is see that's stuck, get rid of that. Now it's see my icons, it's got the text loaded in. It wants to work, so I'm going to have to go, I'm going to click on the background. I'm going to just change from this tool to this tool clears it out top in the path. Man, it's weird, it's also easy. It's just, I don't know, For some reason you can get a little bit lost. Other things you might be doing is, I'm going to grab my direct selection tool. Can I do this on purpose? I do it all the time. Oh, when I want to break it, I can't. I want to flip it. I end up flipping it all the time. Ah, there I go. I somehow was like, sometimes if you're dragging it along, oh, come on Dan. Find the icon fun. I can't break it for you. Go some, I'm dragging it along. And then sometimes you accidentally drag it on the other side of the line if you want to do that on purpose. That's cool. But just know that it happens and when you want it to happen, I can't make it happen. Alright. So that's basically it. One of the other interesting things for more details is ours is quite easy going curve. So it's not very extreme if I go my direct selection tool. Okay. And click on the path, not the text. Can you see? It's different if I click on the path, I get the normal path stuff. Whereas if I click on the text with a direct selection tool, I get all my like, little icons that I can start dragging things around. I'm going to drag you back. You can go back over there. So I'm going to click, click on my stroke and it's hard to see the stroke. How do we go into x ray mode to see the stroke? If we need to. You got it? Command or control? Okay, that's sometimes easier because now I can see it. I can click on this. Let's watch this. It starts adjusting after you've let go of it. But now we can go through and I'm going to make mine a bit more extreme, okay? Because things like this, when you have got some really extreme curve, you might want to go through and start playing around with the spacing. Let's have a little look. Trying to wreck mine anyway. Wreck the, uh, what I'm going to do is I'm going to go out of x ray mode. I'm going to click off Select the whole thing and I'm going to go to type. This is all the custom stuff you can do. Type, we're going to go type on a path, there it is, okay. And go to the options you can, first of all, to improve your one. Okay? And go flip. Okay? So we accidentally did that earlier. You can do it on purpose. Okay. Rainbow. So basically the effects of how it follows the line. Rainbow is kind of the normal one you want skew, That is how you might want it. And that would work if we didn't have such an extreme line. Okay, you can just work your way through like ribbon tries to flip around, I never use that. And let's go to stairstep. There will be occasions where you might need that and gravity don't even know where that's doing. Going to go back to the rainbow. And the thing I do change a lot is these two spacing. At the moment, it's automatic. Okay, I'm going to go, let's space it out a bit further. And again, using my Arrakeys, I'm going to increase it. I'm just using the up arrow. I'm holding shift up, play around with the spacing between them. Cool. Okay, I'm going to go back to auto because that was working for me. But there's times where you need to space it differently. And this one here align to the path. Okay? The path is this, We give it lots of names, right? We call it the stroke. We call it the path. A line, okay? But that's what it is. It's the path down the bottom there. Okay? Baseline means there's a font. Okay? And this font has a baseline. Okay? It's the bottom of the fonts. Okay? And I can say, actually I want you to find the center of the fonts That makes sense, Okay? Ascender and descender. Let's actually change this type and we'll come back to it to explain that a little bit better. Okay, yeah, we'll come back to you. So we're going to go to Myriad, which is the default for Illustrator. Let's go back to our type on the path type. Type on a path options and then these will make more sense. Make sure previews on, it's always off. Okay, and we're going to go to baseline. Baseline is an interesting one. Can you see the P actually drops below. So that's the baseline and the sits on it. But then there's these things called descenders. Okay, The descender hangs below the baseline. So if I want everything to kind of sit on the, the bottom of the P, to kind of right on that, I can say right on the descenders of that font. So you can see that there's a big gap here, but at least the doesn't drop down. I'm showing you this mainly because it's interesting to know ascenders and descenders and baseline. It's good when you're dealing with the fonts and Illustrator. And there might be a chance that you need it. Probably you'd be like, what is the? Now you know the acender, you can see the R and it goes to what's called the top of the X height, which is this, the, the, the bit of the, they all have the same top. That's called the X height. And the acender is things that pop up above it. Let's have a look. There's no real good ascenders. An acender would be an H. See that bit at the top there? That ascends above the x height, descenders below the baseline. We're getting a bit font nude here, but hey, I'm going to go do, do, do, do, do, do, do, till my nice curve came back. Okay, That's what I was looking for. One other thing you might do with type on a path is that you might want the stroke still. So that's what I want. I'm going to bump mine up, okay? And using my ra keys to go up. I want the stroke because I want, you saw at the beginning there, kind of top and bottom. It is better to do it right at the beginning. Okay. And I'm going to show you what I would do is, well, I'll tell you what I do before I actually convert it to type on the path because you notice the stroke disappeared. Okay. Is that I would copy and paste it, so I had another version of it, that's the best way of doing it. There is another way you can do it, which is a bit of a pain, is maybe we can select the path. Okay? And I can say you want anchor point, hold shift, anchor point. Okay. Got them all. Copy paste. Use my direct selection tool to drag it down. Can't really see it. Okay, so I'm going to go, you have Phil, I mean Strick, we've got that path. I'm going to copy and paste it. So I've got two of them. Actually, we'll style this one first. Let's do a little bit of styling. Do I want just something out of here? Let's have a look. Yeah, yeah, that'll do. I'm going to copy and paste them. And we're not going to really attach them to them, we're just going to put them there and there. I'm going to pick one of them. Go to my path width profile and I'm going to flip it over. That one's going that way. I'm going to use the same font color, use my keys just to bump this up. And what we might do is we'll group it together. We haven't done a whole lot of grouping. I'm going to say you are grouped. So we're going to go to object and we're going to go to group. Just means that I don't have to move them around all separately or select them all, they're all together. I can ungroup them and I can double click to go inside, okay, To mess around with them and then come back out. Or just double click on the background and it's still a group. Here we go. It's the all new recipe. This is a long video, but like I guess essentially, I don't want you to be too scared of typing on a path. Draw something. Grab the type tool. Click where you want it to start. Add text, Add text. Not a big deal, really easy, but it can be a little bit funny when you are dealing with type on a path. If you want to go and adjust it afterwards, that's why we got into too much detail. There you go, type on a path in Illustrator. 57. How to put type around a circle badge using Illustrator: Yeah, we're going to take the skills that we've learned in the previous video about type on a path and turn it into a circularly type on a path. Okay, so we've got text along the top and wrapping around in the bottom, making this cool kind of badge thing. Alright, let's jump in. Actually, before we begin, right at the end there I notice a problem with mine and a few other other students updated the video to have a little like, why can't I resize it? The text is doing weird stuff that is right at the end. But to get started, let's make this thing okay. First up, we need the ellipse tool, and we're going to draw a perfect circle. What key do we hold down on our keyboard? That's right, shift, okay, And I'm going to draw some sort of size. And I'm going to grab my type tool and I'm going to remember why we have type in the path tool. In the last video I said, I don't even know why we have this tool. It's because if you just have the type tool and you go to the edge and click it, it turns the whole circle into a text area box. That's why we have that tool. You can go to type in the path tool or it's bit advanced. But the reason I still don't use the tool is even if you do that, you can hold down the option key on a PC or the old key on a Mac and convert to that tool. But it's getting a bit of advanced, that's why they have the tool. Then actually, before we go any further, because we want the text along the top and the bottom, what's really important is to make a couple of copies of this. I'm going to make one copy, hit command D to have a second copy. Can just leave these over here. That'll make more sense in a second just but those aren't there. Okay, so next thing, so back to my type tool. Okay, type on a path. And I'm going to click right at the top of the center. Because remember, wherever I click, it will start the line and it's kind of just easier being at the top. Let's type in what we need. I'm going to type in 100% natural, okay? And one thing is that it's kind of not over here. You know, it's kind of like starting there, moving to the left, okay? We'll go centered, and then it ends up at the bottom. Because it starts there and ends there, so it's at the bottom. We can do some funny stuff with the type options, but actually what you end up doing is the scrap, just a regular old selection tool, and rotate it around, holding shift so it kind of snaps into bits. Now it's at the top that it's way easy than trying to maneuver those little white dots and maneuver those little white arrows either side. See them there. Okay. They're a pain. Just rotate it around. All right. I'm going to do some font stuff. You wait there. K Beavers is one of the fonts that I was using in my kind of like logo type design. I really like it, so I'm going to use it here. All right. You'll notice I put extra spaces in here because just going to want to separate them up. I've just use the space by key. You should select this area here and go into your tracking. Okay. And increase that. Okay. That's the space between characters put in space bars, there's the right way and then there's the way that pop is going to get done. All right. The next problem is getting this text down the bottom. And the big Aha moment is there's no way of getting this to be on the bottom as well and be flipped around. Okay? There's just no way. So what we do is we bring back this. Okay? And I'm going to go to my outline mode. Who remembers what the shortcut is? Command Y, control Y on a PC. I'm going to grab the center. I'm going to line it up with this one next. I'm going to do them next to each other because it's easier to do them separately and just pop them on top of each other afterwards. Okay, so get out outline mode. I'm going to grab my type on a path tool and I'm going to click down the bottom looking for the anchor point. There you go. And we're going to have ingredients, nuts, power. There you go. Next thing I want to do is it's still centered, perfect. I've got the right size and font because they know what I used last time. How do I get it down the bottom? We go up to type, okay, And we go to type on a path there, is there. And go down to type options. Basically you want tmprove on and got a flip and you're like, it's not quite working, it's okay. Click Okay. We're going to rotate it around like we did before. It's still not quite working because this one can see is on the outside, remember the baseline and the ascenders and descenders. I'm using all caps fonts, so basically I want it to be on the baseline. I want it to be on the. Can you remember what it was? Let's go have a look. You think about it while we find it. Type on a path type options. Can you remember? Make sure previews on. It's always off, it's a pain. And we're going to go not baseline, not descender, which is down the bottom. We're going to click to the Ascenders. Or what we might do is actually just get them both to be Center, Center, Clark. Go to this one type options, type on a path and go to center. Why did I say just go to center? Ascenders? Do you notice that? Wasn't quite lining up? Every fonts different. Sometimes the ascender is bang on the top, sometimes the font designer has it a bit higher. It's not always the same, but the center is generally a really good way of doing it. Trouble with the center is I need two probably spaces out a little bit more, especially this one. I'm going to go to type, we're going to type path. Let's go to type path options. Previews of going to spacing and going to auto. Don't use the up and down. It jumps to like a really big number. I'm going to go to zero plus a bit. I'm going to go minus a bit. Okay, and spacing that looks nicer and matches the one down the bottom. Okay, And now I'm going to line them up together. I'm going to use my outline view so that it's easier to see both circles. Here we go. You will have to play around with the spacing for both the top one and the bottom differently. Because often the tops of fonts meet, especially if you're using upper and lower case, the tops of the fonts can look like they have lots of gaps, whereas the bottom of the, basically all the letters all smooshed down the bottom. They look like they're tighter. But play around with the spacing on either of them. This one needs more make sure previews on. All right, now we have our little badge. So the big takeaway is to make sure that you have two separate circles. If you want to adjust them both, now select them all, okay? And kind of drag them using shift to go bigger or smaller. But if you want to do the type and the path options, there are actually two separate circles that you need to select once, do it, select twice, and go back up to type on the path. This is troubling when somebody groups them, okay? Okay, I'm going to group it down here and people get confused about like, how do I like it looks like they are on the same path, but we know now they're actually just two separate circles on top of each other. Grouped. Okay, last thing I want to do is I'm going to grab this that we do earlier. Which one looks better? That one looks good. Copy it. Paste it in. Okay, And I'm going to pick a black stroke. Make it an appropriate size. You see there, I'm not scaling stroking effects. It's one of those times where actually I do want to. I'm going to go up to transform, go to there. I'm going to say actually what I'm going to do is get it down to this where I feel like it's a nice weight in comparison to everything else. Then I'm going to say, actually scale the effects for me or the stroke so that it gets bigger then not be happy with it because it's touching, but it's enough for this. If you want lines top and bottom, okay. You can use the lips tool and you should be able to, without the outline view, find the center. Generally, you can kind of get there. There it is there. How do I drag out something from the center? Who remembers? Okay, so shift gets a perfect circle, but if we also hold down the option Kaka PC, I can say you, there we go. So I'm going to make one line there and I'm going to draw another line. Actually it wants to drag it off. So I'm going to, I'm going to click off from the background, go back to my circle tool, find the center, or it's becoming trickier. Hold down those same two keys and do something like this. If I wanted to fill that, okay, I could grab both circles. We'll do some hardcore masking in a little bit. But the easy way for this right now with our current skills is to select both of them. Use the Shape Builder tool and just fill that section with something. Let's fill it with white or off white. Play around with the layer order we're getting deep. Arrange, send it back. I don't know, how are you feeling like we're building on lots of different skills now. Hope you're finding it useful. Okay, we're scaling stricken effects. We are dragging sweet circles from the center. We're using the Shape Builder tool. This is kind of more how you'd be using Illustrator if you do have a problem like I do now I was about to finish the video, I'm like, oh man, that Te is so far away, so the type and the path option does everything together. Right. Whereas, if I want, if I select the T. Okay. So just with the type tool. Okay. And over here, remember our tracking that we kind of did earlier for the spacing? This is handy now because I'm going to hold shift and hit down. Okay. It'll just do that gap just after the litter you have selected. So there might be a bit of this where you're like, actually that one hangs out too much. I'm going to hold shift to go down in lumps of ten. You see I'm moving that one in a little bit so that makes sense, especially if it's a bad, you're going to reuse, a lot of times it's quite important to the brand in the company. You might want to spend a bit of time tidying up the spacing using tracking. Okay, At the beginning I hinted that there was a problem, you may or may not run into it. And so I'm just going to update this video with some problems that I created, okay, and solutions for them. It's been cool. Kind of learnt something about it. Making this video, I thought I was the master of type on the path. Now I'm the master. The problem is when I scale it down, selecting it all. And if I scale it down, a couple of problems happen. First of all, the stroke is scaling, which is not what I want. Let's get that first problem out of the way. So I'm going to have nothing selected. Go over to here and say, let's scale the stroke and effects when I scale it down, the line around the outside, the white one, and the line of my leaf, I just made my look a bit different in between that little jump cut there. There you go. The next problem is can you see ingredients Stays the same, but look at 100% Every time I get smaller, can you see it starts growing and wrapping around and so we're going to smoohed into ingredients. How was that problem? Took me ages to work it out. It was because what we did was, is two parts to this, right? So I'm going to ungroup it and I've got you. I'm just going to pop that over there so I can select on this bit. This is the problem child. So we're going to go to type on a path. Remember when we're messing with this, I went, oh, spacing, we're just pick in your spacing. Normally, I leave it at auto. In this case, I went to -40 to tidy it in a little bit. The problem with that is it's what's called an absolute size. It has to be 40, doesn't matter what size it is, the spacing is going to be 40 pixels, or 40 points. That's where the problem lies. Even when it's gigantic, it's going to be 40 points. When it's small, 40 points. That's what makes it wrap around when it's small. Can you see it just wraps around trying to always be 40 points? There's two things we can do. The way I would do it okay, is selecting it all. Okay. Actually, turn the absolute size off object, type on a path, where are we? Sorry. Type on a path and go to auto. Okay. So we're going to leave it a auto, tucks it in, you're like, oh, I still want to space it out. How do we do that? We can select all the text and just use tracking we looked at a little bit, right? We can increase. Okay, so we can increase it all. We get the same result. I'm going to hold shift and click up to get a bigger jump. We can still, once we get it all to 50, we can go through and say you, I want to be even less to tidy that one up in a little bit, get it all balanced. The cool thing about using tracking here is that it should scale with everything. Look there in the middle, selected. I'm going to group it just because I want it to be one unit. And look, it works. And we all learned something. Okay. So that auto spacing was the problem. There you go. I said there was two ways. The other way is quite brutal. K is I duplicate it. You notice, because I want the editable text version. Okay. Where I can go through and change stuff if I need to, if the client comes back or needs a different font. Okay, I'm going to double click the background. This one here with it all selected. I'm going to go to object. Remember expand, We're going to have to do it a couple of times. Expand Appearance, Expand, click Ok. Now it is like very broken apart. Like see this thing over here, I'm going to ungroup it. This thing here, was that effect with the width tool? Okay, we can increase it and got a lot of control because I've expanded everything that is now a pill and I can't do anything with it, like it can't be changed. Well, I can adjust it like a fill, but I can't use that cool stroke effect. I can't go and adjust the text. It's now just kind of like bits and pieces. It looks like text, but it's no longer editable. Cat's another use of that expand, expand, appearance thing. There you go. I'd probably just change it to tracking so you can keep the control of it. But there you go. Expand, appearance, expand everything. Alright? That became a big video. But we learned some stuff. I learned some stuff too. And yeah, there you go. I will see you in the next video. 58. Class Project 16 - Type on a Path: Hello, it is class project time basically type on a path like we've been doing in the last few videos. I want you to create your own curve text and badge. What I mean by that is that's the curve text kind of one and that's the circly badge thing. I'd like you to use your own kind of text that goes in there. So yours look at your product and it might be all new fragrance or flavor, or design. It might be something like all handmade. I don't mind what it is. It's more the kind of practice of getting type on a path to work. You don't have to have lines top and bottom. You might have more, you might have three lines. Okay, same with us over here. 100% natural ingredients organic or something that makes sense for your product might be locally sourced. Think of all of that sort of catch phrasy stuff and put it in here. Now what I want you to do is draw your own little thing in the middle, okay? It can be a leaf. Just don't use the one from the course, okay? Just draw something new that goes in the middle when we finish the postcard. We'll upload that all on one, but go for the moment. Just a screenshot of kind of like, you know, of the things that you drew, okay, In terms of the type on the path and upload that both to the assignments and love to see it on social media. Go check out everyone else's, especially in the project sections or in the comments. See if you can add some value to somebody else and practice your creative critiques. All right, go off, make some curvy lines and add some text, and I'll see in the next video. 59. How to break apart & outline text in Illustrator: Hi everyone. Hey, this video we are going to bust apart some type. We're going to take editable text, like on the left here, and convert it to outlines. It's going to allow us to chop out the centers like a stencil, grab bits jiggled around. Do what we want, we'll do it to this one here as well. The Lorem K. We grab this L and we actually customize it. It's not a glyph, we actually just drag this around and made it happen. The feature is create outlines, then we show you how it works. All right, let's outline text if you want the green background, I've got a file in your exercise files called outline text. It's not really necessary. I'm going to grab the type too. Going to click once for a point type and I'm going to type in boom capitals. I have picked a font called Abril. Fatface is from Adobe Fonts. If you want to go grab it but pick any old font, doesn't matter size wise. I'm going to add a little bonus in here. You know, I've shown you how to kind of like hold shift and go up. It's often easy to grab the black arrow and just scale it up, making sure you hold shift. Otherwise, it kind of squishes it. Sometimes you're like, I don't know what size I need to be, I'm just going to drag it. Okay. So we've got it here now. I'm going to bust it apart. Before I do that, okay, I need to make a copy of it. I'm going to hold down the option, canomic old canopy C. Just drag a version over that. Because once you break it apart, it can't be put back together. Or at least it's not easy and you'll forget what font it is. And so just have a version that's not busted apart with the one that you want to bust apart with it. Selected. Go to type. There's one in there called Where is it? There is there create outlines. Okay. Now it is a shape that resembles text. It's no longer editable. You can't get into it to change it, but it does mean we can destroy it. So as we in it. Okay, I'm going to grab my direct selection tool, remember that, so I can get in and start messing with the bits. I'm going to click off, I'm going to get rid of the center of this B. To get rid of the center of something like this that's been cut out. You can click any point. Hit Delete, and it gets rid of a chunk. And then hit delete again. Gets rid of it all. You've got to click on at least one anchor point and then hit delete twice. Okay, you can work our way around. I want to kind of chop these out kind of more like a stenslyind look. All right, so that's a bit of destroying. What else can we do? We can move stuff around. Say you want this M to kind of drop down like you saw at the beginning. So instead of just grabbing one anchor point, I'm going to draw a box around them all and just grab one of them. Hold shift. That didn't work. Sometimes you need to zoom in because there's just so many things going on like these little corner points. I'm not sure what I did, Nothing. Okay. And I want to grab the anchor point, hold shift, grab the anchor point, start dragging, then hold shift. If you hold shift before you start dragging, to get it to go on a line, it just deselects it. Okay? So select them all. Start dragging, which goes everywhere. Hold shift while you're dragging. And it will kind of snap it in a straight line. We've got this kind of like droopy, boom, stensily looking thing. All right, let's do something else. Let's grab the type tool again. I'm going to click once now. I'm going to leave Lauren Ipsen in there. Actually just go to Lauren. Okay, I'm going to pick a different font. Similar, but I like Lust because it has this Lust script version. It's quite like Abril, but Lust has this cool scripty version. Remember, if you don't have it, you can pick anything. Okay, I've got these from Adobe Fonts. Remember, make a version of it, okay, So you can go back, where is it there? Okay, And to bust it apart, it's a really common thing to do. So people will remember the shortcut. It's a shift command on a Mac and that is control shift on a PC. It's a, remember, not editable text anymore, but with the direct selection tool I can grab this and start moving it around. Like I want to grab these three and kind of wrap around this here, you know, there's going to be a bit of work of China, get a nice little set of handles here I can maybe work with. This is how I planned it. Swoop underneath like a cool kind of glyph and a little bit of tiding up that needs to be done, but you get the idea right. You can kind of smash, type around and like customize it or take ownership of the font. Oh, that looks bad. Yeah, it looks all right. Okay, so anything can be grabbed and moved. Okay, Click on this one. Remember, sometimes some of the fonts that you break apart actually have too many anchor points. And you might want to go too. This one's not going to do it. But if we get our object path, remember simplify, okay? You might find that that's nicer. Actually did a pretty good job. It got rid of a few of the anchor points and it just means there's only a few that we have to mess around with. If you've got hundreds around the edge, try that simplify option. This one here needs to be flanned out. Okay? And what am I doing? I don't know, but that's how you bust a pipe type. I do it for these things where you want it to kind of like, oh, finally that just reached over here and you kind of move it around a little bit. Okay? Or that connected to that one. Imagine if you could just get this to go up to here, okay? And you spend some time getting the cos and handles right, adding anchor points, removing them. But the big thing is just remember that you need to have a version of it somewhere. Because if you bust it apart and somebody says, hey, what's that font? Can you do another thing for me that says shake, shake the room, And you're like, oh, nope. 'cause I can't remember where that font is. Oh, don't worry, I've made a duplicate. There it is. It's Abril Fatface, Al right. That my friend is how to bust apart type create outlines and start manipulating the type ownership of the font. Look at us, we're hardcore Al right. That is it. I'll see in the next video. 60. Adjusting an existing drawing using the pencil tool: One. In this video, we are going to adjust an existing drawing. Ours happens to be text, but it can be anything. And draw at the top to kind of like alter it. Watch this. I can draw something that kind of joins up and I've made it worse. Wait there, not much better. Wait there, or mildly better. The cool thing about it though, is you can keep adjusting it, check this out so I can keep going on. Yep, a little bit. Smoother around here. Smoother around here. We can do it with type like in this one. We can do it with the graphics as well. We can just redraw the bottom here, okay. And make a new bottom, adjusting the original shape, all using the pencil tool and some sweet settings we need to turn on. Alright, let's jump in. First up, open up the exercise file called type plus pencil tool. Okay, I've created a file. If it asks you to download a font, it needs to sync or activate a font. Do that. If you can't make that work and go to Adobe Fonts and download Selfie new. Actually don't need it for this one. I've got it there just as a demo and I've got an outline version for you here. Kind of helps build us on, you know, stack. Some of those skills we've learned, Why do we outline text so we can destroy it? And another cool thing is you can share this file with somebody, okay? And means they don't need the font, If you have outlined it, cool. But we came to adjust this, now doesn't matter if it's a drawing, okay? A shape, a fox that we drew earlier, or a bit of type, as long as it's outlined. Okay, Remember the type needs to be type and they need to go to create outlines. Means it's just a shape and not an actual font. Because we want to grab the pencil tool. Okay, the pencil tool over here, we turned off some features. We turned off a bunch of things. We want to turn them back on to do what we want. Okay, we're going to say the main one is edit the selected pass. I think that one's on by default. We'll leave that on. Okay, I think the default here is six pixels. It says edit selected pass with my black arrow. Let's select it. Let's grab my pencil. Tool ends the shortcut. We're going to try and do like a little wavy thing over here. We're going to start, I'm starting on the stroke and coming back to the stroke. Let's have a little look. Half worked, okay? Still kind of separate. Like it's not joined up, like I really wanted half working. If it half works like that, you either need to do one or two things. You need to be a bit closer. Okay? And get very careful where you start. Like start on the line, go up, and then come back down. That's still didn't work. Start up, come back down. Okay. That did it. Yes. I'm going back to my direct selection tool and I can say it's all one shape. What you should do though is probably go into the pencil tool and just say within about 20 pixels, Just make that bigger. And what you'll find is you don't have to be so exact, Then you can do this. Start up here, go down and just get close to the beginning there. And if I grab my direct selection tool, we've totally messed around with this, cool, huh? Somehow even with my smooth tool maxed out, I drew a really terrible wave there. Okay, It was meant to be all cool. Yeah, you can do it with anything. Okay, let's do one more here. So remember you have to have it select first, then grab your pencil tool and I'm going to try and wrap something around this. How we go? Not bad. Great start. It's joined it all up. I can grab my direct selection tool now and tidy it up. Okay, I can use my Simplify to get rid of the anchor points. I guess I want to show you so that you can see how we use create outlines, then we use pencil tools to combine it. Here you go. And the more I look at it, the more I don't like it. And it brings up a point where you can actually keep working it. So with it selected, grab the pencil tool. Kay, the inky. And you can actually just redraw it. You got to redraw it, kind of close to how it was. Oh, is it better? K, C. Oh, way better. Here you go. And what I might do is now turn on the keep selected. Okay. So that when it was a pain before most of the time. But with this tool, I can go like this and trim it up. I can go like you and kind of keep working it to get it how I want much better. There you go. So happy with myself Anyway, so that is kind of leveraging some of the skills like why we outline them so that we can kind of customize the text using pencil tools, adjusting those tools to do our bidding. It's kind of more of a typical use case of Illustrator, especially when we're working with brand. But also just before we go, I'll show you. It doesn't have to be the text. Let me jump to my character. Okay. I get my Fox. And the cool thing about the pencil tool is if I grab it. Okay, Have a selected first, grab my pencil tool. Okay. And all the settings should be there. I can go into a kind of a different option down the bottom here, then I can actually, I want you to be rounded as well. You as well. We hand drawn. Wow, this is the ghost fox. Okay. But I hope you get the idea. We can put on our broad strokes with curvature tools. And what else do we use? Shep Builder tools and then kind of adjust it with our pencil combining lots of illustrated techniques and skills. All right, that is it. I'll see you in the next video. 61. Class Project 17 - Heavy Metal Band Logo: Hello, it is Class Project time. It's kind of outside of the scope of our farmers market project because that one really restricts kind of what we want to do here. That's why we're making a heavy metal band logo. I feel like it really encapsulates the things we've been doing recently, which is type on the path, outlining the type and kind of smashing it to bits. Okay, pulling it with a direct selection tool, editing it with that last technique we just learned with using the pencil tool to draw on the top, use the shape builder to kind of slice bits out. It's totally up to you. You don't have to use all of these, These, the suggested techniques that I want you to practice in terms of the heavy metal band name. There are heavy metal band name generators out there. I don't want to give you one particularly because that's normally the Kiss of Death. If I list it here on the website, it'll go out of business, it won't be around. So just Google heavy metal band name Generator. And you can put in stuff and it'll just randomly give you one or you can make up your own heavy metal band. If you have a heavy metal band, this would be awesome. But I want you to just play around with the techniques we've learned so far. Give all of these a go. I don't mind what you ended up with. Once you've finished, save an image, upload it to the assignments and I'd love to see it on social media. Rock and roll. Well, heavy metal, whatever that is. I'm doing the finger, hand horn thing. Devil's horns, whatever you call it, I'm so not heavy metal. Anyway you go, enjoy and I'll see you in the next video. 62. How to Intertwine text monogram in Illustrator: Hi everyone. In this video we're going to look at using intertwined but with text this time make this kind of monogram thing, DS and my initials. It's pretty easy to do basically the same techniques earlier, but we get to leverage some other skills that we've learned like glyphs. And I'll show you how I kind of picked the font and got it so that overlapped. Okay, I'm happy with it. Let's jump in and check out how to do it. All right. First up, open up a file called Intertwined. Two K, you might be prompted to activate a font. Do that. It's called gelato or is it there? Gelato luck. Otherwise, if you can't activate the font for any reason, use this one on the left. I've outlined that font. Okay, so you shouldn't need to download it, but I'm going to show you how to do it with the font because it's a pretty cool little feature you can do in Intertwine. Okay, keep it. Editable text. I'm going to select both of them. Black selection tool, select both my DMS. And let's go to Object. Let's go to Intertwine. Let's go to Make. Okay, now I'm going to do one of two things. I am going to either click stuff okay to bring it forward to back or so. Yeah, click once or you can drag a circle around it. Watch this. You can say, I want that bit up to you. Actually I want that behind, or what do I want? Yeah, I'm gonna get that bit to go out, that bit to go under, and now I'm just gonna mess around and try and make this look kind of cool. And I guess that's it. And when you're doing it, you can do it in a different way. Just yeah, I don't know, that looks kind of cool. Kind of the D and ES mixed together, so that's intertwined with techs. Nothing real different from what we did earlier. I'll quickly show you how I kind of decided and got mine kind of lined up and ready. Just like that's it, intertwined with tech job done. I do want to take you on my workings a little bit though as well. And if, if you want to hang around, you can check that out. So I'm going to make a duplicate option key down and dragging it over and I'm going to get a properties panel, I'm going to release it. What I did was I used the glyph panel. Okay, So I selected my D and nothing popped up. And I was like, ah, because the original D that comes with watch, it looks like that didn't have that little bit in the middle. I wanted it just for a bit more interaction between the two. So I used the trick that we already know I'm in to type into glyphs. I went, do you have any more D's? See a little arrow there. Next there's an arrow on C. There's more C's look but no D's. I was like, it's dance, that's me, that's why it's D. So I just had a look around. I was like, oh, look, there's another D. Okay, It's not meant to be part of this, but it looks like a D clearly being used for some other language. Now to apply it to what I did was is let's move some space. I got my type tool and I click just afterwards. And then I double click on the D. Wrong D. That D. Okay. And we should have the two D's. And then I just went and deleted that one. And I did the same with S. Okay. I went and grabbed the S. I tried to find a different one. So this one here, If I selected it, there was another S in here. But if I look in my glyphs, just not set up as well as some of the other fonts we were looking at. There's the S, I think the default is or is it is that the default S? It must be okay. And I went to had look around and see if I could find a different S. And I can't remember if I did, but that was part of my process, I guess I wanted to share that going finding glyphs sometimes can require a little bit of digging into the panel. And what I also did, as well as I made the S bigger than the D so that there was bits popping out. Hopefully, it's not too much scaled, so they still look the same. But this is all I did. Okay, so using the scale trick, I didn't change the font size, you could do that, but I just used my black arrow, held shift and went up and made it a bit bigger so that it could fit in there or at least poke out of the top and around the bottom. Otherwise, they were kind of overlaid too much. There you go. Intertwined Intertwine. It's cool, huh? And just so you know, you can go inside it and change the font so it's still editable. It's not very useful, which 'cause we've done all this masking, it's not gonna know. So if I put it in a T, okay, it's still messed up. It's editable, which is great to figure out what the font is, but it's not easy to just go and change it and have all the masks come along for the ride. So if I was going to change it to a T, I'd duplicate it and I'd release it, and then just start again. There you go. There's intertwined with text. Super cool. I'll see in the next video. 63. Class Project 18 - Monogram: Fun class, project time. I'm going to get you to make two monograms. Okay? I want you to use one with your own initials. Okay? And one with the brand that you're working on. So minus ill, secret sauce. I'd just do MS, you can try and do three. Like if it was secret sauce, you could try do MSS or I wouldn't even try. You could try. So yeah, those two. I want you to do two because you'll find that sometimes a little combination is never destined to be a monogram. Still try. Okay. Ds kind of works only in this font though, because it's such a wavy font. And I want to be honest, and I tried two or three before this tutorial and just didn't work. I was like mainly the lame. There is not some sort of magic. Just pick any font and get them together. The type of font and the type of letters that you were using can be successful failure. That's what I'm trying to say. So try both of them. If you end up picking an initial that's not your initial because the letter looks nice, I'm okay with that too. The way I was doing it is I went into here, I went to college first. I was like, oh, I want some college fonts. You know, kind of I want that big stampy College University monogram. And I tried that for a little while and everything looked lame, so I went all right. I went to where did I go to? We oh, I went to brush pen even though I don't like that one there. This is how I ended up with my kind of font kind of that looped around. And then once I found them, I'll show you. What I do is I go into here, my Mac, I hold down command on a PC, I think it's control. But if you click these, watch this. If I go, bam I like that one on that one, can you see they open up as separate tabs. This might not be true in the version of the browser you're using. And you might write, click it and say open in a new tab. Okay. So that I can go through and just kind of then what I do is I go, I want sample text to be DS because then I don't have to download the font, find it an illustrator to find out that the letters are not very nice. You get the idea. Then I just kind of worked my way through type DS, type DS. I try to make that one work. Ah, I really wanted that to work, but I was like, man, it's beening too long and it just wasn't working for me. It was looking really plain, even though they've made it look really cool here. So experiment with letters, experiment with fonts, get the intertwined to work, and then share your image both in the assignment section and on social media. Be cool to see what you make. Remember to critique other people's work. Add some encouragement and have fun making a monogram. It's could be the day you make your family crest and get it embroidered on your luggage. I don't know, I think this is where a monogram goes. Anyway. All right, enjoy. I'll see you in the next video. 64. What is RGB & CMYK & HSB & HEX colors in Illustrator: Hi everyone. In this video we are going to look at the color differences between GB and Y K. I've talked those in the course. We've touched on lots of them, right? Hsb hex numbers. Let's explain why we're using them properly. We're in the color section. Let's do it. To get started, open up colors, actually don't need to open it. You can if you want. It's more of an explanation video. I've got that image open, okay, and you'll notice is quite bright, this image is being made in something called RGB. It's a mixture of red, green, and blue. You can kind of see it at the top there. See RGB, the other color mode, okay? There's a few different ones, but mainly RGB and YK, they are the big differences. And the RGB color space is really big and broad and has bright colors. And the main reason it is so bright is because it actually uses digital products. Okay, So it has light coming out of it, like your screen actually has luminance coming out of it. It's got power and light, so it can achieve some really amazing colors. Whereas in white, K, K is cyan, magenta, yellow and black. Okay. Those are the colors that traditionally your printer will use. Okay? And your printer prints on a bit of paper, your bit of paper, although it's white, doesn't have light coming out of it. It can't achieve the same colors. So I've picked all these bright colors to show you the difference between going, I'm going to show you the difference between the two color modes. You can do it too. Okay? Go to file, down to color mode, and we're going to go from RGB to NYK. You're ready? 3210 CNY. K just has less of a color gamut. Okay? Just not as many colors. Why? Because it doesn't have light. It's doing its best though. We love NYK. So when would you use each of them? Okay. Basically when I'm working, I work exclusively in RGB because so much of my work ends up being a bit of digital and maybe a bit of print more digital these days. When would I work in NYK, generally, if I'm working with a commercial printer that asked for it, they said, we want CMYK. You say Oki Doki. And if it's a project that's only going to them, I'll be in CNYK right from the start. Okay. And never touch IGP because there's no point playing around with colors and getting it all looking great. Only just have it wash out later on. Start in CNYK, you can get the most out of the colors that are available. Still a big color space, but just not as much. Have you noticed looking at this for long enough? It's starting to seem brighter. Okay. When the big transition happens, you're like, Oh my god. And then once you've worked in CNYK for, I don't know, a minute, you kind of get used to the colors of what you can achieve. So you can convert between the two. Okay. Under file and document color mode. When you are setting up a new document, it's got a file new. We've been doing this in the course, right? If I go to print, because it's assuming it's going to a printer and I go four or US letter. Can you see it defaults to NYK. Now, for me often I want the sizing, but I'll still go to IGB because I know that this is going to go out to maybe, you know, physically get printed for the office, but it's also going to go out as an PDF. So what often I do is I will create the document in RGB, do everything I need, get it signed off by the client, and then make a CMYK version K that goes out to a commercial printer. If it's not going out to a commercial printer, you're just printing it in your office. You know, if you've ever replaced the ink in your printer, it probably has a sign mentioned, a yellow and black cartridge. Just send it RGB if it's a home or office printer, unless it's like a big commercial printer that's printing 1,000 of these things or 10,000 of these things. Rgb is probably better to send it to it because there's all sorts of magic that goes on in your little printer. Even your little desktop, it knows that people don't know the difference between RGB and CMYK. So what it does, it has some sort of magic code and sometimes they have extra inks. Okay, To get as much as they can or try and replicate RGB as much as they can. So to wrap up, do everything in RGB, unless you're working for a commercial printer, they're going to be expecting CYK talk to them, okay? Because sometimes they'll want RGB as well. Because they've got some fancy printers with some extra inks that add luminants and ignore the warning. Next thing is, let's talk about two other color modes, the hexadecimal system and HSB. And basically they're just different ways of looking at RGB. That's why we only have the setting over here, C, Y, K, and RGB is because all those other ones I just discussed are just very different ways of mixing red, green, and blue plus the luminanskay. Let me switch back to let's go where are we going? File color mode's go back to RGB. Did you notice that the colors didn't kind of go bright? Again, it's kind of a one way street. Once you've converted everything into C, Y, K, it makes a version of it. And then when you try and convert back to RGB, because you've changed the colors by going to C, Y, K, it's doing its best. But if you go back to RGB, it doesn't kind of make them again. So I'm going to undo for K and watch. I'm going to undo again to go back to RGB. See how much brighter they are? It's kind of a one way street go. Cy K, that's cool, but you are destroying the colors. What I would do is I'd do a save As. Okay. And have our RGB and C YK versions start an RGB. And only save our NYK at the end. There you go. All right, let's talk about, let's click on this one here. Let's go to Phil. Now in this course I've already shown you there's some premade swatches. Go to this color mixi here, and up at the top here, you've got the other colors. The default is RGB. You'll notice down the bottom here, nothing changes. Rgb, HSB, they're exactly the same, just different ways of looking at them. I find it very hard using RGB and going alright. So we've got paint, I want it to be, let's say I don't know. Orange, red. It needs all the red. Green needs no green and blue. We need less blue. I guess so. Like I just find it really confusing. I'm okay I can get there because I can see these little things. I'm like, okay a little bit why it's green in there. Okay, I find them just hard to use hue saturation. Brightness is this big slide up the top here. Pick the hue, how saturated it is, okay? How intense and brightness adding black. Okay. I find that a better way of working. It doesn't matter. They're the same thing. That's still mixture of red, green, and blue. The other one in here is no an we're going to talk about the other one we're going to talk about, we'll show you, is this one down here, is it available in RGB? It is. Okay. This is the hexadecimal number, it's a little hash K that goes in front of it. And basically this is another way of reading RGB. Those two numbers there make up the red amount of color. This makes up the green, and that makes up the blue. I know a few of them I know if F is white or black. White. I think 000 is yep, is black. Or do I remember any other ones? 302-30-2302 It's mean to be red. I can't remember what it is. What is red? Wait there. All right. So clearly I can't remember any hex numbers. We use them quite a lot because that's how web design is coded. Ok. So well, mostly and so it's four things like this, like it's just an easy way of copying and pasting. Okay, so I'm in color doodobe.com which we'll look at in a bit more detail. If I click on this one, it's going to give me the hex numbers. Can you see them? Okay, the hash and then 2668b. I can type that in or I'm just going to click copy and just go into here and paste them. Okay, You can paste them with the hash or without it, it seems to override it. There you go. Here's that pink color. So it's a nice interchangeable color system. I was looking at dribble. I like color lovers. There are a cool kind of website, See I can't copy and paste them. But I can go to here and say, alright, what is it? 329. 18f. Can I remember at 32 something, Some, right there. 3291f. Nod. Okay. And that's the color for, you know, that kind of aqua blue. But again, it's still using RGB. Okay. So if I sort of back to RGB, the official thing is 50405175. Those are the mixtures. All right. Was that helpful? I hope it was. And so the only like, the thing you might want to be just careful of is when you're opening up other people's files, just check up here. Okay? Rgb And somebody might be working in CMYK. And the other thing is you might be given CMYK colors. Okay? So you might have a corporate manual, you know, like a design spec at your office. And they say, hey, you have to use these colors, and this is the code for them. And they'll probably have RGB and CMYK. Not normally, sometimes they do okay, but you just type them in. So if they want to use CMYK, you say, sure, I've switched it to NYK, I'm going to go here, I'm going to go up here, I'm going to switch to NYK and they'll give you the percentages. So they might say it's 2040, 3,878.0 You just type them in there and now you've got that color. What color we've got? We've got some sort of tan. Okay. They might give you the IGB codes as well. So switch the document over to RGB and then go and type them in there. They're probably going to give you the Hicks number as well though. All right. That is the one oh one on colors. In Illustrator, the big takeaway is just use RGB. Actually in the second takeaway is talk to your printer, even if it's just like a local print shop, ask them, do you want RGB or YK? And if they tell you something you don't understand, ask them to explain it. You will find that printers love to talk about colors and what's good about them and what's bad about them. What works good on their printer. And just explain that you're new, you're not really sure what you just said. And you will probably get some, probably get a long, awesome bit of advice from your printer. But if they don't ask, send RGB. All right. That is it. That is color one oh one. We'll see in the next video. 65. How to steal colors from an image using Eyedropper in Illustrator: Hi everyone. In this video we're going to use the Eyedropper material to steal colors from other objects and from images. Cool, nicely done. But now go back to being sick. Clearly, my son's home, he is sick. Sick enough to not be at school, but not sick enough to want to be included in the recording. There you go. Let's go to the eye dropper. All right. Open up a files called eye dropper in your exercise files. And we're going to steal from the logo first, okay? And we're going to select this kind of banner at the top here. So to select it once with the black arrow. And let's grab the eye dropper tool. Okay, the shortcut is, I use it all the time. Okay, I is the shortcut, but just click on this little eye dropper look and icon. And with something selected, you can go down here and just click the purple. Okay, you're looking for the tip, the white end. The bottom end of the eye dropper. Or you can hit that, caps lock and you get more of a target. It doesn't change anything. Just sometimes a little easier with a target. Okay? I don't care. Both of them work. Okay? And you can see, you can work your way through and steal the colors from an existing brand, or a logo or something else you've made. Cool, huh? Okay, let's do it again. Let's grab the text here. I've outlined the text just in case see it and have to activate the font. I'm gonna hit the eye dropper or the eye key on my keyboard to get the eye dropper. And I'm going to click on that one, then I'm going to have to click off from the background to see it. Yeah, it's cool. This one here, I'm going to pick the last of the colors. And then this one here, I'm probably going to have to pick a dark color because it needs to be seen against that yellow. There you go. That's how to steal colors from logos. You can steal it from the image as well. To steal colors from images. This is an image that I've stuck in here for you. Okay? You can click on the same banner, grab the Eyedropper tool, and there's no difference. You just work your way around and go on that color or that color or that color or that color. Just borrowing colors like it's great to get that kind of colors that match the images. A bit of synergy going. I'm going to go that, I'm going to grab my V tool, grab this, grab the eye tool and go dark brown. Where's the dark brown? It's a little hard with all the selection. Okay, so you have to kind of deselect off to get it. All right. Let's pick a last color. Let's go for one of these. Oh, it's kind of cool slate color. And then this white color here, drop a tool gonna steal from the table and hope for the best. Here you go, look out. We can connect these things up, letting the image drive the color selection. Or in the first case, letting the brand, okay, being able to absolutely copy the right color. Now I've done this throughout the course for our example files, I just kind of give you a quick demo of what I do. So this is what I've been doing throughout the course. Just to give like every tutorial a different kind of color scope. I do it when I'm working on different brands. Okay, I go and find a site that I like, the look of stuff. Okay. B Hants is another good one. Dribble with three B's is another good one. I just have a look around and like where's some cool colors? Okay, let's say I like this one. I take a screenshot on my Mac. It is command shift four, and I can just drag a box around it. On a PC, you'll have to double check what it is on your operating system, but it ends up on my desktop. Okay. That's where it ends up on a Mac. And I just drag it actually on. You can go to file place. Okay. Like we've done before, but I just drag it on from my desktop, stick it in there. I'm not worried about the color profile matching and there's those colors. And I can do, like we did here, just use the Eyedropper tool. It's a little bit different than this particular one because the strokes, it's easier when they're fills, which if it's a pill. Okay? And I grab my eye dropper tool and I pick that color, it fills it. But if it's a stroke, I grab my eye dropper tool and I go, I want that color. It puts it in as a fill. Not a big deal. Remember earlier on we showed you how to use the arrow to switch the fill with the stroke. And it's lost my stroke size. I'm going to put it back to 30. So there's a little bit of wriggling around, but it allows me to kind bust out of my color zones. And I'm going to go eye dropper tool. That one was cool, let's flip it, let's make this 30 again. And it's yeah, it's a way of busting out of my own regularly used colors. Find other people's works, appropriate them. It's not stealing, and I do it a load. When I'm making mood boards and kind of getting ideas together and finding colors, I'll take a bunch of screenshots and dump them into my Moodboard. Start pulling colors from them for logos and illustrations and all sorts of cool stuff. There you go. That's the Ey Dropper tool I'll see in the next video. 66. Creating a reusable color swatch in Illustrator: Hi, everyone. This video, we're going to make a pre made swatch. Okay, we're going to open the swatches panel and you'll see in here, there's a Swatch that I've named. I've given an actual name and I get to reuse it. I get to say you are also that color. Rather than trying to use the eye dropper every tool or try and typing in the colors. Let me show you how to make your own custom swatch for your swatches panel. All right, let's do it. All right, so let's say we've got a color, like in the last video, we've got a kind of a brand color that we want to use. We don't want to use eye drop it every single time. Okay. What we can do is create a reusable swatch. You can do it in here, okay? Using this little drop down thing. It's easier though to go to a window and go to swatches and just kind of open that panel kind of completely. So you're going to have to keep opening that up to create this watch. We have it selected. Okay. We have the color that we want in there. And then we hit this little plus button on the bottom. Okay? And we give it a name. You can leave it as the RGB naming. You tend to name mine and I tend to like give them the brand name. It depends if you're working inside of a larger company and you've only got a couple of colors, you might just give them their actual name, so it might be yellow. Okay. But in this case, I call them something like MF Yellow. Okay. So it's because it's Noth furniture. It's a brand thing we've done in a different course. Okay. Bud, generally I give them, you know, if it was my company, BYOL Yellow, just so that there's in case you met up with two yellows from two different companies. You're not mixing them up. Okay. Then you just click. Okay. What you'll notice is that there's a little swatch down here now, kind of made for you, so that you can go down here and say, actually I needed to use it for this as well. Let's drop Gnagle for no reason. You can just click in there. There you go. You got a pre mixed color ready to go. You don't have to type it in every time or try to mix it or use the Eyedropper tool. You've got a Swatch ready to use. The one thing to note about them though is that the per document. If I open up a new document now I just pressed file, New command and Mac control new on a PC and just hit enter on whatever it is. You'll notice it's not in there at the moment. To make it a Swatch that goes across lots of documents. It's best to use what's called a CC library. Okay? That's this little thing here, We're going to look at that later on. Okay. It's for another part of the course, but we'll bring that up there. But often when I'm working in a document, I will just make a Swatch and I'll make a collection that I'm using. What I'll do is I'll make, let's say, those three swatches. Actually, let's do that real quick. I'll do it in F mode. Actually, I have to ungroup this thing first. And then I'm going to create all my swatches. I'll be right back. I've got my three swatches. What I end up doing is if I start a new document, if I copy this, these have the swatches applied. I can see it. I'll move this here. Can you see the little ring around that and the little ring around the green? And that one's not applied. I'm going to apply that one. I've got these three colors. If I copy this, just copy any chunk of it. Make a new document, any old document. And I paste it in, no swatches. And I paste that in, see they come along for the ride. Then you can delete these. Like that's a good way of bringing the swatches from document to document. Libraries is more complicated but probably better long term, but I end up using both. You'll get documents that just need the swatches in there because it's handy because not only are they there when I draw something. Okay, Rectangle tool, using the M key. Okay. Look, they're there. Remember we've been picking stuff from here. Okay. We can actually go to our swatches now. Ooh, another thing there. You can see the mixer has gone away and you're like, oh what? The mixer back, it's converted to IGB and now it's no longer attached to that kind of color that you made. It's kind of a free roaming color. Again, there you go. A little bonus at the end. Al right, that is it as how to make Swatches illustrator and we'll tackle CC library colors a little bit later on. There's no right way or wrong way. Alright let's, we'll see in the next video. 67. Transparency & Opacity and darkening images in Illustrator: Hi everyone. In this video we are going to look at transparency and opacity. They're the same thing. Well, not quite, but we're all talking about how throughiness something is. We'll look at colors and kind of get them to overlap. We'll also do this trick where we darken this background image by not doing anything with the image, but just putting a big dark box over the top. And playing around with its transparency or opacity, How through it is, it's nice and easy. Let me show you how to do it, all right? The transparency opacity thing is pretty easy, okay? I've got two colors here, They've got fills, grab the top one. Grab the opacity slider and lower it down. Not very exciting. You can do the same thing with images, obviously. I'm going to go to file place and I'm going to bring in the love where you love. Okay, If you're going to redraw over the top of this we, we could hit template or we could just go place, drag it out and lower the apacity. Put it on its layer and drive the top of it where apacity gets useful. Why find it is for darkening up images like you saw at the beginning there. I'm going to go off to my Pasteboard side and I'm going to go File place again. I'm using the shortcut where it is a file place, okay? I'm using shift command P control shift on a PC and bring in one called transparency place. It's going to be really big, so I'm just going to drag it out and I want to put text over the top of this. What I can do is a little trick where I'm going to grab my M key for my rectangle tool, click, hold, drag it over the top, and it should match up. If it's not, go to smart codes, make sure those are on, then I'm going to pick a color. I'm black. I'm going to go to HSB and I'm going to say I'm crank these up because I want to find something that is I want to midnight blue or midnight black. I'm going to find a blue and I'm going to darken it right up unsaturated. It's still black, Ish. Okay. But it's got a blue tint to it. Then when I lower the capacity, those two together allow me to kind of darken up an image. Okay, What I might do now is select both of them. And group them. Select both group so that they can be kind of like transformed together. Hold shift. And it's going to allow me to add text at the top. In this case I can use white text. You wait there, there you go. Some text. It's just easily read across the whole image and all it was is just transparent color. We fancied up making it kind of a mid 90 blue. Not that most people can tell but me. And you know what's method in, all right. That is transparency with colors and images and a bit of a combination between the two. All right, let's get onto the next video. 68. How to use CC Libraries in Adobe Illustrator CC: Hi everyone. In this video we are going to look at this over here. Libraries. Libraries are a way to store your graphics, your colors, your fonts. Very useful for brand elements that you're going to use across not only other illustrated documents, but all sorts of other different bits of software. It'll connect up to Photoshop and Indesign and Illustrator, and it means you can have consistency through your colors and your imagery, and your logos. And when you update your logo, it updates in all those places. Libraries. Awesome. All right, so let's jump in. Okay. First up, open up the library panel. It should be in a group in the right already. If it's not, go to window and go to libraries and just open it up. And you might be inside of the library already or this might be your very first library. Okay? So if you are inside of one, use the back arrow to get into it. This changes quite a bit. They're just the Y in here quite a bit. Yours might look tiny bit different, but I'm sure you'll be able to work it out. Let's all create a library. Okay, I've got loads already. I use them all the time. Let's call this one Illustrator Essentials. Okay. Now, actually let's just put stuff in the library and see it's a really good use case. Let's do one thing, all the way through the Menoth logo down here. I've made it say in this program. Okay. I want to add it to my library so I can use it in different programs. Let's click and drag the whole thing in. There it is, there we get to rename it. Okay? It just double click the word and rename it. Now, why is it useful? It's so that when I start a new document and I'm working for the client and they've come to me and they need mock up for mobile ad. Okay. Can use this and click Create. I don't have to go and find the document, copy and paste it out. I've got this library. You see it's persistent. Okay, just drag it out. There it is, It's on a white background, but there it is, there, it's quite small. Going to scale it up. The cool thing about it is that it's easy to get. I can use it across lots of different software, so let me jump to Photoshop. Okay. And in Photoshop I can open up the library's panel. I'm going to go back and there's my Illustrator essentials. And I can drag out my logo. Get it where I want. Get it, the scale I want. Hit enter and I'm not going to do it, but I've got Design open, working on a project for Nooth Furniture. I'm in Premier Pro, I can drag it in from this. You can find the library. Actually, let me just show you. Okay, there it is. And I can add it to my timeline. It's a bit small. You see? It's teeny tiny in there. Okay. But you get the idea. I can reuse this thing across all my different creative projects, all the different touch points that I'm working on. And what's really cool about it is I can write, click this and say it'll open it up in the project that created it. Okay. I'm going to wreck it for no good reason. Just to show you the results, make any changes. I want it save and watch this. If I go back to where it's been used, say in Premier Pro, there it is, it updated? It's teeny tiny. Let's look at it. In where else do we put it? We put it in our Photoshop Doc. There it is, there, it's all updated. So CC libraries is a great way of kind of gathering brand assets. Okay, I'd probably call this Menoth branding. Put the logo in. Use it all over the place, and then when I make changes, I can update it. Even if you just use it for a handy place to keep all your logos. That's what I do for bringing your laptop. Okay. Where as bring a laptop? There we go. There I've got our brand colors. I've got all the fonts that I use and all the graphics. Okay. It's handy. And it means that. Let me show you back in Illustrator. So I've got this library. It's kind of on its own. Okay. It's doing its own thing. Oh, this one updated as well. And I can share it. This little option here says I can invite people to this library and I can give them different access. I can say you're allowed to read only. So it might be for somebody in my team that, you know, junior to me or I don't want them messing with my library. Okay. I can share it with them and they can just get read only access, so that's view. Or I can give them edit access. That's when you're working with colleagues who you want them to be able to add stuff to the library as well. It's very cool. Okay, so you can add graphics. You can also add colors though. I'm going to grow my direct selection tool and just click once on the purple and down here you can see the different things. I can add it as a graphic, it'll just be a little lozenge. I want just the fill color of that. I want the fill color of this one as well. Kay? And you can work your way through so that now you've got your brain colors which you can go and name. Okay? They're using the hex number at the moment, but that's it. You can be working in any other program covered in design. Let's say we need a rectangle for no good reason. Okay, I can go to my Illustrator Essentials and I can fill it with that purple. That's why it's in the color section 'cause it's really good for sharing colors. Huh? So if you've been avoiding using libraries, they are super good, super useful, they're sharable. There's other things you can add as well. Let's look at, you can add images from in here. Okay. I could decide to add this graphic. Okay. Which is my big image. I'd probably be doing that from Photoshop though. I'd be in Photoshop going, all right, there's background here. I'm going to add it because, you know, this one here has been cropped a little bit, may be resized, I try and open it in the original. Okay, so something like Photoshop is a great way of working with images. Okay, you can add that to my library. You can add raw text. And let's say that you've got a lot of text I don't have. I'm going to go a little bit but it'll show you the same thing. So Mill, special source, see down here. You can say, actually let's add the text. I can drag out the text and use it in other places and it's still editable. Okay, We can add things like character styles and paragraph styles. We'll cover that more in the advanced course, but no, you can do it. The one thing with libraries though is that, you know when I use something, let's say I use this one here. Actually, let's get the mill special sauce, which using, I think I like this one the most. And I'm going to select both of these. Add them, there it is there. I'm just going to call it logo. There's two things. One is that is not connected to that anymore. That is its own thing. So I can go and manipulate this one and nothing will change over there. I can squish it and rick it. Nothing will change at this thing here is kind of like a one way street. Once it's in there, okay. It is kind of its own use case. I can drag it out, okay, And use it. And now it's connected and I go to all my other programs and connect it. That is one of the ways the questions from students is like, is this connected to this? Now, no kind of uses it to make it, but now this thing can come out. Now the other thing is, is that what happens then if I want to disconnect it, because if I drag that out, I've dragged two of them out, right? So I drag that one out just by dragging it. If I hold down my option Kona Mal key on a PC and drag it out, okay, what ends up happening is this first one is connected, but if I hold option while dragging it out or Alt on a PC, it will disconnect it. What I mean by that is if I edit the original, so I'm going to right click it and say Edit. It opens up in its own standalone thing. I can't see it because command Y, it's white text, you can see it there. So I'm an outline view. Okay, control Y on a PC. And let's say I go and change this now. So I'm changing it to be, let's do a spelling change. Okay? So I'm deleting, actually, I'm just deleting the apostrophe. And if I save it. Okay, and I close it. K, that one updated but that one didn't, So if you want it detached from the library, hold on The option key on a Mac, O K on a PC. Just drag it out. Cool. I'm going to give you a little project. Mini project. It's not going to be like a class project like I do. I want you to create your own library. Give it your brand name. Okay? I'm gonna call mine Mill, Special Source, and I want you to throw in everything that you think it might use. Okay? So the main things are as your logo, your creature put in your monogram, have a look back through anything you've drawn so far in this class and add it to the library. It'll make it easier later on when we're working on other projects. And in the next video when we start looking at Adobe Color. All right, so go off create a library, and I'll see in the next video, libraries are awesome. 69. How to find amazing colors in Illustrator using Adobe Color: Hello, hey. In this video we are going to look at color in a bit more detail. We're going to explore the harmony rules in Adobe color. Okay? To kind of push our limits of what we might end up choosing for colors. Help us get the language right. We'll look at Explorer and trends here as well. And then I'll show you via the creative crowd library, which you learned at the last video, how to easily bring it in and apply it to our logo here in our character, letting us experiment with different colors and kind of have fun. Alright, let's jump in. Hi everyone. In this video, we are going to look at how to find great colors using Adobe color. Okay, So go visit Color.dobe.com Okay? And sign them with your Adobe password. Because what's really cool about it is that it can connect to your library. It should be defaulting to whatever library you were using. Last, in Illustrator, you can see mine's already gone to the right place. So whenever I create a color scheme, I can save those colors directly to Illustrator Essentials. Okay. The library that we made. So I'm not going to go into this thing like crazy detail. I'm just going to give you the kind of the overview of all the good stuff that I use. So what I find really useful is the explorer and trends option to kind of break out and find new colors. We'll do that kind of towards the end. What I want to do is kind of show you the, I don't know, this one here. A little bit more practical. Let's say that you've got a corporate color that you need to work with, okay? But you need to find some like secondary colors or accent colors for that, like primary color that you're stuck with. So what you can do an illustrator is open up the exercise file called Adobe Color, Okay? And let's say that you're working for Noth, okay? And they've got a primary color. And it's this here that we need to work with. Just that one there. So what we can do is with it selected, go into the fill, okay, and find that hex number. Copy it, okay, Jump into Adobe Color. We can just paste it in one of these. All right. Hit Enter and it should populate. The cool thing about it is if you haven't done a whole lot of color theory or practice with color, you can see along the top here, there's all these different harmony rules you can work your way through. Again, I'm not going to go through exactly what they all are. What you should do though is go through and go, okay. You can see look, analogous is stuff that is very in line. Okay? There's an up and down towards. Watch this, this is less saturated, more saturated. I'm going to have to put my color back in. But that kind of analogous harmony rule means that you just a few stages or a few pie slices out from where your color is. Can you see like it's just an amazing group of colors? Okay, and now you might decide that, okay, I want to add this to Essentials, and this is going to be my aqua theme. Even had options there. Okay, so let's go and check and illustrate it. Now hopefully, I should be able to go, actually we're going to make some duplicates of this with it selected. Is it all one thing? No, it's all separate things. I'm going to group it so it's all together. I'm going to hold option me Mac Alt on a PC and start dragging it down. Okay, and hold Shift at the same time so it duplicates it and moves it straight down. I'm going to hit command D, so I've got another version and then I'm going to grab all of them. Do the same thing this way and they don't all fit all bit smaller. Okay? Just have a few different versions for me. Okay? And I want you to go now and say, okay, we'll leave that as the original one. Okay? This one here. Okay? This purple here. I'm, I'm using the direct selection tool, so I don't have to ungroup it. Okay. So that's one of the cool things about the direct selection tool is that it will dive inside of a group. Let's go to our libraries and hopefully under Illustrator Essentials, there's this thing, can you see it's kind of put the five swatches, whereas before we had four, you know, it just made a big swatches. These are altogether and the cool thing about using them is just click Watch. I'll move that across there so you can see you add your own sound effects. All right. It's the original color, that's this 1.0 okay? And I'm going to go into these little ones here, and I'm going to go move the Dca color. Grab the wrong one. Grab you, not you. It's a little bit of shift clicking to try and find the right ones. That's going to be the dark ones, and this one's going to be just a lighter one. Look at what we're doing. We're doing cool color stuff. Okay. Headed that version of the color. Okay. And again, you just work your way through. Okay. And it's good for your language as well to talk about complimentary colors and split complimentary and kind of be seeing, you know, when you do find something like a complimentary colors is where it's at. You can do a little bit more research on your own, on color theory and what complimentary color means. That when you are talking to clients, customers, colleagues, you are talking about like split complimentary, and try it in the right kind of language, okay? And you can kind of work your way through and have a look, say have a look at this Explore tab. We kind of touched on this earlier. What I really like about it is that there's some default stuff in there, but you can start typing in or using these keywords. Okay? So we're looking the brand, we've decided that the brand culture and the brand aesthetic is all around like modern. Okay? You can type in something simple like modern. If you're looking for a cafe, type in cafe and see what comes up. Okay, You don't have to follow these rules. But for me I find it's a great way of getting, especially when you're in concepts getting out of your own way to colors. I love these, which is click Add to Library. It's assuming up the top here, it's going to Illustrator Essentials. And that's it. Look hopefully over an illustrator. And I should be able to go, you go there, there, look, Bm. Probably can't use that one. Bm, different sound effect for this brand clearly. Okay. This one's a tricky to grab. Okay? And it's just a very different color from this one at the top here. I don't know. It helps me push my limits of what I might think is right for this brand. And so everything doesn't look grain green, because that's what I default to for everything. Let's go Summer bam. Super summary. I'll love it Now, explore more of the site game. I'm not going to go through it in detail, but there are some other cool things in this site. The last one is trends. I'm not sure how much it's user created or at least human created, or it's, you're looking at the algorithms for fashion and it's taking its cues from the content uploaded to be hunts and Adobe stock. But anyway, it's still another good way of exploring color loads. The exploring the site have a little play around in here, especially if you're new to design or at least color. But for now, let's get on to, actually we didn't explore this very much, okay? We did it for the logo, but the cool thing about it's five color swatches. So we can, let's go and do this one, we'll do this last one together, selecting both of those. It's going to be my lead color, is that I don't know, is there an olive color? Oh too cool. Now it's a Fox for a cafe property. Is the background color to change along with it? Where are we at? Don't be afraid to grab the color. Let's say we do like this one, but we need to darken it up. We can go back to properties, go to Phil, go to my HSB. And still the same kind of color, but I'm going to darken it up a little bit. All right, that is Adobe color, and tying it in with our libraries. Sweet. Just brings it through and pops it in here. It's awesome. All right, I'll see you in the next video. 70. Class Project 19 - Color Variants: Everyone. It is class project time. I want you to do some color variants. You can pick your logo that you've made, okay? Or your monogram or your creature. I don't mind what it is. It could be all of them. That's the best. But you can just pick the one that you are the happiest with or the one you'd like to see the color variants done too. Line them up an illustrator and recolor them. Okay. Mine should be Mill's secret source, but hey, I started with ith 'cause it was, it was on the page. You do the brain that you've made and the creature that you've made or the monogram that you made, remember the interlinking text. Actually, anything from this course that you want to do color variants on to you? I want you to go out to Color.adobe.com like we did in the last video, and just go and find some colors. They don't have to be great, they don't have to be the best. It's about exploring colors at this stage. Throw them on, see what works for you. And I'd like you to number them because, you know, if you want feedback, so it's not second from the left at the top, just put some numbers all over it and these are just lots of little separate text boxes that are placed on there. Save an image of it, Upload it to the assignments and share it with me on social media. I think that is it. The one thing is I want a minimum of five color themes. What you'll find is five is the magic number, I think. Okay, If I do three versions of something, whatever one I pick, first or second is the one I choose. I need those few extras to push me past. I'm like, okay, those are the easy ones. What is something else I could do? And it's amazing how many times I'll find the color themes that I really like on that fifth or fourth version when I have to like, really, okay, that's easy one, that's an easy one, that's an easy one. Fourth one, fifth one. And you end up kind of like experimenting or I don't know, five is the best number, so make sure there's at least five of these guys or five of the logos or the monograms or whatever it is. You can do more when you're uploading it, indicate the color that you think is the best. And that works for members who got a target audience. You're working on a brand for a product. But again, we're not worried too much about it. Even if you're like, oh, it's kind of, is that right? Okay, put it up there, the number that you like, why you like it, You'll get feedback from other people and it'll help you. But make sure though you're helping other people by giving them feedback, you'll probably find that most useful when you're looking at their going, oh, if that's what you're selling and that's the target audience that looks good together. All good, except for that one thing at the back there. It'll help you develop as a creative when you are applying them. Use the creative Cloud libraries. If you can't get it working for some reason, you can just copy and paste the hex numbers across. But hopefully you can use the CC libraries to kind of drag it in. Create a library that has the name of your brand. You should have done that earlier and use the CC libraries to bring the colors through. They're fun experimenting with color. And I will see you in the next video. 71. How to use AI Generative Recolor in Illustrator: Hello, welcome to the computer Future. We're looking at something called Generative recolor. It's Adobe's artificial intelligence for recoloring things. Okay, we're going to work out how to pick prompts. I'll show you some of the sample prompts and it's really cool, give it what you're looking for and then you can go through and it will recolor lots of different versions that you get to pick from. Some good, some bad. Let me show you how it works. All right. From your exercise files, open up generative AI recolor. Okay? And I want you to select everything you want to recolor. And there is a button here, I feel like that might move. This, this just appeared here recently. It might move again, if you can't see it with everything selected, throw over here In your quick actions. Okay, there might be recolor. The long way is edit. And it'll definitely be here under Edit Colors, our recolor artwork. Okay, if we click on that or any of those buttons, you end up at this. And we want to switch from recolor to generative recolor, which is the super cool, awesome one. Okay, there's some sample prompts. I bet you yours will be different by the time you get to it or you can type them in. Let's use one. Actually, first of all, I'm going to close all that down and just click out of it. To close it down, I'm going to select it all with my black arrow. Hold on my option key on a Mac, old key on a PC, and start dragging it out. Once you're dragging it out, you can hold shift, you don't really need to, the smart guides to do it all pretty nicely. So I'm going to try and get three copies, Command or Control D, and then I'm going to grab them and go down this way as well. Let's leave the first one, let's grab the second one. Go to Recolor, and we want to go to generative recolor. And then click one of these sample prompts. Let's click the first one, Sam and Sushi. Okay, one of your new skills as a designer or a creator, we need to work out on how to prompt AI. It is appearing a lot in the software and in life, and working out how to prompt the AI to do the stuff you want is part of the new skills. All you do is click on them and those are all horrible. Let's go generate again. And probably realize Sam and Sushi is not where we want. But we'll leave one up there, were there we go. And I'm going to select another one, go to Recolor and just work our way through. Like I still don't have a really good language now. I want, in our cool ones, let's go cyber punk, too good. Okay, and you can work your way around and figure out the one you want. You can keep hitting generate. I'm almost into that one. Okay, let's do another one. Think summer like we did with the adobe colors. Things like coffee shop cafe. Coffee summer. Here we're getting there. It's just a great way of exploring colors. And we didn't have to go through the whole library. Click one, click one, click one, Okay. We can just hit the regenerate button and just kind of cycle through them all. It's awesome. I'm always trying to think of things like blade run of the movie has a really strong kind of color cast to it. Okay, yeah, it's a little bit of creativity. I'm trying to work out what is a good prompt for the AI to get you some cool colors. You can't be quite deliberate. Okay, I'm going to type in red. The one thing to note about when you are using it is that it needs some sort of tone variation. If these are all the same color, look what happens if I make this all. They're a question mark. If you've got lots of stuff selected and it doesn't know what color to show, right? But if I go, they're all yellow. Okay. And then I go to Recolor, it doesn't know what to do. Let's have a look. Recolor, regenerate color. Let's use backed a trippy disco. You see it doesn't know what to do, so it's looking for tone. That's why I kind of at least gave you guys a black and white version of this whale. We make this whale in the advanced course, if you do want to join me for that course after this one. But one thing you can do on purpose is, let's say we want this fin here, K, and this thing here, K, to be the same color. When generative recolor does its work, I'm just going to make them pink. I'm just making them the same tone and color, the exact same Swatch. That's the only thing I'm really doing, so that when I do go to recolor and generative color, whatever color it picks for them, it'll be the same between this and this. There we go. It has pink pink for them all. Just by luck, if I had to generate, it's not using pink 'cause I picked it just 'cause I picked pop art is my thing. There you go. But you can see it is green there and green there while there's our real color. Okay? But it keeps them together. If you are looking for a mixture of colors, but some of them need to stay the same, that's the way to do it. There you go. Have a little explore with generative recolor. Go through this one and just have a little play because you know what's coming in the next video, it's alright, we're going to do it to our own objects and all you really need to do is have something with some sort of tonal differences. Okay? And match the two tonal differences if you want them to be the same color. With regenerate, there is no reason why now. There you can go. Oh yeah, I like this one except for this one. And go and play around with it and adjust it. There you go. All right. I'll see the next video. 72. Class Project 20 - Generative Recolor: All right, class project time. I would like you to do the same as we did in the last video, but with the own thing. We did it with the whale. I'd like you to do it with something maybe you haven't used before. So something you've created in this class. I don't mind if it's the earlier stick creature or the shape builder creature, or the monogram or the logo or all of them. Okay, I want you to create six plus versions. So just a minimum of six 'cause it is really easy to recolor them. I want you to get in the habit of trying to, I don't know, work out what to tell generative recolor. So use the prompts. So, recolor them all, and I want you to lay them out like this. When you kind of submit them is duplicate them all. Okay? But maybe using your creature, your logo, your whatever, I don't mind what it is, but I want you to type in the prompt underneath because we all need to learn to talk to the AI better. I'm not particularly good. I end up using the same sort of prompts. I'd love to see what you actually are typing in and want some of the results from it so that we can kind of expand what we're saying. These are all very one wordy things. I'd be interested to see what you can get the generative AI to do with your prompts. Red is lame, Blade Runner, the movie is a good one. Maybe it's an art movement or an artist or an art piece. Maybe it's a place experiment. Show the results. Add what you typed into generative AI there and submit it to the class projects, share it on social media. Have fun letting the computer help you pick colors. All right, that is it. I will see you in the next video after you've finished. 73. How to make Gradients in Illustrator: Hi everyone. In this video we're gonna look at gradients. I'm gonna show you how to create them and manipulate them, but I'll also show you where to find really pretty ones. Alright, let's jump in. Okay, I'm going to use the postcard that we've been working on and you can open up your one if you like. Okay, I'm unlocking the background. Or you can just do it with rectangles. It doesn't matter. First thing is, is that how do we apply a gradient? So I've got a shape, I've got it selected. We're going to use this thing here called the gradient tool. Click at once, it looks like a gradient, easy one, okay? And just click in at once. There you go. I've got a gradient, I'm going to undo. If you have got something in front of it like text, look, it's kind of stuck. It needs to click right onto the objects. So you might have to move it off the page just to work on it on its own. And by default you can get given what's called a linear gradient, one that goes in a straight line. There's ways of adjusting it, but it's probably just easier to click hold and drag it to where you want it to be. Click hold and drag. You can get it going in a specific direction, like straight up and down. It's probably a key, you already know how do I get it to go straight down. Now that's right. Once you started dragging hold shift, bam, kind of locks it into 90 degrees, 180, okay? You can get it how you want. Now, adjusting the colors of your gradient. K is these two little round dots here. There is a white one and a black one indicating the color. Let's double click the white one and we can go through our swatches panel or our color mixer and pick a first color. Let's go down here and double click and pick our second color. I'm just picking random colors. It's nice, nice. Other things you can adjust is see this diamond in the middle. Kay? Click at once to close that window and you can drag the diamond just like, is it more blue? You drag it down so you can see there's more space allowed to blow. This is the midpoint, okay? And there's less lilac. But I can do the other way. I can make it lot lilac and a little bit blue. To go back to roughly the middle, you can add another color. Okay, watch, this is like this magical area. Look just above the line or to the right of it in this case is see that little white arrow with the plus, okay, black arrow. Not good. You can move it around. It's not really what I want. I want to find the white arrow. You click it where you want. You can move it afterwards by dragging it. And I'm going to double click the middle here and pick something hideous. Okay, perfect how to make this less hideous. Or I don't like three color gradients. Why I do, I can never make them very nice. That'll do. I'm going to click off in the background, close that window. So we've been dealing with a linear gradient. You can do the same thing. There's a couple of different types here. We're going to look at also the radial gradient. Okay, we'll do the free form one later on. Probably in the advanced course, it's kind of hardcore. But the radial gradient here, check this out. Basically the same except it's a radius. Moving it around is kind of a pain. You can move the center of it. It's just kind of weird. It's kind of weird. Anyway, what I like is just clicking and dragging of where you want it to start. So if you want a small one here, you go often with a radial gradient. Though I find it's nice to kind of like do these big kind of ones. Okay? Where I'm going to get rid of this color by selecting it and just deleting it. Or you can click and drag it off and it goes away. So I've just got my two colors now, my blue and my lilac. I find radial gradients look quite cool when they're just this big, wafty washy thing, like a linear gradient, But I don't know, got a bit more character to it. Okay, I'm going to select it again. Go back to my gradient tool. Gradient tool even. I'm going to it smaller so we can see there's not much to it, like this one here. You can adjust the size of it afterwards. This makes it oval. Okay? I never do that. I'm going to undo this one here. There's another way of doing the boundary, okay? Just make it bigger or smaller. You can slide these long. Remember you can adjust the centers just like the linear one. That is the radial gradient. So when you're making a gradient, I'm going to go back to linear. Okay, So I'm going to apply one straight up and down like this. So let's say we've got our gradient in. How do we go and pick colors for gradients? Because we know how to add them technically. You could go to the built in ones, but if I remember rightly, they're all horrible. But just want to show you where they are. They might get better in the future. I'm going to go to Swatch libraries because that's what these little color blocks are. So I've got some Swatch libraries. We're going to go to gradients. And there's a bunch in here you might play around with them. I've had a play around with them. They're always terrible. Lets just double check. Go to color combinations. Yeah. What combinations have you got? Now the weird thing about them is because we're on the gradient tool, I doesn't want to apply them for some reason. I'm going to go back to my black arrow. I'm going to click off, click back on the thing I want it to apply to, and then type these. Oh, so bad. Oh, yeah. I don't know why they decided they needed like all of these colors. You might love them. I'm not the boss of all colors. Okay. I forbid you to use this one though. But yeah, you can adjust the Mathls. You're like, oh, that's so close to the thing I want. With that selected, go to the gradient tool, which is G. You might be like, oh, I just need to tweak this color here now. It's hideous. There you go, nailed it. I don't know. You might love them, you might hate them. Remember, you can get rid of colors by doing this. If you've got a bunch of colors and you just want to get rid of it, it's probably easiest disc to go back to a plain swatch, black arrow, the thing you want to change and either go back to just a plain old swatch, or there is one default in here called black and white. And you back to where you started with a gradient tool. You can gradient tool, you can drag it across and start again. Now if that's the bad way to go, where's the good way to go for colors? For me, I've got a couple of places, there's two main things I do. Either copy premade gradients or just steal them from images. I use Grabient. Okay, it's a cool one. Or I gradients.com. Is another good one. Like these might not be here when you get here. I've been here a while, but it's the curse of my courses. If I say there's a great website, go check it out and it might be gone. But just have a look, look for great gradient websites or cool gradients through Google and you'll find something. Okay. In this case, I'll show you how I implement, let's say this color here. It's got 123. So I'm going to click this one, copy it. Can you see how cool. It's like Illustrator in there. We know what a x number is, we're hard core. I'm going to go in here and I'm going to go double click the white. And I'm just going to paste it in. Hit Enter on my keyboard, and there's the blue. Grab this, I'm going to add another color member. How do I do it? I'm looking for that. Go beyond the gradient tool you're looking for. It's not working. The weird thing about it is you're looking for the white arrow with the plus. Sometimes it's below and sometimes it's above, depending on which way you drag it. Hopefully they'll fix that. Okay, there's a plus there and add it. They will click it. Paste it, so I've got the other color and then I'm going to go to this one copy and paste it over the idea, right? You can quite literally grab the colors for me. I probably want to make it radial, and I probably want to, oh, good point. You see out there's was like yellow in the middle. And maybe out I think it's a radial gradient. Feels like it. Right? I want mine to flip around with here. There are some other options for the gradient. Can you see the little dotted lines here? You have to be on the gradient tool and have a gradient selected. You can go into here, you can say this option here, it says reverse the gradient. You can also see this. You can adjust the colors that made them to be on art, they call it. So all these things are actually in situ. So it's a little easier to work with if you don't like that way. You can actually do the exact same thing. Double click the color here, adjust it, and it will adjust over here as well. That was bad. I reversed it for my radial gradient. I probably want to start up there. And like that big wafty one, again, I don't want the full orange or full yellow or the full blue quant just hints of it can start it off the artwork. Same with the radial one. Okay, If I go back to radial, it can be over here. And that yellow is actually starting way off the page. That might be what you want. I'm going to do this one here. All right? The next thing I'm going to do is I'll show you the other way I get colors is that I use the eye dropper tool. Okay. We've learned that technique earlier on. We can combine it with gradients. Watch this. I'll go to something like be hunts or dribble. And I searched through and I went through and I like this, I like the colors that are all in this thing here. Super cool. So I'm going to grab my shortcut screenshot on a Mac. Okay, it's command shift four. And on a PC, I think it's print screen on most of the Windows machines. But double check the cool thing about Mac. If I switch over to Illustrator, I can actually drag this in. You're going to be quite quick, or it'll end up on your desktop. On a PC, I think you can hit print screen and then just hit Paste straight into Illustrator and that thing will appear. I'm just using it for pulling colors, right? So I'm going to go grab for the gradient tool. Click at once. And remember the last thing I did, which is kind of what I want. I'm going to go for linear and I'm going to double close the first one. And you can see there's like, hey, there's an eye dropper tool, you're calling it a color picker. Okay? I know how to use that. Watch. Green too light, even too lighter. Again, zooming, okay? I'm going to pull the green from it. I'm going to double click this one for the center color, and I'm going to go that cool orange color that's in there. Okay. And the last one here, I'm going to go one of the darker colors. How much do I like it? Not sure. Let's see if we can fix it up with it selected. Sometimes it doesn't work out. Oh yeah, that one's too bright. You can adjust them. Okay. I use the eyedropper tool to get it, but in here it really probably needs to be less saturated. That less saturated somewhere in there and maybe even darker. Okay. I don't know what I'm doing now, but you get the idea. Is that good? It's not good. It doesn't match this. I'm trying to imagine it without that. There's hints in there that I like. I like this kind of smoky green color in here. Okay, you get the idea. So we're leveraging some of our other skills with our eyedropper tool, stealing colors, all in the name of gradient getting. All right. So I hope that was helpful. Both how to create gradients and adjust them, but also how to go and find nice colors. Ignore that one. That color's nice, Al right, that is it. I'll see in the next video. 74. Missing images and relinking and embedding: Hello. Has this ever appeared for you? Could not find the linked file? Choose to replace or ignore. Basically, we've got an image missing. Let me show you how to fix it and prevent it happening later in life. Let's jump in if you want to play along. I've got a file in there called missing images. Open it up and it's going to come up with an issue saying I'm missing one of the files, one called dat'son after and let's ignore it for the moment, okay? You could hit replace there, okay? And go and find the file. But let's say it's open and what can you do? You can see there's kind of a blurryer version here. So what you do is you get a window and you go to links. Okay? And it will say I've got one that's not got a problem and one that's clearly got a problem. Missing link that's red. Okay. So what you can do is you can select it. Okay. And down the bottom here, we're going to relink to your library. No, it's not my library. I'm going to relink it just in general. Yep. Let's go check it out. And all that's happened. It's either been moved. What I did to kind of fake this or make it happen is I renamed it to be after two. There you go. That's how to connect it back up. If you can't find the image, you're going to have to do an image search. There's no like magic make appear again now. That's good. It's totally fixed. The image now appears my before my, after I'm doing a bit of cross cell for my light room essentials course. Where we take plain old images taken on my phone to magic them up. Okay, that's my little car. It's amazing what you can do in light room, cross cell over. How do we prevent this happening in the future? What was different about this image to this one? Because this one didn't have a problem. It's because this one was what's called embedded, wasn't linked. This one, when you bring in an image, by default it is linked. Let's bring in another image. I'm just going to drag it from my desktop. Any old thingy, that thing from earlier. When I bring it in, it's coming very big. Can you see? The default is linking and that's fine. It keeps the file size of illustrated down. The problem is, other than it's too big, is if I save this file and give somebody the Adobe Illustrator file and I don't also give them the skills stack two file, they'll come up with that same warning, that's how it appears. So the default is linking. So there's a couple of ways you can get around that is when you're using the official file place. Okay, down the bottom here, there's a link option that's on by default. Turn that off by bringing in another image. This one here. The default is linked, you can just turn that off and it'll bring it in and what's called embedded, no linking, no problems. When I close it, it is part of this Illustrator file. The file size does get big, though. That's why Illustrator doesn't do it by default. It wants its files to open up super fast. What if you've got images already in here? How do you get them to not be linked? Okay, with it selected. Okay, Go up to this option here, and there's one that says embed this image for me. So have it selected, it kind of goes blue. Okay. Then say embed this image. Thank you very much. And now that is part of the illustrator file. It will come along when you share missing images with anybody. Give them the file. Here you go. The images will be stuck in here. All right. That's how to re link them and how to prevent the error coming up in the future. Do I always embed, Normally, you might be working on a file like a magazine or say a newsletter, say it's four pages with lots of images. You might want to just link them, because linking does a couple of things. It keeps the file size small so Illustrator doesn't stress out and die. It also means you can update the file K on your hard drive K and all update an Illustrator because it's only linked. Whereas now this is like a separate copy to that one that was on my desktop. The pros and cons for both hope that was useful and you should go check out the light room essentials course. We do some cool stuff anyway. Back to Illustrator, and I'll see in the next video. 75. How to crop an image in Adobe Illustrator: Hi everyone. We are going to look at how to crop images in Illustrator. You can do it with any object, you have something on the top, you slick both of them and make clipping masks. The easy version. Why is this video 5 minutes long? Because there's a few little intricacies to it to become a pro, but that's basically it. Make sure it's on top, make a clipping mask. Jump done. Let's jump in and master it a little bit more. Alright, first of all, let's bring in an image. You can crop anything. Doesn't have to be an image. It can be another shape. But we're going to do it with an image. We're going to get file, we're going to get a place. And then your exercise files. We're looking for one that says crop cropping one even. Okay. And we're going to just remember to turn link off if you want it to be embedded so you don't have to do that later on. But file size gets bigger, that's okay. File place. And remember for click once these things are massive, so I'm going to undo and bring it in again. I'm going to jump to that. What I do is just drag it out to a rough size that I want. Okay, so what you need to do is I'm going to just do it over here and move it on. Okay, so I'm going to drag this over. You'll notice that because of the layer order that the image is on top. That's not what we need. The rule is that the image or the thing you want cropped has to be underneath. Okay. So I'm going to go to arrange and go to send back. So that's at front. I need to select both of them. Okay. And then go over here. There's one in that says make clipping mask. Clipping mask is what Illustrator calls a mask. There you go. You made a mask. It doesn't matter if it's any shape. Okay, I'm going to draw, you could use the ellipse tool. You could draw something with the Curvature tool. I'm going to bring in another image file place called cropping two. Okay, again, I'm going to drag it around to be an appropriate size. Remember it has to be at the back so you could use your range over here, but I end up using the shortcuts. It is command shift on a, control shift on a PC and your square brackets. Your square brackets are over by your key. See them there. They're open and closed square brackets. So command shift on a Mac, control shift on a PC. And the first one sends it to the back, the other one brings it to the front. Practice with that, I like that. All the way back. All the way front. All the way at the back, slick. Both of these same thing over here make a clipping mask. Awesome. Now say you want to adjust it. Okay, let's click on this one here. So the black arrow does a lot of the heavy lifting, right? Just move stuff around the white arrow. At the direct selection tool, we know we can kind of like click in and get into there and do stuff. So if I click off in the background and kind of click on the image, can you see it with the image in there? I can kind of wiggle it around. Here you go. So I've got it selected now, which is cool. The weird thing is if you want to resize it now, really need to switch back to the black arrow. But because you have it selected with your white arrow and you've identified that I want not the circle, but the woman that's inside the circle. I switched back to the black arrow, remembers that. And I can hold shift down and I can work inside of this mask. Or just get it the right size first before you make it coming mask. Actually, I like mine close up. Same thing with the circle gay. I grab my direct selection tool. If I click on the edge of the circle, I can start manipulating the shape. All right? There will be times where you want to separate them out, somebody else's document. You'd be like, sometimes you like there's an image, but you know there's more of it. Okay. And what I'm looking for, something like this is easy because like I know that's probably not a round image. It's an image inside of a shape. Okay. To split them apart. You're looking for the release. I'm going to slide across so we don't have to do so much zooming on the video. Okay, so with the selected, I can release this mask. And what ends up happening is you've got your image and you've still get the shape. It's just through K, it's got no fill, no stroke. Even though grade to start with. Remember command Y, Control Y on a PC just to kind of find it. If you do lose it, yours might be a very complicated shape. Okay? Ours is nice and easy because it's a circle. There you go. Let's how to pull them apart. Put them together, doesn't matter what color it is. As long as the shape you want to be, the mask is on top. Make clipping mask done. Now we've done it for a circle, a rectangle. You can do it for any shape you want. Any of these kind of primitive shapes like stars and polygons. You can draw it with the curvigetol or the pentol. Let me quickly do it. Cvigtol, random shape. As long as it's on top, select both of them and go to make clipping mask. There we go, Not appropriate. All right. I'm going to go back and that is it. I will see you in the next video. Once I've hit enough Undos, there it is. All right. Next video. 76. Class Project 21 - Postcard Finish: Hello, it's time for a class project. I want you to put into practice some of the techniques and skills that we've gone through in the last few sections. Okay, so we're going to end up kind of here with the postcard finished dish. Okay, so the actual exercise is I want you to finish up your postcard. Don't worry if it's not looking as best as you'd hoped it would. Remember, we're just learning. Okay, But what I want you to do is experiment with the following techniques. So I want you to add the logo that, you know, the logo type that you made earlier on, add it to the postcard. I want you to find and crop some images, okay? So unsplash pixel or the free stuff from Adobe stock has good commercial use free things. So we can use this thing for our portfolio. Up to you, I ended up with a lady and some ingredients. But, you know, look at your product, see what you can find. That's totally not centered. Direct selection tool, Move it across. There you go. I also want you to experiment with colors, okay? For yours, you can have loads of colors, a little bit of color. Copy and paste a few versions, okay? And then mess around with Adobe color, Look at the gradients, regenerative color, and experiment with some of the capacity. That's what I've done, this like little box here. So I've got a space for my all new recipe graphic. Once you've done it, save an image and upload it to the assignments and to social media. Now it's time to see and show off your postcard. Now if you're unsure about, you're like, oh, I don't know, was one of these three ones you're unsure. It's nice to show maybe 123 versions. Number them so that people can then give you some feedback. Because it might be a combination of a couple of different ones. Especially if you're new, there'll be some of you more confident just kind of like getting it done, Illustrator. And then if you are a little bit apprehensive of sharing with the group, share variety of versions of it and ask for feedback. And even if you are new to Illustrator or design in general, make sure you give feedback to someone else. I've said it 1 million times. It's the feedback to someone else kind of identifying what's right and what's wrong in your own head on somebody else's work can really help you grow your own creative talent. Alright, that's it. Go make a postcard and I'll see in the next video. 77. How to cut holes in shapes using Compound Shapes in Illustrator: Hi everyone. In this video I'm going to show you how to cut holes in other shapes. Okay, by slicking both and hitting command eight, control eight On a PC it's called a compound path. It's easy to do. It can get a little bit more complicated. That's why there's video slightly longer than just that, but that's all you really need is command or control eight. But then I'll show you how to do more complicated ones. We've got lots of shapes that you can see through. Yeah. Compound paths. Let's jump in. Oh, when. If you wait to the end, I'll actually tell you what this map in the background is, so mysterious it's not, I just forget to tell you until right at the end. So there's a little bonus for those who hang around. All right, let's get into it. First up, open up the exercise file called compound paths and you need two shapes, one that's going to do the cutting and the thing that's going to be cut, the thing that's going to be doing the cutting needs to be on top. So you might need to go to a range and make sure it's upping different. The other thing you need to do is, well, actually you don't. There's kind of like I want to show you, because the cupping mask works the opposite way, right? You end up with the shape on top, whereas compound path is the opposite. Gets me muddled up every time I have them the wrong way around. Doesn't matter how many years I've been doing this. I've got them both selected. I've got them in the right order. I'm going to go to object, I'm going to go to compound path and I'm going to go to make. Okay, I think about it there for a sec, even though the editor made it look fast, is because I use command eight all the time. That's control eight on a PC. Okay, and it just slices the top one out with the bottom one. Nice. Want a quick little secret? Instead of heading, make clipping mask. It's command or control 77.81 is like we did with the masks of the images. That's command or control seven and compound path is command or control eight. But you'll probably get the order around the wrong way for each of them. But there we go. That's how to slice a hole in something. Okay, now we can see through it. The one thing we need to do though is what happens with multiple shapes. What I want to do is I would like these two. I want to have a hole around the outside of this. So basically these don't do a whole lot, eyeballs. You stay over there. These two and maybe the beak as well are going to cut a hole in this shape. So what you need to do is the layer order is really important. Okay? So basically it'll assume everything on top wants to be sliced out of the lowest thing, Okay? This thing, I'm just going to make sure that it is arranged to the back perfect and everything on top of it that I've got selected. So I don't have that selected. So it's not going to use that. Okay. I can know it's just got this stuff. I've got two eyes and a beak and it's going to chop out whatever. Is it right at the back? You get it? Okay. Yeah. Who remembers the short cut? Okay, that's right. Command or control eight. Let's go the long way and go to object, compound path and make. Here you go. And the eyes just need to kind of like sit back in there or looking to the left. It's late in the course. It's late in the day as well. You're looking to the left. Here's right. Anyway, that is a compound path, basically a fancy word for chopping holes and things. At the beginning, I promised how I would make this just out of interest. Okay, You might find it interesting. There's plenty of ways to do it. I'm just going to use the ellipse tool, drag out a circle holding shift. What I do is I copy and I use a special trick going it. Paste in front, it's different from Edit. Paste, because Paste just kind of sticks it in the middle of your window. Paste in front puts it exactly where it got it from, and then I'm going to change the color just so just so you can see it. So I've got two circles right on top of each other. I made this one a bit smaller by holding Shift bake can hold down to drag it from the center as well. Shift will lock the height and width. You got it? Option on a Mac or on a PC. So I kind of got it to that generic, I don't know, Google Map kind of location sign. Then I grabbed this one. I grabbed my direct selection tool. I know there's a little anchor point down the bottom here. I just moved them down holding shift, so it goes straight down to a point. And then I know that this fella needs to be, uh, curve, not a corner, curve opposite. It needs to be a corner. There we go. Now up to you, I can grab my direct selection tool, grab that little anchor point, and they call it, I think, a corner widget. I call it the Target, but the official name is the widget. If you can't see it for some reason, okay, one of two things is you haven't got it. A regular old rectangle going off script a little bit, but regular rectangle you can see the little targets. Look at that. Okay, great. If I grab it with my selection tool, they're still there. If I grab it with my direct selection tool, still there. If I grab my Wed shape here with the selection tool, it doesn't show them. You're like, why not? Because it's kind of a complicated shape. These simple shapes it shows, It doesn't matter what tool you have selected. With more complex shapes, it kind of hides them because otherwise it'll be. When they first announce this and they release it, there were targets everywhere on complicated shapes. So they just went, alright, we'll only show them if they're using the direct selection tool. There you go. The other thing that might be wrong, just you might want to check under view, you can turn them off. Okay, where are they? Corner widgets. They're generally on by default, but you can turn them off if they are a pain. And I guess I want to show you hide edges. Just not 'cause we're going to use them, but because you might accidentally hit that shortcut because it's near the command you. Or you might be just smash away keys thinking, oh I wonder if this is, I don't know, horizontal or something. Hide edges. Just something weird look, I'm gonna togle the shortcut on and off. So with it off, you get none of the working. And with it on you do You might have already done that in the course and gone, Dan, I can't see anything. Look, I'm selecting it got no anchor points. Probably should have showed you this earlier. Doesn't happen very often but I know I'm, you know, I'm kind of smashing away at shortcuts and forget which one of hit. So you might have lost shot edges. And just than anything, if you've got something that's really weird, have a look. It's probably you've turned the view of something off in here, have a little look through and just turn them on. Turn them off until you figure out which one it is. There you go. That's how I do my little location dot. Okay, and I'm gonna slick both of these and go, which is the shortcut, Who remembers? That's right. Command eight. Control eight on a PC. Nice, easy, Al, right, that is it. I will see you in the next video. Actually, I forgot to tell you why the big map is in the background. That's my old high school. My old high school. My old primary school. It's called Nurio High School, It's Auckland, New Zealand. There you go. I wanted a map. I didn't want to show you my actual house. So here's where I went to school a very long time ago, real hard. Alright. Now that is it of the video I'll see in the next one. 78. How to separate Compound & Masked shapes in Illustrator: Hello, in this video we are going to uncompound some shapes. Okay, earlier on we made this compound shape. Cut a hole in it. You can't just hit release and that works 70% of the time. The rest of the time it gets super complicated. And I want to just leave it at that the easy way. But you're going to get stuff and it's gonna be the hard way. And guess what? It's kind of hard to undo some of these compound shapes and masks 'cause they use a similar method. There's a lot of ungrouping and releasing and oh, it's messy, and there is no unifying thing to go do to make it work. Every time there's a little bit of this, a little bit of that, would you just get on with it, Dan? I'm stalling because it is a bit yicky's get into the yick, Alright. First up, open up an exercise file called compound release, okay? And we're going to deal with this one first. We'll go from easy to hard, okay? This one here is pretty easy because we know we've made it, it's got a hole in it, okay? So it's got a compound path. I want to kind of separate them out or kind of break them apart. They're kind of stuck together. I can edit them separately. I can grab the direct selection tool and I can kind of click in here. Okay. And I can alter it, but how do I separate them out? So I'm going to click on it with the selection tool, so I have the whole thing selected. And you can see over here, there's an option that says release. Okay. Now it is two chunks. Sometimes this one here will end up having no fill. Okay? And, but we know how to see things with no fill. Do you remember? View outlines, That's command or control. Why? You know, like there he is and I can say you are, I can give you a pill and more a stroke so that I can see him again. Come back out of that and there we go. We've broken him apart. That's easy. How do we do hard stuff? I made this guy hard. He has holes in them, you can see through. Okay. So what I did was I can't see release. Why can't I see release? You're like. Hmm. He was definitely a compound shape. We made him. Ah, but Dan grouped them. Okay, Just because there were lots of little objects. So I went and hit the group button down the bottom. So I need to ungroup it. Oh, okay, easy ungroup. You're like great. Okay, what do we do now? It's not showing release. All right, let's click off in the background. Let's click on this now. It's going to be Release. Look still no release. Why? Because I grouped it again. Look, I grouped these eyes with the back. Okay, and I made a little group. Let's, I grouped them like that. Okay. Then I put him with this, I selected that and group that as well, just to confuse things because things are confusing, especially when you're working with somebody else's artwork. So in this case, I had to ungroup it. Click off, Grab this chunk, this is what I do. I grab it, g it all around and go, you shouldn't be attached. I'm going to ungroup you as well. Click off from the background, click on the thing that I want to separate. That seems good. It could be still grouped. There could be many levels of groups. So ungroup, ungroup, group. Wiggle it around until you find release. And now I have got undo a whole bunch of bits that I can't really see. There you go. That is how to release compound shapes. Confusing how I'm going to undo, to lose back. He's looking down, he was sick of looking left. All right, let's look at this one slightly actually, this is less complicated than that one. Don't worry, it gets easier and then really hard. Okay, this one here, I'm going to ungroup again. I can't see the release. I know it's got some stuff like I can see through it. Okay, a lot of free icons you'll get. We'll have compound shapes and you want to separate them apart. So what I'm going to do is click off from the background and then click back on, and then I can see release. Great. Okay, and I've now got them in different chunks. You can see this one's still attached. Okay. After it released it, which is cool, it's in a group, so I'm going to ungroup that. So there's no official rule of like how you should do this. There's just a lot of ungrouping. Clicking off, giving things a wiggle. Oh, look, that one didn't even need like separating again. Okay, we released it, then we ungrouped it. That one we ungrouped, and then we released it. So it depends on how these things are created, okay? And what processes they've gone through, what programs they were invented with. But there's a lot of jiggling around and ungrouping, then trying to release, and then ungrouping again. The other thing with this one is that they ended up being this like magical bounding box around the outside, some figs and stuff. Just get this the way that they're created. They end up with this box around the outside that doesn't do a whole lot. And you can do one of two things to delete it, in my case because it's not connected to anything. Can you see? I can wheel it around. It's not messing with it. I get hit, delete another way. Okay. And sometimes you need is grab the direct selection tool, grab one of the points. You should grab them all. But it's easy just to delete one. Then by default it hats all the rest of them. Selected and hit delete again. One of those two methods will work. Blowing your mind? Yeah, relaxing com bound pass is probably the trickiest thing that I do in Illustrator when I'm working with somebody else's files I've downloaded, I don't know, icons or illustrations or, and you're just like, man, how's this thing made? And it's not so much illustrator made it, it might be that a website made it. These icons can be created through a kind of a dynamic methods through our website and all sorts of stuff goes on, especially when the files have kind of been tried to make the file size really small, lots of goodness gets chopped out. But it's okay. This one's the hardest one. So this was intertwined. This is the actual intertwine. Okay. We did earlier on still editable text. I went object, Expand. Okay. And we ended up at this one. You're like great. How do I pull this apart? Because this has got all sorts of weirdness going on, so I'm going to ungroup. That seems good. Okay. Click off. Click back on. That's kind of working. What's this stuff? So here, look at this. There's just 123 shapes. That's actually how it does it. It's pretty cool. Well, pretty cool, it's clever. This one's on top. It's got a mask on top of itself, a compound path. It's actually a mask. Okay, same process for unpicking a mask, whether it's a compound shape or a mask. And that's what they did. They just got the two layers and then put a third layer on top with bits chopped out. But now you're like, what is this? Let's move it over here. Okay, How do I get this apart n it's got the rectangle and it's got holes in there all. Do I need to ungroup it? Why not? It doesn't do anything. Okay, let's release the mask. Okay, this is kind of working. Let's click off in the background. Oh, what's going on? I'm gonna go command Y, so there's bits in there. Okay, so I'm going to select those. You go over there and there's this bit, command Y. So this bit's fine. I don't really need him say you wanted those chunks. There you're like, okay cool. They've got no stroke, no fill. Alright, I'm gonna gim Phil, but they're a compound shape. We've gone from mask to D with a rectangle around it to a compound shape. It's weird, man, but I can release it and now I should have still no bits. Okay, I'm gonna ungroup it. Well, it's still not working. Can I ungroup anymore? No. Oh, finally. Oh my goodness. I want to leave this out of the course. I really do. 'cause you're going, how am I gonna remember that? You won't. You're gonna become an ungrouping, releasing deleting stuff. Master another way around that one I know I could probably have done this is attached, it's got the rectangle. Watch this. If I click on one of these points with the direct selection tool. Delete. Delete again. That kind of unpicks it as well. So this is the video that I didn't want to make because unpicking compound shapes and masks are kind of tricky. And there's no like legitimate, absolute, just do X, Y, and z. There's a lot of just ungrouping, releasing, checking, wiggling things around, checking outline views. And I guess it's important to know that it's not easy sometimes, sometimes super easy, just release it, Ungroup it. Done. Alright? Don't leave the course though. It gets easier from here. We do some cool stuff with compound shapes. In the next video, I'll see you there. 79. How to make a Paper cut effect in Illustrator: Hello. Hey, we're gonna make this cool paper cut effect. We're going to use some of the skills we've learned from compound shapes and masks to make this kind of cool abstract paper cut, depthy thing. It's very cool. Let me show you how to make it. Alright. First up, I'm gonna go to Web and just use Common 'cause it's a nice shape. I'm going to just make sure my Raster settings, if you haven't go to advance open, make sure your IGB and go to Raster settings set to 72. I'll talk about that later on in the course. Okay, let's click Create. So what I'm going to do is I'm gonna start with some squirrels. I'm gonna grab my pencil tool, okay? And I'm going to double click it and make sure the smoothing is right up, okay? And I'm going to start with an outer blob, try to get it closed so it finishes together. Okay? Another blob, a little bit of overlapping. Going on another one in there, is that enough? Maybe one more Adrian Santa fix. Okay, So we've got our shapes now. We're going to do a couple of things. We are going to separate them out just to make it easier and make it clear what we're doing. I'm going to zoom right out. Okay, I've got this little baby one grabbing the edge, holding shift, you go there. This one holding shift. I've got these three. That's Dan. Okay. And what I want to do is wrap them up in a rectangle. Doesn't really matter. I'm just going to use the shape that we've got here. I'm going to fill it with a color, any old color. And I'm going to give it no stroke, just cause. Okay. And I'm going to try and actually line them up. This needs to be at the bottom. Okay. Maybe you can go arrange send to back. Let's command shift square bracket or control shift square bracket. I'm going to do that a few times. I want this one to be in the middle here. I'm going to use the next one here. Same with you. I'm holding down my option key or Ol key on a PC and while I'm dragging it and you get a duplicate. Okay, so this is in what we want to do, and we need one more, that's just the plain color. All right, let's see if we can make this work. So let's start with this one here. For that actually, I will go and add colors. So I'm going to get a bunch of five colors from Adobe Color Color.adobe.com Okay, I just typed in Vintage. And I went round and I'm going to pick one. And the one thing I did do is I re recorded this chunk because it wouldn't work because I didn't realize I was on a different template. Sorry, A different library. Okay. Because I was doing something in between videos. So I'm going to be on the right library. Then I'm going to add to library, and hopefully over in Illustrator, magically, there's my color here. So I'm just going to work my way through and go you which one I'm going to do? That's going to be my background color, dark, and I'm just going to work my way through you. Wait there. All right. So I've got all my colors now. I'm going to make a compound path. So I select both of them, Both the background and the shape, and we can go the long way. Object compound path make, or you can use a shortcut which is command eight or control eight on a PC. Okay, we're using command eight, but you might be on a PC control eight. So we can do all these cool compound pass. All right, now we need to line them all up. Can I select them all? Zoom out to be more. Can I slick them all and just go A line properties a line center, a line vertically? That did kind of work. My layer order is a bit messed up, but that's okay. So that's at the back. Where is this one? This is going to be the fun one of who goes at the back and who goes at the front. So I've got that one at the back. That's what I want. I'm going to go to Outline View Member Command or control Y. So how am I going to do this? I'm going to send them backwards. Backwards, backwards. So I'm going to grab this first shape and you can go to the back. Remember you can go arrange send to back. I'm going to use my command shift and first square bracket, so he's all the way at the back. Then this one here is all the way at the back behind that guy. This one here is all the way at the back. He'll be behind these two other people. So can you see what I'm kind of doing there? These guys are all at the back. And there should be command Y. There's one little shape, command Y, send it back. Oh man, the color is cool. All right, so that's kind of cool. The little effect you saw was a drop shadow. Let's do that because it, that paper cut depth feel. Okay. And we're skipping ahead in the course bits. All right. I'm going to slick everything. I'm going to get over to drop shadow. Okay. So we're going to go to effect. And we're going to go to we're going to find drop shadow. Where is it? Under Illustrator Effects. There's one in there, Cord. I'm stalling. It is under style. That's it. Okay. And go to drop shadow. Now that actually looks pretty good. So the capacity is how through it is. Obviously offset is like, is it down and left? If I go over to 20, I'm holding shift and using my up arrow, you see offset X is the left and right. You can go negative 140 as well to go the other way. If you hit to enter, it closes to get back into it. Okay with it all selected. There it is, there. There's the effect that I applied. Okay, so I'm going to open it back up. And I just want seven by seven was nice. It'll depend on the size of the thing you're making as well. If this is teeny tiny, seven by seven might be way too big. If it's a really big poster, then this might be too small. Okay. The other one is the blur. One kind of fuzzy ish 20 like cool and make sure pues on if your computer is struggling and you're like, let's trying to add drop shadows, weirdly illustrated. Just doesn't like doing this type of effects. It does vector amazingly fast, but it's not built for effects like drop shadows, the thing giving it stress and the way you can maybe make it go faster is under effects document, Russ settings, This was the thing when we went file you, I said everybody, you should go to this and pick 72. That's better for printing, which will cover in a bit. But this one here just it'll display in your screen the effects in a lot less quality. They're fine. Can you see they look fine at 72 when I go to print, I'm going to have to change them back to Russ document setting. So this is another way of getting to that exact same setting that you saw at the new document setting. And you can change it in here, so I'm going to keep mine at 72 and I want to crop mine out because they're kind of cool crop, right? So we've done compound shapes and we're going to combine them. And I'm just going to draw a rectangle. I'm going to give it a stroke and no feel. And I'm going to use it like a window view finder and just find an interesting part maybe there. Okay, with that on top, remember the thing you want to chop out on top. Select everything and go over here and say make clipping mask. If it's not there, there's object clipping mask make or our handy dandy shortcut command 07:00 A.M. control seven PC. Look how cool that is. Ooh. And to go even further, let's do another version. Let's go to, you think of what I'm thinking recolor now because it's a weird shape. Recolor didn't pop up down the bottom here, so we're going to go the long way. Let's go to Edit, Edit Colors. There's one there called Recolor Artwork. Okay, And we go to Generative recolor and we're going to type in, let's type in vintage again, because I just want to find other vintage variations. Let's see what I can do. Boom, this will be a lot slower if your rust settings are up high as well. Okay, But cool. Hey, just kind of digs in and changes all the colors. I want it to stay open 'cause I want to make a duplicate. But then click on a different variation that doesn't seem to work at the moment, but it's a cool way of working through some different colors. Wobbly lines with drop shadows, paper cut effect it. All right, and just before we go as well is if you've got one and you need to release it, let's move it over here and play the release mask game. And all you're left with is our nice shapes. But there's also this thing here, left behind. Okay, It's got no stroke, no filing. Delete it so it doesn't cause us any problems. Command Y just to check and luckily you don't have to ungroup or do any of that madness. It's all there. Al right, that is it. I will see you in the next video. I'm going to make you do some paper cut stuff. Alright, See you there. 80. Class Project 22 - Papercut Effect: All right, it is your turn to do the paper cut effect if you've already done it in the last tutorial. Cool. Okay, all I need you to do is to make four versions of it. Okay, so do the tutorial from the last video. I want you to make four different variants of it. There's two things you need to do, different colors, and I don't mind how you pick the colors, whether you're using generative recolor or adobe colors. Whatever you want, just picking them out of your top of your head. And I want you to do different crops. Can you see? I'm going to release this one over here. I'm going to drag it over. So I'm going to release this one. I just moved the rectangle around and just did a couple of different crops. Okay, make clipping mask. You got the same shape you're gonna have to do at once, but you can move the mask around, change the colors to get lots of cool, different abstract effects. Once you've done, upload it to the assignments, and I'd love to see it on social media. All the things are listed here. Show me your four variations. You can do more. You can do less. No, you can't, you got to do four, alright? Enjoy making paper cut stuff, and I'll see in the next video. 81. Using artboards in Illustrator to make double sized business cards: Everyone, in this video, we're going to look at upboards. Upwards is just another word for pages, you can have lots of them. I'll show you what you can do to create them. Create multiples of them. Make sure you don't overlap them. How do I make this? Not a boring video then. I don't know, but we need to learn it. So jump in. Alright, let's create a new file. I'm going to make mine business card size 3.2 by 2 ". And I'm going to click Create. And that's our first upboard. We call them pages. Illustrator calls them upboards. Okay. And to create another one, grab the artboard tool. And there's two ways, you can click and drag it and then give it a size you can drag it and just make it any size you like. Typically, I don't know, you need it to be a specific size generally. Okay. And you can type it in over here. Width and height. Don't type in x and y. Okay. I do that all the time. Width. I'm going to do another one that is 3.5 tab by two. Enter. Do not let them overlap. This will freak illustrator out. Doesn't know what art boards on what, it's pretty not happy if you have artboards that overlap. Okay. The other thing is you don't really need to line them up perfect because you've got smart objects. Okay? Or smart guides. It will line them up for you, you drag them out, resize them up to you. That's the way I do. I just drag them out and resize it. There is another way, probably more official is go to new see this little plus thing here. I'm still on my artboard tool and I'm going to go to plus and I got a new one. It just duplicated my last one, which is fine. Then over here I can change my presets if I know what it is. Or change it up here. Remember, do not overlap them, they do not like it. Okay, I'm going to go the other way. A third way is you can just select it, copy and paste your artboards and got paste. Paste. Okay. And it will just copy and paste it. The good thing about doing it that way is that it'll copy anything that's on this first artboard. Whereas if you make new upboardsky, upboard, make new artboard, it makes it but doesn't, it gives you a fresh one. Whereas if you just copy and paste it, I'm just using the generic copy and paste, and edit, copy, edit, paste. Okay. It will duplicate it across. There's times where you want both the other way and actually the way I do it the most let's say is with the outboard tool. I hold down the option Kaka PC and start dragging it out. And there we go, Duplicate all many ways of doing the same thing. You want to make a duplicate, but you don't want to the artwork to come across. You can move artwork with artboard swath this. You can turn that off and I can duplicate it across. And it duplicates it without all the artwork. I don't know why there's so many options. This is the artboard video. Anyway. I want two artboards to delete them. Just click on them and hit delete. To rename them, use double click with the artboard tool, okay? And it opens it up and we can put this one called back. I'm going to enter Show. The other way is click on the artboard, and over here you can name it front. That is the one oh one of artboards, you can have as many as you like. Oh, one last thing. I use a shortcut shift. It is a boring shortcut, but it's Mac and PC. And they use the artboard tools enough to remember it. There's loads of shortcuts that don't remember if it seems like I know them all, only the ones that I use loads and that's one of that I do somehow I under lost my name. We go front and back. The other thing you can do is when you're doing lots of concepts, you might find that you're kind of like doing it all and you're like duplicating it all. And you might find that, you know, you get a bit OCD and things aren't lining up. Look gap, same gap. The same, definitely too small. What you can do is you can do a select door for some reason. You can, you can, you can go select door. Now it's selecting everything in the page. So the upboard tool, what I find is grab the upboard tool, select the name of one, then go to Select All. Hm, That doesn't work. Okay. I'll tell you what I actually do. I go command A for select all, or control A on a PC. Select all my outboards, or you can shift, Click them all. So click the first one, hold shift, grab that one. That one and that one. And you have got things like a line center and you've gotten a little drop down here. You've got distribute centers. So that let's have a look at things. Start looking a little more organized and you can have lots of copies. Like I'll be having lots of copies if there's different pages of say, a newsletter front and back of our business card. Maybe different concepts of the same business card which we're going to do. Or maybe it's a social media ad and you've got a different concepts but also like week one, week two, week three plus all the different like aspect ratios. You know the tall, skinny kind of version for stories on Instagram. Or you're doing more of a Facebook post and it's a square. Okay. You end up with loads of artboards, a bit more hardcore, but I'm going to end up with these three. I've got these leftover that they don't normally get left over. They didn't my one. Okay. I'm blaming it on the pre released version that I'm using, but maybe I did something funny with my layers where it wasn't actually in the artboard. That's one oh one for artboards and probably everything you need, I hope. Al right, that is it. I will see in the next video. 82. Class Project 23 - Business Card: All right, so I know this is not a particularly small project, so if you are time pour and don't have time to really get into it, I hope you do. But there'll be some of you that might be daunted by this one. Just copy mine and change the text to your text. Put in the icons from earlier in the course. Okay, there's the phone and there's that one. So we've done those ones, right? This one here, I just typed the At symbol on my keyboard. Made it the right size and made it kind of bold. Add the logo that we did earlier and that's it. Put something on the back. It can be just the drawing that you did. It can be the creature, it can be the monogram. It's up to you go I've tried to add a bunch of different things just to give you a, for instance, kind of probably got too much in there, but I want you to use your brand colors and your logo that you've made. Let's have a look at the actual requirements, okay? So business card, use your local sizing. So figure out what is the default business card size in your country or region, okay? And if you are going to design the business card, create itself a moodboard. Go through and do what I did and did business cards in Dribble, in Hans, I typed in cool business card designs into Google and followed a few of the links. Took a few screenshots and just threw them on. Remember the moodboard we made earlier on? I just threw them all on. I was like, that's cool. Oh, that's cool. Oh, that's cool as well. And then you find out once you've got all your details in that, none of actually work, but it's a good place to get started. Okay. And then I went back through a bunch of the projects that I made and just copied and pasted bits out. Let's have a look at the class project. So create a front and a back, okay? So it's going to be a two sided business card. These are the main ones, okay? Just make sure the name, phone and e mail address and physical address is on there. Just practice laying out type, adding your little symbols. You'll notice I changed my brain colors. I'm not particularly worried like, as we develop through this course, our knowledge of color is getting better. So you can go and change it totally up to you or just follow what you've been doing up until now, or just pick anything. This isn't really a design course, it's more of a illustrated course. But it's great to get these things implemented so that we get to practice our design skills. These are the optional things. Remember that circle badge we made? I put mine on mine, okay, that's that thing. It took me ages to recolor it because I had to ungroup a bunch of stuff and figure it out with the direct selection tool. If you find that hard, it is hard, got there in the end. Optional as a gradient, you might not be a fan of gradients. I put one down the bottom here. So what I did is I made a gradient box and then put that on top. And that's exactly what we did here in this. Okay, I just made what did I do? I just released this one because I like the look of it. And then made a box that was the same size as this one down here so I could crop it out instead of the square that we used here. All right. What else did I do? Okay. I didn't use the monogram. It felt like I had so much going on. I ended up using the pencil drawing that we did way early on, but I added a brush stroke to it to fancy it up. I used the paper cut the creature you could use on the back or on the front, I don't mind. And you might use an image. The image, I kind of found one from unsplash and I typed in ******, found that one. I cropped it with our sweet cropping skills. And then remember early on we looked at transparency. I kind of just darkened it down so I can put type over the top. Kind of make it more moody. There you go. Just make sure the details are functional. Don't put your actual address and phone number on there. You can of course, but I wouldn't. Yeah. And use the icons that you've made throughout the course. If you don't have any of the icons, may you skip that one? You can go and find just an icon set. If you type in free icons, business cards, or, you know, free icon, E mail, free icon address, you'll find a set that matches. I'm okay with that as well. And on the back, basically it's all optional. What you want to do on the back there, do something. Okay. I originally was going to have the logo and then I decided I like the logo on the front and so just mess around with what goes in the back. Had some sort of details. I went with website and Youtube. Okay. But you might go Instagram and Tiktok or linked in or whatever you feel most appropriate for the brand. If you are running into problems with colors, okay, get to this stage and then make sure you duplicate it. And then use regenerative color, right? Remember, use the tool, okay? I'm going to click this one and this 12 of them. I can use copy Paste. Go on a wet spot. I'm going to just use my hold down option or Alt on a PC to make a duplicate. And then I'm going to use region color for this. Maybe the text you don't want recolored, so you can select that or just experiment with it. See how Recolor does for me. I don't have that many colors. I might just experiment them with Adobe color. Okay. And just use Eyedropper tool and just mess around with color. Here you go, Deliverables. I want a screenshot of the front and back combo because now we're using artboards. It's a little bit trickier to export J pigs because it'll do one and the other. Really, I just want your front back. Remember on a Mac command shift four and print screen normally works on a PC, but you have to check for your version, okay, and send us that. The other thing is that if you're doing duplicates and say you do different layouts, okay, because you've got some time, you experiment with different layouts. Make sure you duplicate it first using the upboard tool. And then send us a couple of versions. If you are looking for feedback, okay, from the community, make sure you number them, okay, before doing a screenshot and have like the three versions. My advice is don't share 15 versions, just share no more than three. Otherwise it gets a bit daunting as a reviewer to go, oh, there's so many options, so many very similar changes, just distinctive changes and have no more than three, maybe just one. A front back, maybe there's two, maybe there's three, but don't do 16. And just make sure you number them as well. See a big old screenshot of all of them together. I don't mind if it's just the singles or all of them together. And upload it to the assignment section, okay, And upload it to social media. Again, remember this is a kind of a technical exploration rather than like, am I a good business card designer, we haven't learned those skills, We've just kind of built elements. So don't worry, some of you will have loads of design skill. And for most of you though, this will be the first ever business card you've ever made. So maybe say that in your post. If you are feeling nervous about sharing your design work. My very first business card, what do you guys think? And like always, if you're going to post, make sure that you comment on somebody else's practice, your creative criticism, and be less that's not good and more. What I think you should try next is that comes across a lot. Nicer. Alright, that's enough it is. Business time. Business card time, bad joke. 83. How to use Liquify distort wrinkle bloat & pucker in Illustrator: Hi everyone. In this video we're going to look at a lot of the transform tools. All this kind of like whopping and liquefy and bloating and shrinking, wrinkling, all fun tools in Illustrator. Sorry Al, He doesn't go well, but the rest of the are kind of fun. All right, let's get in there and start experimenting. Alright, Open up Liquefy 1.2 from your exercise files and we're going to start with the ice cream here. Okay? It's an ice cream because I drew it. And we're going to be looking at some of the tools. So we're gonna, they're not here in the main tools, they are in the dotted lines here. Okay. And the connival towards the bottom. We're going to go through a few of these. We're going to start with this one called Warp. Click on it. And what I do is just kind of like click off from the background to close that menu. And what you'll find is we'll go to Properties is we're going to go to Tool Options or double click the tool down here. This is like the temporary holding area for the Oh man there example. Better than my example. Okay, ice cream I thought was a good idea. The pizza one is cooler giving it away. All right, so we need to update the store. We can double click on it, or we can go to the Tool options over here. Okay, we'll end up at this point now, the size is going to be way too big to get started. Okay, So like I said, 150 to start with, 100, let's put in, let's put it in 30. Just 30 and I tab down to 30. And the intensity, let's turn it down to 50. Okay? Just so it's not so strong, you'll end up having to adjust these quite a bit for the different tools. Let's have a look at reset. That's what they're all at. Okay, maybe it's already at 50. All right, let's click okay and give it a go. It's too big then. All right, 50 is a better one, that's more appropriate. And I'm going to start at the top and go for this like ice cream dripping thing. That's what I was going for, that, it's all drippy. Play around with the different brush sizes and it seemed better in my head. Draw pizza. Okay, let's look at one of the other tools. So click on your three dotted lines, and let's look at this next. 11212 by default, let's go to Tool. Options is way too strong in terms of intensity. Let's give it a go just is a bit too fast. It's cool though, okay? But it is way too fast I find. Okay, so we're going to go to tool options and we're going to go 10% And I might bump the brush size up to 70. I just tab through them. Okay. And I'm going to grab as air. Can you see how often? I don't just grab it in the middle, you can grab at the middle. And just turn it. Look how cool it is. And while you're dragging, while you're clicking it, you can move it around. Look, does this cool bungee stuff, if your computer is freaking out, like mine, it's keeping up. If yours is freaking out, you might go to effects, go to raster document effects. It depends on what you're doing. The resolution, you might turn down to 72 just to make things faster. What I like to often do is just grab, let's say we grab the tip of his ear, but can you slot right in the middle there? I just grab the tip and look like. And once it goes around, then I kind of grab it and do it again, so it doubles on itself. A look how cool it is. Let's get one from underneath there. One and then, oh, look at that, he's melting. Okay. You can turn it the other way by double clicking the tool or going to Tool options, and you can say 12, right at 40 degrees, you can put in -40 So it goes back the other way or look at it and then wait. Got him cool, huh? Do one off his nose. Actually it's going the wrong way back to 40. And you'll have to experiment with intensity and brush size depending on your actual image. Yeah, I don't like that. No, don't like that either. Nope, don't like that. Okay, let's look at another one in here. So we've done these first two. Let's look at these two are kind of the opposites of each other, okay? We've got pucker and we've got blot pucker. Does pucker stuff Now I'm probably going to make a bigger brush intensity. I'm not even sure. Go to 12120. It will again, depend on the size of the document. But what's pucker? Okay. I didn't plan this one all the way through. I was like, that'll be good shape Nope, the owl does not do well with a bit of puckering. All right, I'm back. Kind of fits the giggles there. Alright, let's look at doing bloat. And so one of the other options in here is so his pucker's emphasis is bloat. Okay, just kind of pushes from the outside and we're gonna skip that one 'cause that actually's probably a little boring for Bloat. Let's do it to this brush size. Here you go. I don't know, it's the Bloat one. Oh, okay, you get the idea. They're fun. Great for illustration. The examples that I've picked, pucker and bloat, haven't been great. Let's look at one that I feel is a bit greater. Okay, I do like these two actually, these three, they're all very similar. So scallop, crystallize, and wrinkle, kind of very similar. Scallop and crystallize. Let's just scallop. Kay, is going to push things into the center. Look what happens. I'm going to kind of start in the middle there. Can you see it? Kind of like, wow, that's cool. Pushing it into the center there. You're going to have to play around again with your tool options, top right, and play around with how much percentage, how big the brushes. Let's go really big. Let's go 160 by 160 so you can cover the whole thing, not quite still. Cool, Crystallize, sucks everything into the middle, into those points. Let's look at the very similar, but it pushes it out like an explosion. Same thing. Let's explode the fox. An sound effects. It's from where the center of the fox is doing. Where am I going to go from there? The exploding from there. Maybe it's the owl. There we go. Al right. The last one is that modified group is going to be this one here. Wrinkle. And that kind of does a bit of both. Goes forward and backwards. I'm gonna get a nice big actually I can just move around this guy, It's like, it's weird. Like the intensity didn't even see it work, right? It's 'cause the intensity is way down. Let's put it up to, I don't know, 30% Okay. Gsnger. Alright, we've done it with some objects that went okay ish, things of the owl. Let's look at doing it with some text. Text is one more fun, actually, let's do it in the next video. 84. Class Project 24 - Liquify Type: One class project. I want you to mess around with the modified tools, okay. I've given you some text as an exercise file. Kind of mess around with it, see if you can do some liquidy things, gas things, solid things. Yeah. I want you to start with this practice exercise, okay? It's called liquefy two in your exercise files. Do something with it, mess around with it, and then I want you to do your own one, okay? Let's have a look at the class project. It looks like a lot, but it's not. It's basically experiment with the liquefy two. Okay? The one I just showed you. And I want you to duplicate the arbor just to practice that. Pick a new background color for your text to go on. And I want you to create three words, just three separate kind of text blocks with adjectives. Okay, that describe your product. I just Googled like adjectives that describe food. Go through a few. Just pick three that would be appropriate for your product. Yours might be a candle, so not editable, but you get the idea. So pick three of them, and I want you to pick a new font. And the one thing with text is that it needs to be outlined. Okay? We've talked about outlining text before. Okay, busting it into a shape because watch this, this is editable text. And if I grab my modified tool, I try and do it, it says, hey, look, it needs to be outlined. Okay? And just remember to outline type. Okay. With it selected, go to type and go to Create Outlines. It's no longer editable text, so you might want to keep a version of it somewhere. It's what I do and just kind of sneak it off to the side, then outline it, then start using your modified tools. You can use any of them. Just try, even if they're like a way like, you know, I'm not worried too much that you communicate the adjective through the modified tools perfectly, just play around with it. So pick three adjectives. See how you go with the modified tools, and when you're done, save an image of your text, Upload it to the assignments and share it on social media. Nice, easy, fun one. I had fun making my one. Alright? Enjoy. And I'll see in the next video. 85. Sliced text effect in Illustrator: One. In this video, we're going to look at chopping something in half, giving it a drop shadow and looking like it is sliced. Cool effects, super easy to do. Plus, we learn a little bit more about gradients across multiple objects and bin fresh. Alright, first up all you need is a bit of text on a page if you want to follow along with mine. I've got a gradient background for no reason. Okay. It's called effect slice, but all you need is a big chunk of text and big thick text is good. If you open up mine, it'll probably ask you to download a font from Adobe Fonts. Do that or pick your own font. What I did is I was looking for my filters and I went show me the Sansa fonts that have really heavy weight. And I went through, I really like Avant Guard, so that's the one I ended up with. Here, we have to destroy it. What is the tip before we destroy text? Make a duplicate because you'll forget what text it is. Now we can go to object, we can go to where we can go to type even, and go to the one that says create outlines. Okay, now we need something drawn in the middle. So we're going to go and grab a pencil, pencil tool, or the line tool. Let's use the line segment tool just for kicks. I'm going to hold shift down so that it slices it straight. I'm going to select both of these. I'm going to use my Shape Builder tool. Shape Builder, there it is. All I'm going to do is to break it in half. I'm just going to grab a random color and then go click, click, click, click, click. All right, there is some straggly bits here, we can go through and delete them either with your Shape Builder tool. I'm just clicking them with my black arrow. There's one more, hiding. How do we see some invisible stuff? That's right. Command Y, control y on a PC? There he is, there. All right. Now I want to color this top. Actually, it's a big group at the moment. Let's ungroup it. Okay. So I can slick these separately. I'm going to slick all of these. We're going to do multiple gradients. We haven't done this yet, so like a, some new stuff mixed with a lot of stuff we already know. Basically all we're going to do is this, rotate it, okay. But if you want the gradient drop shadow thing, what we're going to do is just start with the more selected. Go to Phil. Pick the default black to white gradient swatch. If you're on the mixer switch over to the swatches. And what we're going to do is grab the gradient tool. It's a bit weird with lots of objects because they're all separate gradients. You can mess around with them by, with the more selected watches. If I not on there, I don't want to add a color. But you see down here I can get my little target. You're looking for the target, so you've got to be far away from the gradient. You might have to zoom in a bit. Okay, so get a space and then just click hold and drag from the bottom. I probably want to go from the other way. So I'm going to undo and drag down this way. And I just want like a little bit poking out. Okay, Up to you. I'm just kind of getting something that looks like a drop shadow. It's a fake drop shadow. There you go. That is it. So that can be tricky to make sure it's ungrouped and make sure you add the Swatch through this thing here first so they all get applied. And if you do run into trouble or you want to do some custom stuff with them all selected, like this switch to your ingredient tool. And then over here, ingredient, okay, You can go to this option here, it says Open Ingredient Group and have a play around in here. If you run into any trouble or you want to kind of push this a bit further. Alright, nice. Next thing I'm going to do is just grug a zoom out, grab all of these and just go keys. My keys just to shuffle it over a bit, grab them all. I might even just group them for giggles. Okay. And then just rotate it around a bit 'cause it looks cooler on an angle. Alright, you and my friend are freshly sliced. Alright, That is it, I'll see in the next video. 86. Class Project 25 - Sliced Text: Hello class, Project time. I want you to do the same sliced text as we did in the last tutorial. So this thing here, I just want you to do it with kind of a cheesy slogan, okay? So it's kind of for our building up our stuff, for our brand, okay? This is just like a bit of advertising. Don't spend too much coming out with a corny slogan. You can borrow one of mine, create one your own, okay? Prices are slashed and then you get the joke, right? Okay, Not even the joke, just the lame, old school marketing. We've cut our prices and you cut half the price, 50% of everything. If you've got any other better ones, totally use those. Just want to practice that slicing technique and the tricky multiple gradients across lots of bits of text. If you run into trouble, you might have to rewatch the last video because that grading can be quite process driven. You've got to get it in there. The way I showed you in the last video, just remember to outline the text and to use the slicing techniques we've already learned. Save an image, use a font and color. You don't have to, but go pick a nice color for your text and background color. Pick a nice font from Adobe Fonts and then upload it to the assignments and share it on social media. I'd love to see what you make. It's a cool effect. And then I'll see in the next video. 87. How to bend & warp shapes in Adobe Illustrator: Hi everyone. In this video we're going to take boring old straight lines and boom, we're going to warp them. It's called an envelope distort. It's a cool effect that's way easier than trying to draw this thing with a curvature tool, or the pen tool, or the pencil tool. Let's jump in. All right, first up, open up the exercise file called Warp Transform. I've just drawn three rectangles for us with gradients in it. They're not very special. Okay? I'm going to select all three of them. Okay? And I'm going to go to object and I'm going to go to envelope distort. And I'm going to go make with Wp. Envelope distort is interesting. Don't really explain terms too much because this one is actually useful. Imagine you've got an envelope, like an actual letter envelope. You put lots of stuff inside of it and then twist the envelope, everything inside of it comes along for the ride, right? If you've got scraps of paper and banknotes and post it notes, they all get twisted and distorted. Okay, because you're twisting the envelope. But inside the envelope, everything is still fine. That's how this works. Whereas earlier on in the course, we did say liquefy tools, twirl and pucker the play. Those are quite what's called destructive. The settings in here are non destructive. It means we can go inside the envelope and mess around with it. Let's go with whop. And it will remember the last settings you've got. Make sure preview is turned on if it's not. And yours probably is defaulting to arc and it's probably defaulting to something like that. Actually just go to Arc and have a play around with the sliders, vertical, horizontal. There's some cool stuff we can do, okay? Messing around with the distortion, left or right, up and down, okay? All sorts of cool stuff. I'm going to go back to centers. Okay. I'm not going to go through every one of these settings, but can you see the little icon there? They're all reasonably self explanatory. Upper arc doesn't upper arc, the ones that I use the most are and flag wave wave and flag are quite similar but have a different result. Can see one keeps it inside of a rectangle. I put these both at 0.0 Other ones. The other ones I actually just show people a fish because it looks cool. Okay. And the rest, I don't really use that much, but you know, there's times where I've used them are. Okay. So what we're going to do though is look at how envelopes work. We're going to go to flag and I don't know, do some sort of wavy thing, I'm going to do it so it looks like it's kind of like a rainbow exploding out. I feel like a paint shop all have this for their logos. There's a paint brush with this flying out of it. Okay. And what we're going to do is click, okay. And then we're going to look at the world of envelope distorts, okay? And there's a couple of things. Look, if I go and rotate this thing now it rotates nice, okay? There's times where it doesn't, I'll show in a bit. Okay. But the cool thing about it is that I can go back into KC with it's selected, I've got Warp options. Okay? And I can go through and say actually now want arc or I want more bend in it. Okay? Or less bend. So it's nondestructive. K can go back. Whereas a lot of the effects that we did, especially when we smash things apart, like outlining type, we can't go back. Another thing that's interesting about envelope distorts is we can go inside them. Watch this. Who remembers how we go inside a group? We could ungroup it. It's not what we want. Now we want to dive inside of, it's called isolation mode. And we use a black arrow and just double click it. We kind of go inside. This is where things get wed. Okay? I can see those are my original rectangles. See them there. Okay. 12.3 And you can see over here, they still have the gradients applied to them case I can still manipulate them. I can say are you're shorter, you're longer. And you can see the distort and the backgrounds adjusting. It's like an active effect, just weird. It's a little bit hard to work in this way. If you command Y, sometimes that can be easier. Okay, I can't see my gradients, but at least I can see the shape. And I can say direct selection tool and grab that point and just mess around with that. I got command Y or control Y in a PC. It's best to get your shape right before you go into an envelope distort, but you get the idea. The other thing about it is can you see them inside here? I can change my fill. Here's my gradient and I can say are now going to be something else. Awesome. Okay, let's come back out. Let's go black arrow, don't click in the background. Now something weird happens with envelope distort sometimes. Okay? It's happened here to mine, is that when I'm selecting it, it's actually selecting the original rectangle and not the envelope distort. Let's say I try and rotate it. Can you see it's rotating the lines but the effect is still trying to apply across angles, some weird stuff. Eventually it can be handy just to outline this whole thing. Okay, We can go into object, go back to the envelope distort. You can either go to expand here or expand here. They do the same thing, I'm pretty sure. Let me double check. Actually do something slightly different. The better one is actually in under envelope distort and go to expand, it expands what's called the object. Okay? And this one here, if I go to expand, it gives you more options than you need, okay? Just need the object. In this case, you can expand strokes and fill separately. We'll end up with too many objects. All right, but now I don't have my effects. I can't go back and warp it, but now it's more of an object that mean you are used to in this course. I can grab my direct selection tool and go, oh, look at this. Okay. How sweet and easy this is to adjust. Okay? So there's times where you do need to go through and just kind of like expand the Whop Al right envelope distorts. Easy to do, especially now that we've got some other skills. We know how to use the direct selection tool, we know how to expand stuff, we know how to get into isolation mode gradients. We're basically Illustrator masters, but for a bit more mastery. Let's get into the next video. We'll do the same thing with type, spend it. 88. How to Warp & Bend type in Illustrator: Hi everyone. In this video we're going to take boring old straight text and start bending it into different shapes. Yes, I think I've got the decade wrong, but that doesn't matter. Let's go and bend some text using envelope distorts. All right? To distort and bend the text. Okay, Just type out some text and go to object and go to envelope distort and make with Warp. Okay, and play around like we did in the last video, K was something that works with your font. Click Okay. The cool thing about text though, is we didn't have to outline it. K comes along for the right to go inside of this envelope K. It's called isolation mode. We double click it to go inside, and you can see the text there. Sometimes it's hard to read the text, it might be distorted quite a lot. You can try and keep double clicking until you get to the text tool and go '70s. It can be a little, sometimes, actually this one's okay. Sometimes it's easier to go to command Y, okay? The outline view which is control y on a PC. Sometimes it's easier just to see here. And then command Y again to come back out. There you go. You can leave it like this. I'm going to double click to come out of isolation mode. And you can leave it as this like envelope distort forever prints just fine. But there might be a time where you actually need to outline it with it selected. Go to object, go to envelope distort, and go to expand. There we go. What's the difference between this and say type on a path? I guess this is more of an effect, you can see it affects the eight a lot different from the R. But there is a bit of crossover when you get to things like arch. Okay, When it just bends it over, depends on what you're looking for. You're looking for this like distortion or do you want the text just to follow a certain path that you've drawn? If you do type on a path, probably more what you want. All right, that is it that is bending type using the envelope distort. I'll see you in the next video. 89. Class Project 26 - Established Flag Warp: All right, it's class project time. I'm going to get you to draw this wavy flag thing. We're going to create an establishing flag for our brand to come up with a year. I don't mind what it is. Make it up, could be this year, could be next year. I've put in my birth date, squeezed into the '80s. But you can come up with something for your brand. I want you to, there's two parts to it. I want to use the techniques that you've learned in this course already to draw this thing, basically budget triangles, rectangle type tool. Okay? It's tricky enough to draw. And the easy part is using the envelope to store warp to get it to bend into this. It's cool because it's all adjustable and we can mess around with it. Okay. But I want you to draw this stuff first. One thing I will say though, is often it's easy just to draw one side, duplicate it, and there's a little flip icon. I can't remember how many times if I've shown you that before or rotate it around. Okay, so do one side. There's some fun with layer ordering. The pentel triangles all doable. But is quite satisfying when we do get it working, then put it in a warp. If you struggle with this one, there is the preceding video where I do it my way and I make these things. You can check that out, but do it your way first. See how well you go and if you want to, you can check out my version. In the next video, when you've finished, save an image of your flag. Okay. You can have different versions like me or just the one that you like the most. Upload it to the assignments and share on social media. I've made this thing 1 million times and doing it now for this kind of intro was quite satisfying. It's amazing what you can do an illustrator, Al right? Enjoy the flag making. Go off and do your homework, Bye. 90. Completed - Class Project 26 - Established Flag Warp: Hello. How did you go? Did it go well? And you're sitting there proud, looking there, beaming at your own flag. That looks super cool and you made it all on your own, or is it the next day? And you raged. Quit yesterday after not getting anywhere. Need some help. I'm here to help. I'm going to show you how I do it, or at least how I do it with the skills that we've got, there's lots of ways of doing it. It doesn't matter as long as you get some kind of flaggy looking thing. So there's a lot of work that goes into like making all the triangle bits and then like 5 seconds to make the whop. You probably realize that as well, but it's okay. It's a fun project with a satisfying end. Let me show you how I did it. Now you can see this video is kind along. Watch it if you like. There's a couple little tips and tricks, but nothing fundamental that if you skip it, you're like, I don't want to watch him do it. I've already done it. It's okay. But for those you do sit back and watch the way that I approached it. All right. I started with a blank document. I'm going to grab my type tool, it the type T key on my keyboard, click once and I'm going to type in 1980. That's when I was established a font size. You can mess around with the font size in here. I end up using the black arrow, holding shift and just dragging it. I'm going to go make mine nice and big. Okay? And I'm going to put a rectangular around it, which is the M key on your keyboard. Okay? Draw a box around the dish and I'm going to give it a fill of white and a stroke of non stroke of black. The stroke size, something I don't know thickish, yours will be different depending on the size that you drew yours. Drawing things larger tends to make things easier. Just as a side note, doing things teeny tiny on a page can make a little trickier. I'm going to slick on this and go to arrange send to back. I'm going to probably make it roughly the right size. A little bonus shortcut is if you hold down the option key on a Mac, Alt, on a PC, and you drag any sides of these when you're trying to re size. Can you see does the opposite side as well go h want some space for my little fins Lo. Now in terms of the font, I just went into here and went show me the filters. Okay. So I went filters and won't show me the Seraft filters. Okay. And I picked, what did I pick? Escape, escape. I picked a ball fat face. It's one I've downloaded from Adobe fonts. Cool. I'm going to select both of these and I'm just going to make sure they're aligned in the center. Probably up and down as well. Up and down doesn't always work because there's no descenders, nothing hanging below the line. It's leaving room for something like in there. Q Now it's centered without any of those descenders that go below the line. Sometimes it doesn't line up perfectly, so you have to do it by eyeballs, so I'm just using my rake to go down a few to probably too tall, then make sure they're scented and draw the triangles. You could have draw the pin tool, the covert tool I'm going to do because I want it to be a perfect triangle. I'm probably going to use the polygon tool, click once and type in three. I get a triangle. I'm going to go fill no stroke size wise black arrow. I'm just going to Squid it down. Squid it down. If you do lose any of those, I've got the top one now, you can zoom in. Okay. And often they'll appear again. I'm going to make mine smaller, smaller that way rotate. I'm probably going to do that side first. I'm just going to do one side and then duplicate it. Right. I feel like it's more natural drawing on that side. I don't know why I'm going to get it in position. Zoom in, make it stretches. I think it should be. I'm going to use my raked just to nudge it up or you can just drag it. There you go. I'm going to use my sweet short cut where you could just copy and paste them and line them all up and distribute centers. That could be way you do it. I'm just going to hold down the option kanamPC and drag out a copy. Going to hold shift as well, so that's option and shift Alt and shift on a PC, drag it down. So I've got this because I've done that once. I can go to object. Transform. Do again. Okay, transform again, which is command D on a Mac, control D on a PC. And just keep doing it, I get roughly the right amount. Now I want to select all of these. I can shift, click them all, but that's slow and boring. What I'm going to do, I move on. Why is that one hanging over the slow. You see they're all watch this command Y. Can you see they're all slowly creeping. I didn't drag that down perfectly straight, so it just slowly worked its way out. Awesome learning experience. I'm going to do, do, do, do, do, do it properly. Holding down shift, so make sure it goes in a perfectly straight line as well as option or Alt on a BC. And then my duplicate again, it's still doing it. What is up? User error down weird, come on, DDD, it's still doing it. You wait there. Okay? I have no idea. So I'm going to cheat and show you a technique that I was going to show you. I really don't know. I'm blaming the computer, you know. Let me know in the comments that was directly down. Anyway, what I'm going to do is I want to select all of these. Okay? I could shift click them all. Okay? But I'll be there for a little while. So what I tend to do is watch this black arrow, select everything including the white background, the white box. And then hold shift and deselect it. So you can hold shift to add to things as well as deselect it. So it's easy way of grabbing everything, holding shift, deselect the background and the type. Okay, with them all selected, I'm going to say let's line them all up. I'm going to group them and I should actually let's do it. Let's get it so that they're perfectly in the middle. Because dragging it sometimes. Did you notice like dragging? It's like what? You can turn the smart guards on and off. Okay. Or select both of them because this thing is grouped. Okay? I can select this in the background and say, just align these things. Center, there we go. Next thing I want is I want the little kick out triangle thing. Someone's going to use my penilI'ma. Click right on the edge there. I'm going to click How far back? I don't know. And then I want to go straight up. I'm going to hold shift, it's going to insect with that line. Thank you very much. You should finish this off. To go back to the beginning and click once. But you notice that I didn't really need to. I'm going to make sure this has want fill in a stroke. I was going to have a fill. You can spend ages fixing up that little connection there. Can you see the little extra bit there? I was just going to leave it. Nobody is going to know at that size. Next thing I want is I'm going to grab the pencil again and draw the little flag ripply thing. So I'm going to click once because smart guides are on it, should get it right on that point hold shift. So go straight and just guess how long it should be and then guess at that. Hopefully, I should be able to guess this. You can see it's a little bit tricky, but I can get it so that it intersects. There is fancier ways of doing it perfectly. I guess I want to show you that sometimes it doesn't have to be like mathematically correct, just has to be visually correct. Okay. Over here, it doesn't really matter how far because it's going to go behind this. Okay. I could, as long as it's straight, I could click anywhere in here and then come back to the beginning. Because once I'm done with it, I could say black arrow, select on it, arrange, send it back. And you can see it doesn't really matter. I do need to change this to be a stroke with no fill, trying to remember what I did over here For the stroke. The strokes changed its size a bit. So I'm going to make it six point. I'm going to go also six point if you find like this can see went overlap. Because remember we did it earlier on when we went to stroke and we said the default is lining it to the center. We can line it to the inside if we want. Because we said to the pen tool, we said, go right to here, Be exactly there. We said to the stroke, be either side of that so it ends up overlapping that. Like deciding that the strokes on the outside, middle, or inside can save you some time, rather messing around with it. Maybe you spent some time with the direct selection tool lining things up. It's up to you. All right, let's get this stuff here. I'm going to go copy paste another copy. I could rotate it around, which would work. Or I can flip it a little flip option here. And then I'm just going to line it up underneath here. Probably going to extend mine out, make sure it is at the back. I'm going to use my shortcut Command shift first square bracket or control shift first square bracket. That's what I'm looking for. Yeah, now I need it on the other side. One thing is that that fits I guess the right size. You can force it to be the right size. Here I've decided this is what is the height, is 160. Actually, 160.4 blah, blah, blah, blah. I'm going to copy that, grab this and say you are a height of the same now they are exactly the same height. Again, I can line up, grab these two, align the center. It's funny, tying all these things together. Right, this is broken. I'm going to go grab my direct selection tool. Should just left it well enough alone. Yeah, same with this. If you are like, I really want that to line up nicely. You can adjust it, but it might be easier if this stroke out here, we're getting advanced here, shouldn't go down this wormhole. But let's grab the big rectangle and say instead of being the stroke either side, we're going to say stroke on the inside like we did on the other thing. And just make it a bit bigger now because it's on the inside. Can you see if I get to outline mode, It's a little bit easier. That line is there and the stroke goes on the inside. This anchor point finds it a little bit easier to find because it can find the path nicely. But if your strokes either side of it makes it a little bit tricky to line up. All right, mess up the alignment. I'm going to go down a little bit. Now I want to duplicate it to the other side. I'm going to grab everything. Trying to grab the type. It's really easy to grab the type though. If you do, I'm going to hold shift and click the type. Don't want, you don't want the rectangle, just all of this stuff. I'm going to hold down option and shift now I'm going to drag out a copy of it. I could go copy paste or just hold down the option key like we've been doing. Make sure that, can you see here, I'm not actually got anything selected. I don't think there's a fill in this one, so I can't drag it. Can you see the difference between that and that? So that's going to do nothing. So if I select all of this, do you select you? And if I select any of these paths, can you see the little double arrow then drag it out, holding option shift, Mac a shift PC means it duplicates And in a straight line that I can say flip. And then I can see if I can line these things up. I'm going to group it because it's a big kind of mess at the moment. Actually, I don't want to group it. Do you want want to group it? Let's group it for the moment. And let's line it up. So I'm going to go Outline mode and get this point to try and line up with that point there. Go outside of outline mode. Oh, on point, I want this point to line up there. So all mode I want to line up with the corner of that, I'll just nudge it around with you arches and then you go to my other side. The only problem with this though is the layer order isn't right. Because they're grouped it all together. There's this weird structure where this is on the top. That's next. That's next. That's next, Okay. When you group of them, they all come together. I'm going to grab it, I'm going to ungroup it. And I'm going to say, who needs to be at the back? You need to be at the back. I'm going to use my shortcut command shift, first square bracket, control shift, first square bracket. Who else needs to be the back? This thing does, because you're on top, send that to the back. That thing, there doesn't really matter. And all of that work. I'll make my font a bit smaller. Jump between methods, go there, need a little bit more space. Select all, do I need to group it? I don't, but I like grouping stuff. Let's go to, I'm going to keep that version, I'm going to grab this one, go to object and all of that work. Just so we can go envelope, distort and go make with warp. Look at us, can't move it, I want to move it down, but while this panel is open we can't. That seems good. All right, I'm going to duplicate it and go to my Warp options and make another one. I'm going to go the wave one. Yeah, let's go to the flag one. Look at us doing cool warp stuff. Alright? There was many ways to do that, but I figured I'd show you the way that I did it. A few little tips and tricks in there. I probably need to put a white background in that thing before I go and do it 'cause it's kind of see through. But that is all good for now. I hope you found some satisfaction in the one that you did 'cause you got there might have taken you like ten times as long. Maybe it took you half as long because there are other techniques that we just haven't covered in the course that we could use to maybe speed this up, but for now that is our badge banner flag thing. All right, I'll see you in the next video. 91. How to convert a sketch into vector and color it in illustrator: Hello. In this tutorial we are going to take our sketch and convert it into a vector drawing with one click using something called live trace. Then we'll color it in using something we already know called the Shape Builder tool. All right, let's jump in. All right, so I've started with an empty document. This go file placed to bring in an image of our sketch, we're going to use something called Live trace. We've seen this guy before, okay, I'm going to click and drag him to an appropriate size. And all we need to do is hit Live Trace. It's either there, or you might find it over here. You got to have it selected first. Okay. And let's just hit Default and you'll probably get to where you want to go. It's now sweet Vector into a bit more details in a second. But if you need to now go off and adjust it, it's stuck in this world. You need to hit this thing called expand. Detaches it from the live trace and now it's editable bits. I can go to this, I can say my direct selection tool and start editing the paths. I can start filling it with the Shape Builder tool. It's sweet vector, it will scale forever. What I want to do though is go back a couple of steps before expand. We can image trace and you get the default. Often you want to maybe mess around with the default where it says image trace. You can open up the image trace panel, see this one here. Or you can pick this one you might go play around with. Let's look at sketched art as a good starting point, These are the presets. It looks much the same, but you can open up this panel here and it does a couple of things. One is, gives you those presets, but gives you all this scary stuff. The main things you want in here is at the moment, sketched art is a great one for what we've got. We'll do photos in the next video threshold you can play around with. It'll depend on how dark the stroke and pen lines are. Can you see if I get it quite low? It's just picking up. I've got quite a black pen that I'm using here, but you can see it's like missing them there. It depends on what look you're going for. You can crank up the threshold so it gets too much. I'm going to go back even my pencil lines in there. That's actually really cool. A going to leave like that. The advanced settings are big and scary, you can play around with them. The main ones you want is let's maybe simplify it, okay? We've done simplify it before. You can do this on the way, like on the fly just means it's going to have less anchor points. The other one that's useful is to make sure you ignore the background color, which in this case is white. It's normally white because you saw in the last one when I dragged the fox out, you still had a white background. Whereas now if I do all of this and then hit expand, notice that I can close that guy down. Now he's actually now see through, which is more what I want. I'm going to move them over here. We can fill them. We can fill them using the same techniques we did before using the Shape Builder I like. Okay, and Shape Builder. I'm going to open up my libraries. I've downloaded a group of colors from Color.adobe.com and I'm just going to go there. And there's a little hard with all those dots everywhere, you can hide those. Got a view. And we can go to hide edges that tidies it up. The problem with doing that is you'll forget to turn it back on and we need those. We're going to do it right now. It's advanced, but remember to turn it back on, cook. And I'm going to go, you have a green face and you're going to have a yellow thing there, and you're going to have this bit there in a dark there. I said, well, drawing turned into vector. It is scalable now. Okay, we can add brush strokes to it if you want, but it's actually got a cool brush stroke like that the pencil kind of came through. One thing I didn't do in the tutorial I've come back to record is when you are kind of filling this thing and using the shape of the tool. I kind of mentioned it earlier. Should think. I should remind you here if you do a click on the tool, okay, If you've got gaps in your illustration, okay, mine's quite a full illustration. You know, there's all the lines overlap. Okay? You can play around with make sure gap detections on and you can play around with how big it is. Okay, Large, We'll fill up large gaps in the black line. Okay? You can get a custom and crank it right up to try and get it to work. If you've got a really loose drawing, it could be really tricky, but know that you do have an option in there. The other thing is I totally didn't remind you to turn those show edges back on. It's a common enough thing, right? Okay, it's got a really good shortcut command H, control H. All right. Back to my past forgetful self. And to finish the video, and just remember your drawing is going to be different from mine. So before you expand, okay, go through the settings in the panel. Okay, you can open up the panel. Just normally, window live traces in here. Okay. Work your way through. Sliding back, sliding forward. The only thing is if you have a very complicated drawing and a really crappy computer, sliding these back and forth can take eternity for it to update. Is there a way of fixing that? Not really. You just got to be patient with your old computer or with really complex drawing or rush out and get more Ram for your computer and it will do better. There you go. That is how to go from a sketch to something you can color in. Alright, I'll see in the next video. 92. How to vectorize an image in illustrator: Hey, it's you. You're back in this video. We are going to take this image here and convert it into a complete vector graphic, okay? Means that I can see the anchor points and stuff. It's scalable. I can adjust it, I can adjust the color. All right, let's jump in. All right, you can bring in any image. I'm going to go command shift P for the shortcut for place. That's control shift on a Mac. And there's one in here called live trace two, let's bring that in and I'm going to click and drag it out. Now the big thing with doing images is that the size of the image that you bring in, if it's really large, it will freak out. Illustrator will do all of this live tracing, but it doesn't really like it. What I mean is I like this image here that I downloaded from unsplash. Okay. The original image was way bigger. I made it smaller in Photoshop. You can make them smaller in unsplash as well before you download them. The point is you need to make, the file size is not too big because it gets converted to vector. We don't really lose any resolution, something like 1,000 pixels high. It really depends on your computer. Now I'm going to hit Live Trace and it's going to default to the wrong one. I'm gonna open up my live trace panel here from the property panel. And as the presets, I'm going to start with three colors, kick back. Relax and wait. I'll actually jump cut to the end, so that wasn't much. There's maybe about 30 seconds. Yours may take longer. So what you might do is if you know you're going to mess around with these, because every time you adjust something, it goes off and starts doing it. You're like, no, no, no, no, no. What you can do is go turn preview off, okay, and then do some messing around. Going past this way, corners this way. I want to simplify it, okay. Do all those things, then turn the preview on and let it do its thing. Otherwise, it does it after you drag every single option for this one. Because we started at three color and we adjusted it, it's go to custom. Okay, because we changed it a bit. Now the colors are set to three. For this one here, it's up to you. Okay. You can type in 1684. You can type in any number. I'm going to type, I'm going to type in five in it entire keyboard, it's going to do its little thing. The other thing is, depending on the results you want, we've learnt simplify, We've used it a few different times just to tidy up all the vector points. Okay, smooth everything out. Now that's got a few more colors to work with. I love it. I don't want to ignore the background color because mine's orange and it's kind of part of the whole look. Sometimes you need that on, sometimes you need it off. It's done, it's tracing. I'm going to close down the panel. Who remembers what I need to do now to get in there and work on it Because it's stuck in this like land of live trace. You remember? That's right. Expand. Okay, do that. I was going to chug away at this again, so I'll be back in a sec. Alright, so I've lost the ability now to go back into live chase. I can undo, actually, how long does that take? Don't hit undo. I'll jump cut to the end of that as well. Wait. Okay, we're back. So before we hit expand, we still have the option to go back in Okay. And mess around with this. Okay? Pick a new one. I'm going to hit Stop. Oh, I can't hit Stop. Okay. I'm going to pick my five colors again and trace, and then hit expand, and I will see you in a second. Okay, with it expanded, let's say that we do want to change some of these colors. Let's say that we like this color here. Okay, Now we've expanded it. We can actually go in with my direct section tool and edit it. Okay, we could go you and start messing around with it. Okay, We could in this case, probably go up to object path and simplify. We looked at that earlier just to tidy it up. That looks good. Okay, now we can go through and start messing around with these things and start editing it. What we can also start doing is changing the colors. Let's say that we like this color here over here as well. And it's a bit in there and there's a color in it, but I want to change it. I can slick at once and I can hold shift and try and colick every little bit. But there are so many different versions of this. I'm going to show you advanced Ish technique. I'm going to click on this color that I want. I'm going to go to slick, I'm going to go to same fill color. It'll pick everything in this document that has that same fill color because we only had like five colors to start with. It's pretty easy. Now, we can go over to I'm going to go to my color mixer and I'm going to adjust it. Okay? Saturation, up, brightness up. Look at us. Pop art, durable looking pop art. All right. That's the color I chose. There you go. Another thing that's interesting when you are using live chase to convert to vectorize image. I'm just going to scale mine down is I'm going to, we've done this before. We're going to use generative recolor, so I'm going to make a duplicate. Probably make a few of them. Okay, And then go through, select this one. Now, at the moment I expanded it, but it's still grouped, which suits me now. Okay, you can ungroup it, but I like mine being kind of all grouped together. And I'm going to go to recolor, I'm going to go to generative recolor, and I'm going to type in Pop. I don't know what Pop does. Prompt, Turns out one or more words of my prompt. I can't see how pop can break the violations anyway. And let's go too. Well. Happy, do it. So hope the robot isn't offended. Oh, look at this. Awesome, I'm looking forward to the update. You might check yours, but the moment I've got like I want to drag all these out, okay, I want to get multiples of them, but I'm going to have to go through and just use recolor for all of them. I'm going to do mine real quick and you'll see it in the intro. You've already seen it. It's in the intro. Okay, so life chase is easy. Pick the colors that you want, make sure you expand it. And the handy trick of selecting similar colors can be a good way to go and grab those colors. That might be not what you want and go and adjust it. And then you can use generative recolor, Don't type in the word pop. It's offensive. Not sure who too, but it is. Al right, that is it. Oh, weird thing is I typed happy in, right, For that one, and I got purple down here. This one didn't get the purple. Interesting huh? All right, that is it. I will see in the next video. 93. How to convert photo into a stencil Silhouette in Illustrator: Hello? Hey, this video we are going to go from image to terrible stencil and then image to really nice mask version to then super sweet stencil. Let me show you how. All right, to get started, let's bring in the file. I'm going to use the shortcut again. Command shift P. Control shift P on PC. Okay? And I'm going to find Daniel Walter Scott. He's not in there yet. Wait, the magic. He's there now. Bring it in. I'm going to make it an appropriate size by dragging it. Okay? And the trouble is going to be is that most images won't work. I'm going to show you how to tie them up in Photoshop, even if you're not a Photoshop user. It's just that real easy way of fixing this. Okay, so we've got a live trace. It is going to do its best. The trouble is the background is very similar to the foreground. There's no real clear definition. Okay, If I go into here, I can mess around with this and try my best, especially because it's black and white. But the main one, you're looking to play around with this threshold. Okay? You lower it down and it separates me from the background, but I lose a lot of detail in the eyeballs. Okay. If I go the other way to get them back in, the background starts creeping in. We need to combine it with some Photoshop skills. Now if you don't have Photoshop skills, don't worry. I'll put a version of this in the exercise files you can work with. If you haven't learned Photoshop yet, I've got a course, there's an Essentials and Advance, you should go check it out. For the moment, though, I have opened up the file. I'm just going to go to Select Subject, which does a pretty magical job if there's anything that's missing. The only thing I'll show you is it's not going to be a Photoshop tutorial is if you just want to quickly, you know you're using illustrated and you just want to use Photoshop for just this one function. Okay, do select subject and then go into here. Go to the Quick selection tool, This second one down here. And I'm going to zoom in a little bit. Same shortcuts as illustrator. And I'm just going to paint in the bits that are missing. If there are bits that it's got that you don't want, say it's got this background, you can hold down the option KakPC and just color the bits you don't want off. Now remember this is going to be a stencil, so it doesn't really matter. Okay, what we want to do now is make it a mask. See, there's a little option here says create mask from selection. That's basically what we need to do. Let's say if it outs go file. Let's go to export. And we're going to go to export as it's like the Illustrator panel. Okay, I'm going to say do on J Peg. That'd work because there's a white background. Or I can do a PNG, which would have a transparent background. It actually doesn't really matter in this case. I'm going to hit Export. I'll put this one in our exercise files as masked case. If you want to just jump to that one and import that one. Thank you. Photoshop. Okay, I'm going to delete this one. Bring in that image. Daniel Walter Scott masked. Okay. It place, drag them out at appropriate size and you can hit Live Trace again. This is already opened so I can go through and actually just go straight to the one that I probably want black and white logo. I want that stencil look, hey, and it's me. Okay. Now I can play with threshold to get kind of like how much detail I want. Do I need like more nose or less. Okay. That's probably, yeah, just find the kind of, you know. Oh, look at that. I like that kind of like look around all the pupils and stuff. Looks good for me. Can't really see the mouth. Can I get a little bit more mouth or It's somewhere in there. Okay. The other thing I want to make sure is under advanced, I want to ignore a color, okay? The default is white. If it does get the wrong one, you can use the Eyedropper tool to say that color please. Again, you can mess around with all of the adjustments in here. But for the moment though, I think we've done it. We just need to hit expand. Now look at this guy. He's all vector. Nice illustration shapes all ready to be edited in Illustrator if I need to. Okay, start pulling bits out. Say the mouth, you just want a little bit more of it, or it's come out kind of crooked. Ah, perfect. You get the idea. All right. That is how to go from an image into a more stencil style, okay? And the cool thing about it is that it is I'm going to select it or group it. Okay. And just move it off. And you can see I can have it over the top of the stuff. I think I look better on the gray anyway. But we do need a little bit of Photoshop skills. Even if that's it for Photoshop, you just use it to do Select Subject and a mask and then export. But if you do want to do more Photoshop, there is a Photoshop Essentials and a Photoshop Advanced course. The exact same place you got this one. All right, cross over. Stencil video over, I'll see in the next video. 94. How to make a Anaglyph effect in Illustrator: Hey there we're going to turn the ordinary little silhouette into this kind of like anaglyph effect. It's pretty simple. A couple little tips in the video as well. So let's jump in. All right, so this is the effect, okay? It's called anoglyph, it's that kind of three D glasses effect, okay? But we're going to do it in a more vector kind of view like you saw at the beginning. Okay, It's pretty easy just and I'm going to copy this, I'm going to paste it twice. So I've got 123 copies. Okay, This one over here is going to be sometimes when the colors where it's solid black. It does default to just having no sliders in here. We've done it a few times, but you can switch it from gray scale to either RGB or hue saturation. Brightness. Crank up the brightness k and then wiggle around. This one I'm going for a, a stylized version of a ready but watermelon color. And then this one here is going to be that can, but I'm not going to go full can. Okay. There, there is a cyan in there. Do I like it? Okay. I'm going to go there and I'm just going to pick a cyan color, but maybe a bit more green. Awesome. Then I'm going to select them all, I'm going to go a line centerline, center vertically. And then this one is going to go 1234, that way I can't see the black one. And then I'm going to grab the green one and go 12345. That way the layer order is wrong. So what I want to do is probably just zoom in, grab the black, where are you? How do you know you've grabbed the black? You hope for the best. And you can check over here, the fill is black, so I'm going to bring it to the front. I'm going to use a sweet shortcut. Okay, You can obviously use the arranged down here in the properties, but we're going to go command shift and use the closing square bracket. So we've used the opening one which pushes it right to the back, we're going to bring it to the front and be amazed by our allglyph effect. It's the wrong colors though. I'm going into seed mode. There you go. I switched the cane with the pink and I made it more pinky and more cane. And I played with them just to kind of tighten them in. There you go. A nice simple effect, easy peasy, kind of rich. I like it. All right, I'll see you in the next video. 95. Class Project 27 - Live Trace: All right, it's time to put our life trace skills into action. We're going to have a class project for you, okay? It kind of looks big, it's not meant to be. Basically, what I want you to do is choose any of the techniques that we've learned so far over the last few videos. So we transferred a sketch into our like vector illustration. We converted an image, okay, into vector colored it or the stencil anaglyphic effect. You decide what it is. So I want you to turn it into a social media ad. This is not meant to be a big job, so I want you to do a couple of things. So have a little research. Use your mood board that we looked at earlier and do a search for like Instagram story template, Farmer's Market. Okay? And just pick something that you like the idea of and think, oh yeah, I could do that and pop my graphic in there, or I could pop it in there, something you like. Took a few screenshots, get a few ideas, then go and make it. Some of you can just do it quickly, but if you want to take time and have this for your portfolio, take a little bit more time. Things to include live trace research that term. And you have to figure out what the pixel size for the Instagram story is. I know what it is, but I want you to just go figure it out. It's pretty easy to find and then be able to type it in, it's a pixel size. You have to create a new document with pixels. Include the live trace somewhere. Include the logo, which you should have already done. Same with this, put one of the two graphics. You can either have a price cut graphic, remember the slicy thing we did, okay? Or that established flag. Remember the flag we did. This one, Okay. Or this one here, up to you. What you want to do. Hopefully you have those lying around. If you don't, just use live trace and just type in this stuff down the bottom here, okay. So date and location, Just include that, you can make it up. Doesn't have to be big. So I just wrote this Sunday. You can have the date. I just wrote this Sunday at our community hall. Okay. That can be made up address as well. Have a little look at this for inspiration about what needs to go on there. Okay, I'm adjusting Google Images, Instagram story templates for Farmer's Market. Just get an idea of what might be a good idea. Alright, that's it. Make our social media post, even if you're not an Instagrammer, want you to create an Instagram story. Alright, so make sure when you're finished, save it to the assignments and class projects and share on social media as well like before. Okay, welcome criticism and make sure you go and critique somebody else's work. Member two, the upload one, you got to do two, paying it forward. Alright, enjoy. I'll see in the next video. 96. Drawing amazing flower with repeating shapes in Illustrator: Hi. Hey, we're going to make this super cool spirally flowery thing. The last thing about it is that it's super easy to do. Now that we've got some mad skills and Illustrator, let me show you how to make it. All right, First up, I've created a new document. It just happens to be square, it doesn't matter. Then you're going to start with a shape. It doesn't matter what shape you use as well. I'm going to use the star tool because it looks cool and looks like a flower. Okay, I'm going to use a star tool. I'm going to click once, all of that is perfect. Just going to lead the defaults. Okay, first up, let's zoom out a little bit. Member command minus control minus on a PC hold shift and option on a shift in a thick of me reading out all the shortcuts like we know Dan. Repetition annoying. But hopefully they're starting to get in there. So Shift option, Mac, Alt. Shift on a PC, drag it out so it's bigger than the document, because I'm going to drop it down. We're going to start big and get smaller. Now I'm going to have a stroke of none and a fill. We want a radial gradient. You don't have to do it, but it looks cool. Okay. There's no radial gradient. As a default, I'm just going to click on the default white to black. Okay, And switch it to radial. And then I'm going to play around with the colors. I'm going to switch to the gradient tool is the short cut, one of the few shortcuts that actually makes sense for gradient rather than V for the selection tool. Okay, I'm going to double click and pick any color. It doesn't matter what color you pick, It doesn't matter if it's light in the middle or dark. I like it the other way around so I can swap it. Okay? Remember our gradient options in here. I can actually just drag them over top of each other, okay? That's one way of doing it, okay? But actually it's easy just doing this thing. Can you see that there? It's the flip, the gradient. So I mind dark in the middle and I want to play around with the balance so that it's kind of like mostly dark and gets just kind of light on the tips there. All right, so so far we've got a shape with a gradient in it. Now what we want to do is we want to go to this option that says object transform. And we've been doing a lot of these scale and move just using the direct selection tool. There is one in here that says transform each. That's quite useful, okay? Make sure previews on this one here is interesting. We get to do all the things we do with our selection tool. Scaling and moving it around, okay? We get to move it in here and we get to rotate it, all. Stuff we could do with a direct selection tool. But the cool thing about this is actually I need to reset this, okay? And be a bit more purposeful with it, because what we're going to be able to do is copy it. Let's just do it first. I want to make this a little bit smaller, so I'm going to go 90 by 90 because I want it to be the same height and width in terms of the movement. I don't want to move it. The angle, it doesn't matter what angle. Okay, pick anything. And the useful thing about our transform, each is you can do all of these on one big go and then say copy. So it's shrunk it down and rotated it all at the same go rather than doing it separately. And because that's just one function and we just did that once we get to use the really cool thing we've already learned there is the transform again. So do the last thing again. If we're shrunk it then rotated it, the transfer again, you get the idea will just rotate it. Just do the last thing. But because we did it in one big action all wrapped up in here, okay, it just goes. We'll do all those things again. And we know that the shortcut is command D or control D on a PC. And look at us who make it magic, okay, I'm just smash away the keyboard command D or control D on a PC. And look at that. How beautiful I love it. Super simple draw shape at a gradient and rotate it around. Shrinking it at the same time you get this kind of thing. All right. I'm going to crop mine ten. I'm going to decide where I want it to, want it in the middle, up the top there. It's going to be a cool background graphic, so I'm going to hit M K for the rectangle tool and just draw one that covers the upboard. It doesn't matter what's in it because we're going to select it all. Okay, and hit our clipping mask. Okay, we can use that. Who remembers the shortcut for it? You remember it? Good work. It's command seven or control seven on a PC. We've got this. I didn't really line up my rectangle for the outboard, but looks really nice. Crop. No, no, I like it. All right. That is it. We'll do it together. We'll make it a class project in the next video. Yeah, it's kind of, I don't know, we're tying things together. Stuff we've learned gradients easy. Now masking is easy. All those things that we've built up over the class. Hopefully now coming to a point where we can do all sorts of cool effects, follow tutorials online without getting kind of stuck at colors and color panels and gradients and wow, look at us. Alright, we'll see in the next video. 97. Class Project 28 - Repeating Pattern: You, you're back ready for a class project. This one's just a fun project. No real big plan to it. I just want you to practice what we learned in the last video and make one of these and submit it, okay? So make your own repeating pattern experiment with regenerative color thing with regenerative color is that we've been going to it by clicking on it and by heading recolor. It doesn't appear in this case because it's a crop, it's trying to do other things. It's like, I don't know what you want. It might be there in your version. Okay. But if you can't find it, you can go to Edit and go to Edit Colors and go to Regenerative Color. And you'll notice that, well, you'll notice the cool thing about it is if I click on it, it'll dive inside of the things inside the crop and give me options. That's cool. That's cool. Not so cool. Okay. So you might play around with the colors this way. That's how I got this one over here. I don't have a reset to go back to the one I had. And you'll notice that I used to star, but I kind of round at the corners. You can experiment with any shape you want. You can draw it. You can use any of the primitive shapes in here. Okay, and yeah, experiment. Upload it, yeah, save your image and upload it to assignments. And share it on social media, tag me, share it in the group. Just a quick little fun project. Alright, enjoy. I'll see in the next video. 98. How to make repeating patterns with Geometric Marquetry in Illustrator: Hello, it is time to make some super awesome, fun repeating patterns. We're going to take this simple shape, the beginning of some geometric marketre, and then bam, turn into this cool stuff. It's super easy to do. I'll show you how to make the pattern first, and if you want to hang around until the end, I'll show you how I ended up making this shape. Okay, So you can make one as well, if you like, but first let's make this sweet pattern. All right? So we can start with any old shape. Doesn't matter if you want that kind of cool geometric marketre that I've done. Okay. There is an exercise file called patterns. Do you can get from the exercise files? It's just a couple of shapes with ingredients. So the first thing is when you make a pattern, it's probably best to get it a specific size. Now, it's harder to do it later on. Okay? So decide on like proportionately how big you want it to be. If it's a tiny repeating pattern or a big one, you can do it later. It's just easier now. Okay. So once you've got it how you want it, we're going to go to object and we're going to go down to pattern. Where is pattern? There it is there. And go to the one that says Make, okay? It's going to say, hey, we've made a Swatch for you. That's okay. I'll show you what that is in a sec and look, you got repeating patterns. I love this too. No more copy and pasting, and repeat again. Super awesome. So what you're going to need to do is the type is going to depend on what you're looking for and what your graphic suits. Okay? And this one, it kind of works with B brick by row. Okay? Or hex by column. Don't worry too much about what these mean. Okay? Just even the little icons, it's easy just to go through them all and go, okay, I want it so it overlaps. I want to just push it down now. Can you see it's working. I just want to come down a bit. Okay, so perfect. How do we get it to go down? Make sure the link is off in the height. I'm just going to use my up and down arrow. We know that in any of those fields we can just click the up and down arrow. Okay, Hold shift to go in, lots of ten and then just use the down arrow. There you go. Get it where you need. There you go down, down, down, down. It'll depend on the size of your object. I resize mind load so yours won't be the same as me. The other thing you might want to play around with is the overlap. Do you want it to be in my case, do you want the top on the top or the bottom? You can see it's amazing how it changes. Right? You're like, oh yeah. And then one thing I don't like is dim the copies. Okay. You're like, I like to see the copies. I'm not sure why we need it in them. Okay. And just play around with this. Left and right doesn't do anything on this because they don't overlap but yours will. Depending on the shape you're making. I'm going to go for that kind of geometric Marketra design thing. So Marketra, if you is the term, go Google that there's some really cool things you can make in this kind of geometric repeating pattern stuff. Normally it's woodworking, but we're doing how as an illustrator, everything else can be left alone. And we need to get out of here isolation mode. We're kind of in this like special world. Can you see if you had anything else? It would be grade out. Okay. And we know from isolation mode we can either hit the arrow back, back, back, back, back. This one you can hit Done, or just double click in the background and you're like it's broken. It's actually how it's meant to work. This shape we made is actually not useful. Now, I'm going to put it over there because I don't want to delete it. Okay. But it's actually not part of the pattern. Like it said at the beginning, it says, hey, we're going to make a switch for you. So you go, okay, we're going to create a shape. I'm going to create it the same size as my artboard. Okay. Any old shape keys over here? It opened up the swatches panel. If it's not open, you can actually get to it the same here. Okay. Go into this little swatches panel and you'll notice the teeny tiniest version of the new pattern we made. Boom, Look at us pat makers, because we have a pattern selected, we can go to Pattern Options and pull this thing back up. Okay, give it a better name. And then use Google to figure out how to actually spell Marketre. Perfect. And if we want to edit this pattern, we can go to the little flat menu, okay, at the top of pattern options and go to Edit Pattern, okay? And we can go back into here and we have just used these like little widths and height, you can actually physically move them around. So I'm going to grab this top shape and separate it out. Look at us. Okay. So they're all still three shapes. We can change colors in here. Okay. We might decide that it needs some neon pink or magenta. Might have, we've just done, it's one object but it's three objects. Okay? You could have a, if you're drawing, say, a pattern, maybe be a leaf print, maybe a hand drawn. You've turned into a vector like we did in the last videos. Okay? You can arrange them, have different shapes, we can add shapes. So I can say, actually we really need a circle in this one, you'll notice that it applies to all of them. I'm digging it, I need to rotate it around to match my gradients. Actually, I think it was cooler up that way. When you're finished, again, just double click on the background. We're going to zoom out. Look at that, ruined it. One thing you can do though is some other interesting things about the patterns. Watch as. Watch this. I can grab the top corner here and I can scale it. You're like, that's what I want. Okay. If you hold shift, it will scale proportionately by default. Whenever you put an inside of a shape can be any shape, it can be a type. We've got a gigantic N. I get in my film, my pattern will still be in there. That looks way better in there. All right, scaling it. You can see as I make this smaller, the pattern inside is getting smaller. Sometimes you want that, sometimes you don't. So you can turn that on and off. Selecting really anything in your document, doesn't have to be the pattern, but go to transform, We saw that there's like a little fly out, okay, for lots of things. To get a little bit more details about transform. Okay, we did it for scale stroking effects. It's not there, it's weird, like more options. And then see this little thing here that's more. More options. They try to hide the things. Like most important, next, most important stuff people don't use very often, okay? In that little group, there's one called transform object only. Pattern only or both. These are to do with the patterns. So the moment it's transforming the object and the pattern, both of them, you can say actually just transform object only switch this. Now if I do this, okay, can you see the pattern in there stays the same size, so you need a bit of both. The problem is, is that once you've turned it on, now K off K, it's on forever in your application. You're going to have to, there'll be times later on you're like, oh, I want the other way, okay? And you can go back into the, back into there and switch it back to both. You might find that actually that's a bit crazy, right window. And you can go to transform. This is everything that's over there, okay? But maybe just in a big open thing, okay? It's a little bit easier sometimes in here. The fly out is is it easier or is that easier to at least, you know, there's both. There was one other thing is transferring patterns from one document to another cause we saw it is totally in there. Okay. It's our sweet pattern that we made. Okay? If I go to a new document. Okay? Just pat new and hit enter. If I go to my rectangle tool, the M key got fill new pattern. There's these ones. Okay? Some reason these are the defaults, I don't know why. Okay? But there's no pattern one. So to get it from one document to another, there's fancy ways. The easiest way though is just to copy this. Anything that has the pattern in can be the text. It can be this. Copy it. Place it into here. And you'll notice that if I select off now draw another rectangle that is totally full with something else. There's my pattern, it's coming along for the right. All right, so that's it for the pattern making tool. I said at the beginning, I'll show you how to make the geometric shape if you're interested. Otherwise, there's nothing fancy about this. Just some shapes and there's one thing hang around, still it together. I'm going to make a new one with a color scheme that I like. Better to do it. I'm going to start with a square. I'm going to hold shift to make it a perfect square. I'm not really worried about the size of it at the moment, we can scale it. Afterwards, I'm going to pick a field color. That's just, I'm going to pick anything as long as it's green. There you go. There you go. And we're going to twist it so it's on an angle. There is an option up here going to object transform, okay? And we're going to use this one called Share, okay? It's going to italicize Owl Square, okay? For this particular shape, it's just you need 30 degrees, that is the magic number to make an isommetric box, okay? And you can play around whether you want horizontal, vertical like before we can make a copy so that we've got the original box left over. We don't need it for this one, but just so you know you can. Okay, I want this then I want to go duplicate of you. I'm going to flip it over here. Bop. Okay, I'm going to go to my outline view because it's easier to line up things this way and I'm going to make sure view and smart guides is turned on. I'm going to zoom in and I'm going to say you go there, Who? No more sound of it. Then I'm going to make another copy of it. Copy paste. Okay, what do I want to do? I can't quite rotate it. I can't just rotate it and stick it on the top because it's the wrong shape. Okay, so what I do is this. I'm going to do copy paste. Okay, and you join up to the, grab this one, go to grab the edge and outline mode. Copy paste. You don't have to be an outline mode, it's just I find it easier. Grab that corner, you can see our little box in. There's a couple other things. So I want to make a copy of this one and I'm go there. No, wrong one. You go over there. Actually, I'm going to grab the cool thing about Aline mode is can you see the center of the dot? It's always there and it will try and snap to it. But it's just visually and you can see it here in outline mode. I'm going to go there, then I'm copying it at the same time to go there. Got it. Looks pretty good. Is that snapped in there, back off. Sometimes if you're like really close to it and you're like it's kind of jumping around. I move it way away so it knows it's kind of disconnected. Select off it and then just drag it all off in one big go and hopefully it snaps to the right place. All right. Now, shape builder time. So I'm going to select all of you. I want a couple of things I want to delete you. Shape Builder is Shift M, K, or it's that one over there. Okay. And I'm going to go option on my Mac PC, drag across Youtube, I want to fill that before I get rid of these. Okay. Because that's just a hollow bit. I want to go fill with anything, fill it in there, and then I can get rid of those ones by holding that same key down, dragging across, that's how I got my shape. Then I went and added some ingredients. Okay. You might just pick colors. Like I went to my libraries and the ones I found were swooping over. It was the '80s thing that I used, the last one, and I just went, okay, I quite like those colors. Then I add a gradients and then I didn't like it as much. Okay, I'll probably go back to this one, but if you can't remember, gradients slick on the object, drag across, we'll just actually click at once and then drag at the angle that you want back this way. Okay, and double click on them. Go to my Eyedropper tool, and this is what I did. What color was that one? It was this one. Okay. Click on this one. Double click it, eyedropper, click on that color. Both sides are of this are that middle color here, Tangerine, peach, double click on it. And I went to this, I went to HSB and I just darker and I did it for all three sides and yeah, maybe we like it well bit. Alright, so that's how I made the shape and we turned into a pattern, you object, pattern, make mess about with it. All right. I hope you found that useful. Pattern making is awesome in illustrator. Be very easy now to go off and get this printed onto fabric, onto wrapping paper into big sheets of sticker. Oh, cool stuff. Al right, that is it I'll see in the next video. 99. Class Project 29 - Pattern Making: Hey, it is class project time. It's a fun one. We're going to make a pattern, or at least you are. So I want to use the techniques you've learned in the last video to make your own repeating pattern. It doesn't have to be geometric. It can be anything you like. Hand drawn, simple shapes, very complex shapes. It's totally up to you. And what I want you to do though is just do a little bit of research, have a look at, you know, patterns for product packaging. Okay? Just did a Google search, looked at images, and it's just interesting to see like sometimes it doesn't have to be like the shape the chili repeated over and over. It can be just shapes that I don't know. Help set the tone of the product. Is it funs, playful? Is it, You know, floral is sophisticated. But don't spend too much time. Take a few screenshots, add them to your mood board. Play around with your repeating pattern. Now, if you don't want to follow along with the kind of branding and putting it on a product, you could be thinking fabric, if that's more your jam. Okay? You're thinking wallpaper, gift paper, all that sort of stuff. Because we're going to do some of that later in the course. We need to learn some exploiting stuff first, okay? So credit pen research some patterns and add them to your moodboard. I've left that there just I can never remember how to spell it, so I've left it for you in case marketre doesn't convey well through my accent. So also experiment with different colors, okay? Maybe recolor using the AI stuff. Okay? Generative recolor. And I want you to save a flat graphic, okay? Draw it into a big rectangle and upload it to the assignments. Don't share this on, on social media. Why? Because it's going to be fun what we're going to do after we've learned a bit more about exporting. After the exporting section. Okay, we're going to do something like this where we upload it and put it onto some products and we need to learn how to export first. Okay, so we're going to do it after that section, so save it up and we'll share it on social media after then. But make the pattern. I can't stop you sharing it on social media. If you like it, share it around. But there's this fun stuff to make later on, look at it all. Al right, make the pattern and I'll see in the next video. 100. How to make 3D Type extruded type in Illustrator: Welcome to the world of three D in Illustrator. It's awesome. We can take kind of static text and make it all kind of three D and stuff. Look at all the colors and shadows down here. And we make a wood one too. Okay, we're going to use the three D and Materials panel in Illustrator, specifically the extrude function. We'll talk about the ups, downs, pros, cons of the three D tool in Illustrator makes cool stuff. It's a little bit stressful on the computer though. Let's jump in. All right. You don't need to start with my file. And it's called three D type extrusion. Okay. You want the font that I'm using? Okay. It should open up and ask you to activate it. Okay. It's called Jubilant. I'm using the Instagram Story size. Okay. You can use any size you like once you've got a bit of type. Okay. I've colored mine differently. The color will come through. In terms of the three D graphic, I'm going to make it a, a size that I want you just go to window and go to three D and materials. We can go to effect and go to three D materials. Extrudobile, doesn't really matter. Okay? And you get this cool three D now out of the box, it doesn't look great. Okay. If your machine is very ancient, it might already be having a problem. And it's just three D an illustrator. It's not what it's set up to do. It'll do it really cool. Can saw in the intro, but it can stress the machine out. You ready to really stress it out because this is kind of like a temporary view, the kind of light lightweight view the fans of my little Macbook Pro back there is on. I've got it far away from the microphone so you can't hear it, but it is stressed out. Okay. But ready to stress it out, click that button, Render it with Raytracing. Okay? It's a whole lot better finish. A lot nicer than an original one. Okay. Raytracing is just a technology that will render like lights and materials a lot nicer and you get all these kind of cool shadows amongst it all. Awesome. Now, with the text selected again. Okay. We won't go through every setting in here. Okay. This is like a whole course on its own, but we're, we're extrude and under object. The things you can play around with is let's do first the rotation. Come down to rotation. It depends on how much work you've done in three D before. You might be able to use the skimble over here or the free form rotate. Okay. If you use it you're like, oh, it's really hard to use. It is okay. Unless you've done three D before. It's a strange one. So for somebody new, it's much easier to go down to here and play around either with these X and Y's. Okay? You can just drag these around. Okay, Turn tracing off while we're on this stage. If you leave that on, it's going to try and render it as you're dragging it like this. Okay? And especially if you don't have a powerful computer, it's goning to be fun. Let's toggle it off, you can on, it's dark, it doesn't look as good either. You can drag it around like this. It's much faster now with the tracing off or you can go to any of these presets. I'm under object rotation. Go to the presets. Generally it's these ones here, either off axis, front, only a couple of them really work off axis top. Not the one we want, never does the, what I think it's going to do, experiment with the different ones, Isometric, top and left is a nice starting point as well. Or you can play around with dragging this thing on. I really like to do this one because it is tricky to work out. Don't want to spend the class trying to work out, show you how to do this one. It's probably just easier using this a little bit of just trying to work it out. I'm going to go that way. Let's have a look at some of the other parts. Depth, okay? How deep it is. Remember trace on, trace off. Let's have a look. So much nicer with tracing on. Turn it off again, you can experiment with like twisting, which is very cool taper actually, let's reset that back. Let's actually go back to 50 pixels. And a couple of other things that are probably more useful right now to respect to zero taper back to 100. Let's turn tracing on. Let's go to lighting. Lighting is cool and just skip all the way down to the bottom to says shadows, okay. Open it up and turn that on. Shadows are awesome. Look at it. Super cool. I'm going to save this version of it and all I'm doing is my normal copy and paste, and then my computer catch up. Okay. With lighting. Okay. It's weird, right? You select it and you can see the text for a second with the lighting. Okay. Again, use part of the presets. Go top, left, top, right. And it's not super hard, I guess you can just drag this dot on like where it's hitting the graphic. Okay. And then make sure tracing is on and shadows on and you can see where the shadows are cast. Diffuse is less of a hard shadow and more like a soft shadow that goes around. It depends on what you're looking for. You can have more than one light, and the second one can be a standard light. With the shadows going, build up your lighting, you can play around with the intensity. And there's a lot to play around with. Again, more of a three D course. Let's next jump to materials. There's a default material that we've got at the top here, just a shiny plastic thing. You can start working through these materials. Let's have a look. Okay. I don't pick anything down. They're watching gold leaf. What you'll find is depending on like I've gone through and changed all the lighting, okay? And I feel like I ruined it. So I'm going to delete the lighting that I've done and just go back to standard lighting. Often some of these things will just look nicer with standard lighting. And okay, I'm not convinced that's great, but we are in the render settings here on a low setting, they do get better. You can crank it up. The problem is if I do it, hit Render from now on, it's going to spend forever rendering this thing. Okay, So just be careful or maybe test it every now and again go into the full render or high render, but while you're working maybe it low and then when you're finished, set it to high. Okay. So have a look at the materials. Pick plywood here and you'll find that once you've picked one, there's a lot of settings down here to decide, you know, the next steps for that kind of particular one. You can see in this way you can pick things like grain and veins and the wood, so cool. I like that one. I'm going to save it. I'm just copy and pasting it out. Okay. So with this one selected, I'm going to go back to the base material and just make it super shiny, okay. And down here, the base material just has a T, a bit of options, roughness and metallic. I'm going to make it a little bit shiny and reflective. And sometimes with these really static kind of text blocks, you can get an object and add a little bit of bevel. Okay, so I'm going to turn it on. I'm going to put on a little rounded bevel. No, I'm just going to make a really small one just to pick up some of the highlights when we are in the lighting. See, that's too much Dan. Let's turn the rendering off and I'm going to go down to something really small height, even lower. And do I want it to be like a chisel or maybe just a round one? Now I'm going to go back to rendering. You see there kind of picks up the edges. Now we're doing this with type, you can do with any old shape I like this one, I'm going to duplicate it. This whole duplication of all these things is going to really punish my computer. I don't like it. Just in case yours is freaking out more than mine. Yeah, the editor is jump cutting a lot of those renders. It's not going too badly. Okay, other things I want you to be aware of other than experimenting in here, we'll do inflate and the next one is with the selected. Let's say I close this down and you want to go back later on you're like, oh, what is this one it selected over here you can see the effects in three DM materials. You can open it back up. Or with it selected, just go back to window and go to three D materials and it should magically appear. Again, with it closed, you can still adjust it using this. Okay. Jumps back into the unrendered mode. Okay. But again, trying to drag it around with the trace on. Can you see? It's just causing me lots of trouble because I want to do small adjustments and figure out if I've got the X or the Y grabbed or just the whole thing. Sometimes it can be easy just to go in turn the in tracing off and then make your adjustments. Okay, I'm going to make a duplicate of this one here and I am going to expand it because this three D stuff sometimes you just want to turn off because it keeps doing this thing. Just want to get it out. Expand it and just be a shape that you can use and share with other programs. Let me show you what you need to do to expand it. First of all, let's select it and go to our three D materials. Make sure that we've done a render in high quality. Okay, Then when it selected, go up to Object and go to Expand Appearance. We've done this before. Now the other thing to be mindful of is that this thing is our bitmap, The quality settings of your actual document matter. Okay? When you're doing that, you can go up to effect and go to Document Ruster settings. We'll look at this under export, but it's basically using that as resolution. If you have any idea about resolution, you should do this now. Okay. Convert it to 300 and then wait for the three D punishment to come your way. Okay. The materials is going to re render these things at that really high rate. Then you can expand. It depends on what it's used for. Okay. If it's going out via phone, 72 is fine. Okay. If it's going out to print, you probably want to crank that up to 300. And I'm kind of talking over the top of this hoping it will finish but it's not going to, it's gonna re render all of these. Do it when you are ready. The quality will be much more amazing, but illustrated might take some time. So I'm gonna just jump cut to the end and I'll tell you how long actually watch my clock there, is there it is, 1502, we'll see in a sec. Alright, the bouncing ball of doom. You can see it's 1510 now, I was doing other work. Oh, now the time back to the bouncing ball. Anybody play with this ball and kind of bounce it around? Boop. Just me. Okay, I'm gonna head stop because it's just taking too long. You were right there when it finished. Look at the hit can make at the right time for the time I was at, to give up. But the quality now is a lot better. So this one's not so good 'cause I expanded it when we were at the low setting. So'm hopefully now look how much nicer that one is. Oh, see S on this one. Seal pixelated it is. Look at the S on this one. But we had to wait 10 minutes. Okay. Not 10 minutes, but it was a long time. So yeah. Depends what we're using it for and how many had to do like I've 'cause I've repeated all these, it had to go back and rerender them all. But look how nice it is. Wow, three D is awesome. Alright. The only other thing that you're going to have to be prepared for is, well, I just want to reiterate that this one's expanded. Okay, It's a bit map so we can crank up the resolution. Okay, make sure it's a high on the rendering. I don't want to touch anything in case it starts loading again. But when you are ready you can go to object and go to Expand Appearance. Okay. And then it'll lose its three Dess and not stress the computer out as much. It'll take a while to render, but let's say I want to kind of finish things. The other thing I'm going to do is I'm going to hit Save and you're going to watch, See saving, okay? Because it's got three D in it. Saving takes forever as well. I'm kind of like an ow of three D and then sometimes it's a bit painful. Okay. So, yeah, just keep an eye up there. Look, you never have to normally notice it 'cause illustrators so fast, it's saving. Unless you get into three D und, then saving can take a while. Okay, You're trying to quit Illustrator. It says, hey, busy saving. So that's another thing to consider or just be mindful of. It's gone backwards, no fear. Okay, All right, we're going to just end this video. I hope it was fun. I love exploring three D. I feel like I want to do a whole course on just the three D stuff. If you are getting big into three D, Illustrator is cool. There are other things like Cinema four D, or Meyer or Blender. Okay, You might get into those as well. But Illustrator is quite cool stuff. Kind of more graphic design related stuff. All right, that is it. I'll see in the next video if it ever saves. I'll wait here, You can carry on. All right. See. 101. Class Project 30 - Black Friday Sale: I have no idea what Black Friday is, it's a sale. That happens in lots of western countries. Is it happened in all countries? I'm not sure. Diff in America. Not so much other places. Not where I live now and not where I used to live in New Zealand. But we all know of it, and it's a big deal in terms of e commerce, and that's what your client has asked you to make for them. I want you to make a square graphic. That's a Black Friday sale. And I want you to use the three D extrude text option. We did what do we do? Summer sale? You're going to do Black Friday sale for yours. Think of appropriate Black Friday graphics. Think of appropriate Black Friday colors and do a little bit of research about what goes into a Black Friday sale. Doesn't have to be much. Probably just a percentage of and some sort of coupon code, or a button that they can go and click on the social media to jump to your sale. Round. It doesn't have to include a whole lot of text. You can include your 50% off. Member the slice thing we did, but I want you to use the extruded text. I'm not too worried whether you make it wood green or have bevels or just have an experiment with it, have a play round, turn it into a square graphic and then upload it to the assignment section and to social media, like normal. Have fun with three D. Dig deep breath when it is rendering, think happy thoughts. Don't worry about turning up the resolution up to 372 is just fine because we all know if that takes way too long. Enjoy the project, and I'll see you in the next video. 102. How use Inflate to make cool 3D in Illustrator: All right, another little bit of Three D. It's stuff we can do very quickly, Turning our shapes and text into this kind of inflated balloon stuff. It's easy to do. I love it looks so cool. Everything looks like a balloon. It's kind of like balloon animal time. But an illustrator, let's jump in. Al right. You can do it with anything you've drawn in an illustrator text. We're going to start with the icon like you saw. Okay. If you do want to follow along, there is three D inflate. Okay. We've got my drawing that I did of my little It is rain cloud. Okay. A couple of things to know is that I'm going to duplicate this one over so I've got our original back there. Don't have a stroke around it, kind of messes with the vibe. Works just doesn't look as great. Okay. The other thing is that I'm pretty sure it needs to be grouped. Wait, there you go. So I've done it and it's not grouped. I can't render it for some reason. Maybe that's a bug on mine, maybe you can't do it. But I know that if you group it first. Okay, So use the little option down here to group it, it will work. Let's open up the window. Three D and materials. And let's just belong to this one here. So we've got a selected object inflate and it looks okay. It gets better when we hit the rendering. You just hit that straight away. Cool. Now we can play around with lots of these. The main ones are rotation. Okay? That might be how you want it. But let's play around with isommetric, right? No, I've gone off access front and once you get it halfway, it's easy enough to slide around these and work out what you want to do. I don't mind sticking up like that and turn to the side renderings ones to get the position. Probably the nice thing next is go to lighting. Probably just turn the shadows on shadows, make it look cool. There we go, shadows. The other thing you can do is we can get the shadows to go behind the object. Yes, I want it to be actually below the object because M is standing up. Now, look at that. What it's mainly doing is changing the lighting. It's moved the lighting right to the top of the world. Plus cast a shadow, which is cool. That's what I want. What I want though is another, basically what you can do is you can add a second light, all the second light is going to do. So light two is going to be a diffused light. It's just think of a diffused light as like the sunlight, you know, like you've got a torch and it casts really strong shadows. A diffused light K is like the sun where it bounces around loads of places because it's quite strong, but it doesn't cast really strict shadows like a torch does light one, it's set up differently, Klight two, I've just gone for the default diffuse. It looks cool. Okay. Make sure your renders on and again, it'll get better the higher you crank this up. I'm going to leave it off for the moment. And render it I'll render it nice, maybe at the end there. Let's do one last thing. Let's get the distance from the shadow just a little bit further away. Maybe the first light which is my like torch light, the intensity can come down or the softness up. I'm trying to get the shadow to be less kind of like crazy. That's better. There's a lot of fiddling around with it and I've done a lot of three D stuff. So I kind of make it look easy. It's not easy if you're struggling with this and finding it hard to know what to do. It is hard. It takes a long time to get good at three D. The cool thing about the stuff and illustrate it, though, is, A, it's not a whole new program to learn. And B, they've kind of cut it down to the basics. If you open this up in Blender or Meyer or Sma D, there's about 1 million steps to get to anywhere near this, It's pretty cool. The other things interesting about inflate R volume going to go back to object. Okay, actually I'm going to get materials and just turn up the metallics just so I can get a bit of reflection basically. It's just going to be a bit shinier. Okay, Going to go to object and the other one is volume. If I turn it down, it's just not going to be as extreme. Okay? A flat thing, you'll find, you want it to be 100% okay? So it's super puffy as much as it can go or lower inflate, both sides is pretty cool. Let's do that. This one here doesn't look great until I start moving it around. Or actually let's move it around, grab the center. Look fully three D, or at least symmetrical. Remember, turn the rendering off if it's taking forever. I like it looks cool. The other thing is let's say we want to do things like change the color. I'm going to actually make a copy of this one. Okay. I option dragged it out. Okay. And I want to go through and actually change the color of this to something darker because I wanted my original one was to like these to be quite standing out, but they're not okay, so I want to adjust this color. What I'm going to do is turn rendering off and go into command Y or control Y on a PC for outline mode. What I'm going to do is grab my direct selection tool which is the A tool. Click, click back on so that I've got just that part of the cloud. Okay, there's the fill. I'm just going to pick a really darker one. I'm going for like there's a bit of warmth, a bit of hue and there just a little bit, okay. You can see it there. Kind of, I don't know, granite. No, there's a type of grade. It's in my head, I can't think of it. Okay. But changing it this way and then, you know, spending a bit of time doing it that way then coming out of alloy mode, selecting it, turning render back on, we'll just save a whole lot of stress on the computer. Look at that, It's the black sheep, very bad cloud which is basically what's happening outside my house right now. All right, last thing I'll do before I kind of export it is I'll show you how I'm going to do this in a second. Let me show you the last of them. So what I want to do is let's say it's ready to go out. I'm going to use this graphic somewhere. I want to go to my Render settings and I want to go up to high. And see how it goes. And because this is going out via social media, I'm not going to change the document raster settings, 72-300 'cause I've made my document the right height and it just renders it a lot nicer. Look at that, so cool. If you do need more, you can either make it bigger. Okay. Or you can go to a fix. Document. Raster, fix. Okay. And change it from I'm not going to go to 300 because it'll take a long time, but I'm going to try 150. We'll see if I have to speed it up or not. Oh, we're back. That took like a minute and a bit maybe. And the editor, Jason, can you flick between the old version and this version before, after, before, after, see. You can crank up those raster settings and get it just a bigger, better quality but it takes longer. Uh huh. Now, it's exactly the same for type you might have noticed when you opened it up was looking for something called bistro. If you didn't sync it or activate it, don't worry. I've got an outline version of it here, so we're going to use that one. Okay, And same again, we'll do it and make it look cool, but there's nothing really new to it. And let me look inflate, I'm going to drag X up a little bit and then the Y around turn render on, which always makes it look better. So we men, oh, look at that. We did nothing but we're masters Illustrator can make cool stuff. Okay, next thing is that I always want to do is turn on the shadows distance from object. You can turn down the softness of the light, give it a s to catch up with the rendering. Love it. Okay. I'm going to go through my materials and I'm going to go through screen up the roughness and the metallic again, if you're trying to do two things at the same time it's trying to render one before it does the other. Sometimes it's better just to turn the render off. Get it how you want then turn rendering on. I've got it with the roughness right down when we get this party Blon effect metallic right up. Roughness right down gives it like a set and finish to you. What do you want to do? Going to go somewhere in there. Metallic quite high as high. Give it a sect to render. How cool is that? Bam, it's totally eligible now. Good work Dan. Alright, so that's going to be it. And I want to show you now how I drew these using the pencil tools just shape things that you already know how to use. But I figured I would show you anyway just 'cause sometimes it's really good to recap these things, but three D stuff is over. Alright. The last thing I want to do is I want to show you how I drew this. Just to remind you, you can skip ahead. This is just using the pencil tool and the shape builder tool. Nothing fancy, okay? And simplify all things we've done before. Sometimes it's good for you to see again, always a ural cloud anyway and you can go to the next video. Three D inflate is over for the rest of us though. I'm going to close that down. I'm going to grab my pencil tool, make sure the smoothing is up. I'm going to edit, selected, pass, turn it on, and keep selected. We turn those off at the beginning, on the on now because I'm going to try and my cloud, I'm going to go back to the beginning. It's going to be okay. It's got no stroke, no film going to add a stroke. Zoom in on it. That might be good enough if it's not. And you want to redraw a bit with the pencil tool again, remember you can just draw over the top of the line and if you get halfway close to it, it will draw and replace it. If you do badly, like I'm doing, it won't, maybe I'm going go. It can be tricky. What I found, especially in this one here, can I join that up, is actually just getting it roughly in and then going to the simplified tool, because at the moment, there's way too many anchor points for me to adjust it. Okay, so we did this before. Okay, We stack in some of those sweet skills. We're going to go to object, we're going to go to path, and we're going to go to simplify. Crank it right up, gives me my kind of like blobby cloud, looks like. You know what, A lightning bolt though. Let's add the lightning bolt. And I'll just use the pencil tool again. I did it separately. I actually had to look online for what a lightning bolt looked like. Okay? And do it. This is not all in my head. There's a lot of cheating when it comes to teaching to get something that looks good. Okay, good enough. Same thing again. I went to object path, simplify, cranked it right up. Actually there's an option in here that says simplify, simplify, convert to straight lines. Fancy bonus for those people that did hang out. Okay, then I went into the direct selection tool and grabbed because they are straight lines, I've all got those curves. That was it. That on that one doesn't because it's got two little bits in there. So I'm going to go pen tool and use a little minus option then slick back on that. We then I just overlaid them and sliced it out with the inflate tool. If I leave it like that and just fill it with a color, it will try and balloon both of them together. What I wanted to do was slick both of them. Shape builder, join those two up. Then I gave them colors. This one got a color of the light gray. Pulled it from there, went to hue and saturation. Can you see the hue over here? I can crank up the saturation. I go to yellow fish and then crank it basically white. And then does up a little bit, just a couple of percent so that there was like a warm white. And then I added that to be yellow, then I drew in the little bobs and I did the same thing with the shape builder tool. Okay. Kind of just sliced the amount, make them different colors. Definitely a rain cloud and not anything else. All right. Thanks for hanging around. Those other people skipped, they didn't even see the straight lines thing. Just me and you. Alright. I hope you found the inflate. Awesome Man, it's cool. Illustrator is awesome. I will see you in the next video. 103. Class Project 31 - Inflate: Hello, it is time to practice your balloon animals. We're going to use the effect that we learnt in the last video. Okay, that three D inflate. And I want you to make something that's roughly vaguely connected to your product. Okay? Can be the product itself, if it lends itself to being, you know, something easily drawn that you can turn into a three D shape. But it might be something that's maybe an ingredient of it or something that goes with it, goes hand in hand or a time that it's enjoyed. Maybe it's a summer thing or a nighttime thing. I'm looking at some of the projects, you know, like if it's the bubble bath bubbles would work. I think a pickle just on its own would be good. It'll work well with a three D inflate along with things like the old fashioned Swedes. Depends on what you've got and when you're finished. Can supply something like this. Pick a background color, show it off. Don't worry too much if it's knock to connected to your products more just experimenting with the inflate tool. You can do text as well, but I want to see if you can do it with something you've drawn. But if you're like me, you probably can't resist playing around with some type as well. All right, enjoy the project. Have fun with inflate. But remember, I made it look relatively easy in the last videos because I've done three D before, kind of reasonably good at it. And I practice these things, it all looks very fluid, but I mess around with it for ages and then write down notes and then deliver it to you. And it seems like, oh, he just knows what he's doing. Just drag it this way, Dan. Nope, there's a lot of fiddling around and undoing and not knowing what it looks like, and a whole lot of junk ones that end up in the bin that you never see, Al. Right enough. Dan, let the people go do their project and I'll see in the next video. 104. How to realistically Mockup your design in Illustrator: Hi everyone. In this video we are going to mock stuff up that we've made in this course. Okay, but the cool thing is, look, it's all editable, okay. We can get it to wrap around things. It's very exciting, it adapts to the shape. Oh, look at this. We can just take regular old images and start placing our sweet graphics. And look the awake fox makes an appearance, look at him, it's very exciting. It's a new feature called Mock Up in Illustrator. Let me show you how it works. All right, exciting. I want you to open up the file called Mock Up. Okay. You don't have to, but all you need is an image to go on. And you might have to download it an early version. So things might change a little bit at the moment for me. Okay, When I go into window and I want to mock up. Kay, it asked me to download some stuff and it did took a little while. Okay. The next thing we need is find a graphic. Okay, well, let's use the logo for that I've been using. Okay, And if you slick it and just head mock up and do nothing else, watch what happens over here. Can you see it actually mocks up that graphic across everything. So have a look at some other things. The defaults of the moment are apparel look easy, Pino graphics, K's not standing out very well on some of them, but other ones they are ha devices. Look on the big screen, okay. You can click through all of these. All right. These ones here are Adobe stock images. You've actually got to pay for them, but you can, I think, edit on the canvas. Let me go. Let's find that one. We'll use the ones that they got for demo. Okay, you meant to go and pay and download these ones, but you can just play around with them. You don't need to use my mockup file. And you can buy the license here. You might have an Adobe stock license already. You can just hit that button. Okay. What we'll do is we'll leave that one there. Let's look at some ones that I've brought through. What we're going to do is let's work with this fox here. First thing is that it needs to be grouped. Okay? Doesn't seem to work. If it's not group, then line it up at roughly the right size. Holding shift, scaling it down, getting it roughly the right, you can adjust it afterwards. Just a little trickier. You need to slick both of them. The thing that's grouped plus the thing underneath you can mock up here or go to object and go to mock up and make. This is new so it might change a little bit. I'll share a couple of different ways just in case they move it. Hit that, you'll notice that this updates, you can see my little good looking Fox. Look, wake fox. He's on all of it. What's cool is this. And you're like, that seems less cool. What we can do is click hold and drag it slowly. You'll notice that it wraps around, it tries its best. Okay? It's not perfect for going all the way around corners. It's pretty good. But it's trying to model this thing, what I'm going to do is scale it down. I'm going to grab any one of these, hold shift and drag it so it's a bit more appropriately sized. The magic generally happens is when you play around with the blending mode, I've got this fox selected. If you're out of it, double click on the background, and you click on it as one unit. We need to go into that isolation mode to double click to go inside and have just the fox selected. What makes it really nice is going to a pacity. Changing this blending advanced stuff, but for things that are on a white background, basically multiply. Look how cool that is. Now when you move it around, it's a little bit more exciting. Okay, that's for the shirt one. Let's have a look at doing one more. Let's grab the natural ingredients one. Okay, I'm copying and pasting it. Remember just make sure it's grouped. I'm going to stick it on the, make it an appropriate size. I want that kind of tag like you saw at the beginning, kind of half over. So I'm going to maybe just stick it there just like both of them hit the mock up button or go to object mock up, make and look at that, it's kind of like a seal, so cool. This one doesn't work very well with capacity and multiply. It does, okay? You can kind of see it and kind of sees through. But it changes the colors. It sometimes works, it sometimes doesn't. There's not a real good way. Okay. It's more of a Photoshop job to mock it up perfectly. All this just might get really good in Illustrator, but it's still pretty awesome. Look oh, look at it. Roll around the corner, so good. Now a couple of things is I can double click to get inside, you get this ring, you can rotate it. Okay. If it's kind of not quite got it right. Okay. And obviously you can resize it. If you just do it one side, you can kind of squish it. But if you hold shift while you're doing it, it'll do both things proportionately. Top click to come back out. Now what works really good with small things across large area, but if you try and do too much, if I grab this, I'm going to copy and paste it. Move it over to this thing. Okay, it's work. It's kind of the wrong thing for a coffee cup, but that's what I've got. Lect them both, do the mock up. Okay, you'll see it's got it okay. I might have to rotate it a bit. It's just generally better when it's like smaller on there and you can't really tell that some of the distortion is not working. I imagine this will get better and better over time. That looks cool. It's nice how you can wop around things, okay? But in this particular one, hopefully opacity and multiply o, That's where the magic happens. I love it. Don't click on the background to come out. So that's the mock up tool. A few of the things limitations at the moment is you can't have more than one graphic, okay? You'd have to group these before it went on. If you want a logo and this. Okay, I can't figure out a way of actually throwing another second one on there. Okay. You can also do is release them. So select them object, go down to the mock up. Okay, and go to release. Okay, and all separate them back out again. The other thing is, is that images won't wrap around other images. This, although we created an illustrator, remember it is actually a bitmap Pa zoom in. You can see all the pixels. Okay? That's how it gets all that beautiful real lifeness to it. It actually converts into what's called bitmap, which is not that lovely vector stuff that we can see. See vector, very technical and coordinates and very simple shapes. Whereas images, just these rectangles with loads and loads of dots in them. Okay? It's a bit map. If you try and wrap this around this, it will just go, can't be done. Okay? Object mock up, make then work. And the last thing I wanted to show you is these two graphics here I actually just made. Okay, using generative AI. I did it in Photoshop. Now I know this is not a Photoshop course. I guess I wanted to show you because I was looking online, like I wanted a plain white can, okay, Or empty white coffee cup extra large. I couldn't find one that I could use with the right commercial license. For this course, I went to Photoshop. Okay, it's a little bonus. You don't have to go and do my Photoshop course. You should. Okay, so I've just got an artboard in here. It's not really a tutorial, more of a showing how awesome Photoshops got. I'm going to drag a big box, I'm going to say generative fill, and I'm going to say plain white can with mushroom growing out of the top. That's what came to mind. There you go. Kind of weird, It's better. It's amazing what you can do out of Photoshop to generate stuff that just didn't exist. Bananas. So that's where I got these two. They kind of look real well enough for this mock up. Okay, so when you are looking for mock ups of your product, okay, you could do, if you want to do go do the Photoshop course, okay? Or just jump in there and see if you can make yourself if you're doing hand cut chips or What are the ones in there? Bubble bath. Okay. You can maybe see if you can generate the product. Okay? The plain product that you could add stuff to in this mock up fun. It's amazing what we can do these days, huh? All right, that is it. I will see you in the next video. Bye now. 105. Class Project 32 - Mockup: All right, class project time, I want you to have some fun with mock up. I want you to use any of the designs you'd be making throughout this course. I don't mind which one you can use them all. You can just use one. Just have some experiments with it and I'd love to see what you make. Okay, to save an image, upload it to the class projects and share it on social media. Let me know in the comments if you did run into any problems, especially if you figured out a way to kind of fix them, share that with others. But yeah, have some fun with mock up. It's not going to do everything 100% all the time, but yeah, some really cool stuff just built into illustrator. Al right. Enjoy it. I'll see in the next video. 106. How Share for Review your Illustrator designs: One. Imagine if you could send out your artwork from Illustrator directly. Create a link and send it to anybody, one of the stakeholders in your project. And they could pin things and add comments, which is cool. But imagine if it came through directly into Illustrator. It does. Directly into Illustrator. Look, there's pins that came through from my person who didn't even have an Adobe ID. There's a guy named Doug. He's very rude. What the heck is this? It's meant to be a chili. He's got some other useful comments, but it's called here for review. It's awesome. Let's jump in and check it out. All right, share the designs. There's an option up the top here. Okay, I've just got an old document open. The business card will be made earlier. It doesn't matter what document it is. Let's go to share. I'm going to go create a link. This will probably change this flow. It's pretty easy. Just kind of newish, skip. There's my name boards, I'm going to do all of them. Anyone with a link can comment or you can be a bit more specific. It depends on how secretive the data is. Is it under NDA? Is it like company annual reports? So you can decide it's super secure. You just got to decide whether you want it invites only or with the link. I'm gonna go with the link. Cool. I'm gonna get a copy and that's it. Just email to someone, So good, let's pretend to be not me, the designer. I'm gonna be Doug, the client, or Merle. So Dan, the designer, sends an e mail to Doug with that link. Okay. And Doug opens it up. The cool thing about it is Doug didn't need an Adobe ID. Doesn't need an Illustrator. Doesn't need anything, Just the web link, So good. Okay, he can work as a guest. If he does have an Adobe ID which you can sign and get one for free, they can. I don't know. At least he gets his name and you can track your comments and stuff. But let's say Doug just needs to be able to go pin and he goes, all right. Doug is rude. There's a great drawing of what is it, Chili. Okay. He submits it. Doug can be a guest. What else does he do? Doug is also correct. There's a little hard bit to light against the background, but what happens for me as Daniel, the designer, is in here. Imagine if they came through and you could see the comments. You can you can get a window and you can go to Comments there, is there. And look at this. There's Doug's comments. Look at that. You can click on them, actually takes you to it. There's a lot of helpful things that we don't need right now because Dan's doing the tutorial look, this is hard to read and you're like reply. Okay, because Doug was a guest. I don't know where the reply is gonna go, Probably nowhere. Okay. But man, it's just so handy as a designer rather than you ever done it. Right? You've kind of got a design or some sort of creation. You stick in an e mail and it's like, you know, that third e mail that I sent with that version, that one, can you change that thing that's down the bottom right? That's kind of squiggly. You know, you end up like, I don't know, Pins are great. Okay, so I can see these. Okay. I can reply if he was logged in, do all the normal commenting things. Okay. I love it. Okay. The other thing is, is that let's say you do change this, okay? And you're like, alright Doug, how about now? Okay. And what you need to do then is you can go back and that same link will work, but you can update the content. Okay? And it will update. Actually, just prove it works. Going to check that comment. It'll have to be refreshed, I'm assuming. Okay. And there it is there. Look man, So good. Okay. And if we had replied, actually, that would work because even though Doug's not logged in, he could come back to this page and he'd still see the word Doug there as the guest and he'd see the replies, man. So nice. All right. That is how you share. It can be clients, it can be colleagues, all the various stakeholders. And that might be working on a project, such a good clean way to get it to the client and back. Why am I so excited about this? Because the old way via e mail was painful. Hands up. If you've done it that way, yeah, that is hard. This is good. All right. That is it. Share for review. It's in lots of other Adobe programs as well. Actually, I think it's just in Photoshop at the moment. There's a version of it in design as well, if you didn't know. Not quite the same as this, but I think they're going to start pushing this out to all of the different products, so by the time you watch this it might be there. All right, that is it. I will see you in the next video. 107. How to embed images in illustrator: All right. So you opened up a document and you got this warning dialogue. And you're like, man, why are the images linked? How do I embed them? Oh, you're in the right place. Let me show you how. Alright, you, you're the warning dialogue. Okay. Try to open up a document. If you want to play along, you can open up the exercise file called link image and you're no longer available. Okay, So I'm gonna ignore and then just come in. Okay, we can kind of see it. The trouble is if you can't re link back to it, you can't get a high resolution image. It's kind of gone forever. Not that this one would be a shame, I'm not sure what this Photoshop was about, but hey, I'm gonna pretend like I didn't organize it, I totally did. So we can't find the image, which is bad. If you can find it, maybe it's just in a different place and you just want to relink it. Okay. With it selected, you go to window and you go for a link panel. Okay. And in here, see the links broken. You can go down here and relink it. So I'm going to relink to your library. No, I'm just going to regular old relink. You got to have it selected first. Click the link and then go and find it. And this one, I've just changed the name of it. It's called Dan. It's called Dan one now and hit place, and now they're connected back up. But what you really came for is how do you stop it happening in the first place? Actually, no. You came to embed it. So this one's linked. I can tell. I can make it unlinked by just selecting it. Here go make it go blue. Click on this and there's one that says embed images. Boom. So now the file size gets bigger for this illustrated document. But I can hand over the illustrated document, no problem. And the image will come through as well. There's two ways. Okay, the way you probably already know from this course is file and we're going to go to place. We're going to bring in Dan. Two is Dan to you can turn that off. Okay, that creates the link. Okay. That means embedded. Place it in there, Drag them out. Yep, that's what we did on that photo shoot. Okay. And here you can see no longer linked. You can select a whole bunch of them. Hold shift and embed them all. There you go. The problem is let's undo that. Is like me, you probably just drag these things in. Probably go where is the Dan two and you just drag it in. Okay. And by default it will link, oh, how do we get around that all is a sneaky shortcut. Watch this. If I drag it in and hold shift key down, look it embeds it. Sneaky. Huh? It's very cool. I wish it was the other way around, but Illustrator, I guess, wants the performance to be, you know, seen is really great. Most people wouldn't know that like, oh, Illustrator is running really slowly and it's because you got lots of images in it. So what they do is they link by default, which makes Illustrator run really fast. It makes people with some experience complain that they are linked. Illustrator can't really win, but now we know how to embed them and when we're importing them, either untick that link button or hold shift on your keyboard while you're dragging them in, and they will be embedded. There we go. Let's pretend this didn't happen. There we go, a race from memory, I'll see in the next video. 108. Understanding all the ways to export files from Illustrator: Hello. Hey, at this video we're going to cover all the ways to export graphics from Illustrator. There's absolutely no like you're doing it wrong way. It's just there's lots of best practices for the different ways to go. So we'll cover these kind of four groups that have put them in copying between programs. Going out to print, exporting the entire art board like the whole page, or versus exporting only parts of the design. These two are kind of exploiting for digital. This one here, exporting for print. And this one kind of not going really exporting, kind of finished, it's kind of going between programs. Some of them are super easy and some of them are require a little bit more in depth. So the ones that are underlined, see the two there, save as PDF and Export panel. They're probably the most used and require just a little bit more explanation. So we'll dive into those a little bit more, some memorial. Easy, but this one's going to be a long video prepared to get your export nerd on. You're going to be master of exporting. All right, let's jump in. Okay, copying between programs. Like the thing I do the most probably is just copy and pasting. So I've got any old document open, I can just go copy. And it's amazing how many documents you can just paste into. Watch Paste. Okay, In Photoshop, it's best to come through as a smart object, okay? And it is still vector, okay? It's scalable and you just copy and paste in designs the same. I can just paste in design, and it's still vector. It is scalable. It is awesome as if I got open Figma. Okay, paste into Figma. Okay, and it is still vector. Check this out. You can still see all the lovely vector. Goodness. That's a real quick and easy way to get between programs, both for non Adobe Adobe programs. Try it first. Now the next level from that is to use libraries. We covered this earlier in the course, but we'll cover it again real quick. Because the problem with the way I did it with copying and pasting, If I go and change this now, none of the other ones update. So if I make this into our library item, okay, select it at all, I'm going to group it and drag the whole thing in. Okay? And I've got this thing called Fox, and then if I jump into shop, okay, find my library, drag it in the same here, and in design. Okay, This won't currently work with Figma. Okay. There is no libraries in it at the moment. That'll come. But basically any other Adobe program after fax, Premiere Pro, any of that will use libraries. And the perk is I can double click this in Illustrator, so it's not that original document. Okay. But in here I can grab it and say, actually I want to change the color of this to this it save. Let's have a look in Photoshop. Okay. Can you see it updated in design? Updated, any of the other programs will update as well. And that is really good because CC libraries can be shared. You can send this out to other people in your team, colleagues, clients, they will see the updates, multiple documents that don't have to be open, it's awesome. The next one we'll go through is going to be print. Okay. So with print, I'm going to open up the business card we had from earlier. There's two things you need to do. We've kind of touched on effects and document Russa settings. We've kept them quite low in Illustrator. And that's fine, especially if it's going out via a screen. You don't need to mess with this much at all. 72 will be perfect. Okay, But we're going out to print K and print resolution generally as a rule is 300 PPI pixels per inch. Okay. It's the quality of the output. Now most of this is vector, so it won't matter. It will affect things like see the drop shadow that's in here. Okay, that is kind of pixelated. Now K, if I click okay, it'll be redrawn KC that it's nice and smooth. So you do that first. Okay. Then you go to file and you go to save As. We're going to save mine onto my computer. I'm going to put mine on my desktop, okay. And we're going to go to this option here. Instead of export, it's Save as, that's the big thing. And we go to PDF. Okay. And we hit save up the top here. Stick it on high quality. Okay. And just make sure preserve Illustrator editing capabilities is off. With that on, it's basically just an Illustrator file that is way too complicated for what the printer needs. The file size is way too big, It's just an Illustrator file. What we want is a cut down or at least concise PDF that will run through all sorts of new and all rips, okay? And not give anybody any problems. The file size will be lower. Okay? So start with high quality print at the top there. Turn this off now. We're not going to have a chance to go through the full commercial printing process for PDFs. Okay. We'll do that in the advanced course that's pretty hardcore. Things like bleeds and pantones and all that sort of stuff will do that course, but for the moment this is good enough, okay? They're going to get the right quality. It's going to print nice, It's not going to be too big. So just make sure that's turned off. Let's save the PDF, Okay, And let's click okay. Let's check it on the desktop, there's my business card, It's 1 megabyte. It looks great. Always double check. Okay, it's printing nice. All the vectors come out nice. And it's tiny, right? Like it's awesome that it's tiny. And the quality is great. That's why illustrator is so awesome. Okay, vector shapes, those paths and stuff will be super crisp. One thing I just noticed, is there any exploited one page. Okay, bad Dn. Okay, so if I go to that exact same thing, let me jump there. Okay, when you're doing your saves, go to PDF and just make sure it's Go defolding to all use our boards and all pages. If you've only got one page it doesn't matter. You can obviously print a range if you have got, let's say one to two or you just want one comma and three, okay? The first and third artboard. You can do some fancy stuff in there. I just want all, let's save it again. It'll be bigger now because there's an image on the back. Let's see how it comes out, okay. It's 1.3 so we're not going to break the bank. And then we go super good quality. All right, so that is print. All right, let's look at these next two. So that's going out for commercial print, even if it's a PDF that's going out for like to a website or to an e mail. Okay. I wouldn't use this one here. I'd use this entire artboard one. Export screens. This is great. Also we've created some social media ads, some Instagram stories or anything that's going out via digital media K or social media. Let's open up an ad from earlier. Okay, and let's go to file. And let's go to export finally. Ok, and use export for screens. It's got a sweep, shortcut K, and it works great. Now you're up the top here, you've got artboards versus assets. We're going to be on artboards. We've only got one artboard. Okay? So it's going to use just page one you can do. All the cool thing about it is that it's going to exclude any of this working on the outside here. These things here are not going to be included. You can include them if you want. Okay. We're just going to go use the artboards. Pick a place for it to go. I don't like to have sub folders on everything. What it means is if I have a PNG, but I also want to add, you see the screens a bit small, okay? I want a PNG, but I also want a PDF made. Okay? It'll put them in separate PNG and PDF folders, which is a little bit annoying, Okay? The other thing to mind is where it says scale, okay? If you want it to be three times the size, that's fine. Okay? But if you've designed it at the right size, you want to keep it at one. It really wants to add a scale. What it should really say is like different format. But this gets used a lot when people are making assets for say, UI and web design. The other thing to note in here is what kind of quality? So I don't want it 1.5 I want it to be who I'm clicking on. Lots of stuff. You can delete them. Okay. And it's going to go one size. And I want to look at the J Pig. So it's got some defaults in here. These are the kind of main food groups out via social media. Just think it at 100 K percent, the best it can be, all those different media platforms will condense it down without asking. The best format okay, is web. But not everyone accepts it. We looked at it at the beginning of the course, okay? So one size web if I can get away with it. Otherwise it'll depend on where it's going. Okay, so we'll talk about file extensions in a little bit later in this chapter. But that is it. I'm actually exporting lots of different things. That's the kind of power of using export for screens. You can have a PDF, okay, And the PDF is perfect. It's just not really a print ready one though. You can make it. Do it if you want. Cool, I'm going to head Export and on my desktop. Okay. I've got all those different ones now. The name came from the artboard name. Okay. You can name your upboard even if it doesn't look like you can't name it. Okay? Go to your artboard tool. Okay? And you can see it's called Artboard one. Okay? And you can name it over here, so you might give it a better name. All right, so I've got all of my different versions here on my desktop to export for screens is great for the whole thing. You've made it the right size, it needs to go out. Let's look at the exporting for digital, but only small parts of a larger document, let's say that you need and not this one. Let's have a look. This one here, you just need this part to go out or just a certain part of a document or like sometimes you end up with like workings over here and you just want to export this bit. It's not even on the art board. Of course, we can copy and paste it, but there's some great ways of getting it out. Let's look at export selection first, because it's quicker and easier. And then we'll look at asset export. Okay, So let's say we need this graphic out, okay. What you can do is you can just right click it, okay, and go down to export section. Super easy. It jumps to the export for screens, it jumps to the right tab. So we're on Artboards before it jumps to Assets. It's got it selected, stick it on the desktop, and we're basically at the same point, okay? So we can pick the format that we want. Sbg, PNG. And the other cool thing about it is we had scale there before. We're just like the right size. You might decide, Okay, I've got it there. I can decide actually I want it to be width K and know it's going onto our website or into our e mailer and they've asked for no more than 500 pixels in a PNG we it export. And it's just the, a really quick way of getting one little ingredient, K, out at a certain pixel size in the right format. There we go. So the big boy version of that is, let's go to the business card. We'll export a few parts from this. Yeah, well not so we're going to go to the window and open up the asset panel or asset export panel. If you haven't got it open already, I like it out on its own. I'm not sure why. I think that's how it was rigidly made. It can be in there, it's no big deal. Okay, so what I want to do is basically it's a mini version of the export screens thing we just saw. The cool thing about it is we can select this. The trick is you want to make sure everything you want to be together is a group. And you can either drag it in, okay, or select on it and hit this little plus button up to you, you end up in the same place. What you need to double check though, is that it's all grouped. Watch this. If I grab the fox who's not grouped, he is group. I'm going to ungroup him. Okay? It's all bits. If I grab it and throw it in there, it thinks, you mean all of those bits are separate. It's going to undo that. And if I group it first, then throw it in, it's one unit. Why is this useful? Okay, This is really useful because this little panel here, let's go to business card, is see these things here. They're cool. We can name them, which is handy. You name them by just double clicking on them, okay? And we can export them now with different sizes like we did before. What's really cool is that if this gets changed, let's change mail's logo. So I'm going to double click it to go inside. I'm going to click on just the top bit of text. I'm gonna change it to purple. Look, it changed over there too. So there's this kind of like connection between them. So as you're modifying it, it's updating in here. So when I had exploit, it's got the right version of it. I use this all the time when I'm doing kind of features for say, an app or a website exporting them. Okay, you can use the asset panel. Just drag it in there, make sure it's grouped and then there's a connection between the two. And it doesn't go away. It means you come back later on and the asset panels still open up and they still have all this stuff. So instead of trying to export the whole thing or anybody done this, copy, new document. Let's go to Web. Let's go to this one. Let's go to this one. Let's paste it in. And maybe scale this up, or select the artboard and say I want the artboard to be fit around the upward bound exporting. Let's play the butt. Okay, where is this asset export panel? It's ready to go, especially if you need to do it the second time. And the one thing is the export button for me, I don't know, It's like every single time I'm like, I can't click. Who's a great out? It takes me like 2 seconds to go, oh yeah, Click on one of these, first K and Head Export. So I can export, let's say just the logo. K and Head export. Awesome. This one here, I can export separately. Maybe it's a different format, Okay, Maybe I needed to be an SfG. Let's export, it goes there. You can export them all by clicking the first one, holding Shift, and clicking the last one on your list. But you can end up having like loads and loads in your asset export panel, okay? But if you want them all out at the same time, have them all selected. And then head Export, because we named them, we're not going to end up with asset two, we're going to end up with logo, Okay. And we're going to end up with the natural badge which is an SVG, which in this case it totally works. It's just a small thing in the corner here. Svgs can be weird. Like that test for where you need to going. Svg will work perfect. Just my Mac at the moment is not previewing it very well. All right. I hope that was useful. The original course that I made, kind of just I gave people different options, but there wasn't like a hierarchy. So I hope this was helpful for you to know what of all the million ways of getting stuff out is useful for you. Let me just quickly recap in between programs, CC libraries is the best. Copy and paste is what I end up using the most when I don't consistency. So that ideation stage or just banging things around and testing them and getting them going. But if I'm working for a larger company or a larger brand or at least something that's got some defined brand guidelines that I'm sharing with somebody else. Always CC libraries, keep going out for print. Okay, printing anywhere in the physical world save as PDF. Just make sure you turn off the illustrated capabilities and make sure the quality is set to high. If you're exporting anything digitally, which for me seems to be most of the stuff now. Okay, If it's a full thing like a social media ad or a PDF that's going out via e mail, just use export screens. If you just need a small part going out, I'll always use the Asset Export panel because I like the repeatability of it. But you can obviously right click in. Selection is a cool way as well. I'd like to name it and have my little panel so I can see it all plus the connection with the updates, its awesome. Alright, what was that useful? That was boring, but totally useful. I know we should get back to making three D type. The three D type is useful. This is probably a way more useful video. Stop apologizing, Dan. Let's just get on with the next video. Alright, I'll see you there. 109. WebP vs SVG vs PNG vs JPG vs PDF AI vs EPS vs Tiff in Illustrator: Hi everyone. In this video we are going to cover all the different file formats that you can export out of Illustrator. We've covered them a little bit. We're going to dive in a bit deeper, not super deep, but there are so many different formats to go out. Let's start with a general overview al right to quickly overview. Before we get into the minutia of the different formats, I just want to quick overview, so let's do that now. So Web K is a great format that has the benefits of both JP and PNG smushed together. So use that when you can. Its main use case is for websites, but not all places accept it. So you'd use a J pig when you were exporting something that has an image in it from Illustrator. Jp would be great if it needs transparency like this logo here. Okay, it's better as a PNG. The trouble with those three formats that I've mentioned is that there are bitmap images, they're not scalable. So if you need scalability, SVG is the one you should go for. If you're going out for print, a PDF is perfect, or if you want to lump everything into an e mail PDF perfect. The other two formats we'll talk about a EPSs and Tiffs, and those are more edge case use cases. At the moment, we won't get into them too much, but I'll show you where you can go to export those. All right, let's dive into a bit more of the reasons why you'd want to use each to give you the power to choose. Alright, let's jump in. Alright, let's talk file formats. The big thing to know, or at least the term to know before we go to the exploit, is something called bitmap or raster. They mean different things, but people using them interchangeably versus vector. Okay, the big difference is let's go to our outline view. This thing here is this lovely vector shape, where that can be scaled, okay? I can outline it. I've got all the anchor points, okay? It can be adjusted, but it has a really kind of like distinctive look, right? Really crisp edges. Three illustrator, okay. Simple colors, crisp edges. But it doesn't have all the detail like something like this does. If I zoom in, you see all the kind of hints of shadow and all sorts of cool stuff. It does it by using a whole bunch of pixels. If I zoom in, you'll see the pixels. This is Raster bitmap. It's a map of all these different bits. So some graphics like my logo here has only vector objects. And this one here, the whole ad has a mixture of both bit of vector, okay? Vector text, but it has a bitmap image in the middle there or our business card here. A mixture of both on the back. So there are standalone vector stuff, standalone bitmap stuff, and then there's mixtures. So that combined with where it's going, let's talk about the different formats. So let's go to file export screens just to have a little look. So on a different stuff, we're not going to cover PDF here because we kind of cover it in the last video. We all kind of know what PDs are, freight for sending off via e mail or to printers. You can have them downloaded from your website, But let's talk about some of the other image files. Two main ones, PNG and J peg, that you use very often, okay, are the big difference between the two of these is they're both for bitmaps, okay? So they will export a bunch of pixels. J pegs will often reproduce images a lot better. So if I'm going to export this graphic here on the back, okay, to upload to social media or to upload to a website, I'm going to pick a Jpeg because it tends to do a really good job of dealing with images like the images in the background there quality is high enough, it will reproduce the vector parts just fine. You could do a PNG and it would work fine, except the PNG would be a lot larger. File size is important, go J peg at a high setting. Otherwise a PNG will work just fine. It will do images and reproduce vectors really well. The big difference between the two is transparency. Let's have a look at that. We'll do the logo here. Okay, I'm going to add it to the export panel and go to the two options, Jpeg and PNG. Jp at its highest sweating, size wise, mines probably big enough. Let's export them. Let's get on the desktop, okay, I'm going to import them both back. Just so you can see the difference in transparency. One is transparent, the other one is not Jpeg, not allow transparency, it will just fill the background with white, even though we didn't say so. It just doesn't have the capability of putting transparency in, whereas a PNG does. They are both bitmap images, so let's zoom in, okay. So you've got to make sure the size is big enough when you export them to make sure that nobody can seal the pixels. But from a distance, okay, being used at that size, nobody will know the difference between a vector and a bitmap, especially when it's physically printed or viewed through a website. So this logo going out, okay. Somebody asked me for it. I send it as a PNG, make sure it's big enough, Okay? Because J pegs not going to work, whereas somebody asked me for this. I'd send this whole unit, I'd group it and send it off. It would definitely be a Jpeg why that would both work 'cause you know, PNG has transparency. We don't need it. So if we don't need it, I'd rather get the file size down. So let's export both of these as both those settings. So look, can you see there's the JP at Maximum Quality, okay, And it's 500 kilobytes, so a two a megabyte, and this one here is double. Now, it doesn't seem like a big deal and it's not. If you are going out for a website or for an app, often the requirement is as small as possible and best quality. If this is going to social media, it doesn't matter. As long as you don't need transparency, JP or PNG will be fine. If you need transparency, PNG's good. Now the last of the bitmap exports. Okay, let's say I'm gonna export. This one here is I'm going to add a scale all the same. I'm going to look at web P. We talked about this earlier. It's kind of the newish format. It's not new at all, but it's new to common use. It's been around ages. It is amazing for websites and apps. So let's export both of these and I'm going to turn these ones off. Just a look at both of them in Web. Let's have a look at the Web P logo, okay? You can see it has the perks of PNG, so it has transparency. And oftentimes it is either the same or smaller in terms of file size. But when it comes to comparing PNG and web P for like a full on image, can you see? It's a lot smaller, so 900 kilobytes down to 600. That's why we leave it on the net. It's one of those formats that does both jobs very well. Okay. It does J pig style stuff and PNG style stuff all mixed into one, but isn't super accessible everywhere at the moment. So those are the bitmap options, sometimes Jpeg, sometimes PNG web if you can do it. Because it does the best of both PNG when you need transparency, okay? And there's not a whole lot of imagery going on J peg when there's a lot of imagery going on and you don't need transparency. And web if you need both but is not as accessible. All right, so let's look at the vector exports. Okay, we've got that lovely scalability because PNG and web P are bitmap images. If you scale them up big enough, they get all pixelated and gross. So we want the logo to be exported as Vector. We can't export this one here as vector, an image in it unless it's a PDF. Pdf will do both together, but it's not a really good digital format. Pds are more like suitcases, where you carry all the stuff around and send them to the printer or stick them in an e mail. Okay? Let's look at vector, the vector options, okay? You've got SVG is the main one, okay? This thing here is a nice interchangeable format. If you are an EPS person from, I'm going to say way back, but I used to use EPSs. Spg is like the new version of it. There are use cases for EPSs, but often PG's will do the job. The good thing about them is, let's export it. Look how small it is. This is the same logo, okay? There's all the different other options. Webp, where's the other? Here's all the logos. So coming out at Ginormous is a Jpeg, okay, And it didn't even have transparency. P and G did really well at that kind of like vector hard lines, okay? And it has transparency where P did a tiny bit better but also has transparency, but none of them do as well as the SG, the champion of vector. Okay, And the cool thing about that is if I open it up, it is super scalable forever. Not only is it teeny tiny, it is scalable to infinity, which is awesome. And where do those go? Most websites, if it's a logo, they won an SpG. If it's an icon for a website or an app that you're making, they'll won an SpG. Also like my T shirt that I made earlier on. Pgs is what Cricket, the software they use. Once I've got a three D printer, Pgs is what they want. It's a really common format. The one caveat though, is that you can see mine came through like I created it here and then brought it back in into as separate document as an SPG. The font was still embedded in it. Okay. And because I have the font, it works just fine. If I sent this to someone else and they try to open it, they won't have the font and it'll be a pain in the butt. Okay, so what you want to do is whenever you're making SVGs, okay, where is my SVG? Okay, I want to make another one. I want to outline it. Type create outlines. Okay? I want to add that to it. And not this one here. I'm going to remove this one from the group because that one there is going to give me reliable output. Okay? Even to things like my three D printer, I send SpGs that aren't outlined. It freaks out. It goes, I don't have the font 'cause I'm, I'm a little three D printer with no real brain, I can't go and find fonts. Okay, So just make sure if you are going out SpG, you outline the fonts or the Russa settings like Web, JP, PNG. That doesn't matter because it gets kind of smushed anyway. Now, we can export tiffs in EPSs, okay? I haven't used those for years. There will be used cases for it. And if you're working with it and getting really good results, totally cool, keep using it. But you might want to touch on some of the newer formats. But you'll notice they're not in this kind of output here. You will find them though under file Export, Export As, okay. And you can go through and find some of the other formats that you might need. Tifs are great for high quality J Peg style imagery, okay? Lots of images, there are some special ingredients for Tiffs, but most of the time we don't need them. Eps is the other one, okay? And that works like an SVG, okay? So it's vector, but you got to get to it in a different place. You got to go file save as they're all kind of mushed around places. There's an EPS whenever you're saving an EPS to go out to somebody, okay? And I say this as an EPS, first of all, it's going to be huge because I've got images in here. Generally, EPS is only like vector, okay to try not to include images in it. But if you do need an EPS, that's where you go find it. It's a save as Al, right? I hope that was useful. It's a bit hard knowing what format to use. There'll be new formats that come out. You might be watching this in the future and there might be a new one. It might be even better. But generally, there's no file format that does everything well. But to recap, if you need a raster image, okay, so not vector. Try for web because it has the benefits of both JP and PNG. If that's not available and you need transparency, go PNG if it's more like an image, go JP if it's vector, SPG is going to be awesome if it's print PDF. And EPS and tiffs are generally edge cases. They still get used, they're just kind of hidden in funny places. All right, that is it, I'll see in the next video. 110. Class Project 33 - Spoonflower: Yes. I've credited you a class project for exporting files. No, but don't worry, I've made it cool. We're going to export our pattern that we made earlier and go and mock it up on a website called Spoon Flour. It's super cool and rewarding to see your product kind of laid out on lots of different products. And you don't have to, but you could order them as well. Imagine it. So this class project is a little bit different than the class projects before. There is the kind of regular old class project, but this one starts with the tutorial. Because what I want to do is there's, I've given you the generic stuff exporting, but you're always going to run into problems. There's always going to be something like, oh, we only do this, or it can't be this, or there's this little thing wrong with this. This is a really good example of both having a really fun output and some troubles that we're going to overcome, kind of advanced. But I want to, I guess I want to prepare you for like there's always gonna be some sort of tricks or things to kind of make it work for your industry and your output. And this is a really good example of that. It's a little bit of advanced stuff. But we're getting pretty advanced now, right? It's nearly the end of the course. We're getting comfy with Illustrator, so let's dive in so quickly, the class project. So find your pattern that we did earlier. Make a new ones, okay. And we're going to export a pen G format, mock it up using spoonflower. Okay, And make pixel perfect. If you are going to use spoonflower in this one, it's a free account. You can sign up for use the link there, byol.com slash Spoonflower. If you ever end up making anything, even just with your free account, it lets Spoonflower know that I sent you. They reward me for the end and it doesn't cost you anymore. Don't worry though, you can go straight to Spoonflower if you want to. The reason we've got this tutorial is this part here, the make pixel perfect. A little bit of extra ness that needs to be done to make this thing work. So let's dive into Illustrator. All right. I want you to find the pattern that you made earlier. Okay, we are going to put on a new document. We kind of know if we get a window and open up our swatches panel. If we go through, I don't know why mine switch the list view weird. Okay. Just in case yours does as well. Gridview. That's what I want. Okay, I've got my patterns in here to get into a new document we remember, right? Because if we make a new document, don't worry too much about the size of it. Just make sure it's at RGB. And if you've got any raster effects like the three D stuff, we're going to crank it up to 150. Why do I do that? Is 'cause when we are actually importing into spoonflour, that's what they said. They said give us 150 PPI. I'm like, okay, I can do that. Lots of places will want 300, someone will want 72. We can change that afterwards. All right. You notice the swatches is not there. Who remembers from hands up from the last patent video how we get the Swatch over here? That's right. We have to copy and paste anything with it in a copy and go to base. And there it comes. Now I'm going to delete this because I don't want it basically. I'm not going to use my Pod at all. Okay. I am going to drag out a copy of my pattern. Weird. Huh? That's what your pattern looks like inside of that little swatches panel. Because what we don't want to do is actually have that graphic there. Because the problem with it is that mostly because actually, let's turn the window, let's go to the transform panel. It's been a while since we've done this. Okay? You can go in here and you might be on both object only. Okay? Depending if you need to scale it, able watches. If I've got two of them and it repeats that, it's not going to repeat it exactly how we want. What we need is a perfect square to do it. We first of all drag that out, pick an appropriate size. Ours looks pretty big. The thing is, you can scale it down in say, spoon fowl and other places. Scaling it up won't be good, mainly because spoon fowl want a raster image, not a vector one. So if they want a vector one, it doesn't really matter what size it is because we know we can scale it afterwards. Lots of places where they go, they'll only want a J peg or a PNG. In this case they want a PNG. So I want to make it nice and big. When I give it to them, don't really matter what size it is. There'll be some testing like if you want to be really big on a bit of fabric, then make it really big. If it's gonna be teeny tiny, it doesn't need to be so big bit of trial and error. All right? So I've got my pattern. The trouble is, it looks weird, right? Why don't look like that. Okay. Basically, well, what we want to do is chop it into a square. Luckily, there is a square hiding in amongst this mess. You can't really see it. But remember the shortcut. How do we go to outline mode? You know right now, command Y control y on a PC. Okay? And there it is, there you're like, oh, there it is. So what I can do is I can say, where's my panel? I'm going to ungroup it. Okay. And there it is, there sometimes it's hard to get. If you click it over here on my one, I grab that thing, that's not what I want. Click, there's the rectangle. Okay. And what we want to do is we want to use that to crop everything out. Okay? It's called a clipping mask. We did that earlier in the course. And one of the things with clipping masks, does it need to be the bottom or at the top? You're like, oh, I can't remember the try both. It is actually at the top with it selected at the moment, it's down the bottom. So I'm going to say arrange and bring to front. Okay. It has no stroke, no fill, it doesn't really matter. Okay, I'm going to go command Y. Control Y on a PC. Again, I'm going to zoom out so I can see stuff. I'm going to select it all. And because it's on the top and I've got it all selected, give it a jiggle. I can go command seven. Control seven on a PC. Or you can hit the appearing over here which is weird, normally it does clipping path. If it doesn't, you can go to object the long way and go to clipping mask. And go make or that shortcut that my friend is a repeatable square that will go on forever. Duplicate. Another one, over duplicate. Duplicate. Okay. So that's kind of how to get it ready for this particular product. And it's kind of weird, but if you want to do repeating patent swatches, that's what you need to do. It's just going to always be a quirky thing for special use cases. I just want to run one through with you just so you get a sense of like it's not always exactly how it goes in the course. So it's a big old swatch. What I need to do now is export it, and now we are masters of the export. Go to file. Gonna go to asset export. And now we're going to just double check what spoonflower wants. So remember, go to bring Nectop.com slash spoonflower sign up for a free account. When you get here, this site will be different. You know, it changes all the time. Every time I come back something's moved around. So you'll be able to work it out, like go to it and things might not be in the same place, but you'll figure it out right. And even if you don't use spoon flour, sue something else. Maybe there's something else. You're like, oh, I want to use that other site that I've heard about, go use that one. It's kind of more the output. I just want to see something like this at the end. There's lots of places you can do it. I don't mind which it is. So what I want is Upload Design, okay? And it'll tell me, look, I can, I want these formats. Tiff, Jpeg, PNG you're like hmm, Look at my graphic, mine is very vectori looking, Simple shapes, G's are great, don't need any transparency, It doesn't matter. G's are great for it. A Jpeg would work perfect, as long as you cranked up the resolution. If this is more of a hand drawn sketch or had an image in it, we go to PNG. Why would we use tiff? I wouldn't, but people love tiffs because unlike a Jpeg, a J Peg has the ability to go like this. Watch this, I can add it to this, and I can go J peg and I can make it 20% and that's going to be a really bad looking image. So people will use tiffs 'cause there isn't a scale. A Tiff is as good as it's ever going to be, but if you crank up J peg to 100 and the file size is really big, okay, Actually, just physically quite big, it's going to do perfect. If you want to do tiff, we already know how to do that, it's up to you. It's kind of an industry standard for some genres. Okay, we're still lacking tiffs. Alright, I kind of skip that there. So what else do they say? 150 DPI. Okay, they say DPI, Illustrator calls it PPI are the same, just a kind of different way of describing it. Pixels per inch versus dots per inch. To double check that we did it at the beginning, but you can go and change it afterwards. Effect K and in here, resolution 150 PPI. Excellent. Now remember it has to be grouped. If you're going to the asset panel, ours is in a mask, so it doesn't need to be grouped. So we'll smushed together. It's give ours in a name. Okay. I'm going to call mine Go pattern. I've decided I'm going to use a PNG. What size? I don't need to make it bigger here. I could, instead of scaling it up, you can just say make it four times bigger than the one you've gotten here. Mine's actually really big already. Let's make sure it's selected. If that's graded out member, make sure that's selected and then go to export, put mine on the desktop. I never just do this. I normally have a folder for everything, but in the courses I end up just popping on the desktop. I'll clean it up later, I promise. Okay, now we're going to go to spoon flour and we're going to get close. There's going to be a slight quirk with this one, Okay? So upload. I've got on my desktop geo pattern, there it is. I'm going to open it, I'm going to confirm that I was the creator. I'm going to upload. Okay, and this will all be different for you, but we can play around with different settings. Users come out perfect. Okay, I'm going to go look at all products, okay? 'cause I want to see them across everything. It looks so cool. As long as you don't look too closely, there's a little small problem with it. But I just love seeing like, it's amazing going from like this where it's, you know, it's inside illustrator to like, bam, I'm making stuff even though it's just digital. I've done those loads, especially with things like wrapping paper. Okay. I've printed fabric, got them made into pillows for customers, even stuff for your own see for presents. Oh Magen, be able to say, look, I made this fabric or atleast I made the design for it 'cause they All right, but the fund's over because it's not quite working. Let's have a look inside this one. What the problem with this particular one is. Can you see the little stripe? Okay? Where did that stripe come from in this particular case? Not always. For a website it'd be perfect. But this use case, some reason there's a little line there. So what we're going to do is we're going to go and have a look in here. And we're going to investigate. Okay, We're going to select it. Zoom, zoom, zoom, zoom, zoom, z. Right in, Look, it's really crisp. Why, why is it? I wish they just accepted an SVG and then we'd be done, but they don't. And you're like, look, there's no line there. No line on this side. This is a space bar. Lots of clicking. Okay? There's something that happens between go from vector out to PNG. Png, remember, is made up of pixels. Whereas Illustrator as a vector drawing program. So something in that translation went wrong. We can preview it in Illustrator. We can force Illustrator to say, hey, show me what it will look like as a pixel, even though you're not just preview it for me. So what we can do is we can get a view, we can go to pixel preview. Okay, there's the culprit, see that kind of like not quite orange, not quite the background color. There's this transition where what's ended up happening is if I look at the vector here, okay, actually if you hit command why it turns it off. Okay, so outline and pixel preview, they fight with each other. So I'm going to go to this one here. Can you see this is my rectangle there. Can you see it's kind of half over there. See it's all a little bit across. It's very exact. When you drag it out, it can be anywhere it likes, but pixels, okay, are one pixel wide. And they have to be that if they're half in this side and half on that side, like this line here, the editor will be hopefully zoomed in. Okay, you end up with this like I'm not quite orange, I'm not quite gray on this mixture of in between. For us the outcome is this like murky line. We can fix it, we can be very precise. Okay, And get it to snap in. I think you can set it to view snap to pixels, so when you are drawing it, you can get it to snap to pixels. Okay? Okay. Because you've got to go through and get every one of these to snap to pixels. The easier way to do it is I'm going to zoom out of B. It actually I'm going to tidy this up. Got stuff going on all over the place. Watch this. I came with it selected. Go to object. And there's one in here says make pixel perfect. You're ready. We made it pixel perfect. Zoomed in, Look what it's done. Awesome. Now if we export it, because when we dragged it in, it's updated over here as well, so we don't need to redrag it in. I'm gonna keep it as a G. I'm gonna export it. Gonna go on my desktop. Gonna update the old one that I had, and I'm gonna upload it to spoon flour. Al, I saved you the whole upload process, but look, oh, nice and tidy. Don't worry too much about the resolution in here 'cause there's a website and that kind of zooming in on something, it's not like it'll print better than it looks in this kind of zoom mode. Definitely for your first project, if you do like, oh man, I'm gonna do something is get a sample done. Okay? Something small, cheap so that you can get samples printed. But maybe just get a sample pillow done or something. Something cheap enough that you can get a sense of the printing before you go and spend lots of money. There you go. It's crazy, huh? I love that you can get your own stuff printed. You can now upload this to their store to maybe sell stuff on their site. You could maybe be listing these on Etsy. Now, for this class project, we've just used the pattern from before, but I'm happy for you to experiment with different patterns, Have a look through this site at other existing patterns to maybe inspire your designs. And I guess the main purpose of this video is just to show you that sometimes, you know, you export the file and it just needs a little tweaking somewhere. Okay. And now I feel like you the skills to go off and research that weird use case or the thing that you're doing for that job that you have on and that it's not you, it is just some processes need some little tricks and tweaks here and there. All right, so just to recap, export the pattern that you've made using the export panel, we're going to use PNG SVG. If you can do it for different outputs like I use that T shirt printing website, Okay, a lot and they accept Pgs, then you have no problems with pixels. Just comes out good. Upload your design to spoon flour, Either pick a group of them or pick one that you really like. Okay. And I want you to save a screenshot. So just take a screenshot of one of them. All of them. It's up to you. Okay. Upload it to the assignments and projects and oh, I'd love to see it on social media. It's great to see some of the digital work out there. Not quite in the real life but kind of real. And if you do get something printed, definitely tag me in. I'd love to see it in a real, real world and give us your feedback as well on social media. Like it went good or it didn't print really well this way or I had trouble with this or it wasn't the size I thought or yeah. Anyway, so there we go. That is it. We did a little practical application of exploiting who thought you could turn exporting into a class project. All right, that is it I'll see in the next video. 111. The best shortcuts in Adobe Illustrator: Everyone, in this video, we're gonna go through all of the shortcuts that we've learned throughout this course just in one nice video so you can recap and have one place to go for them all. Even better, there's a PDF in your exercise files. Print that out, stick it next to your computer. Be awesome. I'll break it into three groups. We're gonna look at tools, we'll look at functions. And at the end, I'll just do useful stuff that you should remember. If you wait to the end, I'll share one secret. Super duper weird shortcut that nobody really needs to know, but it's a weird thing that Illustrator does. You can impress your friends for knowing. Let's jump in, Start with tools. We're not going to go through everyone, just the ones we did in this course. The main ones are the V key, that is the selection tool, the black arrow tool, the most used tool. The key is the direct selection tool, the white arrow for getting in and picking the little bits. The next one is the T key. The T key will jump to the type tool. You can click once and just start typing. The problem is you can't use any of the other shortcuts. V key does not get you back to jump out of the type tool. Just hit escape. Now you can go to the V key, all the key or back to the T. Here you go. The next one is the M key, it is the rectangle. And if you hold shift while dragging it out, it'll make it a square. It's easy to remember. M for rectangle doesn't make any sense. Ah, but don't worry. The ellip shortcut is definitely 'cause that would make sense, but it's not, that is some other random one. What we want is the L four circle hold shift to get a perfect circle. You know all of these P for the pen, tool, click, click, click, click, click. Now you might be a Curvature tool person. Okay. And that Shott, it's a bit tricky. I don't really know what it's called. Can you see that? It says shift and that key apostrophe. It's not the apostrophe though. It is the wed backwards facing apostrophe. And it's for both Mac and PC. Okay, so shift and click that key. Mine's up on the top left of my keyboard, but I know for lots of keyboards it's all over the place. It's generally mixed in with the tilde key, which is the little wavy one. The pencil tool is for pencil. Perfect. The line segment tools actually kind of a good one. It is backslash. Okay. Which kind of looks like a line. You just draw lines. There we go. The eye Dropper tool, makes sense. It's I, for eyedropper, I'm going to slick that Eye Dropper tool. Click that color nice gradient tool is make sense. Click and drag the shape Builder. Okay, the same on Mac and PC is Shift in M. You can delete stuff by holding down the option KolkoPC and clicking once. And to connect them up you drag them across. My favorite tool in all of Illustrator, the Artboard tool shift I use, that one loads a zoom mountain. There's my Artboard shift is the same for Mac and PC. So those are the tools that I use a lot, there are many other ones. You can hover above them and decide that if you're an eraser person. Okay, shift E is a shortcut for that one. I don't use the eraser tool. I use the Shape Elder tool to draw specific shapes and minus them out. There are tons of ways of doing everything in Illustrator, so those are the tools. The next set will be functions that we use quite a lot. Okay? The main one that we use is undo, which is command Z on Am, control Z on a PC. The next one is grouping stuff. If I need that to stick with that, I can shift, click them, both hit command on a Mac, control G on a PC, and they are now stuck together. I can ungroup them by going command shift G, and they will ungroup them using that less, less. Now that we have this contextual task bar, which I'm going to reset to snap back into action. The other function that I love is copying K instead of command C, command V, just holding the option key down onto on a PC. And while you're dragging it using the selection tool, it'll make another copy. Awesome. The other one that I use a lot with that one is command D on Am, control D on a PC. And that is to duplicate the thing you did. Again, they have a better name for it. It says transform again, that's better. And you can keep going. And we can line all these up now because we have smart guides. Smart guides are awesome sometimes, but we toggle them on and off all the time. And that is command on Am control you on a PC. Now I can just drag it anywhere I like. And if I want it to snap, command you back on control you on a PC. The next function is the arrange. I want that behind it's command shift first square bracket. On a PC it's control shift first square bracket. The other bracket brings it forward, forward, back, forward, back. I'm trying to put these in order that I might use them, okay? Or at least the commonality of them. So I'm going to go back to my ellipse tool, which is not, remember it is L makes sense, circle. I'm going to drag it over. I'm going to make this mask, okay, a clipping mask. Who moves the shortcut? That's right. Command seven. Control seven on a PC. Undo command or control Z. The opposite of a mask is a compound shape. I'm going to go back to my rectangle tool, which is rectangle, okay? And we're going to select both of these. And I'm going to go command or control eight. Okay, That is a compound shape. Hello? Like a mask, but the opposite. Next function is outline command or control Y on, off, on, off, X ray mode. X ray of a skeleton. I don't know, I feel like it's a deeper meaning X ray of bones. Anyway, that command or control Y is a toggle switch, so you can just turn it on and off. The last of the useful functions is I've got type I need to destroy it. Command shift O, We'll turn it into outline type. It's no longer editable type, but I can mess around with it. I end up outlining type when I'm making graphics all the time. Command shift O or control shift O on a PC. All right, so those are the functions. The last things I want to leave you with are the stuff that you shouldn't forget that was lumped into the course. And you're like, that was a cool video, but I want you to go forward and not forget these super duper tricks to just helpful stuff that I do a lot. There's a lot of anchor points in this, okay? We can simplify the member object path. And simplify it looked the same mostly. But it gives me less anchor points, more control, I love it. The other one is I need to change all this color color. Is it off white, peachy color. I always think old computers, if you want to select at all, you could be there forever. Unless you want select same. I want everything that has that same fill color. I'll zoom out. Okay. Now look, I've got everything selected and I can go pick something else. There we go on another couple of things is math in fields M for my square, okay? And I'm going to say, actually I want it to be what width? I'm going to go to the end here. My cursor flash, I'm going to say I want to divide it by two, please. You can do maths. You can also type in measurements. I'm in pixels at the moment, but I want it to be, to get rid of the x and type in inches. Here we go. It's 2 " wide. You need to be 50 millimeters. There we go, bam, it's 50 millimeters, not much difference. Why am I talking in this excited voice throughout this video? I don't know. I'm trying to make it fast and action packed. Come down Dan. Alright, what else can we do? Other useful things. Okay, I want this graphic out. I can just write like it and say, Export selection, really handy. One quick and easy. And the final two things I don't want you to forget is if your computer starts running really, really slow, okay, Go to effects, go to document settings, especially at somebody else's document, you don't know. It might have been set up at 300, You've added a drop shadow, you've done some three D and you poor old computers freaking out. Turn it down to 72. Don't forget though, when you export to raise it back up, the quality looks lower in Illustrator at 72, but you can raise it back up again. The last little helpful one that we learned in this course is when we're dragging in images which I do, lots. Okay? By default it'll drag them in and they will become a linked image. Window links, or there's this new one here, little linking icon. Okay, Is there it is linked by default. But if I hold, what key was it? You got it hold shift while you're dragging it in. It'll still come in but it's not linked. A all the sweet chalk cuts. Alright. I also promised you one little bonus, one at the end. Are you ready for this? It is really weird. Let's pick any old shaped line. Let's do the line all the start. Let's do the line to start with. I'm going to pick a particular color, something that will stand out against the background. As long as it's screen what you're looking for is the tilde key on your keyboard. Often it's mixed in with the key that is the coverage tool. See that one there? Set the little back tick. I know there's a name for it. I don't know what it is. So back to my line segment tool, which is backslash. Even though funnly enough, they've put it in there as a forward slash. Let's hold down the shortcut key, which is the tilde key, often mixed in with that weird backslash, ticky thing. And watch this, I'm going to click and hold and drag out what is it? I do not know. You might have to dig around to find it on your keyboard. It's not the apostrophe key, the Tilty key, which is a little wavy one, you can do it all sorts of shapes. This one here, the startle, same thing. Hold it down, click, hold, and drag way. Look at that. We made some stuff. What is it? That is a very good question, but it's interesting to know some of these things, al right. That is it, my friend. Those are all the shortcuts, all the cool functions and the things I don't want you to forget from this course. The day to day operations that I use all the time and that my friend is the end of this video. Short cut's over. I'll see in the next one. 112. What Next: Oh no. It's over me and you. That's it. We've been hanging out for so long now, I feel like we're we're buddies. I know it's just like a video kind of connection, but I can feel you there. Yeah, this video. What is it about? It's what next? What do we do? What are the next steps? And mainly kind of like group hug. Like, I can't believe we've made it this far. You've made it this. Think of it much, how think, how far you've come since the beginning of this course. I'm impressed. You should be impressed and proud. Let's talk about next steps. You though, in terms of next steps for courses. Probably the very logical next step is the Illustrator advanced course. It's not really for advanced people, it's for you to get advanced. And I've basically designed it for where you're at right now. It's for people leaving the essentials and needing to do the rest of it. Okay, so there's lots more to Illustrator. There's only so much we can cover in the Essentials course, but yeah, go to the advanced course. It's great fun. The other things you might do, there's like a trinity of design programs that tend to go with Illustrator. Not always. Okay. But it's Photoshop and Design Illustrator, they go together. Photoshop is photo editing, supports the stuff that goes into Illustrator. And the other one is design, which is more larger document making. Okay. Magazines and newsletters and anything we do with print, really go check it out. There's Photoshop Essentials and Advanced. Same with in design, there's an essentials in advance. So you might go check out those other illustrated related software is if you're going to go down the UX design route. Okay, you might look at Figma. Okay, I got a course on that as well. Centrals in Advance. There's basically essentials in advance for everything. Also, if you're going to go down to like motion graphics, you might go check out after ex course Video Premier Pro if you want to go down web. Okay, I've got a Web Essentials, HTML and CSS course, or there's a webflow course, which is more for designers building websites. Pretty cool tool. What else we get here? Light room, okay. Light room is a great course for photography, okay? Taking those images from your camera and getting them amazing. That is it for the courses is probably more, but they're all listed in the same place you got this one. So check out what you might do next. A big thanks to the editors who take 1,000 files that I give them and turn them into this polished, professional course. Thank you to Telecoman and Jason Hummels. Okay. For your amazing editing work. Now I've got a little ask for you if you've enjoyed this course. You thought this is the best illustrated course you've done, okay? Or seen or experienced. I'd love a referral, so that's how it keeps my business flowing. So if you have any chance to refer anybody else to this course, either verbally through a colleague or if you have the ability, if there's a back link you can give to this course from a blog or a website, that'd be awesome. Or a redit post or a tweet. I'll take anything. Okay. Because it's those things and there's reviews why people like you who keep people like me making these courses. So that's my ask, if you enjoyed it, I'd love that sort of referral. Thank you. And that my friend is going to be the end of the course. It is always awkward at the end because I feel like we've been hanging out for so long and hopefully we can just pick up in the very next course, but for now it's kind of sad. We've spent 100 or so videos together and it's come to an end. I hope you enjoyed the course. I've enjoyed kind of bringing you along. And what I really hope is that you can look back at the beginning of this course to where you are now. And just for more than anything, a bit of confidence going into Illustrator and being able to create the designs that you want and if there are holes in what you know, you have the tools to go off and figure it out on your own now, which is the kind of best kind of learning. Hope you feel like I can do anything I want. Just got to figure it out now. It's not so daunting. Illustrator can be daunting, huh? All right, This is where I don't really know what to say at the end. So I'm going to wave for a bit, we're going to fade to black. And that is going to be S, alright, see you the next course. Bye, don't cry.